TENGALGORHYTHM

CLIMAX PROJECT PREMIERES AT KINO SISKA, LJUBLJANA THIS NOV 23

2011-11-11T06:56:00.003+08:00

More info: http://www.kinosiska.si/sl/dogodki/eksperiment/2011-11-23/climax_stigma_filmski_dogodek_po_motivih_barthesovega_diskurza_ljubezni/430/
(In Slovene, please use English version of the site)

Bedroomlab Blog

2011-05-23T00:54:00.003+08:00

Bedroomlab is a lecture series which focus on incredible projects made by artists, scientists, and creative people in their bedroom labs -- "bedroom as a laboratory" -- and sometimes share these creations and ideas with people in an informal social gathering.
Please visit the site to check out past events, so far we've hosted 9 sessions.

Thread on Frame (Singapore only)

2011-05-11T02:52:00.005+08:00

Current project:
Fashion video project I directed for Them.Sg and Blackmarket. To be screened this Friday in Singapore during the Audi Fashion Festival.

Thanks to Gian, as much of the work uses his clothing collection, Mara for styling them, Butch for assisting in capturing the moving images, Ida for providing the movement, Anna Varona for providing the space, Kristine for helping coordinate the people, Edsel for additional motion graphics, and Outpost production house for tying up all the images and saving my ass.

THEM.SG presents Thread on Frame- A Fashion Film Series curated by Blackmarket.
Invited by artists to give their own interpretation of selected fashion labels through the popular medium of film, join us as we unveil 10 collaborative works between artists and designers curated by Blackmarket this 13th May at The White Rabbit.

Recent live set at Soundcloud!

2011-04-16T18:38:00.003+08:00

http://soundcloud.com/tengal/live-set-b-side-whwpmtlt-2011

Live set at B-Side for the event,
WE HATE WHEN PEOPLE MAKE TRACKS LIKE THIS

Info: "field recordings, machine failure, sub bass, clicks"

Remixed tracks that I placed into the mix:
Atom (tm) - "Interferenz"
Errorsmith - "No Ice"
Tim Hecker - "Dungeoneering"
*all the other sounds were composed and were manipulated live

Recorded and Mastered by Arvie Bartolome
A Rec.Records release

HOW TO DESTROY A GALLERY

2011-03-10T02:05:00.003+08:00

CLEAN IT
CUT IT
BAKE IT
EAT IT
SHIT IT
PISS IT
GRIND IT
FRY IT
EAT IT
SHIT IT
PISS IT
BOIL IT
DRINK IT
VOMET IT
SWEEP IT
GRIND IT
COOK IT
BOIL IT
DRINK IT
PISS IT
LEAVE IT ON THE SUN
AND IT WILL EVAPORATE.
miroslav cukovic

more:
http://sonda.kibla.org/destroy.html

Jesus Marches to Berlin

2011-03-08T18:48:00.003+08:00

ELECTRIC CHURCH

2011-02-17T02:11:00.005+08:00

Room nr9000.psd by son:da [http://sonda.kibla.org/]
Click to ZOOM IN picture

SABAW Media Art Kitchen

presents

ELECTRIC CHURCH
22-23 FEB (Manila)

24-27 FEB (Baguio at Ax(is) Art Project) http://www.axisartproject.com/

Electricity, primarily through amplification, signifies.

Electricity threatened music (let alone trad. art) as purity of human expression, and also of innate 'talent', as it first distanced the musician from the sound, and second, masked the inadequacies of technique. Amplification takes over from the human voice, or music as expression of human feeling, emotion or subjectivity (often through approximation of voice). What you hear is revealed as electrically driven movements of air; sound is materialized, and becomes other to the expressing body. Music is now evidently prosthetic, mediated through machinery, and this shakes the belief in the centeredness, intention and authenticity of musical creation.

Surplus sound is a key characteristic of electrified music, and as the 1960s go on, distortion and feedback, pushing the machinery beyond limits, offers another layer of noise that is both literal and noise in the sense of being unwanted, excess, waste. These noises are quickly used, and become techniques, but along the way, they operate as a way of maintaining a community. Sociologist Paul Gilroy, citing Hendrix refers to an "electric church" ("Soundscapes of the Black Atlantic", Gilroy). Hendrix insisted on the necessity of loudness to convey the possibility of revolutionary change through both shock and the use of "the correct frequency" (ibid.), the later allowing a more direct connection, facilitated by the noisiness. We can take "church" as meant in the most general sense, as a way of capturing an elective community that somehow bonds together, in this case in excessive performance.

| CONCERT |

WE HATE WHEN PEOPLE MAKE TRACKS LIKE THIS
22 Feb. 10PM | B-Side, The Collective

Many have taken a utopian view of the deterritorialization of music production, as it is reterritorialized in ‘home studios’ or ‘bedroom labs’. As well as the evidence of Aphex Twin, Squarepusher and a good proportion of those involved in the nebulous genre ‘electronica’, Fete dela WSK! praises the creative potential of this underheard-of autonomy. For the first time in history, creative output and the means of its distribution have been inextricably linked. Along with the rhetoric of freedom comes a puritanical praise for self-teaching, as techno-autodidacts master new machinery, software, concepts and programming. Access to and increasing control of digitally produced or processed music move computer music beyond structures of existing musical convention, and almost inevitably, it seems, to the digital dismantling of music, and ultimately, to the dismantling of digital music (music as presented digitally, or digitalized).
Beats are often there to be thwarted, either through complexity, or purposeful variation, often as an odd take on microsound, where dissected sound (or information) is stacked up like in the music of Ježíš táhne na Berlín or JTNB (translated from Czech as Jesus Marches to Berlin) or Malek Lopez. Beeps, clatters, and momentary granular synthesis bursts scatter through the carefully composed pieces.

Beatsmiths Caliph8 and Supreme Fist alongside Taiwan's premiere pipa improviser, Luo Chao Yun perform in an electro-acoustic set: wherein time-based algorithms follow common buildups, but cuts it, layers it on itself, time compresses parts and strecthes other sections of each player. Parts are made staccato, broken into fragments, with some of these forming perfrect new microrhythms that disappear in a second. Sounds are taken from something familiar (popular hit songs) and brought into unfamiliar yet exploratory territory.

Mu Arae Transmission’s beeps, clatters, and momentary granular synthesis that bursts throughout piece are like alien signals that await confirmation. Ambient washes and pulsing glitch rhythms; beautiful chords with sombre melodies are taken out of context and placed into eerie communal dialogue between the machine and humanity.

Terraformer's beats are not only messy, they are overridden by hums, blasts, failings and direct glitch sounds, or hums signaling spaces between instrument and functionality. Elegiac tones build, there is still the jarring of back and forward movement, as even stasis cannot settle, and the whole clicks (is read as containing those clicks.)
Composer Tengal, often working with hundreds of short tracks prevent a unity forming, and glitch has become a component, in a realization it is now part of musicality rather than a gesture that takes the medium from music to being medium and failing at that.
The glitch ‘effect’ transfers into the relation between sound and listener, and, while losing the specificity of glitch, lets it play across tracks where glitch features (in the same way that noise in any ‘noise music’ plays across tracks featuring or consisting entirely of what are generally thought of as noises). Once away from the unwitting reification of glitch left to its own devices, we have something like hyperglitch, where it is an effect, not an essence of material and materialist commentary. Though these occur not only in sound but in the moving images, as 3D projections (or video mapping) of such kind are set-up by Tad Ermitano, Clang Sison, and Edsel Abesames.

The very fact that glitch phenomena is not there to be worshipped as the means and end, but is to always already have occurred and be re-played, or be itself disturbed to have anything to do with noise. The same conclusion could be said to apply in attempts to find noise working, even if construed as always provisional, as yet-to-come, as gone, as dissipating, mounting, but never there.

Facebook event page

|SYMPOSIUM|

BEDROOMLAB

23 FEB 8PM | Carlos Celdran's Living Room

Unit 24, North Syquia Apts.
M.H. Del Pilar, Malate, Manila City

artist talks | works-in-progress | media theory | speakeasy

BedroomLab functions as an informal art platform, wherein open discussions, brainstorming sessions, lectures, network meetings, performances, hands-on workshops, demonstrations and public gatherings take place.

Magdalena Peseva [Prague]
Peševová Magdalena, born 1979 in Prague, lives and works there. She graduated from the Academy of Fine Arts, has undergone a classic painting studios and new media. She completed scholarship at Ecole des Beaux Artes in France, currently in residence at Yogyakarta in Indonesia.
Magdalena is primarily devoted to monumental painting, drawing, interior and exterior painting, hanging paintings and illustrations, as well as painting conceptual, such as combination with performance. Formally, her work is inspired by street art, graffiti, comics, symbolism,surrealism. Conceptually, she pays attention at current Anglo-Sax and Hispanic music, feminism, postmodern inheritance and gender, political and religious issues.

Ondrej Skala [Prague]
Czech breakcore king, Ježíš táhne na Berlín (roughly translated as “JESUS MARCHES TO BERLIN”) is the music project of young Czech artist Ondřej Skala. He studied at Academy of Arts, Architecture and Design in Prague. His music can be best described as “Breakcore-Ambient”, where pre-recorded distorted digital instruments meet live-processed human beatboxing. Acting and creating music, Ondřej also participated in the digital puppet show Pollygone appeare in 2007. At WASTED OVER PRAGUE in 2008 hed with his new band alongside live bassist and drummer BJ Tzarr. He has performed all over the world, from Berlin’s Club Transmediale, to Indonesia’s Breakcore_Labs.

David Kousemaker [Holland]
David Kousemaker (1971) is an artist/designer who works on the crossroads of art and technology.
Since 2005 he has collaborated with Tim Olden under the name Blendid (www.blendid.nl) to create playful and accessible works.
Interactivity is an important element in their oeuvre which ranges from physical sculptures to projects which center around a non-conventional use of audio or video. Work was presented at a number of international festivals including Digifest (Canada), STRP (Netherlands), Biënnale Venetia (Italy), Synthetic Times (China), File (Brazil) and Utopia Now (Australia).

John Sobrepena
JUAN MIGUEL SOBREPEÑA, the Hermetic Lord of Filipino IDM, who is either Moon Fear Moon or Mu Arae Transmission, depending on the phase of his luminous namesake (T. Ermitano), composes haunting and eerie instances of IDM (Intelligent Dance Music). Endless horizons and barren wastelands. Ambient washes and pulsing glitch rhythms. Beautiful chords with sombre melodies, quiet polaroids with red-eye distortion. Lullabies and alien distress signals.

Mark Salvatus
Mark Salvatus a multi disciplinary artist based in Manila. His work deals with the dystopian rammification of urbanization often times making work in the street disrupting the established codes of social communication. Language and signs play an integral part in his aesthetic projects as he inserts a reconstituted design into the fabric of existing space and common gesture. Salvatus recently finished residencies at ACAR Asia Cultural Artist Residency, Gwangju, KR, Daedong Culture Foundation, Shatana International Residency, Shatana, Irbid, JO, Triangle Arts Trust, Can Serrat International Art Centre in Barcelona, Spain, and exhibitions at Annexe Gallery, Central Market Kuala Lumpur, Malaysia Nospace Gallery, Bangkok, Thailand.

Facebook event page

Thanks for your time.

Feel free to repost, send, retweet, reblog, etc.

WE HATE WHEN PEOPLE MAKE TRACKS LIKE THIS

2011-02-15T00:37:00.008+08:00

(click to enlarge photo)

Fete dela WSK!

presents:

WE HATE WHEN PEOPLE MAKE TRACKS LIKE THIS

22 Feb. 10PM | B-Side, The Collective

Beat the retreat music snobs, critical beats and sonic ruptures from our finest doctors of sound and video make no bar of music stay the same.

Sonic Surgeons:

JTNB (Ježíš táhne na Berlín) (Prague) [Breakcore, Glitch]

Caliph8 [Turntable]

Supreme Fist [Turntable]

Joseph Insect [Turntable]

Malek Lopez [IDM]

Luo Chao Yun (Taipei) [Improv]

Mu Arae Transmission [IDM, Ambient]

Terraformer [Ambient, Industrial]

Tengal [Microsound]

Eye Anesthesiologists:

Tad Ermitano

Edsel Abesames

Clang Sison

http://www.wskfete.com/

Damage: 150 PHP (plus drink)

SCHEDULE:

10PM: "Der Abgrund“

Terraformer

10:45PM: “Static Pursuasion”

Turntablist’s in an exquisite corpse like game devised by Tengal

Players:

Caliph8 [Turntables, Electronics]

Joseph Insect [Turntables]

Supreme Fist [Turntables]

11:20PM: “Signals from a Monolith”

Mu Arae Transmission

11:40PM: “___”

Malek Lopez with Guests

12:15AM: “Jesus Marches to Berlin”

JTNB (Ježíš táhne na Berlín)

Over 12:45

DJ sets by: Minister Zero, Caliph8, Supreme Fist, Tengal

Visuals designed and performed by Tad Ermitano, Edsel Abesames, and Clang Sison. (Special thanks to Denis Lagdameo)

Notes:

Many have taken a utopian view of the deterritorialization of music production, as it is reterritorialized in ‘home studios’ or ‘bedroom labs’. As well as the evidence of Aphex Twin, Squarepusher and a good proportion of those involved in the nebulous genre ‘electronica’, Fete dela WSK! praises the creative potential of this underheard-of autonomy. American composer Kim Cascone sees computer technology as a liberating force, both creatively and in terms of eluding the dominant commercial industry, writing that “computers have become the primary tools for creating and performing electronic music, while the internet has become a logical new distribution medium. For the first time in history, creative output and the means of its distribution have been inextricably linked.” (‘The Aesthetics of Failure’, 396) Along with the rhetoric of freedom comes a puritanical praise for self-teaching, as techno-autodidacts master new machinery, software, concepts and programming. Access to and increasing control of digitally produced or processed music move computer music beyond structures of existing musical convention, and almost inevitably, it seems, to the digital dismantling of music, and ultimately, to the dismantling of digital music (music as presented digitally, or digitalized).

Beats are often there to be thwarted, either through complexity, or purposeful variation, often as an odd take on microsound, where dissected sound (or information) is stacked up like in the music of Ježíš táhne na Berlín or JTNB (translated as Jesus Marches to Berlin) or Malek Lopez. Beeps, clatters, and momentary granular synthesis bursts scatter through the carefully composed pieces.

Though Terraformer’s initial attempts were towards industrial music (offered an anti-aesthetic, using the tools of art to undo art: industrial music made its listeners aware of the fetid state of capitalist society), his current performances does not look to be a political intervention. His beats are not only messy, they are overridden by hums, blasts, failings and direct glitch sounds, or hums signaling spaces between instrument and functionality. Elegiac tones build, there is still the jarring of back and forward movement, as even stasis cannot settle, and the whole clicks (is read as containing those clicks.)

Composer Tengal, often working with hundreds of short tracks prevent a unity forming, and glitch has become a component, in a realization it is now part of musicality rather than a gesture that takes the medium from music to being medium and failing at that.

The glitch ‘effect’ transfers into the relation between sound and listener, and, while losing the specificity of glitch, lets it play across tracks where glitch features (in the same way that noise in any ‘noise music’ plays across tracks featuring or consisting entirely of what are generally thought of as noises). Once away from the unwitting reification of glitch left to its own devices, we have something like hyperglitch, where it is an effect, not an essence of material and materialist commentary. Though these occur not only in sound but in the moving images, as 3D projections (or video mapping) of such kind are set-up by Tad Ermitano, Clang Sison, and Edsel Abesames.

Beatsmiths Caliph8, Supreme Fist, and Joseph Insect perform in an all-turntable trio set: wherein following a loose score written by Tengal; wherein time-based algorithms follow common buildups, but cuts it, layers it on itself, time compresses parts and strecthes other sections of each player. Parts are made staccato, broken into fragments, with some of these forming perfrect new microrhythms that disappear in a second. Sounds are taken from something familiar (popular hit songs) and brought into unfamiliar yet exploratory territory.

Mu Arae Transmission’s beeps, clatters, and momentary granular synthesis that bursts throughout piece are like alien signals that await confirmation. Ambient washes and pulsing glitch rhythms; beautiful chords with sombre melodies are taken out of context and placed into eerie communal dialogue between the machine and humanity.

The very fact that glitch phenomena is not there to be worshipped as the means and end, but is to always already have occurred and be re-played, or be itself disturbed to have anything to do with noise. The same conclusion could be said to apply in attempts to find noise working, even if construed as always provisional, as yet-to-come, as gone, as dissipating, mounting, but never there.

Curated by Tengal

Poster design by Caliph8

"WE HATE WHEN PEOPLE MAKE TRACKS LIKE THIS" IS PART OF A TWO-DAY EVENT IN MANILA AND IS A CO-PARTNER EVENT OF AX(IS) ART PROJECT BAGUIO CITY.

BEDROOMLAB [ http://bedroomlab.tumblr.com/ ]
IS ON FEB 23 8PM @ Carlos Celdran's Living Room, North Syquia Apts.

WSK! MINI SHOWCASE AT AX(is) ART PROJECT BAGUIO CITY
IS ON FEB 24-27 [ http://www.axisartproject.com/ ]

"WE HATE WHEN PEOPLE MAKE TRACKS LIKE THIS" IS PART OF A TWO-DAY EVENT IN MANILA

BEDROOMLAB [ http://bedroomlab.tumblr.com/ ]

IS ON FEB 23 8PM @ Carlos Celdran's Living Room, North Syquia Apts.

FACEBOOK EVENT page

BEDROOMLAB (JAN 22)

2011-01-18T02:30:00.003+08:00

{Click on Poster for More details}

BEDROOMLAB this coming weekend (JAN 22, 7PM)
CLOCKWORK LOUNGE
Casa Generosa, Upper General Luna St.
(Beside Red Lion Pub), Baguio City!
Manila people -- come up! Join us as, Kawayan De Guia, Chris Yniguez, Mark Zero, Shant Verdun, and myself talk about our current works-in-progress, do a bit of informal chit-chat on art practice / theory and meet and greet. I'll be presenting an iteration of Live cinema project, "Treatment for Film in 9 Scenes". This will be a sneak peek of whats going to happen in the upcoming Philippine international arts festival this FEB. We'll be spinning live sound and visual manipulations til the dance floor gets flooded by sweat!
COME ON LET'S GO!

(Poster design by Kreame Dans Isaac)

Machines should work! People should think!

2011-01-10T21:50:00.000+08:00

Inanimate objects can be classified scientifically into three major categories: those that don't work, those that break down and those that get lost.

The goal of all inanimate objects is to resist man and ultimately to defeat him, and the three major classifications are based on the method each object uses to achieve its purpose. As a general rule, any object capable of breaking down at the moment when it is most needed will do so.

--Russell Baker--

*Not sure of this quote's origin. Lifted from an old post by Tad Ermitano.

http://cavemanifesto.blogspot.com/2008/09/discomforting-quote.html

2010-12-20T00:18:00.002+08:00

Sadness is an ocean between two shores
the moon may still be visible from both
watching the moon will not scatter the fog
rising tides will not blow away affections
sleeplessness does not extend time
...melancholia is a philosopher's petty crime

Six Anti-Theses on WikiLeaks

2010-12-12T05:21:00.002+08:00

Six Anti-Theses on WikiLeaks [Repost from nettime.org mailing list]

Following "Twelve theses on WikiLeaks" by Geert Lovink & Patrice Riemens

1. Wikileaks exposes the slippery moralism of global capital.

The corporate abdication of non-discrimination prefigures more
scrutiny of online activity. Visa, Amazon, Mastercard, Tableau,
PayPal, PostFinance, and EveryDNS: each severed their relationship
with one or more aspects of the WikiLeaks organization due to
technicalities. None were served with legal documents requiring
that they stop supporting "illegal" activity; rather, some caved
due to vague public and private requests by functionaries within
US government offices. Yet, these business have no moral qualms as
to provide similar services to the Ku Klux clan, homophobic sites
and just about anything else. As to the decision to cut Wikileaks
off they justified their actions via the legalese of their Terms of
Service (ToS) or Acceptable Use Policy (AUP), contracts that we all
accept as the necessary evil of using free services online. AUPs,
once the interest of legal scholars or small actors who fell afoul
of them, now become the prime means for ending of services to the
undesirable. (Recall, for example, Facebooks' threat of legal action
against the seppukoo project. This is a refrain that continues to
haunt the online space; however it was never seen with such vehemence
as with WikiLeaks.) Yet in a truism, this does not only eliminate the
possibility of online activity, for the actions of Visa, Mastercard,
and PayPal prevent the flow of electronic currency to WikiLeaks,
requiring the organization to ask for either bank transfers (that
are prohibitively expensive for people in the US) or paper money
orders sent to a physical address. These actions by financial
institutions foreground the linkage between online activities and
their real reliance on forms of money that are still tied to large
corporations. As well, the use of contractual language to engage in
corporate censorship enables what is prohibited by US Constitutional
guarantees, among other legal safeguards elsewhere in the world.
Given the tiered nature of the internet---in that a hosting provider
purchases bandwidth from a separate company, that probably purchases
DNS service from a separate company---means that any activity can be
forced offline by any intermediary if found to be in violation of
the ToS. While you may have legal recourse via a civil suit, such an
undertaking is oftentimes impossible due to the legal costs involved
and the vastly unequal power differential.

2. Wikileaks draws on the tense affair between the antiauthoritarian
ethos of hacker culture and the authoritarian logic of capital, also
known as neoliberalism.

WikiLeaks found a characteristically computational way around their
hosting problems, drawing on an unorganized group of volunteers to
provide mirrors of the site (http://wikileaks.ch/mirrors.html). This
strategy of providing mirrors for content hearkens back to 1990s
internet culture, where the practice of setting up FTP mirrors was
commonplace (hacker culture itself is situated in the 1940s, see
Steven Levy). Mirroring mitigates the impact of corporate censorship
somewhat, but is likely to be impractical on a large scale in the
long-term, especially for all of the worthwhile projects that can be
removed by intermediaries. Nevertheless, this example of mirroring is
an interesting case of hackers relaxing their security mindset for
what they perceive as a greater good. Setting up a WikiLeaks mirror
requires the administrator to allow a member of WikiLeaks remote
access to their server in order to upload new files as needed; this
is made possible using public-key encryption techniques, the focus
of much hacker attention in the 1990s. Usually system administrators
would never open their servers for unknown people to upload files.
But there seems to be a belief here that the sysadmins of WikiLeaks,
whomever they are, will not abuse their power and will only upload
what they say they will upload. There is something here that deserves
greater scrutiny, especially in light of what Mathieu O'Neil calls
"hacker charismatic authority". Most studies consider this as a form
of authority _over_ people; in this case, however, the authority is
exercised _amongst_ sysadmins, enabling them to open their machines to
the unknown WikiLeaks administrators.

3. Wikileaks shows that any system is vulnerable to infiltration.

WikiLeaks is highly collaborative, and not only as a result of the
recent mirroring activity. Indeed, the project is only possible due
to their collaboration with the individuals and groups providing
the content to be leaked. Throughout the recent consternation over
"Cablegate", the hundreds, if not thousands, of other people who
have put their lives on the line to pass documents to WikiLeaks have
unfortunately been forgotten, Bradley Manning excluded. To ignore
these people is to make a grave analytical error. Be thankful that we
do not know their names, for if we did, they would be in immediate
danger.

4. Wikileaks demonstrates that the human 'factor' is the weak spot of
networks.

The "Cablegate" release also shows the importance of having
collaborators within governmental and military institutions. If we
assume that Manning is the source of the diplomatic and military
cables---and this has not been proven yet---then we can see how
individuals within these organizations are disgusted with the conduct
of the war. This is of a piece with other projects such as Iraq
Veterans Against the War and the War Veteran's Book Project that aim
to present the personal side of the present conflicts in Iraq and
Afghanistan as a way of organizing public outrage. Do not discount the
power of solidarity with disgruntled soldiers. We only have to recall
the Abril Revolution in 1974 in Portugal, where the military supported
the peaceful transition from the Salazar dictatorship, to understand
how important it is to have military forces on one's side. Recall as
well that the main technical tool used to anonymize submissions to
WikiLeaks, Tor (The Onion Router), came out of a US Naval Research
Laboratory project to protect clandestine activities overseas. In
fact, members of the military are some of the most vocal opponents of
current attempts in the US to require person-level attribution of data
packets online.

5. WikiLeaks is a classic example of using media as a tool for
de-dehumanizing.

The actions of Anonymous on the websites of Visa, Mastercard, PayPal,
PostFinance, and others are in a lineage with the FloodNet by the
Electronic Disturbance Theater. While many mainstream media sources
see these as "attacks", others, such as the editors of The Guardian,
realize them to be "non-violent action or civil disobedience". We do
not want to discount how easy it is for the media and authorities to
misconstrue these actions as illegal denial of service attacks, as a
16-year old Dutch teenager is finding out right now, or as the EDT and
b.a.n.g. lab found out earlier this year. Nevertheless, we are seeing
a certain maturation of this technique as acceptable to others outside
of the net.art community.

