July 10, 2007

San Francisco Sex Worker Film and Arts Festival


Screenings, Conversation and Party

The 5th Biennial San Francisco Sex Worker Film and Arts Festival :: July 14 - 22 :: The San Francisco Sex Worker Festival was established in 1999 to provide a forum for the accomplishments of sex worker artists and filmmakers and to show work about sex workers and sex industries from around the world. The Sex Worker Festival provides an opportunity to recognize and honor prostitutes, dancers, porn performers and other sex workers who have historically been a dynamic part of arts communities. The Festival includes performance events, parties, art exhibitions, film screenings and educational discussions and seminars. Visit our website for full schedule and event details, and come join in on the fun!!

1. Asian Sex Worker Film Screening at Ar+Space :: July 20, 7-9 PM :: Location ar+space gallery (1286 Folsom Street (nr 9th) :: Sliding Scale $5-$20 (no one turned away for lack of funds).

We, Asian Sex Workers is screening videos by sex workers from San Francisco and from around the globe. We are proud to have the opportunity to present the premiere screening of "Memory of Mrs. Guan," the story of the leader of the sex worker movement, Guan Xiou Qin (of COSWAS in Taiwan) who committed suicide recently as a culmination to her political struggles. These videos range widely from this very political memoir to the experimental work "Whore's Diary : Pornography made by me & my client by BuBu de la Madeleine. Miss Erochica's Burlesque Diary explores a background of images through which burlesque artist, Erochica Bamboo, constructs her persona. This collection provides a unique view of Asian women in the sex industry, usually portrayed as victims and slaves, here portrayed as strong, often political, proud and sexy individuals with a range of goals and struggles.

2. We, Asian Sex Worker Exhibit: Migrant Sex Work Forum and Discussion in conjunction with 5th Sex Worker Film and Arts Festival :: July 18, 7PM :: ar+space gallery (1286 Folsom Street (nr 9th) :: Prices: Sliding Scale $5-? (no one turned away for lack of funds).

7pm: Migrant Sex Work Panel and discussion - Panelists include local experts in issues of sex worker and migration. Topics include the underside of 'rescues,' adverse impact of US trafficking policies, migrant rights and more.

8pm: Urban Justice Center presents "Taking the Pledge" USAID money, anti-prostitution pledges and migrant sex work presentation/discussion. Taking the Pledge by Melissa Ditmore & Erin Siegel (Network of Sex Worker Projects) - 13 min - Powerful activist detailing with interviews spanning the globe, addressing the impacts of new US funding restrictions under the Bush administration.

9pm Melissa Gira: Report Back from Cambodia - Representing Desiree Alliance, the Ms. Gira recently attended a consultation in Cambodia held in conjunction with The Sexual Health and Rights Project of Soros' Open Society Institute to organize cross cultural efforts to support sex worker rights.

3. Roaming Hookerfest: Outdoor Video Projection Roaming the Streets of San Francisco in conjunction with the San Francisco Sex Worker Film and Arts Festival :: July 20, 9-11PM :: 1st screening at corner of 16th and Folsom (route to be posted at website) :: Free.

The Roaming Hookerfest is a traveling outdoor caravan of sex workers bringing the films to the street. This first-ever Roaming Hookerfest was developed by Festival co-director, Erica Berman (AKA Fabulous). Fabulous wanted the festival to reach out past the usual crowds so she created this guerilla art event. On Friday night of the festival we will be driving a movie van with films and safer sex materials to alleyways throughout San Francisco. We will be showing a half hour of excerpts and short films highlighting the festival. We will post the locations and the list of movies at our site.

Meet us at 16th and Folsom at 9 PM for an elegant soiree on the streets. Dress up or dress down! Join our caravan afterwards for a party at Lipo Lounge, Red Lit Dance Nite with DJ Bent in Chinatown. Drink, eat Chinese food and discuss 'sex worker sinema' with sex workers from around the country.

The movies we will screen focus on entertainment for sex workers on the street including The Aphrodite Project by Norene Leddy which presents magical hooker platforms, designed for the street hookers of the future, and Jyanta Meetei's Street Survivor a precious portrait of a Taiwanese street hooker, her time and the cop who arrested her.

4. Red Lite Dance Nite-Afterparty for the Roaming Hookerfest :: July 20, 2007; 11pm :: Venue: Lipo Lounge, 916 Grant (nr Washington) :: $5-20 sliding scale; free for ho's with no dough

An incredible nite of booty beats, reggaeton rythms, and more music than you can imagine at the Red Lite Dance Nite!!! An extremely rare West Coast appearance by the infamous DJ bent - spinning reggaeton, funk carioca, hip-hop, baltimore club, miami booty bass, reggae/dancehall, and a whole lot more.

This is the after party for the Roaming Hookerfest, so drink, dance, eat Chinese food nearby and discuss 'sex worker sinema' with sex workers from around the country. This party supports Sex Worker Arts & Film Festival and this fall's National Sex Worker Activist Trainings.

Media Contacts: 310-562-8201; 415-751-1659
Telephone number (public): 415-99-ASIA-9 (415-992-7429)

Posted by jo at 04:31 PM | Comments (0)

Volunteers Needed for Conflux Festival 2007


Glowlab seeks volunteers to work with the fourth annual Conflux Festival, taking place in Williamsburg, Brooklyn from September 13th-16th. We're looking for volunteers in a variety of areas: tech support, audio / video / photo documentation, general installation, sales, event staff. You'll have the opportunity to assist national and international artists, work with local venues and get hands-on production experience. Previous event production experience is preferred, but not required.

About Conflux: Conflux is the annual New York City festival where visual and sound artists, writers, urban adventurers and the public gather for four days to explore the physical and psychological landscape of the city.

Volunteer Requirements: You must: have a working mobile phone; be available for at least one full day of the festival; be able to attend a short volunteer meeting Monday August 20th and / or Monday September 10th from 7pm-8pm. For more information, contact Sarah Pace: pace[at]confluxfestival.org

Posted by jo at 03:21 PM | Comments (0)

[1001] 1001 nights cast news


Have your Say, Workshop and more


THE THREE-QUARTER MARK: Sometime between tonight's performance (#750) and tomorrow's I will pass the three-quarter mark of the project. Since the two-third mark back in April, I'm very honoured to have performed stories by these new contributors to the project: Jordan Peimer (LA), Peter S. Petralia (London), Catherine Lord (LA), Adrian Heathfield (London), Sara Jane Bailes (Bristol), Karen Christopher (Chicago), Rinne Groff (NYC), Rebecca Schneider (NYC), Tony White (London), Geoffrey Batchen (NYC), Trevor Smith (NYC), Kate McIntosh (Brussels), Michael Grosberg (NYC), Hannah Chiswell (UK), Angela Piccini (Bristol), Lina Saneh (Beirut), Thalia Field (Paris), Alisa Lebow (London), Jane Gleeson-White (Sydney), Robin Bale (London), Branislava Kuburovic (Prague), Lara Pawson (London), Matias Viegener (LA), Kathryn Ryan (Sydney), James Tierney (Portland), Linda Dement (Sydney), Agnes Kocsis (London) and Nicholas Royle (London).

YOUR SAY: There is a new feedback section on the site. It's called Your Say. If you want to make a comment about a story, a performance or the project in general, please Have Your Say. You can choose to have it published on the site or to keep it private. If you want to see the published comments, hit the What You Said button.

MOVING TIMEZONES: The project moves to London on Tuesday July 17. That night, performance # 757 will be webcast at 9.10pm. That is: 10.10pm in Paris, Madrid and Prague 11.10pm in Jerusalem, Beirut and Istanbul 4.10am, July 18 in Perth, Hong Kong and Manila 6.10am, July 18 in Sydney 7.10am, July 18 in Auckland 4.10pm in New York, Toronto and Bogota 1.10pm in Los Angeles

LONDON WORKSHOP: Ten writers from the UK will join Barbara Campbell in London on July 20, 21 and 22 to write a three part story for the project. The writing workshop is part of DIY 4. DIY 4 is a collaboration between the Live Art Development Agency, Artsadmin, and New Work Network, and is being developed with Nuffield Theatre/LANWest, New Work Yorkshire, Fierce Festival, Colchester Arts Centre, The Basement Arts Production South East, and Dance4. DIY 4 is part of Joining the Dots, a Live Art Development Agency initiative supported by the Esmée Fairbairn Foundation and the Calouste Gulbenkian Foundation.

Posted by jo at 02:41 PM | Comments (0)

July 09, 2007



James Dodd and Ubermorgan.com


JAMES DODD uses images and logos from popular, sub, and outlaw culture to construct his artwork. Rock'n'roll, commercially and individually applied street cultures, and their modes, are all constants in Dodd's practice. Political comments and seemingly inane social observations come together in densely presented groups of work that offer critical analyses of Australian culture. The work explores critical examinations and applications of design and subculture inherent in non-disciplined graffiti. Speakeasy is a a major installation that has painting, sculpture, video and aural elements. The installation references the American prohibition era practice of running illegal and secretive booze establishments as an analogy for the political concept of sedition that we currently experience as Australians. Speakeasy is presented in association with 2007 SALA Festival.

James Dodd is active as an arts practitioner, co-ordinator and teacher. He has spoken as a representative of street art culture at the National Gallery of Australia and in forums in Melbourne, Sydney and Brisbane. Dodd's work appears in the permanent collections of the National Gallery of Australia, the Australian National Maritime Museum, the Gold Coast City Art Gallery and many private collections. He is currently a full time Masters candidate at the University of South Australia. Dodd is repr esented by Ryan Renshaw Gallery, Brisbane. James Dodd on EAF website; also http://www.ryanrenshaw.com.au

UBERMORGEN.COM is an artist-duo created in Vienna, Austria, by Lizvlx and Hans Bernhard, a founder of etoy. Behind UBERMORGEN.COM we can find one of the most unmatchable identities - controversial and iconoclastic - of the contemporary European techno-fine-art avant-garde. Their open circuit of conceptual art, drawing, software art, pixel-painting, computer installations, net.art, sculpture and digital activism (media hacking) transforms their brand into a hybrid Gesamtkunstwerk.

UBERMORGEN.COM's work is unique not because of what they do but because of how, when, where and why they do it. The computer and the network are (ab)used to create art and combine its multiple forms. The permanent amalgamation of fact and fiction points toward an extremely expanded concept of one's working materials, that for UBERMORGEN.COM also include (international) rights, democracy and global communication (input-feedback loops). "Uberm orgen" is the German word both for "the day after tomorrow" and "super-tomorrow."

Lizvlx is a Vienna and St. Moritz based artist, designer and technologist, producing both artistic and commercial work for companies, collectors and institutions. Using technology and computers as a medium since 1994, she has exhibited her net.art works in venues like Ars Electronica (Austria), Konsthall Malmoe (Sweden), the NTT ICC Museum (Japan), ARCO (Spain) or the Lentos Kunstmuseum (Austria).

Hans Bernhard is a Vienna and St. Moritz based artist working in the fields of digital and fine art. Using technology, computers and the internet as a medium since 1994, he exhibited and performed in venues like the Museum of Contemporary Art Tokyo (Japan), Ars Electronica (Austria), Konsthall Malmoe (Sweden) and the SFMOMA (USA). Ubermorgen.com on EAF website

Ubermorgen.com is presented with the assistance of Pro Helvetica, Swiss Arts Council.

For further enquiries contact EAF Program Manager: Design & Publicity, Teri Hoskin at: info[at]eaf.asn.au or phone 08 82117505

The EAF is assisted b y the Australian Government through the Australia Council for the arts, its arts funding and advisory body, and by the South Australian Government through Arts SA. The EAF is also supported through the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

11-5 TUES-FRI; 2-5 SATURDAY | +61 8 8211 7505 |

Posted by jo at 07:22 PM | Comments (0)

Evidence of Movement


Documenting Performance-Based Art

Evidence of Movement :: July 10-October 7, 2007 :: The Getty Center :: Getty Research Institute Exhibition Gallery.

In the collecting and display of art, performance has posed strong challenges to established notions of both the art collection and the archive. Unlike painting or sculpture, performance-based art exists without an original, tangible, and self-contained object. Because of this, archival material such as documentary photography, film and video, and artists' notes and sketches are often studied, collected, and exhibited as works of art. Nearly every medium imaginable has been used by artists to document performance work, including photographs, videos, audio recordings, notes, drawings, paintings, scores, posters, prints, books, objects, and sculptural remnants.

Drawn primarily from the collections of the Research Library at the Getty Research Institute, this exhibition surveys the great variety of creative means by which artists have used durable and traditional media to document performance-based art. These attempts to transpose the dynamic and experiential qualities of performance into documentary and archival media have influenced the field of art as a whole, and have opened vital avenues of exploration. Artists featured in the exhibition include John Baldessari, Gunther Brus, Allan Kaprow, Mike Kelley, Suzanne Lacy, Paul McCarthy, Hermann Nitsch, Robert Rauschenberg, Carolee Schneemann, Tony Oursler, Yvonne Rainer.

Posted by jo at 02:35 PM | Comments (0)



The Blurring of Borders

ACTIVE AGENTS :: Maria Hahnenkamp, Zilla Leutenegger, Ulrike Lienbacher, Manuela Mark, Mara Mattuschka / Chris Haring / Gabriele Szekatsch, Eva Stern :: Opening: September 22, 2007, 10 a.m. :: From September 25 - November 24, 2007; Tue - Fri 2-6 p.m., Sat 10 a.m. - 2 p.m. :: Location: Kunstverein Medienturm, Josefigasse 1, 8020 Graz, Austria :: Coproduction: steirischer herbst & Kunstverein Medienturm.

The relation of nature and technology has obviously shifted within the last years. The body increasingly is pressurized by a technology which more and more lets the borders of the body blur. Technical objects and procedures define to an always stronger extent what we understand as our subjectivity. Which potential of acting must already be allowed technical objects? Which "images" of the subject can yet be detected?

ACTIVE AGENTS analyses the current techno culture by asking how the differentiation between the technical and the social has been blurred and in what way this suspension of an ontological border also has to be described as political project. In this respect, the exhibition handles also the preconditions, interfaces and potentials of acting in the frame of extended body dispositivs, thus also questions of models or even utopias of coexistence.

Interventions in the frame of ACTIVE AGENTS:

Will (I, II)
Ulrike Lienbacher
Period: 16.08. - 07.10. 2007, Mon - Sun 12 - 7 p.m.
Location: Koje Medienturm, QDK/MQ Vienna, Museumsplatz 1, 1070 Vienna, Austria

The Legal Errorist
Mara Mattuschka / Chris Haring
Period: 11.10. - 09.12. 2007, Mon - Sun 12 - 7 p.m.
Location: Koje Medienturm, QDK/MQ Vienna, Museumsplatz 1, 1070 Vienna, Austria

Image: Maria Hahnenkamp, "O.T." (from the series "Cut-Out"), 2007. C-print on Dibond, 72 x 92 cm. Courtesy: Galerie Krobath Wimmer, Vienna

Posted by jo at 11:21 AM | Comments (0)

Digital Art Weeks 2007: Place Relations


PLACE RELATIONS: A special exhibition has been installed at Der Kunstraum Walcheturm in Zurich, Switzerland for Digital Art Weeks 2007 :: Participating Artists: Eteam (DEU), John Craig Freeman (USA) and Will Pappenheimer (USA) :: July 10 - 14; open daily from 14:00 - 20:00 :: Exhibition Host: Patrick Huber, Kunstraum Walcheturm.

The import of location in place-based artworks represents a set of relations that become visible as they are affected or reconfigured. The artists in this exhibition explore the potential of public space, geographic territory, architectural location, social relations, online informational media, and virtual 3D worlds to form situational works. Their methods include participatory performance, field documentation, new media interactivity and mixed media installation. Results emerge as a hybrid reading of community venture, memory map, psychogeographic inquiry and information aesthetics. The works are situational in revealing the conditions or potential of place. They appear momentarily, as a shift in the relations of everything that blends into city life, distant landscape, or the event-stream of global digital space.

International Airport Montello by eteam: On top of chosen public or private terrain, we are visualizing a "possibility" ­ one, that is usually suggested or challenged by the borders and limits of the place and its environment itself. The ability of a possibility to exist within a specific place is of temporary emergence. It usually lasts as long as it takes to realize that the possibility is possible. In our work, this "realization" often happens in a very practical and participatory way. Everyone engaged in the piece has the opportunity to experience a certain probability within the piece's possibility. All 3 projects (1.1 Acre Flat Screen, The Paradox of the 10 Acres Square and International Airport Montello) are based on random pieces of land we bought on ebay.

Imaging Place by John Craig Freeman (aka JC Fremont): Imaging Place is a place-based, virtual reality art project that combines panoramic photography, digital video, and three-dimensional technologies to investigate and document situations where the forces of globalization are impacting the lives of individuals in local communities. The goal of the project is to develop the technologies, the methodology and the content for truly immersive and navigable narrative, from real places. The project has been under development since 1997 and includes work from around the world. The interface leads the user from global satellite images to virtual reality scenes on the ground. Users can then navigate an immersive virtual space.

Join JC Fremont at Emerson Island in Second Life for the opening reception on Tuesday July 10 from 14:00 - 16:00 CEST (5:00 - 7:00 AM PDT Linden Time). ">SLurl tag.

Public Mood Ring by Will Pappenheimer: Public Mood Ring is a combined internet and spatial installation displaying the emotional condition of public news stories as color hue. It is based on the wearable "mood ring" which chemically changes color according to body temperature. A series of animated web pages allow users to pick a news story, a cultural color model and to observe the process of the search engine. The artwork responds to participants news concerns and recalibrates the color of exhibition space with architectural LED lighting. The shared experience is the gift of the remote participant and an immersive color representation of current world events.

Participate in a live performance of the Public Mood Ring during the the opening reception of the exhibition on Tuesday July 10 from 14:00 - 16:00 CEST (8:00 - 10:00 AM EST) or for the duration of the exhibition.

Posted by jo at 10:40 AM | Comments (0)



StreamFest :: July 26-28, 2007; 8pm :: Quartiere Fieristico, Galatina (Le)

StreamFest is the first international new media festival in South-East Italy, an event whose aim is to present the creative applications of the most advanced technologies in the Salento, an Italian region selected as a special location for the European cultural summer. It will host a sample of interactive installations and audiovisual experimentations by some of the forerunner of a research path which tends to conjugate images and music through the creation of VJ sections stretching beyond the usual modalities of live concerts and music videos.

The first edition of the StreamFest looks towards the future of the Salento region with the awareness that it is possible to conjugate technological development and the love for nature harmonizing the electronic nights of the StreamFest and the days spent by the sea in the typical Salentinian mood. The party atmosphere traditionally characterizing the Salentinian nights can be translated in a contemporary note through the multisensorial partecipation and emotional involvement which are the aim of the artistic researches about multimediality.

Among the internationally acclaimed protagonists, the StreamFest will present the already historical HASCII CAM from Jaromil, the free radio war experience of Cecile Landman with SteamTime, the ambient installation of Scenocosme, the Italo-austrian duo with Salentinian roots, Casaluce-Geiger, the music of North-Europe with Lacklaster from Finland and Felix Randomix together with Carsten Schultz from Germany. The Italian VJ scene is represented, among others, by Flxer, Kinotek and Claudio Sinatti. During the StreamFest, a project created by the Master in Digital Environment of the NABA-Milan will also be presented.

StreamFest is a project of the Cultural Association 'sud-eStream' (art director Antonio Rollo, with the consulency of Carlo Infante and the Performing Media Lab, Luca Barbeni from the Share Festival, and Giulia Mainent) in collaboration with Ente Fiera Salento S.p.a, supported by Regione Puglia, and with the patronage of the Academy of Fine Arts in Lecce and ITAS 'G. Deledda' in Lecce.

The VJ and Dj sets of the StreamFest are going to be populated by the new authors of the interactions between sound and image, who, like shamans, manipulate electronic visions for emotionally involved spectators in search of new proposals.

Posted by jo at 08:13 AM | Comments (0)

July 06, 2007

ProvFlux 2007


Carnival | Conference

July 12-15, 2007 :: Providence, RI :: Part carnival and part conference, ProvFlux brings together artists, theorists, urban adventurers and the general public to share their visions of what the city can be, and to take action to make it a reality. The simple premise behind ProvFlux is to create an environment of positive activity, and to continue expanding upon the ideas of what one can do in their city. It exists to invite people from all walks of life to meet on the common ground that is our city streets, in an unjuried, completely free and 100% participatory environment.

One event amongst many is An Atlas, a traveling exhibition of artists working with “radical cartography”—a practice that uses maps and mapping to promote social change. The 11 participating artists, architects, and collectives take on issues from globalization to garbage and explore the map’s role as a political agent. Works include Ashley Hunt’s intricate diagram of the social effects of the global prison-industrial complex; the Center for Urban Pedagogy’s mapping of the people who make and manage the “garbage machine” in New York City; Trevor Paglen and John Emerson’s route map of CIA rendition flights; and Invisible 5’s audio tour of the “toxic landscape” along Interstate 5 in California. Other participating artists include: An Architektur, Institute for Applied Autonomy, Pedro Lasch, Lize Mogel, Brooke Singer, Jane Tsong, and Unayyan.

Posted by jo at 02:36 PM | Comments (0)

Visionary Landscapes: Electronic Literature Organization 2008 Conference


Call for Proposals

Visionary Landscapes: Electronic Literature Organization 2008 Conference :: May 29 - June 1, 2008 :: Vancouver, Washington :: Deadline for Submissions for Presentations: November, 30, 2007 :: Notification of Acceptance: December 30, 2007 :: Sponsored by Washington State University Vancouver & the Electronic Literature Organization :: Dene Grigar & John Barber, Co-Chairs (website, coming August 8).

Producing a work of electronic literature entails not only practice in the literary arts but sometimes also the visual, sonic, and the performative arts; knowledge of computing devices and software programs; and experience in collaboration, interdisciplinarity, and hybridity. In short, electronic literature requires its artists to see beyond traditional approaches and sensibilities into what best can be described as visionary landscapes where, as Mark Amerika puts it, artists "celebrate an interdisciplinary practice from a literary and writerly perspective that allows for other kinds of practice-based art-research and knowledge sharing."

To forward the thinking about new approaches and sensibilities in the media arts, The Electronic Literature Organization and Washington State University Vancouver's Digital Technology and Culture program are inviting submissions to the Electronic Literature Organization 2008 Conference to be held from May 29 to June 1, 2008 in Vancouver, Washington.

"Visionary Landscapes: Electronic Literature Organization 2008 Conference" is interested in papers that explore forms of digital media that utilize images, sound, movement, and user interaction as well as––or in lieu of––words and that explore how we read, curate, and critique such works. Topics may include:

• New, non-screen, environments for presenting multimedia writing and /or electronic literature
• Research labs and new media projects
• Strategies for reading electronic literary works
• Curating digital art
• Innovative approaches to critiquing electronic literature
• Emerging technologies for the production of multimedia writing and /or electronic literature
• Building audience for new media literary works and writing
• Digital, literary performances
• Publishing for print or electronic media connecting literature and the arts through common archiving and metatag strategies
• Artistic methods of composition used in intermedia storytelling (improvisation, collaboration, sample and remix, postproduction art, codework, hactivism, etc.

In conjunction with the three-day conference, there will be a juried Media Arts Show. Along with prizes for the most notable work, selected artists will be awarded bursaries to attend the conference featured at the show. Submission guidelines will be posted beginning August 15, 2007 on the conference website.

The keynote speaker is internationally renown new media artist and writer, Mark Amerika, named a "Time Magazine 100 Innovator." His artwork has been exhibited at the Whitney Biennial, the ICA in London, the Walker Art Center, and the Denver Art Museum and has been the topic of four retrospectives. Amerika is also the author of many books, including his recently published collection of artist writings entitled META/DATA: A Digital Poetics (The MIT Press), founder of the Alt-X Network, and publisher of the electronic book review. He currently holds the position of Professor of Art and Art History at the University of Colorado at Boulder.

Vancouver, Washington, located in the Pacific Northwest just across the Columbia River from Portland, OR, is about a six hour drive south of Vancouver, Canada and three hours south of Seattle, Washington. The conference day events will take place at Washington State University Vancouver, a Tier One research Institution built in the foothills of the Cascade Mountains with views of Mt. Hood and Mt. Saint Helens. The official conference hotel is the Hilton Vancouver located in downtown Vancouver, Washington with easy access to restaurants, bars, and evening conference events. Special rates have been negotiated for conference attendees. A conference shuttle will take attendees to and from the campus daily. The recommended airport is PDX at Portland, which is about a seven minute drive to downtown Vancouver, WA.

The cost of the conference is $150; graduate students and non-affiliated artists pay only $100. Conference registration covers access to all events, the reception, some meals, and shuttle transportation.

For more information, contact Dene Grigar at Grigar[at]vancouver.wsu.edu.

Posted by jo at 02:23 PM | Comments (0)

070707 UpStage


Online Performance Festival

The 070707 UpStage Festival kicks off in less than 24 hours, live online and at the New Zealand Film Archive in Wellington, NZ. From 2.30 to 11.30 pm NZ time (10:30 pm Friday, July 06, 2007 EST; find your local time), on Saturday 7th July, performances created in UpStage by artists from around the world will delight, entrance, engage, baffle, amuse and rock you!

070707 UpStage Festival has all the information, including links to find your local time for each show, and 15 minutes before each show there will be a live link directly to the stage for that show.


Learn to Hear Through the Lies of Your Eyes: The Cyberforming Hybridization of Tuxedomoon: Devised and performed by Miljana Peric, Teodora Peric and Ana Markovic, in Belgrade, Serbia. This cyberformance addresses the position of the contemporary musician in a relation to predominantly scopophilic regime of the Artworld based on information technology. Standard phonocentrical practice will be replaced with poetocentrical praxis by quoting, paraphrasing and mixing up the lyrics of Tuxedomoon. Instead of counterpoint techniques, it involves the counter-soundpointless tactics, which symbolise the protest against disregarded role of music in cyberformances in general.


Isis: for my mother: Devised and performed by Marlena Corcoran, with Tamiko Thiel. Loss, fragmentation, searching … the inevitability of losing one’s mother, and the ways that we cope. A collage of medical body fragments - x-ray, sonic graph, surgical photo, ultrasound image and others – hints at a female person, but there’s always something missing, and something left over. Marlena is based in Munich, German.

And many more performances...

Posted by jo at 10:08 AM | Comments (0)

July 05, 2007

Antony Gormley


The Body in Space

Antony Gormley at The Hayward Gallery, Southbank Centre, London until August 9, 2007.

"The body is our first habitation, the building our second. I wanted to use the form of this second body, architecture, to make concentrated volumes out of a personal space that carries the memory of an absent self, articulated through measurement … Bodies and buildings, cities and cells, monuments and intimacies, each of the “rooms ” in (allotment) is someone’s, is connected to the moving body of an individual, alive and breathing."

'Architecture is supposed to be the location of security and certainty about where you are. It is supposed to protect you from the weather, from darkness, from uncertainty. Blind Light undermines all of that. You enter his interior space that is the equivalent of being on top of a mountain or at the bottom of the sea. It is very important for me that inside it you find the outside. Also you become the immersed figure in an endless ground, literally the subject of the work.’ - Antony Gormley 


From the exhibtion website:

Taking the body as its point of departure, the exhibition is an invitation to embark on a journey through different kinds of space. New works include Blind Light: lose yourself in light and vapour in this cloud-filled glass room that is cold, wet and disorientating; a spectacular series of suspended figures in light-infused webs of steel; and a colossal 27-ton structure, Space Station, that tilts precariously, dominating the gallery space.

The exhibition extends beyond the confines of the gallery with Event Horizon, an ambitious urban artwork featuring around 30 sculptural casts of the artist’s body on rooftops and public always across central London, subtly punctuating the city skyline. Spanning outwards from The Hayward, all the figures face towards the gallery’s three sculpture terraces, which form the main viewing platforms for the project as a whole. [via pruned]

Posted by jo at 06:06 PM | Comments (0)

LABworkshops: Second Life & Chiptunes


Call for Participation

ENTERING THE TERRITORIES OF SECOND LIFE :: July 17 - 21, 2007 :: Deadline: July 8, 2007 :: Registration :: Fee: 50 :: CHIPTUNES - 8BIt MUSIC :: July 26-27, 2007 :: Deadline: July 16, 2007 :: Registration :: Fee: 25 :: Working language for both: English and Spanish :: @ the workshop premises of the LABoral Centre for Art and Creative Industries.

ENTERING THE TERRITORIES OF SECOND LIFE: Second Life (SL) is an online virtual world currently inhabited by over six million "residents". The workshop hosted in Laboral explores SL as a platform for art expression, activism and critique. It will be led by a machinima professional, two media artists and a programmer who work on SL on a practical and theoretical level using it as an ideal platform to share ideas and to perform. Participants will learn through collaborative work how to make machinimas, how to write basic scripts and how to use SL as a platform for social action and artistic expression.

Workshop led by: RICARD GRAS (ESP) is an artist, producer and director of machinima Europe Board. He explores new creative uses for technologies and relationships between art and the media. In 2003, he founded LA-INTERACTIVA, one of the companies that are officially in charge of the development of SL.

KRISTIAN LUKIC (SERBIA) is a writer, artist and a cultural and game researcher. He is a program manager in New Media Center - kuda.org and the founder of Eastwood - Real Time Strategy Group and also of Napon - Institute for flexible culture and technologies.

ILIAS MARMARAS (GR) is a new media artist and a leading member of the international group Personal Cinema. He has been working in gaming environments and game art since 1999.

YANNIS SCOULIDAS (GR) is a technical director, administrator and programmer of Personal Cinema and specialist in software and hardware.


8bit sound and music is a distinctive feature of early videogames, and has become a seminal contemporary music style utilized by artists and DJs in engaging live audiovisual performances and remixes. This workshop will bring together creators from US and Spain who will work with young people to create music using Gameboys. The workshop will close with an evening of Chiptunes performances with sounds by the artists, the workshop participants and visuals by media artists Entter.

Workshop led by: HAEYOUNG KIM (BUBBLYFISH) (KO) is a sound artist and composer who explores the textures of sounds and their cultural representation. Her work has been presented in art venues, clubs and new media festivals around the world.

CHRIS BURKE (GLOMAG) (USA) has been making 8bit music since 2001. He has performed in many countries and his music has played in films, on television and on the Internet. The machinima series "This Spartan Life", features his music as well as other 8bit artists and is featured in Gameworld.

RABATO(ESP) composes music with the famous software Littlesounddj created by Johan Kotlinski for a Nintendo Gameboy consoles. He is the co-founder of microBCN and has participated in festivals and concerts in various cities.

YES, ROBOT (ESP) mix Gameboy sounds with other instruments like synthesizes, samples and toys modified by themselves. They are founding members of the 8bit collective microBCN.

ENTTER(ESP) is formed by Razl Berrueco and Raquel Meyers. Entter was formed to create a collective space for the expression of the common restlessness felt by many creative people in the interactive media art field. Their fields of research include AVperformance, installations, non-linear narrative, videogames, interfaces, experimental music, VJing and net.art.

Concept of workshops: Daphne Dragona, independent new media arts curator, Athens Carl Goodman, Deputy Director and Director of Digital Media,Museum of the Moving Image, New York

Organised by: LABoral Centre for Art and Creative Industries Director: Rosina Gsmez - Baeza Universidad Laboral s/n, 33394 Gijsn, Asturias - Spain T. +34 985 185 577 F. +34 985 337 355 labworkshops@[at]aboralcentrodearte.org

Posted by jo at 12:35 PM | Comments (0)



European Art Graduation Projects 2007

TEST_LAB: PLAY: European Art Graduation Projects 2007 :: July 12, 2007, 8:00 p.m. :: V2_Groundfloor, Eendrachtsstraat 10 , Rotterdam :: Free entrance :: Streamed Live :: Invited speakers: Simon Jones (Human-Computer Studies, University of Amsterdam) and Dirk Paesmans and Joan Heemskerk (jodi.org). [Related; Essay by Josephine Bosma.]

Play as a form of social interaction has a rich tradition in various branches of the arts. But it was only recently that human-centered-technology designers realized play offered interesting new approaches and techniques for the development of their field. This brings them together with contemporary artists who explore play by experimenting with a wide range of (often wearable) human-machine interfacing technologies. Such experiments often combine a strong DIY attitude toward technology design with a desire to take advantage of people's naive or intuitive understanding of technology through play. In TEST_LAB: PLAY! the audience and participants will test and discuss the approaches and techniques used to implement play. They will also discuss the broader context of the demonstrated work.

TEST_LAB: PLAY! will feature a selection of the best European electronic-art graduation projects of 2007. The pieces have been selected according to originality and quality, and especially the way they use the concept of play - that is, the playfulness evoked by the work. At TEST_LAB: PLAY! these projects will be demonstrated, tested, and discussed among makers, audience and experts.


- Dobrze by Dorota Walentynowicz (Interfaculty Image and Sound, The Hague)
- Block H. by Faith Denham (Goldsmiths, University of London)
- CollecTic by Jonas Hielscher (Media Technology, Leiden University)
- Wi-Fi Straitjacket by Gordan Savicic (University of Applied Arts Vienna)
- Paraphernalia by Nancy Mauro-Flude (Piet Zwart Institute, Hogeschool Rotterdam)

TEST_LAB is a bimonthly public event hosted by V2_, Institute for the Unstable Media, that provides an informal setting for the demonstration, testing, presentation, and discussion of artistic research and development (aRt&D).

For more information, please contact Michel van Dartel (michel[at]v2.nl,

Posted by jo at 11:47 AM | Comments (0)

Intermedia Art Show


Public Performedia Collective

Intermedia Art Show (a collaboration between the International Festival of Contemporary Art, Experimental Art I.M.A.N. and Gallery Zero Berlin) :: Performance: July 7, 2007 ; 8:00 pm :: Artists: Alexandre A.R. Costa & Jorge Fernando dos Santos: Public Performedia Collective & Lucky Zulu + Hugo Paquete (sstfm) :: Portugal.

Public Performedia: This Project combines a live performative act, done In-Situ (City of Berlin), with a post-concert within the realm of electronic music / Experimental Intermedia Art Show. This Performance that begins a continuous process, and that culminates in an Intermediate experimental art show, will be established by the contextualization of the artists and their performative actions within emblematic buildings of Berlin (interiors and / or external sites).

Project Description (Live Art Work): Immobility, silence and disguises are key - concepts in this process, developed through an interrogative perspective of the daily social paradigm of our days in the deep of the wild "Business world", metaphorically referenced by the elements that these are holding and let fall and for the movement of the city itself, collected in the show in video audio and worked in digital Interfaces in real time.

Conclusion: Intermedia Art Presentation (Post-Live Art Work in Berlin):
In conclusion there are clearly two phases in question: the first one happens in a perspective of an investigation In-loco and In-Situ (during which Video Audio recordings are performed with the participation of audiences and the performing intervention of the Artists). The second moment happens with the Intermedia Presentation / Concert.

The video audio registrations on the mentioned action are worked in real time in an audio-visual/ Intermedia presentation (a minimal performing proposal and a subscription through the universe of electronic music) as exemplified by the following registrations included in the demonstration DVD herewith.


Posted by jo at 11:23 AM | Comments (0)

Pioneering Second Life artist to inspire Australian artists


Brad Kligerman

On 12 July, the Australia Council for the Arts, in partnership with the Australian Broadcasting Corporation (ABC), will host its first ever artist forum in Second Life. The in-world event, to be moderated by ABC's Sunday Arts reporter / producer Fenella Kernebone, is for the Australia Council's inaugural Second Life artist residency.

In an open forum at 7 pm (EST) on ABC Island, Paris-based artist and architect Brad Kligerman - one of the first artists in Second Life to complete an in-world residency - will present his work, discuss ideas and answer participants' questions. [Videos and more here.]

Brad, an architect and teacher, completed his 11-week residency with US-based Ars Virtua a new media centre and gallery in Second Life, where he questioned the idea of materiality in the rendered environment and the nature of image. Australia Council chief executive officer Kathy Keele said the partnership with the ABC was a great fit with the Australia Council's Second Life initiative. 'The ABC was the first Australian media organisation to establish a presence in Second Life and we are excited about working with them on this project.'

'We hope that Australian artists gain valuable insight from Brad Kligerman's successful art interventions in Second Life and that they will be inspired to create innovative works in-world that will place them at the forefront of this groundbreaking practice,' Kathy Keele said.

The Australia Council has also set up an artist's forum in Second Life for artists looking for other artists with whom to collaborate. The moderated artists forum can be found at ABC Island and the Australian Film, Television and Radio School (AFTRS) Island, Esperance.

Opened in February 2007, ABC Island explores new and different ways to present content to its audiences. As well as creating social spaces for Second Life visitors, the island showcases Australian talent and creativity in an innovative way.

Places for the 12 July Second Life event are limited. To register email slrsvp[at]ozco.gov.au with your Second Life Avatar name. The event will be streamed live at http:\slcn.tv. A vodcast of the event will also be available on the ABC Sunday Arts website. Sunday Arts screens Sundays at 5.00pm.

The Australia Council's Second Life residency will enable a team of up to three artists, including a writer, musician / sound artist and digital visual media practitioner to collaborate on the development of inter-disciplinary artwork in Second Life. The project, which will take place online, will require the artists to explore the possibilities of literary, music / sound art and real time 3-D arts practices within the virtual realm.

The residency is open to Australian citizens and permanent residents. Applications close on 27 July 2007. For more information visit www.ozco.gov.au/rez

For more information on Ars Virtua and Brad Kligerman visit www.arsvirtua.com. Media enquiries - Victoria McClelland-Fletcher, communication officer phone 02 9215 9008 or 0400 808 013 or email v.mcclelland[at]ozco.gov.au.

