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Table of Contents:
"re:location" exhibition - please forward
Liz Mac Dougall <liz@IncompleteDislocations.net>
Slowtime?...................Call for proposals
"Cinematheque" <agricola-w@netcologne.de>
Ars Electronica 2003 - 4th Announcement: Exhibitions
Ars Electronica Center <announce@aec.at>
VideoLisboa -call for entries
Felix Stalder <felix@openflows.org>
MTAA Postcard Exhibition @ IALA Opening
"Patrick Lichty" <voyd@voyd.com>
ATC @ UCB: F03-S04 Schedule
Ken Goldberg <goldberg@ieor.berkeley.edu>
The Upgrade 2.0//Vancouver
"Kate Armstrong" <kate@katearmstrong.com>
"digital sparks" Award 2003
"Katja Heckes" <katja.heckes@imk.fraunhofer.de>
electric@telus.net
Call for Entries: TARGET BLANK: 17. STUTTGARTER FILMWINTER - FESTIVAL FOR EXPAND
Benjamin Fischer <benjamin_lists@typedown.com>
Pixxelpoint Newsletter
Blaz Erzetic <blaz@erzetich.com>
M&A August Evenings-Evolving Materialism (LA)
"geert lovink" <geert@xs4all.nl>
=?iso-8859-1?Q?=B5=5FZEROGLAB_NANOFESTIVAL=5F=B5_screening_at_g-niale_fes?= tiv
=?iso-8859-1?Q?K=E1roly_T=F3th?= <are@xs4all.nl>
Amsterdam Workshop: The News about Networks
"geert lovink" <geert@xs4all.nl>
------------------------------
Date: Wed, 13 Aug 2003 03:27:42 -0300
From: Liz Mac Dougall <liz@IncompleteDislocations.net>
Subject: "re:location" exhibition - please forward
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incomplete dislocations [interactive media art] collective
Liz Mac Dougall, Coordinator, 6161 Allan Street, Halifax, NS B3L 1G7
902.444-6869 liz@incompletedislocations.net
INVITATION to "re:location" EXHIBITION
The Incomplete Dislocations Collective is pleased to announce the
opening of "re:location", an exhibition of 10 interactive digital
works by NS artists. On Tuesday, August 19th at 7:30 pm at our
temporary store-front gallery, 2203 Gottingen Street (at Cunard).
Curated by Liz Mac Dougall of the Incomplete Dislocations (ID)
Collective, this exhibit is the result of a year long project where
artists working in more traditional media were invited to make
digital art reflecting their existing artistic interests.
Participating artists were given technical support, workshops in
digital media, and mentorship throughout the six months of
production. For the local new media arts scene the resulting show
breaks new ground in scale, in the uses of interactive technologies,
and in the diversity of presenting artists.
To title re:location refers to the dislocation inherent in digital
media. To live in a technologically mediated culture is to live
dislocation as a quality of daily life. Communications, from mass
media to more intimate exchanges are increasingly reliant on new
technologies and are, therefore, disembodied mediations. The works
can be looked at from the perspective of 'location', and our
investment in identifying our conceptual location in a dislocated
hyper-mediated environment.
The work of 'bluegirl' a virtual persona exemplifies this
technological dislocation as the bluegirl.biz site is the only place
she lives. Her site employs interactive freeware to an extreme degree
in an attempt to make friends, find dates and communicate her
philosophy without ever leaving home. Shawn MacLeod and Stephan
Schulz's talking monitor piece asks that the viewer move monitors to
create conversation between them in a reversal of the
human/technological paradigm. Barbara Bickle's installation of a
painting and a fax machine demonstrates the alteration of the art
space via technology - a critical yet ironically accepting piece.
These dislocations are amidst others that we experience on many other
levels, cultural, racial, geographical etc.
- - - Spoken Word/Digital Video Performance at 8 pm on opening night - -
In response to often being asked "Where are you from?", Shauntay
Grant will perform a spoken word piece with projected image. At the
heart of this piece is a poem called "rivers", an original work and
historical depiction of the black community of Preston. While the
poem is performed live, a series of still images (depicting the
community of Preston ~ then & now) will be displayed on a large
screen. Blacks first settled in Preston in the late 18th century and
their re-location brought them to a barren land on foreign waters. In
truth, they were made to carve a future out of virtually nothing. And
now, over 200 years later, the community thrives as the largest
indigenous black population in Canada. Being from the community of
Preston, Shauntay will tell some small part of the struggles of her
predecessors.
In a non-narrative visual approach to issues of race and
representation, Barry Stevens uses computer morphing to challenge
age-old racial stereotypes. "As an Aboriginal person, I find that
most people that I meet have a very strong opinion of what a Native
person is, and what they should look and act like. What most people
hold as "true", is based on little more than what they have seen in
movies, heard as "urban legends", or outdated beliefs." To illustrate
that stereotypes have little bearing on the reality Barry has morphed
images from old photos of stereotype Native, White and Black people,
to modern, well-recognized people from these races.
In Monika Kulesza's on CD-ROM, The FAT body emerges from an
undulating combination of text and sound, conveying the hyper-FAT
rejected body. Under this umbrella of popular FAT morality the viewer
is confronted with two story lines featuring a GIRL and a WOMAN, both
struggling to evolve within a cycle of oppressive taunts. In the
realm of the personal and psychological, Melanie Lowe piece, also on
interactive CD-ROM, expresses a state of severe anxiety. Through an
integration of still images, animation and sound an overall
experience of chronic anxiety is expressed. The work conveys anxiety
as an overwhelming repetitive trance, broken with periods of frantic
anticipation. For Certain is based on memory and offers a dark look
into the manifestation of distorted and irrational perception.
Also dealing with memory and with history is an interactive digital
projection by Amish Morrell. This installation is a series of eight
black and white photographs projected on a wall of a darkened room
depicting the site of a now abandoned farm in Cape Breton. A computer
voice reads the last will and testament of John Peter Ross, who
settled this site with his family in the mid-1800's. Electronic
sensors detect people entering the space and the motion they create
will cause digital errors which break down the photos diminishing the
legibility. This installation considers how images, written texts,
and digital technologies texture our sense of time and history. The
images of grass and stones bring us into a sense of physical space
that for many is lost. In quite another manner Claire Hodge offers us
a landscape that cannot be entered either texturally or visually. The
digital qualities of the natural image are more present the harder we
look. Technology impedes our access to nature but is somehow
pleasurable in itself.
While the technologies the artists are using in the process of making
new media art invite an exploration of the properties of dislocation,
the themes of the pieces are unique to each artist's work. In
exploring dislocation, location, identity, and displacement, each
artist offers us a space to reflect on our own adaptation (or not) to
communicating through this technological framework and the issues
this raises. These art works are not about seamless story telling,
they are about the methods we use to piece the elements of our
complex reality together.
PANEL DISCUSSION
On Tuesday August 26th at 7:30 there will be a panel discussion
entitled "Emergent Topologies: Navigating Interactive Landscapes"
with Gair Dunlop of Scotland, and Doug Porter and Liz Mac Dougall
both members of the Incomplete Dislocations Collective. The panel
will be moderated by Andreas Guibert, also a member of the collective.
GUIDED TOURS
There will be guided tours of the exhibition daily at 2 pm.
The exhibition runs from August 19th - September 5th, 2003. The
store-front gallery is open Tuesday to Saturday from noon to 6 pm.
Admission is free.
Contact: Liz Mac Dougall, liz@incompletedislocations.net , 902.444-6869
_________
List of Participating artists:
Shauntay Grant, Halifax, North Preston
Melanie Lowe, Halifax, Fall River
Monika Kulesza, Halifax, Poland
Barry Stevens, Halifax, Mi'Kmaq First Nations
Amish Morrell, Toronto, Cape Breton
Claire Hodge, Halifax, Ottawa
Shawn McLeod, Halifax & Stephan Schulz, Berlin
bluegirl, Halifax, Newfoundland
Barbara Bickle, Halifax
Note: All productions were completed in 2003.
All works are interactive media of various kinds.
Artist biographies and project descriptions are available on the web
site at http://www.incompletedislocations.net/relocation on Thursday
August 14, 2003.
