Ausgewählte Tags
- - tm.10X
Alexander Rose (uk) in Atemporality - A Cultural Speed Control?
Mike Sandbothe (de) in Atemporality - A Cultural Speed Control
Siegfried Zielinski (de) in Atemporality - A Cultural Speed Control?
Tapio Mäkelä & Drew Hemment: 21:20 in The Futurity Long Conversation
Jaromil & Gustaff Harriman Iskandar: 16:56 in The Futurity Long Conversation
Victoria Estok & Tapio Mäkelä: 20:36 in The Futurity Long Conversation
Inga Wellmann (de) in The Identity of Cultural Enterprises
Each great brand needs its own culture for identity formation. Do cultural projects analogously have to become a brand too in order to attract a larger audience?
Clemens Lerche (de) in The Identity of Cultural Enterprises
Each great brand needs its own culture for identity formation. Do cultural projects analogously have to become a brand too in order to attract a larger audience?
Matthias Fritsch (de) in The Identity of Cultural Enterprises
Each great brand needs its own culture for identity formation. Do cultural projects analogously have to become a brand too in order to attract a larger audience?
Regine Haschka-Helmer (de) in The Identity of Cultural Enterprises
Each great brand needs its own culture for identity formation. Do cultural projects analogously have to become a brand too in order to attract a larger audience?
Introduction by Ela Kagel to The Identity of Cultural Enterprises
Each great brand needs its own culture for identity formation. Do cultural projects analogously have to become a brand too in order to attract a larger audience?
Keynote: Bruce Sterling (us) on Atemporality
If progress is to go beyond the banal indulgences that give rise to a never-ending array of car shell designs then we need to analyse our present time with regard to its aesthetics and its media. The second conference session is being introduced with Bruce Sterling's Keynote on Atemporality.
Nicola Triscott & Andy Cameron: 19:52 in The Futurity Long Conversation
Andy Cameron & Julian Oliver: 20:14 in The Futurity Long Conversation
Julian Oliver & Victoria Estok: 20:36 in The Futurity Long Conversation
Denisa Kera & Jimmy Loizeau: 18:46 in The Futurity Long Conversation
Jimmy Loizeau & Regine Debatty: 19:08 in The Futurity Long Conversation
Regine Debatty & Nicola Triscott: 19:30 in The Futurity Long Conversation
Gabriella Giannachi & Steve Benford: 17:40 in The Futurity Long Conversation
Steve Benford & Warren Neidich: 18:02 in The Futurity Long Conversation
Warren Neidich & Denisa Kera: 18:24 in The Futurity Long Conversation
Joy Tang & Jaromil: 16:34 in The Futurity Long Conversation
Maja Kuzmanovic & Joy Tang: 16:12 in The Futurity Long Conversation
Jan Edler & Maja Kuzmanovic: 15:50 in The Futurity Long Conversation
Panel discussion in Which Organisation Are You Shooting The Film For?
Providing a forum in which to discuss concerns regarding artistic projects realised in Asia and shown in Europe, this Salon Talk takes its title from NCS’s recent film Near Mandalay. The relationship between ‘here’ and ‘elsewhere’ provides a point of departure to reflect on the possibilities and impossibilities of shifting spaces as well as on the politics of image production.
Sun-Ju Choi (de/kp) in Which Organisation Are You Shooting The Film For? Part 1 of 2
(Part 1 of 2) Providing a forum in which to discuss concerns regarding artistic projects realised in Asia and shown in Europe, this Salon Talk takes its title from NCS’s recent film Near Mandalay. The relationship between ‘here’ and ‘elsewhere’ provides a point of departure to reflect on the possibilities and impossibilities of shifting spaces as well as on the politics of image production.
Sun-Ju Choi (de/kp) in Which Organisation Are You Shooting The Film For? Part 2 of 2
(Part 2 of 2) Providing a forum in which to discuss concerns regarding artistic projects realised in Asia and shown in Europe, this Salon Talk takes its title from NCS’s recent film Near Mandalay. The relationship between ‘here’ and ‘elsewhere’ provides a point of departure to reflect on the possibilities and impossibilities of shifting spaces as well as on the politics of image production.
