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Execute program: Le détournement des technologies. Media AND Culture conflicting spaces.
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- Browsers and datascapes

May 10 - 19 / 13:00 - 19:00
A selection of websites, CD-ROMs and artists softwares with another approach towards data visualization...
-- Taverne des Beaux-Arts, rue Baron Horta, 1000 Bruxelles

- Execute program: Le détournement des technologies. Media AND Culture conflicting spaces.

May 13 -19 / 13:00 -19:00
With
Canon: Taking To The Streets (Dara Birnbaum, 1990)
A simple case of torture (Marta Rosler, video, 1983)
Televised Texts (Jenny Holzer, 1990)
Nuit (Virginia Villaplana in collaboration with Mafucage.live act-female sound)
At Land a film (Maya Deren, 1944 , Silent)
No Hop Sing, No Bruce Lee (Janice Tanaka, 1998)
Sink or Swim (Su Friedrich, 1990)
The artwork in the age of its mechanical (Keith SANBORN, 1996)

"When I use a word," Humpty Dumpty said, in rather a scornful tone, "it means just what I choose it to mean - neither more nor less."
"The question is, " said Alice, "whether you can make words mean so many different things."
"The question is," said Humpty Dumpty. "which is to be master - that's all."

(Alice in Wonderland, by Lewis Carroll).

The question, as Humpty Dumpty says, is who has the power to create the dominant and hegemonic sense of the discourse. And for feminist theory and critique, as for Alice, "the question" is whether it is possible for the concept of power to have meaning and to be constructed in a new way. Feminist theory and critique, from whatever perspective - philosophical, political, aesthetic, sociological - has always made it abundantly clear that to the discourse of the dominant power is opposed the counter-discourse of the "revolt". To look for and reflect on the experience of this revolt in the culture of the image, in the words of philosophy, and in contemporary narratives is our objective in the current work.

A cultural revolt is a synonym for dignity, as Julia Kristeva comments in her most recent book, "Intimate Revolt: and the Future of Revolt". It means thinking of a new way of representing relationships of power, identity, subjectivity, the sex/gender system, and the construction of audiovisual narratives. It proposes taking a subversive look at the discourse of today's society, dominated by globalization, speculation, nihilism, xenophobia and sexual violence.

In this sense, as Gilles Deleuze and Felix Guattari put forward in their essay 'Rhizome', "History is written, but it is always written from the point of view of the sedentary and in the name of a united apparatus of the State, even when nomads are the subject." The art of narrative implies working with experience, which, with the development of industrialized forms of the communication, production and reproduction of experience which emerged in the late 20th century, has been replaced by Information; a balancing act which, given the need for a reading, audiovisual analysis and reorganization of images, would demand the possibility of an organization of memory and experiences which is conscious of these mechanisms as far as collective history is concerned.

It is on this point, viewed from a gender perspective, that the work is focused, presenting a new look at the problematic links between such terms as: Narrative, Audiovisuals and History. Further, establishing connections between intertextual and cultural practices in the face of representational forms which infer the construction of the subjects; and going beyond the lines which delineate borders and establish History as a chronology of facts. The notions of memory, history, information and collective experience in this working proposal are drawn from cinematic and televisual narratives via a discourse of advertising and the information age.'The machines of information and communication operate at the heart of human subjectivity, not merely in the bosom of its memories, of its intelligence, but also of its sensibilities, its affections and unconscious fantasies.'

Félix Guattari, in "Chaosophy".To think up this sentence presupposes a reflection on all subjects and, more concretely, the feminine subject. This, then, will be the fundamental objective of the work: To reflect on the construction of the feminine subject, and therefore on the masculine, by means of audiovisual narratives. Audiovisual narratives that, let us not forget, are part of the beginning of this new millennium; which implies approaching these stories in the context of new technologies. Recovering the concept of the subject means a transformation in philosophical and sociological perspectives which, since structuralism, functionalism and systemic theory, have been announcing the death of the subject.

This last concept, its construction in this new mediated culture where reality and fiction form a hybrid discourse, situates us in the problematic between Modernity and Post-Modernity. As such, to research the return of the subject and the notion of subjectivity requires that we situate ourselves in a continuous position with regard to the media and the technological age. Feminist theory and critique claims that we cannot remain on the margin of this philosophic and mediatic debate without thinking about what the creation of this "new subject" means, in the feminine as in the masculine, and the consequences of its redefinition; because we cannot overlook the fact that every audiovisual text constructs identities and forms part of a model of representation appropriate to its social, political and culturally determined moment.
-- Taverne des Beaux-Arts, rue Baron Hortastraat, 1000 Brussels