Difference between revisions of "Guy van Belle"

From Monoskop
Jump to navigation Jump to search
 
(16 intermediate revisions by 2 users not shown)
Line 5: Line 5:
 
|based_in = Vysočina/Hranice u Malče, [[Czech Republic]]
 
|based_in = Vysočina/Hranice u Malče, [[Czech Republic]]
 
}}
 
}}
Currently known as [[Gívan_Belá | Gívan Belá]]. Born 1720 in [[Belgium]].  
+
Currently known as [[Gívan_Belá | Gívan Belá]]. Probably born 1720 in [[Belgium]].  
  
After studying literature and linguistics, a little philosophy and sculpting, he made a radical switch to computer music in the middle of the 1980s, and a little later into generative vizualisation. Involved in experimental media art in its many different forms since 1990, but each of these terms are controversial and debatable. Soit. First, he restlessly lived and worked in [[Belfast]], [[Ghent]], [[Antwerp]], [[Brussels]], [[New York City|New York]], [[Rotterdam]], [[Amsterdam]], [[The Hague]], [[Berlin]], [[Bratislava]], [[Praha]]. His most important virtual organisations (all collective) were Stellingname (1984-1989), [http://web.archive.org/web/19970418042254/http://dewey.rug.ac.be/barn/tex/yfcf.html Young Farmers Claim Future] (1990-2000), [[dBONANZAh!]] (1998-2002), and finally [[mXHz.org]] (2002-?) and [[Society of Algorithm]] (2004-?). These setups were merely covers for collaboratively investigating the many different forms of creativity between real and non-physical people, including machines. Then he became co-founder, and active member for many years of [[OKNO]] (2004-15), an artist run organization in Brussels... (unreadable) ... sparse moments with less and less material works, almost unnoticed, in a corner of different events happening at the same time. Presque rien, zápisník zmizelého... () ... real time generated, abstract, algorithmic, and gradually abandoning the familiar settings, parameters and skills for production, display and reception of the work of art as we know it today. He wrote critico-comical pamphlets about art and technology from an anti-post-modernist happy-misantropic background. Like everyone in that field and at that time, throughout his life, he had many money problems, many friends and even more enemies. Let's not talk about his relationships here. Between 2005 and 2009 he lived in [[Bratislava]], where he began to work under the name of [[Gívan Belá]]. The city does not plan a statue yet, though in return the city of Banska Bystrica gave him the title of ArtD or Doctor Artis. This lead to a new specialisation into Art Transplantations and (scrapped) 'denizen epos' (unpublished, notes with different titles are available). There are many unverified stories, like: "... around 2010, after a short visit to a small village in Bohemia (Vysočina/Hranice u Malče), and seeing there an abandoned cow house (kravín), he extended his name to Belá-Kravař. Others maintain it is a mutation of Cravan, the proto-dada artist, which he did not admire at all." On one occasion he would introduce himself as a media data writer, then as a wind time inventor and clock maker, then again as a slide and cigar box guitar musician in a skiffle/spasm/jug band. In the Summer of 2017 he was one of 'The All Weather Experts' bringing Weather Reports 7x a day on the Documenta 14 art radio Every Time A Ear di Soun. Other works include 'Succour' with Gejza Roman Bobb with other artists from the bands 'Digital Death & Afterlife' or 'The Ambisinix'. There is no proof he ever studied metereology, ecology, or any other discipline. Often he claimed Graham Bell to be family, since the whole lineage was deaf in the right ear and was interested in flying tetrahedron kites. What is Kra, where is Kra Land? For the 7th of November, 2022, he was preparing an homage to [[Arseny Avraamov]] and for that purpose set up the organisation without a centre 'The Baku 2022 Foundation' (2006-?).  
+
