Showing posts with label media culture. Show all posts
Showing posts with label media culture. Show all posts

Monday, July 20, 2009

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



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.

Wednesday, April 29, 2009

MULTIMEDIA CENTER KIBLA COLLABORATION WITH SABAW THIS JULY

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!


Monday, December 22, 2008

Lifetime Warranty: Notes on the Khaosan Road Project

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




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.