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Table of Contents:
fAf August 03: Digital Arts and Culture Conference Papers
linda carroli <lcarroli@pacific.net.au>
criticalartware_Version.002.1x532
jonCates <jcates@artic.edu>
August SenTinel
"ST Media" <sentinel@stmedia.org>
Expect Magazine #2 August 2003
"J. Lehmus" <exp@surfeu.fi>
Fwd: ORB // remote is now launched
"][mez][" <netwurker@hotkey.net.au>
Perspectives'03 - Call for entries
"JavaMuseum" <agricola-w@netcologne.de>
CfP: Information, Communication and Society- Special Issue on e-Health
"geert lovink" <geert@xs4all.nl>
VERT-Konzert im schnittraum
Sabine Oelze <Sabine.Oelze@onlinehome.de>
AYA KARPINSKA and TIM PETERSON at the FLYING SAUCER 8/12
Alan Sondheim <sondheim@panix.com>
Hochschulwettbewerb "digital sparks" 2003 ist entschieden
"Monika Fleischmann" <digital-sparks@netzspannung.org>
Wegway Juried Show at SPIN Gallery
"Steve Armstrong" <Wegway@sympatico.ca>
------------------------------
Date: Thu, 07 Aug 2003 08:01:05 +1000
From: linda carroli <lcarroli@pacific.net.au>
Subject: fAf August 03: Digital Arts and Culture Conference Papers
- --=====================_1004640827==.ALT
Content-Type: text/plain; charset="us-ascii"; format=flowed
fAf August 03: Digital Arts and Culture Conference Papers
fineArt forum = art + technology netnews
http://www.fineartforum.org
http://www.cdes.qut.edu.au/fineart_online
:: DAC IN fAf
This month, fAf's TEXT publishes more than 60 papers from the DAC (Digital
Arts and Culture) Conference held in Melbourne in May. MelbourneDAC
+streaming wor(l)ds+ was the first major academic conference on streaming
media, computer games and game culture, hypertext and interactive film in
Australia. It provided a platform for critical discussion on the
implications technological and creative innovations are having on us as
globally networked communities. MelbourneDAC brought together producers,
theorists, critics, designers, new media artists, educators, filmmakers,
curators, researchers and students who share a passionate interest in
digital arts and culture.
Of the conference and its themes, DAC Chair and RMIT Lecturer, Adrian Miles
said "Art and research though have much in common. Both can be considered,
in idiosyncratic ways, independent creative and critical activities with
their own suspicions, argots, and vernaculars. Both perform fundamental and
crucial roles in teaching and research, but much more importantly, once we
enter the properly digital as a research and applied field, these
differences blur dramatically. This is the power and the risk of the
digital, its blurring of boundaries, disciplines, and epistemes. It is also
its pleasure."
TEXT online at:
http://www.fineartforum.org/Backissues/Vol_17/faf_v17_n08/reviews/reviews_index.html
:: CURRENT CALLS
Check out current calls and job opportunities including:
:: VideoLisboa, Portugal
:: Violence Online Festival, Online
:: International Art Festival Ciber@RT '04, Spain
:: Wireless Art Competition in ResFest, Korea
:: WINK (Wired Innovative Naughty Kids)
:: Sundance Online Film Festival, Online
:: Fournos Centre for Art and New Technologies, Greece
:: Transmediale.04 International Media Art
:: BEAP (Biennial of Electronic Art), Australia
:: Short Film Festival, Calcutta
:: Professor/Associate Professor and Lecturer in Design Studies, New Zealand
AND many more ... Send your news, events announcements and current calls to
editor@fineartforum.org or l2.carroli@qut.edu.au ... Please feel free to
redistribute or republish announcements that appear in fAf.
fAf NewsZine online at:
http://www.fineartforum.org/Backissues/Vol_17/faf_v17_n08/upfront_index.html
:: fAf_15: 15th ANNIVERSARY CDROM
fAf_15, fAf's commemorative 15th anniversary cdrom is still available and
free. On fAf_15, we present the magazine's entire archive as well as
specially commissioned and collated new material. fAf_15 is an invaluable
resource for researchers, artists, writers and activists in the new media,
science and technology fields. To obtain a copy, email fAf at
l2.carroli@qut.edu.au with your name and postal address.
http://www.fineartforum.org/aboutus/highlights_index.html
. . . . .
SUBSCRIBE
Subcription to fineArt forum is free. To subscribe:
Send an email message to: mailserv@qut.edu.au with the following text in
the message: subscribe fineartforum
To unsubscribe - the first line of your email should read: unsubscribe
fineartforum
GOT NEWS??
Send it to l2.carroli@qut.edu.au
MORE INFO
Nisar Keshvani: editor@fineartforum.org
Linda Carroli: l2.carroli@qut.edu.au
MISSION
fineArt forum is a free, not-for-profit news and information service
exploring the relationship between the arts, sciences and technology. fAf
aims to inform new media arts and technology communities worldwide of the
latest events, developments and opportunities.
fineArt forum is supported by QUT Communication Design Department, School
of Film and Media Studies - Ngee Ann Polytechnic Singapore and Mississippi
State University.
fAf is published by Fine Art Forum Inc. fAf is associated with the Art,
Science and Technology Network (ASTN) http://www.astn.net. fAf and Leonardo
Electronic Almanac (LEA) are strategic partners. LEA is an online
peer-reviewed journal published at MIT Press for the Leonardo Network
http://www.leonardo.info.
- --=====================_1004640827==.ALT
------------------------------
Date: Fri, 8 Aug 2003 16:37:10 -0500
From: jonCates <jcates@artic.edu>
Subject: criticalartware_Version.002.1x532
http://www.criticalartware.net
/* ======================= *
UPGRADE_PATH
* ======================== */
criticalartware
version.002.1x532
/* ======================= *
v.002.1x532
* ======================== */
Version 002.1x532 of criticalartware pairs interviews with:
(.sMH) Sherry Miller Hocking of the Experimental Television Center
(http://www.experimentaltvcenter.org) and Project Director of the
Video History Project (http://www.experimentaltvcenter.org/history/)
++
(.pL) Peter Luining of L-Foundation (http://www.lfoundation.org) and
ctrlaltdel (http://www.ctrlaltdel.org)
==
in order to open discourses on artist-built systems and toolsets,
historical moments, live audio-visual work and experimental
methodologies.
/* ======================= *
v.002.1x532.sMH
* ======================== */
"The Experimental Television Center was founded in 1971, an outgrowth
of a media access program established by Ralph Hocking at Binghamton
University in 1969."
Sherry Miller Hocking is the Assistant Director of the Experimental
Television Center. The Center acheives its' primary mission "to
support the creation of work using new electronic media technologies,
by providing space and time to artists for personal, self-directed
creative investigations" through its' residency program. From the
Center's first artist in residence, Nam June Paik, to the most recent
artists, ETC has operated for over 30 years, committed to supporting
and fostering work in an exceptional environment dedicated to
experimentation and the development of artist-built tools and systems.
Sherry Miller Hocking has worked with the Center from the second year
of its' operation. As Assistant Director of the Center, she has
worked on and organized conferences, screenings, exhibitions and
events, from those that defined the initial possibilities,
constraints and dimensions of early Video Art to more recent
reflective efforts such as the Video History: Making Connections
conference, which she organized with independent preservation
consultant Mona Jimenez. In addition, she acts as the Project
Director of the Center's Video History Project, an online resource
for the documentation, study and preservation of early Video Art.
This database driven application/platform began in 1994 and invites
contributions to the protection of endangered or marginalized
histories and the development of a "dynamic and inclusive" model for
contemporary media art historicization.