Furthermore, the deliberation process of Anonymous prefigures future
forms of activist collaboration online, subject to the caveats
mentioned above. Discussions happened across a diversity of networked
media, both old and new (IRC, Twitter, Blogspot, PiratePad, etc.).
Orderly discussion under the control of a leader was not the norm, as
individuals simultaneously put forth their own suggestions to have
them edited into or out of existence. As Gabriella Coleman wrote
in her analysis of their planning, they appeared to be "seasoned
political activists", not simply "script-kiddies" as they are
described by both the mainstream media and other hacker organizations
such as 2600. Maybe there is something those of us interested in new
forms of organization can learn from these predominantly 16-24-year
olds.

6. Wikileaks suggests an understanding of a notion of networks as
media assemblages.

Perhaps the most intriguing aspect of the recent Wikileaks phenomenon
has to do with what it portends for future networked tendencies. Given
what we stated in anti-thesis 1, we ought to pay more attention to
the movement of information outside of Internet-based networks. There
is a tendency to conflate network sharing of data with the Internet
proper, but this is not a necessary condition. Indeed, there are
multitudinous methods of arranging networks of humans and things that
do not rely on corporate or government controlled conduits for the
passage of bits. Consider, for example, the host of artistic projects
in this space just from the past couple of years: netless, Feral
Trade, deadswap, Dead Drops, Fluid Nexus, Autonet, etc. These projects
rely on assemblages of humans and infrastructure in motion. And, they
rely in part on a prior agreement among participants with respect to
protocols to follow. This is already at work in the Wikileaks project
with respect to their main members. Only they know who they are; we
are in the dark, and rightly so. This is an application of Hakim Bey's
concept of Immediatism, updated to take into account a certain mongrel
of immediate contact and networked activities.

Additionally, the projects just mentioned foreground a certain notion
of slowness that works to counteract the notions of "information
overload". If data transport relies on the motion of humans from
one location to another, this will require a particular patience,
producing a form of slowness. Nevertheless, this should not be
understood as a pastoral call as voiced by certain proponents of, for
example, the Slow Food Movement. Rather it is a way to reinvigorate
thought and practice regarding human-scale machinic assemblages. What
remains is the difficult and challenging work of producing long-term,
permanent ad-hoc networks.

Written by:
Members of the Faculty of the College of Ontopoetic Machines

Fete dela WSK! website

2010-11-22T04:17:00.001+08:00

is...

http://www.wskfete.com/

Other info:

Website: http://www.wskfete.com/
Tumblr: http://fuckyeahfetedelawsk.tumblr.com/
Facebook page: http://www.facebook.com/pages/Fete-dela-WSK/116821565045638
Facebook events: http://www.facebook.com/pages/Fete-dela-WSK/116821565045638?v=app_2344061033
Twitter: _sabaw

TICKETS AND INFO Contact:
sabawmediahub@gmail.com
09175191511
09163488199

Please disseminate please RT please spread the word!!

FUCK YEAH FETE DELA WSK! ON TUMBLR!!

2010-10-30T23:45:00.000+08:00

GO AND FOLLOW US QUICK!

http://fuckyeahfetedelawsk.tumblr.com/

Fete dela WSK! Facebook Fan Page

2010-10-18T17:45:00.006+08:00

We started a Facebook page for Fete dela WSK! Festival for Post-Music and Sonic Bricolage!
Fete dela WSK! is dedicated to contemporary electronic, digital and experimental sonic art, as well the diverse range of artistic activities in the context of digital culture in South East Asia and beyond. We'll be posting the complete schedule and other updates on this page.
If you have a Facebook page - please do Like the page and help spread the word!
It starts this Nov 19-28!

http://www.facebook.com/pages/Fete-dela-WSK/116821565045638

2010-10-18T14:35:00.004+08:00

“What does it matter how many lovers you have if none of them gives you the universe?”
Lacan

“Lacan never pursues purely philosophical objectives.”
Badiou

COMING SOON! E.X.I.S.T. International Music Art Festival

2010-09-26T18:04:00.000+08:00

COMING SOON THIS OCTOBER

EXperimentation In Sound art Tradition (E.X.I.S.T.) is proud to present Active | De-Active: An Inventive Music Festival. It is the first international festival to be held in the Philippines that focuses on two exciting frontiers of music — experimental and improvised music. The event is scheduled to take place this coming October at various selected venues in Manila, Cavite and Davao (details soon).

It will consist of a series of live performances, workshops, presentation of methods and practices, creative collaborations and artist-talks by international and local participating artists, in an effort to present and exchange artistic ideas and musical experiences that will contribute to the appreciation and understanding of these developments in new music.

Active | De-Active will provide a platform for informed discussions of the cultural, developmental and educational aspects of improvisation and experimentation in music, and at the same time to present the artistic or technical practices embodied in it. The festival is also an attempt to gather a community of experimental musicians, improvisers, new media art practitioners, musicologists, and teachers who can share and exchange knowledge that would benefit the understanding of improvised and experimental music.

COMING SOON THIS OCTOBER!

.

2010-09-26T16:37:00.002+08:00

THERE IS HELL IN HELLO BUT MORE IN GOODBYE

BEDROOMLAB.03

2010-08-30T22:31:00.004+08:00

Time	Tomorrow at 20:00 - Wednesday at 01:00

Location	The Living Room Unit 24, North Syquia Apt. 1991 M.H. Del Pilar Manila, Philippines

ARTIST TALK | INTERNATIONAL NETWORK MEETING | OPEN DISCUSSION | LIVING LABS | FREE BOOZE+FOOD | NO DAMAGE

BedroomLab functions as an informal art platform, wherein open discussions, brainstorming sessions, lectures, network meetings, performances, hands-on workshops, demonstrations and public gatherings take place.

...The first edition (BedroomLab.01) tackled two local artists who focus on sound to talk about the gritty details of their works in electronic video and sound, then subsequently presented it via collaborative performance. On the second edition (BedroomLab.02), brainstorming sessions alongside open discussions with various artist communities in Manila and Cavite regarding not just the development and continuation of artistic sonic and visual art projects; but the "collaborative futures" of these communities.

SABAW Media Art Kitchen and Visual Pond present BedroomLab.03, ADE DARMAWAN of Ruangrupa. Ruangrupa is an artists' initiative established in 2000 by a group of artists in Jakarta, Indonesia. It is a not-for-profit organization that strives to support the progress of contemporary art ideas within the urban context and the broader scope of the culture by means of exhibitions, festivals, art labs, workshops, research, and journal publication.

For his talk, Darmawan will discuss the history, network and survival of artist initiatives in Indonesia, drawing from his experience in Ruangrupa and a recent exhibition he co-curated featuring twenty-one Indonesian artist initiatives and collectives. He will also talk about ruangrupa's ongoing Art Lab, a project designed for conducting research and creative collaborations on urban and media issues. It serves as a collaborative platform for individual artists as well as interdisciplinary groups from Indonesia and abroad, presenting in various formats such as exhibitions, events, publications, websites and interventions in public spaces. Under the umbrella of "Urban Mobility", two thematic Art Lab projects are presented each year for 2008-2010. Darmawan will talk about the past projects of 2008-2009 [2008: “Kendaraan (project on people's desire on Vehicles)” and “Desain Kota Dalam Kota (City Design in The City) ”; 2009 “Transaksi (Transaction)” and “Teknologi Virtual Komunikasi (Virtual Communication Technology)] and converse on this year's work in progress, “Kota lama (Old City)” (2010), and “Kota Masa Depan (Future City)”.

Darmawan will also talk about his own artistic projects, which look into ideas of industrial products and consumption and production mechanism, attempting to see the layers of reality and illusion that is generated by it. He is currently working on a project on the history of consumption, harking back to the colonial era.

Open discussions with the audience are highly encouraged, so please be prepared for some prolonged chit chat over food and beer. Drinks and finger food will be served.

Free Entrance.

AUG 31 - 8PM til early morning (we have a lot of booze)

------

Ade Darmawan

Darmawan was born in 1974 in Jakarta, Indonesia, then moved to Yogyakarta (central Java) for 5 years to study at Indonesia Art Institute of (I.S.I), in Graphic Art Department. A year after his first solo exhibition in 1997 at the Cemeti Contemporary Art Gallery, Yogyakarta (now Cemeti Art House), he stayed in Amsterdam for two years post-graduate residency program at the Rijksakademie Van Beeldende Kunsten (State Academy of Fine Art) - Institute for Advance Art Studies and Research - Amsterdam, Netherlands. Back from Amsterdam in 2000 and with five other artists from Jakarta, he founded ruangrupa - an artists' initiative space.

He has been actively working as visual artist with works ranging from objects, installations, digital prints and public art. As an artist and curator he has participated in many art projects and exhibitions in several cities in Indonesia and abroad, such as in Amsterdam, Seoul, New York, Buenos Aires, Durban, Tokyo, Bangkok, Mumbai, Mexico City, Istanbul, and Sydney.

From 2006-2009 he was a member of Jakarta Arts Council, and the artistic director of Jakarta Biennale XIII-ARENA 2009. Now he lives and works in Jakarta as an artist, teacher, and director of ruangrupa.

---------------------------

ruangrupa - www.ruangrupa.org

Since 2003, ruangrupa organizes the bi-annual OK.Video Jakarta International Video Festival. In 2004 ,ruangrupa in collaboration with Jakarta students from several universities organized the Jakarta 32 ‘C, a bi annual festival for students visual arts productions. ruangrupa as an artists collaborative platform also actively participate in exhibitions and projects in Indonesia and internationally, such as the Gwangju Biennale 2002 and the Istanbul Biennale 2005. ruangrupa is member of Arts Collaboratory, a platform for visual artists’ initiatives from Africa, Asia and Latin America.

-----------------------

bedroomLab is a new program facilitated by SABAW Media Art Kitchen, a not-for-profit organization whose primary interests lie in curatorial and research-based production towards the imminent intersections of art and technology; as well as networking cultures from information and communication carried via modern electronic media.

bedroomLab is dedicated to contemporary electronic, digital and experimental art, as well the diverse range of artistic activities in the context of sound and visual culture. bedroomLab presents creative projects that experiment with new aesthetic parameters and new forms of cooperation, develop possibilities for informational and economic self-determination, and reflect on the role of contemporary art against the backdrop of technological and social transformations. Now more than ever, media art emerges as a laboratory for multiform experiments and as an active agent that allows for new cultural techniques to be tested and proffered to the wider world. We have had a particular interest in creating an open dialogue between the artistic and scientific dimensions, a linkage with a long experimental pedigree.

VISUAL POND is a non-profit organization committed to the visual arts. Based in Manila, Visual Pond aims to be a dynamic player in the Philippine contemporary art scene through projects that engage and promote local artists both here and abroad. We at Visual Pond envision a contemporary art scene that is vibrant, open to experimentation and supported by the community. By taking initiatives and creating opportunities for artists, we work towards this realization for the visual arts locale. Asides from Manila-based projects, we are also interested in regional and international exchanges on ideas, concepts and possible collaborations with definite end products.

{poster design by Caliph8}

Click to enlarge

SONICA OPEN CALL (FESTIVAL LJUBLJANA)

2010-08-17T02:26:00.001+08:00

MoTA Museum of Transitory art has published an open call for proposals
for artists to participate at Sonica festival.
Please feel free to send this open call to all interested artists or
publish and distribute it via your channels.

Please find the text in the attachment.
Best regards,
MoTA

-----
SONICA 2010
FESTIVAL OF TRANSITORY AND EXPERIMENTAL ART
OPEN CALL

Dear artists, dear friends,
Sonica 2010 is now accepting contributions for its next edition.

* * *Call for Entries* * *
Visual artists, VJs, Video artists, sound producers, audio live acts,
DJs, multimedia artists, theorists, and technicians are invited to
participate at Sonica 2010.

This year, Sonica will take place in October. Sonica is conceived as a
showcase of the yearly program of MoTA Museum of Transitory Art.
Sonica is an experimental festival, which questions ways of
representation, exhibition formats, crossing borders between art and
theory, object and performance and this year specially the virtual and
the real.

With the theme real virtuality, Sonica will start a discussion
regarding the situation of production, representation and funding. To
which extent has the break of virtuality into reality influenced
conditions of production, representation of artworks and artists and
how does it change funding matrixes will be the topics addressed at
MoTA Sea Station residency in the summer, during production
residencies in Ljubljana and at the festival with at the exhibition,
the round tables and artist talks. But most importantly, Sonica will
question how have these transitions affected the content of art
produced in the past years and which alternative models are introduced
by artists and cultural workers.

Each of the invited artists will participate in at least two of the modules:
exhibition/ performance, round table, artist talk/ production/ residency.

Sonica 2010 is currently accepting applications for:
- an exhibition with opening events/ performances, presentations
- tutors for workshops for different age groups, from children to
young professionals
- artworks for outdoor locations in Ljubljana
- live acts and live cinema performances.

Please send your submissions until 1st September 2010.
Please include in your submission:
- a detailed proposal of your project (technical equipment, concept,
budget outline, visual documentation).
- we do not return materials.
- please submit your project to mota.museum@gmail .com (subject:
SONICA APPLICATION 2010) or to this address:

Codeep
Rožna dolina cesta II/36
1000 Ljubljana

For further information, please contact us at mota.museum@gmail.com.
.
Feel free to forward this Email to members of your mailing lists as
well!! We look forward to getting your submissions! We look forward to
our future collaboration!

www.mota-atom.org

--
MoTA/ codeep
Rozna dolina cesta II/36
1000 Ljubljana
-
t +386 40 239 207

BEDROOMLAB.02

2010-08-04T20:47:00.002+08:00

(click poster for more details)

Electronic Music | Live Cinema | Art Net Meeting | Open Studio | Collaborative Mapping | Living Labs | Open Innovation Communities

Programme:

First Half:

> SABAW Interlock Research Presentation
> Art Network Meeting: Espasyo Singingdikato, E.X.I.S.T., SABAW, Innovative Noise Collective
Moderated by Tengal

Second Half:

> Live Cinema: Treatment for Film for 9 Scenes (Tengal)
> Conductors of the Pit (feat. T / Inconnu ictu / nea)
> Double Burner
> Special performance: (super group presenting Lirio Salvador, Inconnu ictu, Ugong, Blend:er, Tengal, INC)
> Washing Machine
> Eric Diolola
> INC (Mitch Garcia, Ian Madrigal)

bedroomLab functions as an informal lab of sorts, wherein open discussions, brainstorming sessions, lectures, network meetings, performances, hands-on workshops, and public gatherings take place.

The first edition (bedroomLab.01) tackled two artists to talk about the gritty details of their works both in electronic video and sound, then subsequently presented it via live performance.
This second edition will be focused more on brainstorming sessions, open discussions with various artist communities in Manila and Cavite regarding not just the development and continuation of artistic sonic and visual art projects; but the "collaborative futures" of these communities.

++

bedroomLab is a new program facilitated by SABAW Media Art Kitchen.

bedroomLab is dedicated to contemporary electronic, digital and experimental music, as well the diverse range of artistic activities in the context of sound and video culture. bedroomLab presents creative projects that experiment with new aesthetic parameters and new forms of cooperation, develop possibilities for informational and economic self-determination, and reflect on the role of contemporary music against the backdrop of technological and social transformations. Now more than ever, music emerges as a laboratory for multiform experiments and as an active agent that allows for new cultural techniques to be tested and proffered to the wider world.

Your orbiting visual and sound bedroomlaboratories are charting new ways of audio and video interaction in the Philippines and beyond. We have had a particular interest in creating an open dialogue between the audio and video dimensions, a linkage with a long experimental pedigree.

poster by nea

BEDROOMLAB: LIVE CINEMA | ARTIST TALK | ELECTRONIC MUSIC | REALTIME AUDIOVISUAL | SYNAESTHESIA | EXPERIMENTS | LIVE IMPROV

2010-08-01T23:49:00.003+08:00

Time	03 August · 21:00 - 23:30

Location	Mag:net Cafe Katipunan 335 Katipunan avenue, Loyola heights Quezon City, Philippines



Programme	LIVE CINEMA \| ARTIST TALK \| ELECTRONIC MUSIC \| REALTIME AUDIOVISUAL \| SYNAESTHESIA \| EXPERIMENTS \| LIVE IMPROV Featuring: Caliph8 Tengal Edsel Abesames Khavn dela Cruz Inconnu ictu Il Primitivo Ampon collective First Half: >Artist talk on Live Cinema (facilitated by Tengal) >Live Cinema performance: Treatment for a Film in 9 Scenes >Live Cinema performance: Khavn dela Cruz, Edsel Abesames, & Inconnu ictu perform "Mondomanila" Second Half: >Artist talk on improvisation in electronic music & true school hip hop culture in PH (facilitated by Caliph8) >Performance by Caliph8, Il Primitivo & Ampon

bedroomLab is a new program facilitated by SABAW Media Art Kitchen.

Your orbiting visual and sound bedroomlaboratories are charting new ways of audio and video interaction in the Philippines and beyond. We have had a particular interest in creating an open dialogue between the audio and video dimensions, a linkage with a long experimental pedigree.

Since the first home computer became available then, now digital technologies have become firmly integrated into our everyday lives. 'Digital culture' is no longer avant-garde terrain. SABAW has responded to this development by focusing its programmes not on the latest technical novelties and scientific speculations, but on the actual usage that people are making of such technologies.

bedroomLab is dedicated to contemporary electronic, digital and experimental music, as well the diverse range of artistic activities in the context of sound and video culture. bedroomLab presents projects that experiment with new aesthetic parameters and new forms of cooperation, develop possibilities for informational and economic self-determination, and reflect on the role of contemporary music against the backdrop of technological and social transformations. Now more than ever, music emerges as a laboratory for multiform experiments and as an active agent that allows for new cultural techniques to be tested and proffered to the wider world.

The path of music evolution is never straight, god forbid. Curveballs, odd combinations and juxtapositions feed the rich variability of production, fuel the creativity of producers, and aggravate and agitate listeners toward new territory. Artists for bedroomLab cross-pollinate and fertilize, expanding their reach and deepening their productions with the increased richness that comes with drawing new and unexpected connections. Get carried away by a program that straddles between live video manipulation against a backdrop of powerful club and textured home listening, connects experimental and pop, electro and rock, classic and futuristic, exploits contrast, digs-up unexpected links and builds spontaneous bridges into the unforeseen.

FILIPINO INTERMEDIA ARTISTS PERFORMING AT SINGAPORE NATIONAL MUSEUM

2010-07-12T15:28:00.009+08:00

SINGAPORE ONLY!

Colleagues and friends from Manila will be giving 2-night performances at National Museum Singapore on Friday, July 16 to Saturday, July 17. Particularly try to catch:

Tad Ermitaño, the creator of Quartet, the interactive gamelan installation featured during the 2008 Night Festival at ISEA 2008, the pioneering synthesist/composer Malek Lopez and the DJ/MPC virtuoso Caliph8 will improvise music and visuals using networked electronic instruments and computer programs coded by Lopez and Ermitano. The network and the programs give the performers the power to interact in ways that are precise and highly synchronized, while preserving the immediacy and flexibility of improvisation.The performance is loosely based on the motif of Orpheus descending into hell, casting hell as a gritty, distressed southeast-asian city very much like certain parts Manila.

Their performance will be part of the No Bleeding Hearts Club which will take place at the 2nd floor of the National Museum during Singapore's Night Festival. Performances by sound artist Ria Munoz, jazz-punk Radioactive Sago Project, dancer Jose Jay Cruz, and filmmaker Khavn dela Cruz cap the club.

Dates: FRI 16 JUL 2010 - SAT 17 JULY 2010
Venue: National Museum of Singapore, Glass Atrium, Level 2
Time: 10pm – 2am

LINK: http://bit.ly/aHI0KV

Be sure to spread the word.

WHAT, HOW, AND FOR WHOM? (Questions for the art scene in Manila)

2010-06-22T00:48:00.001+08:00

Clever artist-curator types know that foundations, institutions and similar grant-giving bodies give support towards a credible cultural/artist community. We often write in proposals terms like "community", "art scene" or whatnot, and juxtapose them with pretty words like "thriving, burgeoning, innovative, etc" -- are we really writing observable facts, or simply filling in for the holes? To which community are we referring to? The one we are in? Or the none yet existing one we are trying to help create? Is there even such a thing here? Hard to admit, but I often get confused. Yet we still try to pursue whatnot. It often feels like a perennial struggle.

I can only speak for my city -- Manila. As it's often ridden with bullet holes that form into questions and gaps amongst communities. Oftentimes, the delineation is not so obvious as various people wander and come together in artist-watering holes/centers, where scenes form and decay: Penguin, Greenpapaya, Mowelfund, Club Dredd, Mayrics, Inka, Cubao X, Crazy Daisy, Saguijo, Espasyo Siningdikato, B-side, The Collective, etc etc...

Actually how is a center formed and what are the factors that contribute to it? Is it possible to create one deliberately? If not, why, and is it at least possible to optimize conditions for/encourage their spontaneous generation? - resounding a friend's response to my 18-page proposal with an intention to cultivate/network art practice/communities.

As I see it, networking only becomes relevant if it happens to contribute / hasten / improve / support a particular idea or set of ideas (and ideas leading to projects) that would benefit the participating folk, the institution where these were hosted/developed, and the audience and environment in which the particular project or idea revolves in. Why do we have the tendency to network superficially? Or don't network at all? And how easy or hard is it to do that with our context here in Manila? How do we achieve or formulate a science of encouraging spontaneous networking/convivial spaces? Are there existing methods available here? Are there clues or collated data on how it has worked/ hasn't worked so far? (debatable)

A friend wrote on her wall while describing her "ethnography":
"Social, technological and discourse innovation happening simultaneously: Hackerspaces? FabLabs, Techshops, NexFab? Community Labs? Maker community groups and spaces?
DIY organizations? Coworking experiments? Community labs? Membership-based, high-tech workshops? Prototyping centers? Gym for innovators? Living labs open innovation communities?

More questions.

Updates: New Work for live cinema performance and sound installation

2010-04-26T12:23:00.007+08:00

AS the atypical revolutionary slogan indicates:
"WORKERS OF THE WORLD, RELAX!"
As for me, there won't be any chillin' chez moi just yet...

Two premieres on the same day, May 2!

New live cinema project:

Treatment for Film in 9 Scenes (live performance)

Sampled footages from various movies, videos from youtube, and the internet, are taken out of their original context and placed into a meta-narrative of what may seem to be a series of unrelated fragments juxtaposed to create a new movie. The performance investigates the possibilities of creating new forms of narratives amidst an overload of sensory experience. Sounds, like field recordings, Foley sound effects, and electronic noise, are transformed further away from their original sounds and often never correlate to the images seen on screen. To counter the chaos, the audience is invited to close their eyes during the performance, while two different sound cues are played for them. Upon hearing the sound cue, the audience is invited to open their eyes to follow either one of the two parallel narratives that can be found in the rapid flow of data stream. The work is at first a deep investigation on listening, then the combination of listening and viewing.

“Treatment for Film” is an experiment on finding a balance in ambiguity and specificity, where the mind’s activity of reading or deriving meaning from signs, can help create individualized cinematic narratives with the images and sounds they perceive. The perception of order produces pleasure.

“Treatment for Film” is literally “performed cinema”, where it makes the usual passive audience into an active participant of the movie making process.

*Treatment will premiere at The Substation in Singapore during the cool new monthly program called Rooted in The Ephemeral Speak (R.I.T.E.S.) by intermedia artist-curators Kai Lam and Wen Lee. Other equally interesting performances by local Singapore sound artists are also slated on the same event. Cai Qing, Marc Chia (One Man Nation), Debbie Ding, and Zai Tang.

If you happen to be in Manila on the same day, despite being unable to perform with TEARS FOR FEARS for their Manila tour, I have a sound work installed at Manila's (in)famous Luneta Park (Rizal Park) for Innovative Noise Collectives' "Noises at the Park" concert. A pun on the monthly "Concert at the Park" events held at Luneta -- "Noises" will be all about good old volume destruction. Though I find the program a bit strange (it's divided in 5 acts for a 1 hour show, which also includes some tame world / ethnic music performances and performance artists inbetween the electronic bands), nevertheless the choice of venue and the platform to set up such an event is quite unique. Electronic noise performances in parks are probably uncommon in other places in the world, where family picnics, loitering homeless people, and lovers walking run about the place. I was originally slated for one of the acts but as I had made commitments to RITES, I won't be there physically... aurally, I would at least.

SPKTR.park is a site-specific installation in Luneta Park. It's the first of the SPKTR series which are site-specific sound installations created mainly utilizing field recordings from the same environment. Like a sonic mirror, a ghost double, or a mischievous apparition who may even try to subvert the sound environment; it acts as a meta-evidence to a testimony about what was done by specters of persons and things not present physically. We are confronted with a predicament with what is lost and what is gained in our cognition and awareness of sounds in our environments.