Liz Mac Dougall
Coordinator, Incomplete Dislocations Collective
http://www.IncompleteDislocations.net
Upcoming Show - - re:location:an exhibition of interactive art installations
! ! ! August 19 - Sept 5, 2003 ! ! !
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<fontfamily><param>Courier</param><bigger>incomplete dislocations
[interactive media art] collective
</bigger></fontfamily>Liz Mac Dougall, Coordinator, 6161 Allan Street,
Halifax, NS B3L 1G7 902.444-6869 liz@incompletedislocations.net
INVITATION to "re:location" EXHIBITION
The Incomplete Dislocations Collective is pleased to announce the
opening of "re:location", an exhibition of 10 interactive digital works
by NS artists. On Tuesday, August 19th at 7:30 pm at our temporary
store-front gallery, 2203 Gottingen Street (at Cunard).
Curated by Liz Mac Dougall of the Incomplete Dislocations (ID)
Collective, this exhibit is the result of a year long project where
artists working in more traditional media were invited to make digital
art reflecting their existing artistic interests. Participating artists
were given technical support, workshops in digital media, and
mentorship throughout the six months of production. For the local new
media arts scene the resulting show breaks new ground in scale, in the
uses of interactive technologies, and in the diversity of presenting
artists.
To title re:location refers to the dislocation inherent in digital
media. To live in a technologically mediated culture is to live
dislocation as a quality of daily life. Communications, from mass media
to more intimate exchanges are increasingly reliant on new technologies
and are, therefore, disembodied mediations. The works can be looked at
from the perspective of 'location', and our investment in identifying
our conceptual location in a dislocated hyper-mediated environment.
The work of 'bluegirl' a virtual persona exemplifies this technological
dislocation as the bluegirl.biz site is the only place she lives. Her
site employs interactive freeware to an extreme degree in an attempt to
make friends, find dates and communicate her philosophy without ever
leaving home. Shawn MacLeod and Stephan Schulz's talking monitor piece
asks that the viewer move monitors to create conversation between them
in a reversal of the human/technological paradigm. Barbara Bickle's
installation of a painting and a fax machine demonstrates the
alteration of the art space via technology - a critical yet ironically
accepting piece. These dislocations are amidst others that we
experience on many other levels, cultural, racial, geographical etc.
- - - Spoken Word/Digital Video Performance at 8 pm on opening night - -
In response to often being asked "Where are you from?", Shauntay Grant
will perform a spoken word piece with projected image. At the heart of
this piece is a poem called "rivers", an original work and historical
depiction of the black community of Preston. While the poem is
performed live, a series of still images (depicting the community of
Preston ~ then & now) will be displayed on a large screen. Blacks first
settled in Preston in the late 18th century and their re-location
brought them to a barren land on foreign waters. In truth, they were
made to carve a future out of virtually nothing. And now, over 200
years later, the community thrives as the largest indigenous black
population in Canada. Being from the community of Preston, Shauntay
will tell some small part of the struggles of her predecessors.
In a non-narrative visual approach to issues of race and
representation, Barry Stevens uses computer morphing to challenge
age-old racial stereotypes. "As an Aboriginal person, I find that most
people that I meet have a very strong opinion of what a Native person
is, and what they should look and act like. What most people hold as
"true", is based on little more than what they have seen in movies,
heard as "urban legends", or outdated beliefs." To illustrate that
stereotypes have little bearing on the reality Barry has morphed images
from old photos of stereotype Native, White and Black people, to
modern, well-recognized people from these races.
In Monika Kulesza's on CD-ROM, The FAT body emerges from an undulating
combination of text and sound, conveying the hyper-FAT rejected body.
Under this umbrella of popular FAT morality the viewer is confronted
with two story lines featuring a GIRL and a WOMAN, both struggling to
evolve within a cycle of oppressive taunts. In the realm of the
personal and psychological, Melanie Lowe piece, also on interactive
CD-ROM, expresses a state of severe anxiety. Through an integration of
still images, animation and sound an overall experience of chronic
anxiety is expressed. The work conveys anxiety as an overwhelming
repetitive trance, broken with periods of frantic anticipation. For
Certain is based on memory and offers a dark look into the
manifestation of distorted and irrational perception.
Also dealing with memory and with history is an interactive digital
projection by Amish Morrell. This installation is a series of eight
black and white photographs projected on a wall of a darkened room
depicting the site of a now abandoned farm in Cape Breton. A computer
voice reads the last will and testament of John Peter Ross, who settled
this site with his family in the mid-1800's. Electronic sensors detect
people entering the space and the motion they create will cause digital
errors which break down the photos diminishing the legibility. This
installation considers how images, written texts, and digital
technologies texture our sense of time and history. The images of grass
and stones bring us into a sense of physical space that for many is
lost. In quite another manner Claire Hodge offers us a landscape that
cannot be entered either texturally or visually. The digital qualities
of the natural image are more present the harder we look. Technology
impedes our access to nature but is somehow pleasurable in itself.
While the technologies the artists are using in the process of making
new media art invite an exploration of the properties of dislocation,
the themes of the pieces are unique to each artist's work. In exploring
dislocation, location, identity, and displacement, each artist offers
us a space to reflect on our own adaptation (or not) to communicating
through this technological framework and the issues this raises. These
art works are not about seamless story telling, they are about the
methods we use to piece the elements of our complex reality together.
PANEL DISCUSSION
On Tuesday August 26th at 7:30 there will be a panel discussion
entitled "Emergent Topologies: Navigating Interactive Landscapes" with
Gair Dunlop of Scotland, and Doug Porter and Liz Mac Dougall both
members of the Incomplete Dislocations Collective. The panel will be
moderated by Andreas Guibert, also a member of the collective.
GUIDED TOURS
There will be guided tours of the exhibition daily at 2 pm.
The exhibition runs from August 19th - September 5th, 2003. The
store-front gallery is open Tuesday to Saturday from noon to 6 pm.
Admission is free.
Contact: Liz Mac Dougall, liz@incompletedislocations.net ,
902.444-6869
_________
List of Participating artists:
Shauntay Grant, Halifax, North Preston
Melanie Lowe, Halifax, Fall River
Monika Kulesza, Halifax, Poland
Barry Stevens, Halifax, Mi'Kmaq First Nations
Amish Morrell, Toronto, Cape Breton
Claire Hodge, Halifax, Ottawa
Shawn McLeod, Halifax & Stephan Schulz, Berlin
bluegirl, Halifax, Newfoundland
Barbara Bickle, Halifax
Note: All productions were completed in 2003.
All works are interactive media of various kinds.
Artist biographies and project descriptions are available on the web
site at http://www.incompletedislocations.net/relocation on Thursday
August 14, 2003.
<center>
<fontfamily><param>Times</param><bigger>Liz Mac Dougall
</bigger></fontfamily><fontfamily><param>Verdana</param><smaller>Coordinator, Incomplete Dislocations Collective
http://www.IncompleteDislocations.net
Upcoming Show - - re:location:an exhibition of interactive art installations
! ! ! August 19 - Sept 5, 2003 ! ! !
</smaller></fontfamily></center><fontfamily><param>Verdana</param><smaller></smaller></fontfamily>
- --Boundary_(ID_Et1Zf4KDzgGC+deQ+ADxtw)--
------------------------------
Date: Fri, 15 Aug 2003 08:36:32 +0200
From: "Cinematheque" <agricola-w@netcologne.de>
Subject: Slowtime?...................Call for proposals
Call for proposals
Deadline 30 September 2003
***********************
Cinematheque at MediaCentre
of " Le Musee di-visioniste"
www.le-musee-divisioniste.org/mediacentre/
is preparing another show case of streaming media
for autumn 2003, entitled:
"Slowtime?........"
[Quicktime (.mov) as an artistic medium]
Quicktime does not only represent a cross-plattform file format for
converting and
distributing (analogue/digital) video into an Internet compatible streaming
format, but has a lot of different features and characteristics which
predestine Quicktime to be a serious artistic medium beyond that.
