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26 April - 01 May 2021

خيال البيانات: الدورة الثالثة من مهرجان كايروترونيكا الدورة الثالثة من كايروترونيكا: معرض خيال البيانات، حوارات فينة ، عروض أدائية وورش عمل يشارك هذا العام أعمال الفنية ومشاريع لفناني�� من مصر والمنطقة العربية والعالم يناقشون فيها تعقيدات التعامل مع التقنيات الجديدة ويستكشفون الأساطير حول البيانات بين الحقيقة والخيال. تحت موضوع خيال البيانات، عرض هذه الأعمال الفنية جنبًا إلى جنب يطرح تساؤلات حول التفاعل بين البيانات والسرد، والأنماط والقيود التي تحددها البيانات، والقصص التي تتيح لنا البيانات أن نرويها. خيال البيانات يدعونا للتفكير النقدي في الموضوعات الطارئة مثل المسؤوليات التي تأتي مع ممارسة السرد سياقات أساسها البيانات، والفرص والتحديات التي تتولد نتيجة التحول نحو مجتمع معتمد على البيانات. إلى جانب المعرض ، تقدم كايروترونيكا لقاءات مع فنانين من تخصصات متعددة يتحاورون فيها عن مواضيع يتقاطع فيها كل من الفن والتكنولوجيا والمجتمع. برنامج افلام الأنيماشين من تقديم آرس إلكترونيكا. ----------------------------- المهرجان بالأرقام: 40 عمل فني 22 دولة 45 فنانا 1 عرض الموسيقى 7 أفلام أينماشين 2 مقر للمعرض 4 ورش عمل -----------------------------

أجندة الورش المشاهد الطبيعية والاصطناعية والرقمية: https://fb.me/e/6lzur1s9y

Data Fiction

3rd Edition of Cairotronica Festival, Cairo Electronic and New Media Festival

Exhibition, Talks, Performance and Workshops

Cairotronica’s 3rd edition showcases artworks and projects from Egyptian, regional and international artists who outline the complexities of dealing with new technologies and explore the myths around data between fact and fiction. Under the theme Data Fiction, the display of these artworks side by side questions the interaction between data and narrative, the patterns and constraints set by data and stories that data lets us tell. It also starts a critical reflection on urgent topics such as the commitments that come with a narrative practice in data-centered settings and the opportunities and challenges of shifting towards a data-driven society.

Alongside the exhibition, the artist talks offer cross-disciplinary and mutual dialogue at the intersection of art, technology and society.

In addition, Ars Electronica has curated a unique animation movies program under the theme of Data Fiction.

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The Event in Numbers: 40 Artworks 22 Countries 45 Artists 1 Music Performance 7 Animation Movie Screenings 2 Venues 4 Workshops

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Dr. Mae Jemison, MD, the first black woman in space and first actual astronaut to appear on a Star Trek show, one of the very few people on this planet of whom two pictures can be posted depicting them doing their job on a spaceship with entirely different contexts.

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“Afrikaans is not the history of only one group of people ... In the linguistic world, Afrikaans has been viewed as a language that evolved out of creolisation. But Afrikaner nationalist academics played a role in a deliberate process to keep it viewed as Dutch. But in this language are words that come from South-East Asia and that formed in the mouths of people in the Cape. We have adapted those words and made it part of Afrikaans. This shifted the perspective that Afrikaans is a white language. The colonised people of the Cape had played a major role in developing Afrikaans.”

Professor Hein Willemse, head of literacy in the Afrikaans department at the University of Pretoria

The hidden histories of Afrikaans by Hein Willemse (pdf)

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When we edit a friend’s text, we are co-authoring it. On good days, this makeshift economy is a dance of solidarity. In being more than one, one can never fully be one—an editor, a writer, a reader, a lover. These (pre)positions are contingent and manifold, and while experiencing them, I (you) am (are) aware of the values and parameters at (for) play within each. In this dance, I always try and welcome (certain) erasures, replacements, revisions, and additions. I like to think that we’re all working for (toward) a shared text. Within (repetition), these constella- tions, friendships, and conversations, English is in formation: it becomes something it wasn’t before we (I) met (you).

Many Englishes: On Editing and Power, Mirene Arsenios

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pride is

a strange violence. my

grandmother’s country

had a black president

in 1829.

— Ariana Brown, from “Introductions,” published in Scalawag

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Simultaneous perspective does not look upon language as a path because it is not the search for meaning that orients it. Poetry does not attempt to discover what there is at the end of the road; it conceives of the text as a series of transparent strata within which the various parts—the different verbal and semantic currents—produce momentary configurations as they intertwine or break apart, as they reflect each other or efface each other. Poetry contemplates itself, fuses with itself, and obliterates itself in the crystallizations of language. Apparitions, metamorphoses, volatilizations, precipitations of presences. These configurations are crystallized time: although they are perpetually in motion, they always point to the same hour—the hour of change. Each one of them contains all the others, each one is inside the others: change is only the oft-repeated and ever-different metaphor of identity.

Octavio Paz, The Monkey Grammarian

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I have never identified as either Sudanese or Egyptian. My response to questions about my nationality has always been, “Egyptian of Sudanese origin.” I thought my inclusion of Sudan as part of my identity answered the key question on the minds of all those who ask about my nationality: “How come you’re black but so fluent in Egyptian Arabic?” Yet I hardly speak Sudanese Arabic and have trouble understanding my maternal uncle, who speaks only in that tongue. Maybe I felt angry and offended because this was another one of many ways in which I have been robbed of the right to know myself. Or maybe I felt upset because it confronted me with the fact that I am deprived of the luxury of self-knowledge. My color identifies me. My dialect and the way I express myself identify me. My knowledge of English identifies me. Even the way I dress identifies me.

‘Black’: A Short Memoir by Hoda Salem

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“Is language careless or are we? Is language the broom or what’s being swept?”

— Victoria Chang, from “OBIT,” published in Blackbird

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Fact: A lot of people are confused about what bisexuality is or what it means to be bi. To clarify: “bi” is short for the word “bike” which in itself is actually short for “bichael”. We hope this clears things up.

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“The Native Hawaiian viewpoint is this: we will never own our land. This is Pele’s home and to come in and say ‘Pele you go here’ in her house is HEWA”

hewa

1. nvs. Mistake, fault, error, sin, blunder, defect, offense, guilt, crime, vice; wrong, incorrect, wicked, sinful, guilty; to err, miss, mismanage, fail, mis-.

Please watch this video and focus on the two Hawaiian women. There’s a lot of sensationalization going on in the media over the eruptions on the Big Island of Hawaiʻi. Native Hawaiians believe in Pele-honua-mea (Pele of the sacred land) to be the goddess of fire, lightning, volcanoes, and the creator of the Hawaiian islands. We are not scared of the lava she sends our way, and we will not grieve over material possessions she takes when restoring her home.

“The Native Hawaiian viewpoint is this: we will never own our land. This is Pele’s home and to come in and say ‘Pele you go here’ in her house is HEWA”

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People are trapped in history and history is trapped in them.

James Baldwin, Stranger in the Village

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Bamako (2000, dir. Abderrahmane Sissako)

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PSA: THERE’S a jpop trio of girls that are debuting supposedly today and the’yre ALL biracial! they’re called GLOSS and their members are: lil domi (black + japanese), kemy doll (filipino + japanese), and sakura (tanzanian + japanese)!!!! lets see what these queens can do!!!!

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State of Florida Emergency Travel Advisory

Read more: https://floridaimmigrant.org/our-work/state-of-florida-emergency-travel-advisory/