Luneta (Rizal Park) has had it's share of being the site some of the most significant moments in the Philippine history: national hero, Jose Rizal's execution, the Declaration of Independence from American rule, to political rallies of former dictator Ferdinand Marcos.
Rizal park also serves as the spot where the 0km marker is located. the 0km marker serves as the point of origin or kilometer zero to all other cities in the Philippines.
Taking this as a point of departure for composition, SPKTR.park also investigates a mathematical function that occurs in basic sound frequencies -- the sine wave. The Sine wave has no beginning or end, a wave pattern that occurs in nature on a fixed period after which it repeats itself. Sine waves are unique in that they are the only sound in nature not to contain any harmonics beyond their fundamental frequency -- they are the vampires of the sound world casting no harmonic shadow or reflection.

For the whole program: http://noisesatthepark.tumblr.com/

CLIMAX : collaborative cinematic experience, an AudioVideo concert, a theatre mirror, a neverending movie

2010-03-31T17:02:00.004+08:00

CLIMAX

OPENING APRIL 4TH / 3PM

U-VIEW THEATER FULLY BOOKED FORT BONIFACIO TAGUIG CITY

FREE ENTRANCE !!!

a MoTA MUSEUM OF TRANSITORY ART--SABAW MEDIA ART KITCHEN COPRODUCTION
produced by SABAW & MoTA coproduced by TIOSECO-BOHINC FILM SERIES FULLY BOOKED WAISE AZIMI starring A X M special appearance SUE PRADO RAFFY IGNACIO VARIOUS narrator LARISSA DREKONJA direction & live video MARTIN BRICELJ BARAGA live music, field recordings & sound design TENGAL
concept MARTIN BRICELJ BARAGA TENGAL

CLIMAX is a live cinema / experimental video project consisting of many episodes and incarnations. Climax is re-questioning our changing realities and perception of these through the structure of short episodes:

PHOBIA / STIGMA / CAMOUFLAGE / PANOPTICON / IDENTITY / VACUUM / PSALM.

Climax is a pseudo documentary story about the contemporary individual. It is a poetically atheistic psalm built with the daily fragments of memories, unforgotten dreams, fears.

Climax is: a collaborative cinematic experience, an AV concert, a video object, a theater mirror, a never ending movie.

CLIMAX: PHOBIA (episode 1) was developed during the SABAW+MOTA residency exchange of Martin Baraga Bricelj (Slovenia) during a 3-week artist-in-residence in Manila, Philippines.

LINKS:
http://climaxmanila.tumblr.com/
http://mota-atom.org/
http://www.martinbricelj.com/
http://aseum09.tk/
www.tengalgorhythm.blogspot.com

"EARTH NOISE WATER MEAT" - Gangan Ensemble meets Chao-Yun Lou this Thursday at 22H

2010-03-02T19:54:00.005+08:00

MAR 4, 2010 / 10PM THURSDAY NIGHT AT B -SIDE:

Location:: The Collective (7274 Malugay St.)
Makati, Philippines
Phone: +63 920 931 9635

SABAW MEDIA ART KITCHEN PRESENTS: Electronic sound-video improvisation group, GANGAN ENSEMBLE with special guest TAIWANESE free jazz PIPA virtuoso, CHAO-YUN LOU perform an HOUR-LONG improvisatory sound-video experiment:
"EARTH NOISE WATER MEAT"
Digital and Acoustic KUNG FU.

GANGAN ENSEMBLE is Caliph8 (mpc, fx, turntables), Malek Lopez (laptop), Tad Ermitano (live video), Tengal (live electronics, objects)
The Gangan Ensemble is loosely composed of improvisers who work on both sound and moving image and was created to explore the intricately different kinds of interaction and ways of harnessing sound/energy/musicianship alongside moving images. The evolving participation involves a variety of video-performance artists to electro-acoustic musicians hailing from the Philippines, Singapore, USA, Germany, Australia, UK, Slovenia, France, Malaysia, and Indonesia since its incarnation in 2007. The ensemble has performed in various countries in South East Asia, notably in NCCA's Sinemusikalye in Manila, in Choppa 2008 in Singapore, in the Cellsbutton Media Art Festival in Indonesia (2008-2009), as Transmissions Gangan with electro-acoustic composer Chris Brown (2009), in Kinozvočenja in Ljubljana, Slovenia (2009), and at Upgrade! Paris in Ars Longa, Paris (2010).
It was founded by intermedia artist Tengal with video artist Tad Ermitano.

CHAO-YUN LOU is the only PIPA (traditional Chinese guitar lute) player who plays traditional music to free jazz improvisation and experimental avant-garde in the contemporary music world. She is Taiwan’s famous professional Pipa Soloist/improviser, Luo Chao-yun, is a virtuoso performer on the Chinese traditional string instrument----“PIPA”. She received the master's degree in Pipa performance at the Central Conservatory of Music in Beijing. Luo Chao-yun has performed recitals, concertos with orchestra, multimedia-performances, improvisation performances, embassy concerts,and etc. in Beijing( many times), Malaysia(2 times), Singapore, Portugal, Pakistan, Nepal, Costa Rica(2 times), Italy, USA(3 times), UK(3 times), the Netherlands(2 times), Brazil, Bulgaria, Japan, North Cyprus, Indonesia, and etc. She also has master class, and lectures in these countries, too.

http://www.myspace.com/pipawoman

ALSO right after B-SIDE presents performances by:

COSMIC LOVE
JAM SESSIONS with ALLEN UMALI, FRITZ and EL TERRIBLE MANCIO

THIS IS A FREE EVENT!

RSVP here: Facebook Event
How to get there: (click on the photo to see better)

B-side page

MUSIC OF THE LOST CITIES: SCAVENGING THE CULTURAL APOCALYPSE

2010-02-05T00:36:00.003+08:00

Music of the Lost Cities: Scavenging the Cultural Apocalypse
(A Networked Sound and Visual Jam)

FEB 6 -- 20:00, Living Room in Syquia Apts.

"Lost Cities" is a psycho-geographical, mixed-media narrative that explores pre and post apocalyptic urban landscapes and architectural backdrops through imaginary characters named "the sub-colonials" who move, dance, and tread through these past, futurist, and surreal environments. Collaborators in the project, that involves interactive computer-generated sound and video, are Chris Brown (Sound) and Johanna Poethig (Visuals) from Oakland, California; and Tad Ermitaño (Visuals), Caliph8 (Sound) and Malek Lopez (Sound) from Manila.
They will present their work-in-progress and discuss its artistic intentions and technical implementation with the audience. THIS IS A FREE EVENT!

Presenting the Oakland-Manila Art Exchange:

Chris Brown, composer, pianist, and electronic musician, creates music for acoustic instruments with interactive electronics, for computer networks, and for improvising ensembles. Recent recordings of his music include "Boundary Layer", a 3-CD box set of new and old computer network music by The Hub, on Tzadik, "Cutter Heads ", duets with Fred Frith on Intakt, "Talking Drum", binaural recordings of interactive installations interleaved with environmental soundscapes on Sonore; and "Lava", for brass percussion and electronics on Tzadik. He is also known for his recorded performances of music by Henry Cowell, Luc Ferrari, Jose Maceda, David Rosenboom, Larry Ochs, Wadada Leo Smith, and John Zorn. He has also performed and recorded extensively with The Hub, Anthony Braxton, Pauline Oliveros, Fred Frith, Rova Saxophon Quartet, Ikue Mori, Alvin Curran, William Winant, Glenn Spearman Double Trio, among others. In 2005 he created TeleSon, a composition for two ReacTable instruments performed in a joint concert between Ars Electronic in Linz, Austria and the International Computer Music Conference in Barcelona, Spain. He teaches electronic music and composition at Mills College in Oakland, where he is Co-Director of the Center for Contemporary Music (CCM).

Tad Ermitaño, media artist, writer and filmmaker. As far as the media art goes, he is interested in algorithmic/procedural editing and composition, new uses for the moving image and have been lately drifting into elementary robotics. His work "Quartet" was exhibited in the recently concluded International Symposium for Electronic Arts (ISEA) in Singapore.

Johanna Poethig, a visual, public and performance artist who has exhibited internationally and has been actively creating public art works, murals, paintings, sculpture and multimedia installations for over 20 years. She has worked in collaboration with other artists, architects, urban planners, design teams, arts commissions, specific communities and cultural groups. Poethig's public art works intervene in the urban landscape, in neighborhoods, on freeways, in parks, hospitals, schools, homeless shelters, cultural centers, advertising venues and public buildings. She has received numerous commissions and awards for this work. Her paintings, sculpture and installations reflect her interest in satire, symbol, human nature, society and our consumerist culture. She has produced and participated in performance events that mix feminism, global politics, costume, props, cabaret, experimental music and video.

Malek Lopez, Berklee-trained virtuoso who is the principal composer for the band Drip, and half of the abrasive electronica duo Rubber Inc, who are responsible for establishing electronica in Manila. He is also a well-noted film composer.

Caliph8, beat smith, graffiti bomber and soothsayer. A lynch-pin of various groups and ensembles, he's probably the most sought after sound manipulator in the Philippines. His output extends to more than just sniffing aerosol paint and flexing wrists with fat markers–he also creates visuals and projects them while manipulating audio and creates sound collage.

Feb. 6 -- 8 PM

at the Living Room in Syquia Apts., MH del Pilar, Malate
Hosted by Living Room (Carlos Celdran) and SABAW Media Art Kitchen

FREE EVENT.

Few Breed of Sounds - sonic experiments on the 29th of Dec

2009-12-25T23:42:00.003+08:00

Click poster for more details.
Reference: http://soundartmovementexist.blogspot.com/

Kinozvočenja: GANGAN ENSEMBLE LJUBLJANA (Filipini in Slovenija)

2009-11-05T08:13:00.002+08:00

Jakopičeva Galerija
Slovenska cesta 9
Ljubljana, Slovenia
20H (8pm)

Kinozvočenja v znamenju improvizacije pod taktirko filipinskega filmskega in medijskega umetnika Tengala!

Predzadnji letošnji dogodek iz serije Kinozvočenja obeta drugačno prakso v filipinski odprti improvizacijski maniri
poimenovani Gan Gan. Vabljeni!

Zvok:
Marko Batista (laptop) : http://www.project-data.info/
Tengal (laptop and no-input mixer) : http://tengalgorhythm.blogspot.com/
Tomaž Grom (double bass) : http://www.sploh.si/
OCTEX (rx:tx) (electronika) : http://www.octex.si/

Video: Fsk

Koncept: Tengal (Manila, Filipini)

Gangan Ensemble je odprta igra gibljive slike in zvoka, ki raziskuje situacijski potencial žive improvizacije, saj se osredotoča na neposredno izkušnjo, riskiranje in medosebno interakcijo med performerji, občinstvom in prostorom. Je poskus združitve različnih oblik improvizacijskih tehnik interakcije med video performerji in glasbeniki ter interaktivnega jezika v celovit modularni sistem.
Gre za kompozicijo z velikimi razponi praznega prostora v katero se interaktivno vključujejo zvočni in vizualni umetniki. Princip interakcije sloni na grafičnem zapisu, ki jo beleži in hkrati vodi igralce z naborom vizualnih ključev in pripadajočih pravil s katerimi se performerji igrajo znotraj časovnih omejitev, ki jih določa sistem ali ansambel sam.

Vstopnine ni!

--

The Gangan Series is an open-ended system that combines the interplay of sound and moving image (video, etc), and emphasizes the situational potential of live improvisatory performance of video and sound artists, by putting the focus on direct experience, risk-taking and intra-personal interaction within the space and audience in a collective sense. Every Gangan Ensemble performance is unique on its own since each performance is built upon a variety of reconstructed / reconstituted ideas and structures collected from a collaborative effort of the group and the performance in the past. For this performance, we exhausted all the possible combinations of a quartet and came up with 15 sections whose duration are randomly chosen by a computer.

This Thursday, the Gangan Ensemble Ljubljana will be the first performance of this series in Europe.

Sound:
Marko Batista (laptop) : http://www.project-data.info/
Tengal (laptop and no-input mixer) : http://tengalgorhythm.blogspot.com/
Tomaž Grom (double bass) : http://www.sploh.si/
OCTEX (rx:tx) (electronics) : http://www.octex.si/

Video/Score programming:
Fsk

Concept: Tengal

Produced by MoTA- Museum of Transitory Art, Codeep (Sl)
Coproduced: ZAVOD SPLOH (Sl) www.sploh.si

Biography:
The Gangan Ensemble is loosely composed of improvisers who work on both sound and moving image and was created to explore the intricately different kinds of interaction and ways of harnessing sound/energy/musicianship alongside moving images. The evolving participation involves a variety of video-performance artists to electro-acoustic musicians hailing from the Philippines, Singapore, USA, Germany, Australia, UK, Malaysia, and Indonesia since its incarnation in 2007. The ensemble has performed in various countries in South East Asia, notably in NCCA's Sinemusikalye in Manila, in Choppa 2008 in Singapore, in the Cellsbutton Media Art Festival in Indonesia, and recently with electro-acoustic composer Chris Brown in Manila. Gangan Ensemble Ljubljana will be the first performance in Europe. It was founded by intermedia artist Tengal with video artist Tad Ermitano.

Tengal is a Manila-based interdisciplinary media artist, composer-musician, curator-producer, and filmmaker. His work puts the focus on direct experience, risk-taking and personal interaction between artists and audience, and emphasizes the situational potential of live performance, the interplay of various media – sound and image, in particular – and candid exchange between sub-cultural and academic initiatives.
In 2005, he founded SABAW Media Art Kitchen – a not-for-profit, artist-run umbrella organization and network platform for all kinds of information and communication carried via modern electronic media art focused specially in the region of South East Asia. Since then, SABAW has been producing concerts, workshops, inter-artist dialogues and forums, music albums, festivals for new media art, and experimental music and live cinema performances -- most notably "Sinemusikalye", a 50-feet audio-video installation-street-concert for the National Arts Month of The National Commission for Culture and Arts (NCCA) in the Philippines; "Transmissions Gangan", an audio-video performance for 5 radio channels on an interactive space with California electro-acoustic composer Chris Brown; "Fete dela Wasaque -- festival for outerfringe art", and most recently "ASEUM.09: Asia-Europe New Media Art Symposium" and "EAR2EYE: festival for cutting-edge music and moving image."

Sound Performance at KIBLA (Slovenia) (Nov.2)

2009-10-29T01:20:00.004+08:00

OPEN SOUND LAB
MMC Kibla, ponedeljek, 2.11.2009, ob 19.00

TENGAL - medijski umetnik
SABAW - realno virtualna organizacija posameznikov, kolektivov in institucij
MARKO BATISTA - umetnik, mešani mediji
ANA PEČAR - intermedijska umetnica

Open Sound Lab vas vabi na razmislek o vlogi publike v procesu umetniškega ustvarjanja. Pričakujete lahko koprodukcijski eksperimentalni avdio-video nastop Tengala (Manila, Filipini), Marka Batiste (Ljubljana, Slovenija) in Ane Pečar (Maribor, Slovenija). Združeni v Open Sound Lab odpirajo kreativne prostore občinstvu ter na ta način vzpostavljajo pogajalski moment v okviru kreativnih procesov, strategij sodelovanja in interakcije, metod upodabljanja in predstavljanja kompozicij elektronske glasbe in video transmisije.

Trojka umetnikov vas vljudno vabi, še posebej, če ste akcija-heroj-film tip, saj boste priča pravemu troboju znotraj umetniške kolaborativne prezentacije.

Dogodek se bo zgodil v okviru projekta X-OP, ki trenutno gosti Tengala, rezidenčnega umetnika iz Filipinov.
X-OP - Izmenjava operaterjev in producentov umetnosti, je postopoma rastoče omrežje umetnikov, raziskovalcev, operaterjev, producentov in centrov, s katerim želimo vzpostaviti Evropsko platformo za ustvarjanje umetnosti in izmenjavo. S svojimi lokacijami, prostori in uporabnikom prilagojeno tehnološko infrastrukturo spodbuja mobilnost umetnikov, teoretikov in vodstva. Projekt je zasnovan tako, da krepi vseevropsko sodelovanje, skupno produkcijo in interdisciplinarni pristop k umetnosti.
X-OP je večletni projekt, traja od 2008 do 2011 in je podprt s strani Evropske komisije – Program Kultura ter Ministrstva za kulturo RS in Mestne občine Maribor.

Marko Batista je slovenski multimedijski ustvarjalec, ki je svoje eksperimentiranje z digitalnimi zvoki začel kot član skupine Klon:Art:Resistance. Njegova zvočna dela se predvsem osredotočajo na dislocirane zvočne zapise, tehnologijo, mrežne sisteme, hibridne signale ter digitano procesiranje. Veliko se ukvarja z živim sintetiziranjem zvoka na raznih festivalih in sodeluje z različnimi avtorji eksperimentalne glasbe. Na pobudo tandema son:Da so v Moderni galeriji in festivalu Pixxelpoint izvedli projekt ‘Kompozicija za film’ na katerem so sodelovali tudi Samo Salomon, Luka Prinčič, Miha Ciglar, Samo Pečar in BorisŠaletić.
http://www.project-data.info/

Ana Pečar (1977) - Deluje in živi na križišču novih tehnologij in starih religij. Njeno delo stoji na temeljih goste in čvrste dediščine učenosti ter plasteh neresnične resničnosti. V njenem delovnem območju so video umetnost, intermedijski plesni performansi in audiovizualne instalacije v dialogu s specifičnimi prostori. V montaži zvoka in slike sledi ritmu, pulzu časa. Anina namenska metoda je vzporedno delovanje v več skupinah. Zaprisežena je: Digitalni komuni (igri plesalke in tehnologije), Traku 47 (multimedijskemu kolektivu, delujočem na področjih računalniško proizvedene glasbe, akustičnih zvokov, slikanja v živo, videa in javne provokacije), BBM (skupina s sedežem v Berlinu, specializirana za razvoj prototipov umetniških pripomočkov novih tehnologij in medijskih umetniških predmetov, kot so roboti, video zidovi, stroji za produciranje videa in zvoka), Byzantine Cadillacu (avdio-vizualnemu kabaretu) in SO0GLEDom (novi produkcijski enoti, samoorganizirani skupini samostojnih avtorjev, izhajajočih iz različnih umetniških področij, kuratorstva, producentstva, teorije in kritike, novinarstva).
http://anapecar.com/

Contact:
Dejan Pestotnik
dejanx@kibla.org
http://www.kibla.org/

RIP MARYANNE AMACHER (February 25, 1943 – October 22, 2009)

2009-10-27T00:34:00.002+08:00

Sad sad news for the sonic world!

Maryanne Amacher was known for her installations, which caused listeners to question the nature of sound and the effects it has on the brain. "She worked extensively with the physiological (not psychoacoustic) phenomenon called otoacoustic emission, in which the ears themselves act as sound generating devices." [Wikipedia.org]

Below is a video clip from the unreleased 2005 short film called Daytrip Maryanne - a collaboration between Maryanne and Sonic Youth's Thurston Moore and Kim Gordon.

I still listen to your composition TEO! (Sound Characters 2) at the most quiet time at night, lying down, finishing it before sleeping. We shall miss you!

Your Typhoon Survival Kit

2009-10-01T19:07:00.001+08:00

Your Typhoon Survival Kit

Being prepared is always one step towards survival. Here are some things that we think is important to have during times like these. Prepare them beforehand and keep them in a safe place at all times. Better yet, keep them with you, or in an area that is easy to reach and won’t get in the way of raging floods, etc.

YOUR TYPHOON SURVIVAL KIT

Clean drinking water. Good enough for a week. Consider having at least 1 gallon per person.
Other drinks. Consider: juices in packs, carbonated drinks, coffee.
Food. Also good enough for a week. Consider:
- Snacks that are easy to store and carry (biscuits, cookies)
- Non-perishable canned food (corned beef, tuna, pork and beans, vienna sausage, etc.)
- Candies to maintain sugar in body and keep acidity at bay
- Bread that will last for a few days, for carbo load
- Instant noodles, if you have the means to cook
- IMPORTANT: food for babies and the elderly if you have some staying with you
Food utensils.
- Spoons, forks, knives, paper plates, drinking cups
- Non-electric can opener
- Cooking stove and fuel, if possible
- Plastic bags
Medicines. Consider having medicines for the following:
- Fever and nausea
- Coughs and colds
- Hypertension
- Diabetes
- Diarrhea
- Anti-tetanus
- Anti-leptospirosis
- Other prescription drugs that you need to take
First Aid kit. Must contain band-aids, gauze, tweezers, alcohol, antibiotic ointment, hydrogen peroxide, bandage scissors, absorbent dressings, antiseptic wipe packets, cold compress, gloves and thermometer.
Sanitation kit. Make sure that you have tissue wipes, toilet paper, sanitary napkins, diapers.
Toiletries. These include toothpaste, toothbrushes, soap.
Blankets, towels, comforters, pillows. You can put them in large garbage bags to keep from getting wet.
Extra clothes and underwear. Put them in plastic bags to avoid from getting wet. If you can, pack something that will last you for a few days.
Jackets, sweaters, socks, caps. And anything else that will keep you warm and dry.
Emergency lights and flashlights
Fresh batteries. Have reserves for batteries of different sizes, especially for radios and flashlights.
Radio. Must be portable, battery operated, has functional AM station.
Mobile phone. Make sure the battery is fully charge, and that you have a spare one, too, in case of emergency. Also consider walkie-talkies.
Cash. Banks and ATMs might not be available so make sure that you have cash with you.
Keys. Have copies of keys to the front door, back door, garage, car keys, etc.
Items for pets. Consider also having a leash, muzzle, cage and food for your pets.
Umbrellas and tents
Water pails and dippers
Floatation devices like life jackets, styrofoams, old tires, etc.
Rope

IMPORTANT DOCUMENTS TO PROTECT

Many people have died trying to go back for these things, so it’s important that you are well-prepared already at this point in time. Keep these documents in a water-proof container:

Birth certificates
Insurance records
Medical records
SSS, Pag-ibig and Philhealth records
Identification cards
Passports
Bank account numbers and records
Emergency contact numbers
Contact numbers of family, friends and loved ones

It is important that you have an ID with you wherever you go. Also, a list of people to contact in case something happens to you. If you can, put your emergency contacts on speed dial.

If you have more suggestions, please leave them in the comments section.

Updated as of 1 October 2009, 6:42 PM.
http://bayanihanonline.wordpress.com/

COMPREHENSIVE ONDOY FAQ: PLEASE REPOST

2009-09-28T13:06:00.002+08:00

ONDOY FAQ :: Please forward to your respective mailing lists

Rescue Operations

National Disaster Coordinating Council (NDCC) (+632-9125668, +632-9111406, +632-9115061, +632-9122665) Help hotlines: (+65 734-2118, 734-2120) ndcchelpdesk@gmail.com
Philippine Coast Guard (+632-5276136)
Air Force (+63908-1126976, +632-8535023)
Metro Manila Development Authority (136)
Marikina City Rescue (+632-6462436, +632-6462423, +632920-9072902)
Pasig Rescue Emergency Number (+632-6310099)
Quezon City Rescue (161)
San Juan City Hall Command Post (+632-4681697)
Bureau of Fire Protection Region III (Central Luzon) Hotline: (+63245-9634376)
Senator Dick Gordon (+639178997898, +63938-444BOYS, +632-9342118, +632-4338528)
Senator Manny Villar (+639174226800. +639172414864, +639276751981)

Civil Society/ Media

Philippine National Red Cross (143, +632-5270000)
Philippine National Red Cross Rizal Chapter operations center hotline: (+632-6350922, +632-6347824)
Go to GMA Facebook page & post complete addresses and names of people in need of immediate help.
ABS-CBN Typhoon Ondoy Hotline: (+632-4163641)
Jam 88.3: (+632- 6318803) or SMS at JAM (space) 883 (space) your message to 2968
GMA Kapuso Helpline: (+632-9811950-59)

All calls for help, please help us by filling out information here at the Rescue InfoHub Center.

Sahana Disaster Management System needs IT volunteers. http://sahana.kahelos.org. Email sahana@kahelos.org.

Rubber Boat, 4×4 Trucks, Chopper Requests

NCRPO (+632-8383203, +632-8383354)
Private citizens who would like to lend their motor boats for rescue please call emergency nos: +632-9125668, +632-9111406, +632-9122665, +632-9115061)
You can also text (+632917-4226800 or +632927-6751981) for rescue dump trucks.
For those who are able to lend 4×4 trucks for rescue: Please send truck to Greenhills Shoppng Center Unimart Grocery to await deployment, Tel No. (+632920-9072902).
Petron & San Miguel Corporation are lending choppers for rescue operations, call/text: (+632917-8140655) ask for Lydia Ragasa

Power Supply

Meralco (+63917-5592824, 16211, +63920-9292824) If you want service cut off to your area to prevent fires and electrocution.

