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<nettime> Announcements [publications + some IRAQ; x6] |
zondag 23 maart om 2 uur debat over 'Kunst en Engagement' in SMART Project Space "SMART Project Space" <info@smartprojectspace.net> Re: <nettime> [IRAQ] 030319 digest 1 [x8] da@kriegste.de (dah) Culture Machine 5 "Lori Gaskill" <lorijgaskill@attbi.com> Suspended Gardens 2 is now live... "Alex Dragulescu" <alex@loudink.com> "Histories of Internet Art" 2.1 version released "Lori Gaskill" <lorijgaskill@attbi.com> VIRTUAL ART new video documentation Oliver Grau <Oliver.Grau@culture.hu-berlin.de> ------------------------------ Date: Tue, 18 Mar 2003 12:56:22 +0100 From: "SMART Project Space" <info@smartprojectspace.net> Subject: zondag 23 maart om 2 uur debat over 'Kunst en Engagement' in SMART Project Space SMART Project Space | 1e constantijn Huygensstraat 20, Amsterdam | +31 (0)20 427 5951 Zondag 23 maart om 14 uur debat over 'Kunst en Engagement'. Met Arie Altena, Lex ter Braak, Ann Demeester, Jeanne van Heeswijk, Sanne van Rijn en Bart Verschaffel.=20 Nederlandse beschrijving onderaan. Discussion on Art and Engagement=20 Sunday March 23 , 14.00 at SMART Project Space (dutch spoken) 'Art and engagement' is lately a much discussed subject. We seem to be concerned with evaluating the ideals introduced by contemporary practice in 1990's. Doubts arise as to whether art has succeeded in appropriating its much desired position within society. Is what we refer to as 'engaged' art really so engaged, or has art's desire to collaborate with society resulted in an uncritical absorption by social structures ? Related to this is the increasing populism within culture politics and subsidy system that produces an official kind of engaged art. Recently a new call for autonomy, a previously discredited concept in art criticism, can be heard again. This seems to address the question that art perhaps gains its critical possibilities after all from its own unique position with the implication of distance from society. Important questions discussed: Can art be engaged, and should it be? Can we speak of a turning point which could be defined around the term 'engaged autonomy'? What are the possibilities, forms and contexts available within contemporary society in order that art is engaged? The discussion will take place in the form of 3 dialogues, following the example of political debates, to bring the fire within art discussions. Guests: Arie Altena (editor of Metropolis M), Lex ter Braak (director Fonds voor Beeldende Kunsten, Vormgeving en Bouwkunst) Ann Demeester (curator and director W139), Jeanne van Heeswijk (artist), Bart Verschaffel (affiliates with the University of Gent and editor of the Witte Raaf) Sanne van Rijn ( theatre director). Moderator : Tiers Bakker ( HTV de IJsberg and de Groene Amsterdammer) Debat over Kunst en Engagement=20 Zondag 23 Maart, 14.00 uur in SMART Project Space 'Kunst en engagement' is een onderwerp dat de laatste tijd in het centrum van het kunstdebat staat. Op dit moment lijkt het of er een evaluatie plaats vindt over waartoe de idealen van de kunst van de jaren 90 hebben geleid. De resultaten van de maatschappelijk positie die de kunst voor zichzelf wilde terug vorderen lijken op een teleurstelling te zijn uitgedraaid. Is de kunst wel zo ge=EBngageerd of heeft haar samenwerking met de samenleving voornamelijk geresulteerd in een onkritische opname door de samenleving. Populistische cultuurpolitiek en een subsidiestelsel die een offici=EBle kunst van engagement produceert, hangen hier nauw mee samen. Langzamerhand zien we de vraag naar autonomie, een lange tijd uit de mode geraakt begrip in de kunstkritiek, steeds vaker opduiken. De twijfel rijst of de kunst misschien toch niet juist haar kritische vermogen ontleent aan haar unieke positie als vrijplaats, en de mate van afstand die dit impliceert tot de maatschappij. Belangrijke vragen zijn "Kan kunst