Sunday, March 4, 2007
para site in macrovision
For an exciting read check out
Rhythmic Parasites: A Virological Analysis of Sound and Dance
by Stamatia Portanova
parasite/para-site
Para
From Wikipedia, the free encyclopedia
(Redirected from Para-)
Look up para in Wiktionary, the free dictionary.
For the Brazilian state, see: Pará.
For other uses, see Para (disambiguation).
The term para- in English is an affix borrowed from Greek, directly or via Latin, where it is mostly used as a prefix. Its most common meaning is "similar to" or "near to."
In Greek παρά (para) means "beside," "with," or "alongside," such as in paragraph. In Latin, para means "against," "counter," "outside," or beyond. For example, parapluie in French means "counter-rain"–an umbrella
Site
From Wikipedia, the free encyclopedia
Look up site in Wiktionary, the free dictionary.
A site is the location of an event, structure, object, or other thing, whether actual, virtual, abandoned (eg. an archaeological site), extant, or planned.
- For a building site, see construction.
- For a site on the World Wide Web, see website.
In mathematics:
- A site is a category C together with a Grothendieck topology on C.
Other uses:
- SITE Institute, non-profit anti-terrorism organization.
- SITE Town, densely populated town in Karachi, Pakistan.
- SITE, Satellite Instructional Television Experiment.
Other valuable use :
- World Wide Web retrivial an special volnatory location site .
para-
From Wiktionary
See also para
Contents[hide] |
[edit] English
[edit] Etymology
Greek (para), beside
[edit] Prefix
para-
- beside, near, alongside, beyond
- abnormal, incorrect
- resembling
- (chemistry) in isomeric benzene derivatives, having the two substituents in opposite positions (compare ortho- and meta-)
[edit] Derived terms
[edit] Etymology
via Italian parasole, from Latin parare, to shield
[edit] Prefix
para-
[edit] Derived terms
site
From Wiktionary
Contents[hide] |
[edit] English
Noun
| Singular | Plural |
site (plural sites)
- The place where anything is fixed; situation; local position; as, the site of a city or of a house.
- A place fitted or chosen for any certain permanent use or occupation; as, a site for a church.
- The posture or position of a thing.
- A computer installation, particularly one associated with an intranet or internet service or telecommunications.
- A website.
Verb
| Infinitive | Third person singular | Simple past | Past participle | Present participle |
to site (third-person singular simple present sites, present participle siting, simple past sited, past participle sited)
- (architecture) To situate or place a building.
- The U.K. government is dusting off an alternative plan to site the center at a military outfit such as Porton Down.
parasite
From Wiktionary
Contents[hide] |
[edit] English
[edit] Etmyology
From Latin parasitus from Greek παράσιτος parasitos "person who eats at the table of another", from n. use of adj. meaning "feeding beside," from παρα- para- "beside" + σίτος sitos "food".
[edit] Pronunciation
- IPA: /ˈpærəˌsaɪt/
[edit] Noun
| Singular | Plural |
parasite (plural parasites)
- (biology) A (generally undesirable) living organism that exists by stealing the resources needed by another (generally desirable) living organism. See flea, tick, mite.
- (pejorative) A useless person who always relies on other people's work and gives nothing back.
[edit] Translations
[edit] Related terms
[edit] References
- "parasite" in the Online Etymology Dictionary, Douglas Harper, 2001
Wikipedia page on Parasitism: http://en.wikipedia.org/wiki/Parasite
Friday, March 2, 2007
some of Tagny's preliminary thoughts for the workshops...
Here is a 20 page pdf file outlining my pre-thoughts, method, and conceptual drive for this workshop/manual project. It is still in rough shape and needs editing---but I thought some of you keeners might find it useful and provoke you to articulate your own thoughts-processes-daydreams on this subject.
ps. it takes a little while to download....
Pre-research questions for the workshops
ps. it takes a little while to download....
Pre-research questions for the workshops
Wednesday, February 28, 2007
Workshop Overview (NSCAD, Saturday March 3)
The conservation of live art works and their documents continues to challenge art historians, archivists and conservationist. Performance theorist, Peggy Phelan, has argued that performance art is best left without a trace in order to preserve its original and authentic expression in memory. Others, like Philip Auslander have suggested that witnessing the live event is not necessary given the proliferation of live art documents that regenerate and proliferate affective qualities. Both theorists posit ontological priority of either the live art event as a privileged moment, or the document as the site that evokes liveness. I propose that how we encounter the document is as crucial to the event as the event is to the document. This relation can be seen, not as a sequential movement between event and document or document and event, but as a continuing dynamic that is evoked through the encounter with the audience of the future.
