Finally, DJs Femi, TAAHLIAH, our very own Snufkin, and Europa delivered the last blast, shaking the sand from beneath our feet. LÖSS, a sound performance simulating the system dynamics of sand formations that served as a model for critical states and self-organisation. Setting particles skittering, Farzané showcased Enar de Dios Rodríguez’ film Vestiges, along with Pia Borg’s Silica, Maika Garnica and Ans Mertens’ Interlude, and 15” Sand Economy film loops, punctuating the intermissions by Yanjin Wu took us through the politics and poetics of sedimentary rock. Through their invigorating talks, scholars Jeff Diamanti and Michaela Büsse traced the flows of particulate matter – dust, emissions, pollen, sand – as they are situated and carried across geological time. Commissioned by ARTE Radio, the piece is filled with recordings from these elevated plains, emphasising that the desert, far from being hostile, is prolific with life. Firstly, sound artist Félix Blume’s Desierto (2021, 24’) transported the audience to altiplano Potosino in central Mexico, a major gold and silver mining hub. Shores, dunes and deserts were all figures that followed us throughout the evening.
Shifting Sands brought into focus the ecological impacts of sand excavation and consumption, which are marred by displacement and continuous colonial expansion. In the latter part of the evening, artist Farzané delivered a showcase of her performance LÖSS, before DJs Femi, TAAHLIAH, Snufkin and Europa took over for the night. Digging into the relationship between sand, the history of pollution and economy, the event featured an audiovisual work by Félix Blume, talks from scholars Jeff Diamanti and Michaela Büsse, as well as films from Enar de Dios Rodríguez, Maika Garnica, Ans Mertens and Yanjin Wu. On Friday 22 April evening, another memorable rendition of Night Air took place at OT301, Amsterdam – the city built on sand. He has exhibited at the Whitney Museum, Lincoln Center, New Museum, Ars Electronica and IDFA Doclab, amongst others, and his work has been covered by such platforms as The New Yorker, The Guardian, Motherboard, Wired, The Atlantic and The Ellen Degeneres Show. These online interventions reveal the often opaque political and economic conditions molding computational technologies. Immigration and Customs Enforcement (ICE) employees in response to the Trump administration's family separation policy, to “White Collar Crime Zones,” a re-appropriation of a predictive policing algorithm, his work harnesses digital tools such as apps and information mining.
#3 minutes to midnight continuum series#
This workshop forms part of a new series of events, Sonic Acts Practicum, focused on informal education and sharing knowledge between artists and researchers.Ībout Sam Lavigne Sam Lavigne is an artist and educator who plugs into the interlocking interfaces of data, surveillance and policing, as well as natural language processing and automation. Sign up via Homerun by 25 May to join the workshop and receive ticket options by e-mail.
#3 minutes to midnight continuum how to#
Practical details & how to sign up Date: Thursday 9 June 2022 In this way, the supercut becomes a subversive tool, drawing critical attention to how large scale polluters justify, excuse and obscure environmental harm.
Together, participants will interrogate the YouTube channels of corporate polluters like Shell oil and gas to create their own supercut videos. The workshop will treat video as a textual as well as a visual medium, and focus on repurposing found footage to generate new compositions and narratives. Led by artist Sam Lavigne, attendees will use Python in conjunction with basic command line tools to explore the possibilities of manipulating video with code. Examples from the height of the genre's popularity veer from a series of Arnold Schwarzenegger's screams to Bill Gates saying “uh” a lot, to an experimental clip in which all of the words were removed from George W. While often humouristic, pointing out ridiculous, overused phrases, the videos are also adept at cultural and even political commentary. The catch-all term, initially coined by writer and net-culture commentator Andy Baio, describes the fast-moving, detail-obsessed videos that isolate a recurring pop-culture trope, iconic idiom or idiosyncrasy. Emerging in the early 2000s, "The Supercut" is a genre of video editing made out of a montage of short clips with a common theme.
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