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Table of Contents:
Call for Proposals Playing Field
"Marieke Istha" <istha@montevideo.nl>
Personify.tv - (second attempt)
"David Goldschmidt" <dgoldsch@tampabay.rr.com>
job posting, replay by mail only.
JSalloum@aol.com
Rhizome ArtBase--<__lo-y. > is online
"<__lo-y. >" <loy@myrealbox.com>
human hell
"David Goldschmidt" <dgoldsch@tampabay.rr.com>
argentina solidarity
todos <quesevayantodos@gn.apc.org>
CityState Surveillance Event - Audio Online...
s|a|m <sam@myspinach.org>
___ R E A L T O K Y O MAIL MAGAZINE Vol. 97___
OZAKI Tetsuya <ozaki@blue.ocn.ne.jp>
No war in Iraq - A little network against the war
"[deletia]" <deletia@acidlife.com>
Call for Papers - Historicising Digital Art
Paul Brown <paul@paul-brown.com>
Medi@terra 2002 - Call for projects - DEADLINE 20 October 2002
"via dimos dimitriou" <addfield@ath.forthnet.gr>
Barcelona - *digital-is-not-analog @CCCB*
"[d-i-n-a]" <dina@d-i-n-a.net>
radio updates
Doug Henwood <dhenwood@panix.com>
year zero (for announcer)
matthew fuller <matt@axia.demon.co.uk>
job_announcement
off <off@saunalahti.fi>
Colloque international Artmedia VIII =?iso-8859-1?Q?=22_De_l=27esthÈtique_de_la
press@webnetmuseum.org (Presse WNM)
------------------------------
Date: Thu, 19 Sep 2002 17:28:49 +0200
From: "Marieke Istha" <istha@montevideo.nl>
Subject: Call for Proposals Playing Field
Playing Field
Playing Field is an international co-production of the Netherlands Media Art
Institute (NIM) in Amsterdam, IMG in Mainz and Mecad in Barcelona, aimed at
the creation of streaming media art specially for Internet.
Internet and advanced technologies used on the internet were originally
developed to cope with huge technological challenges in science.
Co-operating groups in different countries needed a fast communication
system in order to work on the same experiment in different locations.
Satellites collecting amounts of data needed a way to send information to
ground stations in real-time, the first examples of data streaming. Today
the data networks are expanding. Advanced technologies are becoming
available for other purposes. It is time for artists to explore the
possibilities of new technologies. Looking for new ways of expression that
were not possible without new technology rather than reformatting existing
art. Also time has come to reflect on the meaning of streaming technology
for our lives and culture in this modern world.
New technologies can also put restrictions on existing ways of expression.
The quality of video streamed on the internet is poor, due to the speed of
the average Internet connection. Knowing the restrictions we have to look
for new ways of expression that take advantage of the specific qualities of
streaming, creating art that could never exist without streaming technology.
One of the challenges is to create streaming media art that establishes its
own position in the context of existing video art.
Playing Field aims at the creation of streaming art specially for internet,
exploring the added value of internet technology. Specific features of
streaming media are for example: live broadcast, interactivity,
time-dependent behaviour, 24 hour availability for a worldwide public,
multi-user communication, using several video, audio and interactivity
channels at the same time. Also the restrictions of internet and streaming
media will be explored and exploited: small bandwith, small video image
size, slow connections, waiting time caused by signal buffering.
The way the work is displayed on the screen has to be taken into account and
can be designed, the situation and the context in which the work is shown is
important and can be used in the concept.
Call for proposals
Media artists can submit a project proposal for streaming media content for
the Internet. Three artists will be selected by each of the three
participating organisations for a working period of two months.
Main research fields:
1. Work specially made for low quality display
2. Non-linear work
3. Interactive work
4. Multi-user work
5. Pseudo-live streams created from existing content on the Internet
We ask:
Computer knowledge; basic knowledge of digital video processing; experience
with computer art/ internet art; strong artistic quality; interested in new
media; interested in international co-operation; available during working
period (see below); willing to work with art students; based in The
Netherlands.
We offer:
Computer and desk facilities, technical and organisational assistance,
presentation budget, international dissemination of the work via the
Internet and on DVD, participation in closing seminar 29-30 May 2002 at the
NIM (Amsterdam). Artist fee: 3000 euro.
Periods:
Period 1: 14 October - 12 December 2002
Deadline proposals 1: 1 Oktober 2002
Period 2: 6 Januari - 27 February 2003
Deadline proposals 2: 15 November 2002
Period 3: 3 March -24 April 2003
Deadline proposals 3: 31 January 2003
Send proposals before the deadline to:
Mrs. Claud Biemans, project manager Playing Field
Keizersgracht 264
1016 EV Amsterdam
For more information please contact:
claud@montevideo.nl <mailto:claud@montevideo.nl>
T +31 20 623 7101 / +31 6 44566395
F +31 20 624 4423
Background information:
<http://www.playingfield.net>
(on-line end of September)
Playing Field is sponsored by: XS4ALL, Thuiskopiefonds, European Commission
Marieke Istha
Communication
Netherlands Media Art Institute
Montevideo/Time Based Arts
Keizersgracht 264
1016 EV Amsterdam
The Netherlands
T 020 6237101
F 020 6244423
istha@montevideo.nl
www.montevideo.nl
------------------------------
Date: Sun, 22 Sep 2002 17:22:56 -0400
From: "David Goldschmidt" <dgoldsch@tampabay.rr.com>
Subject: Personify.tv - (second attempt)
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reactions and criticisms are appreciated. please let me know what you =
think.