Cinematheque invites artists who use Quicktime for their artistic purposes -
in which way ever - to submit up to two (2) works in Quicktime (.mov)
format.
It is preferred that the submitted work has an URL of itsown,
in this case there is no limit of file size.
But it is also possible to send the work via email
as .mov file, however, then will be a file size limit of 5MB for each
submitted work.
Deadline 30 September 2003
Please use this form for submitting:
*******************
1.name of artist, email address, URL
2. short biography/CV (not more than 300 words)
3. works (maximum 2): title of work, URL of work, year of production
4. short description of each submitted art work
(not more than 300 words each)
5. one screenshot for each submitted work (max. 800x600 pixels, .jpg only)
********************
Send this form completely filled out together with the media files to:
slowtime@le-musee-divisioniste.org
Deadline 30 September 2003
The coming show of "Slowtime?......" will be launched in November 2003.
Currently, the streaming media show "Winter Streams" is still running.
*********************
Cinematheque at MediaCentre
organises online show cases of streaming media
in the framework of Le Musee di-visioniste
www.le-musee-divisioniste.org/mediacentre/
Le Musee di-visioniste
www.le-musee-divisioniste.org
is an online museum based on philosophical ideas,
and is corporate member of
NewMediaArtProjectNetwork -
the experimental plattform for net based art -
founded by Agricola de Cologne,
media artist and New Media curator
operating from Cologne/Germany.
------------------------------
Date: Thu, 14 Aug 2003 14:19:18 +0200
From: Ars Electronica Center <announce@aec.at>
Subject: Ars Electronica 2003 - 4th Announcement: Exhibitions
CODE - The Language of Our Time
Code=Law, Code=Art, Code=Life
Ars Electronica 2003
September 6-11
Linz, Austria
<http://www.aec.at/code
You are reading the fourth issue of the Ars Electronica 2003 newsletter, providing information about the program of exhibitions at this year's festival, CODE - The Language of Our Time.
Ars Electronica 2003 - 4th Announcement: Exhibitions
1. Update: CODE Exhibitions
2. Update: CAMPUS
3. Update: Cyberarts
4. Update: ARS ELECTRONICA Center
1. UPDATE: CODE EXHIBITIONS
Brucknerhaus: Sunday, September 7, 2003 to Thursday, September 11, 2003 from 10 AM to 7 PM
Ars Electronica Center: Sunday, September 7, 2003 to Thursday, September 11, 2003 from 10 AM to 9 PM
*The Universal Datawork*
*datawork:man*
Richard Kriesche has conceptualized his experimental set-up entitled *The Universal Datawork* as a redefinition of the grand idea of the Gesamtkunstwerk within the context of the informational reordering of reality. In contrast to the traditional understanding of the Gesamtkunstwerk which, as the expression of supreme artistic consummation, aimed to achieve the unification of the senses fused together with the arts, *The Universal Datawork* takes as its basis the findings of biogenetics and the segmentation of the natural sciences as well as the informational fractalization of mankind to reveal the shared bio-cosmic data structures and the universal form of all living creatures. Code, understood as the definitive key to the understanding of images, becomes the art of understanding reality.
*datawork:man* focuses on the foundations of human existence and art, and their metamorphoses under the novel circumstances of Information Society, a simultaneously philosophical and artistic encounter with the tradition and the future of the artistic process. The work of Casey Reas, on the other hand, is relatively lively and straightforward. The artist is a representative of the generation that grew up with software and for whom artistic work without this medium would have been inconceivable from the very outset.
*MicroImage*
*MicroImage* by Casey Reas does not analyze the cosmos surrounding us; rather, it creates its own microcosm, a software ecosystem in which thousands of software organisms interact. In response to environmental change, they gather or disperse depending on their programmed behavior. The organisms are displayed in the form of colored lines connecting their current positions with their previous ones, which is how their movements become visible in static, animated images. In the context of *MicroImage*, "genesis" means that none of the overall structures that result from the interaction of the mini-programs is predetermined or planned; instead, they emerge individually as the outcome of the movements that every organism goes through.
*CODeDOC II*
*CODeDOC II* is the sequel to an online exhibition that New York's Whitney Museum commissioned Christiane Paul to curate for *artport*, a website that functions as a portal for web-art. Participating artists / groups are Ed Burton, epidemiC, Graham Harwood, Jaromil, Annja Krautgasser & Rainer Mandl, Joan Leandre, Antoine Schmitt and John F. Simon Jr. *CODeDOCII* has been conceived as a process-oriented display focusing on how art is done and shown. The essential common element of the exhibited works is the free availability of the software that was programmed to create them.
Additional exhibits making up the CODE Exhibition are:
*Visually Deconstructing Code*
Ben Fry
*F00D*
John Maeda
*Epigenetic Painting*
Roman Verostko
*Bitforms Gallery*
Steve Sacks
*Music Creatures*
Marc Downie
*24!*
Michael Aschauer, Norbert Pfaffenbichler, Lotte Schreiber
*Audiopad*
James Patten / Ben Recht
*co.in.cide*
Heimo Ranzenbacher / Ars Electronica Futurelab
2. UPDATE: CAMPUS
Linz University of Art and Industrial Design: Saturday, September 6, 2003, 1:30 PM to 7 PM; Sunday, September 7, 2003 to Thursday, September 11, 2003, 10 AM to 7 PM.
2.1. Portal Project: Teleklettergarten
The reciprocal interaction that takes place between interface and human individual will be illustrated by means of a colossally outsized input device-a Kletterwand (a climbing wall like the ones alpinists use to train for a vertical ascent) hooked up to a monitor. Visitors go through a training program to acquire software development skills. These programmers then work in collaboration with climbers who, as their human input-aids, range up, down and across the spacious interface, climbing to different points on the keyboard that is their oversized programming environment. Conventional input devices-keyboards, for instance-are usually small and do not provide ample space for the human body. Through its very dimensions, the *Teleklettergarten* prompts reflection upon our everyday communication with machines.
2.2. Exhibition
The Department of Media and Art at Zurich's University of Art, Media and Design (HGKZ) shows the work of young artists doing the media art of tomorrow. The CAMPUS Exhibition is being held in cooperation with the Linz University of Art, which has made three floors of its facility available as the presentation venue.
2.3. Movieline
The HGKZ's Movieline also offers a cross-section of student productions, which make it clear that enhanced digital tools are having a growing impact on the creative work of young student filmmakers.
3. UPDATE: CYBERARTS
O.K Center for Contemporary Art: Saturday, September 6, 2003 to Thursday, September 11, 2003, 10 AM to Midnight
O.K Center for Contemporary Art: exhibition run extended from Friday, September 12, 2003 to Sunday, September 21, 2003; Tuesday-Thursday: 4 PM to 10 PM; Fridays 4 PM to Midnight; Saturdays/Sundays: 10 AM to 6 PM
Cyberarts 2003 presents the prizewinners in the PRIX ARS ELECTRONICA's Interactive Art category.
GOLDEN NICA / INTERACTIVE ART
*Can You See Me Now?*
Blast Theory / Mixed Media Lab (UK)
*Can you see me now?* by the British artists' collective Blast Theory in collaboration with the University of Nottingham's Mixed Reality Lab plays with the omnipresence of human beings on the basis of various portable electronic devices-cell phone, GPS, wireless LAN and digital camera-and with the superimposition of real and virtual spaces.
The field of play is a section of the city-both on the virtual level in the form of a city map, and as a real space on site. The opposing participants are online players as well as four runners in real space who have been equipped with mobile devices. The runners' task is to find the online players who remain in hiding in virtual space. When a runner tracks down a player, then it's "Game Over!" for him.
AWARD OF DISTINCTION / INTERACTIVE ART
*Tsukuba Series*
Maywa Denki (J)
Maywa Denki is an electronic Gesamtkunstwerk. Ingenious engineering, wit, inventiveness and musicality combined with an inimitable performance style characterize this project.
This studio's creations-all highly diverse, custom-developed musical instruments that are played by motors and electromagnets-demonstrate wittiness and know-how. With live performances, Maywa Denki has been filling concert halls in Japan and abroad.