ge=EBngageerd zijn, en is dit wenselijk? Kan er gesproken worden van een kentering waarvoor we een begrip als ge=EBngageerde autonomie kunnen introduceren? Welke mogelijkheden, vormen en contexten staan de kunst ter beschikking in de hedendaagse samenleving om ge=EBngageerd te zijn? Het debat neemt de vorm aan van 3 twee gesprekken, gemodelleerd naar het politieke debat, om het vuur terug in de kunst discussie te brengen. Gasten: Arie Altena (eindredacteur Metropolis M) Lex ter Braak (directeur van het Fonds voor Beeldende Kunsten, Vormgeving, en Bouwkunst), Ann Demeester (artistiek leider van W139), Jeanne van Heeswijk (kunstenares), Sanne van Rijn (theatermaker bij Zuidelijk Toneel? Hollandia), Bart Verschaffel (redacteur van de Witte Raaf, filosoof, docent aan de universiteit van Gent). Moderator: Tiers Bakker (verbonden aan HTV de IJsberg en de Groene Amsterdammer). =20 De discussie vindt plaats in Smart Project Space | 1e constantijn Huygensstraat 20, Amsterdam | +31 (0)20 427 5951 www.smartprojectspace.net To be deleted from our mailing please return mail with subject 'unsubscribe SPS'.=20 =20 - ------=_NextPart_000_0086_01C2ED4D.C9F470E0 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML xmlns:o =3D "urn:schemas-microsoft-com:office:office"><HEAD> <META http-equiv=3DContent-Type content=3D"text/html; charset=3Diso-8859-1"> <META content=3D"MSHTML 5.50.4522.1800" name=3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D#d8d0c8> <DIV><FONT face=3DArial size=3D2></FONT> </DIV> <DIV style=3D"FONT: 10pt arial"> </DIV> <DIV><FONT face=3DArial size=3D2><EM><SPAN=20 style=3D"FONT-SIZE: 10pt; FONT-STYLE: normal; FONT-FAMILY: Arial"><STRONG>SM</STRONG></SPAN></EM><SPAN=20 style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"><STRONG>ART Project Space</STRONG> |=20 1e constantijn Huygensstraat 20, Amsterdam | +31 (0)20 427 5951</SPAN></DIV> <DIV> <P class=3DMsoNormal><SPAN=20 style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"><STRONG>Zondag 23 maart om 14=20 uur</STRONG> debat over 'Kunst en Engagement'. Met Arie Altena, Lex ter Braak,=20 Ann Demeester, Jeanne van Heeswijk, Sanne van Rijn en Bart=20 Verschaffel. </SPAN></P> <P class=3DMsoNormal>Nederlandse beschrijving onderaan.</P> <P class=3DMsoNormal> </P> <H1><SPAN lang=3DEN-GB>Discussion on Art and Engagement </SPAN></H1> <P class=3DMsoNormal><SPAN lang=3DEN-GB=20 style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-ansi-language: EN-GB">Sunday=20 March 23 , 14.00 at <EM><SPAN style=3D"FONT-STYLE: normal">SM</SPAN></EM>ART=20 Project Space (dutch spoken)</SPAN><SPAN lang=3DEN-GB=20 style=3D"mso-ansi-language: EN-GB"><o:p></o:p></SPAN></P> <P class=3DMsoNormal><SPAN lang=3DEN-GB=20 style=3D"mso-ansi-language: EN-GB"> </SPAN><SPAN lang=3DEN-GB=20 style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-ansi-language: EN-GB">'Art and=20 engagement’ is lately a much discussed subject. We seem to be concerned with=20 evaluating the ideals introduced by contemporary practice in 1990's. Doubts=20 arise as to whether art has succeeded in appropriating its much desired position=20 within society. Is what we refer to as 'engaged’ art really so engaged, or has=20 art's desire to collaborate with society resulted in an uncritical absorption by=20 social structures ? Related to this is the increasing populism within culture=20 politics and subsidy system that produces an official kind of engaged art.=20 Recently a new call for autonomy, a previously discredited concept in art=20 criticism, can be heard again. This seems to address the question that art=20 perhaps gains its critical possibilities after all from its own unique position=20 with the implication of distance from society. Important questions discussed:=20 Can art be engaged, and should it be? Can we speak of a turning point which=20 could be defined around the term 'engaged autonomy'? What are the possibilities,=20 forms and contexts available within contemporary society in order that art is=20 engaged?