Relief Aid and Donations

URGENT:

Donations of heavy duty flashlights needed for rescue operations in Cainta area. Contact Cielo at (+632918-8824356)

Businesses/ Commercial Establishments

7-11 Stores – drop off points
Alabang Town Center – drop off goods at the concierge. For inquiries, please call 842-2782 or 772-1860.
Aranaz Stores in Rockwell & Greenbelt is accepting donations of any kind for Payatas communities affected by Ondoy
Aunt Genie’s Breadhouse in Cebu – 1279 Talamban, Cebu City In front of the Talamban Sports Complex – drop off point
Binalot at Greenbelt 1, call Tetchie Bundalian at (+632922-8573277)
Bizroute Solutions – (Mon – Sat 11PM to 4PM) Unit 302 Keppel Bldg. Ayala, Cebu call at 416-0495 if you need directions to the drop-off area. Also Lahug Office (Mon – Sat 11PM to 2PM) Unit 201 MIT Bldg. Gorordo Ave., Lahug (near JY Square) Accepting: Canned Goods, Old Clothes, Blankets, Diapers for babies, Noodles, Rice, Medicine, Soap, Toothpaste, Water Container, Iodized Salt
Brainbeam Events, Inc. 2/F MB Aguirre Cornerhs Bldg,15 Pres Ave cor Elizalde Sts, BF Homes Pque across the old Caltex in BF. Will accept relief goods.
Cebu Musicians & Outpost Restobar – drop off of goods. 09082368999 or 09322117111.
Cue Cafe Crossroads CEBU – accepting donations in cash or kind as part of JCI Zugbuana relief ops. Accepting clothes, blankets, towels, underwear, footwear, food and water
Citigym of CEBU – accepting donations in cash or kind as part of JCI Zugbuana relief ops. Accepting clothes, blankets, towels, underwear, footwear, food and water
The Coffee Bean & Tea Leaf will be accepting canned goods, water, clothes, blankets, towels, medicine, and emergency supplies (no cash) in all our branches on behalf of the victims of Typhoon Ondoy starting today until Friday. Your generosity will be much appreciated during this difficult time for our brothers and sisters in need.
Every Nation, FORT will accept donations for Red Cross esp. purified water, canned goods, and infant formula. Location @ 32nd St cor University Pkwy across Market Market.
Fantastik Manila – send donations to 5729 Calasanz St. Barangay Olympia Makati City Telephone Numbers 729-0530 or 501-7405
Holiday Gym & Spa Banilad Cebu – Drop-Off center beginning Sunday, September 27. Bring blankets, clothes and canned goods to the front desk/ reception area.
Jollibee branches in Metro Manila – drop off point
Junior Chamber International Manila Baypark Tent, Roxas Blvd. will accept goods starting Monday.
Luca stores (Rockwell, Shang-rila, Eastwood, or GA towers): Send your old clothes & donations (no cash pls).
Manor Superclub, Eastwood City will accept goods and other emergency items starting Sunday at 10 am.
McDonald’s branches in Metro Manila – drop off point
Ministop IBARRA (Espana cor. Blumentritt, Sampaloc Manila) is also accepting relief goods, Food (non-perishable goods only) Clothing, Medicines, Beds, Pillows, Blankets, Emergency Supplies to help Typhoon Ondoy victims.
Moonshine boutique in Rockwell also accepting relief good to help Ondoy victims in Marikina and Cainta.
Myron’s Greenbelt will accept relief goods
Papemelroti stores in 91 Roces Ave. / Ali Mall Cubao / SM City North EDSA / SM Fairview / SM Megamall / Glorietta 3 in Makati / SM Centerpoint / SM Southmall are accepting relief goods (canned goods / milk / bottled water / clothes ? NO CASH pls.)
Philippine Daily Inquirer – 1098 Chino Roces Ave. corner Mascardo and Yague Streets, Makati City and to any of its classified ads branches, and to any McDonald’s branch within Metro Manila. Donations in kind, such as instant noodles, canned goods, formula milk, blankets and clothes, are urgently needed. Call 8978808 loc. 260 and look for Megi Garcia
Petron stations – DSWD drop off points
PowerPlant Mall accepting donations for ABS-CBN foundation. Dropoff at admin office, P1 level.
Red Kimono restaurants – has branches in Pasig, Pampanga, Quezon City and Taguig City. Will accept canned goods, bottled water, clothing for all ages, basic household items.
R.O.X. Recreational Outdoor eXchange is accepting donation for relief good for Typhoon Ondoy victims. You can bring it in the store located in B1 building Bonifacio High St., Tel. No. (+632-8564638/39)
Shell gas stations – drop off point
Smart Wireless Centers – SM Fairview, SM North EDSA, Gateway Mall Cubao, AliMall Cubao, SM Megamall, SM Muntinlupa, SM Bicutan, SM Sucat, Festival Mall Alabang, Alabang Town Center and SM Southmall. Will accept cash or goods.
Sunburst Fried Chicken, Cebu – Tabunok branch will accept donations from 10am to 9:30pm
Total gas stations- drop off point
Team Manila stores in Trinoma, Mall of Asia, Jupiter Bel-Air and Rockwell shall be accepting relief goods (Canned Goods, Ready-to-drink Milk,Bottled Water and Clothes) for distribution by Veritas.
Unimart - will receive all cash and in-kind donations to be transferred to LSGH Gate 2.
Vivere Suites – 5102 Ridgeway Avenue, Fil-Invest Corporate City, Alabang, Muntinlupa City. Contact 771-7777 for inquiries or drop off at concierge area. Will accept relief goods.
Whitespace 2314 Chino Roces Ave Ext as a Makati drop-off for relief goods.
Y101 station, CEBU – accepting donations in cash or kind as part of JCI Zugbuana relief ops. Accepting clothes, blankets, towels, underwear, footwear, food and water

Government/ Civil Society/ Movements

Victory Fort is opening its doors to those affected by the typhoon. Call 813-FORT.
ABS-CBN through Banco de Oro account number 56300-20111 account name: ABS-CBN Foundation Incorporation
Akbayan?s taking donations, call 433-69-33/433-68-31 to donate or volunteer.
Brgy. San Antonio – Bgy Hall near Paranaque City Hall (Sta. Lucia St. corner San Pablo St., San Antonio Valley 1, Paranaque. Drop off point.
Citizens Disaster Response Center (CDRC): Relief goods for typhoon victims being accepted at 72-A Times St., West Triangle, QC. Tel (+632-9299820/22)
Corporate Network for Disaster Reponse bank account no. 0031 0654 02 BPI Ayala Paseo Branch for cash donations
Department of Social Welfare and Development - donation drop off points: National Resource Operations Center, Chapel Road, Pasay City (Contact: Mrs. Francon Favian) / Quezon City Area Disaster Resource Operations Monitoring and Info Center (DROMIC) (Contact Rey Martija or Imee Rose Castillo, Tel Nos. 951-7119, 951-2435 or Assistant Secretary Vilma Cabrera Tel No. 0918-934-5625) / San Rafael corner Legarda Streets, Quiapo, Manila (Contact: Dir. Thelsa P. Biolna, Dir. Delia Bauan Tel Nos. 734-8622, 734-8642)
Sen. Kiko Pangilinan is accepting donations @ AGS Bldg Annex, 446 EDSA Guadalupe Viejo. Contact Vina Vargas at (+632917-8081247)
Kabataan Partylist - Drop off donations or volunteer at 118-B Sct. Rallos QC.
09266677163 or kabataanpartylist@gmail.com
Luzon Relief: Donations can be brought to RENAISSANCE FITNESS CENTER, 2nd Floor, Bramante Building, Renaissance Towers Ortigas, Meralco Avenue, Pasig City starting MONDAY (Sept.28) / 9am ? 7pm Contact Person: Warren Habaluyas (+632929-8713488) or email at luzonrelief@gmail.com
Marika Bouncers Coop – 95 Malaya St., Malanday, Marikina : will accept donations starting Sept. 28 at 10 AM
Move for Chiz is asking for volunteers and donations at Bay Park Tent, along Roxas Blvd., beside Max Restaurant and Diamond Hotel in Manila, or at Gilas Minipark at Unang Hakbang St., Gilas Q.C.
NoyMar Relief Operations: Clare Amador (+639285205508) or Jana Vicente at +639285205499). Drop off for relief donations is at Balay Expo Center across Farmers Market Cubao.
Operation Rainbow (Zac Faelnar Camara) at Ayala Alabang Village needs Canned Goods, Ready-To-Eat Food, Bottled Water, Ready-To-Drink Milk/ Juice, Clothing, Blankets, contact (+632-4687991)
Philippine Army Gym inside Fort Bonifacio or GHQ Gym in Camp Aguinaldo are now distributing donations for Ondoy Victims.
Philippine National Red Cross different ways to Donate.
Red Cross Load Donations: Right now the easiest way to make donations from the seat of your chair is via mobile phone load. The Red Cross Rescue and Relief Operations. Text: REDAMOUNT to 2899 (Globe) or 4483 (Smart)
Relief Efforts for Pasig at Valle Verde 1 Village Park, contact (+632916-4945000, +632917-5273616)
Relief Operations Center at AGS Annex, #446 EDSA Guadalupe Viejo after PET Tower contact Ares at 0917.855.4935 or Rachel at 0918.924.1636
Sagip Kapamilya hotlines (+632-4132667, +632-4160387) #13 Examiner St. West Triangle, QC. and Scout Mayoran, cor. Morato, near Alex III.
Tulong Bayan hotlines for donations and volunteers are (+632908-6579998) Marilyn, (+632939-3633436) Jenn (+632-9137122, +632-9136254 & +632-9133306).
TXTPower now accepts donations via SmartMoney 5577514418667103, GCash 09179751092 and Paypal http://is.gd/3GvuN
World Vision partners with Phil Coast Guard and kind individuals for relief distribution to 3k families. Call (+632-3747618 local 242) or text (+632917-8623209) to help.
Worldvision Foundation is also accepting donations/volunteers to pack relief goods in QC. For $-donations, BPI:USDacct #4254-0050-08

Religious/ Schools & Universities

Assumption College San Lorenzo is now accepting donations. Please drop them off at the AC guardhouse.
Ateneo de Manila University is now accepting donations for the victims of Ondoy. Donations can be dropped at MVP Lobby. For those stranded/those who need help: To all students who need help or know of people who need help. Please text the name, location, and contact number to (+6329088877166). ATENEO, which is now an open shelter, accepts refugees. Call (+632917-8952792)
Ateneo Law School – Rockwell. Looking for donations and volunteers. 20 Rockwell Drive, Rockwell Center, Makati City. Call 899-7691 to 96.
Banilad Church of Christ, Cebu – bldg in front of Bright Academy near Sto. Nino Village), Mon-Fri 9am-5pm. Donations drop off.
Caritas Manila Office at Jesus St., Pandacan Manila near Nagtahan Bridge (+632-5639298, +632-5639308)
CCF St Francis Mall, Ortigas is now accepting goods for donation.
CFC Center Ortigas is now open for donations in cash or kind. Call (+632-7270682 to 87) or text (+632922-2542819)
De La Salle University-Manila – The Sagip Metro relief operation will start to accept donation for Ondoy victims starting Monday @ 8:30 am. Please bring goods to the South Gate of DLSU-Manila.
De La Salle Zobel will be accepting donations tomorrow at Gym 5 (Near Gate 7 in Molave St.)
DLSU Medical Center will accept canned goods, blankets, clothes, water. Location is at Congressional Avenue, Dasmarinas, Cavite. Telephone lines are at(02) 844-7832 and (046) 416-4531
Hillsborough Village Chapel ? Water, blankets, shoes, and clothes may be sent to Hillsborough Village Chapel in Muntinlupa City. These will go to families whose houses were washed out in the nearby sitios.
La Salle Greenhills for Greenhills/Mandaluyong/San Juan Area, if you want to help out with the rescue and relief operations, you can drop off your donations (clothes, food, etc..) at LSGH Gate 2 or volunteer from 9am to receive, sort, repack the donations.
Our Lady of Pentecost Parish (+632-4342397, +632-9290665) per Gabe Mercado, donations are very much welcome. The Parish is located at 12 F. Dela Rosa corner C. Salvador Sts., Loyola Heights, Quezon City.
Peace Retreat Movement – leave all donations at the Peace Retreat Movement (PRM) office, 2F, Rm. 72L, Christ the King (HS) Bldg. on Wednesday, Sept 30, 12noon
Playschool International in Better Living is open to receive relief goods. Feel free to drop it there for your convenience. No Cash Pls.
Radio Veritas at Veritas Tower West Ave. Cor EDSA (+632-9257931-40)
San Beda College of Arts and Sciences Student Council – accepting clothes, meds, water, canned goods, soap, money, etc.
Santuario de San Antonio Parish – McKinley Road, Forbes Park. Accepting all kinds of relief goods. Contact JJ Yulo or Mike Yuson
Simbahang Lingkod ng Bayan Task Force Noah, a disaster response arm of the Jesuits, is accepting donations. Please drop it off sa Ateneo Cervini Dorm.
Southville International School and Colleges – will only accept goods. 09155385113 / 09154151319
St. James Church Multi-Purpose Hall – Drop off point
St. Pedro Poveda College is now accepting relief goods. call the Social Action Center 6318756 loc. 121
UA&P Please contact Dae Lee [SEB EVP] @ 09178323533 needs donations and volunteers.
UP Sigma Alpha Nu Sorority MANILA – collecting food, water and toiletries. You may drop them off at unit 12-O One Adriatico Place, Ermita Manila or contact 0917 -8857188 or 0917-6659948.
UP College of Arts and Letters (CAL) is accepting goods and cash. Donation center at CAL/text 0929-6454102.
UP Diliman USC is collecting food, clothing and/or cash. Contact TITUS 09178001909, JOSE 09273056607 and TIN 09154906106
Katipunan Avenue. Contact Erica Paredes at (+632917-4741930) ? they need bread, packed juice, sandwich filling (tuna, chicken, anything) You can help her make them, deliver the sandwiches to her house, or help her distribute! Call for more details.
Valle Verde Mansions – 135 CAPT. HENRY JAVIER ST. BRGY. ORANBO, PASIG. This is near ULTRA for relief drop-off
Xavier School in San Juan is now accepting donations, please bring to Multipurpose Center (MPC).

Private Citizens

MAKATI: 5729 Calasanz St., Olympia Makati City or call for pick up at (+632-5017405 or +632-7290530) c/o Omel Santos
SOUTH: Accepting relief goods in SOUTH AREA. Please contact Anne at (+632915-2854240)
Karen Ang of Pasig (that’s me)
3 Kagandahan corner Kabutihan Streets, Kawilihan Village, Pasig
0920-9520900
Will forward donated relief goods to Red Cross
Miriam Quiambao drop off point: One Orchard Road Building in Eastwood, or message http://www.twitter.com/miriamq for more details.
Colleen Manabat (Heartrio Prints) of Angeles City- will accept bottled water, canned goods, blankets, clothes, medicines from 9 AM to 6PM. Address is Stall 2 MGY Building, 2444 Sto. Entierro St, Sto. Cristo, Angeles City. She will forward the donations to Sagip Kapamilya – ABS-CBN Foundation.
Joseph Castillo of Cebu – will send a 20 ft. container to Manila and is looking for donations from Cebuanos. Get in touch with him through 09082368999 or 09322117111
Bianca – will pick up donations from Greenhills/San Juan area. Donate food, medicine, or clothing. Call 4123861/ 09278436002
Kelly & Jodge – Colonade Residences, Legaspi St. corner C. Palanca, Makati City. Will accept relief goods.
Omel Santos – 5729 Calasanz St., Olympia Makati City. Call (+632-5017405 or +632-7290530). Drop off point for donations. Also willing to pick up.
RJ Ledesma and friends – call us at 09178131601 for pick of donations. Only relief goods

People Tracker (using your phones, get your friends and family to turn on their finderservice for you)

FINDERSERVICE. For Smart, text wis to 386.
FINDERSERVICE. For Globe, text find to 7000.

E-Donations

SMS: text RED to 2899 (Globe) and 4483 (Smart)
G-Cash: text DONATEAMOUNT4-digit M-PINREDCROSS to 2882
TXTPOWER.org: Paypal, Smart Money (5577-5144-1866-7103), G-Cash (0917-9751092)

Philippine National Red Cross

Please send cash or check donations to the PNRC National Headquarters in Manila. Checks should be made payable to The Philippine National Red Cross. They can arrange for donation pick-up.
METROBANK Port Area Branch
Peso Acct.: 151-3-041-63122-8
Dollar Acct.: 151-2-151-00218-2
Type of Acct. : SAVINGS
Swift Code: MBTC PH MM
BANK OF THE PHIL. ISLANDS Port Area Branch
Peso Acct.: 4991-0010-99
Type of Account: CURRENT
BANK OF THE PHIL. ISLANDS UN Branch
Dollar Acct.: 8114-0030-94
Type of Account: SAVINGS
Swift Code: BOPI PH MM

Note: For your donations to be properly acknowledged, please fax the bank transaction slip at nos. +63.2.527.0575 or +63.2.404.0979 with your name, address and contact number.

For Credit Cards: Please fax the following info to +632.404.09.79 and +632.527.0575: Name of card member, billing address, contact nos. (phone & mobile), credit card no., expiration date, CCV2/ CVC2 (last three digits at the back of the credit card), billing address, amount to be donated. For online donations you may also visit our website at www.redcross.org.ph .

Most urgent needs

Food items: Rice, noodles, canned goods, sugar, iodized salt, cooking oil, monggo beans and potable water
Medicines: Paracetamol, antibiotics, analgesic, oral rehydration salts, multivitamins and medications to treat diarrheal diseases
Non-food items: Bath soaps, face towels, shampoo, toothbrush, toothpaste, plastic mats, blankets, mosquito nets, jerry cans, water containers, water purification tablets, plastic sheetings, and Laundry soap

FOR THOSE OUTSIDE THE COUNTRY WHO WANT TO DONATE:

TXTPower.org has set up a paypal account for donations. Your money will be forwarded to Red Cross.
Kapuso Foundation is also accepting credit card donations.
2/F GMA Kapuso Center
Samar St. cor. 11th Jamboree St. Diliman, Quezon City
Call 9827777 loc. 9901/9904/9905.
accepts relief goods and cash
myAyala.com account for Philippine Jesuits – you can use your CREDIT CARD and donate ONLINE. Go to www.myayala.com/sjph/. On the line “I would like to donate to:”, write “xs4ondoy“.

In Kind donations

LOCAL: Please send in-kind local donations to The Philippine National Red Cross ? National Headquarters in Manila. They could also arrange for donation pick-up.
INTERNATIONAL:
1. Send a letter of intent to donate to the PNRC
2. A letter of acceptance from PNRC shall be sent back to the donor
3. Immediately after shipping the goods, please send the (a) original Deed of Donation, (b) copy of packing list and (c) original Airway Bill for air shipments or Bill of Lading for sea shipments to The Philippine National Red Cross National Headquarters c/o Secretary General Corazon Alma de Leon, Bonifacio Drive, Port Area, Manila 2803, Philippines.

Super thanks to Goth girl Dementia of Bury Me In This Dress for putting this all together.

LAST CONVERSATION WITH NIKA AND ALEXIS. SEPT 1, 19:00

2009-09-02T11:07:00.000+08:00

nika: tengaaaal
how are u
welcome back
how was singapore
how's jerneja?

----

[In between conversations with Nika, Alexis and I talk]

alexistioseco: musta?
Tengal: yo man
Tengal: okay lang
Tengal: nika just chatted with me
Tengal: though she disappeare
Tengal: d
alexistioseco: haha
alexistioseco: she's there still
Tengal: haha
Tengal: do you both chat to each other while in the same room?!?!
alexistioseco: lol
alexistioseco: no
Tengal: wooshoo
Tengal: i m sure you send links
alexistioseco: email links
Tengal: and little pa-cute messages
alexistioseco: lol
Tengal: heheh
alexistioseco: lol
alexistioseco: gago
Tengal: :)
Tengal: i just bought a laptop and i hate it's battery
alexistioseco: whatkind?
Tengal: toshiba
Tengal: the macbook pro (new one) looks really yummy but cannot afford

-----

7:04 PM
nika: i'm still here
stop ignoring me
me: haha
:P
nika: stop chating with alexis
:)

7:05 PM
me: haha
he was the one who started it!
nika: aha, complaining about having slovenian girlfriends
so how was it?

7:06 PM
was this the longest period you guys spent together?
me: hahaha
yeah sort of

7:07 PM
me: sloveniass
nika: !?!
goodbye
me: forgot the n
hehe
nika: :P
when are u going to europe?
me: this oct 1

----

Tengal: i just said sloveniASS to nika
Tengal: haha
alexistioseco: lol
Tengal: hahaa
alexistioseco: teka, i have to reply to benedict anderson
alexistioseco: oh diba!
Tengal: hahaha

----

7:08 PM
me: well i have this gig for F1 hahaha
in singapore
on the 25th
nika: great
me: so i need to work on that -- then maybe from there fly to europe
nika: more sloveniass
me: turkish -- china air... whatever
hehe
nika: good
me: what would you use
nah you can afford the expensive first clas ones eh?
nika: whatever is cheaper
yeah right

7:09 PM
me: haha
nika: i fly business all the time
me: wow
very rich lha
lah
nika: na
very rich na
me: haha
when are u in slovenia
what are you doing there

7:10 PM
nika: i leav this thursday

7:11 PM
me: niiice
poor mr. tioseco
hehe
he'll be at it with his girls again
oops!
haha im kidding :P
nika: hehe
he's so excited that i'm leaving
so nice to me also
me: hehehe

7:12 PM
nika: he just complained
me: haha!
nika: with the saddest voice
'don't be mean, that's a lie'
me: what are you going to do in slovenia
nika: work, study
me: nice
study what!

7:13 PM
nika: i need to catch up for everything i haven't do in last 6 months!
my undergraduate
me: really
nika: have some exams left + thesis
yps
me: so i find a person who's even worse than em
nika: never finished
me: woohoo!
hahaha
nika: started workin in first year of colleage
haha
me: and i thought i was already wasting too much time in my undergrad
nika: unfortunatelly

7:14 PM
me: okay this gives me more inspiration to finish the damn degree
nika: i wasn't waisting time
i was investing it elsewehere
that was the problem
and little interest
me: hear hear
nika: compared to work
me: what is your degree
molecular biometaphysics?

7:15 PM
nika: journalism = sociology of culture
tengal, i need to leave
me: haha yeah i need to leave to
very late now for this exhibition
nika: dinner with a friend who came to pick us up

7:16 PM
me: okay
enjoy!
later
nika: (excuses, it's uncomfortable topic and i want to quit chatting to you)
you too
ciao ciao
closing

7:17 PM
me: oepn
open

These were the last words I ever heard from Nika and Alexis. We both pretty much shut down the computer and left the house for dinner that time. They came home too early while the robbery was taking place. Gunshots were heard around 10 or 11pm.
I arrived around 1 am at their house when I heard the news; and waited until their bodies were taken.

++++UPLOAD Sound/Video Performance - Sculpture Square, Singapore

2009-08-26T03:22:00.004+08:00

++++UPLOAD ver. 1

Sound and Visual Performances

Marko Batista Slovenia

Tengal Philippines

Irene Agrivina + Bintang Ramadhan | HONF Collective Indonesia

Kenneth Feinstein USA/Singapore

Sculpture Square

155 Middle Road Singapore

August 30 2009

20:00-22:00 PM

ZENSORS this August

2009-08-04T17:42:00.003+08:00

ZENSORS

A Project by Vanini Belarmino

Belarmino&Partners

Supported by the Asian Cultural Council

Baguio City and Manila, Philippines

12-25 August 2009

Concealed & Revealed, Acrylic and charcoal on canvas by Bencab 2009.

The quest for achieving a sense of balance is one of the main challenges for the project ZENSORS. Balance emanating from multiple sources, different individuals, holding varied expectations, perspectives and approaches geared towards a parallel direction. Launched in Berlin, Germany, ZENSORS will gather esteemed Filipino, Japanese and French artists specialising in collaborative work in the field of contemporary performing arts, visual arts, media performance and technology. Scheduled on 12-25 August 2009, ZENSORS aspires to challenge professional artists by engaging them in innovative creative processes while introducing a fresh way of thinking and working together amongst artists of diverse cultural backgrounds and practices.

ZENSORS, supported by the Asian Cultural Council, will invite installation and visual artists like Shunsuke Francois Nanjo (Japan/France) and Mayumi Okabayashi (Japan/Germany); choreographer and dancer, Chiyo Ogino (Japan) and filmmaker, Nine Yamamoto-Masson (Japan/France). The invited foreign artists will be working and undertaking a process of exchange with the likes of Philippine National Artist, Benedicto “Bencab” Cabrera; vocal singer, Grace Nono; multi-awarded Filmmaker/Director, Aureus Solito, composer/musician, Diwa De Leon and sound/installation artist, Lirio Salvador. During this period, a programme designed to lead towards the development of a collaborative work will be presented at the newly set-up Bencab Museum on 21 August, 5:00 p.m.

