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GINGER can be approached as


- forum
- community
- platform
- social space
- narrative
- artwork
- electronic publication
- resource
- virtual world
- research project
- curatorial initiative

a multifaceted piece.

GINGER becomes manifest as NODES and The LIVE ART LOUNGE

GINGER NODES : Research as Art G NODES is an open-access, discursive, relational, online public space (such as a media wiki) that allows for debates on, explorations around and enactments of technological and technologised performances.

G NODES is open to everyone to contribute diverse materials and/or add new nodes. The nodes are keywords, links, audiovisuals or other mental and sensuous stimuli.

G NODES is a process-driven project : what matters is not the outcome, but the process of collaborative thinking, writing, and being.

G NODES approaches research as art.

The GINGER LIVE ART LOUNGE : Curation as Art

The GLA LOUNGE is devoted to live encounters.

It is :

* an immersive, online virtual world consisting of networks of interconnected virtual lounges (i.e. social spaces run by hosts).

Each lounge has one or more hosts who curate its content, that is, the diverse activities that take place in it and the way participants can access them. These activities can be performances, screenings, shows, gigs, workshops, seminars, symposia, discussions -but also dinners, drinks receptions, parties, chats. Some lounges /events are open to all, whereas others offer restricted access.

People can access the lounge from around the world through mobile devices. If technology is more democratic and less elitist by now (2025), this makes for truly diverse socialising.

Avatars are intelligent and do not entirely depend on their ’physical personae’. Instead, they have a degree of agency, and can be active in the Lounge 24/7 if they so choose.

* A network of urban and rural interventions in physical space.

Lounges appear in unexpected urban or rural areas around the world, exist for a week, a day, a few hours, and disappear. Lounges can appear in city squares, parks, desolate urban spaces (e.g. industrial units), forests, fields, beaches…

These lounges are designed as site-specific interventions and are connected to the cyber-lounges. They are temporary physical manifestations of hospitality that invite targeted and random participants to join in for live art and networked performances, discussions, shows, screenings… –but also dinners, drinks, and chats. Apparition-like, these lounges operate as temporary oases of culture and hospitality within the urban matrix and rural landscape. They are there to unexpectedly bring together local peoples in a shared, friendly space, while creating networks between local and international communities, and disseminating culture and research.

The GLA Lounge approaches curation as content that acts as host to other content ; that is, curation as art.

GINGER est tout à la fois un forum, une communauté, une plate-forme, un espace social ouvert, un récit, un réseau d’ateliers d’artistes, un centre de publications électroniques, un centre de ressource, un monde virtuel, un lieu de rencontre c’est à dire en fin de compte un espace kaléidoscopique et mouvant réunissant des chèvres, des choux, des clous, des codes, des affects et des signes. Pour les millions de personnes se retrouvant quotidiennement sur la plate-forme en ligne "second life", la vie dans les mondes virtuels présente semble-t-il beaucoup plus d’attraits secrets que la vie réelle dans le monde réel. Avec les jeux vidéo déjà massivement inscrits dans le génome des moins de 25 ans, le joueur adopte l’identité et les comportements d’un "autre". Avec "second life" le joueur reste lui-même alors qu’il peut adopter les manières, les tenues et les comportements de qui bon lui semble. Différence radicale mais pourtant les deux situations ont un point commun : celle de provoquer l’addiction des utilisateurs et le désarroi de ceux qui en sont exclus, qu’ils l’aient décidé ou non. Maria Chatzichristodoulou (alias maria x) vit et travaille à Londres où elle étudie les potentialités des réseaux électroniques dans les domaines de la création artistique. Ginger, le projet qu’elle présente ici comporte deux particularités qui permet de porter un regard neuf sur l’internet. 1°) Tout d’abord, et malgré tout ce qui semble le différencier des oeuvres d’art, disons "classiques", GINGER relève pour son auteur, et sans aucune ambiguïté possible de la création artistique pure. 2°) La question qui se pose habituellement est celle de savoir "ce qui se perd" quand on passe du réel au virtuel, et moins souvent ce qui se gagne. Maria X retourne la question et se demande "ce qui se gagne" quand on passe du virtuel au réel. Où plutôt, ce qui, étant réel/vivant dans le virtuel peut venir "réinitialiser" les virtualités du monde réel, qui, c’est vrai, en a bien besoin. Ginger, plate-forme ancrée dans les mondes virtuels des réseaux (mondes hyperactifs, invisibles, impalpables), resurgit et se prolonge dans le monde réel sous la forme d’irruptions, d’intrusions, d’apparitions, de manifestations sociales, artistiques, politiques, imprévisibles, éphémères. Comme si les réseaux possédaient la vertu potentielle de ré-ensemencer le monde réel. Ainsi l’on verra surgir et se déployer dans les lieux les plus inattendus des villes et des campagnes des situations inédites : des individus se retrouvent, se réunissent, se rencontrent, se découvrent, "s’expérimentent", "tiennent salon", avertis et conviés par les informations émergeant provisoirement du réseau pour, discrètement, féconder le monde réel.