/* ======================= *
v.002.1x532.pL
* ======================== */
Peter Luining builds artware and interactive pieces which engage with
art historical traditions and function as playful tools for the
performance of live audio-visual media. As the founder of
L-Foundation and ctrlaltdel.org, he has distributed his artwares,
click environments, soundengines and audio-visual instruments since
1995. Working as the curator of the net.art exhibition NetAffects, he
developed an exhibition which @ a critical time, foregrounded "the
developments of autonomous work worldwide, with a specific interest
in the situation in the Netherlands". As an artist and performer, he
has contributed to the emerging activity of soundengine authoring
while operating from a position deeply informed by his philosophic,
aesthetic and conceptual concerns. His background in commercial music
video direction and VJ culture, has made him especially sensitive to
and interested in the relationships between perfomers and audiences,
interfaces and artists and sound and image in responsive systems.
/* ======================= *
SYSTEM.REQUIRES
* ======================== */
The criticalartware interviews with Sherry Miller Hocking and Peter
Luining require Windows Media Player and are available as video
and/or audio streams for various connection speeds. Internet Explorer
is the recommended browser for these resources.
/* ======================= *
APPLAT.FUNCTIONALITY
* ======================== */
Version 002.1x532 also introduces new functionality to the
criticalartware application/platform including a new discourse()
feature and a traceroute feature which maps recent network activity.
/* ======================= *
OPEN.CONNECTION
* ======================== */
http://www.criticalartware.net
/* ======================= *
END.MESSAGE
* ======================== */
If you are not interested in receiving criticalartware updates simply email:
goodbye@criticalartware.net
------------------------------
Date: Sat, 9 Aug 2003 18:39:34 +0100
From: "ST Media" <sentinel@stmedia.org>
Subject: August SenTinel
============================================================
SENTINEL August 2003 Issue 7
============================================================
An ezine for everyone interested in songs and song writing
Subscribe or UNSUBSCRIBE at
http://www.stmedia.org/sentinel/
============================================================
Top quality demo recordings for songwriters
http://www.stmedia.org/demos
============================================================
+++ CONTENTS +++
Foreword
Editorial
Songlink Tip Of The Month
ST Media Demo Service
Dry Times
Words From ST (Steve Thompson)
Pitching your songs/Interesting websites
Easy Edit Websites For Songwriters
Websites for promoting/selling your music
Listening Post
SONG CONTEST
WHAT THE PAPERS SAID TWO YEARS AGO
Creating A Stand Out Chorus
The Last Word
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Send your comments, lyrics, article submissions, requests
for co-writers to sentinel@stmedia.org
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Foreword
Hi all, I'm Steve Thompson. Sentinel is about seven years
old but as As this is only the second electronic edition I
felt a little explanation about what SenTinel is would be
helpful'
I am a successful songwriter and producer with my own
studio. For many years I have been recording top quality
song demos for songwriters under the name of ST Media. About
seven years ago one of those writers, Terry Kew volunteered
to edit a newsletter for all the ST Media writers and it
proved very popular.. This year when the new subscription
date arrived we decided that, since most of the writers were
now on e-mail, we would save the rain forests and send the
magazine out electronically.
This means many of you will be receiving this for the first
time. We hope you enjoy it! Up to now the paper based
magazine was delivered through mailboxes in the UK. This
means that many of you may find the content very English.
Hopefully many of you will be moved to send in news,
articles, reviews, comments, lyrics, requests for
collaborators etc from your part of the world so that we may
have a truly international flavour to SenTinel. If you wish
to send anything for inclusion in future editions please
send it to sentinel@stmedia.org.
Remembering the print version we will from time to time
include a colour supplement that you can download that will
contian pictures and stuff we can't include in this text
only e-mail version.
Thank you for subscribing.
Steve Thompson
Songwriter/Producer Celine Dion, Elkie Brooks Sara
Brightman, Elaine Page etc http://www.stmedia.org
============================================================
Editorial by TERRY KEW
============================================================
After my short break, I would like to say welcome to the
August issue of SenTinel.
We will feature more international articles that will appeal
more to the International readership as well as some home
grown ones for UK based writers. Surfers will tell you that
there are a lot of songwriting magazines out there even more
websites and so with a bit of luck, I will piece together
some interesting addresses and also give you some
information as to where to get your songs heard. Artists
looking for songs will also be a feature so we will keep you
posted if we hear of any artist looking for new material.
The charts seem to be dominated with re-makes of old and
classic songs so there is definitely a dearth of new
material and ST Media have a strong family of songwriters
creating new music.
Last month saw the completion of my own album project, "The
Struggling Writer" and the reviews are still coming in and I
must see that I am extremely encouraged. One writer has
written in to say that he is taking the album on holiday,
which is high praise indeed. The album is now available and
looks good. You can buy this album for just £5.00 post free.
You can contact me via the ST Studio or e-mail me at
muffinmusic@aol.com.
Now that this magazine is going out via e-mail to a lot more
people. I hope that many of you will e-mail your feedback
and of course any contributions that you would like to go
into the magazine.
Enjoy the rest of the magazine
============================================================
SONGLINK TIP OF THE MONTH
============================================================
Each month Songlink kindly provide us with a FREE tip of the
month. Songlink is the premier music industry resource for
songwriters and is jam packed with news of who is searching
for songs now.
*****
VARIOUS ACTS (Home City Records)
Good sales and major investor interest in two of our acts.
Present mainstream Trance release "Jupiter Rose" on chart
path. Last call for 2003 releases.
Style: R&B, Hip hop, Deep and Funky House tracks, Trance.
Send on CD.
===
Contact: Paul, A&R Team
Home City Records
P.O. Box 34069
London N21 3SD
UK
e-mail: anr@homecityrecords.com
http://www.homecityrecords.com
*****
TARA B. DANIEL
Style: Pop/country, Christian crossover. Black Velvet
meets Rhythm of The Rain, All By Myself, etc. Also
positive pop ballads/upbeat music.
===
Contact: Tara Daniel,
3337 SSW Loop 323
Tyler, TX 75701
USA
e-mail: jbdtbd@cox-internet.com,
http://www.mp3.com/Tara_Daniel
Tel: +1 903 561 5150
Fax: +1 903 561 5587
Subscribe to Songlink
http;//www.songlink.com/subscribe.html
============================================================
Top quality demo recordings for songwriters
http://www.stmedia.org/demos
============================================================
Why choose to have me record your song demos?
Well, Sheena Easton, Celine Dion, Elkie Brooks, Elaine
Page and others all recorded my songs after hearing my
demos.
1) THE PRICE
200 UK pounds (310 US Dollars) per song
Demos now supplied on CD at no extra cost
Extra CD's £2 each. Quotes for bulk CD's given.
2) THE QUALITY
ST Media have just installed a state of the art 24 track
digital multi track. Some of our demos have appeared as
commercial recordings available in high street record
stores. Samples here
http://www.stmedia.org/demos/samples.htm
3) TRACK RECORD
Your demo producer is Steve Thompson. Steve has written
songs for artists such as CELINE DION, SARA BRIGHTMAN,
ELKIE BROOKS, ALVIN STARDUST, BRUCE RUFFIN, SHEENA EASTON,
ELAINE PAGE and has enjoyed hits with WAVELENGTH (Top 20
ballad "Hurry Home "), BABY FORD (Acid House dance track
"Chiki Chiki Ah Ah "), THE SEARCHERS (pop song "I Don't
Want To Be The One ") and THE TYGERS OF PAN TANG (rocker
"Paris By Air") Full discography on request.
WE DON'T DEMO SONGS WE S.T. THEM!
============================================================
Dry Times (or Once Around The Block) by Rob Woodard
============================================================
Many (I wonder if it's most) writers, whether they work with
songs, poems, short stories, novels or plays, suffer a
'dry spell' or 'writer's block' at some point in their
careers.
There are many reasons for this (perhaps as many reasons as
there are writers!) and certainly too many to list here, but
I guess some of the principal and recurring ones are
pressures and demands on a writer's time by work or family
commitments; a change in the writer's lifestyle, attitude or
environment; being emotionally distressed; a loss of
confidence or a lack of success; being stuck in a rut etc.
etc. For a lot of writers the reason may be totally
inexplicable! You just lose the songwriting muse; the spark
fails to ignite you anymore.