After studying literature and linguistics, a little philosophy and sculpting, he made a radical switch to computer music in the middle of the 1980s, and a little later into generative vizualisation. Involved in experimental media art in its many different forms since 1990, but each of these terms are controversial and debatable. Soit. First, he restlessly lived and worked in [[Belfast]], [[Ghent]], [[Antwerp]], [[Brussels]], [[New York City|New York]], [[Rotterdam]], [[Amsterdam]], [[The Hague]], [[Berlin]], [[Bratislava]], [[Praha]]. His most important virtual organisations (all collective) were [http://web.archive.org/web/19970719105858/http://dewey.rug.ac.be/barn/tex/cv.html#stelling Stellingname] (1984-1989), [http://web.archive.org/web/19970418042254/http://dewey.rug.ac.be/barn/tex/yfcf.html Young Farmers Claim Future] (1990-2000), [[dBONANZAh!]] (1998-2002), and finally [[mXHz.org]] (2002-?) and [[Society of Algorithm]] (2004-?). These setups were merely covers for collaboratively investigating the many different forms of creativity between real and non-physical people, including machines. Then he became co-founder, and active member for many years of [[OKNO]] (2004-15), an artist run organization in Brussels... (unreadable) ... sparse moments with less and less material works, almost unnoticed, in a corner of different events happening at the same time. Presque rien, zápisník zmizelého... () ... real time generated, abstract, algorithmic, and gradually abandoning the familiar settings, parameters and skills for production, display and reception of the work of art as we know it today. He wrote critico-comical pamphlets about art and technology from an anti-post-modernist happy-misantropic background. Like everyone in that field and at that time, throughout his life, he had many money problems, many friends and even more enemies. Let's not talk about his relationships here. Between 2005 and 2009 he lived in [[Bratislava]], where he began to work under the name of [[Gívan Belá]]. The city does not plan a statue yet, though in return the city of Banska Bystrica gave him the title of ArtD or Doctor Artis. This lead to a new specialisation into Art Transplantations and (scrapped) 'denizen epos' (unpublished, notes with different titles are available). There are many unverified stories, like: "... around 2010, after a short visit to a small village in Bohemia (Vysočina/Hranice u Malče), and seeing there an abandoned cow house (kravín), he extended his name to Belá-Kravař. Others maintain it is a mutation of Cravan, the proto-dada artist, which he did not admire at all." On one occasion he would introduce himself as a media data writer, then as a wind time inventor and clock maker, then again as a slide and cigar box guitar musician in a skiffle/spasm/jug band. In the Summer of 2017 he was one of 'The All Weather Experts' bringing Weather Reports 7x a day on the Documenta 14 art radio Every Time A Ear di Soun. Other works include 'Succour' with Geza Roman Bobb and with other artists from the bands 'Digital Death & Afterlife' or 'The Ambisinix'. He was also part of an international experimental digital/analog/nano band, with ad hoc members from JPN, DE, FR, CZ, SK, ... performing only outdoors and off-grid, but connected and online: 'Rural Development'. There is no proof he ever studied metereology, ecology, or any other discipline. Maybe his preoccupation with both rural leisure time and worker class cultural life came from a forlorn youth, admiring farmers on the land and proletarians in squalid factories, gathering after work to play brass and drums, accordeons in marching bands in the mid 20th century? What is Kra, where is [http://kra.land Kra Land]? Often he claimed Graham Bell to be family, since the whole lineage was deaf in the right ear and was interested in flying tetrahedron kites. For the 22nd of November, 2022, he was preparing an homage to [[Arseny Avraamov]] and for that purpose set up the organisation without a centre 'The Baku 2022 Foundation' (2006-2064).
 +
 