AWARD OF DISTINCTION / INTERACTIVE ART
*nybble-engine-toolZ*
Margarete Jahrmann, Max Moswitzer (A)
*Nybble-Engine-Toolz* is a peer-to-peer server network. The installation transforms network processes into three-dimensional abstract films and projects them in a movie-theater setting onto a semicircular 180° screen. The motion pictures are accompanied by "surround sounds" generated in real time. Thus, the installation comes full circle: protagonists are seated as if in their own living rooms on a "surfer sofa" that forms the centerpiece of the installation. By means of a gamepad, the players gain access to an environment in which projectiles emanating from data objects, action-bots and other players are whizzing about. Every direct hit scored on an object triggers network processes, and each shot causes an antiwar e-mail to be dispatched.
HONORABLE MENTION
*Block Jam*
Henry Newton-Dunn, Hiroaki Nikano, James Gibson, Ryota Kuwakubo (J)
*Deep Walls*
Scott Snibbe (USA)
*Pockets Full of Memories*
George Legrady (USA)
*Streetscape*
Iori Nakai (J)
*Instant City*
Sybille Hauert, Daniel Reichmuth (CH)
*ACCESS*
Marie Sester (F / USA)
*Last*
Ross Cooper (UK), Jussi Aengeslevae (SF)
*Aegis Hyposurface*
dECOi (F)
*Earth core laboratory and elf-scan*
Agnes Meyer-Brandis (D)
*Cinéma Fabriqué*
Justin Manor (USA)
*Hyperscratch ver.12*
Haruo Ishii (J)
*Requiem*
Marcel.li di Antúnez Roca
4. UPDATE: ARS ELECTRONICA CENTER
ARS ELECTRONICA Center: Saturday, September 6, 2003 to Thursday, September 11, 2003, 10 AM to 9 PM
The Ars Electronica Center - Museum of the Future traditionally changes its exhibits annually in conjunction with the ARS ELECTRONICA FESTIVAL. This year as well, the Center will be featuring the latest developments in media art and new, leading edge installations.
*Humphrey II*
To experience up close and personal the dream of flight-for years, Humphrey I has been making it come true. Now, constantly improving computing capabilities for virtual reality systems in combination with enhanced force feedback systems have made major advances possible. *Humphrey II*, another R&D product of the ARS ELECTRONICA Futurelab, utilizes a state-of-the-art data helmet, special overalls resembling a pilot's jumpsuit and dynamic steering that reacts to intuitive movements to convey the ultimate illusion of flying including the feeling of weightlessness and the centrifugal force generated by flight. The user is immersed into virtual 3-D worlds that will be premiered at the opening of the 2003 ARS ELECTRONICA Festival.
*Networked Portrait*
"Aside from the landscape, the most common living room wall accessory is the portrait, and I am looking forward to a time when variable, customizable images will take the place of the typical pictures on paper and canvas one sees today," writes John Gerrard. His installation entitled "Networked Portrait" points the way toward this future. Two individuals can be seen on two monitors. The viewer is called upon to manipulate their expressions by means of a touch-screen. The images are then turned face-to-face, the portraits behold one another, and each reacts to look on the other's face with a new facial expression. Portrait photography as reconfiguration leading to a variable and adaptable genre emerges as one of the conceptual threads of this work.
*Tissue*
Casey Reas
*Protrude, Flow*
Sachiko Kodama, Minako Takeno
*Elevated Space*
Students from the University of Stuttgart and the Technical University of Vienna present works produced expressly for the unique setting and technical capabilities of the ARS ELECTRONICA Center's elevator.
The detailed Ars Electronica 2003 festival program is online now:
<http://www.aec.at/en/festival/index.asp
The website www.aec.at/code is providing regular, detailed updates on the festival theme, program details, news and background features as well as information about artists, speakers and performances until the festival in September.
Ars Electronica 2003
Organization:
Ars Electronica Center Linz and ORF - Austrian Broadcasting Corporation, Upper Austria Regional Studio
Co-organizers: Brucknerhaus Linz, O.K - Center for Contemporary Art
Concept & Artistic Direction: Gerfried Stocker, Christine Schoepf
Curatorial Staff: Christiane Paul, Casey Reas, Iris Mayr, Ingrid Fischer-Schreiber
Contact:
Ars Electronica Center
Hauptstrasse 2
4040 Linz, Austria
festival@aec.at
www.aec.at/code
Sponsors of Ars Electronica 2003:
SAP AG, Gericom, Telekom Austria, Bank Austria Creditanstalt, Quelle AG, Hewlett Packard, Microsoft, Oesterreichische Brauunion, voestalpine, FESTO, Sony DADC, Siemens AG, Austrian Airlines, Lufthansa, Spring, Opel Guenther
Sponsors of Prix Ars Electronica 2003:
The Prix Ars Electronica 2003 is sponsored by Telekom Austria and supported by Oesterreichische Postsparkasse, voestalpine, SONY DADC, Gericom, the City of Linz and the Province of Upper Austria.
Additional support provided by Austrian Airlines, Lufthansa, Casinos Austria, Poestlingberg Schloessl, Oesterreichischer Kulturservice
- --------------------------------------------------------------
Please do not reply to this message.
If you want to remove yourself from this mailing list,
you can send mail to <majordomo@aec.at>
with the following command in the body of your email message:
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- --------------------------------------------------------------
------------------------------
Date: Sun, 17 Aug 2003 11:27:05 +0200
From: Felix Stalder <felix@openflows.org>
Subject: VideoLisboa -call for entries
Subject: VideoLisboa -call for entries
Date: Sunday 17 August 2003 11:25
From: "herwig turk" <turk@monochrom.at>
To: nettime <nettime-l@bbs.thing.net>
DEADLINE 10th September
VideoLisboa is back!
Beyond the Soundbyte
>From 19-30 November 2003.
Features:
Video Competitions - recent productions from around the world
CD-Rom, Internet and DVD projects
Retrospectives
School presentations
Live Events
visit and download forms: http://www.videolisboa.com
VideoLisboa
Rua do Sol ao Rato 73 1=BA
1250-262 Lisboa Portugal
tel: +351 21 3878121/2
fax: +351 21 3876667
videolisboa@videolisboa.com
http://www.videolisboa.com
- -------------------------------------------------------
- --
- ----+-------+---------+---
http://felix.openflows.org
------------------------------
Date: Fri, 15 Aug 2003 21:50:18 -0500
From: "Patrick Lichty" <voyd@voyd.com>
Subject: MTAA Postcard Exhibition @ IALA Opening
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Press Release
MTAA Postcard Art Show Opening @ IALA Gallery, Baton Rouge.
August 15 - Oct.. 15, 2003
=20
Press Contact:
Contact Information:
Patrick Lichty
Director, IALA Gallery
355 Seyburn Drive
Baton Rouge, LA 70808
USA
viewings by appointment=20
voyd@voyd.com=20
IALA gallery is pleased to announce the opening of the MTAA postcard art =
show at Baton Rouge's IALA Gallery near the LSU campus. Until two weeks =
ago, only the 31 Grand installation was confirmed, but tonight both this =
installation and the Rome Art installations are up and functioning in =
the gallery, which is a first for the Baton Rouge area. Our turnout =
tonight for this opening was fabulous, and we thank everyone who came to =
make this opening a great success for the IALA Gallery.