Whatever the reason though, and depending on the length of
the inactivity, a dry spell is worrying to the writer. A
writer may sense that he/she is completely burnt out/dried
up and may despair that he/she will ever write again. For a
writer then who genuinely loves writing and needs that
outlet for emotional release and self-expression, a writer's
block can be extremely traumatic and genuinely distressing.
What about the experiences of professional songwriters?
Their very livelihood depends on their ability to keep
writing good songs. Perhaps their experiences may offer us
some explanation or consolation. One of the best brief
discourses on writer's block comes from American singer-
songwriter Suzanne Vega:
I hadn't written in two years, since I wrote 'Luka'. 'Cause
so much had happened in my life that it took a while to find
the rhythm of writing again and get my confidence back. My
career had gotten in the way of work. I was trying to write,
and I couldn't come up with anything, and I felt horrible
and horribly impotent. 'Cause the more I would try to write
the more I would feel like I was just doing nothing.
>From the article 'Vive La Vega' by Steve Pond, Rolling Stone
magazine (n.d.)
Certainly the case with Vega is that her songwriting muse
came back. Writers always hope that it will, but with many
there is that nagging doubt in the backs of their minds that
they've lost it forever. There is no sure-fire remedy for
the cursed block but there are techniques and practices,
which may help.
1. Force yourself to write. Set aside a regular time to
write, either with pen and paper or with a musical
instrument. At these times go over some of your older,
completed songs. Recall how, why, where and when they were
written. Read them. Play them. Sing them. Look in your
notebook at any unfinished lyrics or tunes. Can they be
reworked or edited? Can a number of unfinished songs be
combined to make one song? While the inspiration to write
new songs might not be coming you may still be able to
'polish off' incomplete older material.
2. Immerse yourself in different/new kinds of music. Seek
diversity! Be eclectic. New melodies, rhythms, styles and
instruments may create a spark, lyrically or musically.
3. Do lots of walking! Many writers from William Wordsworth
to Virginia Woolf have been devoted walkers. Plenty of
songwriters have been too. Oscar Hammerstein II was a
devotee of walking and has said so in print. The relaxation,
change of scenery, new observations etc. may be beneficial
to your songwriter. And it'll help your fitness too! Pete
Townshend believes in the benefits of walking but he
obviously doesn't believe in writers' block:
But ideas for songs come from an inner thing. You have to
need to share, to communicate for some reason. What you
write about comes from what you see and do. It doesn't come
from space. If you're short of ideas get your ass up and go
walk around in the city. You'll get an idea in fifteen
seconds.
>From the book Written in Your Soul by Bill Flanagan
(Contemporary Books, Chicago & New York 1987)
4. Watch 'live' performers, especially those performing new
or original music - You may hear a line, a title, a riff, a
tune, a whole song which really affects you, moves you,
inspires you.
5. Take a breather, a change of scene, a short holiday (and
that's not always easily done), or even just a Sunday drive
somewhere completely different.
6. Talk to other songwriters. Again, they may motivate you,
encourage you, collaborate with you etc. etc.
7. Don't get too despondent and think you'll never write
another song. Believe it's only a period of inactivity which
will pass and that your writing talent will re-emerge.
Perhaps you might try a new hobby, pastime or interest while
your songwriting is 'on hold'.
8. Read widely - fiction, history, current events, poetry,
biographies of musicians and songwriters you admire etc. A
line, idea, comment, piece of knowledge may enthuse you to
write about it. Try reading interviews with and articles on
songwriters and see how they approach their writing. You may
find out how they deal with song writing droughts and come
across pearls of wisdom like this one from Sting and which
seems like a good place to cease my waffle:
I see songwriting very much as a craft, which is learned by
trying to handle almost every style. And once you've got
your chops together, songwriting is a modular system. You
chop, you change. I'm quite adept at writing songs. What you
can never be adept at is being in tune with inspiration.
That's the Great Accident, the Great Imponderable. I used to
get so terrified of not being able to write a song. "What am
I going to write about? I'm totally empty of ideas and
inspiration." And then I realized after about five years of
this terrible block that some of the time you have to be on
'input'. You just have to receive and then retransmit it and
hope it comes out as something else.
>From the article 'The Rolling Stone Interview: Sting' by
David Fricke Rolling Stone magazine. n.d.
(c) Copyright Rob Woodard. October 1990
Rob Woodard has written reviews for a number of
publications. He has also written plays and enjoys walking
for inspiration.
============================================================
Words From ST Steve Thompson
============================================================
Into Battle
- ------------
Many of you may well know about this by my postings around
the Internet so I apologise for droning on! I got an e-mail
out of the blue this January from a total stranger who
informed me that in 1983 one of my songs was recorded by
Celine Dion. I have since found it on numerous compilation
CD's on current release and thanks to her fans have
exhaustive lists of vinyl, cassette and CD releases world
wide. You may find it strange but my first thought was not
for 20 years of missing royalties but for missed career
opportunities. Also there was the obvious fact that my demo
service would most probably have benefited too. Look at it
this way, if you are a writer contemplating having someone
produce a demo for you and you find a guy whose demos have
been cut by one of the worlds biggest acts it's bound to
make an impression, right?
Well. it's now eight months since I brought this to my
former publishers attention and I am no further forward. I
am therefore about to instigate legal proceedings. I
therefore can't talk too much about this right now but I
will print below some opinions from key industry figures who
have given me their views on this.
===========================================================
Pete Waterman
- -------------
I was somewhat disappointed by your e-mail. I am shocked,
like you, that he would forget he had a cover by Celine
Dion, I wish I could forget such things. I would have
thought it not an inconsequential amount. I think your fight
should be from the restoration of your royalties and the
interest lost in that period.
Jimmy Webb
- -----------
Dear Steve, In my opinion there is no way to overestimate
the positive effect that a cover by an artist of Celine
Dion's stature could have on a songwriter's career. It could
literally be a turning in the road toward a whole different
and more positive future were this fact used as a creative
tool to enhance the songwriters visibility and reputation.
Andrew Gold
- -----------
It is totally outrageous. Your career AND the royalties were
adversely affected by this. Your publisher at the time,
royalty societies BMI or ASCAP, Celine's record label...all
is at fault I think
Colin Blunstone
- ----------------
I have always been a huge admirer of Steve Thompson's songs.
I believe that if he had been correctly credited with
writing a song for an artist of the stature of Celine Dion,
his standing as a composer would have been greatly
enhanced.. It is incredible that he has had to wait twenty
years for the recognition he so richly deserves.
===========================================================
Remembering The 80's
- --------------------
A webmaster got in touch with me recently asking if I would
write and article for his website Metal Gods. I'm afraid I
have to own up to having been a heavy metal producer in the
late 70's early 80's and I found bands on his site that I
have no recollection of being in the studio with!
Anyway I began the article and it grew and grew. It's
remarkable how much you remember once you start to write it
all down. Anyway, unless there is a howl of protest. I'll
start to serialise it here. There is some funny shit in
there!
The earlier Senintels carried some of my auto biographical
stuff and If Terry still has the files maybe we could run
that too. I used to feel a bit uncomfortable talking about
myself but I've found if it's done in a non egotistical way
people can be quite interested.
Octorama - Far from the 3 minute pop song!
- ------------------------------------------
Last year I designed an exhibition space for a digital
arts event that took place this Feb. It consisted of a 14-
meter diameter installation into which the public could
enter and see eight large projections and hear 8 sound
sources. The event was a huge success and as a result I have
designed the successor to this installation, which will be
more portable and more interactive. It has just competed a
run of four days in Stockton UK.
The sound in the first exhibition consisted of complementary
ambient sounds, eg children playing, running water. The new
installation featured a program of different exhibitions
including the original one but this time I decided to write
a piece of "music" to work in an environment like this and I
called it "Time, Space And Reality"
I worked on the music using Propellerheads "Reason" software
and a Terretec 8 output soundcard. I have this setup in my
studio so I worked on a piece that had different notes,
beats and samples coming from 8 different speakers within
the installation. In my studio I had to imagine the spacial
effect as I was working with just two speakers.