http://www.personify.tv
david goldschmidt
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------------------------------
Date: Tue, 24 Sep 2002 13:41:33 EDT
From: JSalloum@aol.com
Subject: job posting, replay by mail only.
job posting, replay by mail only:
The University of British Columbia invites applications for a
tenure-track faculty appointment in Visual Art, at the Assistant
Professor level, beginning July 1, 2003, subject to final budgetary
approval.
UBC, one of the largest and most distinguished universities in
Canada, is located in Vancouver, British Columbia. Vancouver is a
young, vibrant city whose thriving art community is internationally
renowned. The Department of Art History, Visual Art, and Theory
integrates the visual arts and art history, and is associated with a
leading contemporary art gallery. For more information visit our
website: www.finearts.ubc.ca.
We seek a candidate who possesses a demonstrated expertise in the
theory and history of photography and in both theoretical and
practical aspects of photographic imaging and new media.
The successful candidate will have the following qualifications:
- - - an MFA degree or equivalent
- - - an active exhibition record, including national and/or international
- - - a record of written publications
- - - the capacity to teach at all levels from foundations to graduate courses
- - - a strong commitment to administrative responsibilities and to
curriculum development
Applicants should submit:
- - - an application letter including a statement of interest,
professional strengths and teaching philosophy
- - - visual documentation of current work (eg: 20 slides, video, CD Rom)
- - - relevant publications including authored works as well as reviews
- - - detailed curriculum vitae
- - - the names, addresses and emails of three professional references
Applications should be sent to: Chair, Visual Arts Search Committee,
Department of Art History, Visual Art, and Theory, University of
British Columbia, Room 403-Lasserre Building, 6333 Memorial Rd.,
Vancouver, BC V6T 1Z2.
UBC hires on the basis of merit and is committed to employment
equity. We encourage all qualified candidates to apply; however
Canadians and permanent residents of Canada will be given priority.
Deadline: December 13, 2002.
------------------------------
Date: Tue, 24 Sep 2002 21:36:53 +0200
From: "<__lo-y. >" <loy@myrealbox.com>
Subject: Rhizome ArtBase--<__lo-y. > is online
" now lo_y is a real art object! "
" http://rhizome.org/object.rhiz?5852 "
groetjes,
lo_y
_______________
<__lo-y. >
_______________
------------------------------
Date: Tue, 24 Sep 2002 12:08:28 -0400
From: "David Goldschmidt" <dgoldsch@tampabay.rr.com>
Subject: human hell
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Like most people, when I'm watching TV, reading the newspaper or =
listening to a song, I am usually searching for meaning in the words and =
images. I do my best to understand what the author is saying. At other =
times, however, I am not interested in what it means. I am more =
interested in recognizing the patterns of thought and experiences that =
we, as humans, cannot escape.
Writers and artists have been revealing the human experience for =
thousands of years. They reveal our humanity ... and human hell is a =
very common theme. It is a trait that we cannot escape. Writers and =
artists are able to express [human hell] because there is a certain =
logic that reveals itself [in the words and actions] of someone trapped =
in hell.
see examples at personify.tv
david goldschmidt
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------------------------------
Date: Wed, 25 Sep 2002 14:53:13 -0700
From: todos <quesevayantodos@gn.apc.org>
Subject: argentina solidarity
- --============_-1179131665==_ma============
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CALLING ALL GRASSROOTS GROUPS, COLLECTIVES AND SOCIAL MOVEMENTS..
December 20th - 21st 2002 - TWO DAYS OF SOCIAL DISOBEDIENCE IN
SOLIDARITY WITH THE ARGENTINEAN POPULAR REBELLION
As Argentina tumbles further into uncharted financial crisis an
inspiring popular rebellion has been spreading across the country. An
ongoing movement has developed that has become a living laboratory
of struggle, a space where the popular politics of the future are
being re-invented. The rising rebellion exploded on December 20th
2001, when over a million people took to the streets banging their
pots and pans and ousting the government. This year on the 20th of
December people in Argentina and across the globe are calling for a
global day of Action to demonstrate that those who are building
alternatives to the dictatorship of the markets are not alone.
From the unemployed workers movement, "the piqueteros", blockading
roads and building community projects in their neighborhoods - to the
"asambleas", the horizontally organized neighborhood meetings that
have sprung up spontaneously in the cities. From the "Ahorristas",
the angry savers who attack the banks daily to get their money back -
to the "Trueque" barter network which 7 million people are using
instead of money. From the workers in numerous occupied factories who
are self managing their work places - to the High school students
occupying their schools demanding cheaper bus fares; the spirit of
autonomy, the celebration of diversity and the practice of direct
democracy can be seen across Argentina.