 +
==Writings, interviews, publications==
 +
''(if still available, time erases everything in the end...)''
 +
 
 +
* with Ronald Soetaert, "Schermen met geletterdheid", ''De Vlaamse Gids'' 78, 1993, pp 20-22. {{nl}}
 +
 
 +
* with Ronald Soetaert and Luc Top, [https://sci-hub.se/10.1080/0952398950320203 "Creating a New Borderland on the Screen"], ''Educational Media International'' 32:2, Jun 1995, pp 62-68. [https://doi.org/10.1080/0952398950320203]
 +
 
 +
* Guy van Belle, et al., [https://files.eric.ed.gov/fulltext/ED421075.pdf#page=1210 Developing Web Sites for Professional Development"], in ''Proceedings of SITE 1998: Society for Information Technology & Teacher Education International Conference'', Waynesville, NC: Association for the Advancement of Computing in Education (AACE), 1998, pp 1210-1211.
 +
 
 +
* [https://www.tandfonline.com/doi/pdf/10.1080/14759399900200064 "There is a German Way of Knitting: Some Reflections on Technology, Education and Design"], ''Journal of Information Technology for Teacher Education'' 8:2, 1999.
 +
 
 +
* curator, ''Power and Responsibility: Converted to Streaming Between Machines'', Leonardo Music Journal 9, Dec 1999. CD companion to the journal; contains audio and data. [[Media:Van Belle Guy 1999_CD Companion Introduction Power and Responsibility Converted to Streaming Between Machines.pdf|Introduction]]. [https://sci-hub.se/10.1162/096112199750316947 Manual]. [https://www.discogs.com/release/1430182 Track listings]. [https://worldcat.org/oclc/43965997]
 +
 
 +
* Guy van Belle, et al., [[Media:Van Belle Guy et al 1999_Power and Responsibility Conversations with Contributors.pdf|"Power and Responsibility: Conversations with Contributors"]], ''Leonardo Music Journal'' 9, Dec 1999, pp 127-133. [https://doi.org/10.1162/096112199750316938]
 +
 
 +
* with Ronald Soetaert, "Breakdown into the Virtual User-Involved Design and Learning", ''Journal of Technology and Teacher Education'' 9:1, Spring 2001.
 +
 
 +
* mxhz.org, [http://web.archive.org/web/20110823234257/http://memoir.okno.be/?id=548 "Pamphlet for a Connected Aesthetics"], April 2004. [http://archive.is/FapTU]
 +
 
 +
* "Teil eines verbundenen Kollektivs", ''Neue Zeitschrift für Musik'' 165:5, Schott Musik International, Sep-Oct 2004. [http://www.medienkunstnetz.de/works/anyware/] [http://archive.neural.it/init/default/show/2133] {{de}}
 +
 
 +
* [http://www.swr.de/swr2/audiohyperspace/engl_version/interview/vanbelle.html "Early Sonic Networker: Guy van Belle in Conversation with Sabine Breitsameter"], ''AudioHyperSpace'', SWR2, July 2005. [http://www.turbulence.org/blog/archives/001171.html] [http://web.archive.org/web/20051214213632/http://www.swr.de/swr2/audiohyperspace/engl_version/interview/index.html]
 +
 
 +
* Dušan Barok, [http://web.archive.org/web/20120217163223/dusan.satori.sk/txt/artmachine.php "The Machine Is an Idea That Art Makes. Conversation with a Network Artist Guy van Belle"], Aug 2005.
 +
** "Stroj je myšlienka, ktorú robí umenie", ''3/4'' 19, Bratislava: Atrakt Art, 2006. [https://34.sk/archiv/archiv.php] {{sk}}
 +
 
 +
* [https://monoskop.org/images/8/8a/X-MED-A_Experimental_Media_Arts_2006.pdf#page=10 "Before/After/Poetika (An Introduction Only)"], in ''[https://monoskop.org/log/?p=53 X-MED-A: Experimental Media Arts'']], eds. Maja Kuzmanovic, et al., Brussels: FoAM, nadine, okno, and iMAL, 2006, pp 10-13.
 +
 
 +
* with Akihiro Kubota, [https://monoskop.org/images/8/8a/X-MED-A_Experimental_Media_Arts_2006.pdf#page=26 "Society of Algorithm"], in ''[https://monoskop.org/log/?p=53 X-MED-A: Experimental Media Arts'']], eds. Maja Kuzmanovic, et al., Brussels: FoAM, nadine, okno, and iMAL, 2006, pp 26-27.
 +
 
 +
* Femke Snelting, [http://www.bamart.be/pages/detail/nl/3514 "Genereuze Praktijken"], in ''Cross-over. Kunst, media en technologie in Vlaanderen'', BAM/LannooCampus, 2008, pp 43-63. {{nl}}
 +
 
 +
* [https://monoskop.org/images/8/83/Crawford_Holly_ed_Artistic_Bedfellows_Histories_Theories_and_Conversations_in_Collaborative_Art_Practices_2008.pdf#page=292 "Some Thoughts on Collaboration"], in '' Artistic Bedfellows: Histories, Theories and Conversations in Collaborative Art Practices '', ed. Holly Crawford, University Press of America, 2008, pp 277-282.
 +
 