ZENSORS will put not only the Filipino and foreign artists in close contact with one another but will also engage both the Baguio and Manila audiences who are deemed to act as active participants for this creative exchange.

Vanini Belarmino is producer and curator for ZENSORS. This project is presented in cooperation with the Bencab Museum, Cultural Center of the Philippines and Japan Foundation Manila.

ZENSORS Performance Jam is scheduled at the Bencab Museum, Asin Road, KM 6, Benguet, 21 August 2009, 5:00 p.m.

For further information, visit < http://www.belarminopartners.com or
email < info@belarminopartners.com

ASEUM documentation trailer

2009-07-31T14:36:00.001+08:00

or

http://sabaw.blip.tv/file/2421950/

ASEUM launch on Flippish.com

2009-07-28T00:52:00.000+08:00

ASEUM: The 1st International New Media Art Festival in the Philippines

2009-07-20T00:53:00.004+08:00

ASEUM: The 1st International New Media Art Festival in the Philippines

On July 21-25, 2009, SABAW Media Art Kitchen (Philippines) in cooperation with KIBLA MMC (Slovenia) and the Asia-Europe Foundation brings together the largest delegation of new media artists for ASEUM - the first international new media art festival in the Philippines – that kicks off 6:00PM at Gweilos, Makati for everyone to experience what new media art is.

Fostering a Culture of Knowledge-Sharing
"The festival aims to become a catalyst for a cultural, educational, and technological exchange on emerging new media art practices in South East Asia and Europe," says Tengal, festival organizer for ASEUM "But more importantly to try and shape the way in which we think about and experience these technologies."

This is why ASEUM has partnered with several top universities such as the University of the Philippines-Diliman, De La Salle University-Dasmariñas and DLSU-CSB School of Design and Arts that actively support the development and growth of new media art.

Leading new and inter media art practitioners, researchers, curators and producers from all over the globe such as Peter Tomaz Dobrila [si], Jerneja Rebernak [si/sg], Emma Oto [jp/gb], Aether9 [global], Tad Ermitano [ph], Malek Lopez [ph], Angelo Vermeulen [be], Diego Maranan [ph], Brian O’ Reilly [us], Rick Bahague [ph], Lirio Salvador [ph], Visual Pond [ph], Tim O' Dwyer [au], Darren Moore [au], Vanini Belarmino [de/ph], and Noel de Brakinghe [ph] will hold lectures, workshops and discussions among the most versed of Filipino students in new media art to encourage them to pursue degrees in such field.

Topics such as Open Source Advocacy, Technology and Cultural Practices, Open Structures and Remote Real time Storytelling, Intersections of Art, Ecology, Gaming and Advocacy, Data Visualization: Making meaning in an Info-rich World, Computer music and video in a live setting, Media and the Creation Process, Sound Mapping: Circuit Bending, Pure Data: Practical Programming for Sound Art, Video Art and Experimental Moving Image, Electroacoustic improvisation, Mono- Multi- and Inter-Media, The Value of Exchange in Creative Interdisciplinary and Cross-Border Collaborations, and Why Numbers Make Sounds: Basic Introduction to Patching and Audio Synthesis using Max/Msp will be covered.

A Transformative Sound Experience
Change the way you perceive sound with five nights of rapid electrofringe experimentation on sound and moving image with VJing, intermedia performances, cutting-edge experimental music and related visual arts at ASEUM’s Ear2Eye Program.

“The E2E program wraps up the night with exciting performances from local and foreign guests,” says Tengal “Take this opportunity to be exposed to live improvised experimentations on sound and moving images while sipping a beer or two.”

Catch performances by Iron Egg, Rubber Inc, Caliph8 , Gangan Ensemble, Inconnu ictu, Tengal, Aether9, Elemento, Ugong, Blend:er, Minister Zero, DJ Drumlander, Sgt. Vez, Edsel Abesamis, Tad Ermitano, Mannet Villariba, Drip, Eggboy, Autoceremony, Etniktronika, Angelo Suarez, Costantino Zicarelli, Nyangbinghi, and Terraformer at Gweilos, Green Papaya, Penguin Café and Mogwai Cinematheque.

ASEUM is a project by SABAW Media Art Kitchen (Philippines) in cooperation with Multimedia Center KIBLA (Slovenia) and is supported by the Asia-Europe Foundation as a follow-up project of the Asia-Europe Art Camp New Media series. For more information on festival fees, schedule, and guests email sabawmediahub@gmail.com or call/SMS +639166188191 and visit the ASEUM website at http://aseum.tk.
This event is brought to you by with partnership of Media Arts Manila, House of Natural Fiber (HONF), Experimentation in Sound Art Tradition (EXIST), Visual Pond Artspace, Inc, TAOINC, Computer Professional’s Union (CPU), Biomodd [LBA2]
Un.Plug UP Linux User’s Group, UP Asterisk, Sweetspot Studios, Expansions, Aether9; with the support of UNO Magazine, Status Magazine, Circuit, Advocacy Photographers, PinoyCentric, Metapixel, YOCard, Juice.ph, Flippish, Click the City, UR 105.9, NU 107, Stonehouse Hotel, ICAII, Ginebra Premium Gin, Philippine Society of IT Educators and International Open Source Network, Belarmino & Partners, N3krozoft Ltd.

MORE INFO ON: http://aseum09.tk/

Feel free to forward this email to interested parties.
Advanced apologies for cross-posting.

Open Call: ASEUM Symposium, Deadline extended until July 8

2009-07-01T03:24:00.002+08:00

Extended Open Call for Participants: ASEUM Symposium
Deadline extended until July 8,2009, Wednesday

ASEUM is an international network of new media art practitioners
pushing for cultural, educational, and technological exchange on
emerging new media art practices in South East Asia and Europe.
Initiated by SABAW Media Art Kitchen (Philippines) and Multimedia
Center KIBLA (Slovenia), ASEUM hopes to draw attention to artists,
their work, their perspectives and the complex interrelationships
between technology, art and culture through various symposia,
workshops, and collaborative endeavors.

Discussions on interactive design, networked cultures, the burgeoning
open source software movements, interactivity, data visualization,
bio-technology, DIY electronics, open-source hardware,
computer/electronic music, and sound and video art are among the few
topics that will be tackled by some of the most recognized artists
working on new media art and technology in Europe and Asia.

This year’s symposium is slated to run from July 21-25, 2009 in Manila,
Philippines and is open to all artists, software programmers,
engineers, scientists, students, DIY hobbyists, and art enthusiasts.
The symposium will feature new media artists from Europe and Asia
through a series of interactive sessions, open fora, live audio-video
performances and presentations in top universities and renowned
artist-run spaces in Metro Manila.

*Please note that the hands-on workshop labs on graphical programming
languages Pure Data and DIY sound devices using Arduino can only
accommodate a limited number of participants.

To be considered for participation, please submit a 1-2 paragraph essay
(not more than 300 words) stating your purposes in joining, including
how you can contribute to the symposium given your specialization or
field of work. Please also submit your full contact details along with
the essay on or before July 8, 2009 to sabawmediahub@gmail.com or
contact 09209053421.

Complete details regarding symposium venues, speakers, performers,
presentation topics, and program flow available upon request; email eisajocson@yahoo.com.

Call for Volunteers: ASEUM Symposium

The ASEUM Secretariat is looking for volunteers to help prepare for and oversee the 5-day event. Anyone is free to join and contribute in whatever way they can, regardless of their specialization or field. We need people to assist us with the following tasks:

· Logistical preparations

· PR relations

· Media planning

· Publicity/promotions for print and web

· Stage management

· Housekeeping

· Other tasks, as the need requires

Join the ASEUM team today and be a part of a growing global network of new media artists and enthusiasts. If interested, contact (+63)917-5191511 and send a short introduction about yourself, stating how you can help, along with your contact details to sabawmediahub@gmail.com on or before June 10, 2009.

----

Complete details regarding symposium venues, speakers, performers, presentation topics, and program flow available upon request; email chesquita@gmail.com

ASEUM is sponsored by ASIA-EUROPE FOUNDATION as part of the Follow Up Project (FUP) of the 5th-6th Art Camp New Media and the Mini Summit on New Media Art policy & practice.

Feel free to disseminate this email to interested parties, to blogs, websites, the like.

Thank you for your time.

MORE INFO: http://aseum09.tk/

Tengal on STATUS

2009-06-29T01:31:00.003+08:00

Shameless plugging again.

Check out a mini-feature and interview on this new Manila magazine called STATUS.

Status07 Maestro Tengal

Status07 FP

REGURGITATING RABBITS / OPEN SOUND LAB

2009-06-04T14:17:00.002+08:00

Regurgitating Rabbits / OPEN SOUND LAB
JUNE 5 (Friday) & 6 (Saturday), Bar opens 6PM, Session starts 8PM

JUNE 5 / YANDSEN YONG (solo tenor sax), SIEW-WAI KOK (voice improvisation), TENGAL, & REPUBLIC OF PERSTUSTUNGKA
JUNE 6 / REFLEX REACTIONS (YANDSEN YONG & SIEW-WAI KOK), & GANGAN ENSEMBLE

Green Papaya Art Projects and SABAW Media Art Kitchen welcome Malaysian experimental sound artists Yandsen Yong and Siew-wai Kok in Regurgitating Rabbits, a two-day session of improvised encounters and open sound lab. A collaborative project by Experimental Musicians and Artists Co-operative Malaysia (EMACM) and SABAW Media Art Kitchen, the open sound lab is a platform that encourages cross-border and cross-disciplinary collaborations among contemporary sound, performance and electronic media artists practicing in Asia, Europe and the U.S.

Yandsen Yong is a woodwind musician, he plays the saxophones, clarinet and flute. Yandsen was the veteran lead vocal and band leader of the explosive Malaysian Chinese rock band Moxuan in late 1990s. He then ventured into a new direction in music – free jazz, improvised music and contemporary composition. Yandsen is the woodwind player of Klangmutationen (Malaysia), where the band has released albums through Utech Records (USA) and Dream Sheep (Italy). He has collaborated with artists and musicians such as Kar-Mun Tham, Lee- Kwang Goh, Ronnie Khoo, Aziz Ali, Siew-wai Kok, Chor-Guan Ng, Sow-Yee Au, Donna Miranda, Darren Moore, Brian O’ Reily, Thierry Monnier, punk band Carburetor Dung and many more. Yandsen has played in Notthat Balai Art Festival 2007 (Malaysia), Mosaic Festival Singapore 2008 and Choppa Eclectic Improvised Music Festival 2008 (Singapore). Yandsen is a member of the Experimental Musicians & Artists Cooperative Malaysia (EMACM) and the co-founder of Studio in Cheras, Kuala Lumpur (SiCKL).

Siew-wai Kok is a voice improviser and video artist. She has studied and lived in USA for 7 years. During her stay in the States, she has studied with a few art luminaries such as Pauline Oliveros, Tony Conrad and Peer Bode, who have introduced her to a whole “new world” in the arts. Siew-wai has participated in festivals such as the Iskandar Malaysia Contemporary Art Show 2009, Nyoba Kan Butoh Festival 2008, Choppa Eclectic Improvised Music Festival 2008 (Singapore), Notthatbalai Art Festival 2007, International Film Festival Rotterdam 2007, Beyond/In Western New York Biennial 2005 and more. Siew-wai has collaborated with video artists, dancers and musicians, such as Koji Tambata, Sow-Yee Au, Donna Miranda, Lena Ang, Swee-Keong Lee, Chor-Guan Ng, Steve Baczkowski, Patrick Cain, Jax Deluca, Scott Valkwitch and more. She collaborates regularly with members of the Experimental Musicians & Artists Cooperative Malaysia (EMACM) since 2006. Siew-wai is the co-founder of Studio in Cheras, Kuala Lumpur (SiCKL).

Reflex Reactions is an improv duo made up by Yandsen Yong and Siew-wai Kok where Yandsen plays the saxophone, clarinet and flute while Siew Wai does voice improvisation. The duo creates musical conversations through attentive listening and communication with each other. “Create ‘NOW’” is the motto of this duo.

Republic of Perstustungka is an informally organized band composed of Yandsen, Siew-wai and Donna Miranda. The group performed during Notthat Balai Art Festival 2007 (Malaysia), and had gigs at SiCKL in Cheras, Kuala Lumpur also in 2007.

The Gangan Ensemble is loosely composed of improvisers who work on both sound and video formats that was created to explore the intricate and different kinds of interaction and ways of harnessing sound/energy/musicianship alongside moving images. The ever-evolving membership involves a variety of video-performance artists (VJs) and electro-acoustic musicians from the Philippines, Singapore, USA, Germany, Australia, UK, Slovenia, Malaysia, and Indonesia since it's incarnation in 2007. The ensemble has performed in various countries in South East Asia, notably in NCCA's Sinemusikalye in Manila, in Choppa 2008 in Singapore, in the Cellsbutton Media Art Festival in Indonesia, and recently with electro-acoustic composer Chris Brown in Manila. It was founded by media artist Tengal with Tad Ermitano.

Gangan Ensemble this time:

Malek Lopez (Electronics)

Caliph8 (Electronics)

Tengal (Drums, Objects, Electronics)

Siew-wai Kok (Voice)

Yong Yandsen (Alto Saxophone)

Tad Ermitano (Video, Orchestrator)

GREENPAPAYA ART PROJECTS
41B T. Gener Street (corner Kamuning Rd.), Quezon City
Phone/Fax 7941628 0926 6635606 greenpapayaartprojects@gmail.com
www.greenpapayaartprojects.org / http://papayapost.blogspot.com

OPEN CALL FOR PARTICIPANTS FOR ASEUM 2009

2009-05-29T20:12:00.003+08:00

Call for Participants: ASEUM Symposium

ASEUM is an international network of new media art practitioners pushing for cultural, educational, and technological exchange on emerging new media art practices in South East Asia and Europe. Initiated by SABAW Media Art Kitchen (Philippines) and Multimedia Center KIBLA (Slovenia), ASEUM hopes to draw attention to artists, their work, their perspectives and the complex interrelationships between technology, art and culture through various symposia, workshops, and collaborative endeavors.

Discussions on interactive design, networked cultures, the burgeoning open source software movements, interactivity, data visualization, bio-technology, DIY electronics, open-source hardware, computer/electronic music, and sound and video art are among the few topics that will be tackled by some of the most recognized artists working on new media art and technology in Europe and Asia.

This year’s symposium is slated to run from July 21-25, 2009 in Manila, Philippines and is open to all artists, software programmers, engineers, scientists, students, DIY hobbyists, and art enthusiasts. The symposium will feature new media artists from Europe and Asia through a series of interactive sessions, open fora, live audio-video performances and presentations in top universities and renowned artist-run spaces in Metro Manila.

*Please note that the hands-on workshop labs on graphical programming languages Pure Data and DIY sound devices using Arduino can only accommodate a limited number of participants.

To be considered for participation, please submit a 1-2 paragraph essay (not more than 300 words) stating your purposes in joining, including how you can contribute to the symposium given your specialization or field of work. Please also submit your full contact details along with the essay on or before June 30, 2009 to sabawmediahub@gmail.com or contact 09175191511.

Complete details regarding symposium venues, speakers, performers, presentation topics, and program flow available upon request; email chesquita@gmail.com.

ASEUM is sponsored by ASIA-EUROPE FOUNDATION as part of the Follow Up Project (FUP) of the 5th-6th Art Camp New Media and the Mini Summit on New Media Art policy & practice.

Feel free to disseminate this information to your blogs, websites, emails, and to interested parties.

Thank you for your time.

WE EXIST: A gathering of performative sound and visual artists

2009-05-25T20:07:00.005+08:00

Probably the biggest gathering of sound artists in Manila to date.

official press release below:

Event: We Exist (a gathering of performance sound and visual artists)
Date: May 29, 2009 (Friday)
Time: 8:00 p.m. – onwards
Venue: Mogwai Cubao Expo, Cubao Quezon City

This one-night event will features sound artists and visual artists who have been practicing the discipline and medium of experimental music, sound art and new media. The event will platform this interdisciplinary form of art in a live collaborative performance. With this, the participants are requested to collaborate with each other and shall interact conceptually and aesthetically.

However, there will be no theme or any structure nor absolute rules or procedures on how will the performance would be performed and execute. It could be on improvisation, in real-time notation or on any form. Thus it should be on spontaneous, organic and unrehearsed live collaborative effort. As the title of the event suggest it will be a gathering for further exploration of these art forms through exchanges of ideas, insights and experience within the process of the performance. It also aim to introduce or to re-introduce the discipline to the public, to present and to have a possible informal discussion on the medium.

This event is an initiative effort of E.X.I.S.T. (Experimentation In Sound art Tradition) with the support and participation of individual artists involved, artist-run initiatives such as SABAW, Expansions and Media Arts Manila; with the help of Mogwai and Cubao Expo for providing the venue, and Grand Pearl Production for providing the lights and sounds system.

Experimentation In Sound art Tradition (E.X.I.S.T.) is a not-for-profit sound art organization. It is also a loose organization among sound artists, musicians and multimedia practitioner. It aims to educate people about Experimental Music and Sound Art as an interdisciplinary form of art. E.X.I.S.T. commonly engages in the use of found objects and environmental sound as a medium. Moreover, it explores with any form of audio technologies (both analog and digital), including creative audio short-circuiting also known as “Circuit-Bending”, an integral part of sound art experimentation. Another technological aspect being explored is the use of computer’s capability to generate sound, examining both theory and application, of new and existing technologies in the areas of music and sound design. Sculpture, Performance Art, Multimedia and other conventional art form and techniques can be also incorporated and merged on the process and methodology. Sound art also gives emphasis on the creative production and presentation of ‘sound’ not necessarily the ‘music’ which becomes just one component of the endless possibilities of sound art, and the total characteristic of sound and its medium. E.X.I.S.T. continues the tradition of Experimental Music and Sound Art by organizing concerts, exhibitions, symposiums and workshops in art galleries, art spaces, universities, and even conventional channels such as music bars, cafes, and open venues. It also serves as a channel to promote Experimental Music and Sound Art here in the Philippines , opening people to recognize it as an individual and interdisciplinary art form.

http://soundartmovementexist.blogspot.com/

BROCKA NIGHT TONIGHT! THE ULTIMATE BROCKA RETROSPECTIVE!

2009-05-20T00:03:00.003+08:00

TONIGHT!

This Wednesday night
May 20
9:30pm sharp
Mag:net Cafe Katipunan

Starring
THE BROCKAS
THE PURPLECHICKENS
LIVE TILAPIA
LOS CHUPACABRAS
PATIENCE DEAR JUGGERNAUT
BIG T
THROUGH THE LENS

part of
BROCKAMANIA!
the biggest retrospective on Lino Brocka
26 films in 26 days this whole month of May
at Cinekatipunan.MOV

Brought to you by
.MOV International Digital Film Festival
Mag:net Cafe Katipunan
MassMediaMindControl

Lino Brocka's 18th Death Anniversary
(Death Of Cinema concert series)

MULTIMEDIA CENTER KIBLA COLLABORATION WITH SABAW THIS JULY

2009-04-29T23:39:00.006+08:00

Below is comprehensive info on MULTIMEDIA CENTER KIBLA (MMC KIBLA), one of the most successful cultural organisation within the European collaborations in Europe (and also with projects emphasising intercultural dialogue with non-European countries.)

In cooperation with SABAW MEDIA ART KITCHEN, we're organizing ASEUM, the country's first ever Asia-Europe New Media Art Symposium this JULY 2009 in Manila, Philippines.

As part of the agenda of SABAW to initialize media art practice in the Philippines, we also support and organize independent community media projects that explore alternative approaches to the production, dissemination, research on media art and science, locality and technology in the Philippines and beyond.

"The main result would be continuation of our collaboration with strengthening of exchanges between Slovene, European and Filipino and (Asian) (new media) artists, through a common on-line platform revealing case studies and realized projects and sharing of ideas that would help our environments, organisations and institutions to grow in the parallel, but connected societies either on- or off-line." [Peter Tomaz-Dobrilla]

Famous Australian artist Stelarc has said for KIBLA »this is the best cyber space in the world,

« the great Eduardo Kac, who works at the Art Institute of Chicago, »something like this doesn't exist in United States

« and Joseph Tabby, university professor and writer, »I came to visit Slovenia, because I've heard about KIBLA.

« A title in Slovenian magazine Mladina: »To Maribor, because of KIBLA!

« and in NeDelo (the biggest Slovenian newspaper, Sunday issue) Eda Čufer wrote: »Maribor Kibla is by its space possibilities and its conceptual structure, that combines gallery, spaces for performance, specialised bookshop and cyber café undoubtedly the most exemplary project of a kind.

« In Romanian newspaper Clujenaui was written »KIBLA is the most important and the biggest multimedia centre in Eastern Europe.

« Dr. Janez Strehovec, the leading Slovenian new media theoretician, stated, »Kibla is the main Slovenian centre for new media art (and theory).

« Artist, scientist, researcher and professor on the University Caxias do Sul, Brazil, dr. Diana Domingues noted: »Kibla is a very impressive environment and you are the soul of this paradise in Slovenia.

« Guru of the world advertising Dragan Sakan pointed out, »KIBLA stimulates reality, which is no longer traditional but multimedial. Also ideas are not local anymore, but global. The world needs fresh ideas. The world needs global institutions like KIBLA!

« Franci Pivec, master of information sciences, claims, »KIBLA is big phenomena. For me it's one of the central institutions, which Maribor gained.

«President and curator of ACE KIBLA Aleksandra Kostič was invited to be a judge for The Webby Awards 2000 (Internet Oscars) in San Francisco and she became a member of The International Academy for Arts and Technology joining David Bowie, Laurie Anderson, Francis Ford Coppola, Matt Groening, Tina Brown etc.

ACE KIBLA vice-president Dejan Pestotnik is a member of the Europrix Top Talent Award Jury, Europe’s contest for students and young professionals who work on innovative projects in the field of e-contents and design - using whatever multimedia channel or platform.

Adviser of ACE KIBLA Peter Tomaž Dobrila was a member of Europrix jury – the leading European Contest in e-Content creation and is a fellow member European Academy for Digital Media (EADIM) in the year 2005 he became adviser of the Ars electronica festival, the biggest and most eminent intermedia event in the world.

Our ex-collaborator Manja Klemenčič was the director of ESIB-The National Unions of Students in Europe in Brussels.

KIBLA was invited to join the European Multimedia Forum (EMF), based in Brussels and we are active members of the European Multimedia Associations Convention (EMMAC) and we are regular participants of the world multimedia summit Milia in Cannes. We are members of the International Federation of Multimedia Associations / La Fédération internationale des associations de multimédia (IFMA-FIAM), based in Montreal and we actively participated on the World Summit on Internet and Multimedia 2002 in Montreux.

KIBLA is a partner in the The World Summit Award for e-content and creativity, which is a global contest for multimedia products and applications. The Award is organized in the framework of the WSIS – The United Nations first ever World Summit on the Information Society, which takes place in December 2003 in Geneva, Swiss, and in 2005 in Tunis.

In 2003 we worked with Harald Szeemann, the most well known curator in the world on the exhibition Blood and Honey – the Future is on the Balkans, which was displayed for in the famous Essl Collection (Sammlung Essl) in Vienna.

In 2005 KIBLA was as a first Slovenian art institution in charge for organising and producing the official Slovenian participation in the project European Capital of Culture – Cork 2005, Ireland since Slovenia joined European Union as its member, since 1st of May 2004. The team of more than 20 artists participated from various fields of creativity (painters, sculpturors, architects, photographers, theatre and film directors, musicians, performers, actors, multimedia producers) in the programme Enlargement in the Cork Vision Centre, based in the medieval church of St. Peter, from 13th century. More on http://cork2005.kibla.org/

Multimedia Centre CyberSRCeLab – MMC KIBLA was founded on the 4th of July 1996 as a project of Narodni dom Maribor and Open Society Institute Slovenia with the aim of training computer users from Maribor area, with free Internet access, information and advisory services on usage and data bases, and education consultations. From the 16th of June 1998 MMC KIBLA staff has legal status as an Association for Culture and Education (ACE KIBLA).

Through our concept we focus on the new (contemporary) educational, informational, advisory, cultural and artistic praxis, and scientific and, technological aspects connecting culture and technology, arts and sciences, education and research emancipating and demystifying new media as a creative tool. At the end of last century we wanted to draw a parallel between the reading-room tradition in Slovenia and Europe at the end of the 19th Century as a generator of education and culture, and the cyber reading-room at the end of the 20th Century and at the beginning of the 21st Century within the global village.

KIBLA programmes:

SRCe (Student Resource Center) – Info center for students about universities, studies, tests, grants, scholarships supported by a reference data base - the biggest on the Internet.

Cyber Lab – computer workshop, communication and information center with free access to the Internet.
Both constitutional programmes, from 4th of July 1996, are supplied with 12 free of charge public domain computers and became in 1999 officially a part of Maribor information and advisory network, which is a part of the Youth information and advisory centre Slovenia (MISSS), which is a part of the European Eryica network.