Every social strata is united in the slogan "Que Se Vayan Todos",
they all must go, meaning that the entire political class leaves the
stage, every politician from every party, the supreme court, the IMF,
the multinational corporations, the banks - everyone out, so the
people can decide the fate of their economically crippled country
themselves. In the face of ever increasing poverty and total economic
meltdown, the people of Argentina have found enough hope to continue
resisting, and have mustered sufficient creativity to start building
practical alternatives to the despair of capitalism.
From Angola to Nepal, Bolivia to Turkey, the same cracks are
appearing in the neoliberal "logic," and people are resisting as
their economies fall apart and their societies are further crippled
by foreign debt. A dozen countries are poised to be the "next
Argentina," and some of them may be a lot closer to home than we ever
imagined.
We need to be prepared, not only to resist, but to find ways to
rebuild our societies when the economic and ecological crisis hits.
If the popular rebellion in Argentina succeeds, it could show the
world that people are able to live through severe crisis and come out
the other side, not merely having survived, but stronger, and happier
for struggling for new ways of living.
For two days in December, when tens of thousands of Argentineans
will take to the streets to celebrate last years uprising, actions
and events will take place across the world in solidarity with the
people of Argentina.
What can you do on these days ? Here are some ideas ...Take pots and
pans into the streets to celebrate the sound of the Cacerolazo, start
up a local neighborhood assembly, Blockade roads in solidarity with
the Piqueteros, occupy your workplace or college and try out self
management, expropriate goods will dancing tango, subvert the spirit
of consumer Christmas by creating a barter market ....the options are
endless...
The aims of the Days of Social Disobedience include:
1) To show that the movement of movements against capitalism can move
beyond insurrection towards a real social revolution. A social
revolution, made of thousands of revolutions, where people are
beginning to build the life that they want and preparing to defend it
rather than simply protesting against what they don't want. And that
Argentina is an inspiring model of this.
2) To build a powerful global network of solidarity for Argentina.
The movements in Argentina are in danger of isolation; without the
security and the mutual inspiration of international solidarity, they
will suffer further repression. Although many in the movement of
movements worldwide have said "Thank god for Argentina," as we've had
our hopes rekindled in the dark days post 9-11, most of the people on
the streets of Argentina have no idea that they've provided such
widespread optimism. By seeing the worlds social movements acting in
concert and solidarity with their struggle, the people of Argentina
will inspired to continue their struggle.
3) To learn from the events in Argentina and apply these lessons to
building our own autonomous spaces, neighborhood assemblies,
alternative economic systems, self managed work places etc.
4) To spread the stories and information about the movements in
Argentina to social movements across the world.
To join the organising email list send mail to: list@raaf.be
Many groups are planning actions/events: ranging from the
Disobedients in Italy, to Direct action groups in Belgium, Wombles in
the UK, Yamango and in Spain, as well as groups in Jordan, Finland
and Germany.
- --============_-1179131665==_ma============
------------------------------
Date: Thu, 26 Sep 2002 12:14:33 +1000
From: s|a|m <sam@myspinach.org>
Subject: CityState Surveillance Event - Audio Online...
Hi,
Just to let nettimers know that the audio (as mp3) from the melbourne citystate conference is available at www.citystate.org ... also, you may be interested in obtaining a copy of the reader ... again the website has details.
Thanks, Sam....
------------------------------
Date: Fri, 27 Sep 2002 04:27:54 +0900
From: OZAKI Tetsuya <ozaki@blue.ocn.ne.jp>
Subject: ___ R E A L T O K Y O MAIL MAGAZINE Vol. 97___
R E A L T O K Y O MAIL MAGAZINE
_____9_027_2002_Fri_vol.97___________ http://www.realtokyo.co.jp/
Dear reader,
Following chaotic weeks of preparations, the doors of the first REALTOKYO
MARKET finally opened at noon on Sunday, September 22nd.
Exhausted but happy we closed the doors again at 10pm on the 23rd, and I
want to use this occasion to thank everybody who helped make the event
such a big success - both participants and all those who dropped by on one
of the two days!
After two days dedicated completely to counting, calculating and other
administrative after-care, we returned to business on Thursday, which means
that REALTOKYO was not updated on this week's first three days.
So, don't worry, we will of course continue the daily publication, and once
this
crazy week (REALTOKYO BAR on 9/25 & 9/27!) is over, we'll surely do our best
to catch up with filling REALTOKYO with more valuable information.
Thanks again for visiting the market and doing almost excessive shopping!
Andreas
Vice editor-in-chief
REALTOKYO
[This Week's Index]
(1) Tokyo Editors' Diary
Baba Masataka (A) vol. 004
(2) Event Pick of the Week
Spotlight
This week's RT Picks:
art+cinema+music+stage+design+town = 39 events
including 6 new ones!
Plus new entries on our 'book/disk' page.