 +
* [http://www.rozhlas.cz/radiocustica/projekt/_zprava/855051 "The Society of Algorithm: Thinking Of Katastrofa"], ''Radioacustica'', Czech Radio, Feb 2011. Includes a 27-minute audio recording. [http://web.archive.org/web/20131020032319/http://www.rozhlas.cz/radiocustica/projekt/_zprava/855051]
 +
 
 +
* [https://artycok.tv/en/8284/michal-kindernay-guy-van-belle "Michal Kindernay, Guy van Belle"], ''Artycok.tv'', Sep 2011. Video profile, 20 min.
 +
 
 +
* Michal Murin, [[Media:Guy_van_Belle_2014_Enter.pdf|"Iné storočie, iný svet - ďalší skok do prázdna"]], ''Enter'' 16, Košice: Dive buki, 2014, pp 58-67. Interview. {{sk}}
 +
 
 +
* [[Media:Guy_van_Belle_2014_Enter.pdf|"Ekológia ako kultúrna kritika a zmena"]], ''Enter'' 16, Košice: Dive buki, 2014, pp 68-73. {{sk}}
 +
 
 +
* Gívan Belá, "Jak být v souladu s ekologií a uměním... Velmi krátká úvaha o desetiletém pozorování dřímajících možností, jak udělat něco jiného z toho, co bývalo uměním, následovaná otevřeným seznamem termínů", ''Flash Art Czech & Slovak Edition'' 37, Dec 2015, pp 33ff. {{cz}}
 +
 
 +
* Gívan Belá, Annemarie Maes (eds.), ''[[Media:Bela Givan Maes AnneMarie eds Ignorance A Laboratory on the Open Fields 2015.pdf|Ignorance: A Laboratory on the Open Fields]]'', Brussels: OKNO, and Ghent: MER. Paper Kunsthalle, 2015, 136 pp. [http://www.merpaperkunsthalle.org/projects/view/1159]
  
; Writings and interviews (selection)
 
* mxhz.org, [http://memoir.okno.be/?id=548 "Pamphlet for a Connected Aesthetics"], April 2004. [http://archive.is/FapTU]
 
* db, "The machine is an idea that art makes. Conversation with network artist Guy van Belle", ''3/4'' magazine 19 (2005), Bratislava. {{sk}}. [http://dusan.satori.sk/txt/artmachine.php (Translated from English.)]
 
* [http://www.swr.de/swr2/audiohyperspace/engl_version/interview/vanbelle.html "Early Sonic Networker: Guy van Belle in Conversation with Sabine Breitsameter"], July 2005.
 
* with Akihiro Kubota, "Society of Algorithm", in [[Media:Xmeda.screen.pdf|''.x-med-a., experimental media arts'']], 2006, pp 26-27.
 
* "Before|After|Poetika [An Introduction Only]", in [[Media:Xmeda.screen.pdf|''.x-med-a., experimental media arts'']], 2006, pp 10-13.
 
* Femke Snelting, [http://www.bamart.be/pages/detail/nl/3514 "Genereuze Praktijken" ] ''Cross-over. Kunst, media en technologie in Vlaanderen'', BAM/LannooCampus, 2008, pp 43-63. {{nl}}
 
* [http://www.rozhlas.cz/radiocustica/projekt/_zprava/855051 "An environmental work by the Society of Algorithm"], 2011. Includes a 27-minute audio recording.
 
* Michal Murin, [[Media:Guy_van_Belle_2014_Enter.pdf|"Iné storočie, iný svet - ďalší skok do prázdna"]], ''Enter'' 16 (2014), Bratislava, pp 58-67. Interview. {{sk}}
 
* [[Media:Guy_van_Belle_2014_Enter.pdf|"Ekológia ako kultúrna kritika a zmena"]], ''Enter'' 16 (2014), Bratislava, pp 68-73. {{sk}}
 