About the show:=20
IALA gallery is proud to present conceptual artists Whid and River in =
presentating their postcard art exhibition. This is a variation of the =
installation recently seen in New York's New York's 31 Grand and Rome =
Art galleries, and we are pleased to have the opportunity to install =
this work. Visitors are invited to view and interact with the MTAA =
postcard art installation, which is unique in Baton Rouge's history. =
IALA gallery recently received this work, which will be given its =
site-specific installation in our space, and we are excited to be able =
to present this form of conceptual abstraction to the Baton Rouge and =
Southern Louisiana public. =20
=20
ABOUT MTAA
Whid and River (AKA MTAA) are leading edge conceptualists in the rising =
genre of technological/new media art. Their most contemporary and =
historically-informed works expand the critical issues relating to the =
nature of art in the technological age, and especially after the rise of =
the Internet. Their physical and virtual works are widely shown, and =
have been featured at numerous venues, including the Whitney Museum of =
American Art and the Walker Art Center.=20
=20
ABOUT IALA
IALA is a private not-for-profit gallery run by curator and owner =
Patrick Lichty, which promotes the works of experimental and new media =
artists through our ongoing exhibitions. Within our permanent =
collection are works from numerous contemporary and electronic artists, =
including Peggy Ahwesh, Amy Alexander, MTAA, Roman Verostko, Simon =
Biggs, Igor Vamos, Yael Kanarek, Barbara Lattanzi, Nancy Buchanan, =
Melanie Crean, BOME, Guillermo Gomez-Pena, Larry Miller, RTMark, Jack =
Ox, Noriko Meguro, The YesMen, Patrick Lichty, Paul Vanouse, and =
Diamanda Galas only to name a few. =20
=20
---------------------------------------
Date: Wed, 20 Aug 2003 15:28:22 -0700 (PDT)
From: Ken Goldberg <goldberg@ieor.berkeley.edu>
Subject: ATC @ UCB: F03-S04 Schedule
Amid blackouts, catastrophe markets, gubernatorial proliferation, and the
banality of email, we brazenly announce the 7th season of Berkeley's Art,
Technology, Culture Colloquium.
This year, Greg Niemeyer will become Associate Director of the ATC series
and Therese Tierney will continue as ATC Assistant. The Berkeley
Consortium for the Arts will continue to help coordinate.
Our thanks to this year's sponsors (listed below). Thanks also to Kevin
Clarke for poster design and to Gershoni Design for updated the the
website.
Details on Monday's talk by Mark Hansen to follow.
- -Ken
- -----------------------
The Art, Technology, and Culture Colloquium
Fall 2003 - Spring 2004, UC Berkeley
Monday Evenings, 7:30-9:00pm, 160 Kroeber Hall
All Lectures are free and open to the public.
2003:
25 Aug: Mark Hansen, UCLA Statistics
Listening Post: Rendering the Evolving Landscape of
Online Public Discourse (Or: a Statistician, an Artist
and 200,000 Complete Strangers)
15 Sep: Shawn Brixey (DXARTS, UW) and Richard Rinehart, BAM & Art
Navigating the Maze: Collaboration and the Chimera Obscura
10 Nov: Jim Campbell, Artist, San Francisco
Formula Art : Computers as One Dimensional Translators
24 Nov: Nina Katchadourian, Artist, New York
Every Single Thing Around You Could Be Trying to Tell
You Something: Talking Popcorn and other Mildly
Paranoid Ideas Sprung Largely from the Everyday
2004:
2 Feb: Marie Sester, Artist, New York
Paradise under Surveillance:
Transparency, Visibility, and Network Access
23 Feb: Peter Selz, Curator, emeritus UC Berkeley
Directions in Kinetic Sculpture:
From George Rickey to Jean Tinguely
15 Mar: Vivian Sobchack, UCLA Film Studies
A Leg to Stand On:
On Prosthetics, Metaphor, and Materiality
5 Apr: Christopher Alexander, Architect and Professor of
Architecture Emeritus, UC, Berkeley
The Nature of Order: Unification of Humanity
and Computers: a Realistic Path to the Future
Sponsored by UC Berkeley's Office of the Chancellor, New Media
Initiative, College of Engineering Interdisciplinary Studies Program,
Consortium for the Arts, BAM/PFA, Townsend Center for the Humanities,
and Intel Corporation.
Curated with ATC Advisory Board, ATC Director: Ken Goldberg
ATC Associate Director: Greg Niemeyer, ATC Assistant: Therese Tierney
For updated information, please see:
http://www.ieor.berkeley.edu/~goldberg/lecs/
Contact: goldberg@ieor.berkeley.edu, or phone: (510) 643-9565
------------------------------
Date: Tue, 19 Aug 2003 13:26:17 -0700
From: "Kate Armstrong" <kate@katearmstrong.com>
Subject: The Upgrade 2.0//Vancouver
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The Upgrade 2.0// Vancouver is an informal monthly meeting of new media =
artists and curators held at the Western Front at 303 East 8th Avenue in =
Vancouver, Canada. The Upgrade series is a forum for the presentation of =
new work and is meant to foster dialogue and create opportunities for =
collaboration within the media art community. At each meeting one or two =
artists present work in progress and participate in a discussion. =
Upgrade 2.0//Vancouver is affiliated with the Upgrade in New York : =
http://www.treasurecrumbs.com/theupgrade/=20
.........................................................................=
..................................
Join us September 3rd at 7:30pm for Matt Smith and Artist Run Limousine
.........................................................................=
...................................
Wednesday, September 3rd, 2003
7:30pm
Western Front
303 East 8th Avenue
Vancouver, Canada
Artist Run Limousine is a 24ft 1981 Cadillac Fleetwood that provides =
comfortable accomodation to 4 adults and a variety of software, media =
and motion based artworks. Matt Smith will appear at Upgrade to talk =
about the Artist Run Limousine and to present work-in-progress from =
AUDIOMOBILE, an urban interactive installation that inhabits the Artist =
Run Limousine. AUDIOMOBILE invites exploration of "sonic maps": =
individual audio elements are triggered by matching the output =
coordinates of the onboard GPS with the geographical location of the =
limousine as it glides through various urban scenarios. An array of =
audio samples, sound clips collaged with looping ambiences and complete =
narratives, generate an ever changing audio "city scape" projected into =
the limousine. The position of the ARL determines which sounds are being =
played and from which direction they originate. This allows sounds to be =
perceived as emanating from a certain area, becoming softer or louder =
depending on the distance of the limousine from the mapped areas. The =
city of Vancouver can be understood to be the platform for AUDIOMOBILE.=20
For more information, go to http://specialairplane.org or contact Kate =
Armstrong : kate@katearmstrong.com=20
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------------------------------
Date: Thu, 21 Aug 2003 11:00:17 +0200
From: "Katja Heckes" <katja.heckes@imk.fraunhofer.de>
Subject: "digital sparks" Award 2003
>digital sparks< Award 2003
Awarding the best of recent student media projects
For the third time the MARS-Exploratory Media Lab of the Fraunhofer
Institute for Media Communication awards outstanding student projects in
the fields of media art, media design, media IT and, for the first time,
media communication.
The winning projects of the >digital sparks< Award 2003:
- -----------------------------------------------------------
"Machines will eat itself" - An Internet project that takes
a subversive an ironic look at commercial data mining by
Franz Alken, HGB, Leipzig, Germany [http://www.superbot.tk]
- -----------------------------------------------------------
"Loser Raum" - An interactive space installation, that
plays with the convergence of and differences between real
and digital space by Anja Kempe, KHM, Cologne, Germany
- -----------------------------------------------------------
"how-to-bow.com" - an interactive Internet guide for a
better understanding of Japanese culture and lifestyle by
Nora Krug, UDK, Berlin, Germany [http://www.how-to-bow.com]
- -----------------------------------------------------------
The >digital sparks< 2003 Award ceremony will take place at
the "Ars Electronica Festival" in Linz, Austria, on
September 10th 2003 at 19pm in the 'Sky-Medialoft' of the
Ars Electronica Center. The winners will present their work
and are showcased during the evening's festivities
featuring prominent figures in media art and culture.
For further information about the >digital sparks< Award 2003
please contact: digital-sparks@netzspannung.org and visit our
Website: http://netzspannung.org/digital-sparks/03/en
_________________________________________
Fraunhofer Inst. Media Communication
MARS-Exploratory Media Lab
MARS - Media Arts & Research Studies
Schloss Birlinghoven, D-53754 Sankt Augustin
Phone: [int. +49.] 02241.14-3449
Fax: [int. +49.] 02241.144-3449
Email: redaktion@netzspannung.org
URL: http://www.imk.fraunhofer.de/mars
URL: http://netzspannung.org
_________________________________________
------------------------------
Date: Thu, 21 Aug 2003 14:01:45 -0700
From: electric@telus.net
Call for Entries: DIGITALIS 3: URBAN POETRY: A Group Exhibition of
Digital Print
The Digitalis Digital Art Society and the Interurban Gallery announce
DIGITALIS 3: URBAN POETRY: A Group Exhibition of Digital Print.