Check them out!
http://www.realtokyo.co.jp/
===============================================================
(1) Tokyo Editors' Diary
===============================================================
Baba Masataka (A), vol. 004
There are several reasons for my overnight stay at a capsule hotel. I can't
find a better
explanation than calling it an accumulation of unfortunate coincidences. I
really
wonder what I'm doing here - writing a diary with "Travelling Life" as its
theme, and
now I'm stuck here in the Tokyo office and even have to sleep in one of
those tiny
cells of a capsule hotel!
Read more at:
http://www.realtokyo.co.jp/en/diary/0011-henshucho.htm
===============================================================
(2) Event Pick of the Week
===============================================================
Spotlight
Known recently throughout Japan, "Spotlight" is the name of a party that is
usually
held in Kyoto's "Metro," and finally here comes the first Tokyo edition!
Members of
the Spotlight label, such as Illreme or Yabemilk, have made appearances around
here also in the past, but as an event gathering the complete line-up
including also
"Spotlight" originals Sugimoto Takuya (who is now working on a new release) and
DJ Amagumo, this is the first one happening in town. As if this wasn't
enough, the
crew is joined by long-time collaborator Riow Arai, as well as the Asano
Tatsuhiko
Band. Attacking Tokyo with their strange 'pop' theme and their music's
really unique
electronic taste, here come some individuals that will probably cause quite
a stir in
the whole Kanto area.
- -- Ikeda Maiko
http://www.realtokyo.co.jp/event_cgi/ev_viewE.cgi?2,1281
- ---------------------------------------------------------------
Next week on RT:
- - Tokyo Editors' Diary
- - Out of Tokyo
- - Presents
and more$B!D(B
- ---------------------------------------------------------------
In order to make REALTOKYO even more interesting and convenient
for you, we rely on your feedback. Please send us opinions or
productive suggestions concerning contents, structure, layouts,
etc. Three especially lucky readers who send a mail to
info@realtokyo.co.jp.
will be chosen and receive a little gift.
http://www.realtokyo.co.jp/
- -----------------------------------------------------------------
- ------------------------PR-------------------------------------
ad@realtokyo.co.jp <mailto:ad@realtokyo.co.jp>
REALTOKYO is looking for advertisers wanting to place banners on
our web site and/or in the mail magazine. Banners will get lots of
hits from people attracted to a web site full of catchy information
on cinema, art, music, theatre and other fun events in town.
Please contact the following email address for dimensions and costs.
ad@realtokyo.co.jp <mailto:ad@realtokyo.co.jp>
- ------------------------PR-------------------------------------
- -----------------------------------------------------------------
Please click the URL below to stop receiving email and to change
your password.
http://www.realtokyo.co.jp/scheduler/f_configure_en.htm
Users must go to the page above to make changes to their services;
REALTOKYO regrets that it is unable to process changes received by
email.
==========================================================
No part of the text or images from this site may be used
without permission from the publisher.
Copyright 2002 REALTOKYO
------------------------------
Date: Fri, 27 Sep 2002 15:37:54 +0200
From: "[deletia]" <deletia@acidlife.com>
Subject: No war in Iraq - A little network against the war
*[ENG]
WHY THIS INITIATIVE? WHY A NETWORK? WHY WE SAY "NO WAR IN IRAQ"?
A little network against the war.
A little oil well against the big state of the war.
No War in Iraq.
Because we don't like the dollars in the Mosques and the barrels in the
trenches.
A little collection of images and words.
A catapult to each one.
##########################################
> DOWNLOAD COVER
> http://www.designradar.it/nowariniraq/download.zip
##########################################
HOW TO USE THE COVER
It's possible to use the files enclosed with the folder, *nowariniraq.htm*
and *cover.gif*, as homepage or an any page of own web_space; or it's
possible fit the cover to graphics and layout of own web_site. What is
important is that, in this case, the present links on *nowariniraq.htm*
will
be kept on the main page. Send a e-mail for information/helps to
nowariniraq@syncprodz.net
##########################################
Info & Support:
>
> Digital Ultras - http://www.digitalultras.com/nowariniraq - works
> Ubq - http://www.ubq.it/nowariniraq - words
> SYNCProdz - http://www.syncprodz.net/nowariniraq - music
> DesignRadar - http://www.designradar.it/nowariniraq - mirror
> Inguine - http://www.inguine.net - cover
> Piccolo Network Contro La Guerra
*[IT]
PERCHE' QUESTA INIZIATIVA? PERCHE' UN NETWORK? PERCHE' NOI DICIAMO "NO WAR
IN IRAQ"?
Un piccolo network contro la guerra.
Un piccolo pozzo di petrolio contro il grande stato della guerra.
No War in Iraq.
Perché non ci piacciono i dollari nelle Moschee e i Barili nelle trincee.
Una piccola colezione di immagini e parole.
Una fionda a testa.
##########################################
> DOWNLOAD COVER
> http://www.designradar.it/nowariniraq/download.zip
##########################################
COME USARE LA COVER?