It was fantastic to eventually hear this piece in the
environment it was designed for. You can check out some
images plus the visitor book at
http://www.stmedia.org/octorama
Traditionals and Copyright
- --------------------------
Anybody remember the Animals? Being a Geordie (Newcastle
North East Of England) I do. I used to come across some of
the guys from time to time. They came to mind as I have been
reading a bit of a debate online about copyright and
traditional music.
A piece of music is sometimes labeled traditional (trad)
because it has long since fallen out of copyright. You may
make recordings of these tunes with out having to pay the
composer who is, by now, long dead.
It is an interesting fact that if you arrange a piece of
traditional music that, as arranger you may claim royalties
on the sale of that piece of music.
So ......... The Animals recorded a traditional song "House
Of The Rising Sun". Alan Price was the leader of the band so
it was just a matter of practice to credit him with the
arrangement. So he ends up with all the royalties on a mega
hit. By time the rest of the guys realise this it's too late
and despite their pleadings he would never share the dosh!
I've always thought it a little unfair given that the most
striking think about the record was the opening guitar riff
that must have been generated by Hylton Valentine. Of all
the Animals I got to know Hylton best. He is a very easy
going chap and he never spoke of this to me. I recall one
night at a party we handed him an acoustic guitar and asked
him to play "Rising Sun" and he was so pissed he couldn't
remember the chords!.
I came across Chas Chandler (now deceased) many times. He
regaled one and all with his Hendrix tales. Chas is
responsible for my one and only brush with Hendrix but
that's another story.
Finally, I engineered a session with Alan Price and I was
warned to expect a hard man to work with. When I met him I
found him to be a wonderfully "couldn't give a shit"
character. So completely self obsessed and would shoot
anyone down with a harsh word that came anywhere near him.
But he wasn't rude just completely matter of fact. Hard to
describe.
===========================================================
Pitching your songs/Interesting websites
===========================================================
Hello, My name is Chris and I am a singer and looking for
some songs to potentially record. The kind of songs I am
looking for are the pop rock type.
The popular boy band nsync and the solo pop superstar
Britney Spears are good examples of the type of song that I
am looking for. It would be awesome if you could reply back
to me at Chriss2250@aol.com when you get a chance.
Thanks
Sincerely
Chris
Here is a list of useful websites to get your music heard.
Another Cafe
http://www.newartistradio.net/Another%20Cafe.asp
Do you want your music reviewed? Do you want an
honest opinion? Join Ric and Bruce on Another Café. You’ll
Hear Music Reviews, Music News, insults and much, much more.
All reviews are free Checkus out at
http://www.anothercafe.com or check out on demand at
Another Cafe On Demand. Bruce Horne Guardian Productions
Operations Supervisor www.guardianproductions.com
Another Cafe "We review and interview" P.O.
Box 2182 Jasper,TN 37347 Phone: 423-942-5400 Fax:
423-942-5888
Mojo Music Studio and the home of "The Studio" Independent
Radio Show... "The Studio" Radio Show is airing all around
the Globe on over 61 High School, College, Commercial, and
Internet, Radio Stations! GET YOUR MUSIC HEARD! Send us
your CD and Press Package and the AIR PLAY RELEASE FORM on
their page www.mojomusicstudio.com to have your music
considered for air play. Send your sounds to:Air Play
Release Form Mojo Music Studio PO BOX 536 Franconia, NH
03580 USA
............................
ExtremeX Radio www.extremexradio.net Hey Rock Heads out
there...We are in need of promos!!!!!! We are still
rockin over here at ExtremeX. Send promos so they can be put
up on Extreme X!! email them to darksins@newartistradio.net
HipHopDX www.hiphipdx.com NewsDX, Features, Underground Hip
Hop, Hitlist, Contests, Reviews, Hot Traxx. The Official
Limited Edition HipHopDX T-shirts. We only made
50 of each color so once it's gone you will never see them
again. Get them... Before they are gone.
http://www.mixtapesusa.com/hiphopdxshirts.html
BIG CITY RECORDS NOW ACCEPTING COUNTRY, GOSPEL AND BLUEGRASS
ARTISTS FORCOMPILATION CD. Big City Records proudly presents
Blazin' Country to be shipped world wide.
For more details Visit Big City Records at
http://www.BigCityRecords.com
WAMPUS MULTIMEDIA SEEKS NEW ARTISTS
Wampus artist programs: http://wampus.com/programs.html
Are you an artist looking for a label? Wampus Multimedia is
a unique indie label that's run by artists, for artists.
Wampus artists maintain creative control of their work and
play an active role in how it is presented to the
public. They don't work for the label -- they work with it.
Interested?Visit us: IIMAA: International Independent Music
and Artist Association www.iimmaa.com,part of the Music
CityNetwork News Group www.musiccitygroup.com
NAR Artists send your music to WSVNRadio!!!!
www.wsvnradio.net
Are you an unsigned band? Are you looking for your big
break into the record industry? Well Chart Show TV has the
answer in the shape of its brand new segment,
UNSIGNED, which is set to launch in the next couple of
months on Sky Digital 455. Our intrepid scouts are on the
look out for all sorts of bands and artists from the next
Queens of the Stone Age to the next Oasis. This isn't
Pop Idol; we're looking for raw talent! All we need you to
do is make a music video of you or your band on Digi Beta or
Digi SP and send it in to us at Unsigned, Chart Show TV, PO
BOX 34992, London, SW6 4XB. You could be
featured in the segment for the entire nation and the record
companies to see! For more information you can call
Lucie on 020 73715 999 or e-mail lucie@chartshow.tv. & tell
them you got the info from ukbands.net
Interested in Classic Country Music? Visit
www.countrymusicclassics.com If you are looking for
specific information and/or pictures contact Doug Davis at
Classics@countrymusicclassics.com
============================================================
ST Media Easy Edit Websites For Songwriters
============================================================
Using the ST Media website creator anyone may easily create
a website to update news of your songwriting ventures and
communicate with others. If you can edit a Word document you
will have no problem using the ST Media interface. You can
add a guest book for visitors to leave a message or add
images from your own computer. Also available are a range of
graphics Background images and dividers
Try it out at http://www.stmedia.org/writers/index.htm
The ST Media Standard account costs just £15. ($25) You
don't get to upload any of your songs but there are lots of
free sites like Vitaminic where you can do that and then
link from your homepage.
To upload songs you need the ST Media Standard Plus account.
For £45 (75 dollars) you get all the above but the ability
to upload 3 MP3 files of your songs. If you just use a verse
and a chorus of each song you could get more songs up there
and of course you can keep changing the songs featured on
your site. If you are able to encode to realmedia you will
get even more songs on your webspace. ST media can advise on
this and can even encode and add your songs for a small fee.
The ST Media Standard account costs just £15 (25 dollars) or
free when you order song demos.
