Miya Masaoka
(spanish)
Resides in New York City and is a classically trained musician, composer and sound artist. She has created works for koto, laser interfaces, laptop and video, installations and written scores for ensembles, chamber orchestra and mixed choirs, and has led her own orchestra and numerous ensembles. In her performance pieces she has mapped the movement of insects whereby their movements trigger the sounds for the piece. These pieces investigate insect culture and behavior, extract various data as source material for sound and investigate the constructions of race, gender. In other works, she has monitored the physiological response of plants, the human brain and her own body as renderings for music and sound composition. In her plant pieces she explores the keen awareness of plants to their environment, and the plant’s ability to think and respond.
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Dennis Dollens
(spanish)
Introduction
Applying techniques and methods learned from botany and appropriated from science I have been developing a generative architecture that relies on biomimetics from both direct experience and from software simulations (L-Systems & Xfrog). I do not propose a new architecture that looks like a tree or a flower but I do think it is time to apply new systems that function in natural-like manners in order to begin growing architecture in new directions.
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Peter Horvath
(spanish)
In the frontier world of web technology I have found a medium that encompasses and expands the lush, pluralistic and multi-layered qualities of my previous dada-inspired photomontage work. Freed from the restricting two-dimensional context by technological advances,
I engage in fragmented narratives and sub-narratives that form and reform as multiple windows open and close.
I orchestrate layers of history, including journal entries, sketches, written records, video, photographs, music, voice and general sound loops, resulting in a atmospheric investigation into states of being.
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Cynthia Verspaget
(spanish)
I am a bio artist. My artistic practice encompasses the exploration of blurry borders, shady ethics and the domestication of scientific and electronic technologies. What interests me in particular about biological materials are their fragile locations within science which are always linked to cultural and political processes, perceptions and constructions. I like border creatures that have monstrous overtones which “threaten to smash distinctions” as Jeffrey Jerome Cohen so eloquently expresses it. To me, monsters and science go hand in hand. Monsters are declared and categorised through scientific language and practices and simultaneously the monster and science charge against each other in glorious conflicts over these much cherished biological distinctions. It makes sense to consider them in bio art. The monster is essentially the name given to the inhabitant of the multiple zones of biology which is of interest to the humanities practitioner with a nose for a juicy scientific story.
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Polona Tratnik
(spanish)
In order to describe interweavence of things and space, a presence of a human body in the world into which it is immersed, Maurice Merleau-Ponty has created the concept of the flesh of the world. Things reciprocally belong to each other and thus form the same flesh, which is the flesh of the world.
A human being lives in an environment and is a part of it; he does not gaze at the world as at a display or something that is distant from him. He touches things and regards them. In such a manner he is seizing them, they are becoming a part of him.
Maurice Merleau-Ponty is pointing out that space in post-Euclidian world is not a grid of relations between objects, is not a scene which is looked at as by a geometer from afar, but that, instead, space starts from me as the zero point of spatiality. A world does not exist in front of me, but is all around me and I live in it and am thus its part. I live it from the inside and am immersed in it. I am a part of the flesh of the world in which everything is interwoven. The world is made from the same substance as a body. Human body does not end with a rind of human organism, with skin, for example. It is expanding into space. It extends not only so far as I can touch things, but also up to where I can see them.
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SPECIAL LIVE CINEMA
Issue curated by Mia Makela:
Content:
Chris Allen
HC Gilje
Kurt Ralske
Jonny Dekam
Casey Reas
Telcosystem
Things Happen
Lia
Lillevan
Sue C.
Pink Twins
Transforma
Carsten Nicolai
Olga Mink
Klaus Obermaier
Ilan Katin
Philipp Geist
Susana Karrasch
Electronic Shadow
Aether
Realited United
Boris & Brecht Debackere
Mia Makela
Sandra Naumann
Asli Serbest
Mona Mahall
VJTheory
María PTQK > wjs
CAMP
and Daniel García Rovira
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MAGAZINE’S IMAGES
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more information: aminima@aminima.net
Casey Reas
(spanish)
In 1962 a young Umberto Eco wrote Opera Aperta (The Open Work) and described the new concept of a work of art which is defined as structural relationships between elements which can be modulated to make a series of distinct works. Individuals such as Cage, Calder, and Agam are examples of artists working in this manner contemporary to Eco’s text. While all artworks are interpreted by the individual, he distinguished the interpretation involved in this approach to making art as fundamentally different from the interpretation of a musician playing from a score or a person looking at a painting. An open work presents a field of possibilities where the material form as well as the semantic content is open.
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Roberto Aguirrezabala
(spanish)
It all began some days ago. One night I was phone by Roberto to ask me a favour. On the phone I already noticed he was being a bit humorous, so I became curious to know what he was plotting. He told me that I had to write a text on his net.art work to be published by a-minima magazine. The problem he had was that he could not write about himself, and, in addition, at that moment he was immersed into a new project, he was focusing only on it and he was not able to review all his previous works. He also wanted to avoid revealing any detail of the project he was working in. I accepted, but in return I requested two things: he had to invite me to have lunch in his house (as the photo proves) and my name would not appear in the article. In addition, I had another interest: finding out everything I could about his new project. Then I started working: I gathered all the information that I could, I reviewed all his projects and I spoke to him for a long time.
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