Site : http://www.cybertheater.org

Maria Chatzichristodoulou (aka maria x) was born in Cyprus in 1974, and was brought up in Athens, Greece. She currently is a PhD researcher in Arts and Computational Technologies at Goldsmiths College, University of London. Her interdisciplinary research is on emergent forms of performance that employ Internet and computational technologies and she works across the Digiral Studios (Center for Cognition, Computation & Culture) and the Drama Department. Maria has studied theatre (BA Hons, School of Theatre Studies, Univ. of Patras, Greece). She has initiated and/or supervised numerous cross-disciplinary cultural events and activities and has worked as a performer, producer, curator, programmer, coordinator, facilitator, lecturer and director.

Maria has had a six-year-long collaboration with Fournos Centre for Art & New Technologies (Athens, Greece) where, in 1998, she co-founded (along with Manthos & Dodo Santorineos) the 1st Hellenic Art & Technology Festival. This was the first media arts festival to be launched in Greece, and had a strong focus on artistic experimentation and production from countries of Eastern Europe and the Mediterranean region. The festival, renamed as Mediaterra in 1999, soon gained both the support of the Greek state and the respect of the international community. It became international in 2000. Mediaterra was funded by such bodies as the Hellenic Ministries of Culture and Development, British Council, French Institute, Goethe Institute, Embassies and Cultural Organisations, corporate sponsors and the European Union. For the years 1999-2002 Maria was the Co-director of both Fournos Centre and the Mediaterra Festival.

At the same time, Maria was founding member of ’Ludo Ergo Sum’, a collective of performers and theatre theorists focusing on modern approaches to staging Greek tragedies (1997-2003), ’Thision : a Theatre for the Arts’, an association initiated by the acclaimed director Michael Marmarinos, aiming at the promotion and production of innovative, experimental, interdisciplinary and multinational performance work and the presentation of such work to the Greek public (1998-), and ’Diaspora’, a company that focused on the intersection of performance, cinema and new technologies (2001-). She also collaborated with ’Omikron Theatre Company’ as a producer (1998-9), ’Diplous Eros’ company as a performer (1996-8) and ’Rosemary on the Top of the Hill’ company as both performer and producer (1999-2000).

In 2002 Maria was offered a residency at the CICV Centre in Belfort, France, as researcher in the field of networked performance. In that same year she left her work at Fournos, and moved to London to undertake a PhD research on networked performance theories and practices. In London she also worked as Community Participation Co-ordinator at the Albany Theatre in Deptford (2003-5), Visiting Lecturer at the Drama Department of Goldsmiths College (2005), and Instructor at the Media and Fine Arts Department of Richmond the American International University in London.

In 2004 Maria collaborated with the international Machinista Festival in Glasgow as Category Supervisor, developing the category ’Artists against Machinic Standards’. Maria is currently programme curator for the interdisciplinary Thursday Club events at Goldsmiths College, as well as Member of the Organizing Committee of the workshops “Computational Models of Creativity in the Arts” organised by Goldsmiths & Birkbeck Colleges, University of London, and the University of Surrey.

Maria has lectured in events such as - among others :
- Thursday Club on Intimacy (Chair. Goldsmiths College, U.K., 2006)
- Practice as Research in Performance Conference (U.K., 2005)
- Emergences Conference (Paris - France, 2004)
- Machinista Festival (Category Supervisor) (Glasgow – U.K., 2004)
- Mediaterra events (Greece / Serbia / Slovenia, 2001)
- Communication Front (Bulgaria, 2001)
- ISEA 2000 (Paris – France, 2000)
- CCA Tributes to Contemporary Arts (Romania, 2000)
- Euroskills Seminars (Athens – Greece, 2000)
- Art & New Technologies (Cyprus, 2000)
- ComputerSpace (Bulgaria, 1999)

…and has curated for event such as – among others :
- Fournos Centre for Art & New Technologies (Greece)
- Mediaterra Festival (Greece)
- International Video Art Festival of Lima (Peru)
- Communication Front (Bulgaria)
- Centre for Contemporary Arts Bucharest (Romania)
- Interferances (France)
- Visionaria (Italy)