</SPAN><SPAN lang=3DEN-GB=20 style=3D"mso-ansi-language: EN-GB"><o:p></o:p></SPAN></P> <P class=3DMsoNormal><SPAN lang=3DEN-GB=20 style=3D"mso-ansi-language: EN-GB"> </SPAN><SPAN lang=3DEN-GB=20 style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-ansi-language: EN-GB">The=20 discussion will take place in the form of 3 dialogues, following the example of=20 political debates, to bring the fire within art discussions.</SPAN><SPAN lang=3DEN-GB style=3D"mso-ansi-language: EN-GB"><o:p></o:p></SPAN></P> <P class=3DMsoNormal><SPAN lang=3DEN-GB=20 style=3D"mso-ansi-language: EN-GB"> </SPAN><SPAN lang=3DEN-GB=20 style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-ansi-language: EN-GB">Guests:=20 Arie Altena (editor of Metropolis M), Lex ter Braak (director Fonds voor Beeldende Kunsten, Vormgeving en Bouwkunst) Ann Demeester (curator and =20 director W139), Jeanne van Heeswijk (artist), Bart Verschaffel (affiliates with=20 the University of Gent and editor of the Witte Raaf) Sanne van Rijn ( theatre=20 director). </SPAN><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Moderator :=20 Tiers Bakker ( HTV de IJsberg and de Groene Amsterdammer)</SPAN></P> <P class=3DMsoNormal> </P> <P class=3DMsoNormal=20 style=3D"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto"><SPAN=20 style=3D"FONT-FAMILY: Arial"></SPAN> </P> <P class=3DMsoNormal=20 style=3D"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto"><SPAN=20 style=3D"FONT-FAMILY: Arial"></SPAN><FONT size=3D6><SPAN=20 style=3D"mso-ansi-language: NL; mso-bidi-font-size: 12.0pt">Debat over Kunst en=20 Engagement</SPAN><SPAN style=3D"mso-ansi-language: NL"> </SPAN></FONT></P> <P class=3DMsoNormal=20 style=3D"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto"><FONT size=3D6><SPAN=20 style=3D"mso-ansi-language: NL"></SPAN></FONT><SPAN=20 style=3D"FONT-SIZE: 10pt; mso-ansi-language: NL; mso-bidi-font-size: 18.0pt">Zondag=20 23 Maart, 14.00 uur in SMART Project Space</SPAN><SPAN=20 style=3D"FONT-SIZE: 10pt; mso-ansi-language: NL; mso-bidi-font-size: 12.0pt"><o:p></o:p></SPAN></P> <P class=3DMsoNormal=20 style=3D"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto"><SPAN=20 style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-bidi-font-size: 12.0pt"><SPAN=20 style=3D"mso-spacerun: yes"> </SPAN>‘Kunst en engagement’ is een onderwerp=20 dat de laatste tijd in het centrum van het kunstdebat staat. Op dit moment lijkt=20 het of er een evaluatie plaats vindt over waartoe de idealen van de kunst van de=20 jaren 90 hebben geleid. De resultaten van de maatschappelijk positie die de=20 kunst voor zichzelf wilde terug vorderen lijken op een teleurstelling te zijn=20 uitgedraaid. Is de kunst wel zo ge=EBngageerd of heeft haar samenwerking met de=20 samenleving voornamelijk geresulteerd in een onkritische opname door de=20 samenleving. Populistische cultuurpolitiek en een subsidiestelsel die een=20 offici=EBle kunst van engagement produceert, hangen hier nauw mee samen.<SPAN=20 style=3D"mso-spacerun: yes"> </SPAN>Langzamerhand zien we de vraag naar=20 autonomie, een lange tijd uit de mode geraakt begrip in de kunstkritiek, steeds=20 vaker opduiken. De twijfel rijst of de kunst misschien toch niet juist haar=20 kritische vermogen ontleent aan haar unieke positie als vrijplaats, en de mate=20 van afstand die dit impliceert tot de maatschappij. Belangrijke vragen zijn “Kan=20 kunst ge=EBngageerd zijn, en is dit wenselijk? Kan er gesproken worden van een=20 kentering waarvoor we een begrip als ge=EBngageerde autonomie kunnen introduceren?=20 Welke mogelijkheden, vormen en contexten staan de kunst ter beschikking in de=20 hedendaagse samenleving om ge=EBngageerd te zijn?<o:p></o:p></SPAN></P> <P class=3DMsoNormal=20 style=3D"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto"><SPAN=20 style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-bidi-font-size: 12.0pt"> Het=20 debat neemt de vorm aan van 3 twee gesprekken, gemodelleerd naar het politieke=20 debat, om het vuur terug in de kunst discussie te brengen.