Si possono usare i file allegati alla cartella, *nowariniraq.htm* e
*cover.gif*, come home page o una pagina qualasiasi del proprio spazio
web;
oppure è possibile adattare la cover alla grafica e al layout del proprio
sito. L'importante p che, in questo caso, vengano mantenuti i collegamenti
presenti su *nowariniraq.htm*. Per info/help inviare una e-mail a
nowariniraq@syncprodz.net
##########################################
Info & Support:
> Digital Ultras - http://www.digitalultras.com/nowariniraq - works
> Ubq - http://www.ubq.it/nowariniraq - words
> SYNCProdz - http://www.syncprodz.net/nowariniraq - music
> DesignRadar - http://www.designradar.it/nowariniraq - mirror
> Inguine - http://www.inguine.net - cover
Piccolo Network Contro La Guerra
x---------------------------------------------------------------------x
Sorry, for cross mailing.
x---------------------------------------------------------------------x
- --
[deletia]
www.acidlife.com
- --
[deletia]
www.acidlife.com
------------------------------
Date: Sun, 29 Sep 2002 07:16:08 +1000
From: Paul Brown <paul@paul-brown.com>
Subject: Call for Papers - Historicising Digital Art
Apologies for cross-posting. Please forward to anyone who might be interested
Call for Papers
Historicizing Digital Art
Session for the 2003 Association of Art Historians Conference 'Articulations'
To be held at Birkbeck College and University College London
10th - 13th April 2003
Art made using computers and other new technologies has in general
received little attention from art historians. Since the 1960s it has
been treated as a marginal activity that is largely irrelevant to the
concerns of the history of art and to the trajectories and debates it
engages with. But recently, with the rise of the World Wide Web and
the increasingly important role played by digital technology in
current society, this has begun to change. The critical interest
generated by contemporary artistic movements such as net.art has also
enabled the recovery of a rich history of practice in this area,
going back to the 1950s and before. Digital and computer practice is
being belatedly recognised as an important part of the history of
contemporary art. There is a certain urgency to this as both the work
and knowledge of pioneering practitioners are in danger of
disappearing before they can be properly accounted for and given
their due place in the narratives of modern and post-modern cultural
history.
For this session proposals are invited for papers that look at the
history of digital and computer art, or which consider the issues in
historicizing this area, which, hitherto, has not received the
attention it deserves. Contributions are also welcome that look at
questions of curation, conservation and collecting of digital art.
Proposals should be no longer than 200 words and be accompanied by
contact details and an email address. Speakers are not paid and are
expected to pay conference fees, but are offered reduced rates. If
you are intending to apply for funding please let me know. This is
particularly important if your attendance is conditional on funding,
or if you are applying for British Academy funding.
The deadline is the 1st November 2002. Please send proposals to
Dr Charlie Gere
By email to
c.gere@bbk.ac.uk
Or by snail mail to
School of History of Art, Film and Visual Media
Birkbeck College, University of London
43 Gordon Square
WC1H OPD
London
United Kingdom
Enquiries to Dr Gere on ++44(0)20 7 631 6128
- --
===============================================================
Paul Brown PO Box 413, Cotton Tree QLD 4558, Australia
mailto:paul@paul-brown.com http://www.paul-brown.com
mob 0419 72 74 85 fax +1 309 216 9900
===============================================================
Visiting Fellow - Birkbeck College http://www.bbk.ac.uk/hafvm/
===============================================================
------------------------------
Date: Sun, 29 Sep 2002 21:57:53 +0300
From: "via dimos dimitriou" <addfield@ath.forthnet.gr>
Subject: Medi@terra 2002 - Call for projects - DEADLINE 20 October 2002
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From: fournos-culture [mailto:info@fournos-culture.gr]
=20
Medi@terra 2002=20
4th International Art and Technology Festival=20
New Platforms of Spectacle, Communication and Resistance=20
6-15 December 2002=20
Call for projects=20
DEADLINE 20 OCTOBER 2002
If "the medium was the message", the platform is the message of the =
message and the weakening of the medium.=20
"Platform" is the combination of technology, a new way of thinking about =
meeting needs, and the vision of a group of people who are preparing a =
"space" in which to invite interested persons to develop their own =
ideas.=20
If the late 20th century was characterized by McLuhan=C2=92s maxim "the =
medium is the message", the beginning of the next one can be =
characterized as follows: "We are preparing new platforms for new =
messages"=20
With these thoughts in mind, and with all possibilities open, we are =
exploring and challenging new platforms by touching (or clicking on) all =
matters of interest, from the growing new pop art (SMS) to the =
entertainment field (feature-length video art, interactive theatre) and =
the technological development (smart agents).=20
And finally, in this new situation, given the chance to talk about the =
past, we pay homage to individuals or even machines that have already =
marked the history of the digital culture.=20
We believe that a new idea cannot exist unless it is preceded by a new =
platform to host it and this is essentially what determines the way a =
society evolves.=20
There are times when evolution is characterized by the destruction of =
the platform, but not the ideas; and others when even though the =
platforms have been torn down, and ideas are homeless, new platforms are =
nevertheless created and new ideas generated.=20
The period that our culture is now passing through belongs to the second =
instance. Therefore, acts of renewal or resistance can be primarily =
described as the creation or testing of new platforms and not dispute of =
a system that is already as empty as a discarded snake skin.=20
Nor is it accidental, that the word "platform" in the industrial world =
