WORKSHOP: participants from all ages can tackle the current massmediascapes and create one of their own.

> Lisätietoja

TYÖPAJA

Mahdollisuus tulla tekemään videokuvauksia esimerkiksi päiväkotiryhmien kanssa. Työpaja avoinna iltapäivisin tai sopimuksen mukaan!

> Lisätietoja

The duration for this musical composition/installation is 13 days which corresponds to the total duration of the Cartes Flux3 Festival, commencing at 6 pm on 6.5.08 and running until 3 pm on 18.5.08. A graphical score especially made for this installation allows the progression of the music to be followed.

“A Project: A Room: 13 Days” is both a sound installation and composition for 4 individual loud-speakers. The loudspeakers are constructed by Timlin of: coil springs, a washing machine, a large plastic tube and several metal sheets. Each loudspeaker is visually as well as acoustically unique. The basic idea was to create speakers that add their own peculiarities to the sounds they diffuse as well as react physically to the sound material they receive.

…the beauty of drones accompanied by hums, creaks, and rattling ::: colourful postcards on the white doors of my wardrobe ::: the liberating experience of loosing the sense of time ::: offering alternatives ::: things have to be experienced, not learned ::: escaping your own mind ::: how much does 157 grams of happiness weigh? ::: cleaning one’s ears is like cleaning one’s mind ::: the non-contradiction between order and chaos…

> more

But as an Artist constantly looking for new visual inspiration it was not enough for him to walk only this line or to excel in just this field. In 1999 Salosmaa took the Finnish art scene by surprise, when shifting his focus from linen canvases to the pixels of new media, as he presented his first public video work ”Dance of the Swans” at Gallery Kari Kenetti, Helsinki. Salosmaa did not think there was anything dramatic in the change to this new medium, he still considered himself as a painter. He was more interested in developing new visual worlds with new aesthetic possibilities and these digital tools provided him with the platform of telling linear
stories. From then on, Salosmaa devoted himself entirely to video art. In the Autumn of 2007 a retrospective of his video works was held at Muu Gallery, Helsinki.

With rich visual imagery, carefully constructed soundscapes and attention to technical detail the video works of Salosmaa manifested themselves with strong emotional charge. Although his video works indeed contain very few elements of storytelling as such, they do nonetheless contain emotionally strong audiovisual worlds that provides them with a sensational appeal that continues to grasp the attention of the audience. One simply can not just glance at these works/worlds.

OTSO KANTOKORPI
Helsinki based journalist and critic

Förnimmelsen, tiden och subjektet är centra- la frågor inom all konst. Traditionellt har bild- konst uppfattats som rumslig och musik som tidslig konst. Den audiovisuella mediakonsten avslöjar problematiken bakom den här uppdel- ningen: ljudet placerar sig i rummet och den rörliga bilden flyter med tiden. Varseblivningen sker alltid både på en subjektiv nivå och på en nivå som förmedlas av, eller ”präglas” av ett teknologiskt synsätt. De grundläggande kate- gorierna är tid och rum. Teknologin, eller mer allmänt tekniken, anknyter sig till dessa kate- gorier: subjektet är mekanismen genom vilken tid och rum struktureras, och kan som sådan omöjligen vara naturlig.

Konst har alltid baserat sig på identifierings- processen, logiken bakom den. Genom att be- trakta ett verk utsätter betraktaren sig för verket. Om verket lyckas beröra henne inne- bär det samtidigt att betraktaren blir del av verket, och dras in i dess värld. Denna värld är en annan än den vi på ett ”naturligt” sätt förnimmer – medan våra varseblivningar i var- dagslivet förefaller uppenbara, avslöjar kon- sten att denna uppenbarhet egentligen är konstruerad.

Den nya mediakonsten bryter varseblivning- ens enhetliga natur och hjälper oss att bygga om vår erfarenhetsvärld. Dess utgångspunkt år således både experimentell och erfaren- hetsbaserad. Relationen mellan aktören och betraktaren blir på sätt och vis mer demo- kratisk: det är inte längre ett självständigt aktörsubjekt som ur sitt inre frambringar ett färdigt konstverksobjek det betraktande sub- jektet sedan utsätter sig för.

Den nya mediakonst är tack vare sin position på gränsytan mellan konst och vetenskap ett privilegierat medel för kartläggningen av be- röringspunkterna mellan dessa två. Den lyf- ter fram såväl de möjligheter de vetenskap- liga innovationerna erbjuder konsten som de anspråk de konstnärliga visionerna ställer för den tekniska utvecklingen. I grunden är det fråga om hur vetenskap och konst tillsammans omformar den mänskliga erfarenheten.