The exhibition will run from February 27 - April 3, 2004. The theme of
the exhibition is urban poetry.
Please submit a maximum of 5 low resolution JPEG or GIF files as well
as a short bio,
artist statement and proposal by email only to electric@telus.net by
November 1, 2003.
The Interurban Gallery is a new gallery located in Vancouver, British
Columbia, Canada,
(3 hours north of Seattle by car.) Proposed work should be in the form
of print media.
Innovative performance pieces based on the theme of urban poetry and
the digital, will
be considered for a performance evening.
Shipping and related fees to and from the gallery will be the
responsibility of the artist.
The gallery may pay return shipping costs subject to funding. For more
information please
contact James K-M, DIGITALIS curator, at electric@telus.net
DIGITALIS 1: A GROUP EXHIBITION OF DIGITAL PRINT took place in December
2001.
DIGITALIS 2: THE SPIRITUAL IN DIGITAL ART took place in February 2003.
For an overview of these exhibitions please see http://www.ddas.ca/ddas
------------------------------
Date: Fri, 22 Aug 2003 14:48:40 +0200
From: Benjamin Fischer <benjamin_lists@typedown.com>
Subject: Call for Entries: TARGET BLANK: 17. STUTTGARTER FILMWINTER - FESTIVAL FOR EXPANDED MEDIA
- ----------------------------------------------------------------------------
ENGLISH VERSION SEE BELOW!
- ----------------------------------------------------------------------------
- ----------------------------------------------------------------------------
TARGET BLANK: 17. STUTTGARTER FILMWINTER - FESTIVAL FOR EXPANDED MEDIA
- ----------------------------------------------------------------------------
Film Video Neue Medien Installation Performance Vortraege
Festival 15.-18. Januar 2004
Warm Up 9.-14. Januar 2004
http://www.filmwinter.de
Target Blank - der Stuttgarter Filmwinter geht in die 17. Runde - stets auf
der Suche nach Innovativem, Kritischem und Unbekanntem in der Medienkunst
und Filmkultur, nach den Zwischenzonen und Freiraeumen im Medienbetrieb.
Nach dem Rekord von ueber 1300 Einreichungen beim letzten Festival sind
alle Film-, Medien- und Kunstschaffende herzlich eingeladen, ihre Arbeiten
in den Bereichen Film, Video, CD-ROM/DVD-ROM, Internet, Installation und
Performance fuer den kommenden Filmwinter einzusenden.
Einreichung
Online-Projekte koennen direkt ueber die Festival Website
http://www.filmwinter.de eingereicht werden. Anmeldeformulare fuer Film,
Video, CD-ROM/DVD-ROM, Installation und Performance koennen im PDF-Format
heruntergeladen werden.
Deadline fuer Einreichungen: 15. September 2003
Preise
In den Sektionen Film/Video und Neue Medien werden Preise in Hoehe von
ueber 11.500 EUR vom Publikum und unterschiedlichen Jurykommissionen
vergeben.
Team-Work-Award
Die Hoppe-Ritter Kunststiftung stiftet EUR 2.000,- fuer eine Film- oder
Videoproduktion, die von einem Team realisiert wurde.
Norman 2004
Preis der Jury fuer Film und Video in Hoehe von EUR 1.500,-
Preis der Landeshauptstadt Stuttgart fuer Neue Medien
Zwei Preise in Hoehe von insg. EUR 4.000,- gehen an Arbeiten aus dem
Bereich CD-ROM/DVD-ROM oder an Projekte im Internet.
Milla & Partner Preis
Preis fuer Medien im Raum (Installationen) in Hoehe von EUR 2000,-
DASDING-Publikumspreis
Publikumspreise in den Bereichen Film/Video und Internet in Hoehe von
jeweils EUR 1.000,-
Sowie weitere Preise und die heissbegehrte Wand 5-Ehrenauszeichnung
Neben den beiden Wettbewerben fuer Film/Video und Neue Medien wird das
Festivalprogramm mit Spezialreihen, Panels, Praesentationen und
Musikevents ergaenzt.
Weitere Informationen:
Wand 5 e.V. im Filmhaus
Friedrichstr. 23 A
D - 70174 Stuttgart
Germany
Tel: +49-711-226 91 60
Fax: +49-711-226 91 61
Mail: wanda@wand5.de
http://www.filmwinter.de
http://www.wand5.de
- ----------------------------------------------------------------------------
TARGET BLANK: 17TH STUTTGART FILMWINTER - FESTIVAL FOR EXPANDED MEDIA
- ----------------------------------------------------------------------------
Film Video New Media Installation Performance Lectures
Festival, January 15-18, 2004
Warm Up, January 9-14, 2004
http://www.filmwinter.de
Target Blank - the 17th edition of the Stuttgart Filmwinter is looking for
innovative, critical, and unknown posititions in media art and film
culture. After the record of 1300 submissions at the last festival the
organizer Wand 5 cordially invites filmmakers, media producers, and
artists to submit their work. Productions in the field of film, video,
CD-ROM/DVD-ROM, installation, and performance are very welcome.
Submission
Internet-projects may be submitted online on the festival's website
http://www.filmwinter.de. Entry forms and regulations for submissions in
the field of film, video, CD-ROM/DVD-ROM, installation, and performance
can be downloaded as PDF-file.
Deadline for submission: September 15, 2003
Awards
In the sections film/video and new media prizes amounting more than 11.500
EUR will be awarded by the audience and various jury commissions.
Team-Work-Award
The Hoppe-Ritter Art Foundation endows an award of EUR 2.000 for a team
production in the field of film and video.
Award of the Jury
Award of the Jury for film and video of EUR 1.500
State Capital Stuttgart Awards for New Media
These awards of EUR 4.000 go to an independently produced work on
CD-ROM/DVD-ROM or to a project published on the internet/www.
Milla & Partner Award
Award for media in space (installations) of EUR 2.500
DASDING-Audience Award
Audience award for film/video and internet of respectively EUR 1.000
as well as further prizes and the popular honourable mention by Wand 5
Besides the competitions for film/video and new media a wide range of
special programmes, panels, presentations and music events will be
offered.
Further information:
Wand 5 e.V./Filmhaus
Friedrichstr. 23 A
D - 70174 Stuttgart
Germany
Tel: +49-711-226 91 60
Fax: +49-711-226 91 61
Mail: wanda@wand5.de
http://www.filmwinter.de
http://www.wand5.de
------------------------------
Date: Tue, 12 Aug 2003 19:03:36 +0200
From: Blaz Erzetic <blaz@erzetich.com>
Subject: Pixxelpoint Newsletter
Pixxelpoint 2003 - International Computer Art Festival
"
" -- Newsletter - August 12th 2003 --
Hi to everyone!
This is the last note before the deadline - September 15th 2003. You
have a bit more than one month left to send your artworks to the
festival. Please consider delaying times of the post and courier
deliveries.
All the necessary technical and practical information about preparing
and formatting your artworks is available on entry forms.
http://www.pixxelpoint.org/join.html
At the very same page there is also described the selection criteria.
IMPORTANT NOTE
This year the festival has a topic - 'The Pixel City'.
Only works that match the topic will be considered for selection which
will be made by this year's curator Jurij Krpan.
More on the topic:
http://www.pixxelpoint.org/pixelcity.html
As every year the joining is free. We are awaiting your artworks.
In case you have a question or comment, don't hesitate to send us an
e-mail at
info@pixxelpoint.org
Best regards,
Blaz Erzetic & Pixxelpoint staff
http://www.pixxelpoint.org
PS
If you have received this message by mistake or you don't want to
receive further informations about Pixxelpoint, please kindly reply to
this email with "Remove" in subject line.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Pixxelpoint 2003 - Mednarodni festival racunalniske umetnosti
" -- Novice - 12. avgust 2003 --
Pozdravljeni!
To je nase zadnje sporocilo pred oddajnim rokom - 15. septembra 2003. Se
dober mesec casa je ostalo, da posljete svoja digitalna dela. Prosimo,
upostevajte morebitne zamude poste oz. dostavnih sluzb.