describes the space between where you are and the means of =
transportation (train, boat) you are about to board to go elsewhere. To =
board a plane or boat you must first cross the platform=C2=85=20
The new platforms then are the landing-stages for the long journey =
humanity is embarking on... The question is who will be boarding and who =
will stay behind and watch the ship pull out=C2=85=20
Manthos Santorineos=20
Artistic Director of Medi@terra Festival=20
=20
=20
=20
=20
=20
=20
=20
=20
=20
=20
=20
Feature Length Digital Video=20
Streaming Video=20
The advent of DV technology offers new tools to film and video makers. =
These tools are making it possible to produce high quality films cheaply =
and independently of the industry monoliths that currently determine =
what we can see. The new lightweight cameras, streaming technology, and =
DV technology have brought a new lightness of touch to all aspects of =
the moving image from production through to distribution. And a new =
relationship has been created between creativity, technology and the =
digital industry, in the search for a new aesthetic and financial basis =
for film and video makers.=20
Conditions for entry=20
a.. The work must have been produced within the past two years.=20
b.. Works shall be in English or with English subtitles=20
c.. Only one work per candidate can be accepted in each category=20
d.. The works may have been presented in other festivals.=20
e.. Each work should be accompanied by a. the entry form, b. a =
synopsis, c. a short CV of the artist, d. Some stills, images in TIFF or =
JPEG mode, submitted in digital format, saved on a floppy, on a CD ROM, =
or as email attachments (please note: texts should be in Word for =
Windows)=20
f.. Pre-selection will be made by the artistic committee for =
Medi@terra 02.=20
g.. No originals must be submitted, as materials will not be returned. =
The works will become part of the Fournos Archive. Artists reserve all =
artistic and commercial rights to their works, and for any future use or =
presentation of the works, their permission is needed.=20
h.. Fournos and Medi@terra festival reserve the right publish the =
submitted material for the promotion needs of the festival, as well as =
to present it during Medi@terra 2002.=20
Please also note the following=20
The feature -length digital video should=20
- - have a minimum duration of 50 min.=20
- - be sent in a DV tape(DV-PAL) or a DVD. For the preliminary =
selection VHS tapes are also accepted.=20
- - not be a made-for-TV production. Co-production is accepted.=20
The streaming videos should=20
- - have a duration from 10 seconds to 5 minutes.=20
- - their exact URL location should be indicated, but they should be =
sent in a CD ROM or DV(DV-PAL).=20
=20
=20
Artificial Entities=20
Since the early nineties, the interdisciplinary fields of art, science =
and technology have created a different platform for research, =
collaboration and creation. This generates works that encourage audience =
participation, continuous change and evolution. These could be =
interactive artificial intelligence environments, autonomous and =
advanced robotics and intelligent agents. The features we are looking =
for are innovation, autonomy, interactivity, as well as the subjective =
adjustment and interpretation suggested to the user/viewer allowing him =
to become a user/ co-creator. The aim of creating autonomous virtual =
characters that pose and realize goals, develop actions, are influenced =
by the changes in the environment and then adjust it, gives a new =
dimension in the space of art.=20
=20
=20
Conditions for entry=20
a.. Each work shall be submitted in one of the following forms:=20
1. of a video documentation (DV, VHS tape in Pal or Secam). The maximum =
length shall be 15 minutes and it should have an English-language =
description, either in voice-over narration or accompanying text.=20
2. of an executable (.exe) file saved in a CD ROM, accompanied by a =
description and the instructions for use in English=20
3. of any type of software that can be run on a "standard" PC, =
accompanied by a description and the instructions for use in English.=20
a.. Only one work per candidate is accepted in each category.=20
b.. The works may have been presented in other festivals.=20
c.. Each work should be accompanied by a. the entry form, b. a =
synopsis, c. a short CV of the artist, d. Some stills, images in TIFF or =
JPEG mode and e. a technical description of the work, with a reference =
to all the technical requirements that should be met by the organizing =
committee.=20
d.. Preselection of works will be made by the artistic committee of =
the festival, representing Medi@terra 02.=20
e.. Fournos and Medi@terra festival reserve the right to publish the =
works submitted for the promotion needs of the festival as well as to =
present it during Medi@terra 2002.=20
Awards=20
One prize of 9.000 Euros for the best Feature Length Digital Video=20
One prize of 4.000 Euros for the best project from the Artificial =
Entities=20
One prize of 1.500 Euros for the best Streaming Video=20
=20
A call for SMS will follow soon=20
=20
Deadline=20
20 October 2002=20
=20
How to declare your participation=20
Please download, print and fill in the entry form found in our website, =
and send it along with the material required for its category to=20
=20
FOURNOS=20
Center for Art and New Technologies=20
Mavromichali 168=20
114 72 Athens=20
Greece=20
=20
=20
a.. For more information=20
Please contact us by telephone on +3010 6460748, +3010 6420451 or via =
email at info@fournos-culture.gr=20
=20
=20
=20
=20
=20
------------------------------
Date: Sun, 29 Sep 2002 21:06:19 +0200
From: "[d-i-n-a]" <dina@d-i-n-a.net>
Subject: Barcelona - *digital-is-not-analog @CCCB*
*digital-is-not-analog @CCCB*
art, surveillance, hacktivism, culture jamming, construction of the
present // 4 meetings
October 4-5, November 9-10 2002
Centro de Cultura Contemporanea Barcelona (CCCB)
calle Montalegre 5 - Barcelona, Spain
http://d-i-n-a.net/dina/cccb02.html
+ + + + +
Digital-is-not-analog @CCCB: a series of 4 meetings organized in
conjunction by d-i-n-a collective (http://d-i-n-a.net) and the CCCB
(http://www.cccb.org).