============================================================
Websites for promoting/selling your music
============================================================
Check these out. They tend to change a lot. eg Vitaminc
merged with Peoplesound and now they just merged with
someone else! You may read a review of some of these sites
here http://tinyurl.com/922f (thanks to David F Cox for
pointing that out)
http://www.amazon.com
http://free-music.com
http://getmusic.com
http://www.1sound.com
http://www.acidplanet.com
http://www.adoptaband.com
http://www.afternight.com
http://www.ampcast.com
http://www.artistdirect.com
http://www.artistforum.com
http://www.artistlaunch.com
http://www.audiogalaxy.com
http://www.avantnoise.com
http://www.besonic.com
http://www.broadjam.com
http://www.butlermusic.com
http://www.christianmp3.com
http://www.clearchannelnewmusicnetwork.com
http://www.cornerband.com
http://www.dmusic.com
http://www.electronicscene.com
http://www.emergentmusic.com
http://www.farmfreshmusic.com
http://www.garageband.com
http://www.getmemusic.com
http://www.guitar.com
http://www.hitmixuk.com
http://www.hitquarters.com
http://www.hubba.com
http://www.indie-connections.com
http://www.indielaunch.com
http://www.intomusic.co.uk
http://www.IUMA.com
http://www.javamusic.com
http://www.loudenergy.com
http://www.madeinmusic.com
http://www.mbus.com
http://www.mp3.com
http://www.mp3.com.au
http://www.mp3.it
http://www.mp3lizard.com
http://www.mpulse.com
http://www.musicbuilder.com
http://www.musicbuilder.com
http://www.peoplesound.com
http://www.psymag.com
http://www.randomartist.com
http://www.songwriterstreet.com
http://www.soundclick.com
http://www.themusic.com
http://www.uksounds.com
http://www.virtual-volume.com
http://www.vitaminic.com
http://www.wannabefamous.tv
http://www.zebox.com
http://www2.getoutthere.bt.com/index2.cfm
http://www2.mp3.de
http://zed.cbc.ca
============================================================
Listening Post TERRY KEW
============================================================
Holidays are a time for relaxing, well that is true for most
people. Unfortunately I am usually working on some project
or other. Last year when I went on holiday to the Channel
Islands, I was phoning around trying to arrange singers etc
for my Video session. I was also writing songs for that
project. This year I had none of that. Instead I had time to
indulge in my other favourite pastime and that is visiting
the record shops. Whenever I go on holiday to somewhere new,
I usually make a point of visiting the local stores and just
browsing through their racks. This year, I went to Dorset
and lo and behold, I found a box set of tracks from
Britain's own legendary hero Cliff Richard. To be honest
I've not liked everything that Cliff has recorded although
my wife is his greatest fan. So seeing this 6 CD set, I
thought that I would just have to buy it for her. Firstly I
bought it from the princely sum of £27.99, that's less than
a fiver for each CD.
This collection features the entire singles collection from
this great artist. There are 127 solo singles featured here.
As you can imagine, this collection is pretty comprehensive
featuring songs like "What I'd Say", the Ray Charles classic
that was recorded as a single for release abroad, so this is
a rarity for many collectors. There are two other export
only singles on this collection. I would be very surprised
if anyone has all these tracks on vinyl.
I for one would have loved a 7th CD featuring the duets that
he recorded with Olivia Newton-John, Phil Every, Sarah
Brightman etc. This then would be the ultimate collection.
The set starts with "Schoolboy Crush" released in August
1958 and finishes with "Let Me Be The One" released in April
2002. In between is all the classic stuff "The Young Ones",
"Summer Holiday", "Devil Woman" "We Don't Talk Anymore"
plus all those classics Christmas Hits.
This set is certainly value for money and let's face it,
there is not another artist alive that can boast 127 solo
singles or a career spanning 44 years. Over a hundred of
those singles actually charted in Great Britain, which is
amazing.
As I said, it is amazing what you can find in local stores.
I don't think that I will ever lose my love for browsing.
============================================================
SONG CONTESTS
IT'S ALL ABOUT THE SONG.JUST ASK THE ISC JUDGES
============================================================
The International Songwriting Competition offers you the
chance to win $100,000 in cash and prizes and to have your
music heard by some of the most influential and high profile
members of the music and recording industry. ISC winners
will also benefit from a multilateral promotional
campaign designed to give international exposure and
attention to their musical achievements. For an entry form
or to enter online, please visit
http://www.songwritingcompetition.com.
ISC Judges include: Monte Lipman (President, Universal
Records), Arif Mardin (VP/GM, Manhattan Records), Bruce
Lundvall (CEO/President, Capitol RecordsJazz/Classics), Phil
Vassar (Country Artist/Singer-Songwriter), B.B. King, Rob
Thomas (Lead Singer/Songwriter of Matchbox 20), Frank
Callari (Sr. VP of A&R/Artist Development, Lost Highway
Records), Vanessa Carlton (Singer/Songwriter, "A Thousand
Miles"), BeBe Winans (Gospel Artist), Raine Maida (Lead
Singer/Songwriter of Our Lady Peace), Dan Haseltine (Jars Of
Clay), Pat Metheny (Jazz Guitarist), Nile Rodgers
(Performer/Producer), Rose Noone (Sr. VP of A&R, Epic
Records), Jimmy Bralower (VP of A&R/Staff Producer, Atlantic
Records), Kim Stephens (VP of A&R/Promotion, Lava Records),
Tara Griggs-Magee (Sr. VP/GM of Verity Records), Robert
Beeson (President of Essential Records) and more...
ISC Categories: Country, Pop/Top 40, Rock,
AAA/Roots/Americana, Blues, Folk/Singer-Songwriter, R&B/Hip-
Hop, Jazz, World, Gospel/Christian, Dance/Electronica,
Lyrics Only, Teen (must be 18 yrs. old or younger)
ISC 2003 is proudly sponsored by: Xytar Digital Systems,
Epiphone Guitars, Disc Makers, Berklee College Of Music,
Cakewalk, Sam Ash Music Stores, F.Y.E, Live365 - Radio
Revolution, L.R. Baggs, iRiver, Primera Technology Inc.,
Berkleemusic.com, Sennheiser, Ernie Ball, Alphabet Arm
Design, Planetary Group, MWorks, Sonicbids and
Intellitouch Tuners.
============================================================
WHAT THE PAPERS SAID TWO YEARS AGO TERRY KEW
============================================================
This feature is from a back issue of the magazine and is
here for the benefits of our new subscribers. Our regular
readers may remember it.
Looking at the papers over the last week, I came across some
really Strange and funny stories Okay they’re not music
related but sometimes I think we all need to smile a little
bit so here are some amusing titbits
that I have picked up on my travels.
Dog owners in New York City are up in arms because they say
that their pets have suffered electric shocks from currents
flowing through footpaths from frayed wires It really makes
you want to say that they should look where they are going.
Paws for thought!
Now a story that is sure to get the ladies up in arms. It’s
to do with Ladettes, those beer swilling females. It seems
that binge drinking among 18 25 year olds have been found
to affect parts of the female brain which controls thinking
and memory. So now you know when they wake up in the morning
they really don't know What happened the night before which
is just as well for us lads who may have put in a bad
performance.
Another news story is that here in the South East, we are
shortly going to be experiencing the tropics within the
next 50 years due to climatic changes, we will need Malaria
shots if we are going out to the top of the road to buy a
newspaper. Mosquitos, which carry malaria have already been
found in Essex and within 50 years will be found in the
Thames Estuary, East Anglia, Kent, Surrey and Sussex
As we have gone past Valentines day, I thought I would share
a story with you of the romantic student who wanted to
surprise his love by leaving a single red rose and a card
and candle on a chair in her bedroom. However the idiot lit
the candle, it toppled over setting the room ablaze,
severely damaging the room. A fire spoke person said that
the girl wasn't very impressed Apparently she was fuming.
The weirdest story has got to be the disaster with the
American Submarine. It seems that a guest on board admitted
pulling the lever which sent the submarine to the surface
thus destroying a Japanese trawler Nine people are still
missing from the trawler that sank off the coast of Hawaii
It seems the Captain asked if anyone wanted to pull the
levers and this guest said he would like to do that. It
takes you back to the days of Ronald Reagan when he jokingly
put his finger on the nuclear trigger and said Now what does
this button do.
Finally an Ice Hockey team had a close escape when chunks of
frozen faeces fell out of the sky narrowly missing the
places and smashing large holes in the rink during practice.
It was just as well that the stadium was empty of spectators
or it really would have been a case of the shit hitting the
fan.
============================================================
Creating A Stand Out Chorus
============================================================
One of the most common musical traps songwriters fall into
is having a chorus that sounds too much like the verse.