Posted by jo at 11:13 AM | Comments (0)

okno / Network Summer


Invitation to Participate

okno / network meetings :: July 12-13, 2007 :: okno HQ, koolmijnenkaai 30-34, 4th floor, 1080 BXL :: entrance free ::

This summer, okno (code31, so-on, riseau citoyen) will take a look at artistic networks. In a series of meetings, we share our research and collaborate in hands-on experiments with wireless technology. Whether you're a visual artist, writer, musician, coder, hardware developer or just have a keen interest in wireless networks, we would like to invite you to come over and join us.

Together, we'll look for new ways of using networks, investigate their artistic value and their social and geographical context. Wireless technolgies are affordable and powerful instruments. By learning how to make and use them, we can break out of the limits imposed by corporate and government-regulated restrictions. //meh In our hands-on experiments, we'll be builing antennas, setting up the network and use it for audio and video.

July 12, 2-7pm :: an introduction to the Reseau Citoyen-network and how to work with it by Cidric Thernon - Reseau Citoyen is a Brussels project for a user-run wireless network via wi-fi; free of big operators, run by the people for the people. Riseau Citoyen is not an organisation, it's much more a phenomenon. Beside its technological aspects, Riseau Citoyen is a vector for ideas. Community network projects are coordinated by citywide user groups who freely share information and help using the Internet. They often emerge as a grassroots movement. Reseau citoyen is run on a voluntary basis. Reseau Citoyen has a distinct ideological approach in putting up a free and open network. The volunteers provide the technological expertise and in a collaborative spirit make it available to the inhabitants of Brussels.

Okno tries to complement the social and technological infrastructure from a cultural point of view, hoping to put together a vehicle for socio-cultural activities in the information age.

July 13, 2-7pm :: hands on experiments with meshed networks by Patrick De Kooning - In this session, we'll go straight to the technological basics. What is a wireless network? What material do we need? We make our first connections over several ranges, hook up our material and hope to get the network live and streaming. When we get the nodes talking to each other, what will they talk about? How can we use it? Why not just use the internet? What can low power, inexpensive networks add to artistic and social practices?

Posted by jo at 09:33 AM | Comments (0)

July 04, 2007

Digital Art Weeks 2007


Keynote: Dr. Joseph Weizenbaum

Digital Art Weeks 2007 at ETH Zurich :: July 10 - 14 :: Keynote: Dr. Joseph Weizenbaum :: ETH Zurich, Auditorium Maximum, F 30 :: Host: Prof. Dr. Jürg Gutknecht, Computer Science Department (D-INFK) :: Additional keynote speakers at this year's Digital Art Weeks: Régine Debatty (we-make-money-not-art), Jeffrey Huang (EPF Lausanne), Helen Thorington and Michelle Riel (turbulence.org), Roger Malina (CNRS Marseille).

The DIGITAL ART WEEKS program is concerned with the application of digital technology in the arts. Consisting of symposium, workshops and performances, the Digital Art Weeks program offers insight into current research and innovations in art and technology as well as illustrating resulting synergies in a series of performances during the Digital Art Weeks Festival each year, making artists aware of impulses in technology and scientists aware of the possibilities of application of technology in the arts.

We are proud to announce this year's special guest Prof. Dr. Joseph Weizenbaum, author of the influental book "Computer Power and Human Reason - From Judgment to Calculation" (1976). He will open the festivities with a talk directed at both scientists as well as cultural workers. His talk will be followed by two important documentary films on computer science. The first concerns Weizenbaum's life and work and the second shows how influential computers can be on the arts.

Keynote Address
Prof. Dr. Joseph Weizenbaum

In 1972 I published a paper under the title: On the Impact of the Computer on Society (Science, Vol. 176, Issue 4035, pp. 609 - 614, May 1972). Four years later the Book: Computer Power and Human Reason - From Judgment to Calculation (Freeman, San Francisco 1976). Years later, I began to have second thoughts about the titles of both works. Yes, the computer had enormous impact on societies world wide. But it became ever clearer to me that the very shaping of computers, the very manner of their development and refinement, the actual purposes, ex and implicit, for which they were created, that all of these were determined by the values of the societies in which they were imbedded, My paper should have been On the Impact of Society on the Computer and not the other way around. The main thesis of the paper should have been that science and the technology are not value free, that both inherit their values from the society in which they are imbedded. Insane societies produce insane ideas and corresponding instruments. Warier societies produce weapons, and, in our time, weapons of mass destruction.

As for the Book: Its subtitle, it is now clear to me, should have been its main title. For now, obviously, judgment in human affairs has been and is increasingly replaced by calculation. The largely self appointed deep thinkers of our time preach that all aspects of reality are computable. Things are "figured out". Parameters are optimized, strategies computed. Human beings are said to be "merely" machines whose fates are anyway determined by the natural laws that the physicists teach the neurologists, they the behavioral scientists and they, in turn, those who say they are philosophers. And all of them compute. They cannot do otherwise, for concepts such as wisdom, dignity, will, respect, kindness love and joy and grief simply do not exist in their universes of discourse. They are not measurable, not computable, not part of their vocabulary and hence not of their reality. What remains for them IS indeed calculable. The fundamental dogma of our time is that to understand a thing is to be able to program it ... finally to simulate it in the form of a computer model. Then, truly, the intelligent robot becomes the ideal of what it means to be human.

If the above is true, then, a question becomes of enormous relevance to our time: what should be the highest priority of formal education, independent of whether in the schools or in so-called higher education? It is a matter of utmost importance, for whenever something new is to be inserted into a curriculum, something already there has to be reduced or eliminated. It is a question of what, in education, is more important than what else. For example, how much more important, if at all, is it to teach the writing of computer programs as opposed to teaching the history of one's homeland?

The answer to the central question is, it seems to me, obvious and true for all places and all times: the first priority of formal education is to educate students to master their own language, to give them the ability to clearly articulate their thoughts in speech as well as in writing ... and that also implies to be able to listen and to read, to critically interpret the vast flood of signals that constantly impinge on all of us. I want to emphasize the distinction between hearings and listening, namely that hearing is largely passive while listening involves thinking and judgment. Absent this ability, as I believe it to be in very large parts of our people, condemns the afflicted to a life of servitude to the clichés, half-truths and lies served up by the overwhelming majority of the world's mass media!

Posted by jo at 03:13 PM | Comments (0)

Josephine Bosma, Mediated Remains:


Hidden Bits of Ourselves

[This essay was written by Josephine Bosma for the graduation show catalogue of the Media Design M.A. programme of the Piet Zwart Institute, Willem de Kooning Academy Rotterdam. The show will open on Saturday, July 7th, 15:00 + 21:00, at WORM, Achterhaven 148, 3024 RC Rotterdam]

The Human System: Technology is part of the body. Humans have been able to sustain themselves in the world by incorporating bits and pieces of that same world into their own expanding physical system (the monkey and his stick are one). A celebration of technology is a celebration of ourselves. A critique of technology is a critique of ourselves. An investigation of technological systems and errors is an investigation of the way we recreate and handle ourselves. The 'body' can be perceived as a collection of systems and fragments of systems. It is at the same time dispersed and whole. We are experiencing a continuous but fruitful fragmentation and recombination.

The 2007 graduation show of the media design students of the Piet Zwart Institute seems to revolve around one theme, even if it was not consciously chosen. All works show a fascination for obscurity, for the hidden, for the disappearing, for the superfluous. The graduates explore drifting fragments of ourselves in our media environment. These fragments are sometimes part of hidden processes and at other times they are (remnants of) unwanted objects: trashed bits. A few of the projects are not based on the obviously hidden.

These projects reveal the delicate obscurity inherent to old and new taboos: from the acceptance of physical death to the 'death' of the author. All works deconstruct or question the wholeness of the image. Our expectations of technology, and our exchanges with it, reflect not only simple needs and desires, but they also reflect value systems. It should be quite safe to say that one of the most dominant drives behind technological developments is a quest for perfection. Perfection is always a highly subjective experience, yet throughout history it has mostly been connected to the divine, to the whole, to the absolute. Like we have projected perfection outside of our messy, mortal bodies onto a divine power, we have projected a similar higher power onto our willful material attempts to a state of perfection through technology. The promise of perfection has even become one of the most persistent slogans in present day advertising. We can have the perfect hair, the perfect smile, the perfect car, the perfect phone and the perfect software solution for your company. Our relationship with technology has almost become a matter of faith.

In Praise of Noise

In the beginning of the 20th century the Futurists exclaimed a loud, naïve yet energetic praise of technology. This art movement seemed to believe in the technological triumph of man over nature. Filippo Marinetti writes an ecstatic piece about the car in his famous Futurist Manifesto: "We are already living in the absolute, since we have already created eternal, omnipresent speed". The Futurists glorified technology through practically all art disciplines: from architecture and theatre to painting and music. Marinetti's Futurist colleague Russolo invented a new kind of musical instrument, an instrument to create noise, the 'intonarumori', which was to be more in tune with modern life then violins or pianos could ever be. It even had to create an appreciation of the sounds of war. Was it their glorification of war and violence, which made John Cage write his 4'3'', 4 minutes and 33 seconds of silence, in 1952? It does not matter, for both Russolo's manifesto The Art of Noises and Cage's 4'33'' opened the musical ear to the previously non-musical, to machinic noise and environmental sound as music.

Noise is always transgressive and as such it is part of the obscure. Even in contemporary music, in which it is largely accepted and perceived as an inextricable part of a track or song, loud or dissonant sounds are still recognizable as noise. Noise cannot be safe. Noise is accepted as music, but it is still an outsider, a polluter, a sign of dissidence and discordance. Much like the ultimate state of perfection, the divine, the ultimate noise equals the experience of near death. The ultimate in noise is that of white static: the death of the televised image. Whereas the Futurists created music that more or less celebrates technological productivity, Piet Zwart graduate Nancy Mauro-Flude seems to pay homage to its neglected, inescapable imperfection. She has built her own noise instruments from trash, to be used in her performance art. Performance art is noise by many standards (as art is often perceived as superfluous in itself and performance is the most fleeting form of it), yet in the environment of media art it tends to represent the source of all technological imperfection: the body. Nancy Mauro-Flude's "breakcorenoise- performance" 'Paraphernalia' is a temporary (re-) combination of dance and noisy, trashy and poetic fragments.

The transgressive and dissonant qualities of noise make it attractive for so-called alternative music cultures. Noise in that case represents criticism and rejection of commercial and mainstream music cultures. Andreea Carnu's project 'Incoreporated' is a pr company for the punk and hardcore music community. She combines contemporary research (in this case statistics retrieved from myspace) with personal consultations with musicians in order to make 'hardcore' tailored business plans for punk bands, for whom a dedication to noise apparently can make them loose touch with reality altogether. Carnu seems to want to create not just a commercial enterprise, but also a monument and ode to the hardcore punk, counter-cultural lifestyle.

Noise represents the fallable physical source of technologies. It reminds us of our most basic self, of our imperfect body, of illness and death. The imperfect, mortal body is but a faint echo in our mediated environment. We have become nearly numb to images and news of death and disaster in far away countries. Yet as mediation starts invading every aspect of our own lives we loose a sense of intimacy with our loved ones too. This is what Audrey Samson's 'Spectres?' is about. She recorded several personal stories about death for us. We have to listen to them standing at a crowded bar, with headphones on. This experience is moving and embarrassing at the same time. Death is carefully edited out of our lives. The dead and stories of death have turned into electronic ghosts that we can turn off and switch on again, like in for example John Jesurun's 1986 award winning play about a boy that gets trapped in a cinematic projection: Deep Sleep. In western culture only two things equal death in their transgressive qualities: sex and violence. Strangely enough depictions of sex are often censored more strictly then those of violence. The orgasm is sometimes called 'the small death'. Sex and orgasm in particular are a threat to the quest for the perfect, whole body. In the digital domain several tools have been released that are supposed to automatically cleanse our sexual experience. Dominik Bartkowski's project with the provocative title 'Bareback' takes these tools and turns their purpose around. Instead of filtering the most sensitive, 'bare' sexual imagery, the filter becomes an aesthetic tool, creating special visual effects. Instead of accepting the morality of the filter, it reveals the dubious logic behind it. Bartkowski is critical of the trend towards automated filtering. The definition of noise is often too subjective and temporal to be left to a machine.

Defragging Culture

There are also other trails through the static. The digital terrain is layered, logical, but 'flexible'. We create distinctions and rules in this environment that are by no means demanded by its structure. We tend to disregard the importance of what we choose to leave out (and what we can only hide from sight). As we develop our physical selves in this further mediated environment (as in Katherine Hayles' posthuman) we accumulate a huge amount of technological and cultural debris in our trail, which is just as telling about us as our 'official', neatly raked path is. In the digital age the amount of hastily discarded trash and obscured technological traces has grown exponentially.

This explosion of technical, cultural and social traces might be a nightmare for authorities, but they offer a radically fertile ground for all kinds of explorations. The fecundity of our current media environment is almost poisonous in its strength. It is because of this that we witness an explosion of all kinds of play with existing digital structures (like SecondLife, Google or social software such as MySpace). Artists and designers are tapping into the boiling sources of our information flows and they find a huge amount of superfluous, hidden, 'cached', filtered, forgotten or trashed material to toy with. This is the new wealth: a simultaneous, indistinguishable production of culture and cultural sources.

In 1998 the american artist Perry Hoberman presented an installation called 'Systems Maintenance' at the Rotterdam based institution for unstable media V2. In this installation the audience was invited to allign a set of furniture in physical space with its copy in digital space, the result of which could be followed realtime via a projection on the wall. This deceivingly simple work revealed its magic when interacting with it. It turned out to be very, very difficult to allign the apparently identical objects in the two different worlds. Frustration and despair grew by the second. 'Systems Maintenance' was a brilliant combination of poetic and conceptual gestures. I was reminded of it when seeing Walter Langelaar's project 'TODO (Tangled_Object_Description_Overview)'. Langelaar uses 3D object material from Second Life which is 'mixed' with a representation of the WORM building (in which the Media Design graduation show takes place) taken from Google Earth. The new virtual structure that is created this way is then 'collided' with the original building. Differences are emphasized by adding them to the original building physically, by "perforating" the real space with virtual architecture. Whereas Hoberman lets the audience actively experience the awkward split between physicality and activity in real and virtual environments, Langelaar chooses a more subtle approach. Much like Jan Robert Leegte, just like Langelaar originally a sculptor, he creates a sense of estrangement by literally placing virtual objects outside of the digital grids into the real world. If Hoberman is skeptical of our new environments, Leegte and Langelaar experience it much more as a room for play and surprise.

The mathematical structure of the internet, despite the human landscape created in it, simply begs for systematic and generative art practices to explore it. Like traditional sculptors will see a lump of clay or wood and feel the possible structures inside of it, artists working with the net see connections and metastructures most of us are blind to. Already 8 years ago the first net art generators started to appear. The most (in)famous one is the one created by german artist Cornelia Sollfrank, whose 'net.art generator' was part of a larger project called 'Female Extensions'. Sollfrank is still exploring the legal consequences of her 'net.art generator' today, since she stumbled upon possible lawsuits when creating exhibitions of it. Piet Zwart graduate Marc de Bruijn has now built a web site generator, a work entitled 'This website is under construction'. De Bruijn is very critical of web design and created his generator as an ironic statement on hypes and fashions, such as the 'web 2.0' buzz. His software includes the option to create four different aesthetics: the aesthetic of the amateur, the aesthetic of web 2.0, the corporate design aesthetic and that of graphic design. By turning these design clichés into caricatures he forces an escape from failing web design, and 'teases out' a new approach.

Sometimes caricatures can be hard to recognize. The most subtle form of satire is the one in which the subject in question does not really notice he or she is being ridiculed, or responding to the joke would be more damaging then the joke itself. One such work is a relatively unknown work from 1997 by the artist Vuk Cosic: 'Mira'. 'Mira' shows a picture of the wife of Slobodan Milosovic, the late president of Serbia. Cosic calls Mira Milosovic "the cannibal" in one of his texts on the mailing list nettime. The audience can choose different flowers to put into Mira's hair. Mira Milosovic was known to wear flower corsages, a habit that rather contradicted her bad reputation. Shahee Ilyas has created a similar ironic tool, which generates frames for portraits of presidents and other rulers of countries. 'Framing Leaders' uses statistics of various sites to track the freedom of press in a country and the length of reign of its leader. The data then are used to generate more or less ornamental frames around the picture of a particular leader. The heavier and more pompous the frame is, the less democratic is the depicted leader.

Reading into data, interpreting information, has become the new challenge, and not just for marketeers and authorities. Most of this reading and interpreting, like Ilyas' work, is done automatically. It is virtually impossible nowadays to surf around the web without enabling your browser to accept cookies for instance. Cookies gather information about Internet users. They are relatively invisible, only showing themselves in almost hidden directories on your harddrive. Andrea Fiore developed a plug in for the Firefox browser that allows the user to do a bit of countersurveillance: cookies are tracked and the information about them gathered in an online database. The 'info-cloud' that is constructed this way maps the use and spread of cookies, enabling a view of the extent of for instance ad campaigns. A different view of the Internet then unfolds.

Delicious Pre-Decompositions

We are witnessing a new form of recombination of materials that bears resemblance to earlier forms like collage, quotation, citation, assemblage, but which is more evident, more inescapable, due to changed technological parameters. Writer and DJ Kodwo Eshun described this situation in relation to music and sampling in an interview published in his book 'More Brilliant Than The Sun', already in 1998: "The idea of quotation and citation, the idea of ironic distance, that doesn't work, that's far too literary. That assumes a distance which by definition volume overcomes." The sheer volume of technological bits, scraps and products that surrounds us and the simple means to re-interpret, re-arrange and re-use them almost within the blink of an eye is turning cultural production into a form of cultural scavenging.

The fragmentation of culture, due to new technologies and also due to sheer volume of information, is seldom represented through 'old' media such as books. Experiments are scarce and often unsuccessful. New publishing techniques, especially publishing on demand, slightly erode the illusion of completeness of the book. Publishing on demand often refers to single or few prints of a specific book. Like unprinted publications however, the book now becomes personalized, and is created from unique, individual choices by the reader.

In 2003 the Museum of Contemporary Art in Oslo hosted an exhibition about net.art called 'Written in Stone'. This exhibition had a unique catalogue, which visitors could assemble on the spot by choosing texts on a computer, printing them and having them bound. The catalogues even had an ISBN number. This years graduation show of the Piet Zwart has a similar catalogue. It is the graduation project of one of its students: Jorrit Sybesma. 'Design Paradigm Shifts' allows for the audience to choose an individualized catalogue. There are two options: a simple, basic, informative catalogue or an elaborate, individually adjusted catalogue. The latter contains unique, specially generated pages of the work of each artist. The pages are not bound into a traditional book, but presented as loose leaves in an envelope that accentuates each individual gift. What better way then to present this exhibition of fragments, scraps, traces, bits and noises?

Josephine Bosma, Amsterdam, June 2007 [via nettime]

Posted by jo at 02:32 PM | Comments (0)

Upgrade! Tel Aviv-Jerusalem


Dan Phiffer + Mushon Zer Aviv

Upgrade! Tel Aviv-Jerusalem: Dan Phiffer (US) & Mushon Zer Aviv (IL) - ShiftSpace (the talk will be held mainly in English) :: July 10, 7:30 pm :: Minshar Art School, David Chachmi st. 18, Tel Aviv :: Free Entrance.

While the Internet's design is widely understood to be open and distributed, control over how users interact online has given us largely centralized and closed systems. The web is undergoing a transformation whose promise is user empowerment--but who controls the terms of this new read/write web? The web has followed the physical movement of the city's social center from the (public) town square to the (private) mall. ShiftSpace attempts to subvert this trend by providing a new public space on the web.

By pressing the [Shift] + [Space] keys, a ShiftSpace user can invoke a new meta layer above any web page to browse and create additional interpretations, contextualizations and interventions - which we call Shifts. Users can choose between several authoring tools we're working to develop - which we call Spaces. Some are utilitarian (like Notes and Highlights) and some are more experimental / interventionist (like ImageSwap and SourceShift). In the near future users will be invited to map these shifts into Trails. These trails can be used for collaborative research, for curating netart exhibitions or as a platform to facilitate a context-based public debate.

Recent commissions from Turbulence.org and Rhizome.org will help ShiftSpace continue to grow its user base and further its Open Source model. It will support our upcoming goals including a developer API, a workshop series, a ShiftSpace commissions program and a research into peer-to-peer network architectures.

Dan Phiffer is a new media hacker from California, interested in exploring the cultural dimension of inexpensive communications networks such as voice telephony and the Internet.

Mushon Zer-Aviv is a designer and a media activist from Tel-Aviv, interested in challenging the perception of territory and borders and the way they are shaped through politics, culture, globalization and the world wide web.

Posted by jo at 02:11 PM | Comments (0)

transmediale.08 – Conspire ... | club transmediale.08 - Unpredictable


Call for Entries

transmediale.08 – Conspire ... festival for art and digital culture berlin :: 29 January - 3 February 2008 AND club transmediale.08 - Unpredictable :: festival for adventurous music and related visual arts :: 25 January - 2 February 2008 :: Call for Entries - Deadline: 7 September 2007 :: Award Ceremony: 2 February 2008.

Together, transmediale and club transmediale invite the submission of works and projects for the festival 2008. Submissions for both festivals participate in the transmediale Award 2008, for which an international jury will award prizes totalling ca. 10 000 EUR. Abstracts and papers for a proposed Vilém Flusser Theory Award are also being invited.

As one of the leading international festivals for art and digital culture, transmediale presents and pursues the advancement of artistic positions reflecting on the socio-cultural, political and economic impact of new technologies. It seeks out artistic practices that not only respond to scientific or technical developments, but that try to shape the way in which we think about and experience the technologies which impact virtually all aspects of our daily lives. As such, transmediale understands media technologies as cultural techniques that need to be embraced in order to comprehend, critique, and shape global societies.

club transmediale (CTM) is a prominent international festival dedicated to contemporary electronic, digital and experimental music, as well as the diverse range of artistic activities in the context of sound and club culture. CTM presents projects that experiment with new aesthetic parameters and new forms of cooperation, develop possibilities for informational and economic self-determination, and reflect on the role of contemporary music against the backdrop of technological and social transformations. Now more than ever, music emerges as a laboratory for multiform experiments and as an active agent that allows for new cultural techniques to be tested and proffered to the wider world. CTM puts the focus on direct experience, risk-taking and personal interaction, and thereby emphasises the situational potential of live performance, the interplay of various media – sound and image, in particular – and candid exchange between sub-cultural and academic initiatives.

transmediale is a project of the Kulturprojekte Berlin in cooperation with Haus der Kulturen der Welt. transmediale is funded by the German Federal Cultural Foundation. club transmediale is funded by Hauptstadtkulturfonds.

Posted by jo at 01:58 PM | Comments (0)

Found Footage Workshop


Call for Select Participants

Open Call: Found Footage Workshop :: Deadline: August 1, 2007 :: Announcement of selected participants: August 10, 2007 :: Organizer / Location: KSAK-Center for Contemporary Art, Chisinau Workshop Period: 9-25 September 2007 (six hours per day, six days per week). Participants: 15 persons will be selected from Moldova, Romania, Bulgaria, Macedonia, Bosnia & Herzegovina, Kosovo, Serbia & Montenegro, Croatia, Slovenia.

The Found Footage Workshop is an in-depth exploration of the use of archival material, the aesthetics of appropriation, sampling and detournement, and the transfer of cinematic language to digital forms. The workshop will consist in theoretical presentations, film screenings, and assisted hands-on workshops (selection of archival sources, analogue-digital transfers, montage). Each participant will produce a film based on the re-use of archival sources. The workshop will provide an opportunity for cross-cultural exchange between artists and students from Moldova, regional artists from Balkan countries, and the international guests who have been invited to prepare the workshop.

Guest tutors & content of the workshop:

John Davis (San Francisco, USA) is a media artist exploring the intersections of film, video, photography, experimental sound and social practices - Introduction to the reuse of popular culture for critique, satire and poetic investigation. Assisting participants in extracting fragments from sources like film, VHS, DVD, television and the internet, and incorporating them into projects that reshape the media landscape with their personal vision. Screening of American found footage films.

Joanne Richardson (Cluj, Romania) is a cultural theorist, video artist and coordinator of D Media, an NGO producing digital media & engaged art. - Introduction to history of found footage and detournement, its relation to struggles against intellectual property, and the political dimensions of "counter-documentary." Assisting participants with developing concept / montage. Screening of 1960-70s French films and post-1989 found footage from Eastern Europe.

Stevan Vukovic (Belgrade, Serbia) is an art critic, film theorist, curator, and co-founder of Belgrade Art Initiatives. Links: http://www.baza.org.yu, http://www.o3.co.yu, http://www.schoolofmissingstudies.net - Introduction to recent documentary film and video production from the Balkans. Screening of films by Zelimir Zilnik and other Serbian directors.

Kathrin Becker (Berlin, Germany) is an art historian, curator and the director of NBK (Neuer Berliner Kunstverein) Video Forum. - Introduction to the NBK Video-Forum Archive. Screening of international artist videos from late 1960s to the present from the NBK collection.

Film Content/Production: The workshop aims to facilitate a critical engagement by artists toward the current condition of post-soviet (former USSR) or post-socialist societies. We are especially interested in investigations that use film aesthetics and digital technologies to explore and comment upon the "transition" (gaps, ruptures, or continuities) between the dismantling of socialism and the current neo-liberal system, although artists can also propose ideas that depart from this focus. Each participant will develop a film scenario, select and choose appropriate archive sources corresponding to the idea, and edit a short digital film (5 to 10 minutes in length). The basic principle underlying the concept and production of the film should be the re-use or re-contextualization of archival sources, including propaganda films and archives from the socialist period (KSA:K has an available collection of these), fragments of new films, home movies or private archives, television and internet.

Skills gained by taking the workshop: Selecting and digitizing analogue materials (16 - 8 MM film, VHS), filming with professional cameras, editing with AVID, postproduction techniques. Films will be finished on mini DV and exported to DVD. Please note that some prior experience in video production (camerawork, montage) is required.

Practical information: Selected participants will receive reimbursement for travel costs (train or bus), their accommodations and meals will be covered by the organizer for the duration of the workshop. There is no participation fees.

Criteria and submissions: Applicants should be nationals or residents of Moldova, Romania, Bulgaria, Macedonia, Bosnia & Herzegovina, Kosovo, Serbia, Montenegro, Croatia, or Slovenia. We are looking for inspired proposals by visual artists, filmmakers and video activists that envision an intersection (dialogue, clash or complementarity) between past histories and present realities. Interested artists will prepare a proposal package containing the following documents: a CV (1-3 pages), a short statement about the particular interest in this workshop (150 words), a film synopsis (500-600 words), a production plan or timeline, and a tentative list/description of archival sources to be used. If these archival sources are difficult to find and specific to the region, artists are encouraged to bring them along. The application documents should be sent as a single file (.doc, .rtf or .pdf) by email. If applicants would like to submit samples of previous works, the package can be sent by post to the following address, but the electronic documents should also be sent separately by email to:

Stefan Rusu - FFW project curator
E-mail : suhebator[at]gmail.com,
Addresa: Centrul pentru Arta Contemporana , Chis8ina u -[KSA:K], Str. Independent8ei, 1, (Colegiul Al. Pla ma deala ) Cod pos8tal: MD-2043, Chis8ina u, Republica Moldova Web site: www.art.md
Phone: GSM+37369312435
Tel. +37322 772507,
tel/fax: +37322 573395

Project partners: D Media Association, Romania, Baza - Belgrade Art Initiatives, Serbia, and NBK Video Forum, Germany.

Center for Contemporary Art-[KSA:K] is a non-profit, independent institution registered in the year 2000. The new strategy of the Center is the development of cultural forms and art practices, which would reflect the dynamic of the social, political and economic transformations of the society. Center pleads for the advocacy activities in promoting of the cultural policies suitable for the defining and the consolidation of the artist position and contemporary art practices in the society.

This project is supported by ECF (European Cultural Foundation), Amsterdam; USA Embassy in Rep. of Moldova; Fine Arts College Al. Plamadeala; The Union of Cineastes from Rep. Moldova.

Posted by jo at 12:36 PM | Comments (0)

Flash Cube


Photographic Perspective

Flash Cube :: July 5 - September 30, 2007 :: Leeum, Samsung Museum of Art 747-18, Hanam-dong, Yongsan-gu, Seoul, Korea 140-893 :: Opening: July 4, 6.00 p.m. :: Panel discussion: Mapping Photographic Space: Thomas Demand, Jan Kaila, Sanggil Kim, Aglaia Konrad, Henk Slager :: July 5, 1.00-5.00 p.m.

Since its acceptance as a form of art around the 1930s, photography has been forced as no other artistic medium to justify its medium-specific qualities. Particularly, the Greenbergian heydays of Modernism have produced such pressing urge for justification. At that moment around the end of the 1930s, painting had surpassed by far its interest in the subject of perspectivist illusion. As a consequence, painting entirely concentrated on the qualities of the two-dimensional surface implying a passion for painterly components such as planes, colors, and lines. From that time onwards, the artistic working field of perspectivist painting would be remediated by photography as an artistic medium.

However, in the artistic practice of our day, which, in line with New York-based theorist Rosalind Krauss could be said to be determined by a post-medium condition, the photographic image can no longer be viewed as a mere aesthetic registration of a situation in the real world. Rather, the topical photographic image demands the investigation of how the photograph as an imaginary medium produces diverse forms of realities and worlds which are still based on its perspectivist capacities.

Such researching attitude requires a critical reevaluation - either through other media or through the history of the photographic medium - of the photographic medium as such. Subsequently, the medium-specific qualities of the photographic image have been deconstructed effecting a turn to captivating forms of spatial investigations.

Indeed one could argue that a critical attitude towards framing, centristic, and perspectivist styles of photography produced a novel generation of photographers fascinated by spatial environments and architectonic constellations. That fascination is connected with interesting, topical forms of photographic criticism on functionalist ways of thought parallel to perspectivist-based photography and on the subdivision of a 3D world into transparent, comprehensible, and instrumental entities.

The exhibition Flash Cube will chart a series of such spatial research strategies implicating a diversity of artistic points of departure such as fluid inner space, open urban space and installative space. The various photographic strategies will be mutually confronted in a transformative way in the exhibition's methodology of mounting (floorplan) - underscored by Rem Koolhaas’ unique non-perspectivist display system of Leeum's exhibition space - so that both spatial reflection and spatial experience can occur in dynamic and invigorating ways.

Artists: Gerard Byrne, David Claerbout, Thomas Demand, Jonas Dahlberg, Geert Goiris, Andreas Gursky, Noritoshi Hirakawa, Klaas Hoek, Candida Hofer, Jan Kaila, Sanggil Kim, Koo Jeong A, Aglaia Konrad, Yoon-jean Lee, Armin Linke, Hermann Pitz, Thomas Ruff, Hiroshi Sugimoto, Haegue Yang, JeongMee Yoon, Mieke Van de Voort and Jeff Wall :: Curator: Henk Slager :: Coordinator: Hyesoo Woo.

Flash Cube was also made possible by Samsung Electronics, Cyworld, Asiana Airlines and the Mondriaan Foundation.

Posted by jo at 09:42 AM | Comments (0)

July 03, 2007

FLOSS + Art = people.makeart


Call for Papers

FLOSS+Art :: Call for Papers :: Deadline: September 15, 2007 :: people.makeart is a new project by GOTO10. It is a repository of articles and lecture materials focused on the relationship between FLOSS (Free / Libre / Open Source Software) and digital arts, as well as a database of free digital art projects. The selected papers will be published on the people.makeart website and will be printed in the FLOSS+Art book, scheduled for spring 2008, using OpenMute's POD publishing service. GOTO10 is now accepting new, old and recycled papers on the following issues:

- opening digital art's practice, code and culture - FLOSS communities VS. art collectives - digital art licensing, copying and distributing, using open content models - role of the artist in FLOSS development - influence of FLOSS on digital art practices - free software to produce art and the art of producing free software - economy of an open digital artwork - FLOSS as an embedded political message in digital art - paradox and limitations of open licenses for digital art - FLOSS as a way to quote and embed other artworks in a new one - digital artist as a FLOSS developer / user and vice-versa - definitions and manifestos for a free software art - branching and forking of an open digital artwork - opening digital art to ensure future maintainance and porting.

Submission Procedures:

- Submit your final paper to pmafloss[at]goto10.org no later than September 15th, 2007. Include the text "FLOSS+Art" followed by your paper's title in your e-mail subject line.
- Submit as many papers as you want, one mail submission for each.
- Accepted formats : plaintext, LaTeX, OpenDocument. No other file format will be accepted.
- The paper must be attached to the mail, do not send us links
- The submitted paper must be written in English
- Paper must be 1500 words minimum

The FLOSS+Art POD publishing is a collaboration between GOTO10 and the Digital Research Unit of the University of Huddersfield and the Bergen Center for Electronics Arts with commissions and contributions from various organisations and institutions.

Posted by jo at 09:48 AM | Comments (0)

July 02, 2007

Re-Mediating Literature Conference


Relocating Literature within Networks, Technologies, + Media Studies

Re-Mediating Literature :: Utrecht University :: July 4-6, 2007 :: Recent developments in digital and electronic media have stimulated new theoretical reflections on the nature of media as such and on the way in which they evolve across time. The aim of this conference is to examine how recent technological changes have affected the 'old' medium of literature.

Multimedial and interactive texts, digitalized archives, cyberpoetics, and technological innovations such as foldable screens: together these have influenced the production and reception of literature, along with the ways in which we think about writing and reading. These ongoing developments call for a critical examination both of the relations between literature and the new media, and of the relations between literary studies and media studies.

The concept of 'remediation' in our title thus has a double thrust. Firstly, it refers to the transformative exchanges between literature and the new media: how has digitalization affected literature as a cultural medium? Secondly, 'remediation' indicates a relocation of literary studies within the broader field of (new) media studies: how could literary studies profit from the various analytical tools developed in (new) media studies and, conversely, how could our understanding of earlier phases in the evolution of the literary medium contribute to our understanding of present developments? By working on both these issues, we hope to relocate the place of literature within the milieu of modern media networks and technologies, but also to relocate the aims and practices of literary studies within the field of media studies.

Main themes:

A. New technologies and literary practices - the state of the field: will literature continue to develop as a schizophrenic medium, a hard medium of printed matter and an unstable medium of electronic data at the same time, or will it fork out in one of two directions? How is digitalization affecting reading practices and the circulation of literary texts? What new forms of intermedial and multimedial literatures are emerging?

B. Literature and the new media - the longer view: what new light do recent developments throw on the history of literature as a cultural medium and, conversely, how might insights from the history of the literary medium contribute to our understanding of recent developments? How can literary history be rewritten in conjunction with such media technologies?

C. Media compatabilities and competitions: new media hardly ever completely subject and annihilate older media. Rather, the two tend to co-exist, each taking on different tasks and responsibilities (cf. film and the novel in the earlier twentieth century). At the same time, however, they often interrupt and compete with each other (cf. television and the digital in the later twentieth century). How can this duplicity or compatability and competition be mapped and analyzed, and which are the insights that such analyses might yield into media formations as techno-cultural formations?

D. Disciplinary relocations: will literary studies become a branch of media studies in the foreseeable future - and if so, how? Will literary studies profit from such a relocation and how will this relocation affects its objects and methodologies?


Marie-Laure Ryan: "Self-Reflexivity in Net-Art" - Self-reflexivity is widely considered by cognitive scientists a distinctive feature of the human mind. It is therefore not surprising that this fundamental thinking process should manifest itself in most human artistic and intellectual projects. The postmodern fascination with self-reflexivity can be attributed to the sense of pastness that permeates turn-of-the millennium culture. But self-reflexivity could also be a response to the curiosity aroused by the development of a new medium in search of its cultural function. By filling the World Wide Web with images and inverted images of its own utilities and by often making these utilities dysfunctional, Net.art invites us to reflect on the kind of immersion in digital culture that fools us into thinking that we fully control the technology that supports it.

Samuel Weber: "'Seagulls': A 'Script-Image' of Walter Benjamin" - No writer-critic of the 20th century was more attentive to intermedial questions than was Walter Benjamin. One of the forms this attention takes is his notion, and practice, of the "Schriftbild". This talk translates and reads this as a 'Script-Image' (Schriftbild). A Script-Image is both a written image, and one that "scripts" a scenario. This presentation will address one particular staging of a script-image: the short piece entitled "Seagulls" (Mvwen), one of five that Benjamin wrote in the summer of 1930 during a three-week trip to Scandinavia and then published under the title, "Nordic Sea" (Nordische See). (An English translation will be made available).

N. Katherine Hayles: "Narrative and Database: Remediating Literature Through Data" - Recently several theorists have proposed that database is replacing narrative as the dominant cultural form, among them Lev Manovich and Ed Folsom. This presentation will argue for that narrative is essential for human communication and culture, but it will also acknowledge that contemporary narratives are transforming through the impact of data. Remediation here implies that the feedback cycle described by Bolter and Grusin in Remediation can also be understood to take place through different cultural forms as well as through different media, where the dynamics are informed not by the hypermediation / transparency dialectic they describe but rather by the circulation through narrative and data.

