ecopolis

http://www.oistros.it/lunapiena

Il primo incontro nella Luna piena è con “Sergio Spina. Storie della mia vita da licantropo”, presentato da Luigi A. Santoro.
Sergio Spina è uno dei personaggi più creativi e innovativi che la televisione italiana abbia avuto.
Nato a Milano un po’ di anni fa. Ha avuto tutto il tempo per vedere la sua amata/odiata RAI nascere, crescere, suicidarsi o essere ammazzata. Nella sua pluriennale esperienza nella Tv di Stato (è in rai dal 1954) è stato il regista di uno dei primi programmi andati in onda (Strapaese),di Mixer (special tv condotto da Giovanni Minoli), Festa Farina e Forca (scritto con Rina Durante), l’Addio a Berlinguer e di numerosissime altre opere tra documentari, inchieste, film… fare un elenco del lavoro di Sergio Spina sarebbe lungo e inutile. Inutile perché Sergio è prima di tutto un amico e compagno di mille battaglie. Nel Salento ha trovato la sua dimensione più originale. Militante partigiano e fieramente comunista. Spina parlerà sotto la luna della sua carriera e dei mille intrecci che lo hanno visto attraversare in lungo e largo i crateri salentini”.
L’incontro è trasmesso in diretta su internet lunedì 9 febbraio 2009 alle ore 21, all’indirizzo web http://www.oistros.it/lunapiena – si consiglia di spegnere le luci, accendere gli altoparlanti del computer e godersi la diretta.
Buona luna piena a tutti!

Michel Gondry, picks his favorite YouTube videos at the Sundance Film Festival

Sundance Institute

Founded by Robert Redford in 1981, Sundance Institute is dedicated to the development of artists of independent vision and to the exhibition of their work. The Sundance Film Festival, a major program of Sundance Institute held each January, is considered the premier showcase for American and international independent film. The Documentary Film Program provides year-round support to nonfiction filmmakers through the Sundance Institute Documentary Fund and programs that nurture growth and innovation in documentary storytelling. The Film Music Program supports and nurtures emerging film composers and inspires new ways for independent filmmakers to approach music in their films. The Institute maintains The Sundance Collection at UCLA, a unique archive of independent film.

Documenta 12 considers itself a medium – the exhibition is not conceived just as physical area for representation, but also as a production format. In order to organise this extended exhibition space as a community, Documenta 12 developed the network of editors of the Documenta 12 magazines.The online journal of documenta 12 magazines is a magazine of magazines. It compiles the articles that have been published on the leitmotifs of documenta 12 in the more than 100 media around the world that are involved in the project—in the original language and in English. You can assemble your own personal documenta magazine out of these articles, print it and publish it.

“What is Bare Life?” a discussion on the -empyre- network July 2006
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-empyre- , Sydney : From 2002 the -empyre- online list (Sydney) is an international, moderated discussion of international media arts and culture. Its special focus is on critical perspectives of contemporary cross-disciplinary issues, practices, and events in networked media. As an independent, non-hierarchical community and collaborative, -empyre- is hosted at the College of Fine Arts, University of New South Wales, Sydney.

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“What is Bare Life?” a discussion on the -empyre- network July 2006
“ What is bare life? This second question underscores the sheer vulnerability and complete exposure of being. Bare life deals with that part of our existence from which no measure of security will ever protect us. But as in sexuality, absolute exposure is intricately connected with infinite pleasure. There is an apocalyptic and obviously political dimension to bare life (brought out by torture and the concentration camp). There is, however, also a lyrical or even ecstatic dimension to ita freedom for new and unexpected possibilities (in human relations as well as in our relationship to nature or, more generally, the world in which we live). Here and there, art dissolves the radical separation between painful subjection and joyous liberation. But what does that mean for its audiences?”

Was ist das bloße Leben?
Diese zweite Frage gilt der absoluten Verletzlichkeit und Ausgesetztheit menschlichen Lebens. Sie richtet sich auf den Teil unserer Existenz, den keine wie auch immer geartete Sicherheitsmaßnahme je schützen wird. Doch wie in der Sexualität können absolute Verletzlichkeit und unendliche Lust unbehaglich dicht beieinander wohnen. Das bloße Leben kennt eine apokalyptische und unmissverständlich politische Dimension, an deren Ende die Folter und das Konzentrationslager stehen. Es lässt sich aber nicht auf diesen apokalyptischen Aspekt reduzieren, denn es kennt auch eine lyrische oder sogar ekstatische Seite – eine Freiheit für neue und unerwartete Möglichkeiten (in zwischenmenschlichen Beziehungen ebenso wie in unserem Verhältnis zur Natur oder, noch allgemeiner, zur Welt, in der wir leben). Mitunter gelingt es der Kunst, die Trennung zwischen schmerzvoller Unterwerfung und jauchzender Befreiung vergessen zu machen. Doch was bedeutet das für ihr Publikum und dessen moralische Standards?

July 2006 messages sorted by: [ subject ] [ author ] [ date ]

https://mail.cofa.unsw.edu.au/pipermail/empyre/2006-July/
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Christina McPhee : What are the practice implications for the artist or designer who produces conditions at the edge of ‘bare life”? How does her intervention in sites of traumatic occurrence and recurrence, of traumatic memory, implicate an ethics of exposure? How to generate narrative at the liminal edge of what cannot be spoken of or imaged?
Check out: Bare life as editorial subject: on ‘bare life’ in the network –empyre- soft-skinned space.

Anglo-Saxons are leaders in the reform of the national state, and yesterday the Great Britain Government has unveiled a new curriculum to bring schools into the 21st century: more subjects to look at the future like global warming, design&technology, ICT, economic wellbeing ??!, some to build an identity that the family no more gives to the children, like british values and citizenship, and few subjects of what was called humanities, like geography, history and english.

There was consternation, though, that Winston Churchill and Adolf Hitler’s names had been omitted from the list of historical figures to be studied, a decision described by the Conservative MP Nicholas Soames as madness. But the QCA and the Government pointed out that study of the First and Second World Wars was compulsory and it would be impossible to teach those topics without studying Churchill and Hitler.

As was the factory, so now is the university. Where once the factory was a paradigmatic site of struggle between workers and capitalists, so now the university is a key space of conflict, where the ownership of knowledge, the reproduction of the labour force, and the creation of social and cultural stratifications are all at stake. This is to say the university is not just another institution subject to sovereign and governmental controls, but a crucial site in which wider social struggles are won and lost.

To be sure, these changes occur as capitalism gives new importance to the production of knowledge, and in the advanced capitalist world, moves such production of knowledge to the centre of the economy. With this movement, the university also loses its monopoly in this same sphere of knowledge production. Perhaps it once made sense to speak of town and gown. But now the borders between the university and society blur.

[...]

These transformations both shift the possibilities for political expression in the university and initiate new kinds of struggle. In some instances, a politicised student movement has disappeared. In others has begun to grow. The transnationalisation of many university operations, including the internationalisation and diversification of the student body, introduces new kinds of cultural conflicts and tensions. At the same time, the university is derailed from its traditional mission of safeguarding the national and official culture. How are we to make sense of these changes, and, above all, how should they inform radical political investigation and action?

excerpt from the edu-factory manifesto.