Remember that the whole point of having different sections
in your song is to have variety. As a general rule of
thumb, different musical sections such as verses, lifts,
choruses and bridges should contrast each other. This makes
each section unique, which keeps the song musically
interesting. This is especially important in the chorus
section, which really needs to stand out from the rest of
the song.
So how we can apply this idea of creating contrast to the
music? Since music has three fundamental components (melody,
harmony, and rhythm), we have three ways of creating a
contrast between different musical sections. Let’s explore
each of these methods of contrast a little
more carefully.
Melodic Contrast
To create an effective melodic contrast, make sure that the
chorus is higher than the verse. The easiest test of this
is to try and draw a line representing the melody in your
song. If you have a hill or peak in the chorus compared to
the verse, then you’ve probably done your job. On the other
hand, if you end up with a fairly straight line, you have
what I call a flatline melody (it means exactly what the
term implies - the song has been pronounced melodically
dead). Often this happens if a writer begins the verse in
their highest singing register. When they get to the
chorus, there’s nowhere higher they can sing, so it stays
in the same range. The end result is a melody that doesn’t
move enough. The simplest way to avoid this trap is to
write the verse in a comfortable, but low melodic range.
This gives you plenty of room to move upward in the chorus.
If you write the chorus first, try to keep it in your upper
singing register. This will give you room to make the verse
melody lower while still creating an effective contrast.
Naturally, you have to keep an eye on the overall range to
make sure it’s not beyond a typical singer’s range (usually
an octave plus three or four notes).
Harmonic Contrast
A second way to make different musical sections contrast is
harmonically. The chords used in a song supply the musical
foundation for the melody as well as establishing the
emotional feel of the song. If both the verse and chorus
use the same chord progression, there’s a good chance those
sections will sound too similar. The same goes for the
bridge or lift section. Try to consciously choose a
different chord progression for each different musical
section. The easiest way to achieve this is to start each
section on a different chord. If the verse starts on a G
chord then begin the chorus on a different chord like C,
and your bridge on an Am chord. For example, the verse to
the Grammy award winning song, Wind Beneath My Wings
(Henley/Silbar) starts on a G chord while the chorus begins
on an Em chord. This doesn’t mean you can’t start both
your verse and chorus on the same chord, but if you do, be
sure to include some other method of contrast.
Rhythmic Contrast
A third way to create an effective contrast between
sections is by changing the rhythm of the melody between
the verse and chorus. The best example I can think of is
the perennial Howard/Arlen song, Somewhere Over The Rainbow
(which contains a bridge or B section rather than a
chorus). Try to imagine the rhythm of the verse melody in
your head. Hear those big long half notes on words like way
and up? For the most part, the verse rhythm is composed of
half notes. Now try to hear the bridge section of the song
(someday I’ll wish). Can you tell the difference? The
bridge section is comprised mainly of the quicker rhythm of
eighth notes, which creates an effective contrast to the
half notes in the verse. It’s also interesting to note that
both the verse and the bridge begin on the same chord and
are in the same melodic range. The rhythmic change supplies
the only musical contrast between the verse and bridge
sections and it’s enough to keep us tuned in to the song.
If you’re solely a lyricist, rhythmic contrast is a great
thing that you can build into your lyrics by simply paying
particular attention to the rhythm of the words in each
section
So when you’re looking for a way to create a distinctive
chorus, remember you have several options. Hope to see you
on the charts.
Danny
============================================================
THE LAST WORD TERRY KEW
============================================================
Welcome to the last word. They say a week in Politics is a
long time, well a week on holiday is gone in an instant. Let
me tell you that no sooner had I packed to go away, I was
back home again. It was a break and also the first time that
I didn’t write anything although I was sorely tempted to go
in for the talent competition because I felt that I could
have won it. Had the prize been a bit different (a bottle of
wine), I may have entered.
It seems more and more bands are playing to backing tracks
these days. The group at the camp consisted of a female
singer, a guitarist and a keyboard player. They were
augmented by a mini disc player supplying a rhythm section
and they would have sounded brilliant had it not been for
the fact that the whole thing was run into a central
amplifier and blasted out of speakers all around the room.
There wasn't any separation and at times it became one
continuous sound. A little stereo sound would have been
nice. I think that perhaps I should my ST backing tracks,
the next time I go away.
To be honest, although I have a small desire to perform in
front of an audience, I think I would be more comfortable if
I had other musicians on stage with me. Now If I could only
convince my son to join me but alas he is far too busy with
his own career.
He has just finished working on backing tracks for a friend
of his who is currently touring Cyprus with a stage show
featuring my son’s tracks. Jason Kew is an accomplished
pianist and plays very much in the style of Elton John.
During my relaxing holiday, I managed to pick up a couple of
albums. One set Cliff Richard, I have reviewed in this
month’s Listening Post, another is the Doctor Hook singer
Dennis Locorriere. It’s his first solo album Out Of The
Dark that I managed to pick up for a fiver (five pounds
English Money) and very good it is too.
They are some old Doctor Hook tracks on it for good measure
as a tribute to Shel Silverstein, ie Sylvia’s Mother Balled
Of Lucy Jordan and my all time favourite track Years From
Now. It’s hard to believe that this CD is four years old. I
know Steve Thompson is a big fan having seen him a few years
ago in concert up there on Tyneside. I have been a fan but
more so since I've had a CD installed in my car and I've
been playing my Best of Doctor Hook album.
I would like to thank everyone for the encouraging remarks
on my Struggling Writer album. It has certainly created a
good response from everyone who has heard it. So far I
haven't had any really bad criticism, so I must be doing
something right.
Anyway I must finish off this issue and one again a big
thank you to everyone that has sent stuff into S.T.Media.
Please continue to do so, if we can use it, we most
definitely will.
Keep writing and plugging away. I will be back again next
month.
============================================================
SENTINEL August 2003 Issue 7
============================================================
An ezine for everyone interested in songs and song writing
subscribe or UNSUBSCRIBE at
http://www.stmedia.org/sentinel/
============================================================
Top quality demo recordings for songwriters
http://www.stmedia.org/demos
============================================================
------------------------------
Date: Mon, 11 Aug 2003 00:26:12 +0300
From: "J. Lehmus" <exp@surfeu.fi>
Subject: Expect Magazine #2 August 2003
Sorry for crossposting--
Expect Magazine #2 is now available at the following address:
http://purl.org/net/exp/expect2
The new issue is entitled, EXPECT CONFUSION and features Monty Cantsin's lengthy essay on the Neoist pornosophy, graphic work from Robin Crozier, as well as poetry by Jesse Glass, Ted Glass, Joel Chace and Paul Murphy.
Submissions, news and review items are welcome. Please contact the editor at exp@surfeu.fi
If you would like to receive a note every time a new issue of Expect is published, send a message to expan-subscribe@yahoogroups.com
Sincerely,
J Lehmus
Editor & publisher, Expect Magazine
______________________________________________________
EXPECT MAGAZINE exp.sevcom.com purl.org/net/exp/expect
EXP OFFICE purl.org/net/exp/expoffice tel+358-9-868585
------------------------------
Date: Wed, 13 Aug 2003 19:29:17 +1000
From: "][mez][" <netwurker@hotkey.net.au>
Subject: Fwd: ORB // remote is now launched
>To: netwurker@hotkey.net.au
>Subject: ORB // remote is now launched
>Date: Sun, 10 Aug 2003 17:04:15 -0400
>X-OriginalArrivalTime: 10 Aug 2003 21:04:15.0502 (UTC)
>FILETIME=[F4DD0AE0:01C35F82]
>
>
>ORB // remote is now launched at:
>http://www.ORBremote.com
>
>I want to thank the participating artists for their interesting projects.
>ORB // remote, an online part, assembled by me, of ORB, organized by
>Pio Diaz, Copenhagen, which will continue until September 2004.
>
>The idea of ORB // remote is not to be a net.art.project but to assemble
>digital projects by artist's, dealing with social, economical, cultural,
>political and
>scientific issues, tracing invisible structures in society.