Jan Baetens: "Novelization and Intermediality" - This paper tackles first of all the major characteristics of the novelization, a very popular although badly known example of intermediality in 20th Century storytelling (not "the film of the book", but "the book of the film"). Il will give a broad historical survey of the genre, which is actually as old as cinema itself, so to speak. In its second part, the paper tries to define what is really at stake when we study this genre, and why it can be interesting to focus closely on such a "minor", and often espised, practice. Finally, this paper presents a short analysis of one or two case studies, among them the novelization of Jacques Tati's "Les Vacances de Monsieur Hulot" by Jean-Claude Carrihre, a famous French screenwriter (his collaboration with Bunuel is still very famous) and author of various novelizations since his first attempt in the late fifties until today( cf. Goya's Ghosts, 2006).

Joanna Zylinska: "Logos bio-ethikos: What If Foucault Had Had a Blog?" -This paper focuses on one particular domain of contemporary media culture which blurs the boundary between the literary and the literal:blogging. Arguing that blogs aim at creating an experience of total life by building intricate systems of connections between online and offline spaces, personae and narratives, I will explore the extent to which practices facilitated by blogging can be interpreted in terms of bioethics. However, bioethics for me is not limited to the study of ethical issues arising from the biological and medical sciences. Rather it becomes a broadly conceptualised ethics of life, which requires judgement on what we understand by life in its different forms, and on what our position as those who deem themselves to be human is in this bioethics. Interestingly, Foucault associates the practice of self-writing precisely with an ethos of life. The keeping of individual notebooks focused on the recollection of the past is for him a matter of constituting a logos bioethikos for oneself, an ethics quite explicitly oriented by concern for the self toward objectives defined as: withdrawing into oneself, getting in touch with oneself, relying on oneself, benefiting from and enjoying oneself. This phrase logos bioethikos provides a key for my ereading of bioethics as a practice of good life, always on the way to becoming-a-good-life. But I suggest Foucault has in mind something much more material and direct than just a story about one s life and about how it should be lived: this practice of self-writing is actually said to produce a body. Drawing on Seneca, Foucault claims that writing transforms the thing seen or heard into tissue and blood. From this perspective diaries and blogs are not just commentaries on someone's life, already lived to this point but also somehow more real outside its narrative; rather they are materialisations of it, as I will argue in this paper. In doing so I will show that in blogging this materialisation occurs very much through an enactment of a different, more embodied, aware, and lively relationship with technology.

Posted by jo at 05:30 PM | Comments (0)

Dislocate 07 - Exhibition and Symposium - Tokyo



Dislocate 07: ART, TECHNOLOGY, LOCALITY - Exhibition, Symposium and Workshop series :: 24th July – 5th August :: Tokyo and Yokohama - Ginza Art Laboratory (Wednesday – Sunday 3-8pm); Koiwa Project Space (Tuesday – Sunday 2-7pm); ZAIM 28th & 29th July 11am-4pm - Symposium and Workshops; Opening Event Koiwa Project Space 24th July 7pm; Performance Event ZAIM 29th July 6pm :: All Events are Free.

The city is no longer built of concrete, a static posture no longer endures. Our surroundings have become a malleable space which can be warped, spliced and expanded at will. We no longer stand in one place alone, a mass convergence of coordinates is taking place beneath our feet. As we traverse these points of perpetual motion we are enclosed by structures of elsewhere, met with the sliding walls of other places which lead us through a never ending maze. Shrouded in alternative layers of space, we escape to another confinement through the mesh of new media.

As our presence is extended by the veins of technology our sense of space is transformed, our nervous system stems through endless reaches of universal skin. Our eyes see through a thousand windows, each with a different view, a collision of a multitude of global sounds meets our ears, our fingers pass beyond tiers of materiality.

But can we see what is before us? Are we listening to the resonance of our surroundings? Can we feel the texture of this place?

Engaged in distant or imaginary space, we flick through the channels with our remote control and choose when to plug in when to switch off. But as we are absorbed by these electronic pulses are we disappearing from the here and now?

Personal technologies offer a kaleidoscopic sensation of a multi-layered existence, but perhaps may also provide a microscope by which to examine the place which we are in at this moment.

Dislocate 07 – Festival for Art, Technology and Locality

Dislocate brings together a group of over 30 international artists in an exhibition, symposium and workshop series in Tokyo and Yokohama. Considering the spacial and social dislocation which can occur through technology, these artists are investigating how new media can be rooted in its specific location and form a meaningful relationship between ourselves and our surroundings.

Dislocate aims to explore the potential new media has to increase our awareness of our environment, enhance participation in our locality and community and transform our perceptions of the space we inhabit.

This project presents cutting edge approaches to new technology art but with a view to seeing beyond the technology itself, examining what lies past the screen.

Dislocate prompts us to reconsider the alternative uses of the personal technologies which surround us, not merely offering an escape route from our current situation but also a tool to actually confront this very location.

With an endless array of spaces available to us, we can select our contexts of participation like the channels of a television. We may be highly active in an online space, engrossed in our constructed personal space, but by choice or otherwise we may distance ourselves from our immediate surroundings. We are presented with the freedom of ‘unlimited’ possibilities and yet are we making these decisions consciously or are they occurring without thought?

Dislocate considers the very integration of new media with the environment and this might be utilized to consciously reconnect with our location, seeking to explore, question and debate how can technology be used to heighten our engagement with our surroundings instead of isolating us from our immediate space. When numerous places converge in one site, how do we navigate such space? How does our interaction within a given space formulate identity and how can this be communicated effectively to elsewhere?

These are some of the questions which will be raised through the Dislocate events.

Exhibition: Taking place over two sites, of contrasting locality, this exhibition aims to present a particular relationship to its surroundings, revealing new perspectives of our immediate space, engaging with and investigating this site while also fusing with spaces beyond. Works include a city wide game in which teams play against each other with their mobile phones, an exploration of the streets led by the beat of your heart, architecture which responds to environmental conditions and emotion mapping of the urban landscape.

Symposium: Christian Nold, Active Ingredient, Dan Belasco Rogers, Taeyoon Choi, So Hyeon Park, Erik Pauhrizi, Augmented Architectures, Sascha Pohflepp, Miguel Andrés-Clavera and Inyong Cho

Dislocate presents an international symposium with confirmed delegates from UK, Germany, Republic of Korea, Indonesia and Japan further contributing to the discourse surrounding the interplay of art, technology and location.

This symposium aims to explore what is meant by ‘locality’, how does new media impact upon our notion of space, our interaction with our surroundings, and how this can be used to transform communities, both virtual and physical. The conflicts and integrations which emerge as separate spaces collide in one site will be examined raising concerns of homogenization and de-contextualisation alongside the awareness of local identity and culture. This will include a scrutinization of sensitive, meaningful exchange between different localities facilitated through new media and the manifestations which reconnection or further connection with our environment can take.

Workshops: In a series of workshops participants will have the opportunity to engage further with some of the Dislocate artists and investigate with them in an active form of research and collaboration. The focus of these workshops will be upon the exploration of the surrounding environment, investigating its many layers and connections with other spaces. Workshops will enable direct participation and engagement with the locality and may also draw attention to our simultaneous interaction with elsewhere.

Workshop leaders include Christian Nold, who will present his bio-mapping project, allowing participants to create emotion maps of their travels through the city by the use of bio sensors. Erik Pauhrizi will lead a workshop exploring lo-tech solutions to advanced mobile and locative media.

Performance: Andreas Schlegel and Vladimir Todorovic; Naoko Takahashi; Musashino Art University Media Art Students.

All events are free
If you wish to attend the symposium or workshops please email info@dis-locate.net with your name and contact telephone number

Artists Include:

Active Ingredient www.i-am-ai.net
Christian Nold www.softhook.com
Dan Belasco Rogers www.planbperformance.net/dan/
D-Fuse http://www.dfuse.com/
Taeyoon Choi http://tyshow.org
So-Hyeon Park
Erik Pauhrizi http://butonkultur21.org/
Andreas Schlegel and Vladimir Todorovic http://syntfarm.org/projects/btc/
Yuko Mohri http://www.h6.dion.ne.jp/~moo/
Augemented Architecture http://www.augmented-architectures.com/
Stanza http://www.stanza.co.uk/sensity/index.html

For more information please contact Emma Ota: info[at]dis-locate.net

Participating Artists: Active Ingredient, Christian Nold, Dan Belasco Rogers, DFuse, Taeyoon Choi, So Hyeon Park, Erik Pauhrizi, Stanza, Yuko Mohri, Ryosuke Akiyoshi, Disinformation, Augmented Architectures, Martin Callanan, Frank Abbott, Sascha Pohflepp, Andreas Schlegel and Vladimir Todorovic, Mouna Andraos, Miguel Andrés-Clavera and Inyong Cho, Laurent Pernot, Esther Harris, Andreas Zingerle, Julian Konczak, Genevieve Staines, Marco Villani, So Young Yang, Liu Zhenchen, Nisha Duggal, Lori Amor & Kevan Davis, Maria Raponi, Lisa Mee, Leo Morrissey, Cary Peppermint & Christine Nadir, Anne-Marie Culhane, Jomi Kim, Harry Levene & Jon Pigrem, Naoko Takahashi, Son Woo Kyung.

Dislocate is supported by The Asia-Europe Foundation, The Sasakawa Foundation, The Daiwa Anglo-Japanese Foundation and Arts Council, England

Posted by jo at 12:08 PM | Comments (0)

Transitio_mx 02: Electronic Arts and Video Festival


Call for Entries

The Electronic Arts and Video Festival, Transitio_mx is the most relevant platform in Mexico for the expression and analysis of the contemporary artistic practices with electronic media and the digital culture.

The title for the current edition of the festival is Nomadic Borders, making reference to the electronic / media arts through two metaphors: on the one hand, the border as the symbolic site that lies in the limit itself; on the other, the nomadic as an image of what is mobile, that which lacks a specific location. At the nomadic frontier there is no belonging, the communities developed there are always about to be built. From that idea, the conceptual axes of the festival are derived: Communities in Process and Processes in Community.

The main objective of the Festival is to support, recognize and spread production and current research around the artistic-electronic media, in an inclusive and expansive environment, by means of an exhibition, a symposium and a competition.

The competition is open to all individuals, groups and associations involved in the creative production using electronic media like videoart, sound art, net-art, installations, performing arts, performance actions and other related manifestations.

In the current edition, the National Council for Culture and the Arts, through the Multimedia Center of the National Center for the Arts, opens the calling for the following awards:

TRANSITIO AWARD: The national and international community is called to participate in the Second Electronic Arts and Video Competition that will be carried within the Festival framework from October 13th to 19th, 2007. During the Festival the following prizes will be granted as a recognition to produced work: A single prize worth $ 120,000.00 Mexican pesos or its equivalent in U.S. dollars. The honorary mentions that the Jury considers pertinent.

Proposals for this award will be taken in from the publication of this announcement and until July 27th, 2007 6:00 p.m. (GMT -6). No proposals will be taken in after this deadline. The shipping date can be taken into account as long as the shipment is done using express mail and not ordinary service. In case of international shipments, the package or envelope should be clearly labeled as "Cultural Material with no Commercial Value". The FESTIVAL WILL NOT COVER SHIPPING OR CUSTOMS TAXES COSTS.

SIZIGIA AWARD: The national and international community is called to send its electronic art proposals for the SIZIGIA project, coordinated by Laboratorio Curatorial 060. SIZIGIA is an island in the middle of the Usumacinta River, in the border between Mexico and Guatemala. After its claim as an independent territory by the members of Laboratorio 060, the island was mapped and transferred accurately to the virtual world of Second Life. By working as an independent zone in two planes of interaction, real and virtual, SIZIGIA is self-assumed as a micro-State possible of socio-imaginary confluences. The project impels the application of a biopolitical engineering through different interaction methods between real structures and virtual developments. As a part of their curatorial proposal for Transitio_mx 02, and to be presented in the international exhibition, Laboratorio 060 will coordinate the following awards:

Up to three virtual residences lasting 2 months for the development of the winning projects, which include the amount of 265.000 Linden dollars (approx $1000 USD).

Proposals for this award will be received from the publication of this call and until July 20th, 2007 6:00 p.m. (GMT -6). They can be sent through the Internet, or directly by courier to the Multimedia Center. No proposals will be taken in after the deadline. Proposals after the deadline will not be received. The shipping date can be taken into account as long as the shipment is done using express mail and not ordinary service. In case of international shipments, the package or envelope should be clearly labeled as "Cultural Material with no Commercial Value". The FESTIVAL WILL NOT COVER SHIPPING OR CUSTOMS TAXES COSTS.

TRANSNATIONAL COMMUNITIES AWARD: Granted by the US-Mexico Foundation for Culture, Inc, Fomento Educacional, A.C. and Fundación Cultural BBVA Bancomer :: The Transnational Communities Award is open to artistic, cultural and social projects that creatively use the technologic and conceptual tools available in the web, broadening the channels of communitarian communication and interaction and giving rise to spaces online where practices and stories are shared. The purpose of this award is to foster the access to cultural goods and to the technologies involved in its production and distribution, to promote the diversity of expressions and to recognise the citizen participation of the Transnational Communities that link Mexico and the United States in a daily and permanent way.

The call for submissions is open to individuals, groups, associations, organizations and institutions from Mexico and the United States that develop artistic, cultural and social projects for which the Internet is both a sufficient and necessary condition of viewing, expressing and participating.

Among the fields of activity subsumed are: video (communitarian video, documental, videoart, videoclip, videomail, telenovelas/soap operas), net.art, citizen journalism, digital communities, online forums, weblogs social networks, videogames online, online artistic collaboration projects, electronic literature, digital narrative, online communitarian radio, podcasts, etc.

During the Festival, the winner will be awarded with USD 3,500.

Proposals for this prize will be received from the publication of this call and until 6:00 p.m. (GMT -6) on July 27th, 2007. No proposals will be taken in after this deadline. The shipping date can be taken into account as long as the shipment is done using express mail and not ordinary service. In case of international shipments, the package or envelope should be clearly labeled as "Cultural Material with no Commercial Value". The FESTIVAL WILL NOT COVER SHIPPING OR CUSTOMS TAXES COSTS.

For further information on the submission please visit www.transitiomx.net/concurso

DOCUMENTATION: To obtain the information on the specific participation guidelines for each prize as well as the Application Form and all the information on the documentation that must be included, please go to the Festival’s webpage http://transitiomx.net or the Multimedia Center webpage http://cmm.cenart.gob.mx.

Or refer directly to:
Mariana Delgado
Communication and Public Affairs Coordinator
US-Mexico Foundation for Culture, Inc.
Tel. (52 55) 55 35 76 35
E-mail mariana[at]contactocultural.org

Posted by jo at 11:55 AM | Comments (0)

June 29, 2007

Double Skin/Double Mind


Experience a workshop, virtually

The interactive installation version of Double Skin/Double Mind will preview at Beeldmedia Studio, Amsterdam School of the Arts, Jodenbreestraat 3 on June 29 + 30 from 16:00-20:00.

Double Skin / Double Mind is a virtual version of the Double Skin / Double Mind workshop. This workshop, which has been taught by dance company Emio Greco | PC since 1996, represents the basis of the creative work of choreographers Emio Greco and Pieter C. Scholten. Participants in this workshop are challenged to discover new interpretations of their dancing body.

Throughout 2006 an interdisciplinary research group, consisting of dance notators Eliane Mirzabekiantz and Marion Bastien, motion capture researcher Fridiric Bevilacqua, cognitive neuroscientist Corinne Jola, media artist Chris Ziegler, cinematography Maite Bermudez, artistic research processes Scott de Lahunta and EG | PC researcher Bertha Bermudez, has been focusing on this specific workshop trying to analyse and document it.

The different data from each research area have been collected, and interactive graphic visualisation tools and motion capture were re-implemented to create this preview of the Interactive Installation Double Skin / Double Mind. The current installation offers participants the possibility of taking part in a virtual version of the workshop in real time, while receiving verbal, physical and peripheral information. By following a life size moving figure, the participants will recognize, compare and understand their actions and involvement in the practice of this workshop. They will travel through the Double Skin / Double Mind structure in a mental and physical way, experiencing what the different layers are.

Concept and realization: Chris Ziegler (ZKM Karlsruhe), Fridiric Bevilacqua (IRCAM, Paris), Bertha Bermudez (Emio Greco | PC)
Co-production with: Amsterdams School of the Arts, research group Art Practice and development, Marijke Hoogenboom
With thanks to: Maite Bermudez, Katharina Pohlmann, Eliane Mirzabekiantz, Marion Bastien, Corinne Jola, Nederlands Instituut voor Mediakunst / Montevideo, Scott deLahunta, Jeroen Fabius, Paul van der Ploeg, Cinedans and the EG | PC team
Project supported by: Prins Bernhard Cultuurfonds
Emio Greco | PC receives funding from: the Dutch Ministry of Education, Culture and Science and from the Dutch Fund for Amateur Art and Performing Arts.

contact: berthabermudez]at]egpc.nl

Chris Ziegler
mobile +49172 89 56 328

Posted by jo at 11:05 AM | Comments (0)

June 28, 2007

A Theatre Without Theatre


The Links Between the 'Experience of the Senses' and 'Action'

A Theatre Without Theatre :: until September 11, 2007 :: Museu d'Art Contemporani de Barcelona, Placa dels Angels, 1, 08001 Barcelona :: Curators: Bernard Blistène and Yann Chateigné, with the collaboration of Pedro G. Romero :: Co produced by: Museu d’Art Contemporani de Barcelona (MACBA) and Museo Berardo in Lisbon.

A Theatre Without Theatre explores the metaphors in which the influences of the theatre model made themselves felt in the arts of our times throughout the 20th century. This exhibition brings together more than 800 works, including paintings, sculptures, installations, drawings, photographs, videos, manuscripts and various other types of documents.

The exhibition reflects on the condition of the subject in contemporary society and on the links between the 'experience of the senses' and 'action'. At the same time, it considers the dramatic roots of art as a constituent element of western modernity: from Vsevolod Meyerhold to Oskar Schlemmer, from Antonin Artaud to Judith Malina and Julian Beck (founders of the Living Theatre company), from Samuel Beckett to Tadeusz Kantor, the theatre has been a wellspring of ideas and theories that have been absorbed by art, becoming models of the aesthetic and spatial relationship. Art could, to a certain extent, be 'the other stage' of dramatic practice.

A wide range of approaches to the notion of drama and the points of convergence between an 'archaic' art and aesthetic innovation and the break with the past are presented in various fields of research in this exhibition, which reveals the artists and the themes common to both the theatre and art. The exhibition is not structured to show a pattern of evolution over time but instead centres on various core areas of analysis in which the genealogies and influences from the early 20th century are set out.

The theatre stage is a space isolated from the real world and hence is fictitious (though not false). It is perhaps this separation -- the distance between the actor and the audience member -- that enables the theatre to serve as a critical model as regards the 'apparent' and to use its full weight to facilitate the circulation of ideas. The 20th century was a period when the theatre got caught up in a process of transformation that eventually came to affect the roots of western culture as a whole and art in particular.

From the mid-1960s onwards, the notion of theatricality was a prominent element in contemporary art criticism. Minimalism was initially regarded as harmful and thought likely to destroy art as it had been known till then. Michael Fried, the American critic, railed against it in his famous essay Art and Objecthood (1967) on the grounds that it proposed a relationship between the work and the spectator that could lead the space of the artwork to absorb the viewer. The artists of the generation immediately after Minimalism appropriated the theatre model in order to create a core from which the foundations underpinning the contemporary could extend outwards. These foundations were the simultaneity of action and perception in the arts and the constant swapping of roles between actors and audience.

In the early 20th century, Dada, Futurism and Constructivism clearly expressed the close bond between aesthetic renewal and the theatre model. Cabaret, music hall, soirées or social gatherings, declamation and reading became modes of presenting active art for many artists after 1916. Playwrights such as Antonin Artaud and Samuel Beckett have been regarded as the true founders of artistic approaches and practices that go beyond the mere quotation.

A THEATRE WITHOUT THEATRE begins with the confrontation between the invention of Minimalism --with works by Carl André, Robert Morris and Donald Judd-- and its rejection and refutation by the following generation -Dan Graham, Bruce Naumann, Marcel Broodthaers, James Coleman and Michelangelo Pistoletto-. In the works of these latter artists, it is possible to see the importance of the text and the 'set' and to appreciate the need for a new attitude on the part of the audience, which is sometimes directly addressed and always questioned during the act of perception.

A THEATRE WITHOUT THEATRE is complemented by the research of Pedro G. Romero into the relationship between art and the theatre model in Spain: works by Federico García Lorca, Ramón Gómez de la Serna, Helios Gómez, Antonio Miralda, the Teatro Estudio Lebrijano Company and Ocaña, among others, are featured in the various sections of the exhibition.

Posted by jo at 11:53 AM | Comments (0)

June 27, 2007



Urban Game & Mapping Exercise

FRIDAY SESSION 18 :: CADAVRE EXQUIS CARTOGRAPHY (C.E.C.); An urban game & mapping exercise followed by Talks from Dr. Maria Kaika and Julie Myers :: June 29, 2007; 6.30 pm :: Outside Bank Tube station - Take the 'Cornhill North' exit and meet us on the square outside the Royal Exchange, corner of Threadneedle St. and Cornhill :: Bring: a digital camera with its download equipment (Cables!), so we can download the images after the walk at Public Works and team-mates.

CADAVRE EXQUIS CARTOGRAPHY prompts people to explore and collect ground-level images of the City. Walks will be followed by two short talks at the public works studio at 8pm. Dr .Maria Kaika of Oxford University will talk on the continuously changing development of the City of London. Julie Myers will present - To travel Somewhere - a mobile phone / mapping project developed from a series of walks in San Francisco, USA, Cambridge, UK and Helsinki, FIN.

CADAVRE EXQUIS CARTOGRAPHY is played in pairs sharing one digital camera with display screen. Player 1 starts by taking a picture with a designated building or object in the frame as well as a second object / building of any kind. After handing over the camera to player 2, both leave the first photographed object behind, moving towards the second element of the shot. Player 2 now takes a picture with this building / object in the frame, but again with something else in the background or foreground, which will be the linking element in the next image. The camera is then handed over to player 1, who takes the next photo of the series.


1. A team is only allowed 30 shots and 1 camera per walk, so SHOOT CAREFULLY!
2. Images have to overlap physically and can only be of ground level building or object, so DON'T SHOOT IN THE AIR!
3. Only take images of objects/buildings in front of the team so SHOOT FORWARD!

All images will be assembled online and will allow visitors to wander through the City from behind their computer.

Maria Kaika holds a D.Phil. in Geography from the University of Oxford, and an MA in Architecture from the National Technical University of Athens as well as professional qualifications as an architect. Her previous posts include: Director of Studies in Human Geography at St Hugh's College, Oxford, Departmental Lecturer at the School of Geography, Oxford, Junior Research Fellow at Linacre College, Oxford, Lecturer in Human Geography at St Peter's College Oxford.

Dr Kaika's research focuses on urban theory, and more specifically on the politics and culture of architectural technology and design and on urban political ecology. Collaborative projects include work on: urbanism and culture; modernist urbanism and nature; urban environmental history; representations of nature and the city; governance and environmental policy; European environmental policy; theoretical approaches to sustainability; political ecology of water supply in western cities.

Julie Myers is an artist who's practice is informed by social encounter and intervention. Her work investigate memory, gesture and narrative in relation to physical environment. Sometimes recording just a brief moment captured between strangers and at other times building sustained relationship with multiple participants over a sustained period of time. She uses film/video, mobile technologies and database formats to document and present material that exists both on the web and in site specific or exhibition space.

Julie is a senor lecturer at Middlesex and Kingston Universities and lives in London. She has exhibited and screened work extensively receiving a number of awards including an AHRB research award and an Erasmus Scholarship. Previous work has been commissioned by The Arts Council of England, NESTA, The BFI, The Institute of Contemporary Art, BAA and the National Portrait Gallery. Julie has recently completed a placement at Adobe in San Francisco as part of the ACE interact program.

public works
Northgate House
2-8 Scrutton Street
UK London EC2A 4RT
Click here to view map

For more information email Jim[at]citymined.org or andreas[at]publicworksgroup.net

Posted by jo at 12:56 PM | Comments (0)

Tina Gonsalves' "Feel_Insula"


Stillness, Emotions and Hypnosis

Tina Gonsalves' Feel_Insula: An interactive Installation about Stillness, Emotions and Hypnosis :: At New Greenham Arts, The Corn Exchange, 113 Lindenmuth Way, New Greenham Park, Newbury, Berks, RG19 6HN UK :: Preview: Sunday 1 July 2007 12-2pm :: From June 28 - August 3 :: 10am-5pm; Thursday (10am-8pm; Saturdays by appointment).

Feel.Insula is an intimate and vulnerable responsive video installation driven by the stillness of the audience. In a darkened space, a video is projected on the wall. It is of the artist under hypnosis. Under hypnosis, the artist is asked to re-experience potent emotional memories of her life. As soon as the viewer enters the space, the artist wakes up from hypnosis. Only after the audience is completely still does the video fall back into weaving the stories re-lived under hypnosis. FEEL_INSULA emerges from a collaboration between neuroscientist Dr Hugo Critchley and artist Tina Gonsalves, and was created over her artist in residency at the Institute of Cognitive Neuroscience at UCL, London.

Emotion expression databases such as Karolinska and Ekman databases are commonly used with in affective neuroscientific experiments. The artist started to question the validity of these performed emotions as stimuli. In the search for more authentic emotiona; expressions, she began working with Dr. David Oakley, the Director of the Hypnosis Unit at UCL. She asked Oakley to hypnotise her in order to re-experience different potent emotional memories. Over 3 one-hour sessions, Oakley induced her into states of fearfulness, sadness, happiness and calmness. Each session was recorded using two 3 chip digital cameras focused on the artists face and also radio mic and ipod recorder. These video and audio recordings formed the basis to FEEL_INSULA.

Tina Gonsalves (AU) is currently honorary artist in residence at the Wellcome Department of Neurology at University College London. Combining diagnostic imaging, biometric sensors and mobile technologies, her installations, films for television, and software investigate emotional signatures both within the body and among interactive audiences. Since 1995 her work has shown internationally at venues including Banff Centre for the Arts (CA); Siggraph (US); International Society for the Electronic Arts 2004; European Media Arts Festival; Institute of Advanced Media Arts and Sciences (JP); Australian Centre For Photography, Sydney; Barbican (UK); Pompidou Centre (FR), Institute for Contemporary Art, London; and Australian Center for the Moving Image, Melbourne. Her music videos for Universal, BMG, EMI, and Festival Mushroom Records have been televised worldwide.

Posted by jo at 12:42 PM | Comments (0)

Networks and Boundaries


Call for Applications

Call for applications at the Getty Research Institute for the theme Networks and Boundaries. The Institute welcomes applications from established scholars, postdoctoral scholars, and predoctoral candidates, as well as writers and artists who wish to be in residence in 2008-2009 and whose projects explore cross-cultural exchange and the visual arts.

The study of the visual arts can and does cross cultural, civilizational, ethnic, religious, and geographic boundaries. Cultural exchange takes place through kaleidoscopic networks that are themselves dynamic and transformative. These exchanges are integral to the construction of boundaries, contributing to definitions of self and other. The contact zones within which they occur are marked by appropriations, hybridizations, and syncretisms-all of which remap cultural boundaries.

The study of the visual arts has its own networks and boundaries, including interdisciplinarity and divisions between national, area, and world histories. How freely have artists, art objects, and artistic concepts and practices moved across socio-political and cultural boundaries? And with what results? How closely do artistic crossings and their analyses map onto larger networks of power and economics? How do we negotiate the different demands of local cultural contexts with larger regional and/or global concerns?

Scholars in residence will find that the special collections of the Getty Research Library are especially rich in primary materials that bear upon this topic, ranging from nineteenth-century photographs by European travelers in Asia to the collection of the Association Connaissance de l'histoire de l'Afrique contemporaine (exploring the influence of French colonialism in Africa); from the papers of international architect Bernard Rudofsky to documentation of such global activities as Fluxus and mail art.

Eligibility: These grants are for established scholars, artists, or writers who have attained distinction in their fields. Applications are welcome from researchers of all nationalities who are working in the arts, humanities, or social sciences.

Grants For Scholars: Getty scholars are in residence for the entire academic year (from September 2008 to June 2009). A salary-replacement stipend is awarded equivalent to the applicant's current academic base salary, up to a maximum of $75,000. The grant also includes an office at the Getty Research Institute, research assistance, airfare to and from Los Angeles, an apartment in the Getty scholar housing complex, and health benefits.

Grants For Visiting Scholars: Visiting Scholars are in residence for a three- month term. A monthly stipend of $3,500 is awarded, prorated to the actual dates of residency. The grant also includes an office at the Getty Research Institute or Getty Villa, research assistance, airfare to and from Los Angeles, and an apartment in the Getty scholar housing complex.

Application Availability and Deadline: Completed application materials must be received in the Getty Foundation office on or before November 1, 2007. We regret that incomplete applications, or late applications (those received after November 1, 2007, regardless of their postmark date or place of origin), cannot be accepted for consideration. Unfortunately, we cannot accept applications hand-delivered to the Getty Center or those sent by e-mail or fax. Application material cannot be returned.

Posted by jo at 12:26 PM | Comments (0)

INTIMACY Across Visceral and Digital Performance



How are bodies represented through technology? How is desire constructed through representation? What is the relationship of the body to self-awareness?” [Stone, Allucquère Rosanne The War of Desire and Technology at the Close of the Mechanical Age Cambridge, Mass. & London: MIT Press, 1995, p. 17]

[Image from Paul Sermon's "Telematic Dreaming"] INTIMACY Across Visceral and Digital Performance is a three-day (December 7-9) interdisciplinary programme of events made to illicit connectivity, induce interaction and provoke debate between makers, participants and witnesses of works that explicitly address proximity and hybridity in performance. It will feature workshops, seminars, performances, posters, and a 1-day symposium. INTIMACY will employ digital and live art practices as agents, aiming to further practical exploration of and vibrant discourse into notions of intimacy in contemporary performance. It is framed as a forum for artists, scholars, community workers, performers, cultural practitioners, researchers and creative thinkers.

INTIMACY will provide a platform for the discussion of live art/performance practices concerned with displaying intuitive, intimate and visceral relationships between artist and other. It will explore performance practices that engage in intimate encounters, raising issues around bodies of data and flesh; presence as aura and representation; desire as embodied condition and disembodied fantasy; the human and posthuman self. Confirmed contributors include: Johannes Birringer, Kira O'Reilly, Tracey Warr, Janis Jefferies, Amelia Jones, Dominic Johnson, Kelli Dipple, Paul Sermon.


INTIMACY will take place on the 7th, 8th and 9th December in and around Goldsmiths University of London, LABAN and The Albany (South London).

CO-DIRECTORS: Rachel Zerihan and Maria Chatzichristodoulou [aka maria x]


Prof. Johannes Birringer, Chair in Drama and Performance Technologies, School of Arts,Brunel University of West London; Artistic Director of AlienNation Co.
Hazel Gardiner, Senior Projects Officer, AHRC ICT Methods Network; Researcher.
Dr. Adrian Heathfield, Principal Research Fellow (Performance and Live Arts), School of Art and Design, Nottingham Trent University; Writer; Curator.
Prof. Janis Jefferies, Artistic Director, Goldsmiths Digital Studios; Director Constance Howard Resource and Research Centre in Textiles; Artist; Writer; Curator.
Gerald Lidstone, Head of Drama Department, Goldsmiths University of London.


All participants will be selected on an open submissions basis.
Proposals will be peer reviewed by the INTIMACY Board and Advisory Panel. Proposals must not exceed the word limit specified. You may provide additional info such as links to digital material including online video, photos and websites. Further supporting documentation such as hard copies and discs are welcome; if you want these returned please enclose a SAE. We are accepting proposals for:

Paper presentations or Performance Lectures
Poster presentations
Live performances -physical and/or digital

Proposals should be concerned with the relationship between visceral and digital environments/methodologies being explored in contemporary performance practice. Specifically, topics of interest include but are not limited to:

The politics of intimacy in contemporary performance
Risk in relation to intimacy in contemporary performance
Pornography/erotics and performed intimacy
(Dis)embodiment, (tele)presence and intimate performance encounters
Technologies as affective instigators of intimacy
Intimate aesthetics in contemporary performance
Interfaces of performed desire

Accepted proposals will be published on our website. Further publishing possibilities are being explored.


Submit by email to Maria X at and Rachel Zerihan intimacyrachelz[at]yahoo.co.uk writing INTIMACY SUBMISSION in the subject line. Send hard copies to INTIMACY c/o 22 Dutton Street, London, SE10 8TB.

Performances: Submit 1) 500-word statement detailing your project; 2) 200-word CV; 3) Tech Drive; 4) Any other supporting material as described above. Please note that only limited technical support can be provided.

Papers/ Performance Lectures: Submit 1) 500-word abstract. This contribution would form a 15 minute paper to be presented at the Symposium on Sunday 9th December; 2) 200-word CV; 3) Any other supporting material as described above.

Posters: Submit 1) 300-word abstract /summary; 2) 200-word CV; 3) Any other supporting material as described above.


Deadline for submissions: 19 August 2007
Notification of acceptance: early October 2007

ADVISORY PANEL (confirmed to date)

Daisy Abbot, AHDS Performing Arts Glasgow
Gavin Barlow, CEO The Albany
Alice Bayliss, School of Performance and Cultural Industries, University of Leeds
Brian Brady, Head of Programming, LABAN
Anna Furse, Drama Department, Goldsmiths University of London; Director
Marc Garrett, Artist, Co-director Furtherfield
Gabriella Giannachi, Co-director Centre for Intermedia, University of Exeter
Joe Kelleher, School of Arts, Roehampton University
Roberta Mock, Faculty of Arts, University of Plymouth
Molly Mullen, Re-Write Co-ordinator
Chris Salter, Artist; Researcher Hexagram; Department of Design and Computational Arts, Concordia University (Canada)
Jennifer Sheridan, Director BigDog Interactive
Igor Stromajer, Artist (Slovenia)
Bojana Kunst, University of Ljubljana (Slovenia)
Tony Thatcher, Choreographer; Programme Leader LABAN
Helen Varley-Jamieson, Performer (New Zealand)

INTIMACY Across Visceral and Digital Performance is supported by the AHRC ICT Methods Network, Goldsmiths Graduate School, Goldsmiths Digital Studios, Goldsmiths Drama Department and LABAN.

For more information on INTIMACY please visit http://www.cybertheater.org
If you have further queries, please contact intimacyrachelz[at]yahoo.co.uk or drp01mc[at]gold.ac.uk

Posted by jo at 12:06 PM | Comments (0)

June 26, 2007

Net User 4


Call for registration

Net User 4 international working camp :: July 16-24, 2007 :: Organized by InterSpace Association, Bulgaria.

Net User is an international and interdisciplinary forum taking place biannually in Bulgaria, which features a wide variety of current trends in network activities in order to develop a better theoretical and pragmatic understanding of ICT, new media and creativity. Building on the previous well-attended three editions of the forum, Net User 4 will bring together researchers and practitioners from many disciplines, fields and countries for a working camp with a variety of events like presentations, common and panel discussions, workshops, workgroups, free mutual skill sharing panels, a screening and exhibition program, music performances and informal exchanges.

The working camp will explore various issues around the theme of Networking or how do people living in the technological era develop and use the network technologies.

Net User 4 will take place in the heart of Balkan Mountains - Pleven Hovel, 1504 meters above sea level. The isolated place and the beautiful nature will provide the perfect environment for the programme of free mutual skill sharing panels, informal exchanges, and mostly for a creative holiday in a pleasant company.

The participation in the international working camp is free of charge, however the participants should cover themselves their travel and lodging costs.

Posted by jo at 12:50 PM | Comments (0)

Ars Virtua Presents: We are the Strange

Ars Virtua is proud to present the Second Life premier of We are the Strange :: June 29 at 6:00 pm SLT [SLURL].

M dot Strange takes us into the new realm of video game structured and inspired storytelling with his character's harrowing quest for ice cream. The variety of animation styles, game and cultural references and distopian beauty of this work make it important to modern filmmaking. Add to this that m dot strange created this virtually single handedly and had it selected for Sundance based on his YouTube audience and you end up with a very powerful piece of contemporary media.

We are the Strange is an animated feature film in which two diametrically opposed outcasts fight for survival in a sinister fantasy world. After meeting in the somber Forest of Still Life, an abused young woman (Blue) reluctantly follows a care free dollboy (Emmm) to Stopmo City on his unreasonable quest for ice cream. They're lives are constantly in jeopardy after they're caught in the middle of a deadly battle between bizarre monsters on their way to the ice cream shop. A flamboyant ultraviolent hero(Rain) appears and effortlessly dispatches all the horrible monsters in his path. Blue meets Rain before he partakes in an impossible battle against the source of all that is evil in Stopmo City. When it seems as if darkness will have the last laugh a gleaming fist made of aluminum foil bursts through the ground thus starting the final showdown
between mega_good and hyper_evil.

We Are the Strange is its own imaginative and immersive universe. M dot Strange spent three years painstakingly creating this film, using a range of animation techniques: traditional, stop-motion, computer, and his own unique blend of 8-bit graphics and anime, dubbed "Str8nime." The stunning visuals are complemented by a soundtrack that is both beautiful and harrowing. The end result is a freaky technocarnival ride that climaxes with a momentous battle between innocence and darkness.

Posted by jo at 12:17 PM | Comments (0)

June 25, 2007

Art + Music of the Overhead Projector


Call for Participation

ART AND MUSIC WITH THE OVERHEAD PROJECTOR - A one week experimental workshop around the overhead projector :: August 20-25, 2007 :: Moltkerei studio in Cologne / Germany :: Presentation and Performance August 25, 7pm - in the tradition of The Art of the Overhead- Festival.

