Fascinated by the nature and the organicism of smells Peter De Cupere identifies his world of objects and his installations with a corresponding smell as an extension of their meaning thus penetrating deeper into their singularity and complexity.

By doing so he confronts us with experiences lost as the result of
ever-greater taboos under pressure from chemical developments in that area and, of course, from ever-changing sophisticated fads.

At the same time he turns objects into pictures that unavoidably remind us, at first glance, of Joseph Beuys, also of Panamarenko and, in some cases, even of Marcel Broodthaers. Although this is not sufficient to enable any references to be made or to charm us with recognition of references to wellknown models from generations past.

In the case of De Cupere, however, it is also about processes, about changes in time and this in combination with the spatial power of smells that imprint themselves on our memories more indelibly than pictures.

The Sex Pistols, Manchester, 4 June 1976: a gig that inspired a generation to make their own music, and arguably changed the world forever. Such was the power of punk. 

It was recently voted one of the most important concerts of all time, alongside Woodstock and Live Aid. Only a handful of people were actually at the gig at the city's Lesser Free Trade Hall but thousands have since claimed: 'I was there'.

But who was there? For 30 years, the gig has been shrouded in myth and legend. But people who were there formed legendary Manchester bands such as Joy Division, The Smiths, The Fall, The Buzzcocks. Oh yes, and Solstice. (who?)

With this technology, tiny structures on a nanometer scale can be fabricated. Researchers at the Vienna University of Technology (TU Vienna) have now made a major breakthrough in speeding up this printing technique: The high-precision-3D-printer at TU Vienna is orders of magnitude faster than similar devices (see video). This opens up completely new areas of application, such as in medicine.

City of Melbourne’s Giant Theremin is a super-sized musical instrument standing more than seven metres tall, controlled by movement rather than touch and can be played by up to eight people at once. The theremin’s unique warble will be accompanied by an array of distinctive sounds, making it impossible to resist running, dancing, jumping and forming unusual shapes in the activation zone to create a symphony of movement.

“Two young Japanese girls form a rock duo from Osaka, JAPAN!” their website offers by way of explanation, “Creating Naked rock!!!!! Naked soul!!! Red red strong red dress!! Freeeeeedom paradise rock! Jump! With improvisation.” In the three years since the birth of Afrirampo (a nonsense word the band insists to mean, of course, “naked”), Yasashii (drums) and Beppin (guitar) have been spreading their naked rock far and wide, sometimes actually in the nude, otherwise clad in their signature “strong red dresses.”  

Artist and architect Daan Roosegaarde (1979) explores the dawn of a new nature that is evolving from technological innovations by creating interactive landscapes that instinctively respond to sound and movement. His connection established between ideology and technology, results in what Roosegaarde calls “techno-poetry”. 

Last we heard of Dutch techno artist Daan Roosegaarde, he was busy working up a sexy e-teddy that flashes its wearer’s netherbits just by being around other people. Now, he’s turned the idea on architecture: His new Lotus 7.0 wall transforms from a sturdy boundary to a see-through fence in the presence of others -- every Peeping Tom’s dream.

It’s all fraud dad, your entire fucking life is pure fraud and you should be proud of the fact that I’ve decided to revolt against the deception. Tell me one thing in your life that’s not false dad, the women, they’re paid prostitutes; the money, it’s all made through exploitation and theft. You tell me you coward, one thing that you have built without the assistance of your name and granddad’s fortune. Nothing dad, you are nothing but a piece of shit living a life of privilege on the back of government connections and business fraud.

Their inspiration for a style of resistance never before seen in Russia, was the riot grrrl punk movement, including groups like Kathleen Hanna’s Bikini Kill, and flash mobs. The young women of the collective, average age 25, have revealed only the smallest details about their lives. None will divulge their day jobs. They only use first-names. In the two weeks since their mid-January action, the all-female group has become a potent symbol of anger at the status quo in Russian society and their videos have gone viral all over the world. Like many young people in Russia, the members of the Pussy Riot collective are furious at Vladamir Putin’s plans to seek the presidency again and his return was the impetus behind the formation of the group (as well as their song “Putin Has Pissed Himself”).

The Al Khufrah Oasis in southeastern Libya (near the Egyptian border) is one of Libya’s largest agricultural projects, and is an easy-to-recognize landmark for orbiting astronauts aboard the International Space Station. Because only about 2 percent of Libya’s land receives enough rainfall to be cultivated, this project uses fossil water from a large underground aquifer. The Libyan government also has a plan called the Great Man Made River to pump and transport these groundwater reserves to the coast to support Libya’s growing population and industrial development.

Washington, D.C.- The Smithsonian American Art Museum opened a new gallery dedicated to examining the history and the latest developments in the art of the moving image. This permanent-collection gallery, located on the museum’s third floor, allows for the presentation of the full range of media art practices. “Watch This! New Directions in the Art of the Moving Image”, the current exhibition in the gallery features key artworks from the history of video art and a new generation of artists on the cutting edge of media arts.

The nine artworks on display are: Cory Arcangel, "Video Painting" (2008); Jim Campbell, "Grand Central Station #2" (2009) and "Reconstruction #7" (2006); Peter Campus, "Three Transitions" (1973); Kota Ezawa, "LYAM 3D" (2008); Svetlana and Igor Kopystiansky, "Yellow Sound" (2005); Nam June Paik, "9/23/69: Experiments with David Atwood" (1969); Bill Viola, "Surrender" (2001); and Marina Zurkow, "Elixir II" (2009). The majority of the featured artworks are recent acquisitions, with five entering the museum’s collection in 2010. The works by Viola and Campbell’s Reconstruction #7 are on loan.