Vse potrebne tehnicne in prakticne informacije za pripravo del se
nahajajo na vpisnih formah.
http://www.pixxelpoint.org/join-si.html
Kriteriji selekcije so navedeni na isti strani.
POMEMBNA OPOMBA
Letos je razpisana tema - 'The Pixel City'.
Samo dela, ki se ujemajo s to temo bodo obravnavana na selekciji, katero
bo opravil letosnji kurator Jurij Krpan.
Vec o temi:
http://www.pixxelpoint.org/pixelcity-si.html
Kot vsako leto, vpisnine ni. Pricakujemo vasa dela.
V primeru, da imate kaksno vprasanje ali pripombo, vas vabimo, da nam
le-to posljete na nas elektronski postni predal
info@pixxelpoint.org
Lep pozdrav,
Blaz Erzetic in Pixxelpoint osebje
http://www.pixxelpoint.org
PS
Ce ste prejeli to sporocilo po pomoti oz. ne zelite vec prejemati novic
o Pixxelpoint-u, prosimo, odpišite na prejeti email z "odstrani" v
naslovni vrstici.
------------------------------
Date: Thu, 14 Aug 2003 08:43:27 +1000
From: "geert lovink" <geert@xs4all.nl>
Subject: M&A August Evenings-Evolving Materialism (LA)
M&A August Evenings-Evolving Materialism
>From Virtual to Actual to Material
Materials & Applications
1619 Silver Lake Blvd.
Los Angeles, CA 90026
ph: 323.913.0915
www.emanate.org
Informal conversations by young leading designers and theorists in the field
of architecture.
The series explores the processes, techniques and effects by which vectors
of evolution project from the increasingly accessible domain of digital
technology in architecture towards next-generation material environments.
The event will be followed by drinks, bites, and music. Outdoor seating $5
suggested donation
Second in the evening series:
Friday August 15, 8PM
Hernan Diaz Alonso / Principal Xefirot Architecture
Benjamin Bratton / The Culture Industry
Software, simultaneously a technology and a language, continues to transform
both the means of architecture and the terrains on which it builds.
As a system of form, software has produced radical new visions of
volume, surface, and instance.
As an economic modeling technology, software calculates and predicts flows,
deriving the valuations that drive the production of space.
As an urban technology, software comprises the infrastructural environments
that govern collective circulation, consumption and communication.
As an epistemology, software has replaced theory as a metalanguage for
the interrogation of representation, culture and textuality.
Hernan Diaz-Alonso and Benjamin H. Bratton are faculty at SCI_Arc, the
Southern California Institute of Architecture, where they teach Theory and
Design.
Together they will discuss what is specific to software-based space, what is
incidental, and what is permanent.
Materials & Applications has 501c3 non-profit status thanks to our umbrella
organization, The Endowment for Experiential Architecture.
Please visit: http://emanate.org/support.html
------------------------------
Date: Wed, 13 Aug 2003 17:50:46 +0200 (CEST)
From: =?iso-8859-1?Q?K=E1roly_T=F3th?= <are@xs4all.nl>
Subject: =?iso-8859-1?Q?=B5=5FZEROGLAB_NANOFESTIVAL=5F=B5_screening_at_g-niale_fes?= tival
µ_ZEROGLAB NANOFESTIVAL UPDATE_µ > screening at g-niale festival
w-hile wrestling with the german keyboard.....
g,reetings from stralsund (the garage) at the baltic see
z.g.l.
,
14th of August,,
Sonderscreening II
Zeroglab Nanofes,tival - ultrashortfilms (Rotterdam/NL)
ZEROGLAB NANOFE,STIVAL ist ein Open Source - Festival für extrem Kurze (10
Sekunden!) Kur,zfilme, web-movies und software-art. Organisiert wird
dieses Festival von ,ZEROGLAB, einem unabhängigen art-lab in Rotterdam.
Das erste Nanofestival, präsentierte über 70 Arbeiten aus folgenden
Ländern: Argentinien,, Australien, Belgien, Kanada, Estland, Frankreich,
Ungarn, Iran, Israel, Li,tauen, Niederlande, Norwegen, Rumänien, Serbien,
Slowenien, Schweden,, Schweiz, USA und einigen nicht existenten oder
weiter spezifiz,ierten Ländern.
Alle ei,ngereichten Arbeiten und auch das Festival selbst sind komplett
open Source, und lizensiert unter der Creative Commons License:
http:,//creativecommons.org/licenses/by-nc/1.0
ZERO,GLAB wird betrieben von Károly Tóth und Veronika László. Das Lab ist
ein Pro,zess des Austausches mit individuellen Initiativen und
Institutionen auf de,r Grundlage von gegenseitiger Sympathie.
>, http://www.xs4all.nl/~are/nanofestival/index.html,
,
http://www.garage-g.de/
___________________,_______
zeroglab rotterda,,m
Kar,oly Toth----,,---
,,www.xs4all.nl/~are
,
,
,,
------------------------------
Date: Fri, 15 Aug 2003 07:34:13 +1000
From: "geert lovink" <geert@xs4all.nl>
Subject: Amsterdam Workshop: The News about Networks
From: "Richard Rogers" <rogers@hum.uva.nl>
**Workshop Announcement**
The News about Networks
Workshop by the Govcom.org Foundation, Amsterdam
Supported by the Ford Foundation's portfolio in media policy and
technology, part of the Media, Arts and Culture Unit, New York
Dates: 10-14 November 2003
Location: de Balie, Amsterdam
Deadline for applications: 14 September 2003
(newly extended)
Send application to: participant@issuenetwork.org
Workshop website: http://www.issuenetwork.org
Who should apply: Advocates & Academics
Participant acceptance notice: 19 September 2003
The Govcom.org Foundation, Amsterdam is organizing a workshop for
researchers, advocates, and grassroots organizers in the field of
media democracy, communications rights, and media policy. The
Govcom.org Foundation, Amsterdam, is dedicated to creating and
hosting political tools for the Web.
Over a five-day period, the workshop will provide an immersion
experience in Govcom.org's work in a media laboratory, where all
participants will be invited to use state of the art information
tools created by govcom.org and its collaborators. The participants
also are invited to present and share their own tools and knowledge.
Much of the workshop will revolve around using the Issue Crawler,
server-side software, developed with OneWorld International (London)
and Aguidel.com (Paris) that locates, analyses and visualises
networks on the Web. Some of the questions one may ask are:
- --What are my networks? What is my relative standing within these networks?
- --Which types of organizations and agendas dominate these networks?
- --Do the organizations in these networks recognise each other's work?
Do they (instead) rely on news coverage as a sign of recognition?
- --Which parts of the networks hold together if one takes out funders?
Do they hold together if one takes out other agenda-setters, be it
(big) media or intergovernmental organizations?
- --How relevant is media coverage to the overall effectiveness of my
organization? Do NGOs take up issues depending on the press coverage
of the same issues?
To answer these questions, we will undertake network location
exercises, and enquire into the extent to which the networks we find
are dominated by the agendas of (big) media, funders,
intergovernmental organizations and/or NGOs.
Workshop Substance.
One of the greater paradoxes, even tragedies, of NGOs these days is a
continued reliance on measuring the value of their activities by
press appearance. Despite the rise of independent and internet forms
of 'news', many NGOs still rely on (commercial) press coverage as
demonstrable evidence of organizational or individual worth. At the
same time, reliance on the press, and a media strategy, may raise
questions about integrity and authenticity. The workshop takes up
some of the larger dilemmas inhering in activist and NGO activity
today: the extent to which NGO work is driven by the coverage of its
work. Similarly, and related to the question of coverage is another
potential impact of the news on NGOs. Do NGOs take up issues
depending on the press coverage of the same issues?
In asking the extent to which NGOs are beholden to the press, both in
terms of self-representation and in terms of issue selection, we also
would like to know whether it matters. That is, is coverage of itself
or of its issues related to an NGO's standing in its network? The
networks may have other means of distributing standing, and other
ways of choosing issues. Indeed, we may find that NGO standing and
issue selection has little to do with the leanings of the press.