The workshop is about a playful and artistic exploration with the overhead projector. It aims at everybody wanting to develop overhead projector based light/sound or performance works. In a final presentation the works created during the workshop will presented to the public. Overhead projectors, tools and materials will be supplied by the organisers. Simple accomodation can also be organised if needed. Travel expenses won't probably be covered.

If you are interested or have questions send an e-mail to tageslichtprojektor[at]derstrudel.org. Organization: Christian Faubel, Ralf Schreiber, Tina Tonagel

Posted by jo at 09:10 AM | Comments (0)

United Nations Plaza


Inaugurates WUNP – 95.2 FM

The United Nations Plaza Radio Network, WUNP – 95.2 FM :: Inaugural Broadcast – LIVE INTERNET STREAM :: June 30, 9-11pm CEST (Berlin) :: unitednationsplaza, Platz der Vereinten Nationen 14a, Berlin 10249, Germany :: followed by a party at Salon Aleman.

WUNP is a radio station produced by neuroTransmitter [Valerie Tevere + Angel Nevarez] for United Nations Plaza. WUNP is a portal for broadcasting audio works and conceptual radio projects. Over the course of the summer and fall of 2007 WUNP will be on air across Berlin (95.2 FM) and beyond through internet stream. We will initiate our broadcast schedule with special in-studio contributions and conversations with: Fia Backström, Regine Basha and Julieta Aranda, Uta Meta Bauer and Piotr Nathan, Karl Holmqvist, Stefan Saffer, and Tirdad Zolghadr.

WUNP radio programs will be available for continuing use in cassette form and are accompanied by a script or blurb to radio broadcasters.

Local broadcast times: 9-11am Honolulu / 11am-1pm Anchorage / 12-2pm Los Angeles, Vancouver / 1-3pm San Salvador / 2-4pm Bogotá, Mexico City / 3-5pm Montréal, New York / 4-6pm Buenos Aires, São Paulo / 4:30-6:30pm St. John’s / 7-9pm Casablanca, Reykjavik / 8-10pm Algiers, Dublin, London / 9-11pm Berlin, Rome, Zagreb / 10pm-12am Beirut, Istanbul, Nairobi, Ramallah / 11pm-1am Baghdad / 11:30pm-1:30am Tehran / +1 day -- 12-2am Islamabad, Moscow / 1-3am Dhaka / 1:30-3:30am Mumbai, New Delhi / 2-4am Chiang Mai, Hanoi / 3-5am Beijing / 4-6am Seoul, Taipei, Tokyo / 5-7am Sydney / 6-8am Vladivostok / 7-9am Auckland / 8-10am Anadyr / 9-11am Christmas Island /

United Nations Plaza is organized by Anton Vidokle in collaboration with Liam Gillick, Boris Groys, Martha Rosler, Walid Raad, Jalal Toufic, Nikolaus Hirsch, Natascha Sadr Haghighian and Tirdad Zolghadr.

For further information, please contact:

Ms. Magdalena Magiera
Platz der Vereinten Nationen 14a
Berlin 10249 GermanyUNP
T. +49 (0)30 700 89 0 90
F. +49 (0)30 700 89 0 85

Posted by jo at 08:53 AM | Comments (0)

re:place 2007


re:place 2007: The Second International Conference on the Histories of Media, Art, Science and Technology :: Date: November 15-18, 2007 :: Haus der Kulturen der Welt, Berlin.

This conference is a sequel to 'Refresh!', the first in this series, chaired by Oliver Grau and produced by the Database of Virtual Art, Leonardo, and Banff New Media Institute, and held at the Banff Center in Canada in September 2005, which brought together several hundred artists, scientists, researchers, curators and theoreticians of different disciplines.

re:place 2007 will be an international forum for the presentation and the discussion of exemplary approaches to the rapport between art, media, science and technology. With the title, 're:place', we propose a thematic focus on locatedness and the migration of knowledge and knowledge production in the interdisciplinary contexts of art, historiography, science and technology.

Posted by jo at 08:32 AM | Comments (0)

June 22, 2007

Camp for Climate Action


Workshop on Art Activism

Departure Lounge: A weekend workshop designing creative resistance against the root causes of Climate Change :: July 13-15, near Heathrow, London.

Some of the most successful political movements have been those that have developed creative forms of protest: the suffragettes chaining themselves to buildings, the beautiful tree houses of the anti roads protesters, the Zapatistas with their poetic communiques and masks, Reclaim the Streets' rebel carnivals, the Italian white overalls' imaginative take on civil disobedience. All these forms have emerged when the unbridled imagination of art mixes with the deep social engagement of politics. The growing radical movement for climate justice needs its own new forms.

Departure Lounge is a weekend workshop where we will collectively explore the spaces between art and activism and design creative actions in preparation for the Camp for Climate Action. The Camp, which takes place near Heathrow from 14th to 21st August, has been described by the Independent as "Glastonbury, science seminar and protest all in one." It mixes low-impact ecological living, dozens of workshops and mass direct action aimed at the root causes of climate change. This year it will be targeting the aviation industry and airport expansion.

At the workshop we will work together to create imaginative new forms of protest, share skills and ideas, and design events / actions that will take place during the Camp to engage, delight, provoke, challenge and encourage participation.

The weekend is suitable for those who are interested in work that does not merely 'represent' a political issue, nor serves as propaganda but directly confronts and transforms the issue itself. If you are interested in radically engaged practices that look neither like art nor activism but take the best of both of these worlds, that sit somewhere between direct action and performance, resistance and creativity then this workshop is for you.

A key inspiration for the workshop will be Steven Duncombe's concept of creating "Ethical Spectacles".

Taking place from the evening of Friday 13th July to late Sunday afternoon, 15th July, the workshop will be funded on a donations basis. We hope to be in one of the villages threatened with destruction by the expansion of Heathrow airport. The exact location will be confirmed later.

Facilitated by artist / activist John Jordan, and writer / activist Katharine Ainger, the workshop aims to inject a large dose of radical imagination into the rising movements for climate justice.

Places will be limited so please fill in the attached form and email it to - createresist[at]riseup.net -- before the 29th June. We will Confirm your place by 1st July. Even if you have done nothing like this before, please consider applying. We are looking for a diversity of perspectives. If you have special needs for attendance please let us know once your application has been received and accepted.

"Heathrow is its own city, a Vatican of the western suburb! The airport complex with its international hotels, storage facilities, semi-private roads, is as detached from the shabby entropy of the metropolis as is the City, the original walled settlement. They have their own rules, their own security forces, the arrogance of global capitalism. They service Moloch in whatever form he chooses to reveal himself; they facilitate drug / armament, blood / oil economies." - Ian Sinclair, "London Orbital"

Posted by jo at 04:20 PM | Comments (0)

Seoul International Film Festival 2007 Net Section



The 8th Seoul International Film Festival is open for entries. Seoul International Film Festival Net Section is trying to introduce talented visual artists all over the world and their brilliant works and to lead the new audio-visual experiences based on the Internet and New Media. We sincerely hope you consider this exciting opportunity to show your great endeavors in the digital convergence era.

WHEN : September 6 - December 31, 2007 :: WHERE : WWW.SENEF.NET / Mobile and DMB :: SUBMISSION DEADLINE: July 13, 2007 :: ELIGIBILITY: For the official competition section, only works completed after January 2006 may be submitted to the Festival. Submissions should be creative works produced or adopted through digital technology. There will be no restrictions regarding the genre, length or subject matter of the work and all types of works, including fiction, documentary, experimental work, music video, animation, motion graphic, flash animation, game, web-art, etc. will be accepted.


1. Completed application form (can be downloaded here)
2. Preview material:
- By Post : DVD / DV6mm / CD / VHS (Seoul International Film Festival Head Office - Program Dept. of Net Section, 5F Youahn Bldg. 146-23 Samsung-dong, Kangnam-gu, Seoul, 135-090 South Korea)
- By FTP Server (under 300 MB) : FLASH / WMV / MOV / AVI / MPEG
* For File-Transferring indications, please mail to program3[at]senef.net
- By E-MAIL : URL address to program3[at]senef.net

3. Complete script in English (.doc)
4. Photo of the Work (.jpg) : more than 300 dpi
5. Photo of the Artist (.jpg) : more than 300 dpi
6. Any other publicity materials related to the submitted work (optional)

* Application form and photos can be submitted by E-MAIL.
* Resolution should be more than 640 * 480.


Park, Ju Youn
Program Coordinator
Seoul International Film Festival
Tel. +82-2-518-4332
Fax. +82-2-518-4333
Mobile Phone. +82-11-9923-3190
5F, Youahn Bldg. 146-23 Samsung-Dong,
Kangnam-Gu, Seoul, South Korea
zip code 135-090

Posted by jo at 03:39 PM | Comments (0)

EVA Conference: Keith Armstrong


Ecology, Performance and Collaboration

As part of this year's EVA Conference, Australian media artist Keith Armstrong is giving a talk for the Computer Arts Society at Birkbeck: Ecology, Performance and Collaboration - Embodying Intimate Transactions :: July 10; 6:30 for 7:00 :: The Screen on Gordon Square, Birkbeck, 43 Gordon Sq, London, WC1H 0PD :: Nearest tubes - Euston Square, Warren Street, Russell Square. More info.

Intimate Transactions is a dual site, telematic installation currently been shown in the US. It allows two people located in separate spaces to interact simultaneously using only their bodies (predominantly their backs and feet), using two identical interfaces called 'Bodyshelves'. During a 30-minute, one-on-one session their physical actions allow them to individually and collaboratively explore immersive environments. Each participant's own way of interacting results in quite different, but interrelated animated and generative imagery, real time generated audio (seven channels), and three channels of haptic feedback (felt in the stomach and back). This experience allows each participant to begin to sense their place in a complex web of relations that connect them and everything else within the work.

Intimate Transactions is an investigation in creating embodied experiences that are both performative and improvisational by harnessing individual, performative languages of 'untrained' bodies as a means to engender understandings of 'ecological' relationship. It arose from a deep collaboration between media artists, performance practitioners, sound artists, hardware and software engineers, a furniture maker and a scientific ecologist. Our entire process was informed by a praxis-led approach to art making that stressed embodied connectivity and inseparability. This allowed us to understand how participants might move within the constraints of a particular interface, allowing us to shape and form the overall phrasing and sensibilities of their experiences, whilst maintaining the unique nature of their collaborative experiences. In this presentation Keith will discuss his practice-! led rese arch approach and illustrate the presentation with videos, images and sound.

Keith Armstrong is an Australian/English interdisciplinary media artist, Australia Council New Media Arts Fellow, Queensland University of Technology Faculty of Creative Industries Research Fellow and has just finished a Visiting Professorship at Calpoly State University, California, working in collaboration with their Liberal Arts and Architecture Faculties. His recent work Intimate Transactions, created with the Transmute Collective, received an Honorary Mention in the 2005 Prix Ars Electronica and featured in the 2005 Ars Electronica Festival in Austria. His latest interactive installation, Shifting Intimacies, was presented at the ICA London in March 2006.

Posted by jo at 12:40 PM | Comments (0)

Mute Vol 2 #6 Call for Artwork Contributions


Mute Vol.2 #6 is due to come out in August 2007 and will feature a group of articles investigating the implications of a global economy sustained by unprecedented levels of debt, and the crisis of value production that underlies it; a crisis whose hallmarks are the widespread looting of resources and non-reproduction of infrastructures and labour power, the inflation of asset bubbles, high levels of liquidity and personal debt. We are making this call for artwork and visual contributions to the theme. Artworks submitted will be hosted on this site and those selected for inclusion in the printed magazine will win a year's free subscription to Mute. Please check here and here for freshly uploaded content on this theme.

Please submit your artwork in .zip .pdf .jpeg .png .mp3 .ogg or .mp4 to mute[at]metamute.org (with the subject header 'artwork' or register at metamute.org and upload image files to the following gallery. More >>

Posted by jo at 12:22 PM | Comments (0)

Canal Street Station


Participatory Public Pay Phone Who-Dunnit

31 Down's interactive telephone mystery Canal Street Station runs through October 31, 2007. To play, call this toll-free number from a pay phone inside the station: 1-877-OR-WHAT-31 (1-877-679-4283). Note: This mystery takes place on the N, Q, R, W, 6, and J, M, Z platforms, not the A, C, E, station.

Canal Street Station is a free public media art installation set in the Canal Street Subway Station in New York City. Participants are invited to make a toll-free call from any public payphone in the Canal Street station (inside of the turnstyles). Participants will then be guided on a pay phone mystery. The game takes approximately 45 minutes to complete.

Tajna Tanovic stars in this public pay phone who-dunnit set in the maze of tiles that make up the Canal Street Subway Station. This is an interactive piece that challenges participants to test their skills at listening and following directions. Players are put in the shoes of Mike Sharpie, private investigator, as he searches the depths of Canal Street Station for a young French woman that may have committed a murder, or may be a figment of Mike's wandering imagination.

"Canal Street Station" is co-produced by 31 Down radio theater and free103point9 and presented by free103point9 as part of the transmission arts non-profit's Tenth Anniversary celebration. Created by: Ryan Holsopple, Shannon Sindelar, Mirit Tal, and Tanja Tanovic.

Posted by newradio at 10:44 AM | Comments (0)

killer banshee


Live Video at Bluestockings

killer banshee brings live, dual screen video performance to Bluestockings for a night of mesmerizing visuals and sound :: June 23rd, 2007 @ 7pm :: Bluestockings, 172 Allen St. Lower East Side NYC :: Subway: F, V to Lower East Side-Second Ave :: 212-777-6028 :: $5-10ss (NOTA: No One Turned Away for lack of funds).

killer banshee is a collaborative partnership between Eliot K Daughtry and Kriss De Jong devoted to creating challenging audiovisual art works. Calling a performance by killer banshee a VJ event fails to describe what you will see. Unlike others using live video in conjunction with dance or music events, this pair uses an arsenal of visual imagery culled from video they've shot, archival footage, their own paintings, drawings and sculpture, to reinterpret and redefine what their art is about. While the duo works in combinations with other performers, their focus is on works of their own. Armed with Laptops and projectors, these two willfully make a dance out of their art. When not working behind the video projectors, Kriss & Eliot can be found doing audio for video, recording spoken word artists, or working on their own eccentric art.

Posted by jo at 09:18 AM | Comments (0)



Deadline: July 1, 2007

Urban Space is part of the biannual Brazilian photography festival FotoRio, taking place in Rio de Janeiro in July. Project curators will select 25 artists to participate in the 2007 edition of FotoRio. On July 20th, selected images from these artists will be projected at the festival location Oi Futuro - a landmark cultural institute in Rio de Janeiro. Simultaneous with the projections in Brazil, the same selection will be projected in the Berlin gallery, New Life Shop.

Urban Space invites submissions from artists working with issues regarding the urban environment, such as anonymity, community, displacement, informal architectures and gentrification. Traditional documentary photography as well as urban portraits, architectonic interventions, actions and documentation of street art projects, are to be considered for selection.


The Urban Space opening will be held on Friday, July 20th in Rio and Berlin at 8 PM local time.

Rua Dois de Dezembro 63/ 8º andar
Rio de Janeiro, RJ
Metro: Largo do Machado

New Life Shop
Choriner Strasse 85
10119 Berlin-Mitte
U-Bahn: Rosenthaler Platz (U8)

Posted by jo at 08:01 AM | Comments (0)

June 21, 2007

DRIFT 2007 Exhibition @ Rush Art Gallery, NYC


Call for Live Performance + Video Art

DRIFT (Santa Fe NM): Drift is an annual exhibition that travels to a new location every year. DRIFT 2007 marks its 5th anniversary and is scheduled as a two-day performance art and video art show at Rush Arts Gallery in the Chelsea art district in New York City. Curated by: Eileen Olivieri Torpey and Bradley Pecore. The show will take place during NYC's Performa Biennial Performance Art events in November. Proposal Deadline: Postmarked July 13, 2007. Contact them here.

DRIFT characterizes the impermanence and site-specificity of the artworks as well as the adaptive qualities of the participating artists. DRIFT highlights talented under represented artists while emphasizing the critical role of experimentation and process within both conventional and unconventional exhibition spaces.

DRIFT was first conceived in the winter of 2002 as a one-day exhibition on the Jersey Shore. The Atlantic Ocean inspired temporary works by twelve artists from the greater New York City area. Fluxus artist, Geoffrey Hendricks, punctuated the day with a famous headstand on a pile of ocean boulders. In 2003 the show moved to a former home of Buckminster Fuller, River Run Farm in New Jersey. Artists responded to thirty acres of pastoral/river landscapes and the cultural history of the farm, which was part of the Underground Railroad in the early 1800's.

In 2004 DRIFT took place at Valentino Pier Park, located on the Buttermilk Channel in Red Hook Brooklyn. The exhibition featured 20 artists working in video, painting, sculpture, installation and sound. Red Hook was one of the first areas in Brooklyn to be inhabited by Algonquian tribes and later settled by the Dutch. The surrounding landscape was named for its red clay soil and hook shaped peninsula. Today, the view from Valentino Pier includes: The Statue of Liberty, The Verrazano Bridge, and Lower Manhattan.

DRIFT 2006 took place at the Bronx River Art Center in the South Central Bronx and included 28 artists working in sculpture, installation, video and performance. Part of the exhibition existed outdoors along the Bronx River for one-day while the other part of the show stayed up for six weeks in the center’s gallery. The river covers 23 miles and runs through the Bronx and Southern Westchester. The Mohicans were the first people to live and fish along the river and named it Aquehung or "River of High Bluffs." Beginning in the 1700’s, European immigrants built twelve mills on the river and by the end of the 1800’s, the river was so polluted from industrial waste that people called it an open sewage. Today, school groups and community organizations are working hard to ecologically restore the river and have made substantial progress– there are now a growing number of fish and plant species that have returned.

Posted by jo at 12:29 PM | Comments (0)



Workshop Call

SATELLITE VOYEURISM - Workshop Call :: July 20 - 22, 2007 :: Hartware MedienKunstVerein at PHOENIX Halle Dortmund, Germany :: limited to 12 participants :: Application Deadline: June 29, 2007.

The Workshop Satellite Voyeurism addresses questions of production and reception of satellite images. In addition to public lectures by international media artists, committed scientists and commercial companies' representatives of the regions' geo-data industry, a two day workshop program with up to 12 participants takes place. Within the hands-on part the participants learn how to use a simple antenna, computer, soundcard combination to retrieve satellite images of NOAA satellites, and share own ideas and projects with the other participants. Both lectures and workshop discuss the image quality of satellite images but of course the subject will also touch upon the field of locative media, as GPS, GIS.

Through the workshop the basis for a publication shall be created, which includes documentation about recent media art projects in the field of mapping, satellite images and satellite technology.

The workshop is open to 12 participants. Participants will get free accommodation and depending on the distance we can partly support the travel costs. There is no workshop fee. With the participation in the workshop the participants agree to actively support the production of a documentation (deadline for texts October 15).

In order to apply for the workshop, please let us know, why would you like to like to participate, what's your field of interest, and what exactly you would present to the other participants. Please also send a short CV. All material to info[at]hmkv.de.

The workshop is funded by Der Ministerpraesident des Landes NRW, LAG Soziokultur NRW, and Kulturbuero Stadt Dortmund.


July 20, 2007 - from 4 pm on :: Arrival of participants, Internal workshop presentations.

July 21, 2007 - 11 am - 4 pm :: Public lectures with Regine Debatty (WMMNA), Dr. Tristan Thielmann (University Siegen), Frank Warmelink (Free Consultant for geo-data appliance), Francis Hunger (HMKV, Dortmund) Internal workshop presentations by participants (until 9 pm.)

July 22, 2007 - 11 am - 4 pm :: Internal Hands-On Workshop with Thilo Elsner (Observatories Bochum/Amsat-DL) Receiving satellite images from NOAA satellites with just an antenna and a PC. Internal workshop presentations and BBQ.

July 23, 2007 :: departure.


About Hartware MedienKunstVerein, Dortmund: HMKV serves as a platform for the production, presentation, education on and contextualisation of contemporary and experimental media art. The activities of HMKV deal, in different formats, with the theme Augmented Space": in exhibitions, workshops, performances, symposia, publications, Internet applications and in European research projects. The success of last year's "How I learned to love RFID" workshop at HMKV (conceived by Francis Hunger) and the emergence of popular geographic mapping tools led to the development of the Satellite Voyeurism" workshop in 2007, directed by Francis Hunger.


Hartware MedienKunstVerein
Francis Hunger
Guentherstrasse 65
44143 Dortmund

Exhibition and Workshop Venue:
Hochofenstrasse / corner Rombergstrasse
44263 Dortmund-Hoerde

Tel: ++49+231+823106

Posted by jo at 11:06 AM | Comments (0)



Brutal Realities - Art, Subjectivity and The News

COOL MEDIA HOT TALK SHOW: D.I.Y. talk show on art & media :: TOPIC: Brutal Realities - Art, Subjectivity and The News :: SPEAKERS: Nanette Hoogslag / OOG and Florian Schneider / DICTIONARY OF WAR :: QUESTIONS: ask-it-yourself now and during the show :: June 27, 20.30 CET :: Video stream and interface for online participation :: Location: De Balie - Centre for Culture and Politics, Amsterdam (bring your laptops and mobiles) :: EXTRA: music performance of Nanko.

ABOUT THE TOPIC: Brutal Realities - Art, Subjectivity and The News :: In the digital age you cannot stop information - how many times did we hear this hollowed out clichi? Countless for sure. But exactly what kind of information? How to judge it? How to develop a personal relation to it?

The News is one of these information flows that in the era of digital media seems to become ever more pervasive, inescapable really. As it does so it seems to divide itself into a curious dichotomy: it ( the news ) either becomes trivialised, or it reflects the perpetual miseries of the brutal realities that apparently surround us; disasters, war, famine, oppression, ecological devastation, family drama, and a general feeling of estrangement. In any case difficult to develop a personal relationship to it, be it trivia or conversely our daily portion of misery...

How does art and how do artists relate to this omnipresence of suffering in real-time? Can art help us to develop the distance, the silence, the space in-between that makes it possible to reflect The News ? Can it point a way out of estrangement of the global anxiety machine? Can it rekindle our empathy for the pain of others?

And is social reality in any case coextensive with the news ? Or should we rather develop and alternative relationship to social reality? And how then should this be done?

Can a project such as OOG in the web edition of the Dutch national daily newspaper De Volkskrant, where a different artist is invited every two weeks to comment on the news in an on-line art work every two weeks, help us to develop another (a more healthy?) subjective relationship to the news ?

Can a project such as the Dictionary of War help us to establish an alternative critical relationship to social reality? How can it reach a broader audience without falling into the same trap of mass-mediation?

Or is the very idea of subjectivity towards the news nothing but a regressive and reactionary gesture?


Nanette Hoogslag (NL) is a visual artist and illustrator. She studied graphic design at the Gerrit Rietveld Academy in Amsterdam and did an MA in illustration at Royal College of Art in London in 1990. She established herself as an illustrator and designer in Amsterdam, working for design and editorial clients worldwide. She has been teaching illustration and design at various art colleges in The Netherlands, currently she teaches illustration and concept development at the Illustration Department at the school of Visual Arts, HKU in Utrecht.

In 2005 Nanette Hoogslag developed the idea for OOG ("eye" in Dutch), inviting artists to react to the news, their role, function and content, in an online environment, which became 'Oog' a weekly online page in one of the largest Dutch national newspapers the 'Volkskrant'. In 2006 the concept of Oog was presented in a live show 'Ooglive' in the Westergasfabriek and shown as part of Faith in Exposure in Montevideo 2007. Oog: http://extra.volkskrant.nl/oog; Ooglive: www.ooglive.com; illustrations: www.hoogslag.nl

Florian Schneider (DE) is a filmmaker, writer, and developer in the fields of new media, networking and open source technologies. In his work he focuses on bordercrossings between mainstream and independent media, art and activism, theory and technology. As a filmmaker he directed several award-winning documentaries and made theme-evenings for the german-french tv station "arte" on the topics of migration and new global movements. He is one of the initiators of the KEIN MENSCH IST ILLEGAL campaign at documentaX and subsequent projects. He founded, designed and supported countless online-projects, such as the European internet platform D-A-S-H and the online-network KEIN.ORG. He is the director of the new media festivals MAKEWORLD (2001), NEURO (2004) and one of the co-organizers of the upcoming FADAIAT2 event in Tarifa / Tangiers, in June 2005. His publications include contributions in Der Spiegel and other renowned magazines and newspapers. From 2001, he has published Makeworlds paper 1-4, a newspaper magazine for theory, art and activism. For incommunicado 05, a special issue will be published as well.

DICTIONARY OF WAR, a collaborative platform for creating 100 concepts on the issue of war, invented, arranged and presented by scientists, artists, theorists and activists. The aim is to create key concepts that either play a significant role in current discussions of war, have so far been neglected, or have yet to be created.

Dictionary of War
Summit of Non-Aligned Initiatives in Education and Culture

here & now: http://www.coolmediahottalk.net/

SPECIAL: ASK THE BEST QUESTION & win the COOL MEDIA PRIZE! the winner will be selected through direct and open voting.

Tickets: 5 euro :: Reservations by telephone: +31.20. 55 35 100 (during opening hours of the ticket office) Or via the Balie website: http:// www.debalie.nl/agenda.

De Balie - Centre for Culture and Politics, Kleine Gartmanplantsoen 10 Amsterdam.

Posted by jo at 10:44 AM | Comments (0)

Fresh Moves: New Moving Images from the UK


tank.tv @ ICA London

tank.tv: Fresh Moves: New Moving Images from the UK; a DVD of film and video art :: ICA, London :: June 28, 2007; 7:00 pm :: Book now.

The appearance of Fresh Moves is a unique event making artists' moving images, some of which are rarely seen, available beyond the conventional context of art exhibitions and fleeting lives online. The project is the result of tank.tv's continuous collaboration and exchange with artists, institutions and independent curators which has made it the inimitable platform for moving image practice that it is today.

Showcasing new moving image work since 2003, tank.tv presents its first DVD anthology. This collection contains 24 film and video pieces by 24 UK based artists, each around three minutes long, and reflects the creativity, innovation and wide variety of subject matter for which http://www.tank.tv has become known and respected. It also includes five new, specially commissioned interviews pieces between feted curators and artists.

Fresh Moves was compiled by a panel that included Hans Ulrich Obrist, director of the Serpentine Gallery, and Stuart Comer, curator of film and video at Tate Modern. Turner Prize winner Jeremy Deller and infamous philosopher Slavoj Zizek both make an appearance in the series of interviews.

The DVD features recent work from some of the most important artists working in moving images today, such as Cerith Wyn Evans, Daria Martin, Runa Islam, Spartacus Chetwynd and Andrew Kötting, as well as emerging artists like Torsten Lauschmann, Anja M. Kirschner and David Blandy. Rather than a comprehensive overview, Fresh Moves aims to provide an anthology encompassing animation, fictional narrative, digital film, montage and installation-based film work. The works explore a wide variety of subjects - from politics to identity and aesthetic practices, all tempered with a healthy measure of humour - and so celebrate not just the artists featured, but the art of moving images as a whole.

"...this special project addresses the idea of carrying video and filmic work beyond the boundaries of contextually, or spatially, confined spaces pertaining to where a work can be seen. [...] It furthers the investigation into how different modes of filmmaking evolve within the changing consciousness of the public media [...] a sort of polyphony of voices, stories and philosophies. [The project] ...produced an investigation into a new generation of artists working in the UK. [...] Eric Hobsbawm, the great English historian speaks of the very necessary and urgent need for our hyper-paced culture to issue a 'protest against forgetting'." - Hans Ulrich Obrist


INTERVIEWS: Steven EASTWOOD with Benjamin COOK, Jeremy DELLER with Chrissie ILES, Ryan GANDER with Hans Ulrich OBRIST, Laure PROUVOST with Michael CONNOR, Sophie FIENNES with Slavoj ZIZEK.

The compilation was selected by: Hans Ulrich Obrist (the Serpentine Gallery), Benjamin Cook and Mike Sperlinger (LUX), Stuart Comer (Tate Modern), Michelle Cotton (Independent curator, London), Rose Cupit (Film London) and Kathrin Becker (NBK, Berlin).

A project by: Laure Prouvost and Birgit Ludwig

Fresh Moves: New Moving Images From the UK
ISBN: 978-0-9555181-0-2
Paperback 150 x 180 mm portrait
300 pages / content printed on 81 colour pages
PAL DVD / Region 0 / running time 85 min
Published by Tank Form Ltd
Distributed by Thames & Hudson.

Interviews with artists and curators involved with Fresh Moves are on http://www.tank.tv until July 15th.

Generously funded by the National Lottery through the Arts Council, England.

Posted by jo at 08:56 AM | Comments (0)

June 20, 2007

xxxxx 2007: Life Coding - Call for Participation


xxxxx call for participation in a speculative 12 hour life coding event (organising hardware and software) to be held in Mid-November as part of the Piksel festival in Bergen, Norway :: Deadline for email submission: July 31, midnight.

Life coding is a mapping of the descriptive means of hardware and programming onto the world. In this instance it includes the invention and construction of models and language to actively describe and code the event; instructing, structuring, re-structuring and constructing the 12 hours. Life coding is obviously influenced by the existence of programming, fiction, scripting and execution. Participation is not limited to potential forms including: - performative presentations - advanced participatory workshops - actions - interventions

The above will be assembled into shifts which move between hardware, interface and (life) code. Proposals should suggest which shift would be suitable. Proposed topics for shifts include open hardware in relation to control, the world as interface, material as question of substance (soft/hard), and the relation of technology, code and pornography.

Please submit an introduction to your area of research/practise as well as examples of projects, performances, texts, proposals for advanced participatory workshops, performative presentations, actions, interactions, interventions and email your entry to: m[at]1010.org

Further information on the event: xxxxx [2007] is proposed and wilfully structured as a 12 hour life coding event within the context of previous xxxxx activities (Crash 2005, xxxxx 2006), and influenced by Plenum (collaboration with KOP, 2006). xxxxx [2007] will exist as a major, inspired durational, performative event allowing for exchange and construction between invited international participants who truly exist on the bleeding edge of what could be termed contemporary Crash culture.

xxxxx [2007] expands software and hardware with a wilful emphasis on construction, an interface between theory and the active entry of making' in the world.

xxxxx [2007] as event manifests a free software-led, coded structure of self-organisation, and unique working groups. Although some of these events will be ongoing (for example several working groups, and background material), the 12 hours will be assembled by way of shifts.

Posted by jo at 02:40 PM | Comments (0)

Red Line Surveillance



RED LINE SURVEILLANCE - As part of FESTIVAL OF EXTREME BUILDING and NEW GENERATION ARTS FESTIVAL :: June 23-29, 2007 :: Birmingham / UK; On Site (The corner of The Priory Queensway and Moor Street Queensway).

Red Line Surveillance are out to provide security for the city of Birmingham; from a surveillance tower erected on site, mobile monitoring units will emanate through the surrounding urban environment. This project is a collaboration between nine European artists, and has been developed in partnership with the Festival of Extreme Building and New Generation Arts.

Surveillance literally means "watching over", and can be seen as the art of watching over the activities of a person or group from a position of higher authority. Commonly used to describe observation from a distance by means of electronic equipment, it can also involve simple, relatively no- or low-tech methods such as direct observation, observation with binoculars or similar methods.

The surveillance tower will be a monitoring station occupied by personnel 24 hours a day, providing 'security and surveillance' for the site; this presence will be clearly visible through signage, uniformed officers and increasing levels of activity emerging from the tower. These roving patrols will expand from the base into the wider landscape of the city centre, with each reconnaissance mission seeking to find the effective range of this security service and its impact on its surroundings. The collective observation of the city will ensure that no event goes un-noticed!

This process will involve: Ana Benlloch [UK], Pelle Brage [DK], Sabine Hagmann [CH], Andreas Kebelmann [GER], MACHFELD (akaMichael Mastrototaro & Sabine Maier) [A], Ed Orton [UK], Niki Russell [UK], Eliane Rutishause [CH], and Stuart Tait [UK].

Posted by jo at 11:39 AM | Comments (0)



Autobiography, emotion and self-fashioning

[Image: Andrea Fraser, Official Welcome, 2001 -performance, videotape and video installation, 31 min., DVD] The Power Plant presents AUTO EMOTION: Autobiography, emotion and self-fashioning :: 18 May – 19 August, 2007 :: Curated by Gregory Burke and Helena Reckitt.

Despite Conceptual Art’s disavowal of narrative and self-expression, a number of contemporary artists are mining autobiographical and biographical genres. Some artists have not hesitated to express deep feelings about the world, themselves and the artist’s role. Others have wrestled with questions of how to represent the self, sometimes trying to avoid clichés, at others deliberately appropriating them. Drawing inspiration from events in their own lives, and setting up situations that blur the division between art and life, several artists explore art’s potential for transformation and catharsis. ‘Auto Emotion’ includes works that carry an interest in the relationship between social conformism and autonomy, brain chemistry and emotion, automatic behavior and self determination, the fictional and the real.

Performance becomes self-portraiture in Official Welcome (2001) by Andrea Fraser, The Onion (1995) by Marina Abramovic, and during a hypnotized performance given by Matt Mullican. Canadian artist Benny Nemerofsky Ramsay represents the biographical in Live to Tell (2002) and Lyric (2004), where pop songs are represented as folklore both to tell his story, and to investigate notions of clichés as cultural truths. This element is taken into the therapist’s office for artist’s block experienced by Christian Jankowski in the pressure to make new work, or questioned as fictional elaborations of romantic partnerships by a master of disguises, Nikki S. Lee, exposing these states of perpetual flux within the varying personas. Adrian Paci’s Vajtojca (2002) shows the self in the cycle of birth and death, both as an Albanian, and as an artist, when he stages his own funeral and pays a professional mourner to weep for him.

This exhibition is a timely reflection on issues of the complexity of self-representation and deflection, within and outside the art institution as many of the artists in ‘Auto Emotion’ question the role of the artist in society.

Artists: Marina Abramovic, Reza Afisina, Eija-Liisa Ahtila, Sophie Calle, Andrea Fraser, Rodney Graham, Christian Jankowski, Yayoi Kusama, Nikki S. Lee, Rafael Lozano-Hemmer, Matt Mullican, Benny Nemerofsky Ramsay, Adrian Paci, Johannes Wohnseifer.

Posted by jo at 11:03 AM | Comments (0)

June 19, 2007

Performance Paradigm 3 (May 2007)


The End of Ethics? Performance, Politics and War

"The announcement of the ‘End of History’ has not produced nor been coincident with an end to the ideological differences encoded within that concept. Instead it has seen an intensification of conflicts which, however local in origin, are global in scope: civilization wars, culture wars, wars on terror and drugs, perhaps a re-emergent cold war? In terms of the local investment in these conflicts, the government led by John Howard in Australia has been an enthusiastic protagonist in these wars and in the absurd parody of ‘situation ethics’ that they have produced. This is the least ethical government in living memory in Australia but it has still been tremendously popular. Perhaps it’s the sheer frankness of this unethical behaviour at the highest level of political life in Australia in the last decade that provokes the question in the title of our issue of Performance Paradigm. But it is not our intention here to rehearse the litany of subtle abuses of ethics in this part of the world or in this period of political history. Nor are we announcing the ‘End of Ethics’ as the ethical correlative to arguments about the ‘End of History’. The title is a provocation to re-think the discourse of ethics in relation to political performance and art, and to re-assert its significance in a time when neo-con furies are unleashed upon the world and, in the global context, war has displaced alternative methods of conflict management and resolution.

In the Australian context, performance has been a significant site of engagement with these issues, as a number of the essays in this issue attest. Some artists have responded directly to a number of the key policy initiatives of the Howard government, particularly in respect of its infamous mistreatment of asylum seekers. But we also see evidence of an international context for this kind of protest, even if it is not in forms of direct action, in which artists and theorists are promoting alternate forms of ethical engagement.

The essays in this issue of Performance Paradigm provide an account of the diverse range of recent performance works in which the possibility of the ethical response to political events is directly broached or even structurally implicated in the work itself..." From the Introduction by Edward Scheer.

You'll need to register (it's free) to read:

Theatre of/or Truth by Maaike Bleeker

Performing war: ‘military theatre’ and the possibilities of resistance by Michael Balfour

Rupture in the Surface: Ethics of the Abject by Horit Herman Peled

Is there a gene responsible for our obsession with perfection? Disability, ethics and responsibility by Lalita McHenry

Performance, Politicians, and War: Selling Iraq in the culture war by David A. Williams

Being Near: Visiting the Rwandan genocide memorial site at Murambi, Gikongoro by Jeff Stewart


Art And Politics And The Zürcher Theater Spektakel: Maria Magdalena Schwaegermann talks with Margaret Hamilton

Envisioning Ethics Anew: Rustom Bharucha talks with Performance Paradigm

Pathologies of Hope: Baz Kershaw talks with Performance Paradigm

Book Reviews

Unsettling Space: Contestations in Contemporary Australian Theatre, Joanne Tompkins by Gay McAuley

Making Theatre in Northern Ireland: Through and Beyond the Troubles, Tom Maguire by Rebecca Pelan

Postdramatic Theatre, Hans-Thies Lehmann, trans. Karen Jürs-Munby
Denise Varney

Performance Reviews

I La Galigo. Directed by Robert Wilson. State Theatre, Melbourne International Arts Festival, 19 – 23 October 2006 by Margaret Hamilton

Posted by jo at 10:53 AM | Comments (0)




V.O.S.T. / Dubbing: video works and video installations about and around dubbing :: June 24, 2007 :: Installations : 5:00 - 8:30 PM :: Video projection and performances: 8:30 PM @ Cinima de La Ginirale, 10-12 rue du giniral Lassalle, M0 Belleville.