* Gívan Belá, "Jak být v souladu s ekologií a uměním... Velmi krátká úvaha o desetiletém pozorování dřímajících možností, jak udělat něco jiného z toho, co bývalo uměním, následovaná otevřeným seznamem termínů", ''Flash Art Czech & Slovak Edition'' 37 (Dec 2015), pp 33ff. {{cz}}
 
* Gívan Belá, Annemarie Maes (eds.), ''Ignorance: A Laboratory On The Open Fields'', Brussels: OKNO, and Ghent: MER. Paper Kunsthalle, 2015, 136 pp. [http://www.merpaperkunsthalle.org/projects/view/1159]
 
 
* x-okno-poseur-poster (2016)
 
* x-okno-poseur-poster (2016)
* more writings: [http://memoir.okno.be/?id=13 okno.be], [http://writingthrough.societyofalgorithm.org writingthrough.societyofalgorithm.org], [http://societyofalgorithm.org societyofalgorithm.org], [http://multiplace.org/lists/archives/mtp-teoria/ mtp-teoria] list ([http://multiplace.org/pipermail/mtp-teoria/ cont.]), [http://www.advojka.cz/autori/givan-bela A2] and [http://www.hisvoice.cz His Voice FTOAM column](Czech).. also look for the I WAS 17 and I WAS 18 texts while you are there...
+
 
 
* documenta 14, a 10 hour art live radio performance spread over 20 days, called 'Weather Reports', 2017
 
* documenta 14, a 10 hour art live radio performance spread over 20 days, called 'Weather Reports', 2017
 +
 
* succour, a distopie festival participation on tempelhof berlin, 2018-2064  
 
* succour, a distopie festival participation on tempelhof berlin, 2018-2064  
  
; Links
+
* the marching arts, a virtual/real performance with(out) audience, analog/digital/nano, 2019-2022
 +
 
 +
* more writings: [http://memoir.okno.be/?id=13 okno.be], [http://writingthrough.societyofalgorithm.org writingthrough.societyofalgorithm.org], [http://societyofalgorithm.org societyofalgorithm.org], [http://multiplace.org/lists/archives/mtp-teoria/ mtp-teoria] list ([http://multiplace.org/pipermail/mtp-teoria/ cont.]), [http://www.advojka.cz/autori/givan-bela A2] and [http://www.hisvoice.cz His Voice FTOAM column](Czech).. also look for the I WAS 17 and I WAS 18 texts while you are there...
 +
 
 +
==Links==
 
* http://societyofalgorithm.org
 
* http://societyofalgorithm.org
 
* http://kra.land
 
* http://kra.land
 +
* http://mxhz.org/
 +
* http://www.kunstradio.at/BIOS/bellebio.html
 +
* http://www.kunstradio.at/BIOS/bellbio.html
  
 
[[Category:Writers|Belle, Guy van]] [[Category:experimental]]
 
[[Category:Writers|Belle, Guy van]] [[Category:experimental]]

Latest revision as of 10:41, 29 December 2021

Born Belgium
Based in Vysočina/Hranice u Malče, Czech Republic

Currently known as Gívan Belá. Probably born 1720 in Belgium.