This raises some pertinent questions that implicate all contemporary artists. If we consider encounters with the live event and its documents as creative and dynamic, then perhaps artists may need to now consider how conservation and the memory of the live work and its documents speak to audiences of the past and future. If this encounter is a major creative extension of the work, as I am suggesting, then are artists now to become conservationists and archivist of their work, or are “professional intermediaries involved in such conservation practices (like curators, museum archivists, librarians) the new intermediary artists of the 21st century? And furthermore, this begs the question: why remember live works and their documents, and for whom?
This one day workshop will tackle these concerns and questions through discussion and hands on production of a performative document in the form of an instructional manual.
Participants are invited to create prototypes for new archival platforms to display a performance event created by “the parasite” during the introduction of the workshop. Participants are further invited to imagine this work in the future through various mediated encounters. The intention is to generate ideas on how to extend the life of live event and the document in ways that are not currently utilized. These ideas will reexamine the notion of the archive and classification models used to categorize art works. The key is to imagine new possibilities for encountering documents and the archive that may be structurally impossible, yet potentially desirable. The group may further elect to document the group’s process through the day as a performance onto itself. Together, the group will collaboratively co-author the instructional manual for archivists, artists and interested stakeholders, on how to ( or not) evoke, rather than conserve, the memory of the performance and its documents through encounters with future audiences.
A reading list and/or small course-pack covering issues pertaining to this subject will be provided prior to the workshop.
It is highly recommended that participants attend the artists lecture on February 28, 8pm in the Bell Auditorium (D440) at NSCAD prior to taking the workshop.
The workshop is limited to an enrolment of 8.
The workshop will take place on Saturday, March 3, 2007 10-5:30pm. NSCAD Board room D500.
Contact Joshua Schwebel at piatejosh@yahoo.ca for more info or to sign up.
A 24 hour cancellation notice is required.
This raises some pertinent questions that implicate all contemporary artists. If we consider encounters with the live event and its documents as creative and dynamic, then perhaps artists may need to now consider how conservation and the memory of the live work and its documents speak to audiences of the past and future. If this encounter is a major creative extension of the work, as I am suggesting, then are artists now to become conservationists and archivist of their work, or are “professional intermediaries involved in such conservation practices (like curators, museum archivists, librarians) the new intermediary artists of the 21st century? And furthermore, this begs the question: why remember live works and their documents, and for whom?
This one day workshop will tackle these concerns and questions through discussion and hands on production of a performative document in the form of an instructional manual.
Participants are invited to create prototypes for new archival platforms to display a performance event created by “the parasite” during the introduction of the workshop. Participants are further invited to imagine this work in the future through various mediated encounters. The intention is to generate ideas on how to extend the life of live event and the document in ways that are not currently utilized. These ideas will reexamine the notion of the archive and classification models used to categorize art works. The key is to imagine new possibilities for encountering documents and the archive that may be structurally impossible, yet potentially desirable. The group may further elect to document the group’s process through the day as a performance onto itself. Together, the group will collaboratively co-author the instructional manual for archivists, artists and interested stakeholders, on how to ( or not) evoke, rather than conserve, the memory of the performance and its documents through encounters with future audiences.
A reading list and/or small course-pack covering issues pertaining to this subject will be provided prior to the workshop.
It is highly recommended that participants attend the artists lecture on February 28, 8pm in the Bell Auditorium (D440) at NSCAD prior to taking the workshop.
The workshop is limited to an enrolment of 8.
The workshop will take place on Saturday, March 3, 2007 10-5:30pm. NSCAD Board room D500.
Contact Joshua Schwebel at piatejosh@yahoo.ca for more info or to sign up.
A 24 hour cancellation notice is required.
Saturday, February 24, 2007
Wednesday, February 7, 2007
Questions to ponder from the UCLAN workshop
1. How do you see the audience of the present and future encountering the work and its memory?
2. What new forms of remembering can you think of that challenge and augment current taxonomies and classification systems used in conservation and collecting of live art? ( ie. Would you consider migration or emulation of the work through time and acceptable extension of the life of the work? How does the obsolescence of technology figure in the extension of the works life).
3. Is your artistic intention necessary for the experiential dimensions of the work and its documents/traces? If not, why? If so, how?
4. How might we negotiate the conservation of live art works within academia, museums and official archives? What legal ( or non-legal) transactions and processes do you imagine using? What creative role might financial transaction play in this process?
2. What new forms of remembering can you think of that challenge and augment current taxonomies and classification systems used in conservation and collecting of live art? ( ie. Would you consider migration or emulation of the work through time and acceptable extension of the life of the work? How does the obsolescence of technology figure in the extension of the works life).
3. Is your artistic intention necessary for the experiential dimensions of the work and its documents/traces? If not, why? If so, how?
4. How might we negotiate the conservation of live art works within academia, museums and official archives? What legal ( or non-legal) transactions and processes do you imagine using? What creative role might financial transaction play in this process?
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