Transmediale
International Film & Video Festival- Berlin website prize 1999
Alicia Felberbaum
links to exhibition and reviews| http://www.ualberta.ca/~cguertin/aesthetics.htm | |
| exhibit at the 2002 HSSFC Congress offered by the Consortium for Computers in the Humanities / Consortium pour Ordinateurs en Sciences Humaines (COCH/COSH), curated by Carolyn Guertin. |
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| http://trace.ntu.ac.uk/traced/guertin/assemb_a-f.htm | |
| compiled and curated by carolyn guertin Assemblage The Women's New Media Gallery |
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| http://www.mobilegaze.com/womenweb/html/Textilescrafts.html | |
| This site I consider a classic in the cyberfeminist genre. The web site is highly influences by cybertheorist Sadie Plant who was seminal in developing links between textiles and programming. Focusing on the historical figure Ada Lovelace who is said to have invented an early form of programming for looms. These cards contained series of holes and filled areas that are still the basis of the zeros and ones computer language of today. Alicia Felberbaum’s site revisits a small textile town in England and develops her site around associations between the history of this town and it’s women with the history of programming. Le magazine electronique du CIAC - Centre international d'art contemporain de Montréal Valérie Lamontagne | |
| http://califia.hispeed.com/RM/memmott.htm | |
| Another fine example of how hypermedia is in a formative and self-critical phase is Alicia Felberbaum's holes - linings - threads. The piece is very much about connections and crossings, the history and fabric of a communication. Images of various surfaces, windows open to the outside world, diagrams of warp and weft patterns are blocked together, placed side by side, changing (opened /closed) with the movement of the mouse. Clicking on these images reveals that of a mechanical switch -- from here we are launched elsewhere into the work. Felberbaum exploits the "weave" model for communication and computing by drawing together a number of historical threads. The critique considers the persistence of binary oppositions throughout history (presence/absence, over/under, visible/hidden) recognizing that the virgule, distinction and difference becomes narrative. Alongside this observation, the author presents an interesting history on the introduction of automated switches to textile production -- a moment in time Felberbaum presents as significant to the history of computing, in its use of perforated cards as software. As the work states, "...the textures of woven cloth functioned as means of communication and information storage long before anything was written down." This comment effectively places the "web", communication (threads) as community (woven), as meta-historical text. Textile, texture, the weave, the web -- holes - linings - threads is a precise, if not aphoristic model of the whole. T.Memmott©2000 | |
| http://www.ciberpais.elpais.es/d/20010308/ocio/portada.htm | |
| CIBERPAÍS - OCIO - Alicia Felberbaum revisa histórica y teóricamente la situación de la mujer en el trabajo, a través de los escritos de Ada Lovelace, pionera de la programación y Sadie Plant, teórica ciberfeminista, y de las imágenes del trabajo femenino en la industria textil. |
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| http://www.blindsound.com/script/AliciaFelberbaum/work.HTM | |
| Blindsound is a Seoul-based international
non-profit organization dedicated to network art.net art exhibition
'Script' :'Narrative Behind Window' |
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| http://www.rhizome.org/ | |
| Rhizome.org is a nonprofit organization that
was founded in 1996 to provide an online platform for the global
new media art community. |
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| http://www.studioxx.org/maid-encore/ | |
November 6th - 28th 1998 |
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| http://califia.hispeed.com/RM/dinner2.htm http://califia.hispeed.com/RM/afelberbaum.htm |
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| Judy Chicago's table had thirty-nine
place settings, one for each outstanding woman. Our Virtual
Progressive Dinner Party has thirty-nine stops.
You can click on the place stars on the table to visit the writers'
place settings (the status bar will announce the writer).
Or, you can select a name from the far right frame to visit a site.
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http://trace.ntu.ac.uk/www/webwarpweft/women.htm |
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Throughout history women have used craft work as an outlet for their creativity. Often deprived by domestic circumstances of education and work, they turned to craft, and particularly needlecraft, to express their creative energies. Simple household objects such as quilts and tablecloths were made into beautiful objects women could be proud of. And women's lives and women's narratives were often stitched into these textiles. Simple crafts have often been the poor relation of the more mainstream art forms, and now Web weaving is seen in a similar way: a Web artist isn't a "real" artist, a Web writer isn't a "real" writer. Now, women working on the Web have more than a passing sisterhood with those craftswomen of the past. |
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| http://www.transmediale.de/99/german/programm/internet.htm | |
| international media art festival Berlin | |
| http://www.enarrative.org/profiles/profile04.html | |
| http://www.archimuse.com/mw99/best/nominations.html | |
| Best of the WEB 1999 nominations Online Exhibition | |
| http://www.craftvic.asn.au/pub/crtextiles.htm | |
| Textiles 1/2001 Craft Victoria | |
| http://www.panix.com/~hamiltro/links/ | |