>
>ORB //remote will continue until September 2004, to live online in
>different shapes.
>
>Best,
>Eva Sjuve
>
- - pro][rating][.lucid.txt
- -
- -
http://www.hotkey.net.au/~netwurker
http://www.livejournal.com/users/netwurker/
_
_cr[xxx]oss ova.ring.
------------------------------
Date: Thu, 14 Aug 2003 09:06:40 +0200
From: "JavaMuseum" <agricola-w@netcologne.de>
Subject: Perspectives'03 - Call for entries
JavaMuseum -
Forum for Internet Technologies in Contemporary Art
(Java=Joint Advanced Virtual Affairs)
www.javamuseum.org
**extended deadline 1 September 2003
for
*Perspectives'03*
2003 competition and show case - call for submissions
JavaMuseum organises this event online and offline in cooperation with
Computer Space Festival Sofia/Bulgaria and Goethe Institute - Internationes
Sofia/Bulgaria. October 2003
"Perspectives'03" will focus on the net based art production
2002/2003. The competition is open for all
thematical and technological aspects which net based art allows.
Invitation!!
All artists who are working net based are invited to submit
up to three works completed after 1 January 2002.
Only URLs may be submitted to the competition,
the finalists will be invited to send their works also
as digital files for an eventual offline display.
Please use this form for submitting:
1. firstname/name of artist, email, URL
2. a brief bio/CV (not more than 300 words)
3. title and URL of the max 3 projects/works,
4. a short work description for each work (not more than 300 words),
5. a screen shot for each submitted work (max 800x600 pixels, .jpg)
Please send the completely filled out form to
perspectives03@javamuseum.org
or go to JavaMuseum site www.javamuseum.org
extended Deadline 1 September 2003
*****************************
JavaMuseum -
Forum for Internet Technologies in Contemporary Art
(Java=Joint Advanced Virtual Affairs)
www.javamuseum.org
and represents a corporate member of
[NewMediaArtProjectNetwork] :||cologne
>>>>>>>>>>>>>>>>>>>>>>>>>>>>
the experimental platform for net based art
<<<<<<<<<<<<<<<<<<<<<<<<<<<<
------------------------------
Date: Sat, 16 Aug 2003 09:46:32 +1000
From: "geert lovink" <geert@xs4all.nl>
Subject: CfP: Information, Communication and Society- Special Issue on e-Health
Information, Communication and Society- Special Issue on e-Health
Call for Papers
The area of e-Health is now huge and covers a wide range of socio-technical
innovations in health service delivery and organisation. This Special Issue
will explore just one key area of e-Health- the use of information and
communication technologies (ICTs) in the communication of health information
and advice - both to patients/public and between members of the public.
Health policy documents in many countries suggest that the greater
availability of health information via the Internet will necessarily lead to
the emergence of more informed patients who are better able to assess the
risks and benefits of different treatments for themselves. The now widely
used notion of 'informed choice' is indicative of the greater agency and
sense of empowerment said to be experienced by such patients. Such thinking
exists within sociology, too, where, following Giddens' notion of the
'reflexive consumer', there is some support for the idea that the overall
expansion in medical knowledge via new media technologies such as the
Internet will empower patients.
This Special Issue of iCS seeks to explore the assumptions embedded in this
'informed patient' discourse through empirically-based papers which explore
the extent and nature of Internet use in a range of settings and its
relationship to patient empowerment and more equitable practitioner-patient
relationships.
Topic areas we hope to cover include:
· Creation and use of health information websites by both health care
professionals and the public
· Use of the Internet in consultations between practitioners and
patients
· Online health chat and self-help groups
Key cross-cutting themes we hope to examine include:
· Access and equality issues
· Information quality
· Practitioner-patient relations
· Information and empowerment
Deadline for submission of papers: Monday 17th November 2003.
Co-editors: Flis Henwood, Brighton University, UK and Ellen Balka, SFU,
Canada.
Please send all submissions to:
Dr Flis Henwood
Social Informatics Research Unit
School of Computing, Mathematical and Information Sciences
University of Brighton, Watts Building, Lewes Road
Brighton BN2 4GJ
f.henwood@bton.ac.uk
tel +44 (0)1273 643341
Research Fellow & iCS Reviews Editor
CIRA
University of Teesside
Middlesbrough TS1 3BA
www.cira.org.uk
------------------------------
Date: Mon, 18 Aug 2003 22:48:56 +0200
From: Sabine Oelze <Sabine.Oelze@onlinehome.de>
Subject: VERT-Konzert im schnittraum
SCHNITTRAUM
An der Linde 27 50668 Köln www.schnittraum.de
info@schnittraum.de
______________________________________________________________________________
vert: everything I know
23/8/2003 20:00
Sometime around 1975, Buckminster Fuller made a claim that he could
explain everything he
knew in 45-50 hours. He then went ahead and did it, actually requiring
only 42 hours, in a
series of lectures spread over 2 weeks.
As a homage, and as a kind of intermediate retrospective, I will play
everything I know,
ie. every piece of my own music that I am capable of playing (some files
and scores are
alas gone forever, as are some abilities), plus embellishments and
assorted distorted
appendices.
Of course, I don't expect anyone to actually sit and listen to all of
this, good God no. But I
hope that it will provide a suitable soundtrack to a summer evening
opposite the music school.
And it's free. So come one, come all.
Adam Butler
isness.org/vert <http://www.isness.org/vert>
bfi.org <http://www.bfi.org/everything_i_know.htm>
Mit freundlicher Unterstützung:
Kulturamt der Stadt Köln
Kunst- und Kulturstiftung der Stadtsparkasse Düsseldorf
Kontakt:
Lutz Becker
Sabine Oelze
Tel. + 49 +221 -130 83 20
Fax. + 49 +221 - 730 601
Mobil: +179/2073986
info@schnittraum.de
------------------------------
Date: Wed, 6 Aug 2003 21:22:12 -0400 (EDT)
From: Alan Sondheim <sondheim@panix.com>
Subject: AYA KARPINSKA and TIM PETERSON at the FLYING SAUCER 8/12
The FLYING SAUCER CAFE reading/media series is starting again!
TUESDAY, AUGUST 12, 7:00, At the FLYING SAUCER CAFE in BROOKLYN -
AYA KARPINSKA and TIM PETERSON
(See below for details)
***
AYA KARPINSKA
Aya Karpinska's research and creative work focus on the impact of
technology on artistic practice, in particular computer-mediated music
and literature. Her diverse output includes computer music, fiction,
poetry, web and graphic design, and game design. She recently performed
at Tonic in New York City with her electronic music instrument, container
for sound.
Ms. Karpinska received her Master's degree from the Interactive
Telecommunications Program at New York University.
http://www.technekai.com/aya/
notes for container for sound
A box containing sounds waiting to be released. The performer unleashes
the composition by opening doors, flapping them like wings to manipulate
sound samples. This electronic instrument was built to explore new
interfaces for musical expression. Although it was designed to be simple
to play, the performer's physical gestures translate into a wide musical
palette.
More information on the development of this instrument can be found at:
http://www.technekai.com/aya/nime/
TIM PETERSON
Tim Peterson currently lives in Somerville, Massachusetts. He attended
Wesleyan University where he majored in art history and then went on to
get his MFA at The University of Arizona. He currently works at M.I.T.
Press. This is Tim's first poetry reading in New York, and to mark this
event Portable Press at Yo-Yo Labs published his debut chapbook titled
CUMULUS.
The Flying Saucer Cafe series pares up new media artists with poets who
instead of giving a reading present a talk relating to their poetry and
ideas.
Tim's talk is titled "Spontaneous Generation." It focuses on writing a
gender by writing a world, and it also deals with issues of private
language, the dialogic, and spatial metonymy: issues concerning Peterson's
identity and his writing process. He says of this, "the two poles of
understanding are on the one hand the urge "to be some body," an ideal
self enforced by society, and on the other hand the limiting specificity
of the question: whose body? in what situation?"