Graphical Studio KIBLA.TIF for paper and electronic publishing with workshops and training people who are interested, from 5th of July 1997.

Bookshop ZA:MISEL (FOR:THOUGHT) deals with humanistic and social sciences and arts (books, CD-ROMs...) with lots of reading matter available in the KIBLA cafe, from 6th of November 1998;

Space for art KiBela – exhibitions, performances, concerts, theatre, lectures, symposiums, fairs, workshops, adapted and reopened from 22nd of January 1999.

TOX magazine – time-table through 3000, magazine (from 1995) that grew into the KIBLA publishing edition (from 1998), made several catalogues and books, e.g. Eduardo Kac: Telepresence, Biotelematics, Transgenic Art, Vili Ravnjak: The Amber way, Aleksandra Kostič’s edited essays on Levitation, catalogues for Marko Jakše, Marko Črtanec, Mitjja Ficko, Theo Botscuijver, Shuzo Azuchi Gulliver, several CDs (Nino Mureškič, Vasko Atanasovski, Siti hlapci and CD-ROMs (for EU project European Multimedia Accelerator- EMMA) and DVDs (for EU project txoOm).

Mimogrede (By the way) – monthly newspaper with information about studying.
Reading room, from 1996;Audio room and Projection room, from 4th of July 1996;

Information and advice centre about various topics from events to soft and hardware. It's included in Slovenian information and advisory network (MISSS), from 1st of January 1999.
Entrance hall – an extra programme space for concerts, exhibitions, projections, performances, information, from 7th of January 2000, with the electronic LED display for all information about KIBLA and programmes;

Sophy's lovers – independent initiative with humanistic vision, regular humanistic and social sciences lectures Evenings with Sophy, from 1998.

Videla – digital video editing and workshops, from 2002;

Days of Curiosity – How to become, yearly Festival of Edutainment (education and entertainment), from 1997, gathers schools, pupils, students, teachers, professors and professionals to teach and learn through direct conversation, how to become something that I’d want to be.

Hidden Notes (Skrite note) – music cycle, electro acoustic music, concerts, projections, lectures, workshops;

Iz(z)ven – international festival of contemporary music, which includes also international collaborations;

Kiblix – IT Linux Festival about Open Source consists of topics as mobile technologies, open source, security on the Internet, Linux;

KIT – communication and information point in the old Maribor Town Hall (Rotovž), Glavni trg 14.

Committee for Wine Service – degustations, education, information service, excursions.

Ladle – food preparing, tasting, inventing, creating, education, information service, excursions.

INSIDE KIBLA

In KIBLA there is the possibility of connecting approx. 50 computers to the Internet (visitors can bring their own computers and have free access to the Internet or for other events). All premises and spaces are public-free-access Wi-Fi equipped and you may bring your own computer and connect to the Internet and there are also charge-your-phone supplies. Yearly we have more than 300 events with more than 50.000 visitors.

KIBLA is non-profit making organisation and institution, located in Maribor on two locations, in Narodni dom Maribor, Ul. Kneza Koclja 9, and in the old Town Hall Rotovž, Glavni trg 14. Our visitors include students, high-school kids, the deaf and dumb (who visit the Internet for the first time through us), unemployed (who search the Internet for job possibilities), refugees, Small People Association, Handicapped People Association (certified handicapped friendly institution), Institute for rehabilitation, groups of teachers have workshops, whole classes of pupils use our infrastructure – from computers to lectures and art programs – as an extra learning opportunity. We’ve hosted Walfdorf teachers, Student Cultural Association, faculties, universities, The American College of Management and Technology and we are partners in long-life learning projects with several organisations.

Our space is open to a wide range of interests; our team willingly helps all, who are stepping into the world of electronic communications. Our philosophy is growing step-by-step, relying on a multimedia centre concept – media emancipation and integration, people responsibilities, connecting art and science, culture and technology, education and (new) media, information and communication technologies with society and humanistics – ecology of thinking.
We were covered by Leonardo (MIT Press) and Flash Art and on numerous web-zines, i.e. California On-Line and in all-important Slovenian media, from newspapers and magazines to radio and TV and web.

KIBLA is based on the openness and collaboration with other institutions and individuals. We've (co)organised and (co)produced several events and festivals, e.g. International Festival of Computer Arts (with Art Gallery Maribor and MKC), Days of Curiosity – How to beome, festival of edutainment (in collaboration with or with support from Land Museum, Land Archive, Cinema Maribor, Pekarna, First, Second and Third High School, High School for Tourism etc.) Internet radio MARŠ (with Maribor Student Radio), Festival of visual communications Magdalena (with Pekarna), Linux Install Fest (with Linux User Group of Slovenia), International Peace School (with OSI, Pekarna, MARŠ, Maribor High school association, University student association, International Peace organisations), World congress of cyclist Velo-City (with Maribor, Slovene and European cyclist association), Festival Lent (with Narodni dom Maribor). Frequently we collaborate with the Association of Architects and host their exhibitions, lectures, debates, and workshops. We prepared the artistic programme for the Hermes SoftLab Company New Year’s reception, and for the opening ceremonies of fairs, e.g. Electronics, Informatics. We collaborated on the Virtual museum project on the Ljubljana Castle, first Slovenian virtual environment, together with the City of Ljubljana, Festival Ljubljana, City Museum Ljubljana, Tobačna Ljubljana and Pristop.

In 2003, for the 7th anniversary of the MMC KIBLA and 5th anniversary of the ACE KIBLA we accomplished KIPNIK, the first time ever cyber picnic in Slovenia. On the mountain Pohorje we connected computers to the Internet with wireless (radio) link and we performed multimedia programme with the real-time live transmission from Lent Festival. The event became traditional and it’s happening every year on different locations around Slovenia.

We are connected on inter-city and inter-state levels with Ljubljana, Celje, Slovenj Gradec, Koper, Murska Sobota, Tolmin, Graz, Vienna, Linz, Laafeld, Belgrade, Zagreb, Sarajevo, Skoplje, Prague, Usti nad Labem, Bratislava, Trnava, Athens, Budapest, Gyor, Brussels, Rome, London, Chicago, San Francisco, New York, Avignon, Sao Paulo… In cooperation with Ljubljana and Koper we carried out international project hEXPO – festival of self-organised cultural forms, which crossed whole Slovenia in a month and planted a seed for the Slovenian digital communication and information platform with the ambition to raise into the Slovene civil society network, that would join European and global network(s).

We were invited to join the Medi@terra 2001 International Art and Technology Festival in Athens, Greece, which is included in the Cultural Olympiad 2001 – 2004 and is among the cultural events, which are organised in the context of the Olympic games of 2004 in Athens.

KIBLA gathers professionals in their fields. From 30 regular workers, half have graduated, from technical sciences to social sciences, humanities and the arts – which puts us amongst the more educated institutions around. We are successful on the EC-Culture 2000 (txOom, TransArtDislocated, Soziale Geraeusche, TROIA, Virtual Centre Media Net, e-Agora, TRG – Transient reality generators) and FP5-IST / Framework Programme 5-Information Society Technologies (EMMA – European Multimedia Accelerator) and FP6 / Framework Programme 6 (PATENT – Partnership for Telecommunication New Technologies) funded programmes and projects. We are also a part of the eContec umbrella, which is a joint result of EUREKA multimedia and eLearn umbrella and we finished Leonardo da Vinci supported project Name multimedia (http://www.namemultimedia.com/), the Multimedia Tasks & Skills Database, researching and evaluating 26 different jobs and 96 operational multimedia tasks. NAME is presented in 9 languages, with a database of more than 650 companies from 11 countries.

In 2005-06 project INDU.PIK, which generated models for the revitalisation of the industrial heritage structures and was a part of the Community Interreg IIIA 2000-2006 initiative among Austria and Slovenia, was realised with coordinator Municipality of Velenje and partners Scientific and Research Centre Bistra from Ptuj and Telepark Bärnbach Errichtungs- und Betriebs GmbH from Austria.

In 2006 we were again successful as co-organisers of 2 multi-annual Culture 2000 projects, both are for 3 years, gRig – Guild for Reality Integrators and Generators, on visual arts, and TiE – Travel in Europe, on cultural heritage. Multi-annual project LEKTOR – Legal Knowledge Transfer Accelerator for SME cluster and Digital Business Ecosystems, which deals with the legal perspectives of the international Internet business and trade, is supported by the FP6-IST. Since 2005 we are collaborating on a multi-annual project e-Games – Empowering Youth Work supported by the Youth Programme and in 2006 we got support by the Socrates-GRUNDTVIG 2 Programme for the educational project ALDA – Adult Learners in Digital Art, which aim is fostering and support to the development of the learning partnerships among adult learners of the digital art.

KIBLA is a constitutive member of the MBMina – Maribor Information Embasy (www.mbmina.org), which gathers 7 Maribor info and advisory points and of the Slovene Multimedia Centres Network – M3C (www.m3c.si), named The Net, which includes 19 Slovene multimedia centres and it’s the first of a kind in Europe and on the world and it also got the support from the EU Structural Funds – European Regional Development Fund from 2004 until 2006 (3 years).

ACE KIBLA has got since 4th of March 2005 a status Association in public interest on the field of culture by the Ministry of Culture.

With DOBA, European business education centre, and Institute of Republic Slovenia for rehabilitation, PE Maribor, KIBLA is in 2006 collaborating on the project Innovate ascent to teaching and learning for better qualification and competitiveness of unemployed persons, financed by the European Union – donation scheme Phare 2003 and Ministry of Labour, Family and Social Affairs.

KIBLA is also collaborating on the establishment of partnership and collaboration for improvement of the situation of youth in Podravje region, which is supposed to assure successful mutual collaboration in the field of profession orientation, education and qualification, stimulation of employment and youth enterprise. Partnership appears under the name Youth in the world of work and represents network of 23 development, supporting and executive organisations from Podravje region.

Maribor was in 2007 nominated by the International Committee for the European Capital of Culture 2012. The winning application was made by KIBLA and it was chosen among 4 Slovenian cities (Ljubljana, Celje, Koper & Maribor) by the competition. Slovenia is in tandem with Portugal, where is fixed city Guimarães.

KIBLA is also co-author of the proposal for Local program of Culture of Municipality of Maribor 2007-2011, with which Maribor became fisrt city in Slovenia with such strategic document for the field of culture.

KIBLA is with 2008 the first cultural institution in Slovenia that became a coordinator of the European project of Program Culture, Strand 1.3, Special Actions, Cultural Cooperation with and in third countries. The project is connecting European countries with China through the historical figure of Ferdinand Avguštin Haller von Hallerstein, Chinese name Liu Songling (*Ljubljana 1703 – + Peking 1774), Slovenian Jesuit missionary to China, mathematician, astronomer, cartographer, and diplomat who in the 18th century travelled, worked and made researches in the countries of Slovenia, Portugal, Germany, Austria, France, Hungary, St. Petersburg and China. He was researching fields of astronomy, geography and mathematics. He was the longest living European at the Manchurian imperial court (1739-1774) and emperor honored him by a title Mandarin. Through consortium of European and Chinese partners the project artistically interprets and scientific researches his life and work.

KIBLA is the 1st cultural organisation in Slovenia that took coordinator role in the complex multi-annual project of the EU program Culture. X-OP – eXchange of art Operators and Producers (2008-2011) is gradually growing network of artists, researchers, operators, producers and centers with the aim to establish European platform for creation of art and exchange. Beside interdisciplinary art creation and production the X-OP network will focus its activities in the sustainable mobility around art centers, residencies and other spaces, places and initiatives in Europe. By long-term cooperation the partner centers – now 10 from 9 countries – wish to establish and further develop infrastructural and information supportive environment in relation to information technology, digital culture and art creation in wide aspect from art production and presentation to research and education. X-OP goal is to grow into European network of media centers.

We are looking forward to the future international collaborations, projects and programmes!

"WORKERS OF THE WORLD, RELAX!" -- MULTITUDFEST

2009-04-29T00:18:00.001+08:00

MULTITUDFEST: MayDay 2009 1PM
is an anti-work festival of sorts
@ former NARRA Dorm, University of the Philippines Diliman

"In capitalist society work is the cause of all intellectual degeneracy,
of all organic deformity." -Paul Lafargue (son-in-law of Marx) 1883 The
Right to be Lazy

There will be a picnic gathering on MayDay (1st May) at the
former Narra Dorm in UPdiliman with the slogan: WORKERS OF THE WORLD RELAX!

I guess this means we should celebrate our Right to Be Lazy for a moment and help destabilize capitalist metabolism (lessen the consumption of the earth's resources).

The MayDay picnic gathering will include various activities such as:

- Introduction to FOSS and Linux
- Hacking Culture
- The Future of Media Piracy
- Open discussion on Disposable Labor (Marinduque state college)
- What is Temporary Autonomous Zone
- Poetry Reading
- Video Installation
- Sound Performances, etc

BIOMODD [LBA2]

2009-04-05T00:05:00.004+08:00

The Biomodd Summer Party:
A Benefit

April 17, Friday10PM

M Cafe

Greenbelt 4, Makati

Music by

DJ Drumlander

Ms. Badkiss

Tengal

Elemento

and more

Art by Pilipinas Street Plan | Shirt sale | Signature drinks
FREE!!!

The Biomodd Project welcomes online donations. We accept PayPal and all major credit cards.
http://www.biomodd.net/

E.X.I.S.T. releases their first Anthology of Experimental and Noise Music

2009-03-22T13:04:00.004+08:00

Finally the boys from Experimentation in Sound Art Tradition (EXIST) are releasing their 3-disc box set of newly recorded sound experiments.
Recorded last year by Japanese noise artist Seido Toshiyuki under his label New Sound Laboratory. The box set is another important addition to the burgeoning experimental electronic music scene in the Philippines, since the first release of the two-disc SABAW Anthology of Noise, Electronic, and Experimental Music back in 2006.

For more info about the anthology and to listen to it online go to E.X.I.S.T.'s website.

Against OBAMA

2009-03-20T00:24:00.005+08:00

How stupid.

(Repost from Cavemanifesto)

First Blood
Tad Ermitano

Might as well say it: Impossible that it's a coincidence that Nicole recants and gets a visa within the week that Obama calls GMA. Sounds like some kind of Hollywood bullshit, I know. Could presidents really horsetrade over the phone? "Lissen, end this Junk The VFA grandstanding crap and let's talk. Let our guy go and we'll give the girl a visa." Nicole, VFA, Smith, US Visa. Counters in a game that's ended with Marines in Mindanao, Smith exonerated, Nicole getting a visa, and GMA getting a personal call from the poster boy of America Redeemed. Not as good as a photograph with the man but better than nothing. Everybody happy. Win-win. 'Course Filipinas wind up looking like a bunch of lying, visa-grubbing sluts, but what can you do. De Quiros defends Obama by saying it's not Obama's fault if Filipinos don't look after Philippine interests. It's not Obama's job to look after Philippine interests. Precisely. That's why we can't go jumping into any parades for the man, no matter how cute he and his family look on TV . Yeah, he's the anti-Bush, yeah he's black, yeah he wants to get out of Iraq, but none of that means he wants a new deal for the Philippines. None of that would mean his deal would be a good deal for us anyway. Like I said, Obama is not my President. Obama is not our president. He's still a goddamn American president, the CEO of a globe-spanning, military machine backing imperialist economics.You can't blink when you're dealing with the bastards.

Supplementary:
She’s now in US with P100K in payment

Nicole was sacrificed to protect VFA, US interests -- Bayan

JAPANOISE versus PINOISE musicians perform and release an anthology album

2009-03-16T19:40:00.010+08:00

click picture to zoom in for details

Visiting Japanese noise artist, TOSHIYUKI SEIDO will be performing with Caviteno electronic modder/sculptor LIRIO SALVADOR on Sunday, March 22, 6pm @ Kaida Art Gallery in Q.C.
The "exclusively sound art" powerhouse collective, E.X.I.S.T. (Experimentation in Sound Art Tradition), will also be having a soft launch of their compilation album, which was also recorded and produced by Toshiyuki Seido. After listening to the subtle and not-so subtle noise samples on Seido's website, I'm very curious and excited about the album.
Check out their blog for more updated info on the anthology album: E.X.I.S.T.

Masami Akita (MERZBOW) and Toshiyuki Seido on "TRUE ROMANCES"

Seido Toshiyuki -- Graduated from Tama Art University. Seido has been engaged in live sound art performances and industrial music for more than 20 years now. He has collaborated with number of contemporary musicians, ballet dancers and performance artists producing videos and performing live sound art performances in Japan. Seido recently produced audio CD’s entitled ‘Time Aspect 1 (June 2007), ‘Time Aspect 2’ (September 2007), ‘kkiba003-4 Sound work (New Art Laboratory), ‘kkiba-004’, ‘kkiba-003’, and ‘in1994’. The newest is ‘the Manila Golden Noises Album’, a collection of recorded live noises using the city noises of Manila.

Seido’s performance debut in the Philippines was held at the Metropolitan Museum of Manila in 1994. In 2006, a ‘piano-noise’ duo sound art performance with Takumi Ohminami was held at LRI Design Plaza, Makati City and at the College of Music of the University of the Philippines in Diliman in 2007.

In his statement, his sound work “are electronically or physically generated sound, sound from musical instruments and everyday sounds juxtaposed together to create another sound” His act of “making noise” started with complete silence, similar in starting a painting using a blank canvas. His sound installation are arranged sounds as if they are particles to be released into the space or environment”.

At present, Toshiyuki is producing a triple set CD’s with Filipino avant-garde musician group called E.X.I.S.T.

HONF: BREAKCORELABS LIVE STREAM TONIGHT

2009-03-14T15:42:00.005+08:00

Friends from Indonesia, The House of Natural Fiber (HONF) are having their online stream buffet on breakcore sounds later tonight at 7:30 PM (GMT + 7) Indonesian time.

Itunes/Winamp/Windows media player/etc
http://streaming1.deadmediafm.org:9936/breakcorelabs.m3u

live streaming begin at 19.30 WIB (GMT+7)
DeadMediaFM - podcast, mp3, streaming radio, video download
Source: www.deadmediafm.org

Click the picture above to play the live streaming via browser, or u can use winamp/windows media player.

info from their site:
BREAKCORELABS
As for continuity of the previous breakcore_labs, HONF are preparing to bring the second edition of breackcore_labs. This second edition now is in preparation stage to scheduled the event on Saturday, 14 March 2009. (Hell we wanted to make it on 11 March for supersemar!!! but it’s not on weekend). Until now HONF have confirmed several lineups for breakcore_labs 0.2 - pork eat pork. This magnificent pictures was taken from Indonesia eating behavior. Disregarding the pictures; Geez now I’m hungry…

[FYI: Indonesia is predominantly Muslim and it's forbidden to eat pork.]

lineup:

- Godmode

- Individual Distortion

- DJ Dash

Visual lineups (a follow up VJ school program on YIVF#04):

- vjnumberone

- VJ Manticore

- VJ Fajar LP

- VJ Desiree

M.A.M.: Field Trip - field recordings and soundscapes of corporeal and imagined environements

2009-02-23T12:11:00.006+08:00

Media Arts Manila in cooperation with Green Papaya Art Projects presents

FIELD TRIP
field recordings and soundscapes of corporeal and imagined environements

February 25 (Wed) 9 p.m.
Green Papaya Art Projects
41 T.Gener St cor Kamuning Road, Quezon City (near Brahma Kumaris) MAP BELOW
FREE ADMISSION
http://mediaartsman ila.blogspot. com/
http://www.greenpap ayaartprojects. org/

The M.A.M. tour bus stops over at the Green Papaya Art Projects and ushers us through an acoustic safari of feral atmospheric fauna. Featured artists present their original phonographs, creating immersive environments through the manipulation and playback of captured ambient sounds.

autoceremony, Blend:er, Grnd Ctrl, Mark Laccay, Mannet Villariba serves us their own brand of improvised acoustic ecology.

Improvised video by Edsel Abesames and Tad Ermitaño.

This show is supported by Globe.

Edsel Abesames is a video editor / motion graphics person / director / racketeer / guitarist / poser / anime fan /overweight 32 year old / discontent drunkard.

autoceremony a.k.a. Jing Garcia sound artist and award winning music producer. He established the Children of Cathode Ray backed in 1989, one of the early experimental and sound art groups in the country. Produced several music albums for different alternative music artists in the 90s. He is currently the tech editor for The Manila Times and Speed Magazine. He also hosts a tech segment on the late evening news on TV5

BLEND:ER a.k.a. Cris Garcimo is an electronic music creator and a noise enthusiast who lives in Cavite, Philippines. He started experimenting with audio acrobatics and technoid sonic landscapes in 1999. Being included in various album anthologies like Mood Swing Theater Volume 1 (2004) released by Kittenwhip Compilation and S.A.B.A.W. Anthology of Noise, Electronic, and Experimental Music (2004), Blend:er has often collaborated with E.X.I.S.T., SABAW and Electronica Manila artists.

Tad Ermitaño is a media artist, writer and filmmaker. As far as the media art goes, he is interested in algorithmic/ procedural editing and composition, new uses for the moving image and have been lately drifting into elementary robotics. His work "Quartet" was exhibited in the recently concluded International Symposium for Electronic Arts (ISEA) in Singapore.

Grnd Ctrl a.k.a Christian Martelino Concepcion, a manila based art director, experimental musician, DJ and event organizer. His breed of work roots from his propensity in the field of music and design. It is his passion for avant-garde films, art, fashion, experimental music and bizarre imagery that led him to create audible pieces as well as to do graphic design work. It wasn’t until implementing his studies of traditional fine arts and his enthusiasm with avant-garde music that began his realization of his ideas, philosophies and visions by combining dissected sound textures with rhythm, to create soundscapes that pierce images inside our minds. His currently an active band member for the ambient/experimenta l/industrial band "The Slave Drum", busy with his own electro industrial act "Decay Transit" and does solo performances as "Grnd Ctrl". Uses both traditional and non-traditional sound sources with using samplers, synthesizers, transducers, effects and anything he can get his hands on. Has participated in several events from various production outfits and his group called "Circa1849".

Mark Laccay is an award winning Audio Engineer who is the CEO of Sonic Logo Multimedia Inc. and a managing partner of Sweetspot Studios. He has worked as a Sound Designer for various films and is the main audio consultant for the "Dr. Jose Maceda Collection Digitization" Project. As an educator he taught audio classes at DLSU-CSB. He recently returned from the Austrian Academy of Sciences where he acquired a certificate of Audio Tape Restoration and Digital Audio Archiving.

Mannet Villariba is a performance artist, painter, sound artist, visual programmer and designer. He has been active in diverse fields of art and design - including research and development. Yielding the outputs of sounds, images, and light through analyzing and transforming the numerical values gained from various sensors and input devices, he is a visual artist pursuing sensual peculiarity and interaction.

Two-part essay on Love

2009-02-11T23:23:00.007+08:00

“HEART, BEATING IN THE DARK”

“To try to write love is to confront the muck of language: that region of hysteria where language is both too much and too little, excessive and impoverished.” – Roland Barthes

“I have an empty head on love in general. I'd either have nothing to say, or I'd just be reciting clichés”, as philosopher Jacques Derrida aptly put it once during an interviewⁱ. Sharing the same sentiment, this is not an essay about love in general. However, I would like to question what this quote below means:

"There is no love; there is only proof of it."ⁱⁱ

Until now this quote is still as puzzling as it was provocative when I first encountered it many years ago. Its conclusiveness is kind of demanding especially towards a subject that has seduced many people: especially philosopher and poets who have elaborated or ruined (whichever way you want to think) its meaning. The paraphrased quote (it was translated from the French) is from Robert Bresson’s classic film Les dames du Bois de Boulogne, whose dialogue was written by poet Jean Cocteau. Despite it being a very elusive quote to fully grasp intellectually, it had somewhat made some sense to me, in perlocution. Despite having told myself to avoid talking too much about things I don’t really know much about, I’d like to muse on this quote.

A female friend who always fights with me once said “isn’t our fighting a form of love?” If that would be the case, what would that imply about love? Many people will say their favorite cliché notions of what love is: love is compassion, honesty, trust, admiration, the thing that compels one to be attracted to doing this or be attracted to this object, person, idea, etc, this and that… Much of the modern concepts of love have seemed to reduce love into materially contractual states¹ of one’s experience to the other. It means that love in some way has become a sort of commodity, or a tangible, self-conscious and self-evident, useful social “contract” among people. Unlike the idealists of the ancient world, the Greeks for example, have elaborated on love significantly and prescriptively of what love is and what other people should be doing when enamored with it. Plato presents eros as being consistent with his notion of “The Forms” – unchangeable, eternal metaphysical concepts of Truth. Aristotle on the other hand, considers philia, and its importance to egotism² and altruism, as necessities in order to achieve happiness. And more memorably, St. Augustine’s famous take on his religiosity and idealism on God and love (and he uses love as contingent with God)³ is evident in his beautifully-put adage: “the measure of love is to love without measure.” My point is: love, (like much of modernity and the so-called post-modernity)⁴ seems to be always defined through something else. It is impossible to define what love really is as it really is.