The focus of the meetings is on 4 projects started in the last few
years, that standed out for their unexpected and provocative
infiltration within contemporary communication technologies and styles.
The four invited guests are Surveillance Camera Players (New York),
Ubermorgen (Wien/Sofia), Casseurs de Pub (Lyon) and Electronic
Disturbance Theater (New York).
Since the mid 90s, the wide diffusion of basic digital communication
tools and their exploitation made new forms of creation possible within
the aesthetical and social innovation processes. While different
cultures such as social activism, visual and performance arts, radical
and utopic research on electronical media always shared a largely common
(but often unacknowledged) background, in the 90s they experimented new
connections on a technological basis. The result today are projects that
may be classified by different labels (hacktivism, tactical media,
culture jamming between others), but that perform a similar way of
acting as viral entities in the contemporary mediascape.
Digital-is-not-analog @CCCB is meant to give the opportunity of meeting
some of the protagonists of that scene (some them are presenting their
work for the first time in Barcelona), but it also aims to be a
contribution in the very identification of that emerging scene.
The 4 meetings are part of the local events program in preparation of
the Next5Minutes 4 festival, Amsterdam, May 2003 (http://www.n5m.org).
+ + + + +
Programme
Friday Oct 4th, 22h
Centro de Cultura Contemporanea - Sala Mirador
Bill Brown from SURVEILLANCE CAMERA PLAYERS NY
http://www.notbored.org/the-scp.html
Saturday Oct 5th, 22h
Centro de Cultura Contemporanea - Sala Mirador
Hans_extrem from UBERMORGEN
http://www.ubermorgen.com
Saturday Nov 9th, 22h
Centro de Cultura Contemporanea - Aula 1
Benjamin Brugère from CASSEURS DE PUB
http://www.antipub.net
Sunday Nov 10th, 22h
Centro de Cultura Contemporanea - Aula 1
Ricardo Dominguez of ELECTRONIC DISTURBANCE THEATER
http://www.thing.net/~rdom
The 4 nights will be opened by ARCHIVO BABILONIA, a video documentation
project about everyday media visionaries, freaks and (mis)users,
collected and edited by OVNI Archives, Barcelona (http://www.desorg.org).
+ + + + +
http://d-i-n-a.net/dina/cccb02.html
mailto:dina@d-i-n-a.net
Local infos: CCCB (+34)933064100 // http://www.cccb.org
Press Office: Monica Muñoz mailto:mmunoz@cccb.org
------------------------------
Date: Fri, 20 Sep 2002 16:19:09 -0400
From: Doug Henwood <dhenwood@panix.com>
Subject: radio updates
I've just posted yesterday's show to my radio archive -
<http://www.leftbusinessobserver.com/Radio.html>.
September 19, 2002 Campus Watch, the right-wing Zionist "rat on your
professor" scheme * Eyal Weizman, one of the organizers of a banned
exibit, The Politics of Israeli Architecture, and Dan Monk, author,
The Architecture of Occupation, on how Israeli domination of
Palestinians is manifested in the built environment and the fight
over built space and place have fueled the conflict * Hamid Dabashi,
professor of Iranian studies at Columbia (and one of the targets of
Campus Watch), on internal Iranian politics, what it's like belonging
to the axis of evil, and the effects of a war on Iraq
------------------------------
Date: Tue, 24 Sep 2002 10:42:33 +0100
From: matthew fuller <matt@axia.demon.co.uk>
Subject: year zero (for announcer)
- --============_-1179260235==_ma============
Content-Type: text/plain; charset="iso-8859-1" ; format="flowed"
Content-Transfer-Encoding: quoted-printable
YearZero
Welcome to the first of <http://www.yearzero.org>www.yearzero.org 's
brand new mail outs telling you what is happening on the site. We
have daily communiqu=E9s from YZ Towers, we have weekly columns from
our writers and larger features, just for your delectation.