DEN NYA MEDIAKONSTEN KAN MYCKET VÄL HJÄLPA EN ATT TÄNKA PÅ ETT NYTT SÄTT!

En stor del av verken som visas på festivalen har antingen helt och hållet skapats med hjälp av dator eller så har de audiovisuella elemen- ten bearbetats på ett sätt som skulle vara omöjligt utan dator. Å andra sidan innehåller urvalet också mer traditionella verk som fil- mats med kamera. Det är framför allt de fin- ländska alstren som representerar en mer traditionell relation till bilden. I dessa verk är det snarare fråga om experiment med olika former av berättande än om tekniska experiment.

Alla internationella verk vid festivalen visas för första gången i Finland, med undantag av Thorsten Fleischs Energie!

Vi önskar alla hjärtligt välkomna till CARTES FLUX3-festivalen.

…

KEN GOLDBERG & KARL BÖHRINGER (US): flw [1996]

This project considers the distance between the viewer and what is being viewed. How does technology alter our perceptions of distance, scale, and structure? Technologies for viewing continue to evolve, from the Camera Obscura to the telescope to the atomic force microscope; each new technology raises questions about what is real versus what is an artifact of the viewing process. For example, how does the framed vision of the microscope differ from the framing induced by the World Wide Web? Discontinuities induced by these media can undermine what Husserl calls the ‘inner’ and ‘outer’ horizons of experience. These horizons are vital to architecture and to what we might call ‘telepistemology’: the study of how distance influences belief, truth, and perception.

Loan from Catharine Clark Gallery, San Francisco, US
Images courtesy of the Artists and Catharine Clark Gallery

> goldberg.berkeley.edu/art > www.ee.washington.edu/faculty/karl > www.berkeley.edu/flw

KEN GOLDBERG is an artist and professor of engineering at UC Berkeley. His work has been exhibited at the Whitney Biennial, Venice Biennale, Pompidou Center (Paris), Walker Art Center, Ars Electronica (Linz Austria), ZKM (Karlsruhe), ICC Biennale (Tokyo), Kwangju Biennale (Seoul), Artists Space, and The Kitchen (New York).

KARL BÖHRINGER is professor of engineering at the University of Washington, Seattle. He received both his M.S. and Ph.D. degrees in Computer Science from Cornell University and his Diplom-Informatiker degree from the University of Karlsruhe, Germany. His work was featured among the Top 100 Science Stories in Discover Magazine’s 2002 “Year in Science.”

MARKUS RENVALL (FI): KROMAKEY-NUKKEKOTI [2008]

Chromakey Dollhouse is an installation and a media workshop that conveys the strategies of tackling media to participants of all ages. Using a chroma key greenscreen and four specially designed dollhouses, the audience can create their own pieces within the framework of the installation, instead of encountering it as a spectator.

ENROLL TO THE WORKSHOP: paivi@cartes-art.fi

> www.av-arkki.fi

Hur björnen blev av med sin svans – En glädjefull tolkning av en folksaga som på denna festival upplevs vid en pulpet från folkskolan.

TERO JARTTI (FI): KUINKA KARHU MENETTI HÄNTÄNSÄ [2005]

The sky arched bonny and blue over the Salokorpi wilderness on that Sunday morning of April. The animals of the forest were busy preparing for the annual “Finest Tail of the Forest contest”. When the contest had barely begun, the Bear eagerly announced himself as the winner. The Fox did not agree with this univocal judgement, after all he was the winner of the previous year and not very keen to give up his title. He thought to teach the Bear a lesson…

> What happens next, you will learn at the CARTES FLUX3.

PRODUCED BY: Foxley Ltd

TERO JARTTI (b. 1962) a Finnish Actor, Director and Screenwriter; has made several innovations in the advance of new media.

Under sina vandringar i den eviga staden hittar konstnären en vy, som trots att den alltid är densamma, präglas av ständig förändring.

LAURI ASTALA (FI): ROME DÉRIVE II [2006]

Generally, urban space is a place for arrivals and departures, a flow of non-returnable moments. The notion of the Eternal City all too easily creates an image of a static, even massive and heavy, permanent place. In these works Rome appears light and unattainable, changing and amorphous. It is a City passing by and streaming around you, its fixed points forever growing dim.

> www.av-arkki.fi

FINNISH VIDEO artist Lauri Astala’s (b. 1958) work draws on phenomenology as he studies human experience and perception from an objective point of view, thereby detaching them from common and scientific views. He uses scientific models as a basis for his work, but at the same time he tries to make us realize that the basis of science isn’t scientific – it’s philosophical. Astala opens our minds to the way we perceive our surroundings by creating videos of the effect that the elements such as sunlight, shadows and wind have on the way we experience architecture. Works like these have the power to make us see ourselves seeing