Karen Mirza and Brad Butler in Which Organisation Are You Shooting The Film For?
Providing a forum in which to discuss concerns regarding artistic projects realised in Asia and shown in Europe, this Salon Talk takes its title from NCS’s recent film Near Mandalay. The relationship between ‘here’ and ‘elsewhere’ provides a point of departure to reflect on the possibilities and impossibilities of shifting spaces as well as on the politics of image production.
Nyein Chan Su (mm) in Which Organisation Are You Shooting The Film For?
Providing a forum in which to discuss concerns regarding artistic projects realised in Asia and shown in Europe, this Salon Talk takes its title from NCS’s recent film Near Mandalay. The relationship between ‘here’ and ‘elsewhere’ provides a point of departure to reflect on the possibilities and impossibilities of shifting spaces as well as on the politics of image production.
Doreen Mende (de) introduces Which Organisation Are You Shooting The Film For?
Providing a forum in which to discuss concerns regarding artistic projects realised in Asia and shown in Europe, this Salon Talk takes its title from NCS’s recent film Near Mandalay. The relationship between ‘here’ and ‘elsewhere’ provides a point of departure to reflect on the possibilities and impossibilities of shifting spaces as well as on the politics of image production.
Holger Logemann (de) in Salon Sub-Conference PHUTURAMA
PHUTURAMA – Salon Sub-Conference on Speculative and Fictional Design
Fictional, speculative and futuristic design – often staged by the popular mass media – increasingly expands its picture power over the 'real' industrial design.
C-Base presentation in Salon Sub-Conference PHUTURAMA
PHUTURAMA – Salon Sub-Conference on Speculative and Fictional Design
Fictional, speculative and futuristic design – often staged by the popular mass media – increasingly expands its picture power over the 'real' industrial design.
Michael Khaimzon (ru/il) in Salon Sub-Conference PHUTURAMA
PHUTURAMA – Salon Sub-Conference on Speculative and Fictional Design
Fictional, speculative and futuristic design – often staged by the popular mass media – increasingly expands its picture power over the 'real' industrial design.
Oliver Handlos (de) in Salon Sub-Conference PHUTURAMA
PHUTURAMA – Salon Sub-Conference on Speculative and Fictional Design
Fictional, speculative and futuristic design – often staged by the popular mass media – increasingly expands its picture power over the 'real' industrial design.
Christian Heller (de) in Salon Sub-Conference PHUTURAMA
PHUTURAMA – Salon Sub-Conference on Speculative and Fictional Design
Fictional, speculative and futuristic design – often staged by the popular mass media – increasingly expands its picture power over the 'real' industrial design.
Herbert W. Franke (at) in Salon Sub-Conference PHUTURAMA
PHUTURAMA – Salon Sub-Conference on Speculative and Fictional Design
Fictional, speculative and futuristic design – often staged by the popular mass media – increasingly expands its picture power over the 'real' industrial design.
Sandro Gaycken (de) introduces Salon Sub-Conference PHUTURAMA
PHUTURAMA – Salon Sub-Conference on Speculative and Fictional Design
Fictional, speculative and futuristic design – often staged by the popular mass media – increasingly expands its picture power over the 'real' industrial design.
Dmytri Kleiner (de) in session Price and Value of Cultural Work
What is the currency for the cultural enterprise of the future? Cultural producers and artists produce a multiplicity of values, most of which are immaterial and emerge from the social networks of cultural practitioners and their relation to the public: respect, appreciation or knowledge are the main resources.
Baruch Gottlieb (ca/de) in session Price and Value of Cultural Work
What is the currency for the cultural enterprise of the future? Cultural producers and artists produce a multiplicity of values, most of which are immaterial and emerge from the social networks of cultural practitioners and their relation to the public: respect, appreciation or knowledge are the main resources.
I-Wei Li (tw/de) in session Price and Value of Cultural Work
What is the currency for the cultural enterprise of the future? Cultural producers and artists produce a multiplicity of values, most of which are immaterial and emerge from the social networks of cultural practitioners and their relation to the public: respect, appreciation or knowledge are the main resources.