After studying literature and linguistics, a little philosophy and sculpting, he made a radical switch to computer music in the middle of the 1980s, and a little later into generative vizualisation. Involved in experimental media art in its many different forms since 1990, but each of these terms are controversial and debatable. Soit. First, he restlessly lived and worked in Belfast, Ghent, Antwerp, Brussels, New York, Rotterdam, Amsterdam, The Hague, Berlin, Bratislava, Praha. His most important virtual organisations (all collective) were Stellingname (1984-1989), Young Farmers Claim Future (1990-2000), dBONANZAh! (1998-2002), and finally mXHz.org (2002-?) and Society of Algorithm (2004-?). These setups were merely covers for collaboratively investigating the many different forms of creativity between real and non-physical people, including machines. Then he became co-founder, and active member for many years of OKNO (2004-15), an artist run organization in Brussels... (unreadable) ... sparse moments with less and less material works, almost unnoticed, in a corner of different events happening at the same time. Presque rien, zápisník zmizelého... () ... real time generated, abstract, algorithmic, and gradually abandoning the familiar settings, parameters and skills for production, display and reception of the work of art as we know it today. He wrote critico-comical pamphlets about art and technology from an anti-post-modernist happy-misantropic background. Like everyone in that field and at that time, throughout his life, he had many money problems, many friends and even more enemies. Let's not talk about his relationships here. Between 2005 and 2009 he lived in Bratislava, where he began to work under the name of Gívan Belá. The city does not plan a statue yet, though in return the city of Banska Bystrica gave him the title of ArtD or Doctor Artis. This lead to a new specialisation into Art Transplantations and (scrapped) 'denizen epos' (unpublished, notes with different titles are available). There are many unverified stories, like: "... around 2010, after a short visit to a small village in Bohemia (Vysočina/Hranice u Malče), and seeing there an abandoned cow house (kravín), he extended his name to Belá-Kravař. Others maintain it is a mutation of Cravan, the proto-dada artist, which he did not admire at all." On one occasion he would introduce himself as a media data writer, then as a wind time inventor and clock maker, then again as a slide and cigar box guitar musician in a skiffle/spasm/jug band. In the Summer of 2017 he was one of 'The All Weather Experts' bringing Weather Reports 7x a day on the Documenta 14 art radio Every Time A Ear di Soun. Other works include 'Succour' with Geza Roman Bobb and with other artists from the bands 'Digital Death & Afterlife' or 'The Ambisinix'. He was also part of an international experimental digital/analog/nano band, with ad hoc members from JPN, DE, FR, CZ, SK, ... performing only outdoors and off-grid, but connected and online: 'Rural Development'. There is no proof he ever studied metereology, ecology, or any other discipline. Maybe his preoccupation with both rural leisure time and worker class cultural life came from a forlorn youth, admiring farmers on the land and proletarians in squalid factories, gathering after work to play brass and drums, accordeons in marching bands in the mid 20th century? What is Kra, where is Kra Land? Often he claimed Graham Bell to be family, since the whole lineage was deaf in the right ear and was interested in flying tetrahedron kites. For the 22nd of November, 2022, he was preparing an homage to Arseny Avraamov and for that purpose set up the organisation without a centre 'The Baku 2022 Foundation' (2006-2064).

Writings, interviews, publications[edit]

(if still available, time erases everything in the end...)

  • with Ronald Soetaert, "Schermen met geletterdheid", De Vlaamse Gids 78, 1993, pp 20-22. (Dutch)
  • Guy van Belle, et al., Developing Web Sites for Professional Development", in Proceedings of SITE 1998: Society for Information Technology & Teacher Education International Conference, Waynesville, NC: Association for the Advancement of Computing in Education (AACE), 1998, pp 1210-1211.
  • curator, Power and Responsibility: Converted to Streaming Between Machines, Leonardo Music Journal 9, Dec 1999. CD companion to the journal; contains audio and data. Introduction. Manual. Track listings. [2]
  • with Ronald Soetaert, "Breakdown into the Virtual User-Involved Design and Learning", Journal of Technology and Teacher Education 9:1, Spring 2001.
  • "Teil eines verbundenen Kollektivs", Neue Zeitschrift für Musik 165:5, Schott Musik International, Sep-Oct 2004. [5] [6] (German)
  • Femke Snelting, "Genereuze Praktijken", in Cross-over. Kunst, media en technologie in Vlaanderen, BAM/LannooCampus, 2008, pp 43-63. (Dutch)
  • "Some Thoughts on Collaboration", in Artistic Bedfellows: Histories, Theories and Conversations in Collaborative Art Practices , ed. Holly Crawford, University Press of America, 2008, pp 277-282.
  • Gívan Belá, "Jak být v souladu s ekologií a uměním... Velmi krátká úvaha o desetiletém pozorování dřímajících možností, jak udělat něco jiného z toho, co bývalo uměním, následovaná otevřeným seznamem termínů", Flash Art Czech & Slovak Edition 37, Dec 2015, pp 33ff. (Czech)
  • x-okno-poseur-poster (2016)
  • documenta 14, a 10 hour art live radio performance spread over 20 days, called 'Weather Reports', 2017
  • succour, a distopie festival participation on tempelhof berlin, 2018-2064
  • the marching arts, a virtual/real performance with(out) audience, analog/digital/nano, 2019-2022

Links[edit]