The event V.O.S.T. / Dubbing presents video works and video installations that adapt dubbing as a form, that explore the nature of dubbing, but also notions of doubling and the double that impact the relationship between language, image and sound. Installations by Cicile Bicler, Pierre Bismuth, Frederico Camara, RYbN, and Anri Sala; Video projections by Christophe Atabikian, Nicolas Boone, Alexis Chazard, Matthieu Clainchard, Marie Daubert, Yan Duyvendak, Flatdog, Jimmy Owenns, and Michakl Sellam; Performances by Michakl Sellam, and Gwenola Wagon; and Documentary by Cicile Bicler, Alexis Chazard, Maja Drzewinska, and Fanny Martin.

The V.O.S.T. sessions are organized by Alexis Chazard (Cela Etant) and Marika Dermineur (Incident.net). Thanks to the artists, La Ginirale, Mains d'uvres, Ars Longa, Florence Brissard, galerie Chantal Crousel, Vidioart.ch and Cosmic Galerie.

Posted by jo at 10:17 AM | Comments (0)

Digital Contagions:


A Media Archaeology of Computer Viruses

Digital Contagions: A Media Archaeology of Computer Viruses by Jussi Parikka (New York: Peter Lang, 2007) :: Digital Contagions is the first book to offer a comprehensive and critical analysis of the culture and history of the computer virus phenomenon. The book maps the anomalies of network culture from the angles of security concerns, the biopolitics of digital systems, and the aspirations for artificial life in software. The genealogy of network culture is approached from the standpoint of accidents that are endemic to the digital media ecology. Viruses, worms, and other software objects are not, then, seen merely from the perspective of anti-virus research or practical security concerns, but as cultural and historical expressions that traverse a non-linear field from fiction to technical media, from net art to politics of software. Jussi Parikka mobilizes an extensive array of source materials and intertwines them with an inventive new materialist cultural analysis.

Digital Contagions draws from the cultural theories of Gilles Deleuze and F?lix Guattari, Friedrich Kittler, and Paul Virilio, among others, and offers novel insights into historical media analysis.

Posted by jo at 09:48 AM | Comments (0)

r4wb1t5 (rawbits) macro/micro-fest



r4wb1t5 - Festival of Electronic Art :: June 20-24, 2007 :: Centro Multimedia, CENART, Casa Vecina Centro Cultural La Piramide, Mexico.

r4WB1t5 micro.Fests in Mexico City will build contextualized, temporary and contingent social structures in the forms of interconnected New Media Art Festivals, Sound Art Events, Social Software, Open Networks of Collaboration and Realtime Audio and Video Performances. These handcrafted digital systems and timespaces will operate as open ports and collaborative situations. Selected artists from Chicago will inhabit these open sourced software architectures hosted by institutions, organizations and individuals in Mexico City. Artists in Mexico City will collaborate and continue conversations initiated by the MEXICAN r4wb1t5 macro.Fest hosted in Chicago during April 2006.

r4WB1t5 micro.Fests are international, decentralized, self-organized and independent festivals of raw bits of digital art and dirty new media. (A) r4WB1t5 micro.Fest is itself an open platform or framework for creating these events in alternative and conversational contexts such as bars, basements, lofts, art spaces, apartments, galleries, online video game environments and other networked spaces. (A) r4WB1t5 micro.Fests extend out of and feeds back into DaDaist, Situationist, Fluxist, punk, digital art and New Media theorypractices, histories, possibilities and positionalities. (A) r4WB1t5 micro.Fests are always free and open collaborative projects, available to anyone interested in self-organizing Digital Arts and dirty New Media.

Posted by jo at 08:01 AM | Comments (0)

June 18, 2007

UpStage version 2



You are warmly invited to join the UpStage team to celebrate the launch of UpStage version 2 :: June 28, 5:30-7:00 pm :: New Zealand Film Archive (cnr Taranaki & Ghuznee Streets) :: To mark the software launch an exhibition, Puppets to Pixels – an interactive playground for children of all ages, will run at the New Zealand Film Archive Gallery from June 28 - July 15. And 070707, a festival of UpStage performances, takes place on July 7, online and screened simultaneously at the Film Archive.

UpStage is a ground-breaking web-based venue for live, online performance. First launched in 2004, it’s time for the second release with improvements to the interface and innovative new features. UpStage V2 has been developed by Avatar Body Collision and Douglas Bagnall, with funding assistance from the Community Partnership Fund of the Digital Strategy, and the generous support of sponsors CityLink, MediaLab and Auckland University of Technology.

Posted by jo at 05:09 PM | Comments (0)

Upgrade! Tel Aviv-Jerusalem


Yael Kanarek

Upgrade! Tel Aviv-Jerusalem: "Object of Desire" - Yael Kanarek (IL/USA) on the occasion of her new show in Israel :: June 16, 2007, 21:00 :: @ Daila, Shlomtsion Hamalka st. 4, Jerusalem :: Free Entrance.

Object of Desire is the third chapter in World of Awe, and online travelogue (www.worldofawe.net) that chronicles a search for lost treasure in a parallel world called Sunset/Sunrise. The project imagines a post-gender and post-national protagonist. Born from an observation that language defines borders and territory on the Internet, Object of Desire examines these borders, as the chapter is written in three languages: English, Arabic and Hebrew. To raise the notion of physicality of the Internet, the fifteen scenes of the online project download from servers in four locations---New York, Tel Aviv, Ramallah, and Izmir.


During the artist's talk, Yael will guide the audience through several scenes, point to memes born in the Middle East and Mediterranean that are present in contemporary culture, and talk about her upcoming solo exhibition at Nelly Aman's gallery, opening July 1 in Tel Aviv.

Since 1995, Yael Kanarek has developed a unique project using photography, text, sculpture, and performance. For the past decade she has integrated a range of media into a hypertext system with epic proportions titled World of Awe. Grounded with an original narrative that expands the ancient tradition and genre of a traveler's tale, Kanarek's World of Awe explores connections between storytelling, travel, memory, and technology. With a solo exhibition slated for 2007 at the Jewish Museum, Kanarek has been recognized internationally with a Rockefeller New Media fellowship, the Netizens Webprize, and the CNRS/UNESCO Lewis Carroll Prix Argos in France. Selected for the 2002 Whitney Biennial, she has received grants from the Jerome Foundation Media Arts, New York Foundation for the Arts, and commissions from the San Francisco Museum of Modern Art, Turbulence.org, and The Alternative Museum. Kanarek has also held residencies at Eyebeam and Harvestworks. Her work has been written about in The New York Times, Le Monde Interactif, Tema Celeste, ARTnews, Time Out, Flash Art Italy, Firma, Paper, Wired, The Journal News, ArtByte, and Internet Art by Rachel Greene. In 2000, Kanarek founded Upgrade!, an international network of artists and curators.

Posted by jo at 02:20 PM | Comments (0)



New Ways of Learning and Working Together

If one principle could be seen to inform the opaque surface of what in the 1990s was called a "new economy" – the shifts and changes, the dynamics and blockades, the emergencies and habit formations taking place within the realm of immaterial production – it would certainly be: "Work together".Facing the challenges of digital technologies, global communications, and networking environments, as well as the inherant ignorance of traditional systems towards these, 'working together' has emerged as an unsystematic mode of collective learning processes.Slowly and almost unnoticeably, a new word came into vogue. At first sight it might seem the least significant common denominator for describing new modes of working together, yet "collaboration" has become one of the leading terms of an emergent contemporary political sensibility.Often collapsed into the most utilitarian understanding, 'collaboration' is far more than acting together, as it extends towards a network of interconnected approaches and efforts. - Collaboration: Seven notes on new ways of learning and working together by Florian Schneider, NOEMA.

Posted by jo at 12:19 PM | Comments (0)

alt.SPACE Festival 2007


Radical & The Revolutionary

alt.SPACE Network of Artist Research Groups presents alt.SPACE Festival 2007: The Radical & The Revolutionary :: It is time for the third annual alt.SPACE Festival. This time it will take the form of a month-long peripatetic symposium, criss-crossing the urban wilderness that is London in a variety of ways, through a variety of means and involving a variety of events and activities ranging from dinner parties, picnics and informal walks, to project presentations and discussions, to more theoretical papers and a concluding 24 consecutive hour long conference.

The overall theme this year is The Radical and the Revolutionary. What is the validity and usefulness of these concepts in terms of contemporary, and future, forms of politically engaged cultural practice? Can they be reclaimed, rendered affirmative and dissentious tools, and if so, how? What kind of histories can we access and how do we access them? What strategies are ours to employ? What forms of linkages and connections, what kinds of networks and collaboration? This year the overall theme will be engaged with from four perspectives each of which involved its own set of events and activities: *Sound*, *Cartography*, *Illegality*, and *Dissemination*.

*This year also sees* the launch of *alt.SPACE Radio* - our IT-radio station which will broadcast much of the festival and many other forthcoming alt.SPACE events. Additionally, the festival celebrates the very first issue of our journal: *alt.SPACE hardCOPY. *Please see www.altspace.info for further details.

*Come join us.* All events are free of charge. Everyone is welcome. For some events we ask you to let us know beforehand, particularly those that involve public space meetings or preparatory readings or discussions. It's all very informal and convivial. We look forward to seeing you. If you have received this directly from the alt.SPACE Network you will receive updates as of the specific events of the festival: specific speakers, presentations and other details will be announced week-by-week. If you did not receive this email directly from us but wishes to continue to receive these updates, please feel free to join our mailing list. Simply visit www.altspace.info and follow links for 'workspace' and then 'mailing lists' for directions.

Posted by jo at 11:57 AM | Comments (0)

Gallery TPW presents


Dubious Views

Dubious Views: Questioning Institutional Representations in Tourism and Cartography :: Curators: Michelle Kasprzak, Michael Alstad, Shawn Micallef :: A bilingual online exhibition produced by Gallery TPW and funded by the Virtual Museums of Canada.

Every time you open your eyes, a hundred different sources vie for your attention. This spectacle - the cacophonous accumulation of images superimposed over the "real" world - is built by everything from advertisements to entertainment to government. This institutional view of the world can come to stand in for and suppress any other visions or versions that might be out there.

The artists discussed in Dubious Views address the role of the "institution" in terms of its effect on the understanding of place. It is examined in relationship to the tourism industry, and in the context of mapmaking and geography. In both cases, the artists involved look at and play with creating alternatives to the institutional view, and attempt to challenge its singularity, its authority, and its monolithic profile.

Artists include: David Rokeby, Surveillance Camera Players, Michelle Teran, Proboscis, Sylvia Grace Borda, Janet Cardiff, Eugene Atget, Nikki S. Lee, Charles Marville, Roger Minick, [murmur], N.E. Thing Co., Shelley Niro, Louise Noguchi, Mitch Robertson, Ed Ruscha, Camille Turner, Jin-me Yoon, and more.

Posted by jo at 11:50 AM | Comments (0)

June 15, 2007

(re)Actor2: The Second International Conference on Digital Live Art



(re)Actor2: The Second International Conference on Digital Live Art: Bad Girls, Gadgets & Guerrilla Performance :: Broadcasting House & Leeds Met Gallery, Leeds Metropolitan University, UK :: September 10th, 2007.

Digital Live Art is the intersection of Human-computer Interaction (HCI), Live Art and Computing. (re)Actor2: The Second International Conference on Digital Live Art seeks to bring together practitioners and academics from the varying worlds of Live Art, Computing and HCI for a lively debate and event which will explore this emerging field. We are particularly interested in unanticipated performance spaces and playful arenas, such as festivals and nightclubs.

This year's theme, BAD GIRLS, GADGETS & GUERRILLA PERFORMANCE focuses on women who are practicing at the intersection of Computing and Live Art. In focusing on women, Computing and the Arts, this year we look to celebrate the diverse skills, knowledge and experience that women bring to the field. It is our hope that bringing these people together will foster an environment for mutual learning, mentoring and support. Proposals and participation are welcomed from all genders.


Our keynote presentation this year will be from the Guerrilla Girls of New York. In 1985, a group of women artists founded the Guerrilla Girls. They assumed the names of dead women artists and wore gorilla masks in public, concealing their identities and focusing on the issues rather than their personalities. Between 1985 and 2000, close to 100 women, working collectively and anonymously, produced posters, billboards, public actions, books and other projects to make feminism funny and fashionable. At the turn of the millennium, three separate and independent incorporated groups formed to bring fake fur and feminism to new frontiers. Guerrilla Girls, Inc. was established by two founding Guerrilla Girls and other members to continue the use of provocative text, visuals and humor in the service of feminism and social change. They have written several books and create projects about the art world, film, politics and pop culture. They travel the world, talking about the issues and their experiences as feminist masked avengers, reinventing the “f” word into the 21st century. They could be anyone; they are everywhere.


As before, this year we include both a daytime and evening event. The formal daytime event will take place in the old BBC Broadcasting House, a newly refurbished building at Leeds Metropolitan University on Monday, September 10th, 2007. The day will consist of keynote presentations, formal papers and interactive installations. Leeds Met Gallery will curate a special exhibition which will see some of the accepted proposals exhibited in the gallery during the conference.


The daytime event will be followed by an exhilarating after party with commissioned installations, DJs, VJs and live performances in the vibrant city of Leeds. Commissioned performances will be followed by the incredible Lost Vagueness http://www.lostvagueness.com/ of Glastonbury fame. Over the years, Lost Vagueness has picked up a reputation for being the most anarchic and culturally twisted location at the festival, a place where performers and guests languish together in the warped decadence of the surroundings. This will be the first time Lost Vagueness has performed in the city of Leeds.


We have a limited number commissions available for live performances and installations. You can make a request for funding when you submit your proposal. We also have a limited number of travel bursaries available for those who may not be otherwise able to make it to the conference.


All proposals will be peer reviewed by the conference committee. Proposals must not exceed the 2-page limit and must be prepared using the conference publications format provided on our website. However, you may provide additional info (links to digital material including online video, photos and websites) using the third page of the proposal template. We are accepting proposals for:

* academic paper presentations (day)
* live performances (including DJ/VJ sets) (day and evening)
* interactive installations (day and evening)

Topics of interest included but definitely not limited to:

• Technology as a vehicle for social and peformative interactivity
• Human-computer interaction and intervention
• Women, performance and technology
• Audience behaviour and rules of engagement in interactive works
• Non-complicit performance
• Stumble performance and digital live encounters
• Guerrilla interventions
• Performative contracts – rule making and rule breaking
• Digital/live performance and the club space
• Experimental visual and sonic interfaces for live performance
• Performance and social infection

Accepted proposals will be published in the conference proceedings and included on our website. Following last year’s conference, participants were invited to submit their papers to a special edition of the International Journal of Performance Arts and Digital Media on Digital Live Art (2007 - Intellect Press). A similar publication will be produced from this year's conference.


Proposal submission deadline: 28th June, 2007
Notification of acceptance: 28th July, 2007
Conference date: September 10th, 2007


Jennifer Sheridan, BigDog Interactive
Alice Bayliss, University of Leeds


Rebekka Kill, Leeds Metropolitan University
Alice Bayliss, University of Leeds
Jennifer Sheridan, BigDog Interactive

Patsy Robertshaw, Leeds Met University

Maribeth Back, FX PAL, California
Christopher Baugh, University of Leeds
Steve Benford, University of Nottingham
Joanna Berzowska, Concordia University
Teresa Brayshaw, Leeds Metropolitan University
Daniel Brine, Live Art Development Agency, UK
Susan Broadhurst, Brunel University
Nick Bryan-Kinns, Queen Mary, University of London
Linda Candy, University of Technology, Sydney
David Collins, Doncaster College
Beatriz da Costa, University of California
Steve Dixon, Brunel University
Jon Dovey, Bristol University
Linda Drew, Chelsea College of Art and Design
Matt Fenton, Nuffield Theatre Lancaster
Geraldine Fitzpatrick, University of Sussex
Bill Gaver, Goldsmiths University of London
Gabriella Giannachi, University of Exeter
Ceri Hand, Metal, Liverpool
Rania Ho, Korean Advanced Institute of Culture & Technology
Moira Innes, Leeds Met Gallery
Clare Jackson, Axis
Lois Keidan, Live Art Development Agency, UK
Boriana Koleva, University of Nottingham
Charles Kriel, London Metropolitan University
Annie Lloyd, Leeds Metropolitan University
Suzy Mason, Speedqueen, UK
Jill Morgan, Leeds Metropolitan University
Angela Piccini, Bristol University
Sita Popat, University of Leeds
Michelle Teran, Artist, Canada
Mick Wallis, University of Leeds

Sponsored by the Arts Council of England, University of Leeds, Leeds Metropolitan University, BigDog Interactive and Nokia. Jointly organised by the School of Performance and Cultural Industries – University of Leeds, Leeds Metropolitan University and BigDog Interactive

Posted by jo at 03:14 PM | Comments (0)

June 14, 2007

Living Room Lecture Series: Alison Norrington


Female Icons: It's Not The Gaze, But The Look...

FEMALE ICONS: IT'S NOT THE GAZE, BUT THE LOOK... As a part of the Living Room Lecture Series, De Geuzen welcomes author Alison Norrington. The event will be streamed live from Rotterdam :: FRIDAY, JUNE 15, 2007 @ 15:00 (calculate the time for your own region).

For the Female Icons series, Norrington will be lecturing about her own experiences in the world of Chick Lit, a rapidly expanding genre of women's contemporary fiction. Talking about some of the characters in her novels, she will discuss the possibilities and restraints of the genre as a whole. Norrington's lecture is a part of De Geuzen's Living Room Lectures, a series of talks hosted in our respective homes.

Alison Norrington is the author of Class Act, Look Before You Leap and Three of A Kind. She has written articles for The Irish Star, Irish Tatler and Evening Herald. She is also a regular contributer to Women's Way. For more information on Alison Norrington see:

:: Alison Norrington's site http://www.alisonnorrington.com
:: Alison Norrington on Wikipedia http://en.wikipedia.org/wiki/Alison_Norrington

For background reading on Chick Lit visit:

:: Chick Lit defined by wiki http://en.wikipedia.org/wiki/Chick_lit
:: Chick Lit Author Rountable http://www.authorsontheweb.com/features/0402-chicklit/chicklit.asp
:: Step into the shoes of a chick-lit author http://living.scotsman.com/index.cfm?id=1753802006

Posted by jo at 05:30 PM | Comments (0)




As part of the program of the festival "Bürgerstolz und Stadtfrieden" (Civil Pride and Urban Peace) we offer a billboard for screening video works from May 15 - September 24, 2007. Loyal_Rooftops_2007 shows video works, that point at social grievances and/or the struggle of independent culture/cultural institutions and therefore the festival "Bürgerstolz und Stadtfrieden" seems to be the right place at the right time to position themselves, short before those free spaces are closing.

The works will be shown without sound and as a loop, alternating daily. All participating artists will be present on our info media. We will be happy to give you a hand concerning accommodation. (more info here shortly; Galerie Loyal -Werner-Hilpertstr. 22 - 34117 Kassel)

Download Application Form.pdf. Send your DVD to: Martin Dege, Menzelstrasse 13, D - 34121 Kassel (dege (ät) uni-kassel.de).

Posted by jo at 04:19 PM | Comments (0)

Neural n. 27


Celebrating 10 years

The new printed Neural issue in English is available. Neural.it celebrates 10 years of activity! Please check it and subscribe to RSS feeds, if you want :: 1 YEAR SUBSCRIPTION! 3 issues + EXCLUSIVE DVD BY GRENZE (Helsinki, 2006); Europe 24,90 Euro - World 38.97 U.S. Dollars :: BACK ISSUES:

Neural n. 27 contents: new.media.art . Cornelia Sollfrank (interview) . Arthur Kroker (interview) . news (Mire.project, Journal, Wordie, Email Clock Independent Robotic Community) . reviews (Book of Imaginary Media, In Human Format, City2City, Electronic Literature Collection 1, At the Edge of Art Words in Flux, GameScenes, Designing Interactions) . centerfold: 'netPong' by Oriol Ferrer Mesia.

e.music: . Girl Talk (interview) . Kim Cascone (interview) . Alex McLean, Live Coding (interview). news: (SoniColumn, Deep House for Symphonic Band and Choir, Ambient Addition, Breadboard Band, Forester) . reviews: (Vj, RT-32 Acoustic Space Lab, Synken, We Are All Drifting, 7ft_Konka, Women Take Back The Noise) . reviews cd: (Muslimgauze, @C, Funkstorung, Johan Johannsson, Kim Cascone, Nathan Davis, Mattin, Giuseppe Ielasi, Rosy Parlane, Strange Attractor vs Disinformation, Eric La Casa, Freiband, Flim, The Alps, Cagesan, Chris Watson & Bj Nilsen, Peter Rehberg, Marc Behrens and Paolo Raposo, Nick Didkovsky, Blotnik Brothers).

hacktivism: . Pirate Bay legal response style . Thieves of the Invisible . An Education and Labor Dispatch, by Trebor Scholz . news (PigeonBlog, Fake Progress Bar, View Finder Heatmap, Ad Generator, Logo.Hallucination) . reviews: ([the] xxxxx [reader], M.White - The Body and the Screen, H. Wagenbreth - Cry for Help, 36 scam Emails from Africa, F.Snelting+P.Westenberg - The Language of Sharing, T. Hansen - What Does Public Mean?)

Posted by jo at 03:58 PM | Comments (0)

Andy Gracie and others



DIGITAL UNIT RESEARCH presents BIORAMA @ MEDIA Centre Huddersfield :: July 13, 2007: A one-day event serving to contextualise, examine and expand upon the work and theory produced while Andy Gracie is Artist in Residence at the DRU. The research undertaken during the residency weaves together the microbiology of the Pennines around Marsden Moor, traditional and digital networking systems, perceptions of landscape and the history and possible future of interstellar communication.

Biorama Hike: _starting at 10 a.m. @ Marsden :: A 5 mile guided walking lecture and environmental study with Andy Gracie and Brandon Ballangee on Marsden Moor lasting around 3 hours. The walk will cover some of the physical territory featured in Andy's research, the talk will cover the parallel conceptual territories and simple scientific experiments will be carried out at various points on the way. Each participant will receive the Biorama Hiking kit with which to enhance their experience of the event. Particpants should book in advance as places are limited and should bring sturdy walking footwear and sun block.

Biorama Sessions: _starting at 3 p.m. @ Media Centre of Huddersfield :: The Biorama Sessions will introduce a number of artists whose work explores the natural environment, artificial landscapes and interactions with real or imagined lifeforms.

Participants: Agnes Meyer-Brandis, Andy Gracie, Brandon Ballengee, C-Lab, etoy, France Cadet, and London Fieldworks. Special guests in the evening.

Designed and presented by Monica Bello (CAPSULA) for the Digital Research Unit. Contact: monica[at]capsula.org.es.

Posted by jo at 03:46 PM | Comments (0)

Artists Space


New Economy

Artists Space presents New Economy, curated by João Ribas :: June 15 – July 28, 2007 :: Opening Reception: June 15; 6:00-8:00 PM :: 38 Greene Street, 3rd Floor, New York, NY 10013 :: 212.226.3970 :: info[at]artistsspace.org

Chantal Akerman, Kader Attia, Ursula Biemann, Mike Bouchet, Heath Bunting, Los Carpinteros, Carolina Caycedo, Daniel Dewar & Grégory Gicquel, Harun Farocki, Eva and Franco Mattes a.k.a. 0100101110101101.ORG, Cildo Meireles, Henrik Plenge Jakobsen, Oliver Ressler, Joe Scanlan, Santiago Sierra, Rirkrit Tiravanija, Milica Tomic, and Donelle Woolford.

Special Film Screenings in conjunction with New Economy: Anthology Film Archives, 32 Second Avenue (at Second Street) :: June 19 and July 5; 7:30 pm - Chantal Akerman's FROM THE OTHER SIDE / DE L'AUTRE CÔTÉ; 2002, 99 minutes. In English and Spanish with English subtitles.

Posted by jo at 03:39 PM | Comments (0)

Netherlands Media Art Institute



pond: Artists in Residence - Aymeric Mansoux and Marloes de Valk, Opening and presentation: June 15, 4:00 pm :: Exhibition from June 16 -July 14, 2007 :: Nederlands Instituut voor Mediakunst, Keizersgracht 264, 1016 EV
Amsterdam, Nederland :: Tel: 020 6237101 :: Email: info[at]montevideo.nl

Part of the 'Metabiosis' project, Marloes De Valk (NL) and Aymeric Mansoux (FR) investigate to what extent information can develop in a network of computers linked with each other and how it is possible for an audience to interact with it. The pond installation consists of three interconnected machines. Each machine runs a simple ecosystem model in which small strings of data are produced, processed and sent back and forth from computer to computer.

In reality the string contains a set of items that only make sense in the virtual machine / pond that interprets all this information. Because the model includes a two dimensional environment, visualized on screens, it is possible to follow the whole process as it is being computed on each machine. Even though the number crunching methods are abstract, with the aid of the visual output, one string of information can be tracked and referred to as a visible and animated 'creature'. When the machines are turned on, these 'creatures' remain in the computer memory and can jump to other computers/ecosystems.

They can reproduce (copy of information), evolve (update of information), and they can die (non recoverable loss of information). These self organized ecosystems produce patterns emerging from the initial rules set in the ecosystem model. At the same time, on a projection, the whole process and data exchange is visualised, bringing an even higher level metaphor and different point of view on how the information is flowing through the three machines.

It is possible for the audience to interact with each pond via a touchscreen, directly influencing and breaking the self organizing process. The input has immediate effect on the overall system and provides a way to bend or control the information flow.

pond is an experiment and a game for people who are curious about the possibilities of standalone processes, generative systems and artificial life.

During the residency, Mansoux and de Valk will investigate how the fragile transition regime between periodic and chaotic phases of a self organizing system can lead to complex behaviours with which an audience can interact with. The two visualisation models of the processed information raise the issue of the matryoshka effect through the relationship between interpretation and processed data.

Aymeric Mansoux is an artist and co-founder of GOTO10, an organization dedicated to create, produce, and support FLOSS+Art. He has taken part in many artistic experiments based on the internet and the emergence of networks, and considers any form of data to be a new clay that can be used to develop autonomous artistic processes. Currently part of the Digital Research Unit of the University of Huddersfield, his recent projects include the mysterious packets toolkit (with Tom Schouten and Marloes de Valk), the 0xA band (with Chun Lee), the digital artlife Metabiosis project (with Marloes de Valk), the pure:dyne GNU/Linux live distribution for media artists (with Chun Lee and Antonios Galanopoulos) and ongoing theoretical research into tools and digital autonomous processes. He is also part of the production and curatorial team of make art, an international FLOSS+Art festival in France.

Marloes de Valk is an audiovisual artist, part of digital art collective GOTO10. She was born in Holland, 1976, and is currently based in the UK. She studied Sound and Image at the Royal Conservatory in the Hague, specializing in abstract compositional computer games, HCI and crashing computers. Her work consists of audiovisual performances and installations, investigating machine theater and narratives of digital processes. She is part of the packets project, developing and documenting new tools for artistic creation, and is currently collaborating with French artist Aymeric Mansoux on Metabiosis, a project investigating the ups and downs of data packets living in a world of connected ecosystems. Marloes is part of the Digital Research Unit at the University of Huddersfield.

Posted by jo at 10:55 AM | Comments (0)



Open Call and Filmmakers-in-Residence Programs

WGBH Lab's Open Call seeks big ideas for small screens, including cell phones, PDAs, and television broadcast. Selected applicants receive funding to complete their short films, input during the production process from professional media makers, and a place to showcase their work.

This year, the Lab invites filmmakers and other aspiring media makers to submit proposals for 3-minute videos expressing reflections on and/or responses to war. Possible entries might include a grandfather’s story from World War II, thoughts on the current war in Iraq, or other contemplations on how war impacts society. Finished work may be presented via broadcast and broadband in conjunction with Ken Burns’ PBS documentary miniseries The War, airing in September 2007.

The deadline for entries is June 21, 2007. Later this year, P.O.V. will curate a Lab Open Call to develop original short content. P.O.V.’s editorial team will work closely with WGBH Lab and filmmakers to create rich content that can be distributed on multiple platforms during P.O.V.’s 2008 season.

Filmmakers-in-Residence: WGBH invites filmmakers and innovators from related industries to work on their independently funded projects during a nine-month residency at WGBH. Selected participants will receive a stipend, working space, administrative support, editing equipment, editorial guidance, and access to WGBH staff to advance their projects.

The deadline for the next round of filmmakers-in-residence applications is August 4, 2007.

P.O.V. will host a visit of Filmmakers-in-Residence at their New York offices. Workshops on a variety of topics will be conducted on areas such as: communications, production, community engagement and interactive strategies. These sessions will be individually tailored to the needs and goals of each filmmaker.

Sandbox: The WGBH Lab Sandbox is an open content initiative that allows users gain access to use rights-cleared, WGBH-owned content to use for their own (non-commercial) purposes. The public is invited, but not required, to share the results of their work by posting a link to the site. Users can post comments on each other’s work. The WGBH Lab Sandbox will relaunch in July with a new and expanded collection of content.

WGBH Boston is America’s preeminent public broadcaster, producing such celebrated national PBS series as Masterpiece Theatre, Antiques Roadshow, Frontline, Nova, Arthur and more than a dozen other award-winning primetime, lifestyle and children’s series. Boston’s last remaining independent TV station, WGBH’s local TV productions (among them, Greater Boston, Basic Black and La Plaza), focus on the region’s diverse community, while WGBH 89.7 FM is Boston’s NPR Arts & Culture station, offering a rich menu of classical, jazz, blues, news programming and more. WGBH is the leading producer of online content for pbs.org—one of the most-visited dot-org sites on the Internet—a major producer for public radio and a pioneer in developing educational multimedia and new technologies that make media accessible for people with disabilities. For its efforts, WGBH has been recognized with hundreds of honors, including Oscars, Emmys, Peabodys and duPont-Columbia Journalism Awards.

Produced by American Documentary, Inc. and celebrating its 20th season on PBS in 2007, the award-winning P.O.V. series is the longest-running showcase on television to feature the work of America's best contemporary-issue independent filmmakers. Airing Tuesdays at 10 p.m., June through September, with primetime specials during the year, P.O.V. has brought more than 250 award-winning documentaries to millions nationwide, and now has a Webby Award-winning online series, P.O.V.'s Borders. Since 1988, P.O.V. has pioneered the art of presentation and outreach using independent nonfiction media to build new communities in conversation about today's most pressing social issues.

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iCommons Summit 2007


The Art Happens Here

[Image: Nathaniel Stern's Sentimental Construction #1, part of The Wireframe Series site-specific, publicly performed “spaces,” made of rope (2007). Performers / documentarians / collaborators: JC Bukenya, Tomislav Domis, Joy Garnett, Ana Husman, Kathryn Smith, Tim Whidden (MTAA) and Jaka Zeleznikar.] The Art Happens Here :: Opens 15 June @ 21h30, Croatian time :: iCommons Summit 2007, Lazareti Art Workshop, Dubrovnik Croatia :: Simulcast to Annenberg Island in SL, 12h30 PDT, Second Life.

The Art Happens Here is a contemporary art exhibition and presentation at the iCommons Summit 2007, resulting from an ongoing artist in residence programme. Six international artists and a critic were invited to produce physical and virtual work that engages with fair use, copyright, re-mixing, piracy and/or collaboration on some level - whether directly or indirectly.

Works on show will include, but not be limited to, art books, murals, net.art, sculpture, public performance, video and installation -- all conceptually linked by their engagement with the Commons, by the artists' time spent in Dubrovnik. Participants include: Joy Garnett (USA), Ana Husman (Croatia), Kathryn Smith (South Africa), Nathaniel Stern (USA / South Africa), MTAA (Mike Sarff & Tim Whidden, USA), Jaka Zeleznikar (Slovenia) and blog-critic Paddy Johnson (of artfagcity, USA). There will also be a special appearance in the SL exhibition by Patrick Lichty, aka Man Michinaga (USA).

Artist Discussion Panel on Creative Commons and its potential uses and effects in professional arts practice will be a part of the iCommons main programme in Dubrovnik, 15h00 Croatian time.

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June 13, 2007

Canadian Journal of Communication


Call for Papers

Special Issue on Wireless Technologies, Mobile Practices :: Mobile wireless devices such as handheld pdas, cellular telephones, and portable computers are part of a changing landscape of communications and culture. In the last decade alone, for instance, the use of cell phones has increased fourfold in Canada signaling a remarkable shift in the telecommunications industry, the convergence of a number of technologies onto a single platform, and new ways of conducting person-to-person communication and creating community. In addition to these devices, Wi-Fi networks, Bluetooth, WANS, and GPS comprise integrated segments of the new infrastructure of the so-called wireless world as well as an emergent vocabulary for citizens and consumers.

The Canadian Journal of Communication invites submissions, in English or in French, for a forthcoming special issue on mobile communications and wireless technologies. We are interested in innovative, critical approaches that decipher a range of mobile technologies and practices in wireless contexts. Possible themes include:

:: Everyday uses: sharing our lives via the mobile (text, voice, video)
:: Civic engagement, activism and mobile technologies
:: Wireless services and emergency communication
:: Privacy, surveillance and mobile phones
:: Community Wireless Networks
:: Policy: CRTC regulations and spectrum policy
:: Mobility, Labour: new conditions of work
:: Shifting notions of space, place and time in a mobile world
:: Rhetoric and discourses on mobility and wireless worlds
:: Art, design and mobile technologies
:: Mobile genres and cellular convergence
:: Global and international perspectives on mobile technologies

Full-length papers (@ 7000-9000 words) should be submitted electronically following the guidelines laid out on the CJC submissions website. Make sure to write in all caps "MOBILE" in the Comments to the Editor field, and to include it on the cover page of your article as well. Do not include your name on the cover page.

Deadline for papers is Sept. 1, 2007. Papers selected by the editors will then be sent for peer review for final decision.

Comments and queries can be sent to one of the special issue editors:

Dr. Barbara Crow, York University, bacrow[at]sympatico.ca
Dr. Kim Sawchuk, Concordia University, kim.sawchuk[at]sympatico.ca
Dr. Richard Smith, Simon Fraser University, smith[at]sfu.ca

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Lynette Wallworth


Hold: Vessel 2, 2007

Lynette Wallworth: Hold: Vessel 2, 2007 :: BFI Southbank, London SE1 :: 23 June - 2 September :: Artist's talk: Lynette Wallworth in Conversation with renowned scientist, writer and presenter Mark Lythgoe - July 3, 18:20 NFT2 :: FREE :: 020 7928 3232

Lynette Wallworth's London debut sees the BFI commissioning Hold: Vessel 2, 2007, enabling the artist to further develop her critically acclaimed piece Hold: Vessel 1, 2001. An interactive, large-scale installation that explores the intimacy and immensity of the natural world and our relationship to it, this work uses moving image and technology to reveal the hidden intricacies of human immersion in the wide, complex world.

The piece is activated by the viewer, the interaction being a metaphor for our connectedness within biological, social and ecological systems. Upon entering the exhibition space, the visitor is encouraged to 'catch' falling projected images of astronomical and underwater life in lens-shaped glass bowls. With intimate moments of synchronised light and sound, the installation celebrates minutiae - microscopic views of marine life forms and photographic imagery of deep space - leaving the visitor with a sense of communal participation within a complex system of which we are a part.

The images in Hold: Vessel 2 come from current visioning technologies such as X-ray Microtomography and remotely operated light sensitive cameras allowing us to see intricate detail inaccessible to the human eye. A reflection upon our own place in a complex and starkly beautiful world, the work helps us explore the complex interconnectivity between things that we do not always see or know.

Lynette Wallworth is the second of an ongoing series of art exhibitions at BFI Southbank exploring contemporary artists' use of the moving image.

Lynette Wallworth - Hold: Vessel 1, 2001
Courtesy of and commissioned by the Australian Centre for the Moving Image, Melbourne, Australia http://www.acmi.net.au

Lynette Wallworth - Hold: Vessel 2, 2007
Commissioned by the BFI, London, Produced by Forma Touring and Supported by Arts Council England

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N3krozoft Ltd



REMOTE FAIRYTALES - CONTES LOINTAINS - FABEL OP AFSTAND - N3krozoft Ltd exhibit + live internet performance :: Performance: June 14, 2007, 7pm :: Exhibition: June 14-September 12, 2007 :: Location: MAAC Gallery, 26 rue des Chartreux, 1000 Brussels, Belgium.

LIVE INTERNET PERFORMANCE: feat. the girl without hands, a lecture & the Aether collective. The opening performance can be followed ONLINE :: June 14, 7 pm CET (central european time) - 10am in California - noon in Colombia - 9pm in Moscow - midnight in Bangkok - 2am in Tokyo. Get your local performance time here.

INCLUDING: 3 fully functional ZOETROPES, graphical prints, a rare exhaustive screening of the classic videoperformance LOL (laughing out loud) & other artifacts. Additionally, n3krozoft ltd will release an EXCLUSIVE edition of its complete videographic works (1904-2007).

In addition to being the world leader in Biometrics-Based Information Exchange (BBIX), N3KROZOFT has strong market positions in non-euclidean translation systems and on-the-fly data processing and visualisation. The Strategic Imagery Group is currently testing and integrating a fully functional real-time media architecture that will be reliable, unexpensive, and packaged with documentation and source code (though not necessarily complete in terms of desired features).

Aether collective: Initiated in May 2007 during a workshop at the Mapping Festival in Geneva, Switzerland, Æther9 is a collaborative art project exploring the field of realtime video transmission. Developed by an international group of visual artists and collectives working in different locations spread around the globe and communicating solely through the Internet, Æther9 intends to become a functional framework for collaborative video performance.