If you cannot know it, does that logically imply that you cannot believe it? If beliefs are representational we can only believe things we are sensitive (senses) to.ⁱⁱⁱ Love is after all simply a four-lettered word too. And like many other powerful words, we know its power and its implications since we use language to better the understanding of our experiences. So is love simply just a concept? Maybe so, however uncertain I am, there are seems to me “only proofs” of love that we could account for. This is so since love as a concept can be understood and experienced through something else that exists in the external world.⁵ If we would only relate love to our thoughts without having any actual transactions or “proofs” that define what love is, then love can never completely exist in our heads, and we may never know what love really means. It has to relate to something else “out there.”⁶ And it is through these things that are in the external world that can help us conceive of concepts. These concepts are compelling or convenient ⁷ for us to justify our beliefs about a thing in the end. And the implication of having knowledge could also imply that our beliefs are true. (Maybe, but I am not sure. I am simply speculating. I am still open for doubt.) If we believe that love exists, it is because there are data and experiences that we gather from the external world and it provides us justification to our beliefs.^iv Therefore, love is a relatively abstract concept. A concept defined through real transactions in our world of experience. So the cliché notion that “God is love” is nonsense. Because God is supposed to exist outside (or beyond) our world of experience.⁸ I won’t expound too much on this but my point is you can experience love more easily because it is defined through something else that already exists in our world of experience. Its results are more direct and case-specific. The main quote is peculiar because it is opposite of the doubt that religious people or “believers” usually encounter: “there is a God but there is no proof – or there is a God but how can we prove it?” But this is rather a boring subject to talk about, and a circular argument so I won’t get into it. A deadend. In a way, love is more important than God, or at least for me; because I can have direct transactions or “proofs” of love than I would with God. I am not really claiming that I know what love really is. Everything I can know about love is based on what I have experienced. And from my experience it is not enough for me to talk about it further. I have really no general opinions of what love is. I’ve only talked about the quote on the first page.
It is impossible to define what love really is without relating it to something else. Reductionists would say that love is simply a result of certain chemical imbalances that occur in the brain that makes us feel this and that – but this is a rather extreme point of view. Are we really ready to accept this?

The pioneer of deconstructionism, Jacques Derrida, also had shared similar idea that love is defined through its relationship with other things; but for him there is a clear division on the who and the what.

“The history of love, the heart of love, is divided between the who and the what. I think that whoever starts to love, is in love, or stops loving, is caught between this division of the who and the what. Do I love someone for the absolute singularity of who they are? For example, I love you because you are you. Or do I love your qualities, your beauty, and your intelligence, etc? Does one love someone, or does one love something about someone? Often, love starts with some type of seduction. One is attracted because the other is like this or like that. Inversely, love is disappointed and dies when one comes to realize the other person doesn't merit our love. The other person isn't this and that. One wants to be true to someone – singularly, irreplaceably – and one perceives that this someone isn't x or y. They didn't have the qualities, properties, the images, that I thought I'd loved. So fidelity is threatened by the difference between the who and the what.”^v

Since childhood, we are taught to think of love as a singular entity. Whether it is God's love, marriage, passion, or patriotism, we are taught to think of love as a unique and exclusive prize. But as semiologist and philosopher Roland Barthes' points out in his book “A Lover’s Discourse”, love is built upon fragments, many of which are mundane. The most compelling part of "Lover's Discourse" is Barthes’ dissection of the phrase, "I love you". Drawing upon literary examples and common sense, Barthes asks us what we mean when we state that we love someone. Do we love what they do for us? Do we love how they make us feel? Do we love the idea of them? Are we in love with love itself?^vi This concept is borne out by the protagonist Merseault, in Albert Camus' novel, “A Happy Death”. The first thing Merseault says to his lover when she wakes up in the morning is: “hello image”. Extracting love from ideology and examining it under a microscope, the deeper inquiries about love may confuse our eyes even further; but the view contains more than a glimmer of reality as much as faint murmurs of a heart, beating in the dark.

References:

Roland Barthes: A Lover’s Discourse: Fragments
Fred Dreske: The Epistemology of Belief (excerpts)
Plato: The Symposium
Aristotle: Nichomachean Ethics
Albert Camus: A Happy Death and L’estranger
Jean-Luc Godard: Éloge de l'amour (In the Praise of Love) (2001), b/w and colour, 97 mins, feature film
Jacques Derrida: TV interviews (culled from youtube.com)

Endnotes:

1 Love as a form of social contract – this idea is usually associated with marriages. This is based on my own experience and observation, but at the same time is resounded among many modern cultures and cultural expressions (literature, movies, etc) and in some writings of post-modern philosophers like Derrida and Barthes. For example, this experience of bliss and joy that I find in love is defined through the relationship between me and the ability of another person to project a kind of comfort that I seek (materially, sexually, socially, or intellectually) with whom I project my love to. That’s why I think marriages are done, more often than not, out of necessity and practicality.

2 This does not mean that Aristotle is egotistic, but he considers self-love to be the highest form of philia, following a logic where in order to love another, one must love himself first.

3 This contingency is popular to most Christians (let alone religious people of any religion), and even more extrem e that its usage, because of popularity has gone beyond the contingent relationship and became interchangeable – as evident in this popular phrase “God is love”. Which I will show in this essay that this is not so.

4 The plight of modernity and even more, post-modernity is that everything is defined through a historical spectacle. Philosophy, technology, cultures, etc – all cannot escape the clutches and demands of history.

5 External world is the living, real world that is independent or separate from our thoughts/mind. The world of experience.

6 Again, the world of experience.

7 If there are substantial sense-data, facts, etc, but we’ll not go into that… it is obvious that I am leaning towards externalism.

8 The world of appearances or the world of sensible things.

i Jacques Derrida - TV interview: http://www.youtube.com/watch?v=dj1BuNmhjAY

ii Les dames du Bois de Boulogne (1945), Robert Bresson

iii Fred Dreske: The Epistemology of Belief

iv Fred Dreske: The Epistemology of Belief

v Jacques Derrida - TV interview: http://www.youtube.com/watch?v=dj1BuNmhjAY

vi Roland Barthes: A Lover’s Discourse

AUDIOLAGE: Experimental music and related video performances

2009-02-09T14:19:00.004+08:00

Featuring sound artists:

Aurora Borealis vs. Joee Mejias of Stormy

Blend:er vs. Ugong vs. Mark Zero

Nyabinghi vs. Inconnu Ictu

Etniktronika

Down Boy Down

Elemento

live video manipulation by:

Mannet Villariba

and

grnd+ctrl

======================

February 10, 2009
9:00 PM
Mag:net Cafe Katipunan

MAP

E.X.I.S.T. (EXperimentation In Sound art Tradition)

E.X.I.S.T. is a not-for-profit sound art collective and movement. It’s a loose organization among sound-artists and musicians.

It aims to educate people about Experimental Music and Sound Art as an interdisciplinary art form. E.X.I.S.T. commonly engages in the use of found objects and environmental sound as a medium. Moreover, they explore with any of audio technologies (both analog and digital), including creative electronic manipulation or the process of creative audio short-circuiting also known as ‘Circuit Bending’ which is also an integral part of sound art experimentation. Another technological aspect explored is the computer’s capability to generate sound. In this field of study, one examines both the theory and application of new and existing technologies in the areas of music and sound design.

Sculpture, Performance Art, Multimedia and other conventional art form and techniques can be also incorporate and merge on the process and methodology.

Sound art also gives emphasis on the creative production and presentation of ‘sound’ not necessarily the ‘music’ which becomes just one component of the endless possibilities of sound art, and the total characteristic of sound and its medium.

E.X.I.S.T. continues the tradition of Experimental Music and Sound Art by organizing concerts, exhibitions, symposiums and workshops in art galleries, art spaces, universities, and even conventional channels such as music bars, cafés, and open space venues. It also serves as a channel to promote Experimental Music and Sound Art here in the Philippines, opening more people to recognize it as an individual and interdisciplinary art form.

Feature on Business World: Out Now.

2009-01-16T13:06:00.013+08:00

Ah, yes shameless plugging. We are all guilty. But with the abundance of web 2.0: networking sites and the like, how can we not be tempted?
Anyway here's the unabridged interview for a feature in Business World January issue that "will focus on young artists who are on the bleeding edge of their chosen art".
On shelves on January 16, but you can also find the link here on the business world website: Feature

Reporter: Sam L. Marcelo, Business World

I'm sure you don't like labels, but for the sake of expediency, could you describe your "sound"?

To encapsulate music of this kind into labels like: “sound art” or “experimental music” as a descriptor is a cop-out. Simply because there are various elements, cultural references, schools of thought, fusion of styles, techniques, as well as the technological contributions towards music-making are many-faced. To disregard this whole process by simplifying it into categories that are ambiguous isn’t really doing the work justice. Even the term “experimental music” coined by John Cage as "an experimental action is one the outcome of which is not foreseen"; seems to undermine the great amount of thought, planning, and effort on the music creation.

I don’t like describing my music as simply sound art or simply calling myself a sound artist. I probably am contributing towards the Western ideals in which I would prefer calling myself a composer, among other things. Since I compose sound towards a particular order or end.

The majority of my work involves a great deal of improvisation and collaboration. I work with electronic (computers, etc) and acoustic instruments and interactive ensembles, video graphic instruction scores, structured improvisation, and mathematical algorithms. When I was starting out, I was sampling a lot and was inspired by the “plunderphonic” works done during the late 80s/early 90s as well as musique-concrete during the 50s. Extreme Cut and Paste. And I often used a lot of sound layers from synthesizer-based softwares and most of my performances were generally LOUDER. Although in recent years, the majority of my solo work has been greatly focused on microscopic electronic sound worlds coming from the very electronic devices themselves: the sound of machines – the buzzes, hisses, glitches, electrical cracks, sine waves, and the raw sound of analog and digital data.

I love music and all of its many faces and genres/styles. I do not limit myself in doing only one particular kind of style, I try to combine them in the hopes of creating something I have never (and hopefully you’ve never) heard before. I have 23 albums upcoming right now and each one of them is distinctly unique from one another. I had challenged myself 3 years ago to create 20 albums (and only last year I added 3 more to the list) in a span of a few years time. In the list, I have solo work, ensemble music, film scores, non-electronic works, artist collaborations, free jazz albums, an electronic verbo-psycho opera, avant rock albums, hip hop and dub inspired albums, cover songs, even a Japanese pop-inspired album. Of course all of these will still be twisted further inside out.

Expect it to be complete by July 23, 2010; but I have been releasing them sporadically throughout the years. I plan to collect them all into a box-set and name it, “My Education”.

How different is it from what's heard on the radio?

What do you mean? If you meant, popular radio channels, then definitely these songs belong to another set of radio listeners. There are a lot of radio channels abroad and in the internet that host this kind of music. BBC even has a regular experimental music program, as well-established radio stations would commission established experimental composers to produce experimental radio pieces produced specifically for radio. Nowadays, radio has become powerful through the digital revolution, and this has opened more opportunities and options. Take the first ever automated internet radio station for real-time generative music, “rand()%”, as an example. Generative music is simply ever-evolving music that auto-composes itself as it goes along, and is based on algorithmic instructions programmed by composers, sound artists, programmers.

Maybe there are not as much radio opportunities here for experimental music; mainly because there is still a great deal of lack of proper dissemination of this music towards the general populace. But there are always alternative channels that cater and focus on this music elsewhere.

However, one fact also that is usually taken for granted remains, that like the majority of art, this kind of music is never for the masses.

Gangan Ensemble (L-R: Malek Lopez, Chris Brown, Caliph 8, Tad Ermitano)

How alive is the experimental music scene in the Philippines? Do you have an audience? Are people receptive?

When I was starting out I was totally ignorant with the experimental music scene here. I only knew a few artists who were doing the similar things. Early performances were held in art spaces and galleries usually during exhibit openings. When I compiled and produced an anthology album before, this was when I discovered most of these artists (that I still work with to this day) I never knew existed before.

This album, SABAW anthology of electronic, noise, and experimental music, was released in 2006 and had gained some recognition of some sort in the local underground scene. It was the first attempt and I plan to follow it up with more anthologies, this time involving international artists in the region and beyond. However, I was much thankful to have met all these artists from different parts of the archipelago; some of which have been doing experimental music for a little over 2 decades – namely Elemento and Children of Cathode Ray.

I gathered them by creating a few experimental music gigs in more open-minded bars/spaces like Mag:net and the now defunct, Future Prospects. Usually our audience before would leave after an hour or so. There was even one show that only had 2 people.

During our first few shows, the audience was mostly composed of fellow artist friends and artist-enthusiasts. But throughout the years, we’ve been gaining more curious people who were not really connected to the art scene. People always have mixed feelings about these performances. Some of them would simply be mesmerized by the visuals (we incorporate videos during performances), or by the musician’s performance and theatrics, but rarely would they understand the music. Sometimes when I perform, I would see some people bobbing their heads to the music, some would chatter with their friends and not care, and I even had a female foreigner who had approached me and told me off for being too loud, and that she found it erotic nevertheless.

I guess we have a better audience now than before. We have attracted more curious people throughout the years, and recently our quarterly gigs were always full. This has been long overdue. I think the public is ready.

Transmissions Gangan, 1.10.09

Why didn't you buy in to traditional forms of music or the mainstream? How did you get into your field? Were you always interested in sound, per se?

Either I am not really sure or I have simply forgotten the initial reasons why I got into this. But I have always been interested in music. Apart from my early interests in the moving image, and more recently, interactivity and media art, I grew up in a musical family. My father studied opera and history, my mom came from musical theater, my aunt is an internationally successful, well-established opera singer, and my eldest brother was a professional musician. I played piano at an early age but I stopped, but my teen years would still be immersed in musical activities by playing in rock bands and such. I started out with conventional instruments (drums, bass, alto sax, guitar, etc) then recently shifted to computers and electronic devices. I studied music for a year and a half and played in jazz ensembles, sessioned in pop bands, but I was already pursuing my own material which was totally opposite from all this exposure I got in the music world. I don’t simply want to push the boundaries of taste… I want to break through the surface and dig inside and plant seeds.

There was a definitive decision years ago when I turned off my radio and TV, stopped listening and going to popular music gigs, to dedicate myself to years of immersion into libraries of art, sound, literature, and history of the whole spectrum of art and music. Although I have recently stopped this kind of isolated study, I am still constantly inspired and learning from new experiences and new people, ideas, thoughts, social or cultural nuances, works, and sounds that I encounter. This is what still keeps me in this field. There is always something interesting (and something that could be more interesting if I or someone else could do something with it) around the corner.

Could you tell me more about SABAW? What are some of your accomplishments?

SABAW media art kitchen is a not-for-profit, artist-run initiative and a platform for all kinds of information and communication carried via modern electronic media, with an emphasis on the region of South East Asia. Initially it started out as a monthly concert production, a mailing list, a loose collective of experimental musicians and media artists, and a DIY record label in the Philippines. As a DIY label, we have produced and released around 8 albums from local artists and released the first ever anthology of experimental, electronic, and improvised music -- documented work from the past 2 decades.

SABAW is translated as "soup" in Filipino. It's a mixture of food ingredients; with openness to experiment or to use existing recipes with combining ingredients such as meat and vegetables with boiling hot water, until flavor is extracted, spices are added, forming a delicious broth. This could be analogous to what SABAW is supposed to do with media art, experimental and electronic music, and cross-platforms between media art and other art practices. A soup is formless and takes shape with the bowl or container that holds it. Also, soup can be served cold.

After various transformations and roles, I decided to shift SABAW’s focus to address the lack of proper dissemination of information in media art, experimental and electronic music, and media culture in South East Asia to the general public and candid exchanges between sub-cultural and academic initiatives. SABAW is also dedicated towards the facilitation, publication and exposure of creative and experimental works of people who find it difficult to release their material through more conventional channels. This is a recent direction we are moving and working towards. We are currently working on our internet network and websites, and we plan to utilize web 2.0 seriously for this kind of dissemination to the public. It will be an online art map -- a network of information, data, and people. We’re trying to expand our collaborative efforts to other countries in South East Asia particularly Indonesia with the House of Natural Fiber, in Malaysia with EMACM, and the Choppa collective in Singapore. It’s a long and grueling process, but we’re trying to pave the way for an international collaborative effort in this region that would last for years to come.

SABAW: An anthology of Noise, Electronic, and Experimental Music 2006

When you're composing, what inspires you? Do you have any idols (on your blog, you recently posted a link to George Brecht's obituary, was he a major influence?)

I am not really sure what an “influence” really is, in general. In my mind what is transmitted are not “ideas” but “languages” – forms that which can be filled in different usages. I see things in the perspective of “references” that are freely circulated; which I think is more appropriate than influence. I take things from so many existing “languages” from people, works, historical literature, and those brought about by curious experiments. My generation is the generation that abuses the directly accessible amount of data that is freely circulated everywhere, esp. in the internet and media piracy – which I think is a cultural revolution. The ability to reproduce what used to be inaccessible, like dvd films of Bela Tarr or Dovzhenko’s Earth, which used to be found only in elite film libraries, are now being sold in the streets for 50 pesos. And in the internet, you can get anything, even wives. This is the digital revolution. Media culture in the high rise.

However, this is really a hard question since there is no definitive, central, or singular influence that could define my work since it still is evolving and the list below are things that inspired me in terms of formulating my own music. This is different from the music that I simply enjoy listening to in my own time, without thinking of it inspiring me to write similar music.

What recently (and what continually) inspires me in music are the minimalist electronic improvisation movement in Japan and Europe (Sachiko M, Toshimaru Nakamura, Mego records, Erstwhile records, poire_z ensemble); the jazz ensemble work of Otomo Yoshihide; Ennio Morricone’s film scores; John Zorn because of the variety and sheer expansive body of work and his focused dedication to new music and it’s promotion; the microelectronic world of Ryoji Ikeda and Tetsuo Inoue’s Fragment of Dots; the Boredoms and crazed avant rock bands; Jose Maceda’s recent recording of his masterwork, Strata; Eyvind Kang’s 7 Nades; Christian Fennesz’s melodies; Ikue Mori’s improvisational performing style; Tujiko Noriko’s sweet strange music; and the boxset release of The Hub, a pioneering computer improvisation ensemble predating laptop bands.

When newbies first hear your music, what should they keep in mind?

There is nothing wrong with your radios.

Could you talk more about Situations of the Flesh? When is it opening? What should people look forward to?

Situations of the Flesh, as it is loosely titled, is a solo media art installation exhibit, but I am collaborating with a few artists as well. It is actually two installation works that interact with each other. This conceptual multi-media installation consists of digital video and audio, as well as utilizing kinetic structures, sculpture, natural sand, performance, RFIDs (Radio-frequency identification tags), computer software and the internet.

It is a treatise and an exploration on the concept of body, and all of its derivations: the human body, a body or a system, the immaterial body of the virtual world (the internet), and the symbolic (i.e. the church as a “body” for a collective spiritual communion with God). However, I am particularly interested in how the physical body has long been manipulated by its relationship with cultural, religious and political institutions, to the point of self-mutilation. What is being explored is the body as a construction of forms of discourse, obligations and mechanisms of control. Presented there are methods, trends, acts of rebellion, mutations and images of humanity undergoing transformation.

I recently got a grant from the NCCA to realize it, and it is still in pre-production. Expected opening would be this May 2009. Hopefully.

Situations of the Flesh (work in progress)

If people want to buy your music, where should they go?

SABAW is currently working towards this kind of dissemination. Once the internet website is done, all the music online can be downloaded for free, as we would also have P2P (peer-to-peer) exchanges: torrent files, soulseek community, etc. However, we would still be pressing out real albums but this will all be made to order. I still have some albums I think over at Mag:net Café in The Fort and Ricecooker DIY store in The Central Market Annexe in Kuala Lumpur. That’s about it. I ran out of copies of all the SABAW material, including my own.

We’ll be reprinting new stuff soon, hopefully.

Photo credits: Shale Albao, Top Manalo, Miyamoto Musashi, Poklong Anading

OPEN STUDIO SESSIONS: CHRIS BROWN / GANGAN ENSEMBLE

2009-01-06T17:35:00.010+08:00

OPEN STUDIO SESSIONS

CHRIS BROWN / GANGAN ENSEMBLE

JANUARY 8-9, 8-10PM
Green Papaya Art Projects

Because ours is a time obsessed with transparency as it is always more interesting to see behind the thought process of any creative endeavor. Even more so now that art is increasingly becoming another fashionable trend. Hang around exhibition openings and for sure you will catch conversations among collectors and enthusiasts mulling over the hottest ‘fashion finds.’ Well, it’s a wait-and-see now with the global financial crisis looming over our shoulders. Still what has market dictates have to do with obscurantist experimental sound practice? Precisely the point, as it neither appeals to any commercial or accessible taste, it looks back at our consumptive compulsions driven by a world manipulated by desires.

The OPEN STUDIO SESSIONS invites the public to re-think their position in the process of artistic production. A seeming back-stage pass, only this time there are no VIP lines! For two days, CHRIS BROWN and GANGAN ENSEMBLE open up their creative space to the public as they negotiate their way around the creative process, strategies of collaboration, methods of performance and composition of electronic music and radio transmission – touching upon various issues in composition, improvisation and performing electronic music. The sessions lead up to TRANSMISSION GANGAN, an open air video/sound performance at the parking space of CUBAO X on January 10 at 9pm. So come, if you are the action-hero-film type, this is the best time to catch the artists as they wrestle each other’s process.

FREE ADMISSION. BAR OPENS 7PM

IF CREATIVITY IS THE FIELD, COPYRIGHT IS THE FENCE

2009-01-06T14:44:00.003+08:00

Strong words.

"If creativity is the field, copyright is the fence."
- John Oswald, Plunderphonics, or Audio Piracy as a Compositional Prerogative

So Blogger tore down my pretty invite for TRANSMISSIONS GANGAN.

I have no idea why they took it down? I mean it has never happened before. Maybe they just were envious from the pretty poster.

Click here to see what the original URL contained: Transmissions Gangan

Letter from Blogger:

from support@blogger.com
to TengalD@gmail.com
cc blogger-dmca-notification@google.com
date Tue, Jan 6, 2009 at 3:12 AM
subject Blogger DMCA takedown notification
mailed-by blogger.bounces.google.com

Blogger has been notified, according to the terms of the Digital Millennium Copyright Act (DMCA), that certain content in your blog infringes upon the copyrights of others. The URL(s) of the allegedly infringing post(s) may be found at the end of this message.

The notice that we received from the International Federation of the Phonographic Industry (IFPI) and the record companies it represents, with any personally identifying information removed, will be posted online by a service called Chilling Effects at http://www.chillingeffects.org. We do this in accordance with the Digital Millennium Copyright Act (DMCA). Please note that it may take Chilling Effects up to several weeks to post the notice online at the link provided.

The IFPI is a trade association that represents over 1,400 major and independent record companies in the US and internationally who create, manufacture and distribute sound recordings (the "IFPI Represented Companies").

The DMCA is a United States copyright law that provides guidelines for online service provider liability in case of copyright infringement. We are in the process of removing from our servers the links that allegedly infringe upon the copyrights of others. If we did not do so, we would be subject to a claim of copyright infringement, regardless of its merits. See http://www.educause.edu/Browse/645?PARENT_ID=254 for more information about the DMCA, and see http://www.google.com/dmca.html for the process that Blogger requires in order to make a DMCA complaint.

Blogger can reinstate these posts upon receipt of a counter notification pursuant to sections 512(g)(2) and 3) of the DMCA. For more information about the requirements of a counter notification and a link to a sample counter notification, see http://www.google.com/dmca.html#counter.

Please note that repeated violations to our Terms of Service may result in further remedial action taken against your Blogger account. If you have legal questions about this notification, you should retain your own legal counsel. If you have any other questions about this notification, please let us know.

Sincerely,

The Blogger Team

Affected URLs:

http://tengalgorhythm.blogspot.com/2009/01/transmissions-gangan.html

Lifetime Warranty: Notes on the Khaosan Road Project

2008-12-22T17:13:00.024+08:00

Something I wrote for Asia-Europe Foundation as part of the 5th ASEF Art Camp series last March 2008. The series brings 22 artists from 19 countries in Asia and Europe converged in Bangkok to work on the theme, Re-Vision Bangkok | New Media Art and Interactivity, a process to explore the possibilities of connecting new media art practices to the relational aesthetic concept. On their website, they have the publication of the whole event out already and can be downloaded here for free: ASEF Publication

More info here: Re-Vision Bangkok: New Media art and Interactivity

LIFETIME WARRANTY

"In my opinion, the majority of tourists come to Khaosan road because they want to visit and touch authentic Thai culture. The real conditions of what comes close to Thai culture will be the Phad Thai Trolleys, Thai Massage salons and even hill tribes who sell jewellery and wooden toys, but Thai people don’t buy such items because it doesn’t represent authentic Thai culture."

