Category Archives: a.pass

Close Encounters: Active Archives

January 5, 2018 a.pass, Active Archives, Constant

In the context of the series Close Encounters, Nicolas Malevé and Femke Snelting and a.pass researcher Pierre Rubio will discuss the long history of Active Archives. Active Archives started in 2006 as a Constant project concerned with digital archive practices of cultural institutions. The project is currently activated by Michael Murtaugh and Nicolas Malevé in the context of SICV.

Close Encounters is the name of a series of presentations and public conversations organized by the a.pass Research Centre. These light and irregular events are designed to take time to meet, listen and evaluate an idea, a project, a research or a specific point in a research trajectory. What to study? What to research? What to practice?

“Within Active Archives, we aim to set up multi-directional communication channels, and are interested in making information circulate back and forth. We would like to give material away and receive it transformed: enriched by different connections, contexts and contradictions.” Active Archives manifesto, 2006

Monday Readings

December 29, 2017 a.pass

@ a.pass
Delaunoystraat 58/17 (third floor), 1080 Brussels

From January to April 2018, Femke curates the research centre at a.pass, a programme for advanced performance and scenography studies in Brussels. As part of this, she proposes five Monday Readings that bring habitual tool-situations apparent in a.pass in conversation with theoretical and political thinking. They are intimate collective situations on the articulation of technique and the performance of boundaries. The Mondays attempt to develop further connections between artistic research and techno-political practices such as software-as-a-critique, active archives and techno-galactic software observation.

With: Seda Guerses, Martino Morandi and Sina Seifee.

Monday 15 January: Text processing (with Martino Morandi)
Monday 5 February: Local server (with Martino Morandi)
Monday 26 February: Encoding + compression (with Martino Morandi)
Monday 19 March: Key cards (with Seda Guerses)
Monday 16 April: Databases (with Sina Seifee)

More info: https://apass.be/monday-readings

The Document Transformed

June 21, 2017 a.pass, Possible bodies

Masterclass with Adva Zakai (Thursday) and presentation (Saturday) on the BioVision Hierarchy file format.

BioVision Hierarchy (.bvh) is an ASCII file format used to import data from various motion capture systems into 3D-animation software. It was developed in the mid-nineties and remains one of the most commonly used file-formats for transposing movement captured in physical space, to a computational environment. Around this relatively legible format, a rich ecology of software tools developed. The file-format functions as a boundary object between practices and bodies, as it is used by animators, game developers, interface researchers, medical professionals, dance-historians, sports-analysts and engineers.

Together we will analyse the .bvh specifications and samples of the file format in order to understand what imaginaries of the body are encoded into it, what a bipedal skeleton hierarchy consists of, and how rotational data for rigid bodies might constitute a movement in itself.

The reading of the .bvh file format is developed with Adva Zakai in the context of Possible Bodies, a collaborative research initiated by Jara Rocha and Femke Snelting on the very concrete and at the same time complex and fictional entities that “bodies” are, and the matter-cultural conditions of possibility that render them present.

Image: Rigging Biovision Hierarchy with Sina Seifee.

Regime Change

October 31, 2016 a.pass

As a contribution to the a.pass event The Artist Commoner : Public Meeting, Kate Rich, Femke Snelting and Magdalena Tyzlik-Carver propose a day long session, aimed at aligning the a.pass computing infrastructure with the ambitions and aspirations summoned by the commons.

Tech giants currently dominate all forms of digital communication, from cloud-storage to production tools and archiving systems. For cultural institutions like a.pass and many kindred spirit organisations, there is potential for resistance. Kate, Magda and Femke will use the common power of their intersecting practices in art, technology and theory, to break the spell of this paralysing digital regime. With the aid of Free, Libre and Open Source software, the transposition agents will begin to transform the a.pass relation to its computing technology. Throughout the day the trio will conduct fieldwork, draw up solemn oaths & commit the institution to a rite of passage: from efficiency to curiosity; from scarcity to multiplicity and from solution to possibility.

Champagne served all day.