Zoetrope: The zoetrope was invented in 1834 by William Horner. It was based on Joseph Plateau's phenakistoscope, but was more convenient since it did not require a viewing mirror and allowed more than one person to use it at the same time. Original zoetrope by William George Horner, 1834. Exhibit of Optical Toys.

LOL (laughing out loud): Media performance created by N3krozoft Ltd Media Group (2003-2005).

Beklemmende Online-Tragödie – review by Raffael Dörig for Regioartline (in german)

in(security) by Ryan Holsopple for ITP 2006 Thesis Week.

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[-CC-] "curating media/net/art


Call for Papers

Call for [-CC-] "curating media/net/art--papers" :: Abstracts deadline: June 30, 2007 :: Notification of acceptance: July 7, 2007 :: Deadline for finalized papers: August 31, 2007.

For the project [-CC-] "circualting contexts--curating media/net/art" from June 1st - October 31st, 2007 which takes place in Vienna and in the online medium, the public is invited to enter papers concerned with contemporary curatorial practices in- and outside the virtual space. The papers should be limited to max. 15.000 characters and must be licencened under the Creative Commons Attribution 3.0 Unported License. [-CC-] "curating media/net/art--papers" is open to all thematic fields but may be related to the topics below too. Selected papers will be printed in the forthcoming catalogue.

1 visualizing work.flows and (filtering-) processes
2 virtual/real representations in real/virtual spaces
3 facing participation / the lack of collaboration
4 web 2.0--curatorial facilities or technical barriers
5 involvement of (art-)institutions / rise of significance

Please send your submissions or questions to: curating(at)cont3xt.net

The curating of Internet-based art on the Internet is a multifaceted communication-process between Internet-users with all kinds of different backgrounds regarding the content. Along with the changing conditions of production and reception of art on the Internet came new possibilities of curation which deserve study. [-CC-] "circualting contexts--curating media/net/art" is a series of experimental long-term research projects hosted by the Vienna-based organisation CONT3XT.NET, investigating current tendencies in the curation of (New) Media and Internet Art.

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June 12, 2007

Upgrade! Paris



Upgrade! Paris: Cyrille Henri and Nicolas Montgermont present chdh :: Date: June 15, 2007 at 7:00 PM :: Place: Point Ephimhre, 200 quai de Valmy 75010 Paris, M0 Stalingrad :: Mediator : Dominique Moulon.

chdh is a live hybrid performance, offering a symbiosis between the sound and the image. Between minimalism and industrial, chdh creates a single, cold but organic universe. Thanks to the use of mathematical algorithms and physical models, chdh brings a new vision of the use of data-processing tools in musical creation. The use of audio-visual objects, having a sound component and a video component controlled by the same parameters allow an effective management of the relations between the two medias.

This project evokes a virtual world, made up with more or less autonomous abstract creatures. The aesthetics of the video and the sound is minimalist: sines, diracs and noises interact with cubes, spheres and other primitive in 3D on a black and white visual environment.


The role of chdh during live performances is to play with the movement of these objects, in order to make them live and react. Two musicians handle the instruments by using an abstracted layer, software representation of the audio-visual object. Each algorithm then creates data used for the video synthesis and for the sound synthesis, creating a strong cohesion during the performance.

Cyrille Henry, artist and multi-field developer, he is interested in interactions between human gesture and data processing for artistic exploration. His work was directed in turn towards the sensors or physical modelling for gestur analysis, human interface devices, as well as the sound and visual synthesis in real time. He worked 4 years in La kitchen in Paris (in charge of the hardware department) for the development of sensors interfaces and their uses in an artistic context (live spectacle, dance, interactive installation, music). He is one of the founder members of the chdh project. Since 2005, he works as a free-lance developer/engineer around pure-data/Gem and sensors.

Nicolas Montgermont, researcher and artist, studies the relations between art and sciences using the computer as a workshop. After a formation in signal processing, he studies sciences applied to music at the IRCAM center, being specially focused on real time control of synthesis. Currently, he carries out a PhD thesis on the analysis of the flutist playing at the Laboratory of Musical Acoustics (LAM) in Paris. His creating work is the search of a numerical aesthetics, using and developing personal tools to explore the specific possibilities of a computer. Founder of Basses Lumihres, an association working on the fusion of the relationship between various mediums of the contemporary art, he works mainly in the musical field, through three projects : chdh ; ABM, a break/noise laptop duo and Ngio, a minimalist and numerical sound.

Info and archives on: http://incident.net/theupgrade. The Upgrade! Paris sessions are organized by Incident.net. They are public and monthly. Artists, researchers, architects, theorists present during one hour their recent work. Partners: CITU, Ars Longa, RYbN, The Upgrade! International.

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Sonar 2007


Spam, the Economy of Desire

SPAM as an art form: As in previous years, one of Sonar's exhibition areas is once again set aside exclusively for displaying the latest developments in digital art. Located on the 1st floor of the Centre de Cultura Contemporànea, this year's exhibition focuses on SPAM, one of the most common and undesirable elements on the net. In this selection of works curated by Alessandro Ludovico, the unwanted information that we delete every morning without a second thought becomes an artistic device used by artists to explore different mechanisms for communication – and intrusion - in the technological age.

Sonar also gives a place to the latest new media art from Barcelona through Digital Art on Demand, organised in collaboration with the gallery Niu, one of the city's main new media cultural centres. Local artists and foreign Barcelona-based artists participate in this showcase called Viviendo@bcn. Mediateletipos.net (a satellite project of the important Galician portal artesonoro.org) will also be a guest at this year's Sonar, with eight interesting projects that explore the same general area: the revolution that the widespread use of web 2.0 will imply in relation to the music scene.

Spam, the Economy of Desire :: Alessandro Ludovico (IT) - As one of the inescapable communication phenomena of our times, junk e-mail is a substantial part of our infoscape. "Spam" is an exhibition of works curated by Alessandro Ludovico that explores how digital artists have proven themselves smarter than spammers. Taking Spam beyond the computer screen or responding to it through aesthetic strategies of all kinds, these artists could be considered to be the bravest, definitive email heroes.

Jonathan Land, "The Spam Letters"

Richard Airlie, Ian Morrison, "Spamradio"

Alex Dragulescu, "Spam Architecture"

Bill Shackelford, "Spamtrap"

Markus Boeniger, "Spam Shirt"

Luca Bertini, "800-178968, a Toll Free Number"

Dean Cameron, Victor Isaac, "Urgent & Confidential"

Nick Philip, "Nowhere.com"

"Today's Spam"

Viviendo@bcn :: Niu (ES) - Barcelona, a Mediterranean and usually sunny city, is one of Europe's most active and innovative hubs for audiovisual and multimedia arts. Much of this innovation and richness comes from artists born outside of Barcelona, people from a thousand and one different cities who decide to stop here for a time. Many of these artists explore audiovisual language as a form of artistic expression. This small selection shows the creative scope of eight collectives led by artists who have made Barcelona their home over the last few years. Recent arrivals from Sevilla, Bogota or Berlin who are making Barcelona a stop on their professional path and contributing a cultural richness that may be hard to quantify, but is undoubtedly positive. Niu is a cultural space located in Barcelona's Poblenou area that produces, exhibits and publicises contemporary audiovisual arts, multimedia design, digital art and independent electronic music. The subject of study, production and exhibition is the "audio and visual" culture that emerges with the inrush of digital technology into the world of art, design and communication.

Alberto Tognazzi, "Intimidades"

Dslnc Studio (con música de Pablo Maffi), "Electrospoken World Video
Collage Generator"

Matekemata, "Airport"

Sebastián Seifert & Miguel Marín, "Catangos Remixed"

AC 3monitor, "28 Dead...Hundred Injured"

Háztelo, "El Cruce"

Institut Fatima, "Wireless Artist for Everyone!"

Equipo & Txalo Toloza-Fernández, "Usted No Está Aquí"

Redes Aurales :: Mediateletipos.net (ES) - We find ourselves facing the need to construct a new theory of knowledge that will allow us to study societies through their sound imaginaries. In this supposed new stage, the semantic web plays an essential and major role, a place for construction rather representation: from the figurative plane to pattern, from perspective to immersion, from object to process, from content to context, from reception to negotiation, from observation to action and from brain automatism to the distributing mind. Here in this new context is where we may find the keys to help us resolve the problem. Mediateletipos.net (a satellite project of the portal artesonoro.org), has selected eight projects that use social consensus as a means of working towards constructing that longed for means to knowledge through "aurality".




"The Freesound Project"





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CHArt 2007



CHArt (COMPUTERS AND THE HISTORY OF ART) TWENTY-THIRD ANNUAL CONFERENCE: DIGITAL ARCHIVE FEVER :: CALL FOR PAPERS :: November 8 - 9, 2007 :: London Venue to be confirmed :: Deadline: June 30.

Museums, galleries, archives, libraries and media organisations such as publishers and film and broadcast companies, have traditionally mediated and controlled access to cultural resources and knowledge. What is the future of such ‘top-down’ institutions in the age of ‘bottom-up’ access to knowledge and cultural artifacts through what is generally known as Web 2:0 - encompassing YouTube, Bittorrent, Napster, Wikipedia, Google, MySpace and more. Will such institutions respond to this threat to their cultural hegemony by resistance or adaptation? How can a museum or a gallery or, for that matter, a broadcasting company, appeal to an audience which has unprecedented access to cultural resources? How can institutions predicated on a cultural economy of scarcity compete in an emerging state of cultural abundance?

For the twenty-second CHArt conference we are looking for papers that reflect upon these issues, particularly in relation to visual culture. We particularly welcome contributions from those working in either ‘traditional’ cultural organisations or those involved in new forms of cultural access and distribution.

Please email submissions (a three hundred word synopsis of the proposed paper with CV of presenter/s and other key figures) by 31 May 2007 to Hazel Gardiner (hazel.gardiner[at]kcl.ac.uk).

Dr Charlie Gere, Chair, CHArt
c/o Centre for Computing in the Humanities
Kings College, University of London
Kay House
7 Arundel Street

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June 11, 2007

Come Out & Play Festival



TURN AMSTERDAM INTO A PLAYGROUND IN THE SECOND ANNUAL COME OUT & PLAY FESTIVAL, SEPTEMBER 22-23 :: SUBMISSION DEADLINE :: July 15, 2007 :: The Come Out & Play Festival seeks to provide a forum for new types of public games and play. We want to bring together a public eager to rediscover the world around them through play with designers interested in producing innovative new games and experiences. Oh yeah, and we want to have city-size fun.

The festival offers a chance to explore new styles of games and play. Last year the festival featured games from the creators of I Love Bees, PacManhattan, The Go Game, Conqwest, Big Urban Game and more. From massive multi-player scavenger hunts to public play performances, the festival gives players and the public the chance to take part in a variety of different games. We are extremely excited to announce that Come Out & Play will be landing in Amsterdam, Netherlands this September for a two day festival. In collaboration with the PICNIC'07 cross media week, Come Out & Play will be running a two-day mini-festival in Amsterdam this September.


Have you got a game? We want to include as many different types of games as possible in the festival schedule. We are looking specifically for games with defined goals and interesting, meaningful choices for the players. These games should be interactive and directly engage the participants. Your game can have a technology component or it can be old school with absolutely no tech; to us, it's much more important that the game produce an interesting experience for the players. We will be reviewing submissions focusing on these criteria when we select games for the schedule:

Most importantly, your game must be playable in Amsterdam during the festival.

Your submission will be reviewed by a panel of street game "experts" brought together to assemble the lineup for this most sacred event. Okay, we are actually a bunch of yahoos. But we have run a few games and we really like playing in fun ones. So make sure your game sounds fun and interesting. We like innovative use of public space. We like games which make people interact in new ways. We like games that alter your perception of your surroundings. But most importantly, we just want the players to have fun.

APPLICATION :: Download the application form (.doc).


- Submission deadline: July 15
- Notifications: July 31
- Festival: September 22-23


Email us at info[at]comeoutandplay.org


WHAT ABOUT NEW YORK?! The Come Out & Play Festival will return to New York City in the Spring of 2008 for more city-sized fun.

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Disrupting Narratives


Real-time Interaction in Electronic Media

LIVE WEBCAST OF Disrupting Narratives :: July 13, 2007, 10.00–18.30 :: Tate Modern Starr Auditorium, Bankside, London SE1 :: in collaboration with iRes (Research in Interactive Art & Design) at University College Falmouth :: Concept by Kate Southworth, developed in collaboration with Tate Modern :: Tickets £20 (£12 concessions) booking recommended or call 020 7887 8888.

This international symposium brings together some of the world's leading media artists, theorists and researchers to explore real-time interaction in electronic media. Over the last few years network theories have started to shape our thinking about social and cultural issues. This event seeks out artistic strategies and art forms that engage with these ideas. Contributors include: Mark Amerika, Alexander R Galloway, Andrea Zapp, Kelli Dipple, Kate Rich and Paul Sermon.


10:00 Arrival and Registration

10:15 Welcome and Introduction (Kate Southworth)

10:30 Session 1: Counter-Narratives

Mark Amerika: Remixology, Hybridized Processes, and Postproduction Art: A Counternarrative - In this keynote address, artist and theorist Mark Amerika remixes personal narrative, philosophical inquiry, spontaneous theories, and cyberpunk fictions that investigate the emergence of digitally constructed identities, fictional personas, experiential metadata, narrative mythologies, and collaborative networks. Locating what he describes as the "postproduction artist" who engages with D-I-Y networking and alternative distribution schemes to build new models of audience development, Amerika will role-play the contemporary remixologist who is part VJ, part novelist, and part net artist, a made-up character in a book yet written, someone who uses the forms of new media not so much to counter spectacle in the media culture, but to create a counternarrative drift that moves away from the art object per se while investigating the depth of possibilities waiting to be discovered in the creative unconscious.

11:30 Andrea Zapp: For We are Where We are not: Mixed-Reality Narratives and Installations - Andrea Zapp’s practice focuses on room installations in the gallery that are linked to a digital network, mostly through components of surveillance technology. At present she also concentrates on model and miniature aesthetics as a format of expression and narrative architecture; small or shifting scales become another motif to discuss virtual and personal spaces of memory and identity. Life-sized installations like a hut or a hotel room as well as participants are linked to their remote model replicas or online versions – to create surreal stages of viewer involvement that discuss the change of existence in a wired world.

12:15 Kelli Dipple: ... duration, distribution and participation _ the performative-emergent narrative - Focussing on examples of contemporary artists' work, this presentation will observe a notion of performativity in context of cross-platform artistic and curatorial practice. Providing examples of emergent counter-narrative; demonstrated through interaction, participation, interventions and interfaces - that effectively penetrate an exhibition's mode, duration, functionality, and design. Technology is increasingly ubiquitus within all practice, it permeates interpretation, education, exhibition, performance, communication and distribution; it is sometimes therefore, difficult to tell where an artwork begins and ends. The fluid spaces without protocol dominate emergent narratives of New Media that engage both internal and external configurations of the institution. In order to redraw our expectations of what is possible, how are we able to imagine the virtual museum, the distributed museum or the online gallery - are they feasible platforms? How satisfied are we with broadcast and redistribution as primary modes? How do we present New Media Art and make better use of platform-specific versioning in conjunction with social networks, to facilitate more detailed dialogues and provide more satisfyingly responsive cultural architectures?

13:00 Lunch Break

14:00 Session 2 Counter-Protocols

Alexander R Galloway: Counter-Protocol - In this keynote address, Alexander Galloway asks us to imagine an art exhibit of computer viruses. How would one curate such a show? Would the exhibition consist of documentation of known viruses, or of viruses roaming live? Would it be more like an archive or more like a zoo? Perhaps the exhibit would require the coordination of several museums, each with "honey pot" computers, sacrificial lambs offered up as attractor hosts for the contagion. A network would be required, the sole purpose of which would be to reiterate sequences of infection and replication. Now imagine an exhibit of a different sort: a museum exhibit dedicated to epidemics. Again, how would one curate an exhibit of disease? Would it include the actual virulent microbes themselves (in a sort of "microbial menagerie"), in addition to the documentation of epidemics in history? Would the epidemics have to be "historical" in order for them to qualify for exhibition? Or would two entirely different types of institutions be required: a museum of the present versus a museum of the past? In this talk Alexander Galloway explores a "counter-protocol" aesthetic and how it relates to the contemporary landscape of artmaking.

15:05 Paul Sermon: My work in the field of telematic arts explores the emergence of a user-determined narrative by bringing remote participants together in a shared telepresent environment. Through the use of live chroma-keying and videoconferencing technology, two public rooms or installations and their audiences are joined in a virtual duplicate that turns into a mutual, visual space of activity. Linked via an H.323 Internet videoconference connection, this form of immersive interactive exchange can be established between almost any two locations in the world. As an artist I am both designer of the environment and therefore ‘director’ of the narrative, which I determine through the social and political milieu that I choose to play out in these telepresent encounters.

15:50 Tea Break. Tea, coffee and biscuits are served in the Starr Auditorium Foyer

16:15 Kate Rich: Feral Trade (Import-Export) is an artist-run grocery business established in Bristol, 2003. The process is called Feral Trade to distinguish it from other methods such as Fair or Free. Feral Trade forges new, wild trade routes across hybrid territories of business, art and social interaction. Goods are run along social routes, avoiding official channels of grocery distribution in preference for a hand-carried cargo system, often using other artists or curators as mules. This distribution infrastructure is modelled on the 'store and forward' protocol of email, and proposes the surplus freight potential of networked social and cultural movements as a viable alternative to regular freight services (white van, supermarket lorry, Parcelforce, DHL).

17:05 Panel Discussion

17:50 Closing Remarks (Kate Southworth)

18:00 Drinks Reception. Drinks are served in the East Room on Level 7

Mark Amerika has been named a "Time Magazine 100 Innovator" and has had four retrospectives of his digital art work. In spring 2000, GRAMMATRON was selected as one of the first works of Internet Art to be exhibited in the prestigious Whitney Biennial of American Art. His most recent book, META/DATA: A Digital Poetics, was just published by The MIT Press. A Professor of Art and Art History at the University of Colorado, Amerika's practice-based research methods have been translated into novels, feature-length films, museum installations, and live multimedia performances that integrate experimental music, live writing, and video sampling into the narrative mix.

Kelli Dipple is the Webcasting Curator for Tate, working across Tate Media, Performance and Adult Education programmes. Her role is to oversee live event broadcasts, curate a context for the development of Tate's Net Art commissions and to curate performances For Tate Modern's Long Weekend. Kelli trained in theatre directing and choreography at the Queensland University of Technology in Australia and has worked for over a decade at the intersection of new media and performance practice, specializing in the integration of visual, interactive, communication and network technologies. Previous to working for Tate, Kelli curated and produced digital media and performance programmes for Site Gallery in Sheffield. She also continues her own performative research, which has taken the form of site-specific and interactive performance, software development, personal data exchange and multi-screen or single-channel broadcast. For the past twelve years she has worked in the area of live cinematic and networked events. Undertaking artist residencies and projects in conjunction with Virtual Platform (NL), PVA (UK), Montevideo (NL), Steim (NL), Interaktions Labor (Germany), The University of Manchester (UK) and The University of Florida (USA). She has also worked and collaborated extensively with artist-lead groups in the UK including NODE.London, Active Ingredient, Future Physical, Resonance FM and Furtherfield; as well as with Australian artists, Company in Space, Keith Armstrong and The Transmute Collective.

Alexander R. Galloway is an author and programmer. He is a founding member of the software collective RSG and creator of the data surveillance engine Carnivore. The New York Times recently described his work as "conceptually sharp, visually compelling and completely attuned to the political moment." Galloway is the author of Protocol: How Control Exists After Decentralization (MIT, 2004), Gaming: Essays on Algorithmic Culture (Minnesota, 2006), and a new book coauthored with Eugene Thacker called The Exploit: A Theory of Networks (forthcoming). He teaches at New York University.

Kate Rich is an Australian-born artist & trader. In the 1990s she moved to California to work as radio engineer with the Bureau of Inverse Technology (BIT), an international agency producing an array of critical information products including economic and ecologic indices, event-triggered webcam networks, and animal operated emergency broadcast devices. The Bureau's work has been exhibited broadly in academic, scientific and museum contexts. Restless at the turn of the century, she headed further east to take up the post of Bar Manager at the Cube Microplex, Bristol UK; where she launched Feral Trade, a public experiment trading goods over social networks. She is currently moving deeper into the infrastructure of cultural economy, developing protocols to define and manage amenities of hospitality, mobility, catering, sports and survival in the cultural realm.

Paul Sermon is Professor of Creative Technology and leader of the Creative Technology Research Group in the Adelphi Research Institute for Creative Arts and Sciences, University of Salford. Born in 1966, he received a BA Hons. Fine Art at the Gwent College of Higher Education in 1988 and an MFA at the University of Reading in 1991. He was awarded the Golden Nica for Interactive Arts at the Prix Ars Electronica 1991 in Linz, and the Interactive Media Festival Sparkey Award in Los Angeles in 1994. Paul Sermon was artist-in-residence at the ZKM Center for Art and Media Karlsruhe in 1993; dozent for telematic arts at the HGB Academy of Visual Arts in Leipzig, Germany from 1993 to 1999; and guest professor for performance and environment at the University of Art and Industrial Design in Linz from 1998 to 2000. Since June 2000 he has been based at the University of Salford, where he is researching immersive and expanded telematic environments.

Kate Southworth is an artist and researcher. With Patrick Simons she is a founding member of the art group glorious ninth - producers of distributed artworks, DIY installations and invisible networks. Current experiments into co-poietic relationships between code and ritual find form as aural-visual works, installations, performative presentations and texts, and expose their ongoing aesthetic and political attempts to evade systems of control. Recent works, such as November and love_potion, use magic, tactical gardening and social networks to recover knowledge of herbs and healing from commercial control and to share it as common knowledge. glorious ninth’s work has been exhibited in academic, gallery and online contexts. Kate received BA (Hons) in Fine Art and an MSc in Multimedia Systems. She has taught Media Art subjects at Universities in London, Dublin and Cornwall. Currently she is leader of the iRes Research Group in Interactive Art & Design at University College Falmouth where, for the last five years, she has been Course Leader of MA Interactive Art & Design.

Andrea Zapp was born in Germany and has a background in film and TV studies and creates disorientating digital platforms mixing real, virtual and online spaces, combined with surveillance interfaces and technology. She has edited two books, Networked Narrative Environments as imaginary spaces of being, MMU/FACT Liverpool, 2004; and New Screen Media, Cinema/Art / Narrative, BFI, London/ ZKM, Karlsruhe, 2002, (with Martin Rieser). She curated StoryRooms, an international Exhibition on Networking and Media Art that took place at The Museum of Science and Industry in Manchester, from October 05 to January 06. She has lectured widely internationally; her art works have been shown at Siggraph 06 Boston, Ars Electronica Linz; ISEA Liverpool and Paris; Pittsburgh Center for the Arts; Festival of Visions Hong Kong - Berlin, Media Forum Moscow, Austrian Photo Triennial Graz, Museum of Image and Sound Sao Paulo; Machida City Museum of Graphic Arts Tokyo; Kunstverein Stuttgart, Intern. Art Fair Madrid, Film Festival Rotterdam; and at conferences including the Biennale of Electronic Arts Perth, Australia; Siggraph Los Angeles, ISEA 02 Nagoya; Muestra Euroamericana de Video y Arte Digital, Buenos Aires. In 2005 she was appointed Senior Lecturer and Route Leader for the MA Media Arts at Manchester Metropolitan University.

Posted by jo at 02:27 PM | Comments (0)

Igor Stromajer presents Ballettikka Internettikka


Valencia, Spain

Igor Stromajer presents Ballettikka Internettikka :: June 14, 18:30 :: Sala Parpalls, New Media Room, Carrer Alboraia 5, Valencia, Spain.

Igor Stromajer's Internet oeuvre is characterized by the substitution of the traditional theatre space by the use of the Internet for his intimate performance.
[ . . .] "Ballettikka Internettikka" realized by net.artist Igor Stromajer and net.composer Brane Zorman is an internet guerrilla performance. Differently from other net.art works by Stromajer, which are confined to fixed spaces on the Net, accessible from infinite co-ordinate combinations of time, place, and space, "Ballettikka Internettikka" combines the Internet based ubication with the artist's placement in an offline scenario (corporeally speaking), so the intervention takes place both online and offline, conceived as a complimentary effect. [ . . .]

This Internet situationist performance is a critique of elitist and bourgeois art spaces and consumer art culture and capitalism, by claiming public art spaces. This is achieved by entering secondary locations of established art institutions and then broadcasting the action via the Internet, taking advantage of the whole new scope that the Internet offers: a higher bandwidth, a complimentary effect to off-line activism, omni-directionality, and participation.

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SWITCH, Issue 23



SWITCH: The online New Media Art Journal of the CADRE Laboratory for New Media at San Jose State University is pleased to announce the launch of Issue 23: FUNCTION // BORDER // DYSFUNCTION.

After 2 solid years of work leading up to ISEA2006 and the ZeroOne Festival, CADRE and SWITCH have been considering new agendas, strategies and opportunities. Over the last several months, the CADRE Laboratory has engaged in a diverse set of activities. We have explored issues such as failure (its lessons and its utility), borders (real / virtual, body / technology, open / closed), and in what direction "new" media may be going. Issue 23 highlights the diversity of these activities, which we have grouped under the rubric of "Function / Border / Dysfunction". Among other things, we have interviews with Michael Joaquin Grey, Saskia Sassen and Lu Jie. Cultural theorist / art historian Dore Bowen explores "The Function of Dysfunction" in her article on Fluxus event scores. The CADRE Lab introduces its Speaker Salon Series, it's new artist residency with the Montalvo Arts Center and its collaboration with Ars Virtua in sponsoring the Borders conference in Second Life.

About SWITCH: SWITCH is the new media art journal of the CADRE Laboratory for New Media of the School of Art and Design at San Jose State University. It has been published on the Web since 1995. SWITCH is interested in fostering a critical viewpoint on issues and developments in the multiple crossovers between art and technology. Its main focus in on questioning and analyzing, as well as reporting and discussing these new art forms as they develop, in hopes of encouraging dialogue and possible collaboration with others who are working and considering similar issues. SWITCH aims to critically evaluate developments in art and technology in order to contribute to the formation of alternative viewpoints with the intention of expanding the arena in which new art and technology emerge. SWITCH is overseen by CADRE faculty Joel Slayton and Rachel Beth Egenhoefer.

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Speculative Data and the Creative Imaginary:


Shared Visions between Art and Technology

Speculative Data and the Creative Imaginary: Shared Visions between Art and Technology :: June 4 - August 24, 2007 :: Opening Event: Wednesday, June 13, 2007 :: Exhibition Viewing - 6:00-8:00 PM :: Performance by Roger Dannenberg :: ACM Creativity and Cognition Panel: Bridging Art and Science with Creativity Support Tools with Rita Colwell (University of Maryland), Sara Diamond (Ontario College of Art and Design), Paul Greenhalgh (Corcoran Gallery of Art), and Dr. William Wulf (National Academy of Engineering) - 8:00 - 9:00 PM :: National Academy of Sciences Rotunda Gallery, 2100 C Street N.W., Washington D.C. :: Curator: Pamela Jennings.

Complementing the ACM Creativity and Cognition Conference themes: cultivating creative minds; sustaining creative communities; and promoting creative engagement, the works in this exhibition illustrate the breadth of creative digital media that impact interdisciplinary practices across the arts, science and technology research.

This exhibition features interactive computer installations, large format digital prints, and wearable technology, representing a confluence of technology research and creativity that include the visual arts, design, architecture, performance, science, technology and engineering. The exhibited works share a common trajectory of exploring speculative inquiries, imaginary scenarios and real-time phenomenon from outer space to cyberspace; multi-dimensional space to urban space; public space to virtually embodied space; ecological space to social space.

This exhibition is dedicated to outgoing National Academy of Engineering President William A. Wulf, in recognition of his many years of support for the arts program at the National Academies in Washington D.C. Contributors to this exhibition include: Nell Breyer, Sheldon Brown, Donna Cox, Roger Dannenberg (opening night), Ernest Edmonds, Tiffany Holmes, Pamela Jennings, Greg Judelman and Maria Lantin, George Legrady, Marcos Novak, Sabrina Raaf, Bill Seaman, Thecla Schiphorst, Christa Sommerer and Laurent Mignonneau, and Martin Wattenberg.

Special Presentation Event at the National Academy of Sciences Gallery Auditorium Thursday, July 12, 2007:

Film Screening of Robert Rauschenberg's - Open Score with special Introduction by producer Julie Martin
Reception: 5:00 PM - 6:00 PM
Film Screening: 6:00 PM - 7:30 PM

In 1966, 10 New York artists worked with 30 engineers and scientists from the Bell Telephone Laboratories to create groundbreaking performances that incorporated new technology. They used video projection, wireless sound transmission, and Doppler sonar -- technologies that are commonplace today but that had never been seen in the art of the 1960s. Julie Martin, producer of the ?9 Evenings? DVD series, will discuss the film series as well as the 1966 event that was the first large-scale collaboration between artists, engineers, and scientists. Open Score is co-produced by E.A.T. and ARTPIX and distributed by Microcinema International.

Press Contact: Alana Quinn, Outreach Manager, Office of Exhibitions and Cultural Programs, National Academy of Sciences (202)-334-2415 aquinn[at]nas.edu
Public Contact: arts@nas.edu (202) 334-2436

Posted by jo at 08:27 AM | Comments (0)

June 08, 2007

University College Dublin Conference


Perspectives on the Body and Embodiment

Perspectives on the Body and Embodiment :: University College Dublin :: Friday June 8-9, 2007 .

Since the investigations of phenomenological theorists such as Husserl, Merleau-Ponty and Heidegger, the themes of embodiment and situatedness have enjoyed increased popularity over a wide range of disciplines, including philosophy, psychology, cognitive science, neuroscience, literature, women's studies among others. Recognition that the body is not merely an appendage to the self, but rather is what opens up the possibility of meaningful subjective existence, has radically shifted the classical philosophical understanding of the body. Within popular culture this shift is reflected with an increased interest in embodiment in realms such as design, architecture, education and business.

This conference aims to explore the themes of the body and embodiment in contemporary discourse inviting papers from a range of disciplines including, but not limited to, philosophy, psychology, cognitive science, performance studies, women's studies and literature. This unique inter-disciplinary perspective will provide a multi-faceted understanding of how Western thinking has changed with understanding the role of the body in constituting or influencing cognition, subjectivity, identity and discourse.

Nathaniel Stern: Implicit Bodies through Explicit Action

This research contends that the body is performed. A body can “act” as a site of emergence, a boundary project, and an incipience. While Rebecca Schneider’s “explicit body” in feminist performance art performatively unfolds (Latin: explicare) and explicates, the implicit body concordantly enfolds (Latin: implicare) and implies. Inter-action is both constitutive of, and always already involved in, the flesh. Like an animated moebius strip, the body feeds back between affection and reflection. This paper attempts to think through digital art as a proscenium for, and framer of, the implicit body.

Nathaniel Stern is an internationally exhibited installation and video artist, net.artist, printmaker and performance poet. He is currently working towards a production- and research-based PhD on interactive art and embodiment at Trinity College, Dublin. Recent works include an article in the Leonardo Journal of, Art Science and Technology, a write-up in NY Arts Magazine, solo exhibitions at Art on Paper gallery (Johannesburg) and the Johannesburg Art Museum, and artist residencies at the iCommons (Croatia), Frans Masereel Centre (Belgium) and the Anderson Ranch (USA).

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June 07, 2007

H2.0: New Minds, New Bodies, New Identities


'Hacking the Human'

[Image: Aimee Mullins, a Paralympic athlete and model, showed an image of her running with her 'cheetah legs,' which helped her break world running records.] Creative technology meets quiet humanity in Media Lab's adaptive device event: Mission is 'hacking the human,' says director Frank Moss - by Stephanie Schorow, MIT News Office Correspondent, May 11, 2007. VIDEO -Archived webcasts and presentations.

Forget cool new gadgets or killer-ap software. "We're hacking the human," said Frank Moss, director of MIT's Media Lab, in introducing "H2.0: New Minds, New Bodies, New Identities," the lab's May 9 symposium that showed -- often in mind-blowing detail -- how addressing the challenges posed by disabilities can broaden the scope of human ability.

"The goal of today's symposium is to demonstrate the amazing possibilities in new adaptive technology," as MIT President Susan Hockfield noted.

But "amazing" came with a sense of humor, as provided by MIT Media Lab Distinguished Fellow and veteran TV journalist John Hockenberry, who acted as master of ceremonies and got things rolling by showing off the sparkling lights on his wheelchair.

And tales of the "amazing" were tempered by the quiet humanity of author and neurologist Oliver Sacks, the keynote speaker, who mesmerized his audience with stories of the brain's adaptability.

Hockenberry set the tone by bringing on stage a telephone and a typewriter (which he defined as a "laptop that prints while you type.") The typewriter, he noted, was invented to let the blind write, and telephone inventor Alexander Graham Bell was seeking ways to help the deaf.

What if, he asked, new technology was about more than creating new devices to "dump" on the population? What if it involved thinking about "human mechanisms and abilities?"

"Who knows about that? People with disabilities," Hockenberry said. They "know about that intimate relationship with technology. In a sense, people with disabilities are first adopters of this extreme collaborative quality that's going to define technology in the 21st century."

The 73-year-old Sacks, the author of "Awakenings" (which became a movie starring Robin Williams) and the seminal "The Man Who Mistook His Wife for a Hat," took the stage, the very picture of vitality in black sneakers, black pants and a black T-shirt, his large dome of a head matched by a snowy beard. Yet he acknowledged he has some retinal problems and is keenly interested in new eye research.

Speaking diffidently, in the self-effacing style of a bookish don, Sacks described how Parkinson's patients, frozen into human statues, could be led into dancing and singing with the right stimuli. Perhaps, he speculated, the Media Lab will come up with a device that will provide the right stimulation. But "the most wonderful power resides in music," he said. Music "will facilitate movement and action in a Parkinsonian as nothing can."

Sacks also spoke of "phantom limbs," a phenomenon in which amputees retain sensation in missing limbs. Once thought to be a "nostalgic construct like the memory of departed parents," such sensations represent the brain's ability to map out senses and motor skills, Sacks said. A famous pianist who lost his right arm could still create fingering on a new piece for students.

Citing 19th-century doctor Silas Weir Mitchell, who identified the phenomenon in the Civil War, Sacks noted, "A phantom is longing, as it were, to be re-embodied."

South African poet David Wright lost his hearing at age 9, but he didn't realize he was deaf because he would continue to hear phantom voices, Sacks said. "If they turned away, he couldn't hear them." In the blind, the sensory cortex of the brain becomes hypersensitive, producing experience or images that are "quasi visual," something the rest of us cannot imagine, he said.

Sacks turned from natural to artificial adaptations, describing how a grid of electrodes can be placed on the tongues of the blind and connected to a video camera.

"This sounds absurd, if not obscene, but in fact people who have this can not only rapidly learn to interpret it and derive information, but they can start to experience it as if visual. You don't have to have eyes to have a visual experience."

But "one needs some caution in this brave new world." Sacks also told of "Virgil," a congenitally blind man, contented with his life, who was talked into an operation that would restore his sight. When the bandages were taken off, there was "a long confused silence." The shifting mass of colors and textures meant nothing to him and only worsened his disabilities. Virgil "was never able to make sense of the visual world," Sacks said. "You have to learn to see."

Other speakers described MIT research initiatives for augmenting mental and physical capabilities to improve human life. Many gave deeply personal accounts. Writer Michael Chorost ("Rebuilt: How Becoming Part Computer Made Me More Human") explained -- and showed -- what he could hear with his cochlear implant. Deb Roy, AT&T Career Development Professor of Media Arts and Sciences, who is videotaping every waking moment in his home, demonstrated ways to cull specific information from the "ultra dense" data of recording, including his son's vocal progress from saying "ga-ga" to "water."

During a talk by Hugh Herr, NEC Career Development Professor of Media Arts and Sciences, about breakthroughs in building adaptive gait prostheses, Herr reached down and rolled up his pants leg to show the latest prototype, adding that he often forgets to mention he is an amputee himself. "This is the strongest ankle in the world -- when I walk up steps it pushes me up," he said, provoking an Arnold Schwartzenegger imitation from Hockenberry. (Herr lost his legs in a climbing accident as a teenager.)

Another symposium high point came when Aimee Mullins, a Paralympic athlete and model, strutted on stage with her prosthetic legs tucked into four-inch stiletto heels. Not only does she compete in sports events, often on unusual, curved "cheetah legs," Mullins, a stunning, slender blonde, has modeled her "legs" as fashion accessories. "People say I have no legs, but, in fact, I have 10 pairs," she remarked.

Rosalind Picard, professor of media arts and sciences, demonstrated software that recognizes human emotions (which may help those with autism), while Cynthia Breazeal, LG Career Development Professor of Media Arts and Sciences, introduced the robot Leonardo, which can work through classic "false belief" scenarios.

William J. Mitchell, MIT Design Laboratory director, showed designs for folding electric cars that address both air quality and parking issues. Other experts outlined differing ways to approach neural disorders, from "back entrances" via the nervous system to direct brain interfaces.

The symposium also was punctuated by short films in which Hockenberry -- in deadpan, Stephen Colbert fashion -- visits various MIT luminaries to demand an "upgrade." The clips showed images of MIT's research from robots to voting screens to spray-on clothing.