***
THE FLYING SAUCER READING/MEDIA SERIES
We will be having readings the first Tuesday of each month (August an
exception). Please come and support us!
Contact Brenda Iijima or Alan Sondheim for further information.
Brenda Iijima <yoyolabs@hotmail.com>
Alan Sondheim (sondheim@panix.com)
The Flying Saucer is located at 494 Atlantic Ave. between Nevins and 3rd
Avenues, in Brooklyn. You can subways to the Pacific or Atlantic stops,
including the 2, 3, 4, 5, W, N, R, Q, and anything else that runs there.
Telephone at the Flying Saucer Cafe is 718-522-1383.
___
------------------------------
Date: Thu, 7 Aug 2003 17:15:39 +0200
From: "Monika Fleischmann" <digital-sparks@netzspannung.org>
Subject: Hochschulwettbewerb "digital sparks" 2003 ist entschieden
Hochschulwettbewerb "digital sparks" 2003 ist entschieden
"digital sparks" - Award 2003: drei innovative Medienprojekte an
deutschen Hochschulen werden ausgezeichnet.
Sehr geehrte Damen und Herren,
zum dritten Mal prämiert das MARS-Exploratory Media Lab des Fraunhofer
Instituts für Medienkommunikation hervorragende studentische Arbeiten
aus den Bereichen Medienkunst, Mediengestaltung, Medieninformatik und
erstmals auch der Medialen Inszenierung und Vermittlung.
Am 21. Juli tagte die sechsköpfige, renommiert besetzte Jury aus Kultur
und Wirtschaft im Schloss Birlinghoven in Sankt Augustin, um die
Gewinner des diesjährigen »digital sparks« Wettbewerbs zu ermitteln.
Vorab hatte eine Expertenrunde 46 der 135 online eingereichten
Wettbewerbsbeiträge aus den Bereichen Medienkunst, Mediengestaltung und
Informatik sowie Mediale Inszenierung und Vermittlung vornominiert. Nach
einer zehnstündiger Sitzung und engagiert geführten Diskussionen,
standen die Preisträger fest.
Die Gewinner des diesjährigen »digital sparks« Award sind:
- ----------------------------------------------
„Machines will eat itself“ – ein Internetprojekt von Franz Alken, HGB,
Leipzig
www.superbot.tk
- ----------------------------------------------
superbot.tk reagiert auf die massive Jagd auf Nutzerdaten (Spionage),
wie sie von kommerziell orientierten Institutionen im Internet betrieben
wird. Einer der Hauptansätze des Projektes ist es, das "datamining" an
sich ad absurdum zu führen, indem bots, ausgestattet mit virtuellen
Nutzerprofilen, die Firmen gezielt mit ihren Daten versorgen. So wird
der Wert der Daten gemindert, indem die Datenbanken der Konzerne
systematisch mit nicht existenten Kunden gefüllt werden. bots können auf
der Website des Projektes gebaut oder gezielt zu URLS geschickt werden.
den bots kann beim Surfen und Ausfüllen von Formularen "live" über die
Schulter geschaut werden.
- ----------------------------------------------
„Loser Raum“ - eine interaktive Rauminstallation von Anja Kempe, KHM,
Köln
- ----------------------------------------------
'Loser Raum' verbindet den realen mit dem digitalen Raum in einer
interaktiven Installation. Im Zentrum des Raumes liegt eine Bodenplatte.
An den Ecken unter der Bodenplatte sind Waagen angebracht, die die
Gewichtsverteilung auf der Bodenplatte messen und den Schwerpunkt
feststellen können, wenn mehrere Personen diese betreten. Auf den Wänden
rings um die Plattform sind Bilder der Wände des realen Raumes, in dem
man sich gerade befindet, projiziert. Betritt man die Bodenplatte,
geraten die Bilder der Projektion ins Wanken, abhängig von der Masse und
dem Schwerpunkt.
- ---------------------------------------------
„how-to-bow.com“ – ein interaktiver Internetguide für ein besseres
Verständnis japanischer Kultur und Lebensart von Nora Krug, UDK, Berlin
http://www.how-to-bow.com
- ---------------------------------------------
how-to-bow.com ist ein animierter Internetguide zum besseren Verständnis
japanischer Kultur und Lebensart. Animierte Figuren erläutern
Geschäftsmännern und Touristen aus dem Westen exemplarisch die
japanische Verhaltensetikette. Die drei Kapitel 'make business', visit
home' und 'have a drink' helfen, die gewöhnlichen Fettnäpfchen zu
vermeiden und bringen dem Besucher unter anderem bei, wie man sich
verbeugt, wie man seine Visitenkarte überreicht, wie man eine japanische
Toilette benutzt oder wie man Karaoke singt.
Die Preisträger erhalten je ein Produktionsstipendium in Höhe von
2.500,- Euro. Die Preisverleihung des Wettbewerbs »digital sparks« 2003
findet während des „Ars Electronica Festivals“ in Linz, Österreich, am
10. September 2003 um 19 Uhr im Sky-Cafe des Ars Electronica Centers
statt. Dort präsentieren die Gewinner Ihre Arbeiten dem interessierten
Fachpublikum.
Weitere Informationen zum Wettbewerb »digital sparks« 2003 erhalten Sie
unter:
http://netzspannung.org/digital-sparks/03/
Zur Zeit bereiten wir die Online-Ausstellung der eingereichten Projekte
auf der Internetplattform netzspannung.org vor. Für Informationen zu den
einzelnen Arbeiten wenden Sie sich bitte an uns.
Mit freundlichen Grüßen
Monika Fleischmann mit dem »digital sparks« - Team
MARS Exploratory Media Lab // netzspannung.org
MARS - Media Arts & Research Studies, Fraunhofer Institut für
Medienkommunikation,
email: digital-sparks@netzspannung.org
------------------------------
Date: Thu, 24 Jul 2003 17:30:11 -0400
From: "Steve Armstrong" <Wegway@sympatico.ca>
Subject: Wegway Juried Show at SPIN Gallery
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The Wegway Second Annual International Juried Exhibition will take place at SPIN Gallery, 158 Bathurst Street, Toronto from August 2 to 10 with an opening reception from 2 to 4 pm on Saturday August 2. The jurors worked very hard and the choices have been made.
The 32 artists are:
Beth McCubbin, Peterborough, ON
Brian Joseph Davis, Toronto, ON
Chris MacDonald, Winnipeg, MB
David Lester, Vancouver, BC
Ehryn Torrell, Toronto, ON
Elizabeth Mackie, Frenchtown, NJ
Frances Ward, Hamilton, ON
Gabrielle de Montmollin, Toronto, ON
Isabel M. Martinez, Guelph, ON
Istvan Kantor, Toronto, ON
Jeremi Bialowas, Chicago, IL
Jess Dobkin, Toronto, ON
Judith Donoahue, Brechin, ON
Kim Simonsson, Toronto, ON and Vadelmapolku, Finland
Liz-N-Val, New York, NY
Mark Laliberte, Windsor, ON
Matt Siber, Chicago, IL
Michiko Kameda, New York, NY
Nicole Liao, Toronto, ON
Oscar Camilo Delas Flores, Toronto, ON
Philip Kitt, Montreal, QC
Randall Stoltzfus, Brooklyn, NY
Raymond St. Arnaud, Victoria, BC
René Price, Cornwall, ON
Richard Kirkley, Hillier, ON
Rick Vincil, Toronto, ON
Ri Tian Lee, Toronto, ON
Robert Gill, Toronto, ON
Robin Hesse, Toronto, ON
Ross Racine, Montreal, QC
Susan Bozic, Vancouver, BC
Teruhisa-Tahara, Yokohama, Japan
Thank you to everyone involved. The jury reviewed a lot of good work – a lot more good work than we could ever hope to show. I hope to meet you at the opening, but if you can't make it to the show, all the work will be published in the Fall issue of Wegway.
Steve Armstrong, Publisher, Wegway www.wegway.com
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