<o:p></o:p></SPAN></P> <P class=3DMsoNormal=20 style=3D"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto"><SPAN=20 style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-bidi-font-size: 12.0pt"> Gasten:=20 Arie Altena (eindredacteur Metropolis M) Lex ter Braak (directeur van het Fonds=20 voor Beeldende Kunsten, Vormgeving, en Bouwkunst), Ann Demeester (artistiek=20 leider van W139), Jeanne van Heeswijk (kunstenares), Sanne van Rijn=20 (theatermaker bij Zuidelijk Toneel? Hollandia), Bart Verschaffel (redacteur van=20 de Witte Raaf, filosoof, docent aan de universiteit van Gent). Moderator: Tiers=20 Bakker (verbonden aan HTV de IJsberg en de Groene Amsterdammer).<SPAN=20 style=3D"mso-spacerun: yes"> </SPAN><o:p></o:p></SPAN></P> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">De=20 discussie vindt plaats in Smart Project Space | </SPAN><SPAN=20 style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">1e constantijn Huygensstraat 20,=20 Amsterdam | +31 (0)20 427 5951<o:p></o:p></SPAN></P> <P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"><A=20 href=3D"http://www.smartprojectspace.net"><SPAN lang=3DEN-GB=20 style=3D"mso-ansi-language: EN-GB">www.smartprojectspace.net</SPAN></A></SPAN><SPAN=20 lang=3DEN-GB=20 style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-ansi-language: EN-GB"><o:p></o:p></SPAN></P> <P class=3DMsoNormal><SPAN lang=3DEN-GB style=3D"mso-ansi-language: EN-GB">To be=20 deleted from our mailing please return mail with subject ‘unsubscribe SPS’.=20 <o:p></o:p></SPAN></P> <P class=3DMsoNormal><SPAN lang=3DEN-GB=20 style=3D"mso-ansi-language: EN-GB"> <o:p></o:p></SPAN></P></FONT></DIV></BODY></HTML> - ------=_NextPart_000_0086_01C2ED4D.C9F470E0-- ------------------------------ Date: Thu, 20 Mar 2003 08:56:47 +0100 (MET) From: da@kriegste.de (dah) Subject: Re: <nettime> [IRAQ] 030319 digest 1 [x8] Hello all, we mirrored the nettime´s related mails on iraq and start with Geerts open letter to Prof Derrida, Chomsky, Wallerstein and others. please see http://nonato.de and [en|courage]. Greetings from old Europe Munich David Herzog dah@nonato.de # distributed via www.kriegste.de : no commercial use without permission # kriegste.de is a moderated free media system for net criticism, # collaborative text filtering and cultural politics of the nets ------------------------------ Date: Thu, 20 Mar 2003 08:21:46 -0800 From: "Lori Gaskill" <lorijgaskill@attbi.com> Subject: Culture Machine 5 This is a multi-part message in MIME format. - ------=_NextPart_000_0422_01C2EEB9.BF79DBB0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable CULTURE MACHINE 5 (2003) http://culturemachine.tees.ac.uk The e-Issue Edited by Gary Hall Featuring: N. Katherine Hayles, 'Deeper into the Machine: The Future of Electronic Literature' Mark Amerika, 'Literary Ghosts' Ted Striphas, 'Book 2.0' Andy Miah, '(e)text: Error...404 Not Found! or The Disappearance of History' Gary Hall, 'The Cultural Studies e-Archive Project (Original Pirate Copy)' Alan Clinton, 'Wavespeech, Tapespeech, Blipspeech' Charlie Gere, 'Can Art History Go On Without a Body?' Anna Munster, '"This Fanciful and Colourful Image": The Image of New Media within the Contemporary Art-Science Nexus' Cathryn Vasseleu, 'What is Virtual Light?' Chris Chesher, 'Layers of Code, Layers of Subjectivity' Gregory L. Ulmer, 'After Method: The Remake (Introduction to Ackeracy in Reporting)' Gregory L. Ulmer, 'Ackeracy in Reporting (Last Supper in Santa Barbara by Paolo Veronese)' Bernard Stiegler, 'Our Ailing Educational Institutions' Culture Machine welcomes original, unpublished, unsolicited submissions on any aspect of culture and theory. Anyone with material they would like to submit for publication is invited to contact: Culture Machine c/o Dave Boothroyd and