- “Kawtoo” Preeyachanok Ketsuwan

Khaosan road is a tourists’ ghetto.

Despite the crude, derogative, and exploitative connotations of that sentence, there is a sensitive eye and much vibrancy that could be discovered at this tourist squalor of contemporary Thai society. Electrical billboards and sizzling sounds begin at dawn and last until late night hours. The road itself is a plethora of touristic clutter: one shop/bar/restaurant/hostel situated one afer the other with no particular order. This road is a very active and vibrant community in its own right; where local and foreign people alike commune and interact daily in a fringe habitat filled with commercialism, transience, relaxation, discovery, and amusement. With this in mind, constant change is a given, where transience becomes a vital part of a transition between people and the road.

Amidst this chaos, there is a pre-school hidden against a background of billboard clutter and commercial noise. This school, Phimarnvit, has been situated on this road since 1919, and is run by a Muslim family who has had a long enduring tradition of religious, political, and racial tolerance. The discovery of this school has given our group a fresher perspective towards

the road itself, providing a contrast and adding signifcant meaning to the road. The fieldwork presentation of Khaosan road group was a result of the group’s immersion with the school: interviews, befriending people, playing with the children, attending their ceremonies, as well as sitting in their classes. The simplifed documentary on the school was a result of this immersion with the road; however was derived from a long group process that was as tumultuous as the Khaosan road itself. The process of documenting the school and the process of working with the road is as important and interesting as the actual process of our group’s individual conficts and approaches towards the task given.

The 2-minute trailer seemingly familiarises us with the family-run school and its daily life. In many ways it is a rough sketch of a myriad of possible pages, chapters, stories, and relationships between the school, its inhabitants and the road. This sketch was done with the intention of expanding and evolving the initial result (the trailer and the various collected documentation) into a full-blown documentary about the school and its relationship with the Khaosan road community.

The Khaosan Road School

The Phimarnvit school follows the lineage of family tradition of passing the school duties from one generation to the next. Mrs Lalita Phimarnvit, the head dean is a judge and an educator. Which one she considers as a profession or a passionate hobby from the two, I don’t know. The school itself is a small, dilapidated, primary school ofering the usual prescribed curriculum in Thailand. However, what sets it apart is that it offers various interestingly peculiar classes such as: foreign language classes (English, Japanese, Chinese and Italian), they do short time workshops like Thai massage, hair braiding, and henna tattooing. These extra classes are taught by a unique set of volunteers, usually travellers themselves in Khaosan, though some are professional tutors or teachers, who are eager enough to ofer their skills with minimal or no salary at all. As my group mate, Birte, puts it:

“The very remarkable thing about this school is the children participating in each others religious practices. In my opinion it’s the base for freedom and wisdom, and it seems to be one of the most modern pedagogic systems. You can feel this spirit in the way the family runs this private (self paid) institute. It certainly points out that in the middle of a commercially established place someone is giving an impressive example of non-commercialisation and taking the chance of a situation by involving the development, instead of just resisting the pressure of commerce and the backside of globalisation. In this very place the most valuable good is handed over sometimes even without payment.”

In one sense, one could see the school being an “island of its own,” though this label would do them no real justice since they are active members of the community. How then would one explain the extracurricular classes offered? The school seems to have evolved through the years roughly at the same pace as the road’s evolution, inspired by its surroundings; keeping themselves updated with the advancements of trends and tourism of Khaosan road. However, the documentary trailer on this school let alone the sudden shift of focus towards the school and not the road, was a surprising turn in our group’s tumultuous process of fnding the right solution amidst our varied and diferent initial approaches towards the Khaosan road.

The Process

I think it is best to talk about the context of the presentation through the process on which the series of events that led to it, in retrograde. By turning it upside down, I attempt to avoid straying too far away from the main result, also to discover things as opposed to narrating it chronologically. The trailer for the documentary was a result of a sudden decision we as a group undertook in the very end. Having already enough footage and sound bites to make a trailer, we were clear that we were going to forget all previous ideas and plans we all had with this footage we collected. We decided to “forget about a fnal result or an art piece” and present a socio-cultural documentary flm instead. We decided that we should also “try to get to know more about the people’s motives, focusing on the connection and how they afected each other.” It was not just a simple socio-cultural documentary; we wanted to make it more intimate and personal between us, the documentary filmmakers, and the people who populate the school.

The day before the public presentation at Bangkok University, we had a pivotal group meeting with Noraset Vaisayakul, the artistic advisor, who wanted to check up on our progress before the presentation. We presented him the idea of what we would be doing: a video installation that would show a visual contrast between the school and Khaosan road. Simply put, there would be a black box with a small LCD screen and headphones that would be positioned in the middle of the exhibition space. The video playing inside the box would be footage showing daily life in the school. The exhibition space would then consist of 3 projections of footage on the walls and the floor, familiarising the audience with 3 different angles of Khaosan road. The exhibition space with the black box would be filled with the recorded ambient sound taken from the road, bombarding the viewer with its noise – both visually and aurally. This would be an explicit contrast between the school and the road that we all wanted to explore. There had been unsettled disagreements whether or not to present the installation in a gallery or a non-gallery space, within Khaosan road itself. But the gallery exhibition was too unfeasibly expensive to pull of; we revised the idea by involving performance and intervention, by taking the black box and deciding to exhibit it in the road itself; literally getting people’s attention towards the existence of the school. In turn, elements would be added or taken out with the installation idea, without resolution. It was inevitable to realise that our attempts on this project were merely superficial, and did not prove anything significant, but just presented contrasts and comparisons, and failed attempts on placing depth and meaning. This realization would change all our ideas and tighten our knots as a group.

From the beginning we all had diferent approaches and ideas and couldn’t really agree completely on what to do with the Khaosan road project, even from the beginning. Hence, we reassessed the material and data we had collected, and decided to forgo all initial ideas and make a documentary film trailer instead.

Initially Maris and I suggested leaving out the school. Birte was bent on discovering the ‘opposite’ of the road within the setting itself, by observing and researching the road’s historical and present contexts Preeyachanok was more concerned on challenging the road’s “fakeThai- ness”, since she had mixed feelings towards the road and had a completely diferent point of view – that of a citizen of Thailand. I was more interested in leaving out socio-political issues and focus more on the psycho-geography of the road, by seeing the road as an important trading stop, like on a trade route (except it pertains this very strong notion of touristic trade), and how it unites and dislocates groups of people and how they relate to each other, also on fnding new ways of awareness on urban landscape. Timo and Maris were more open to discovery and receptive towards the road by having little preconceptions towards it.

Atfer having spent days researching and being in Khaosan road, we all had mixed half-baked ideas and proposals with potential, but all proved to be dead ends. It took us a longer time to figure out what to decide on doing than researching and collecting data on the road. Until we discovered the school, then Preeyachanok proposed an idea for a ‘black box’ video installation which we focused on realizing frst of all; consequently one thing led to the other – the rest is history.

It is also important to note, that we are not documentary flmmakers. We come from diferent backgrounds and have diferent aesthetics and methods. Preeyachanok studied traditional Thai art in school and is more interdisciplinary in approach; Birte is mostly into process-based installation and performance; Maris is a photographer and designer; Timo is into programming and interactive installations, and I never formally studied art, but have a self taught multi-faceted interdisciplinary media art approach. We had come to a point where all rivers merge towards the ocean. Diversity has proved its worth, the process towards things have made us forget our own individualities, our aesthetics and jumped into a thing with which we were all unfamiliar. I think it all came to point in one direction by unforeseen circumstance. There is merit to that discovery. It was as if we were all unconsciously mapping out our differences and these connections were unconsciously done with a logic we couldn’t foresee. Like Khaosan road or any other road, the road is a pathway for connecting diferent points on a map.

Art should sometimes be viewed as a map -- mapping out diferent connections, movements, routes, ins and outs of traditions; locations and dislocations between various histories, cultures, contexts, and traditions. Like vital trade routes, things have the power to cross-pollinate and fertilise each other, expand the reach and deepen productions with the increased richness that comes with drawing new and unexpected connections. Mapping exploits contrast, digs-up unexpected links and builds spontaneous bridges into the unforeseen.

Maps encourage boldness. They’re like cryptic love letters. They make anything seem possible.

On behalf of Khaosan road group, Tengal, Manila 2008

BIOGRAPHIES

Preeyachanok Ketsuwan | Thailand

Preeyachanok fnished her frst major degree in Traditional Tai Art from Silpakorn University in March 2008. She is the only student in her department who focuses on interdisciplinary art. She explores Tai feminine culture, which has been handed over from one generation to another, from her mother to herself, being the source of limitations in her beliefs and way of living. She uses various art media including photography, VDO, 3D objects, and performance. Other than exploring feminine culture existing in Thai society, she is interested in working with local communities.

“Tengal” Earl John Philip M. Drilon | Philippines

Tengal is an interdisciplinary artist, based in Manila, Philippines, working with sound, music, video, flm, performance, and computers. He curates, organises and performs in various new media shows in the Philippines. He founded and organises SABAW –a Manila-based artist initiative and non-proft platform for all kinds of information and communication carried via modern electronic media. SABAW also represents a cross-section of new media artists, performance/interdisciplinary artists, and contemporary musician-composers who find it difcult to release their material through more conventional channels.

Timo Toots | Estonia

An Estonian artist, currently on an exchange in Iceland, Timo is a Computer Science university dropout. He realised that the school of informatics was using the right tools, but in the wrong way. He found the output to his ideas through art and photography was his frst medium, which enlightens his mode of observation. Since then Timo has been working through several mediums via interactive installations, mostly stimulating the viewer and the artist to transform roles.

Birte Endrejat | Germany

Born in 1979 in Langen / Germany, Birte studies Fine Arts at the University of the Arts, Bremen since 2004, in the class of Professor Katharina Hinsberg and Professor Yuji Takeoka. Her work focuses on installation art in combination with action or performance. During her studies she actively participated in the international projects “Bremen-Nagoya art project”, including two exhibitions, in Nagoya/Japan 2005 and Bremen 2006 and in Switzerland for the “dazwischen projekt #1 and #2” 2007-2008 including a collaboration project between Lahore / Pakistan, Cambridge / USA and Bremen / Germany, 2007-2008.

Maris Lagzdins | Latvia

Maris is based in Riga, Latvia, studying his fnal year at the Art Academy of Latvia in the Department of Visual Communications. Maris is also working as a freelance artist/designer and photographer; he has taken part in various art projects and workshops in Latvia and abroad.

George Brecht is dead.

2008-12-17T20:31:00.004+08:00

George Brecht, 82, Fluxus Conceptual Artist, Is Dead

Cellsbutton #2 Documentation

2008-12-08T18:25:00.001+08:00

Cellsbutton #2 International Media Art Festival
Aug 2008

video by Son:da

Participants :

Miha Horvat (Slovenia)
Olivier Schulbaum (Germany)
Franck Ancel (France)
Pavel Sedlak (Czech Republic)
Emma Ota (UK/Japan)
Simon Laroche (Canada)
Deanna Herst (Netherlands)
Leila Abuhilal (UK)
Jan Torpus (Switzerland)
Mo Selle (Singapore)
Rene T A Lysloff (USA)
Craig Walsh (Australia)
Rob van Kranenburg (Netherlands)
No.E (USA)
Tengal (Philippines)
Shaun Gladwell (Australia)
Muid Latif (Malaysia)
Denis Jaromil Rojo (Netherlands/Italy)
Colette TRON (France)
Adam Sharples (UK)
Nancy Mauro-Flude (Australia)
Jerneja Rebernak (Slovenia)
Joe Addington (France)

Akbar (Bandung)
Taufik Obet (Jakarta)
Cokky Turnip (Medan)
Venzha (Yogyakarta)
Pradhono Rakhmono Aji (Yogyakarta)
Irene Agrivina (Yogyakarta)
Erin Citra (Batam)
Irine Stephanie (Bandung)
Julian Abraham (Yogyakarta)
Hendra Brawijaya (Bali)
Budi Adi Nugroho (Bandung)
Andreas Siagian (Yogyakarta)
Adhari Donora (Pekanbaru)
Marcello Vishnoe (Yogyakarta)
Gentur Galih / Vietnam (Yogyakarta)
Aldy Rento / unkl347 (Bandung)
Durga (Jakarta / USA)
Benny Wicaksono (Surabaya)
Bambang Rahmantyo (Semarang)
JackD2 (Yogyakarta)
ZeTH (Yogyakarta)
Prof. Jaka Widada (Yogyakarta)
Prof. Irfan Dwidja Prijambodo (Yogyakarta)
Daniel Hiu (Pontianak)
Politeknik Caltex Riau (Pekanbaru)
SMP 5 robot community (Yogyakarta)

http://www.natural-fiber.com/

ASEACC Closing Performance

2008-11-21T00:26:00.002+08:00

http://aseacc.org/

We are happy to announce the participation of Filipino music and sound artists *Teresa Barrozo*, *Tengal* and *Pow Martinez* in the 5th Annual Southeast Asian Cinemas Conference that will take place in the Philippines this coming November 18-22.

Barrozo, Tengal and Martinez are set to perform during the closing celebration of the ASEACC-Manila to be held in Mag:net Café Katipunan on November 22 from 8 PM onwards. Other invited artists include film director Lav Diaz who recently launched the soundtrack CD "Impiyerno".

The conference is an annual gathering of scholars, film practitioners and films enthusiasts from different countries in the region to primarily engage in discourse and build connections.

It is hosted by the *School of Humanities of the Ateneo de Manila University* together with the *Society of Filipino Archivists for Film* and *Loyola Film Circle*, in partnership with the *National Commission for Culture and the Arts* and the *New York University-Tisch School of the Arts Asia.* It is supported by independent art spaces Mogwai Film Bar, Mag:net Cafe Katipunan and Green Papaya.

Everyone is invited to join the conference and take part in the discourse. For further details and to register visit *www.aseacc. org.*

About the Artists

Teresa Barrozo is one of the emerging women composers of the country. Her compositions range from solo, chamber ensemble, orchestral, vocal, electroacoustic. Her works have been performed in the Philippines and in various Asian music festivals (Japan, Thailand). In 2007, she was one of the featured Filipino composers in the Asia-Pacific Weeks 2007 in Berlin, Germany. Teresa also works as a composer for theater, film and tv; and as an arranger for various choirs and orchestras.
Recent collaborations with filmmakers include music and sound design for "Sinungaling na Buwan" by Ed Lejano, music score for "Sakdal Laya" by Tey Clamor, "Tirador" by Brilliante Mendoza, "Possible Lovers" by Raya Martin, "The Thank You Girls" by Charliebebs Gohetia, and "Room 213" by Keith Sicat.

Tengal is a Manila-based interdisciplinary media artist, composer-musician, and filmmaker. He curates and organizes media art projects, has collaborated with various artists, and has performed in various shows in the Philippines and abroad. He attended the Berlinale Talent Campus 2006, in Berlin, Germany; the 5th Asia-Europe Foundation Art Camp: Re-Vision Bangkok | New Media Art and Interactivity, in Thailand; and most recently at Cellsbutton II: Yogyakarta International Media Art Festival, in Indonesia. He founded SABAW Media Art Kitchen – a not-for-profit, artist-run initiative and network platform for all kinds of information and communication carried via modern electronic media focused specially in the region of South East Asia.

Pow Martinez is a painter and an experimental/ electronic music composer.
He makes use of new and old media and whatever instrument he can afford to create music. When not playing with the Trojan Whores he performs by himself under the solo act, Nun Radar, and makes obscure albums. He also collaborates with performance artists and makes music for films.
When he's not doing any of these, he paints, exhibits and lurks the Internet. His collaborations with filmmakers include co-writing, with Ria Munoz, the original soundtrack for the 2006 Cinemalaya film Mudraks directed by Arah Badayos and Margaret Guzman.

Kolorete Trailer

2008-11-18T04:05:00.001+08:00

Kolorete [trailer, 30s] from ruelo zendo on Vimeo.

Cinema One Originals
Salida Productions

“KOLORETE”

120mins/BW/Digital/2008

Written by Sherad Anthony Sanchez

Directed by Ruelo Lozendo

Edited by Clang Sison

Sound Designed by Tengal

Music by Diwa de Leon

KOLORETE POSTER

2008-11-07T00:49:00.002+08:00

The latest film I've been designing sound for.
See you at the theaters this month.
poster design by Mica Santos

CHOPPA OCT 08

2008-10-21T01:16:00.002+08:00

CHOPPA is back on Sunday 26th October bringing you more great improvised music from the Singaporean underground.

This month features we have the great pleasure of presenting the hardest working man in the Manilian underground, composer and multi-disciplinarian Tengal. He will be performing his Gangan Series with two other musicians Lindsay Vickery and Brian O'Reilly and Jerneja Rebernak as orchestrator. Gangan series is an open-ended system/composition that combines the interplay of sound and image (video, etc), and emphasizes the situational potential of live improvisatory performance of video and sound.

Local legend George Chua will be performing live electronics in his first Choppa appearance this year after the Choppa Festival in January. We debut a new group Hotel which is an off shoot of I\D, who are keeping the noise rock flame alive. Lindsay Vickery returns with a live electro/acoustic improvisation set with saxophone and electronics and Brian O'Reilly will debut Shroud Lines, a piece for solo bass, electronics, and moving images.

Tengal (Manila)

TENGAL is a Manila-based interdisciplinary media artist, composer-musician, and filmmaker. He curates and organizes media art projects, has collaborated with various artists, and has performed in various shows in the Philippines and abroad. He attended the Berlinale Talent Campus 2006, in Berlin, Germany; the 5th Asia-Europe Foundation Art Camp: Re-Vision Bangkok | New Media Art and Interactivity, in Thailand; and most recently at Cellsbutton II: Yogyakarta International Media Art Festival, in Indonesia. He founded SABAW Media Art Kitchen – a not-for-profit, artist-run initiative and network platform for all kinds of information and communication carried via modern electronic media focused specially in the region of South East Asia.
www.tengalgorhythm.blogspot.com

George Chua (Singapore)

George Chua is an artist whose sonic art may adopt the form of a performance, installation, or sound recording. He regularly performs solo work and group improvisations in art spaces, alternative spaces and theatres. His work involves a keen interest in the interdisciplinary nature of sound art and its extensive relationships with memory, invisibility, the body, theatre and cinema.

Lindsay Vickery (Australia)

Lindsay Vickery is active as a composer and performer across Europe, the USA and Asia. His music includes works for acoustic and electronic instruments in interactive-electronic, improvised or fully notated settings, ranging from solo pieces to opera and has been commissioned by numerous groups for concert, dance and theatre. He is also a highly regarded performer on reed instruments and electronics, touring as a soloist and with ensembles in many parts of the world.

Brian O'Reilly (USA)

shroud lines

for solo bass, electronics, and moving images.

for Eliane Radigue who taught me the different ways to listen...

The strategic fiction used to produce the structural relations in the work, is the erosion of form. Worn organic connections, self withering mechanisms, leaking detritual pools of acoustic ecosystems, weathered maps, the delicate stuttered buzz and click of insects left vibrating within glass slides, dendirfomic sub-terrain tendrils, and infected water tables.

Brian O'Reilly is the creator of various works for moving images, electronic/noise music, mixed media assemblage, multimedia installation, and is a contrabassist, focusing on the integration of extended playing techniques with electronics treatments.

Hotel

Comprising of members from I\D, the mammoth noise rock collective, Hotel is its minimal offspring where elements of avant noise, drone and free improvisation are militantly reflected, signaling a return to primal beats and the search of origin. Hotel is Harold Seah, Wei Nan and Ian Woo. Scatter
Rock!

Please join us on our sonic adventures!

@ Night and Day
139 Selegie Rd from 8pm
Entry is $16 and includes a complimentary drink

TENGALGORHYTHM

CLIMAX PROJECT PREMIERES AT KINO SISKA, LJUBLJANA THIS NOV 23

Bedroomlab Blog

Thread on Frame (Singapore only)

Recent live set at Soundcloud!

HOW TO DESTROY A GALLERY

CLEAN ITCUT ITBAKE ITEAT ITSHIT ITPISS ITGRIND ITFRY ITEAT ITSHIT ITPISS ITBOIL ITDRINK ITVOMET ITSWEEP ITGRIND ITCOOK ITBOIL ITDRINK ITPISS ITLEAVE IT ON THE SUNAND IT WILL EVAPORATE.miroslav cukovicmore:http://sonda.kibla.org/destroy.html

Jesus Marches to Berlin

ELECTRIC CHURCH

WE HATE WHEN PEOPLE MAKE TRACKS LIKE THIS

BEDROOMLAB (JAN 22)

Machines should work! People should think!

Sadness is an ocean between two shoresthe moon may still be visible from bothwatching the moon will not scatter the fogrising tides will not blow away affectionssleeplessness does not extend time...melancholia is a philosopher's petty crime

Six Anti-Theses on WikiLeaks

Fete dela WSK! website

FUCK YEAH FETE DELA WSK! ON TUMBLR!!

Fete dela WSK! Facebook Fan Page

COMING SOON! E.X.I.S.T. International Music Art Festival

COMING SOON THIS OCTOBER

.

BEDROOMLAB.03

SONICA OPEN CALL (FESTIVAL LJUBLJANA)

BEDROOMLAB.02

BEDROOMLAB: LIVE CINEMA | ARTIST TALK | ELECTRONIC MUSIC | REALTIME AUDIOVISUAL | SYNAESTHESIA | EXPERIMENTS | LIVE IMPROV

FILIPINO INTERMEDIA ARTISTS PERFORMING AT SINGAPORE NATIONAL MUSEUM

WHAT, HOW, AND FOR WHOM? (Questions for the art scene in Manila)

Updates: New Work for live cinema performance and sound installation

CLIMAX : collaborative cinematic experience, an AudioVideo concert, a theatre mirror, a neverending movie

"EARTH NOISE WATER MEAT" - Gangan Ensemble meets Chao-Yun Lou this Thursday at 22H

MUSIC OF THE LOST CITIES: SCAVENGING THE CULTURAL APOCALYPSE

Few Breed of Sounds - sonic experiments on the 29th of Dec

Kinozvočenja: GANGAN ENSEMBLE LJUBLJANA (Filipini in Slovenija)

Sound Performance at KIBLA (Slovenia) (Nov.2)

RIP MARYANNE AMACHER (February 25, 1943 – October 22, 2009)

Your Typhoon Survival Kit

COMPREHENSIVE ONDOY FAQ: PLEASE REPOST

ONDOY FAQ :: Please forward to your respective mailing lists

LAST CONVERSATION WITH NIKA AND ALEXIS. SEPT 1, 19:00

++++UPLOAD Sound/Video Performance - Sculpture Square, Singapore

ZENSORS this August

ASEUM documentation trailer

ASEUM launch on Flippish.com

ASEUM: The 1st International New Media Art Festival in the Philippines

Open Call: ASEUM Symposium, Deadline extended until July 8

Tengal on STATUS

REGURGITATING RABBITS / OPEN SOUND LAB

OPEN CALL FOR PARTICIPANTS FOR ASEUM 2009

WE EXIST: A gathering of performative sound and visual artists

BROCKA NIGHT TONIGHT! THE ULTIMATE BROCKA RETROSPECTIVE!

MULTIMEDIA CENTER KIBLA COLLABORATION WITH SABAW THIS JULY

"WORKERS OF THE WORLD, RELAX!" -- MULTITUDFEST

BIOMODD [LBA2]

The Biomodd Summer Party:A Benefit

Music by

E.X.I.S.T. releases their first Anthology of Experimental and Noise Music

Against OBAMA

JAPANOISE versus PINOISE musicians perform and release an anthology album

HONF: BREAKCORELABS LIVE STREAM TONIGHT

M.A.M.: Field Trip - field recordings and soundscapes of corporeal and imagined environements

Two-part essay on Love

AUDIOLAGE: Experimental music and related video performances

Feature on Business World: Out Now.

OPEN STUDIO SESSIONS: CHRIS BROWN / GANGAN ENSEMBLE

IF CREATIVITY IS THE FIELD, COPYRIGHT IS THE FENCE

Lifetime Warranty: Notes on the Khaosan Road Project

George Brecht is dead.

Cellsbutton #2 Documentation

ASEACC Closing Performance

Kolorete Trailer

KOLORETE POSTER

CHOPPA OCT 08

CLEAN IT
CUT IT
BAKE IT
EAT IT
SHIT IT
PISS IT
GRIND IT
FRY IT
EAT IT
SHIT IT
PISS IT
BOIL IT
DRINK IT
VOMET IT
SWEEP IT
GRIND IT
COOK IT
BOIL IT
DRINK IT
PISS IT
LEAVE IT ON THE SUN
AND IT WILL EVAPORATE.
miroslav cukovic

more:
http://sonda.kibla.org/destroy.html

Sadness is an ocean between two shores
the moon may still be visible from both
watching the moon will not scatter the fog
rising tides will not blow away affections
sleeplessness does not extend time
...melancholia is a philosopher's petty crime

The Biomodd Summer Party:
A Benefit