Inflatocookbook.pdf (objeto application/pdf) Media_Van.pdf (objeto application/pdf) ANT FARM Media Van v.08 [Time Capsule] – mlab. Project: ANT FARM Media Van v.08 [Time Capsule]Date: 2008Credit: Chip Lord, Curtis Schreier, & Bruce Tomb The Media Van was first realized in 1970 and was instrumental in producing and presenting video content for the Truckstop Network Tour, 1971. Members of the collective, Ant Farm, drove across the country creating a loose knit utopian community using the new media of the time: black and white video. The Tour is now thought to prefigure web-based communities such as social-networking sites and video sharing sites. The van disappeared in 1972, and was considered lost until its rediscovery in 2008 at a NIKE Missile Site. The rediscovery of the van, at the former secret military site renews speculation among supporters, researchers and curators that the van may have been confiscated by the Federal Government, at a point in time when media, in the wrong hands, was thought to have a destabilizing affect on popular culture with potentially dangerous implications.
3392_medium.jpg (imagen JPEG, 591 × 480 píxeles) HOTEL MOBILE [1972] Gernot Nalbach. E.A.T. 9 Evenings. POST.DANCE. Guerilla Theater. By Michael William Doyle [First published in Imagine Nation: The American Counterculture of the 1960s and '70s, New York: Routledge, 2002] Michael William Doyle was one of the first historians to delve into the Diggers with the passion of an amateur in the true sense of the word, and the scholarship of a professional. Michael visited these Archives on many occasions starting in the 1980s and proffered his wholehearted encouragement to this sometimes lonely project. As he developed his skills and his body of research notes, I began to publish on the Web some of the primary materials that Michael and other students of Digger history had used. It became clear that at some point Michael would publish his work, and so I have waited for this day to be able to present the results of his efforts. Here then is an essential article about the importance of Guerrilla Theater in the evolution of the Digger impulse by one of the foremost historians of the Counterculture.
Guerrilla theatre. Guerrilla theatre,[1][2] generally rendered "guerrilla theater" in the US, is a form of guerrilla communication originated in 1965 by the San Francisco Mime Troupe, who, in spirit of the Che Guevara writings from which the term guerrilla is taken, engaged in performances in public places committed to "revolutionary sociopolitical change. "[2] The group performances, aimed against the Vietnam war and capitalism, sometimes contained nudity, profanity and taboo subjects that were shocking to some members of the audiences of the time.[2] Guerrilla (Spanish for "little war"), as applied to theatrical events, describes the act of spontaneous, surprise performances in unlikely public spaces to an unsuspecting audience.
[citation needed] Typically these performances intend to draw attention to a political/social issue through satire, protest, and carnivalesque techniques. Origins[edit] The term Guerrilla Theater was coined by Peter Berg, who in 1965 suggested it to R.G. [edit] Further reading[edit] 1970 Reconstruction Of Oskar Schlemmer's 1926 Triadisches Ballett. Theatrical Space as a Model for Architecture. The twentieth-century performance reader - Michael Huxley, Noel Witts. László Moholy-Nagy's visual representation of Finnegan's Wake. László Moholy-Nagy, el arte de la luz « Lo que me gusta es ilegal, inmoral o engorda. Tras un desayuno fructífero y agradable, mientras veía caer la lluvia por la Gran Vía a traves de los ventanales del café del Círculo de Bellas Artes, descubrí a Lazlo Moholy-Nagy, cuya exposición El arte de la luz forma parte de la edición de PhotoEspaña2010. Artista total, pintura, fotografía, vídeo… Unas instantáneas con perspectivas maravillosas, unos fotogramas espectaculares en un tiempo donde los retoques eran consecuencia del ingenio y no tanto de la informática.
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