Famed architect and designer Michael Graves, who suffered a mysterious illness in 2003 that paralyzed his legs, discussed new home product designs, such as adjustable tub rails, easy-grip shower heads and reversible walker/wheelchairs -- all increasingly attractive to an aging baby boomer population, as well as the disabled. "This is a business opportunity," Hockenberry noted. Indeed, "There are things that are simple to do and they don't cost more; you just have to use your mind and your convictions," Graves said.

Receiving a standing ovation was a performance of "My Eagle Song," by Dan Ellsey, who has cerebral palsy, on a computer designed by Tod Machover and Adam Boulanger that allows him to both compose and play.

The symposium ended with a flourish as Herr nimbly scaled a climbing wall erected on stage (he said he had been told he would never climb again) and Hockenberry showed off his "upgrade," a "hacked" Segway wheelchair.

"You see how we're changed. How have you changed?" he asked the audience.

To see the archived webcast of "H2.0: New Minds, New Bodies, New Identities," go to h20.media.mit.edu/.

A version of this article appeared in MIT Tech Talk on May 16, 2007 (download PDF).

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June 06, 2007

xxxxx workshop_15 Berlin: Electric Art Lab with Jeff Mann


Call for Participants

xxxxx workshop_15 Berlin: Electric Art Lab with Jeff Mann :: June 16, 2:00 pm :: Course fee: 15 euros :: RSVP at m[at]1010.co.uk :: xxxxx, pickledfeet, Linienstrasse 54, Berlin 10119 :: U2, Rosa-Luxemburg-Pl.; U8, Rosenthaler Pl. :: Telephone: 3050187482.

Our ancestors believed that ordinary objects could contain energies, spirits, intelligence, and the spark of life. Today, tens of billions of tiny electronic processors permeate our reality, embedded in phones, watches, appliances, toys, cars, factory equipment, and our entire technological infrastructure. In this lab / workshop, we'll look at the microcontroller - the basic element of this distributed network of intelligent objects. These "computers on a chip" are small, inexpensive, simple, and unlike their desktop/laptop cousins, are designed for interaction with the physical world. How can creative individuals use microcontrollers to produce evocative, compelling objects and experiences that go beyond typical mass-produced consumer products?

We'll look at examples and discuss how artists have incorporated embedded processors into sculpture, installation, and performance. We'll compare various microcontroller platforms and, using the open-source Arduino board, we'll experiment with building activated objects that include sensors, processing, and movement. We'll also look at using the microcontroller as a physical interface for audio / video environments like Pure Data, and for remote interaction over the Internet.

The workshop is designed for people of all levels of experience. No equipment is required, but it's recommended to bring as many of the following things as possible:

- Materials to modify, hack, and build objects with. Household items, battery-operated toys, plastic, wood, metal, anything you find interesting. Before the workshop, try to imagine two or three simple ideas you might try to make.
- Laptop with Arduino and Pd software installed.
- Toolbox with cutters, glue gun, screwdrivers, as well as soldering irons, multimeter, etc.
- Microcontrollers - a limited number of Arduino boards will be shared between the participants. You can also purchase your own before the workshop for 27 euros in Berlin at: http://www.segor.de/
- Sensors and Actuators - pushbuttons, photocells, rangefinders, accelerometers; DC, R/C servo, and stepper motors.
- Electronics parts and supplies - a selection of wire, connectors, resistors, capacitors, transistors, chips, and so on.

More details about tools and materials can be found at: http://jeffmann.com/resources.html

About the instructor: Jeff Mann creates electric art with computers, electronics, kinetics, and telecommunications media. His work explores the nature of technological life and its cultural representation; it draws out tensions between notions of utopian industrialism, personal theatre, and the evocative enigma of electronic equipment.

Background: A weekly series of constructivist workshops emphasising making and connection within the field of the existent. Workshops led by field-expert practitioners extend over realms of code and embedded code, environmental code, noise, transmission and reception, and electromysticism. Workshops solely utilise free software and GNU toolbase.

Practitioners include Julian Oliver (http://selectparks.net/), Derek Holzer (http://soundtransit.nl), Jeff Mann (http://jeffmann.com), Martin Howse (http://1010.co.uk), Fredrik Olofsson (http://www.fredrikolofsson.com/), superfactory (http://superfactory.biz).

Further planned workshops will cover PD connectivity and hardware, ATmega8 microcontrollers, free software documentation, VLF reception, radio antenna design, FPGA design...


Posted by jo at 04:17 PM | Comments (0)

SELF 2.0 at vertexList


Emerging American Media Artists

VertexList space has the pleasure to present “SELF 2.0”, a group exhibition of emerging US based media artists. On display recent projects by Mike Beradino, Charles Beronio, Zachary Biberstine, Kara Hearn, Jia Lim and Laura Nova. Commenting on the contemporary strategies of electronically mediated self, SELF 2.0 introduces new and exciting voices of artists from across the country.

A reception will take place on Friday, June 15th 2007 from 7pm - 10pm. The exhibition will be on display until Saturday, July 08th, 2007. Live circuit music performance by Jamie Allen/Season of the Bit @ the opening reception. Curated by Marcin Ramocki and Sakurako Shimizu.

Mike Beradino: Mikey Newchurch - My works are physical recursions, between the digital and physical. These recursions are similar a feed back loop such as a microphone next to a speaker. The speaker output signal becomes the input of the microphone and so on and so on.

An object is created then digitized then produced then digitized then produced. Environments such as SecondLife are populated with objects from real life, but our real life objects probably originated in some digital environment. These two pieces are re-presentations of the hollow vessel of the digital avatar. Mikey Newchurch is re-presented from a CNC mill in a series; which is an attempt of giving some physicality to my virtual body. While Mica Sicling is produce in at life sized scale in paper. An indexical relationship of re-presentation of the avatar is created, the original data that is used to create the virtual is used to create the tangible. That is why I included the process of production.

Mike Beradino’s work addresses issues involving the appropriation of digital environments, antiquated technologies, and Internet based do-it-yourself communities. He is particularly interested in the dissemination of 3-dimensional digital environments such as the video games, within our culture. Mike showed his work at Alterspace (Chicago) and online (Aho Museum, Second Life). He is currently working on his MFA degree at Parsons.

Charles Beronio: Untitled (Pretty Vacant) - Vinyl banner with applied vinyl lettering and grommets, 4' x 15', 2006 :: Charles Beronio (b. New York City) lives and works in Oakland/San Francisco and Brooklyn. He completed his MFA in Sculpture at the California College of the Arts (2005), where he is currently developing his thesis on the aesthetics of supermarkets for his MA in Visual Criticism. As an artist and writer, his practice includes a diverse range of work steeped in romantic conceptualism and allegorical formalism. His work utilizes a diverse range of familiar and common materials found in the marketplace and constructed landscape to reveal submerged meanings and narratives– challenging the trajectories of ideology and commerce. He has shown at Galeria de la Raza, Intersection for the Arts, Southern Exposure, Triple Base, Queens Nails Annex, and the S.F. Art Commission in San Francisco, as well as Gallery Lui Velazquez (Tijuana, Mexico), High Energy Constructs (Los Angeles), and Pulliam Deffenbaugh Gallery (Portland). He was included in Consume/d: Creative Critical Acts from the Bay Area (2005) in Tbilisi, Republic of Georgia. In 2006 he curated Material World at the Alliance Francais San Francisco and staged the collaborative exhibition Blackout with artist Sasha Dela at Diverseworks, Houston. He will also be included in New American Talent 22 at Arthouse in Austin, Texas. He has published several design related articles in CMYK magazine (New York) and his forthcoming magazine/book project Dark Prospects will be published by Printed Matter Inc. later this year.

Zachary Biberstine: flag - This 2006 video performance begins with the unfurling of the American flag and ends with the gasping for breath. This attempted embodiment, although painful and enduring, was an effort to understand and progress. The performance attempts to not only share this experience, but also evoke the experiences of others; create a connection on a visual, audible, and memory level.

Currently working in personal, time based performance; the work of Zachary Biberstine takes many shapes. Interested in experience and embodiment, his recent work lives in and through performative acts, sometimes shown as artifacts or documentation. His work deals with ideas of experience, embodiment, displacement, expansion, and collapse.

Kara Hearn: Reincarnated scenes - These scenes are my effort to degrade and venerate the heroics of Hollywood movies. By utilizing the echniques of cinema in the simplest possible ways I hope to recreate narratives that are stripped of everything but the pathos inherent in the medium.

Kara Hearn is an interdisciplinary video artist. She works with the stuff of popular entertainment to map the complexities of various emotional states, such as fear, melancholy, courage, and obsession. She studies these conditions and builds intimate and absurd narratives to understand them by. Her work has shown at White Columns, Pacific Film Archive, New Langton Arts, the Walker Art Center, Dallas Video Festival, and the Festival Tous Courts International Festival of Cinema. She recently received an MFA in Art Practice at the University of California, Berkeley.

Jia Lim: Avatar Duet- Home Spring - 3 D animation, sound, single channel installation :: It all started with my curiosity about the human mind, conscious and unconscious. After reading Elegant Universe, my curiosities were somewhat solved. It was then that I realized that science and philosophy have the same value system as the artistic process, which is creation originates from the imagination or unconsciousness.

Jia Lim is a Korean – American new media artist involved in analysis of identity in pop-culture. Her work was exhibited in Gwang-ju Bienale, Gallery 24 (NYC) and Gallery Andante (Seoul). She holds and MFA in Electronic Arts from the University of Cincinnati and M.P.S in Interactive Telecommunication Program (NYU).

Laura Nova: First Love - I will provide the opportunity for participants to reconstruct memories of their “First Love” using a facial composite software. Images of reconstructed faces will become a part of the installation.

Laura Nova was born in 1973 and grew up in West Hartford, Connecticut. Lives and works on the Lower East Side, New York. Laura Nova is a visual artist working in video, sculpture and installation. Her work is rooted in social relationships and literalized emotions. Using the gallery and site-specific spaces, she creates installations using a wide range of media to explore concepts of public and private behavior and the relationship between the human body and architecture. She received her B.F.A. and B.A. in art and history from Cornell University in 1996 and an M.F.A. from The School of the Art Institute of Chicago in 2001 as a Jacob Javits Fellow. She lived and worked in London as a Rotary International Scholar and completed Associate Research at Goldsmiths College in 2002. She has exhibited internationally, most recently at the Bronx Museum of the Arts in New York City and VTO Gallery in London. For the past year she participated in the Henry Street Settlement Artist in Residence Program. She has taught at City College, School of Visual Arts, Pratt Institute, The College of New Jersey and The School of the Art Institute of Chicago. /

Jamie Allen makes interactive art and sound makers with his head and hands. He thinks technology can allow us to circumvent and reinvent traditional, commercial and hierarchical relationships to art and performance. His work in design, music, performance and public art creates physical relationships between people and media. Jamie has teaching engagements in interactive art and robotics at the Pratt Institute and musical interface design at NYU's Interactive Telecommunications Department. Jamie's art and performance work is regularly exhibited in New York City and abroad.

Michael J. Horan is a musician and artist based in New York City.

VertexList gallery hours are Friday, Saturday, Sunday 2pm - 6 pm, or by appointment. We are located between Graham and Manhattan Avenues on Bayard St. For more info please visit our website www.vertexlist.net or call 646 258 3792.

Posted by jo at 10:50 AM | Comments (0)

June 05, 2007

FLOSS+Art - Call for Papers


FLOSS+Art :: Call for Papers :: Deadline: September 15th 2007 - people.makeart is a new project by GOTO10. It is a repository of articles and lecture materials focused on the relationship between FLOSS (Free / Libre / Open Source Software) and digital arts, as well as a database of free digital art projects. The selected papers will be published on the people.makeart website and will be printed in the FLOSS+Art book, scheduled for spring 2008, using OpenMute's POD publishing service.

GOTO10 is now accepting new, old and recycled papers on the following issues: - opening digital art's practice, code and culture - FLOSS communities VS. art collectives - digital art licensing, copying and distributing, using open content models - role of the artist in FLOSS development - influence of FLOSS on digital art practices - free software to produce art and the art of producing free software - economy of an open digital artwork - FLOSS as an embedded political message in digital art - paradox and limitations of open licenses for digital art - FLOSS as a way to quote and embed other artworks in a new one - digital artist as a FLOSS developer/user and vice-versa - definitions and manifestos for a free software art - branching and forking of an open digital artwork - opening digital art to ensure future maintainance and porting.

Submission Procedures:

- Submit your final paper to pmafloss-at-goto10-dot-org
no later than September 15th, 2007. Include the text "FLOSS+Art"
followed by your paper's title in your e-mail subject line.
- Submit as many papers as you want, one mail submission for each.
- Accepted formats : plaintext, LaTeX, OpenDocument
No other file format will be accepted.
- The paper must be attached to the mail, do not send us links
- The submitted paper must be written in English
- Paper must be 1500 words minimum

More information: http://people.makeart.goto10.org/

The FLOSS+Art POD publishing is a collaboration between GOTO10 and the Digital Research Unit of the University of Huddersfield, with commissions and contributions from various organisations and institutions.

Posted by jo at 05:03 PM | Comments (0)

Inter-Arts: Grants: Second Life Artist Residency


Call for Applications

The Australia Council for the Arts is offering up to $20,000 for a collaborative artist residency in the virtual world of Second Life. Application closing date July 27, 2007. The aim of the residency is to offer Australian artists and writers the opportunity to creatively and critically explore new interactive, virtual platforms.

The residency allows for a collaborative team of up to three people (including a writer, musician/sound artist and digital visual media practitioner) to develop inter-disciplinary artwork in Second Life. Applications will only be accepted from teams who fulfil all the residency requirements, including having the necessary artform experience. Artists or writers who have professional experience in more than one of the required artform areas can include this as part of their submission.

Program purpose: The Second Life artist residency is an initiative of the Literature Board, Music Board and Inter-Arts Office of the Australia Council. The residency is ‘in-world’ and requires artists and writers to explore the possibilities of inter-disciplinary literary, music/sound art and digital visual media practices. The successful team will develop new artistic in-world practices and comment on the social and cultural layers that have evolved in Second Life.

Key requirements of the project are a clear strategy for harnessing both in-world and ‘real life’ audiences and developing public exhibition opportunities for the artwork in Australia.

The main objectives of the program are to:

Provide opportunities for artists and writers to develop art that challenges and explores the aesthetic, social, political and cultural realities of Second Life
Encourage collaborations between artists and writers working across literature, music/sound art and digital visual media to develop high quality, experimental arts practices in Second Life. More info here >>

Posted by jo at 10:11 AM | Comments (0)

June 04, 2007

LABworkshops: Modding, Reversing and Intervening in Today’s Gaming Worlds

laura 3.jpg


LABworkshops: Modding, Reversing and Intervening in Today’s Gaming Worlds - July 2 – 27, 2007 :: In July LABoral Centre for Art and Creative Industries is organising four workshops exploring the intersections between videogames, art and reality today. A different side of videogames will be revealed by creators who can uncover their codes, subvert the standards imposed by the industry and can even address social and political issues through them. Game hardware and software will be used for performances, activism and critique and participants will have the opportunity to familiarise themselves with the language of videogames and create new meanings and results.

MODDING: An intense workshop tackling the basic notions about modding and editing of Quake III Arena levels with the aid of open source code elements. In order to create fully redistributable games, participants will learn to generate interactive 3D contents for Quake III and to engineer new game features in the game engine’s source code.

Workshop led by: JULIAN OLIVER (NZ) is an artist, educator and media theorist specialising in the development of free software. In 1998 he set up Select Parks, an artistic game development collective.

Dates: 02. – 07. 07.2007
Hours: 10 am – 2 pm & 4 – 7 pm
15 participants, age +18, selected by CV and motivation letter in English
Registration fee: 100 €
Registration: www.laboralcentrodearte.org
Deadline: 15.06.2007
Working language: English
Prior experience in programming and 3D modelling will be valued

BORDERGAMES: The Fiambrera Obrera team will work with digital cameras and image editing, teaching basic levels of 3D modelling as well as some “tricks” and activities related with their software: narrative design and characters, modelling and remodelling of scripts and characters. Participants will be involved in field work in the area of Gijon.

Workshop led by: LA FIAMBRERA OBRERA (ES) is an open group that works in areas charged with a high degree of political and social conflict. Their methods are primarily direct action and intervention.

Dates: 09. – 13.07.2007
Workshop limited to members of Asociación Mar de Niebla
Hours: 12 am – 2 pm & 4 – 8 pm
Working language: Spanish

ENTERING THE TERRITORIES OF SECOND LIFE: Second Life (SL) is an online virtual world currently inhabited by over six million “residents”. This workshop explores SL as a platform for art expression, activism and critique. It will be led by a machinima professional, two media artists and a programmer who work on SL on a practical and theoretical level using it as an ideal platform to share ideas and to perform. Participants will learn through collaborative work how to make machinimas, how to write basic scripts and how to use SL as a platform for social action and artistic expression.

Workshop led by: RICARD GRAS (ESP) is an artist, producer and director of machinima Europe Board. He explores new creative uses for technologies and relationships between art and the media. In 2003, he founded LA-INTERACTIvA, one of the companies that are officially in charge of the development of SL; KRISTIAN LUKIC (SERBIA) is a writer, artist and a cultural and game researcher. He is a program manager in New Media Center – kuda.org and the founder of Eastwood – Real Time Strategy Group and also of Napon - Institute for flexible culture and technologies; ILIAS MARMARAS (GR) is a new media artist and a leading member of the international group Personal Cinema. He has been working in gaming environments and game art since 1999; and YANNIS SCOULIDAS (GR) is a technical director, administrator and programmer of Personal Cinema and specialist in software and hardware.

Dates: 17. – 21.07.2007
Hours: 10 am – 2 pm & 4 – 8 pm
15 participants, age +18, selected by CV and motivation letter in English
Registration fee: 100 €
Registration: www.laboralcentrodearte.org
Deadline: 03.07.2007
Working language: English
Experience in on-line game environments and especially familiarisation with SL will be valued

CHIPTUNES – 8BIt MUSIC: 8bit sound and music is a distinctive feature of early videogames, and has become a seminal contemporary music style utilized by artists and DJs in engaging live audiovisual performances and remixes. This workshop will bring together creators from US and Spain who will work with young people to create music using Gameboys. The workshop will close with an evening of Chiptunes performances with sounds by the artists, the workshop participants and visuals by media artists Entter.

Workshop led by: HAEYOUNG KIM (BUBBLYFISH) (KO) is a sound artist and composer who explores the textures of sounds and their cultural representation. Her work has been presented in art venues, clubs and new media festivals around the world; CHRIS BURKE (GLOMAG) (USA) has been making 8bit music since 2001. He has performed in many countries and his music has played in films, on television and on the Internet. The machinima series “This Spartan Life”, features his music as well as other 8bit artists and is featured in Gameworld; RABATO(ESP) composes music with the famous software Littlesounddj created by Johan Kotlinski for a Nintendo Gameboy consoles. He is the co-founder of microBCN and has participated in festivals and concerts in various cities; YES, ROBOT (ESP) mix Gameboy sounds with other instruments like synthesizes, samples and toys modified by themselves. They are founding members of the 8bit collective microBCN; and ENTTER(ESP) is formed by Raúl Berrueco and Raquel Meyers. Entter was formed to create a collective space for the expression of the common restlessness felt by many creative people in the interactive media art field. Their fields of research include AVperformance, installations, non-linear narrative, videogames, interfaces, experimental music, VJing and net.art.

Dates: 26. – 27.07.2007
Hours: 11 am – 2 pm & 4 – 7 pm
15 participants, age +18, selected by CVand motivation letter
Registration fee: 50 €
Registration: www.laboralcentrodearte.org
Deadline: 16.07.2007
Working language: English and Spanish
Prior basic programming experience and music ability will be valued

Concept and Coordination of workshops:
Daphne Dragona, independent new media arts curator, Athens
Carl Goodman, Deputy Director and Director of Digital Media, Museum of the Moving Image, New York

Activities will take place at the labs and workshops of the LABoral Centre for Art and Creative Industries.

LABoral Centre for Art and Creative Industries is a space for artistic exchange. It is set up with the purpose of establishing an effective alliance between art, design, culture, industry and economic progress and the goal of becoming a space for interaction and dialogue between art, new technologies and industrial creation. It throws a special spotlight in production, creation and research into art concepts still being defined.

LABoral Centre for Art and Creative Industries
Director: Rosina Gómez-Baeza
Universidad Laboral s/n, 33394 Gijón, Asturias – Spain
T. +34 985 185 577 F. +34 985 337 355

Posted by jo at 05:31 PM | Comments (0)

SIGGRAPH Unraveled 2007


Call for Proposals

As this year's fashion event, SIGGRAPH will present a living exhibition of fashion, an event combining the fun and glamour of a runway show with the personal engagement of interactive installations. We are looking for fashion design which pushes the boundaries of technology -- computational & conceptual couture & wearables, fashion with a social agenda concerning technology (although may not have embedded technology), and fashion produced using algorithmic fabrication or innovative manufacturing techniques. Because of the exhibition format, it will also be possible to show architectural textile installations, we are also open to submissions in this category.

Like last year, the event will be combined with the chapters party (3000+ tech savvy people in the audience). Here's how it will work: early on in the party, we will announce and present the designers as they enter with models wearing their garments, kind of an informal runway entrance to let the audience know what work is present.

The designer / models pairs will then join the party and interact with attendees, showing and discussing their works, possibly even letting the the attendees try the works on, or if the pieces are too fragile, they can be placed on mannequins; the format and degree of interactivity will be up to the designers. We hope that this format will allow attendees a better way to experience the pieces up close, giving them a chance to understand their depth-- in concept, construction or technical means -- something that can be lost in a traditional runway setting. However, this presentation method still allows the pieces to be shown in action and 'embodied' with live models.

As part of the show, we will be producing a high quality printed catalog which will serve as program for the show and as take away documentation after the show (all designers will receive free copies). The event will also feature professional photography and videography (available for use royalty free after the show) and professional models.

Submitted works should be functional (not concept projects) and able to be withstand some level of demonstration by the time of the show. Designers (or a representative) are expected to appear in person to present their work.

Please submit:

Title of work

Names and email addresses of designers

Brief description (not to exceed one page, one paragraph is fine) Photos (if available, if not, a sketch), Video (if available) Method of Display preferred for party interaction (worn by model, worn by designer, static on mannequin, tried on by audience, etc, can be changed and negotiated closer to event)

Please email your submission as a single PDF (photos embedded) to: amanda[at]media.mit.edu (does not need to be ACM formatted). Video can be sent separately or it can be viewed by us on a website, send the URL

Submission Deadline: June 15, midnight PST: The submissions will be committee reviewed and you will receive a notification by July 1 (at the latest). You may also email with questions before the submission deadline.

SIGGRAPH 2007 will take place in San Diego, CA from August 5-9 2007 (Unraveled event will occur on either Aug 6 or 8, TBD). SIGGRAPH: the premiere international conference on computer graphics and interactive techniques Photos, runway video, project info and curatorial statement on last year's show, Unravel 2006, can be found at: http://www.siggraph.org/s2006/unravel.

Posted by jo at 01:10 PM | Comments (0)

The Vera List Center for Art and Politics


9 Scripts from a Nation at War + Martha Rosler

[Image: “9 Scripts from a Nation at War,” 2007, Video still] The Vera List Center for Art and Politics is pleased to mark a presence at Kassel, Germany, this summer with several works by Martha Rosler, member of the Vera List Center’s Advisory Committee and 9 Scripts from a Nation at War, 2007, a video project by the 2006/2007 Vera List Center Fellows: David Thorne, Katya Sander, Ashley Hunt, Sharon Hayes, Andrea Geyer :: All are to be presented in an international exhibition in the city of Kassel, held from June 16- September 23, 2007.

“9 Scripts” investigates the idea of the individual as defined by and through the expectations and exigencies of society and politics, specifically in the context of the American war in Iraq. Within continuously shifting perspectives, the work is essentially structured around a central question: How does war construct specific positions for individuals to fill, enact, speak from, or resist.

Martha Rosler’s works will include “Kassel Gardens (from the Perspective of a Mole)” (2007), as well as “The Bowery in two inadequate descriptive systems” (1975/76), “Hothouse (Harem)” (c. 1975), and “Flower Fields (Color Field Painting)” (1975). They will be displayed in various venues and parks in Kassel and present views of landscape and the natural world invested with history, beauty, metaphor, and subversion.

“9 Scripts from a Nation at War” was developed, in part, during a Vera List Center Fellowship at The New School, New York, with support from the American Art Foundation, the Danish Arts Foundation and the Swing Space Program of the Lower Manhattan Cultural Council.

The Vera List Center for Art and Politics at The New School advances the discourse on the role of the arts in society and their relationship to the socio-political climate in which they are created. It organizes public programs that respond to pressing social and political issues of our time as articulated by the academic community and visual and performing artists. The center complements the university’s educational mission and brings together scholars and students, the people of New York, and national and international audiences to explore new modes and possibilities for civic engagement.

The Vera List Center for Art and Politics
The New School
66 West 12th Street, room 903
New York, NY 10011

Posted by jo at 01:03 PM | Comments (0)



Gallery transformed by Trains/Commuters

ENDOSYMBIONT:: Curated by Dana Moser :: June 7 - July 15 :: Opening Reception: Thursday, June 7, 6-9 p.m. :: Gallery Hours: Wednesday, Thursday 6-9pm, Saturday, 2-5pm, or by appointment :: AXIOM Gallery.

Artists Jake Lee High, Jerel Dye, Sean O’Brien, and Fred Wolflink redefine the AXIOM gallery as an interactive monument. The gallery space is metaphorically transformed into a biological cell that feeds off the sounds and electromagnetic fields of passing MBTA trains. Viewers’ interactions with the interior and exterior of the gallery reshape conditions within the cell, while at the same time, drain the cell’s energy. Through the use of sensors and cameras, pedestrians, as both variable and viewer, affect the cell’s functions- including video, lighting, motors and other electronic instruments. Taking advantage of the unique location of the gallery, and through analysis of people’s daily commutes, the gallery space engages the public and enriches their transit routines.

AXIOM Gallery is located on the ground floor level of the Green Street Subway ("T") station on the Orange line, at the corner of Amory and Green Streets.

Posted by jo at 12:48 PM | Comments (0)

DearCinema Fest 2007


Call for Submissions

DearCinema, an online community of filmmakers and film-lovers is organizing an online film festival, the first DearCinema Fest 2007. Short films made on any format (including mobile phone cameras and web cams) may be submitted. The maximum duration of an entry should be not more than 30 minutes. An eminent jury will select the films for online and offline screening.

Submission closes on June 30th, 2007.

For further details visit: http://DearCinema.com

Posted by jo at 11:58 AM | Comments (0)

June 2007 on -empyre- soft-skinned space


Constructions of Identity: Performance Life

June 2007 on -empyre- soft-skinned space: "Constructions of identity: performance life" with Barbara Campbell (AU), Jill Magid (US) and Stacia Yeapanis (US). Please join our guests for a month's reflection and debate; subscribe here.

This month on -empyre- will concentrate on the construction of identity among artists who have explored notions of 'feminine' identity at one point or another - especially how it relates to space and landscape. The emphasis of the discussion will focus on the play between 'real' and 'virtual' space, as it is so much a part of the everyday and a powerful tool for artists to promote and create their works. The discussion will also focus on how curators have worked with artists with these concerns.

Barbara Campbell is a performance artist who has worked with the contextual properties of all kinds of sites since 1982. Back then, her sites were physical: galleries, museums, stairways, atriums, piers, to name some. At the moment her performance site is actually a website. "But I don't think this qualifies me as a new media artist. In fact I waited until the internet acquired the patina of age before I became really interested in it, because then it became possible to discern user patterns and the messages of the medium itself. Community, distribution, globalisation, interactivity, citizen-media, were some of those messages, and these are what I'm employing now." Barbara's current project is 1001 nights cast, in which she performs a short text-based work for 1001 consecutive nights. The performance is relayed as a live webcast to anyone, anywhere, who is logged on to http://1001.net.au.

Stacia Laura Yeapanis is an interdisciplinary artist living and working in Chicago, IL. She received her MFA from the Department of Fiber and Material Studies at The School of the Art Institute of Chicago in 2006. Her work can be seen in the Museum of Contemporary Photography's Midwest Photographers Collection and in the Rhizome Artbase. Stacia is an avid Buffy the Vampire Slayer fan and has two wonderful cats, Gertie and Gloria.

Everybody Hurts, a hybrid fansite/conceptual art piece exploring mediated emotion and the fansite as a performance of identity; My Life as a Sim, documentation of this ongoing project on my portfolio site; Commercial-Free: The Museum of TV on DVD, another hybrid fansite/conceptual art piece exploring fandom in relation to museum curation.

Jill Magid: "I seek intimate relationships with impersonal structures. The systems I choose to work with- such as police, secret services, CCTV, and forensic identification, function at a distance, with a wide-angle perspective, equalizing everyone and erasing the individual. I seek the potential softness and intimacy of their technologies, the fallacy of their omniscient point of view, the ways in which they hold memory (yet often cease to remember), their engrained position in society (the cause of their invisibility), their authority, their apparent intangibility and, with all of this, their potential reversibility."

Posted by jo at 08:28 AM | Comments (0)

June 01, 2007

Upgrade! Berlin


Iliadahomero from Curitiba / Brazil

Upgrade! Berlin presents: Iliadahomero from Curitiba / Brazil :: Friday, June 8th 2007; 8 pm :: Studiobühne, Ritterstrasse 12-14, 10969 Berlin / Germany, U Prinzenstrasse.

Brazilian composer & director Octavio Camargo from Curitiba shows together with Claudete Pereira Jorge an interpretation of the first chant of the Iliade, the epos of Homer. The Iliade is known as the most ancient oeuvre of occidentail literature. The 50-minutes monologue reveals the impact of this text as the source code of European culture. The performance will be in Portuguese, but the underlying semiotics of this piece can be grasped beyond any language restraints. And that's exactly the intention of this play: Homer is used here as a media and a vehicle for interaction in different platforms of language, thus projecting different translations to different idioms.

"I see language as a code" says Octavio Camargo, "and with this dramatic piece, we want to share this code with our audience. I believe that the texts of Homer can provide a deep understanding of the modern human condition." Indeed, the Iliade is a veritable semiotic knot of the European culture and still, after 2500 years, provides a broad array of the most important archetypes and topoi of the occidental thinking.

Interpretation: Claudete Pereira Jorge | Director: Octavio Camargo | Translation: Odorico Mendes


Claudete Pereira Jorge is a popular actress from Brazil, who has been working on many different theatre and film stages for more than 30 years now. Octavio Camargo is a composer and theatre director, and has been teaching Aesthetics and Harmony at the University of Arts in Parana (EMBAP), Brazil, since 1992.

Some Links to Octavios works:


Iliadahomero is currently guest at the Thessaloniki Biennial and will continue its travels throughout different European cities of the Upgrade! network http://theupgrade.net.

Posted by jo at 11:56 AM | Comments (0)

May 31, 2007




[Image: Usman Haque & Rob Davis – Evolving Sonic Environment, Artists in Residence from April – June, 2007] DEADLINE: SEPTEMBER 1, 2007 :: Residency Period: 3 months :: Dates from September 2007 :: Location Amsterdam, Netherlands.

The Netherlands Media Art Institute is pleased to annouce an open call for the fall 2007 round of its Artist in Residence (AiR) program. The AiR programme at the Netherlands Media Art Institute aims to support the exploration and development of new work in digital / interactive / network media and technology based arts practice. The residency provides time and resources to artists in a supportive environment to facilitate the creation of new work that is produced from an open source perspective. We encourage a cross disciplinary and experimental approach. This is a practice based residency designed to enable the development and completion of a new work.

Our focus for this open call is on open source interactive installation art, in which the following occurs:

* interaction between tools and/or software
* interaction between tools and artwork
* interaction between audience and artwork

The Netherlands Media Art Institute offers an open environment with technical assistance and an active advisory board which will give feedback and support in technical, conceptual and presentation issues. There is access to studio and exhibition equipment, technical support from the Institute's staff and production help from interns. The technical staff is specialized and has good contacts with programmers of the following software, a.o.: PD/PDP, Blender, Dynebolic, Linux. We expect the artist to have knowledge and insight in the technical realization of the concept.

It is integral to the mission of the AiR program that artists participate in presenting their work in a public form appropriate to their project. This can include gallery installations, demonstrations of research in progress, panel discussions, on-line projects, or multimedia performances, in addition to open studio events and workshops. For this reason we ask that artists include in their proposal possible examples of how they might like to present their work publicly.

At this moment the Netherlands Media Art Institute provides in travel costs. It doesnt provide accommodation for artists living outside of Amsterdam. However, we are willing to help the search but cannot guarantee a place for living.

The application form can be send to:

Netherlands Media Art Institute
Artist in Residence
c/o Annet Dekker
Keizersgracht 264
1016 EV Amsterdam
the Netherlands

Posted by jo at 11:59 AM | Comments (0)

May 30, 2007

Jonathan Monk


Five Ballerinas in Manhattan

Five Ballerinas in Manhattan :: May 30, 9-10pm: TIMES SQUARE beginning near 42nd Street and 7th Avenue :: May 31, 1-4pm: SOHO beginning at 420 West Broadway :: June 1, 2-3pm: CENTRAL PARK beginning near Rockefeller Center :: June 2, 12-2pm: WALL STREET beginning near Greenwich and Fulton Street. Download brochure.

Jonathan Monk will restage Daniel Buren’s key performance work, Seven Ballets in Manhattan, on its 32nd anniversary. Re-titling the work, Five Ballerinas in Manhattan, five performers, dressed in dance rehearsal clothes, will attempt to perform Buren’s choreography at the identical locations on the same days and times of the original performances. In 1975, the dancers carried placards featuring the striped work of Buren; for this rendition, Monk will have the dancers distribute an adaptation of Buren’s brochure featuring illustrations of the choreography for each site.

This enigmatic work in its original presentation prompted questions regarding the status of art in the public realm and how such confrontations are defined in its initial presentation. For example, audiences in SoHo, then the center of the commercial gallery scene in New York, accepted the work as art, but audiences on Wall Street interpreted the parade of placards as a potential unidentifiable threat. By re-phrasing and re-presenting works from the Modernist Canon of the 1960s and 1970s, Monk aims to test their continued strength and validity, in part through demystifying the process. Part homage, part parody, the work suggests alternative outcomes, differing audience responses and new-routes for the cultural producer and artist of today.

This is conceptual artist Jonathan Monk’s first non-gallery based work in New York. Born in Britain in 1969, and now based in Berlin, Monk works in a wide range of media including installations, photography, film, sculpture and performance. His tongue-in-cheek methods often recall procedural approaches typical of 1960’s Conceptualism, but without sharing their utopian ideals and notions of artistic genius. Monk, like Daniel Buren, is a key practitioner in the “art into life” debate.

Posted by jo at 02:52 PM | Comments (0)



Responsive Art

FEEDBACK focuses on art responsive to instructions, input, or its environment and creates one possible narrative of the multi-faceted histories of art that uses digital technologies as a medium. FEEDBACK interweaves two themes relating to responsive art. One theme traces the concept of feedback from art based on instructions—be they natural language or code—to art that sets up open systems reacting to input from its immediate environment or the Internet. A second theme explores the concept of light and the moving object and image from Kinetic Art and Op Art to responsive notions of television and cinema. FEEDBACK links these themes in order to illuminate how different artistic practices developed over the past 50 years are interconnected and have informed each other. The exhibition is not a historical survey but features a selection of pieces that underscore how related ideas have been expressed at different points in time. Artworks are not presented in chronological order but in thematic groups or pairs that branch and connect.

Manfred Mohr, Vera Molnar, Charles Csuri, Sol LeWitt, Casey Reas, Roman Verostko, 5voltcore, Harold Cohen, Christa Sommerer & Laurent Mignonneau, Hans Haacke, Edward Inhatowicz, David Rokeby, Lygia Clark, Hachiya Kazuhiko, Robert Rauschenberg, Eddo Stern, Mary Flanagan, Paul Sermon, Victoria Vesna, Boj & Diaz, Antoni Muntadas, Marcel Duchamp, László Moholy-Nagy, Alejandro & Moira Sina, Herwing Weiser, Takis, James Seawright, Jean Tinguely, Chico MacMurtrie/Amorphic Robot Works, Nam June Paik, Cory Arcangel, JODI, Wolfgang Staehle, Thomson & Craighead, Jennifer & Kevin McCoy, Marie Sester, Jenny Marketou, Char Davies.


Artists have used devices ranging from faxes and phones to satellite TVs in works that involve remote locations. In a 1978 report to the French president Giscard d’Estaing, Simon Nora and Alain Minc coined the term telematics for the combination of computers and telecommunications. Using ‘new technology’ such as video and satellites, artists in the 1970s began to experiment with ‘live performances’ and networks that anticipated the interactions currently taking place on the Internet. Digital technologies and the Internet have allowed for unprecedented possibilities of ‘being present’ in various locations at the same time.


In the 1940s, Norbert Wiener coined the term ‘cybernetics’—from the Greek term ‘kybernetes’ meaning ‘governor’ or ‘steersman’—to specify the important role that feedback plays in a communication system. In Cybernetics: or, Control and Communication in the Animal and the Machine (1948), Wiener defined three central concepts crucial to any organism or system: communication, control, and feedback. During the 1960s artists increasingly started to think about technological systems, the systems of the social world and aesthetic systems. In connection with movements such as Fluxus and Conceptualism, artists explored generative and ‘open systems’ for the creation of culturally and politically responsive art.


A set of instructions is the basis for many art works. Art created by the Dada movement in the early 20th century was often based upon formal instructions. In the 1960s, the Fluxus movement and conceptual art, such as Sol LeWitt’s wall drawings, emphasised variations of formal instructions and focused on concept, event, and audience participation as opposed to art as a unified object. Since the 1960s instruction-based artistic practice has been making use of computational procedures connected to output displays, from early plotter printers to digital screens and projections.