Gary Hall e-mail: g.hall@tees.ac.uk or d.boothroyd@ukc.ac.uk - ------------------------------ Call for Contributions Culture Machine 6: Deconstruction is/in Cultural Studies February, 2004 Editors for this issue: Gary Hall, Dave Boothroyd and Joanna Zylinska Cultural studies has often described deconstruction in rather pejorative terms. Deconstruction has been criticized for being too textual and theoretical, too concerned with meaning and language, and therefore more suited to the concerns of literature and philosophy than to cultural studies and its desire to get down and dirty with the real world of concrete political materiality. As a result, deconstruction has been somewhat marginalized by the move away from 'theory' and 'back to reality' and the economic that took place within cultural studies over the course of the 1990s. However, recent years have seen the gradual emergence of a newer generation of cultural studies writers and practitioners many of whom, while clearly locating themselves in the tradition of Hoggart, Williams and Hall, nevertheless regard deconstruction and deconstructive modes of thinking as extremely important to their work. For this issue of Culture Machine we are inviting contributions on any aspect of the relation between cultural studies and deconstruction, as well as between 'old' and 'new' cultural studies. Indicative questions to be addressed include: Why should cultural studies be interested in deconstruction? Can deconstruction help to think through some of the problems in contemporary cultural studies: the relation between culture and society, the cultural and the economic, cultural studies and political economy, Marxism and post-Marxism, theory and politics, agency and structure, textuality and lived experience, the subject and the social? What are the consequences for cultural studies, and for our understanding of culture, of recent 'deconstructive' work on politics, ethics, justice, responsibility, performativity, the institution of the university, teletechnologies, spectrality, the 'New International', hospitality, the foreigner, the parasite, cosmopolitanism, forgiveness, secrecy, friendship, experimenting, the future? Why should deconstruction be interested in cultural studies? Is the latter as interesting as, say, literature or philosophy? Is cultural studies capable of providing anything that other modes of enquiry cannot achieve more easily/interestingly/rigorously? Can deconstruction be 'applied' to cultural studies? Is cultural studies already in deconstruction? Can there be a 'deconstructive cultural studies'? Is a certain pervertibility and experience of mobility, transition, translation, transformation and change not what makes cultural studies at once both possible and impossible? As always, contributions which take advantage of and explore the effects of electronic media technologies in their form, as well as content, are welcomed. Deadline for submissions: October 2003. Contact: Gary Hall School of Arts Middlesex University White Hart Lane London N17 8HR UK e-mail: g.hall@mdx.ac.uk All contributions will be peer-reviewed; all correspondence will be responded to. For more information, visit the Culture Machine site at: http://culturemachine.tees.ac.uk Please feel free to forward this mail. - ------=_NextPart_000_0422_01C2EEB9.BF79DBB0 ------------------------------ Date: Fri, 21 Mar 2003 10:40:07 -0800 From: "Alex Dragulescu" <alex@loudink.com> Subject: Suspended Gardens 2 is now live... This is a multi-part message in MIME format. - ------=_NextPart_000_0057_01C2EF96.3D479730 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit http://www.suspendedgardens.net/ Suspended Gardens 2, an interactive project by Alex Dragulescu, is a metaphor that references history, borrows meanings from contemporary culture, and offers a political commentary in a subtle, playful way. It is a hybrid between an interactive Flash game, a