<http://www.yearzero.org>www.yearzero.org
Our communiqu=E9s are news items you may have missed under the tidal
wave of mass media mis-information. For example, in the last ten days
we have had=8A
22.09.2002 Super encryption software=8Aavailable here.
20.09.2002 Israel troops fire on UN observers.
19.09.2002 Mrs Thatcher used Echelon to spy on her own cabinet.
19.09.2002 America buys off the opposition.
18.09.2002 How Wal-Mart hides evidence.
17.09.2002 Flight 93 hijack recording: listen here.
16.09.2002 Document planned Iraqi regime change before election.
16.09.2002 India and Pakistan 'covering Kashmir in landmines'.
14.09.2002 Murdoch earns =A35m whilst guiding News Int. to record =A35bn los=
s.
13.09.2002 Intel apply for patent for `anonymity server`.
12.09.2002 America a threat to world peace, says Mandela.
11.09.2002 Iraq calls for counter-strikes against US.
11.09.2002 Noam Chomsky on 9-11: Part 2 text.
11.09.2002 Noam Chomsky on 9-11: Part 1 video.
<http://www.yearzero.org>www.yearzero.org
Our top 10 columns are:
22.09.2002 Injustice: New Labour & Mental Health: Richard Stewart
06.09.2002 9-11: The Reality Part 1: Adam Porter
09.09.2002 Hooligans: Fantasy figures: Richard Stewart
14.08.2002 Exams: Wot R dey 4 ? Playgirl
26.08.2002 Earth Summit: Stop Talking, Start Listening: Kate Allen
09.08.2002 Secrecy: New laws attacked: Mark Metcalf
01.08.2002 ICC: Governments Kill: Adam Porter
17.07.2002 Afghanistan: 911 Watershed: Adam Porter
22.07.2002 Injustice: Barnsley Speaks: Mark Barnsley
31.07.2002 Men: Banged up bad: Adam Porter
Plus we have features on Eminem and White America, Kobe Bryant and
Adidas, John Lydon and his ego and a re-run of our Genoa articles=8A
Please come and discuss, debate, contribute=8Aand enjoy !
Adam Porter
editor yearzero
if you wish to
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<http://www.chrisx.de/email/index.php?deleteid=3D80fb4ddc9a72cb990c110615b58=
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------------------------------
Date: Thu, 26 Sep 2002 12:41:57 +0300 (EEST)
From: off <off@saunalahti.fi>
Subject: job_announcement
hei.
could you add this to nettime-announcement list.
thanks :-)
L.
- -------------------
Announcement in norwegian and in english below?.
[norwegian deleted @ nettime]
THE OSLO NATIONAL COLLEGE OF THE ARTSKUNSTHØGSKOLEN I OSLO
The National Academy of Fine Arts
The National Academy of Fine Arts is a department of the Oslo National
College of the Arts. The aim of the National Academy of Fine Arts is to
provide teaching at the highest level for artists and be at the
forefront of artistic development in the various forms of visual arts.
The study programmes in fine arts include painting, sculpture,
photography and electronic media. The Academy has a vacancy in the
current academic year for a
Lecturer in electronic media (temporary position)
The study programme in electronic media provides undergraduate and
graduate teaching in various forms of electronically based tools.
The position as lecturer entails:
- - Responsibility for the daily running of the media laboratory
- - Teaching of web tools, multimedia software, video editing tools,
lay-out programmes
We seek a person with knowledge of both hardware and software suitable
for art production/interactive work, educational experience and the
ability to think comprehensive technical solutions in a workshop
context.
The position as lecturer is remunerated in accordance with position code
1007, salary scale 32-42 (currently NOK 256 600- 299 300 p.a.),
depending on qualifications. Two percent of the salary is deducted as
contribution to the Norwegian Public Service Pension Fund. The position
is temporary, lasting to 30.06.03, with the possibility of extension.
For information regarding the position, please contact Professor Laura
Beloff, tel.: +47 22 99 55 30, or e-mail: off@khio.no. Applications
should be made to the Oslo National College of the Arts, The National
Academy of Fine Arts, St. Olavs gt. 32, N-0166 Oslo, Norway, by
15.10.02.
------------------------------
Date: Sat, 28 Sep 2002 02:27:39 +0200
From: press@webnetmuseum.org (Presse WNM)
Subject: Colloque international Artmedia VIII =?iso-8859-1?Q?=22_De_l=27esthÈtique_de_la_communication_au_Net_a?= =?iso-8859-1?Q?rt=22?=
Colloque Artmedia VIII : "De l'esthétique de la communication au Net art"
Paris 29-30 novembre/ 1 décembre 2002, CFCE (Centre Français du Commerce
Extérieur, place d'Iena, et 2 décembre 2002 ENS rue d'Ulm) voir
informations en lignes sur : www.olats.org Rubrique " ARTMEDIA VIII"
Precisions : CFCE, entree libre en fonction des places disponibles: 250
dans l'auditorium principal + 100 dans l'amphi attenant, avec reception en
circuit fermé vidéo sur grand écran. ENS salle "Dussane", sans traduction
simultanée.
Un conseil : prenez vos précautions pour être présent à l'heure, pour les
thèmes, les artistes ou les théoriciens qui vous interessent tout
particulièrement. Merci
www.webnetmuseum.org
------------------------------
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