The Network News workshop is dedicated to understanding relationships
between network work, issue work, and news work. To this end, we will
grapple with some methods and techniques in tracking the resonance of
issues in the news, of network issues in the news, as well as the
resonance of news within issue networks. The lead question for the
workshop reads:
Is NGO standing - in its networks - significantly related to its
appearance in the news?
To answer this question, a number of exercises are to be undertaken.
1. Network location. In which network or networks does the NGO appear?
2. News-in-the-network. Is news (and, more importantly,
newsworthiness) a significant feature within the network?
3. Standing and coverage. Is an NGO's relative standing in the
network related to its practice and display of newsworthiness? Are
NGOs driven towards seeking coverage by the network?
4. News strategies. Is newsworthiness an organizational feature to be
recommended to actors in the network? Or is it futile?
The workshop will also feature the introduction of an automated news
monitoring system, using RSS (rich site summary) technology. Press
trackers, under development by anderemedia.nl and govcom.org at
issuenews.org, capture streams from leading news organizations. At
the workshop we would like to analyse these streams for NGO and NGO
issue mentionings (or anything else one may wish to track). In doing
so, we will be able to perform a second check about the extent to
which organizational and issue standing within the networks we find
may be related to press coverage.
Format of the workshop.
The format of the workshop intersperses the following:
1) Introduction and Software Training
2) Talks and Demonstrations by the Participants and Cartographers
3) Software Use and Feedback on Findings
4) Designer Map-making
5) Individual Analysis and Presentations of Results
6) Discussions of texts from the Reader
7) Public Presentations
A presentation - The News about Networks - will be made upon
conclusion of the workshop, on Friday evening, the 14th of November.
The presentation is held at de Balie and is open to the public.
A public debate will take place on Wednesday evening, the 12th of
November. Though as of yet unconfirmed, the public debate is expected
to feature a presentation on one of the more advanced forms of
information politics, 'Pre-mediation'. Applying the notion to the
Iraq War, we are interested in understanding the extent to which the
premediation of the Iraq War - summed up in the concept of PreWar -
produced a sense of war's inevitability.
The media laboratory has facility for laptops with cabled ethernet
connectivity. Wireless network to be confirmed.
Application Details
Please apply. To apply, please send a biographical sketch, a one-page
description of the questions and themes you would like to see
addressed at the workshop as well as the answers to the questionnaire
below. Please send these 3 items to participant@issuenetwork.org by
14 September. Space is limited.
The answers to the questionnaire allow for the advance mapping of the
issue areas, as well as advance issue news monitoring. The criteria
of acceptance to the workshop is the mutual fit between the
applicant's analytical desires and expectations, and the capacities
of the analysts on hand.
The workshop is free of charge. Participants should cover travel and
accommodation expenses. We can help you find accommodation. For
accommodation and other queries, write to Catherine Somze, Govcom.org
Workshop Producer, catherine@issuenetwork.org.
The Ford Foundation has made available five Workshop Fellowships for
US-based participants. Application information is available at
http://www.issuenetwork.org.
**Questionnaire**
All workshop participants are asked to submit answers to the
following questions.
The questionnaire is as follows:
1. Name your issue/research area(s), e.g., Climate Change, Media
Justice, Indigenous Rights, Ancient Forests, Spectrum Policy,
low-power FM.
2. Name the most significant organizations per issue area(s), along
with their Web addresses (URLs). Please separate URLs with a comma,
and use 'deep pages' wherever possible, i.e.,
http://www.greenpeace.org/international_en/campaigns/intro?campaign%5fid=393
8
(the Greenpeace Ancient Forests page), instead of www.greenpeace.org
3. List the most significant sub-issues, terms, slogans, individual
names per issue.
4. List the 3-5 most important conferences in each issue area, for
the past year, the current year and next year, along with the web
addresses (URLs).
5. List the 3-5 most significant web-accessible documents in the
issue area(s). Provide the exact web addresses for each document.
6. List (no more than 10) the organizations in that issue area(s)
that you have had the most direct email contact with in the past 6-12
months.
7. List the most significant news sources for your work and the web
locations for these sources.
*Please return the answers to the questionnaire to
participant@issuenetwork.org. We kindly request that you return the
answers in English as well as your own language.
Questionnaire en Français
**Préparatifs au groupe de travail**
Tous les participants au groupe de travail sont priés de répondre aux
questions suivantes.
Voir questionnaire ci-dessous:
1. Définissez votre question/domaine(s) de recherche.
2. Définissez les principaux acteurs/organisations dans le cadre de
votre recherche, par URLs
3. Établissez une liste des principales questions dérivées de votre
(vos) question(s) principale(s).
4. Établissez une liste des conférences importantes de cette année,
l'année passée et l'année à venir dans le(s) domaine(s) recherché(s),
par URLs
5. Établissez une liste des documents les plus importants dans votre
(vos) domaine(s), par URLs.
6. Établissez une liste des organisations dans le(s) domaine(s)
recherché(s) avec lesquelles vous avez eu dans les 6 à 12 mois passés
un contact direct par e-mail. Établissez, de façon séparée, celles
avec lesquelles vous avez eu un contact de type standard par e-mail,
c.a.d. reçu ou envoyé un courrier purement informatif.
7. Établissez une liste des sources d'information (presse inclue)
dans les sociétés dans lesquelles vous menez à bien votre travail de
recherche.
*Ayez l'amabilité de faire parvenir les réponses au questionnaire à
participant@issuenetwork.org. À votre convenance et/ou en accord avec
le contenu de certaines réponses, celles-ci peuvent être adressées
soit en Anglais, soit dans votre propre langue.
Cuestionario en Español
**Preparativos para el grupo de trabajo**
A todos los participantes al grupo de trabajo se les pedirá que
contesten a las preguntas siguientes.
Vea el cuestionario que sigue:
1. Nombre/Defina su pregunta/campo(s) de investigación.
2. Nombre las organizaciones más significantes en su campo de
investigación, por URLs.
3. Nombre las preguntas subsiguientes más significantes en relación
con su pregunta/campo(s) de investigación.
4. Establezca una lista de las conferencias más significantes en su
campo de investigaciòn que hayan tenido lugar este año, el año
precedente y el año pròximo, por URLs.
5. Establezca una lista de los documentos más significantes en su
campo de investigación, por URLs.
6. Establezca una lista de las organizaciones en su campo con las
cuales haya tenido un contacto directo por e-mail en los últimos 6 a
12 meses pasados. Establezca una lista, de manera separada, con las
cuales haya tenido un contacto por e-mail de tipo estándar, i.e.,
correo informativo, recibido o mandado.
7. Establezca una lista de las fuentes de información más
significantes (prensa incluída) en las sociedades en las cuales está
investigando.
*Por favor, mande las repuestas al cuestionario a
participant@issuenetwork.org. Le pedimos que mande las respuestas en
Inglés o, si es preciso, en su propio idioma.
- --
About Govcom.org
The Govcom.org Foundation, Amsterdam, is dedicated to creating and
hosting political tools for the Web, at http://www.govcom.org. Its
director is Richard Rogers (rogers@hum.uva.nl), also of the
University of Amsterdam. The workshop is co-organised by Noortje
Marres (marres@dds.nl), University of Amsterdam. Govcom.org workshop
producer is Catherine Somze (catherine@issuenetwork.org). The
designers are Marieke van Dijk and Auke Touwslager of anderemedia.nl.
Principal affiliates and analysts are Andrei Mogoutov (Ecole des
Mines/aguidel.com), Andres Zelman (Thinkamalinks), Greg Elmer
(Florida State) and Astrid Mager (University of Vienna).
The Workshop is part of the Social Life of Issues Series, number 8,
http://www.govcom.org/workshops.html. For viewing and navigating, the
maps from previous workshops may require an svg plug-in, available,
for example, at http://www.adobe.com/svg.
Govcom.org also has developed the Web Issue Index of Civil Society.
It is a downloadable quicklaunch application and interactive
screensaver that shows the rise and fall of attention to important
social issues by select civil society actors, previewed at
http://www.infoid.org.
------------------------------
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