messageboard and a simulation system rendered relevant by the current conflict in Iraq. Today's digital war makes the explosion of a “precision-guided missile” appear like a mere bleep on a screen. Death is distant and often invisible. The audience is desensitized and apathetic. Virtual flowers planted in cyberspace will attempt to establish a symbolical link to a reality that is distant, remediated and reduced by the digital stream. How ironic that the technological platform that makes this project possible is an offspring of military research. Suspended Gardens users can chose from three types of flowers whose growth is influenced daily by various factors (climate, population, oil, war, other plants). The flowers also carry a user-assigned text message that can be easily read by the whole community. Additionally users are able to see in real time how the garden evolves. http://www.suspendedgardens.net/ Please forward... - ------=_NextPart_000_0057_01C2EF96.3D479730 ------------------------------ Date: Thu, 20 Mar 2003 08:20:51 -0800 From: "Lori Gaskill" <lorijgaskill@attbi.com> Subject: "Histories of Internet Art" 2.1 version released This is a multi-part message in MIME format. - ------=_NextPart_000_0412_01C2EEB9.9E43D040 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable IMMEDIATE RELEASE University of Colorado Digital Art Students Launch 2.1 version of "Histories of Internet Art" Website Contact: Lori Gaskill lorijgaskill@attbi.com March 19, 2003 STUDENTS FROM THE UNIVERSITY OF COLORADO AT BOULDER'S TECHNE INITIATIVE LAUNCH UPDATED WEBSITE FEATURING NEW CONTENT FROM INTERNATIONAL ARTISTS BOULDER, Colorado (March 19, 2003) -- Digital art students from the University of Colorado at Boulder's TECHNE initiative have just released the 2.1 version of the "Histories of Internet Art" web site featuring over two dozen video and email interviews as well as streaming archives of performances and presentations by recent visitors to the TECHNE lab. The international net artists and curators featured on the site include Mark Napier, Young Hae-Chang Heavy Industries, Ben Benjamin, Melinda Rackham, Alex Galloway, Lev Manovich, Giselle Beiguelman, Heath Bunting, John F. Simon Jr., Erik Loyer, Mary Flanagan, Lisa Jevbratt, John Klima, Christiane Paul, DJ Spooky, Mark Tribe, Andy Deck, Randall Packer and many others. The site also includes a curated exhibition of 35 net-based art works, a section devoted to net theory, and a survey of the new work being created by students working in TECHNE's Experimental Digital Art Studio. This easy-to-navigate site with its stunning design and exploratory content is produced by undergraduate and graduate students in conjunction with Department of Art and Art History's TECHNE initiative, the ATLAS program's campus-wide Technology, Arts, and Media curriculum, the Alt-X Digital Arts Foundation, and the blurr lab. The site is currently located at http://art.colorado.edu/hiaff "This student-built website is still very much in its infancy and yet in a very short period of time, the students have produced a fabulous multi-media, online resource for both our program and other programs around the world who choose to use our site as part of their own research and development," says CU Professor and TECHNE Faculty Director Mark Amerika. "Over the next few months, the students will build a back-end database which will enable the site to grow exponentially both in its curatorial and theoretical aspects as well as its technical functionality." "The nature of our work each year is usually inspired by the group mind and so each year the site has evolved in different ways," says John Vega, former digital art student and Senior Creative Director of the site. "While new content is always being added, each version is a unique reflection of the ideas held by the associated class." "Working on HIAFF is like doing what I wanted to do when I set out in multimedia: group (student) oriented focus upon art on the net with unlimited potential for learning and exploration," says HIAFF project manager and TECHNE student Lori Gaskill. The TECHNE site at art.colorado.edu most recently featured the "Mapping Transitions" online exhibition curated by Amerika and Christiane Paul, Adjunct Curator of New Media at the Whitney Museum of American Art. The exhibition included three newly commissioned works of Internet art created by artists selected for the 2002 Whitney Biennial, all of whom visited the CU-Boulder campus last Fall and who participated in the opening panel discussion at a major conference entitled "Rethinking the Visual." For more information on TECHNE and the "Histories of Internet Art" web site, contact Lori Gaskill at lorijgaskill@attbi.com ____ TECHNE is a practice-based research initiative located inside the University of Colorado's Department of Art and Art History. TECHNE enables its faculty, students and research associates to utilize both highly specialized and easily accessible hardware and software applications to further demonstrate the value of building more interactive, digital art projects while critically analyzing their place in the world. Research projects are varied and investigate many contemporary subjects whose cultural implications bring to light the growing interdependency between the arts and sciences. ATLAS is a campuswide initiative at the University of Colorado at Boulder and is dedicated to the understanding and application of information and communication technology in curriculum, teaching, research, and outreach. The Alt-X Network (www.altx.com) is one of the oldest surviving art and writing sites on the net. It began as a gopher site back in early 1993 and has since produced and distributed a vast array of content including the Hyper-X online exhibition space, an artist ebook series, the "ebr" new media forum, Alt-X Audio, Black Ice fiction, and various live net events. blurr is an experimental center for digital innovation at the University of Colorado underwritten by Omnicom. blurr's mission is to provide an environment that challenges the usual distinctions and barriers between disciplines within the university and also the traditional lines drawn between industry and academe. ------------------------------ Date: Fri, 21 Mar 2003 16:06:32 +0100 From: Oliver Grau <Oliver.Grau@culture.hu-berlin.de> Subject: VIRTUAL ART new video documentation In cooperation with the European TV channel ARTE, the DATABASE OF VIRTUAL ART has documented a series on contemporary media artists at ZKM, which is now available at the ARTE website. A sample from the work of Robert Loessl and Oliver Grau can be found: http://www.arte-tv.com/emission/emission.jsp?node=-1970&lang=de Enjoy! More Extensive Publication (in english): OLIVER GRAU: VIRTUAL ART: From Illusion to Immersion, MIT Press January 2003. (ISBN 0-262-07241-6, 360 S., 89 Ill.) Production: DATABASE OF VIRTUAL ART / Dr. Oliver Grau Humboldt University of Berlin in cooperation with channel unit digitale mediengesellschaft mbh Scientific Chair: Dr. Oliver Grau Video Director: Robert Loessl with support from ZKM / especially: Dr. Andrea Buddensieg Recording / Editing: channel unit digitale mediengesellschaft mbh Titles: Sevrina Giard Joachim Gärtner ******************************** DR. OLIVER GRAU Kunsthistorisches Seminar Humboldt University Berlin Dorotheenstr. 28; 10117 Berlin fon: +49 (0)30 2093-4295 (direct) - 4288 (secr.) Fax: +49 (0)30 2093-4209 Oliver.Grau@culture.hu-berlin.de www.arthist.hu-berlin.de/arthistd/mitarbli/og/og.html www.diejungeakademie.de ********************************** ------------------------------ # distributed via <nettime>: no commercial use without permission # <nettime> is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: majordomo@bbs.thing.net and "info nettime-l" in the msg body # archive: http://www.nettime.org contact: nettime@bbs.thing.net