In scientific terms, kinetic energy is the energy possessed by a body by virtue of its motion, and kinetic art, which peaked from the middle 1960s to the middle 1970s, produces movement, often through machines activated by the viewer. Kinetic Art overlaps with the optical art or Op Art of the 1960s, in which artists such as Victor Vasarely, Julio Le Parc, and Nicolas Schöffer used patterns to create optical illusions of movement, vibration and warping. The term first appeared in print in Time magazine in October 1964, but works falling into the Op Art category were produced much earlier. The influence of the Kinetic and Op Art experiments with ‘machines’ that produced light and movement can be traced in many digital installations today.


Aspects of Kinetics and Op Art find their continuation in responsive forms of television and digital cinema that have been developed since the late 1960s. Artists have constructed moving images based on responses generated from the apparatus itself—such as TV sets or projectors driven by motion and vision tracking; through to the software-driven selection and manipulation of data; or navigation systems that allow the viewers’ bodies to drive and respond to the imagery.


Download PDF

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Posted by jo at 12:59 PM | Comments (0)

Upgrade! Skopje


Iliadahomero: Language as Code

Upgrade! Skopje: Iliadahomero [ performance ] :: The Iliad of Homer, book 1 :: Translated by Odorico Mendes (Brasil, 1799-1864) :: directed by: Octavio Camargo :: performed by: Claudete Pereira Jorge :: Monday, 04 June 2007 :: start: 21:00 sharp :: Length of the performance: 50 min :: Cultural Center Tocka, Skopje :: free entrance.

Line I+M proudly presents the Iliadahomero performance, which is part of the European tour of the Iliadahomero Theatre Company in May - June 2007 with Claudete Pereira Jorge, directed by Octavio Camargo. The performance will be in portugese. Here, Homer is used as a media, a vehicle for interaction in different platforms of languages projecting different translations to different idioms and also sharing the code, (seeing language as code) of the literary matrixes of occidental thinking bringing this ancient formulation to a more comtemporary transposition. This brazilian group begins their tour from Thessalonikа (for the first Thessaloniki Biennale of Contemporary Art ), and then travels to Skopje, Istanbul, Sofia, München, Lisbon, Porto... This event is established as a collaboration between Upgrade! International nodes, emerging network of new media artists and curators.

Interview with the actress as well as some parts of the perfomance can be seen here.

Upgrade! Skopje is a monthly gathering of new media artists and curators. Upgrade! Skopje will organize presentations, exhibitions, workshops, discussions, sound performances, dj and/or vj gigs, video presentations... with general aim for promotion and development of new media art practices, through various kinds of exhibiting and performing. Meetings can take place on various locations in Skopje like: clubs, cafes, galleries or studios. We think that is very important to find different space, appropriate for each kind of event, building different type of audience, establishing collaboration with various scenes, building stronger scene, community and networking. Upgrade! Skopje is opened for every artist that is travelling this way to present their work here, get promoted and become introduced with the local scene with aim to develop collaboration/communication. Upgrade! Skopje is organized by Line - initiative and movement.

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May 29, 2007

Interactive Futures: The New Screen



Interactive Futures: The New Screen :: Nov. 15-19, 2007 - Victoria, British Columbia, Canada :: CALL FOR PAPERS, PANELS, PERFORMANCES, & SCREENINGS :: DEADLINE: Monday June 18, 2007 :: Part of the Victoria Independent Film and Video Festival (VIFVF) :: Co-sponsored by Open Space Artist-Run Centre .

INTERACTIVE FUTURES is a forum for showing recent tendencies in new media as well as a conference for exploring issues related to technology. The theme of this year's event is The New Screen. IF07 will explore new forms of screen-based media from a diverse body of artists, theorists, writers, filmmakers, developers, and educators. Interactive visual environments, screen-based performances (with or without sound), new forms of narrative experiences, web-based environments, and innovative educational models will all be explored in The New Screen.

The development of tools and strategies for the presentation of screen-based environments has radically accelerated in the past few years. Artists and writers are exploring new ways of controlling narrative flow, formal structures, and ways of viewing. Immersive tools for experiencing visual environments have allowed artists to provide radically subjective experiences of visual surroundings and forms. With the introduction of interactivity, multi-screen environments, and media-rich web-based applications, a new era of performed, live, streaming and/or improvised media art is contributing to the creation of new modes for the screen that are distinct from older forms such as print, film or video art.

The New Screen will include installations, screenings and performances by visual artists, writers and performers. These practitioners are critiquing usual modes of visual interface, such as rectangular screens and determined techniques of interactivity. Interventionist strategies, public participation, experimental projection methods, and destabilizing interactive interfaces are some of the approaches that are used in their work. For IF07, leading Canadian and international artists, researchers, and educators working with screen-based media have been invited to present their work and to participate in the installation, performance, and panel events.

IF07 is seeking further papers, artists' presentations, performances and screenings related to the theme described above. Screenings may include demonstrations and/or documentation of screen-based, interactive and installation projects. Successful submissions will be selected for their critical, innovative and aesthetic tendencies. Here is a link to a Word doc with the full Interactive Futures 2007 call for papers and contact emails: http://cfisrv.finearts.uvic.ca/interactivefutures/IF07_Call_final.doc

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The Netherlands at the Venice Biennale 2007


Citizens and Subjects

Dutch Pavilion :: The Netherlands at the Venice Biennale 2007: Citizens and Subjects :: 10 June–21 November 2007 :: Commissioned by: Mondriaan Foundation :: Concept, Curator: Maria Hlavajova :: Artist in the Dutch Pavilion: Aernout Mik

Citizens and Subjects is a three-part project conceived as the Dutch contribution to the 52nd International Art Exhibition – La Biennale di Venezia. The project reflects on the notion of the nation-state in the present day circumstances of the so-called West and asks how we can negotiate its prospects vis-à-vis the challenges posed by the enduring state of anxiety stemming from various threats, real or imagined. This contemporary condition is co-defined by immigration, an issue of major political and moral consequence, which we seem to have been incapable of resolving. Instead, fear, ‘security’ and violence have increasingly become tools for maintaining the status quo. The project proposes this situation as the paradigm of our contemporaneity and prompts us to think through art about other possible ways that a new kind of political reality could be constructed.

Critical Reader edited by: Rosi Braidotti, Charles Esche, Maria Hlavajova :: ‘Extension’ of the Pavilion (The Netherlands, autumn 2007): a collaboration among BAK, basis voor actuele kunst, Utrecht University, Treaty of Utrecht, Van Abbemuseum, Eindhoven and Witte de With, Rotterdam :: Organized by: BAK, basis voor actuele kunst, Utrecht.

Citizens and Subjects: Aernout Mik

In Citizens and Subjects, Aernout Mik presents a multichannel video installation consisting of three new works – Training Ground, 2007, Convergencies, 2007 and Mock Up, 2007 – embedded in an architectural intervention in the Dutch Pavilion. Training Ground and Mock Up are fictional works (two- and four-channel video installations, respectively), in which Mik starts from the idea of a ‘training’ or ‘exercise’, asking how we prepare teams of first responders (policemen, fire brigades, medical teams, etc.) – and ourselves – to deal with potential future crises or threats to national security and handle issues such as (illegal) immigration. Convergencies (two-channel video installation), by contrast, employs both documentary footage of such trainings and footage from real situations in which the acquired techniques and strategies are applied. Through repetition, re-enactment, mimicry, inertia, building irrational excess by means of staging scenes or editing existing film material and by over-saturating the work with unexpected play and empowering invention, Mik questions the simplified distinction between citizens (as those with the rights and full privileges of belonging to a state or nation) and subjects (as those under rule or authority) today. On one hand he asks, aren’t we all actually subjected in the same way to this rather disquieting reality? Concurrently, he clarifies the notion of the ‘subject’ as one who is capable of acting in order to overcome the distinction between subjection and possible liberation, metaphorically suggesting that perhaps it is from here that new opportunities might emerge.

Citizens and Subjects: The Netherlands, for example

Instead of a traditional catalogue to accompany the exhibition in the Dutch Pavilion, a critical reader is published, in which ideas and questions that Mik introduces in his project are debated and analysed by a number of scholars and artists based in the Netherlands. The reader takes the state of the Netherlands as an ‘example’ of the contemporary western condition and considers how our society fails to negotiate the challenges posed by economic globalization, human migration and cross-cultural influence. It asks how art and artists can react to these changes and what possibilities they can create to see things differently.

Contributors: BAVO (Gideon Boie & Matthias Pauwels), Sarah Bracke, Esther Captain & Guno Jones, Marlene Dumas, Halleh Ghorashi, Suchan Kinoshita, Sven Lütticken, Aernout Mik, Melvin Moti, Sohelia Najand, Henk Oosterling, Pages (Nasrin Tabatabai & Babak Afrassiabi), Baukje Prins, Willem de Rooij, Iris van der Tuin and Lawrence Weiner.

Edited by Rosi Braidotti, Charles Esche and Maria Hlavajova. Language: English. Number of pages: 336. Published by: BAK, basis voor actuele kunst and JRP|Ringier. Designed by: Kummer and Herrman. ISBN: 978-3-905770-73-5.

Citizens and Subjects: Practices and Debates

The ‘extension’ of the Dutch Pavilion to the Netherlands in autumn 2007 is envisioned as a platform for contributing to the general public debate about a variety of key issues, including changing national identities and the anxieties brought about by such changes. These and other ideas related to the project Citizens and Subjects are debated through art and other disciplines by means of discussion groups, research residencies, teaching modules, lectures and conversations. The programme takes place in Utrecht through a collaboration between BAK, basis voor actuele kunst, Utrecht University and Treaty of Utrecht, as well as at Van Abbemuseum in Eindhoven in conjunction with the project Be[com]ing Dutch and at Witte de With in Rotterdam in connection with the German Pavilion at the Venice Biennale. These respective projects have grown out of a similar analysis of current cultural, artistic, social and political conditions, and the possible role cultural institution s can play in their development.

Project Partners

Utrecht University; Treaty of Utrecht; Van Abbemuseum, Eindhoven; Witte de With, Rotterdam

Financial Partners

The project Citizens and Subjects has been commissioned and funded by the Mondriaan Foundation, Amsterdam. The Municipality of Utrecht kindly supported Citizens and Subjects: Practices and Debates. This part of the project has been realized with additional contributions from Utrecht University and Treaty of Utrecht. carlier | gebauer, Berlin has generously provided financial and production assistance. Further financial or in-kind support has been provided by: Forbo Flooring, the Netherlands; Rabo Art Collection, the Netherlands; Independent Television News, London; Associated Press, London.

International press
Beate Barner
t: +49 30 398009609
m: +49 173 6076643

Dutch press
Hanna Sohier
t: +31 30 2316125
f: +31 30 2300591

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Upgrade! Lisbon


Ivan Franco

Upgrade! Lisbon: Ivan Franco :: May 30, 2007 19:00 :: @ Lisboa20 Arte Contemporâneam, Rua Tenente Ferreira Durão 18B (Campo de Ourique).

Ivan Franco was born in Lisbon in 1974. In 1993 started studying engineering and in 1995 he joined the research group GASA, one of the most advanced in the fields of computing experiments and owner of the first Virtual Reality Lab in Portugal. During this time, Franco also developed an interest in music, having played in several rock bands.

Departing from these two interests (computers and music) he started exploring the possiblities of computer music. Frustrated by the lack of physical performativity in electronic music, he looked for ways of recovering both that physicality and the man-machine interaction. In 199 he started a Master program in Barcelona where he developed his own instruments, presented in some of the most important festivals of that city.

In this presentation Ivan Franco will show his work in the area of the man-machine interaction, with special attention to his artistic creations. He will also show his most recent musical instrument, the Airstick, precently presented at NIME (New Interfaces for Musica Expression).

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Source Code: A 10-year retrospective of programming


Eyebeam style

Source Code: A 10-year retrospective of programming, Eyebeam style :: Opens Thursday, May 31, 6-8:00 PM :: On view May 31 – August 10, 2007 :: at Eyebeam.

Since 1998, artists, programmers, hackers, activists, technologists, kids and adults have come to Eyebeam to share ideas, find collaborators, experiment with new tools and create new work. The projects in Source Code – the first of three exhibitions presenting the very best of creative exploration at Eyebeam – frame technologies, generate new processes and offer the audience a platform to contemplate the impact of technology on everyday life. This group show will feature works by: Cory Arcangel, Carrie Dashow, eteam, Steve Lambert, Nina Katchadourian, Jennifer and Kevin McCoy, MediaShed, neuroTransmitter, Alex Galloway and Carnivore clients Jonah Brucker-Cohen, Golan Levin, MTAA and Mark Napier.

The exhibition's opening reception will be catered to, in part, by Steve Lambert's Co-op Bar (2007), which offers a low-level investment and community space in the form of a co-operatively owned bar.

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Virtual Systems and Multimedia 2007: Call for Participation


The 13th International Conference Virtual Systems and Multimedia 2007 :: September 23 – 26, 2007 in Brisbane, Queensland, Australia :: Theme: Exchange and Experience in Space and Place :: Papers - Long and Short Papers: June 17, 2007 :: Notification July 15 - Camera-ready August 10 :: Posters due July 15, 2007 :: Notification August 10 - Camera-ready due September 15 :: Long Papers will be published by Springer in their LCNS. Others will be published locally.

Keynotes currently include: Dr Mark Billinghurst, Director, Human Interface Technology Laboratory New Zealand, based at Canterbury University; Professor Mark Burry, Professor of Innovation (Spatial Information Architecture), at RMIT University; Dr Jonathan Fulcher, Head of Native Title Practice, Minter Ellison; Aden Ridgeway, Executive Chairman, Indigenous Tourism Australia (ITA); Ms Minja Yang, Director and UNESCO Representative to Bhutan, India, Maldives and Sri Lanka. The conference is endorsed by the Australian National Commission for UNESCO.

Bursaries for postgraduate students

Five student bursaries of USD$250 each will be offered. To be considered you must be a full-time postgraduate student and have a letter endorsing your full-time enrolment status from your supervisor and which also states that you do not hold an academic staff position. Full details are shown on the web site.

Brisbane information

Brisbane is an alive and bustling city of 1.6million people with all the requisite offerings of the nation’s fastest growing capital and remarkable recreational experiences. Go to http://www.brisbanemarketing.com.au/aboutbrisbane/.

You will be just a short plane trip from Sydney with its stunning Harbour and world-famous Opera House, or you can visit the World Heritage-listed Kakadu National Park and Uluru in the Northern Territory. Attending VSMM 2007 and also visiting some of Australia’s truly great places is highly recommended!

Theme - Exchange And Experience In Space And Place including:

- Virtual Heritage and Virtual Cultures for details see http://australia.vsmm.org/cfp-theme1.htm
- Virtual Environments and Virtual Experiences for details see http://australia.vsmm.org/cfp-theme2.htm
- Applied technologies and systems for details see http://australia.vsmm.org/cfp-theme3.htm

In addition to traditional conference paper and workshop proposals, VSMM07 encourages innovative submissions including movies, interactive or immersive designs and simulations, theatre, and installations. Non-academic submissions are very welcome.

Multimedia and Virtual Environment technologies are increasingly appearing in an array of applications that foster deeper understandings of the environments around us. In the spirit of international exchange, cooperation and development, the focus of VSMM in 2007 will be on the application of these technologies in ‘Bridging Space and Place through digital exchange and experience’.

Detailed conference themes include, but are not restricted to:

Virtual Heritage and Virtual Cultures:

Addressing the Digital Divide
Applied Cultural Theory
Applied Virtual Heritage
Cultural heritage legislation in a digital domain
Cultural Heritage Management
Cyber anthropology
Ethics of the design and use of VR
Experience Design
Finance and Legal
Funding for cultural heritage projects
Guidelines and International Charters
Heritage legislation, IP and digital rights management
Historical perspectives
Indigenous Knowledge & Knowledge Systems
Indigenous Knowledge and Virtual Environments
Legal issues, challenges and solutions
Narratives and Knowledge
Policy development and the role of technology
Professional Guidelines and Ethics
Social dimensions of Virtual Heritage
Space and place
Theoretical Virtual Heritage
Virtual Heritage and Museum Environments
Virtual property
Virtual Reality in Archaeology and Historical Research

Virtual Environments and Virtual Experiences:

Application of Serious Gaming technologies
Artificial life and dynamic worlds
Digital Arts and Politics
Digital performance
Digital storytelling
Engagement research
Generative VR
Human-Centred design issues
Immersion and emotion
Immersion research
Immersive Audio for presence and immersion
Media Arts & Creative Expression
Mobile Futures and devices and their application
Playfulness and experience design
Presence Research
Simulation and engagement
Spatial narratives
Virtual systems and real worlds
Visualisation and perception

Applied technologies and systems:

3D GIS: modelling and interpretation
3D scanner and remote sensing devices and their application
Augmented VR
Capture Technologies and Delivery Platforms
Convergent devices
Delivery and Distribution
Immersive Systems
Mobile Devices and their application
Modelling and rendering
On-site Delivery
Participatory 3D GIS
Projection Spaces
Standards and metadata
Stereoscopy and Panoramas

Important Dates:

Long and Short Papers: June 17, 2007
Notification: July 15, 2007
Camera-ready: August 10, 2007

Posters due – July 15, 2007
Notification – August 10, 2007
Camera-ready due – September 15, 2007

Long papers: 12 pages (approx 3000-4000 words)
Short papers: 5 pages (approx 1200-1800 words)
Posters: single A2 (or other format by negotiation)

Earlybird Registration: August 10, 2007

Five student bursaries of USD$250 each will be offered (see official website for details).

Contact us: Any queries, email aus_reviewers[at]vsmm.org or phone +61 7 3337 7821.

Note: VSMM07 SYDNEY WORKSHOP 21ST SEPTEMBER 2007 - In addition to the conference, VSMM invites all participants to attend a one day seminar on the 21st September 2007 in Sydney that focuses attention on new virtual heritage and electronic art research applied to the Advanced Visualisation Interactive Environment (AVIE), at the iCinema Centre for Interactive Cinema Research, University of New South Wales http://australia.vsmm.org/sydworkshop/seminar.pdf.

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May 25, 2007



CIAC's Electronic Magazine No 27

"A more "expressivist" form of communication is apparent today in a range of media - in the flourishing growth of the means for self-production and the production of the self in the form of personal web sites, blogs and their attendant technology (syndication, tags, podcasting, videoblogging, etc.) and the networks for communication among Internet users and their associated practices (fansubbing, fan films, etc.). Since the late 1990s, net art has been guiding and prefiguring these "mass" technologies and practices by multiplying the ambivalence of our relationship with the Internet, which is both intimate and dreadfully solitary. As new dialogue interfaces grow and expand, we withdraw from the real world, which is both more collective and community-minded. Today, the term net art refers to interactive works of art designed by, for and with the Internet, as distinct from more traditional forms of art which have simply been transferred onto the web sites of art galleries and other virtual museums. In the art world, the originality of the Internet lies in the fact that it is simultaneously a medium, a tool and a creative environment.

By medium I mean a vector of transmission, in the sense that the Internet is its own broadcaster; by tool, the way it is used as a means of production, giving rise to different usages and generating new artistic products; and by environment the fact that it is a space both inhabitable and inhabited. In this context, artists seek at least as much to design interactive devices1 as they do to create settings for communication. Using all the means at its disposal-the Web (HTML FTP, peer to peer) but also e-mail and chat-net art encourages the production of works whose relational and collaborative aspects have turned the relations between art and society upside down. Internet sites, home pages, blogs, mailing lists and discussion forums have become the new forms of sociability. Net art, by associating itself with this dynamic, can take the shape of specific forms of interactivity but also of the production of on-line lifestyles and communication strategies. The Internet has become both an on-line artist's studio and a gallery space: a space for artistic creation and for communicating and receiving artistic practices." Continue reading NET ART V1+2.0. GENESIS, FIGURES, SITUATIONS by Jean-Paul Fourmentraux (Translated from French by Timothy Barnard), CIAC's Electronic Magazine No 27, Printemps 2007 / Spring 2007, 10th Anniversary Special.

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New Media Art Mythologies



COOL MEDIA HOT TALK SHOW: D.I.Y. talk show on art & media :: TOPIC: New Media Art Mythologies :: SPEAKERS: Geert Lovink and Armin Medosch :: QUESTIONS: ask-it-yourself now and during the show here :: June 5, 20.30 CET :: Video stream and interface for online participation :: Location: De Balie, Amsterdam (bring your laptops and mobiles)

New Media Art Mythologies...to be questioned... :: Recent discussions about (new) media art concerned a wide range of issues: starting from the validity of the term itself and ending with questioning the very premises of the modes of distinction through which the (new) media art field constitutes itself as a form of art, cultural practice, social context, institutional domain, and discourse. The feeling of a certain Rubicon, provoking self-introspective reflections, was expressed by many.

The coming edition of Cool Media Hot Talk Show on the topic "New Media Art Mythologies" will welcome persistent critical voices of the media art scene - Geert Lovink and Armin Medosch. They will present their judgements and arguments regarding the current critical stage in the development of new media art. The debates will address socio-cultural position of new media art in a historical perspective, which both speakers are discussing extensively in their writings. Preliminary suggested focal points are:

- The marginalised position of new media art within the broader cultural context.
- New media art vis-`-vis changing trends of cultural policies.
- Discursive troubles: in search for mediatory theories and media art criticism.
- New media between aesthetics and politics.

It seems that the media art community has got itself into a trap by creating a rather contradictory mythology, which very much concerns the idea of being open to disciplinary and discursive confluxes and at the same time being immune to the biases of the criticised cultures. Geert Lovink pinpoints a range of critical issues which mark the contradictory relationships of (new) media art with the broader socio-cultural context, more specifically: art institutions, "hard science", media industries, and cultural policy mediators. He sees the contradictions between current cultural-political trends under an increasingly conservative agenda, and internal intentionalities of media art, which lead to decrease of funding and institutional support as a result.(1) Armin Medosch stipulates that the critical agenda of media art in relation to mainstream media politics is its distinctive value, and should be put forward as a driving force behind artistic practices. He promotes the idea of "Open Source Culture" as an integral socio-cultural movement in which artists can and do participate actively in order to develop and exercise alternative models of engagement into creative production.(2)

The question of media seems to be crucial for the identity of (new) media art, which in itself has a lot to do with the values and socio-historical conditions of art as such. How does the issue of media affect self-determination, or identity, of (new) media art communities in relation to the broader cultural context, and what exactly renders the relationships between (new) media art practitioners and this context? It is not just a matter of being conscious and critical about the politics of media in a broader sense. It is also very much about redefining the context and agenda of art as such through exploiting this distinctive media consciousness, which has always been an intention at least. Here a dilemma occurs: to comply with its own propositions based on a disengagement from promoting ideas and values of dominant cultures (whether it is the art market, media industries, popular culture, popular politics), the media art community in all its variety, groups and individuals, should find its own sustainable platform for existence. On which ground can it be established? Should it be done under a common, umbrella and agenda? Or are centrifugal survival strategies on the basis of tactical alliances, whether with science, media industries, other art domains, cultural and social movements, more productive and likely options? Armin Medosch calls for dissociation of techno-determinist art, which rather fascinates itself with technology, from art which explores social dimension of technology through engaging with activist, Do-It-Yourself, Open Source and other critical socio-cultural movements adopting "hacker ethics", while crossing and blurring the borders in between. Geert Lovink outlines four possible "models to deal with the current stagnation" together with their down-sides: a semi-autonomous existence on the basis of interdisciplinary collaborations; transcendence of (new) media art into the existing institutional art practices; withdrawal from the art domain altogether; merging with the creative industries.

Both Armin Medosch and Geert Lovink indicate the absence of a strong theoretical back-up for (new) media art practice as a crucial set back. Indeed fascination with interdisciplinarity, resulting in discursive mash-ups, makes it confusing: neo-marxist critique of industrial cultural production and mass media goes in hand with inventive post-structuralist ideas about producer-consumer relations, borrowings from scientific discourses, communication theories, etc, while high-brow pessimism and techno-snobism is accompanied by ommunitarian euphoria and advocacy of openness and all-inclusivity. Add to it the desperate attempts to provide audiences with explanatory thresholds through mapping of key concepts next to exhibits, and the absence of strong media art criticism, and the public gets totally confused. It is not that there is a need for discursive unity, of course. At the end (new) media art is an extremely young art, and the search for self-articulation is an important process. Although even at this point two essential things are already missing: a healthy, preferably external, mediatory art criticism, and strong theoretical methodologies which would help to demystify existing obscurities.

The important issue which lacks serious critical attention is the political dimension of media art practice. Implications of both political causes and effects of artistic messages are somewhat overshadowed by the general motto "be critical". A more politically aware approach in discussions of media art, beyond declarative generalities, is definitely needed. Geert Lovink pinpoints a range of political aspects of media art practice and its discourse to be addressed, such as post-colonial issues, the weakness of links with contemporary social movements, while Armin Medosch advocates structural creative resistance of Open Source Culture to the capitalist society of control on the basis of awareness about its modus operandi.

The historical conditions of media art are changing. So does the attitude to it. The question is what the media art community is going to do with it?

1. All references to Geert Lovink: "New Media Arts: In Search of the Cool Obscure. Explorations beyond the Official Discourse" to be published in "Zero Comments", Routledge New York, August 2007; texts published online: http://journal.media-culture.org.au/0308/10-fragments.php

2. All references to Armin Medosch: the statement for http://www.coolmediahottalk.net; texts published online:
http://theoriebild.ung.at/view http://theoriebild.ung.at/view/Main/TheNextLayerDraft


Geert Lovink (NL/AU) is a media theorist, critic, currently holds the position of senior researcher/associated professor at Amsterdam University. He is the organiser of conferences, festivals and (online) publications and the founder of numerous Internet projects, such as www.nettime.org and www.fibreculture.org. More info: http://www.networkcultures.org/geert/ and http://www.laudanum.net/geert.

Armin Medosch (AT/UK) is a writer, artist and curator specialized in media theory, media art and network culture. His recent work includes the exhibition WAVES, the new live event format PLENUM with Kingdom of Piracy, and the research project The Next Layer, an investigation into the culture of open sources. More info: http://theoriebild.ung.at, http://armin.manme.org.uk/blog/.

EXTRA: music performance of Remus (humanworkshop records) http://www.humanworkshop.com


SPECIAL: ASK THE BEST QUESTION & win the COOL MEDIA PRIZE. The winner will be selected through direct and open voting

Tickets: 5 euro
Reservations by telephone: +31.20. 55 35 100 (during opening hours of the ticket office) Or via the Balie website: http://www.debalie.nl/agenda

De Balie - Centre for Culture and Politics,
Kleine Gartmanplantsoen 10

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May 24, 2007

Upgrade! São Paulo


Lucia Leão

Upgrade! São Paulo: lucia leão: Networked bodies: art, culture, environment and sustainment in cyberculture :: jun 14.2007 :: 7:30 pm @ i-People: Av Vergueiro 727, next to the Vergueiro Subway Station.

The relationships between art and nature have always been present in the human history. Since pre-historic times, draws of animals in caves reveal the aspiration to represent and/or control nature. Enigmatic pre-historic monuments and planetary observatories are also amazing samples of man interventions in order to understand the surrounding environment and its movements. From the Egyptian frescos, passing through moments of the Renaissance and 18th century art, the landscape becomes the environment for building narratives and, often, it takes an ornamental or symbolic character. The landscape paintings, not by chance, are very frequent and popular in the colonialist expansion periods and show very clear relationships between the territorial conquest and the aspiration of representation.

In the 20th century, starting in the 60's, a radical transformation happens: the art stop seeing the nature only like an object for representation and the artists start interacting directly in natural spaces. In that period, artworks emerge pointing to several readings of the environment, among them: nature and space problems (Richard Serra); light transformations, time effect and visitor's interaction (Robert Morris and Nancy Holt); environment and consumption (Christo); actions and incisions in the environment (Michael Heizer and Alberto Burri), among others.


In the cyberculture age, when we think about environment problems, we face two opposite scenarios. From one point of view, the technological apparatuses figure as degrading elements of the environment, they are responsible for a huge amount of garbage production and are related to the pollution emission in several moments. On the other hand, the Internet communication and content production potential have stimulated either a larger awareness and comprehension about environmental problems as much as the creation and development of collective and multi-author projects. Therefore, we could wonder: how can the technology act in the role of preserving ecosystems? How can the environmental thinking and consciousness get associated with the fashion and art creation (while life style, modus vivendi)?

In this talk, it will be presented creative projects that evoke and stimulate communitarian actions. They are works that make use of cybrid spaces and question the modus vivendi through dressing and other nomadic practices. The networked body statute, in all its complexity, requires sensible perception, acts and new visions of the word. In this sense, we will see works that state the inter-relationships between aesthetics, ethics and politics. With activistic propositions, thought and designed by multidisciplinary teams, the contemporary environmental art proposes disturbances in habits and systems. Without mattering with embarrassing or even enormous difficulties, the environmental poetics make it clear that their objectives are stimulating the body perception in network; sowing a systemic consciousness and generating reformulations in the everyday acts.

Lucia Leão is interdisciplinar artist, PHD in comunication and semiotics from PUC-SP and post-PHD in arts from UNICAMP. Author of several articles about art and new media and of the books "The Labyrinth of Hipermedia: architecture and navigation in cyberspace" (1999) and "The Aesthetics of the Labyrinth" (2002). She organized the Interlab collections, with international papers: Labyrinths of the Contemporary Thinking (2002), with nomination for the Jabuti Award; Cybercultura 2.0 (2003); e Derivas: cartography of the cyberspace (2004). Lucia is professor at PUC-SP and SENAC. As artist, she has exhibited, among other places, at ISEA 200, Paris; Museu de Arte Contemporânea de Campinas (MACC); XV Biennial of Sao Paulo; II International Biennial of Buenos Aires; ArtMedia, Paris; FILE -SP (2002); Arte Digital Rosario 2003; Cinético Digital, Itaú Cultural (2005); Mostra SESC de Artes (2005) e FILE Rio 2006.

Posted by jo at 05:10 PM | Comments (0)

May 23, 2007

Platform 2 presents


The Commons on The Common

Platform 2: The Commons on The Common :: Friday, June 1, 5:30 – 7:30PM :: Meet in front of the State House on Boston Common at the 20-foot picnic blanket :: Food & drink on hand, but please bring something of your own to share ::

A picnic on the Boston Common where we will discuss “the Commons” in relation to the work of invited guests, including Iain Kerr/spurse and David Bollier of onthecommons.org. Excerpts from Lewis Hyde’s upcoming book on the commons will be read.

What is the Commons? “The commons is an emerging new paradigm for understanding how groups of people can create and preserve value in more sustainable ways. Unlike the conventional market paradigm, the commons consists of a diverse set of models rooted in social norms and ecological principles. A growing number of scholars, activists and policymakers is beginning to recognize the power of the commons matrix and its importance in creating and managing resources.” — from www.onthecommons.org


spurse is an international collective composed of individuals with experience in a wide variety of fields. spurse has no (fixed) content or members – rather it is a viral multiplicity that is continuously reforming itself as it becomes new projects and new events. In this, it is open to change, contradiction, multiplicity, tangents, infection, and betrayal. We are interested in considering the public as that which must be continually constructed as a part of the invention of public space. In this we are interested in emergent forms of individuality – swarms, crowds, the person, groups, ecosystems…

David Bollier is an activist, author and Editor of OntheCommons.org, the website and blog of the Tomales Bay Institute that explores the commons as a new paradigm of politics, economics and culture. He is the co-founder of Public Knowledge, a Washington public-interest advocacy group that fights reckless extensions of copyright law, and the author of /Silent Theft: The Private Plunder of Our Common Wealth/ (2002), /Brand Name Bullies: The Quest to Own and Control Culture /(2005), and seven other books. He lives in Amherst, Massachusetts.

Posted by jo at 06:03 PM | Comments (0)

New Network Theory



New Network Theory: International Conference :: Dates: 28-30 June 2007 :: Location: University of Amsterdam :: Organized by: Institute of Network Cultures (Interactive Media, Amsterdam Polytechnic, HvA), Media Studies, University of Amsterdam, and Amsterdam School for Cultural Analysis.

The object of study has shifted from the virtual community and the space of flows to the smart mob. When the object of study changes, so may the distinctions that dominate, particularly the schism between place-based space and place-less space, both organised and given life by networks. We would like to exploit the potential of writing contemporary network theory that suits and reflects the changes to the objects of study that come to define our understandings of network culture – a post-Castellsian network theory, if you will, that takes technical media seriously.

It is time to look for elements that can make up a network theory outside of post-modern cultural studies (which marvelled at the place-less place) and ethnographic social sciences (which reminded us of the ground). What network culture studies needs is a ‘language of new media,’ perhaps even signage, to speak in terms of Lev Manovich; what it currently has is a science-centered ‘unified network theory,’ to paraphrase the language of Albert-László Barabási.

Whilst it may come as no surprise to critical Internet scholars, the notion that networks are not random but have underlying structures remains the key insight for network scientists. Instead of posing new questions, the work that follows from that insight often seeks to confirm that structure and its accompanying patterns, across more and more network-like objects. The question remains which specific contribution critical Internet scholars and practitioners can make to opening up network thought. Such is the purpose of the network theory conference. How must we rethink network culture with a renewed emphasis on technical media and social software?


Siva Vaidhyanathan: The Googlization of Everything: How One Company is Shaking Up Culture, Commerce and Community

Tiziana Terranova: Everything is everything: network science, neo-liberalism and security

Wendy Chun: Imagined Networks

Alan Liu: Just Networking: Can Network Knowledge Be Better Than "Good Enough" Knowledge?

Anna Munster: The Image in the Network

Martin Kearns: Network-centric advocacy and rapid response

Warren Sack: From Networked Publics to Object-Oriented Democracies

Olia Lialina: The Work of Users in Times of Perfect Templates

Nosh Contractor: MTML meets Web 2.0: Theorizing social processes in multidimensional networks

Valdis Krebs: Al-Qaeda networks

Katy Börner: Towards Scholarly Marketplaces

Tincuta Parv: Fibers, links and networks – a parallel between textiles, data communication systems and social interaction

Marianne van den Boomen: E-sociability metaphors: From virtual community to social network and beyond

Leslie Kavanaugh: The Philosophical Foundation of Network Theory: the Reticulum

Verena Kuni: Subversive Stitches and Revolutionary Knitting Circles. Between art and activism, DIY and prosumer cultures: Weaving new networks in times of Web 2.0

Mirko Tobias Schaefer: From Network to Foam. Extending the dispositif of user interactions

Iina Hellsten: Bird Flu as a Public Hype: Networks of Communication on the Web

Astrid Mager: Mapping, practicing and thinking "the Internet". Challenging network thought in the context of online health information

Clifford Tatum & Kirsten Foot: From ad-hoc to infrastructure: The lifecycle of hyperlink networks and its implications for social, cultural, and political activity

Charli Carpenter: Assessing Virtual Networks: Human Rights Advocacy in Real- and Cyberspace

Leah A. Lievrouw & Lilly Nguyen: Linking and the Network Imaginary

Adrian MacKenzie: Wirelessness and radical network empiricism

Claire Roberge: The Sedimentation of the Passage: Conceptualizing the Locality Today

Nancy Nisbet: Stories, Roadmaps and RFID. Exchange; a performance releasing location, memory and identity

Sophia Drakopoulou: Toothing and Bluetoothing; network–fantasy-reality

Bernhard Rieder: Rethinking Structure and Causation in Network Theory

Michael Goddard: Post-Rekombinant Networks or the Transition from the Cognitariat to the Precariat

Konstantinos Vassiliou: Subjects that matter: Subjectivity in Network Reality

Franz Beitzinger, Natascha Zowislo and Jürgen Schulz: Saying 'No': On the rejection of consensus-oriented communication on the Internet

Ulises Ali Mejias: Hyperlocality and the tyranny of nodes

Yukari Seko: Acting Out Network: Self-destructive Murmurs in the Blogosphere.

Kristoffer Gansing: Community (New) Media - Public access in the age of networked social media.

Alice Verheij: Re-thinking network theory and analysis concerning social care networks in the Internet age. A case description.

Kimberly de Vries: Desire, Dissent and Differentiation: Sustaining Growth in Virtual Networks.

Kenneth Werbin: The List Serves: Bare Life in Cybernetic Order.

Olga Kisseleva: LANDSTREAM

Wayne Clements: Infernal Thunder

Jacob Lillemose: Heath Bunting from physical space to the net and back again

Katja Mayer: Imag(in)ing Networks

Olga Goriunova: Internet platforms: cultural production in late capitalism

Thomas Berker: Suffering in Networks. An exploration into conceptions of marginality, conflict and exploitation in network theories

Adolfo Estalella: Blogs as Traps: Imputing Interests through Statistics Systems

Marijk de Valck: The Festival Network Revisited

Betina Szkudlarek: Actor-Network Theory - ontologizing realities.

Michael Dieter: Open Cartographies, On Assembling Things Through Locative Media

David Garcia: Faith in Exposure

Paolo Gerbaudo: A network of events: leafleting and mobility in the “Stop the War” campaign

Megan Boler: The Politics of ‘Truthiness:’ Digital Dissent and Satire as Networks of Activism

John Duda: Bodies and Swarms: Networks, Multitude, and Biology

Ramesh Srinivasan: Conceptualizing Semantics and Ontologies in a New Network Era

Jana Nikuljska: Communicative Societies in a Networked World

Ali Mohammad Javadi: Study of the rate, types and behavioral model of internet's users in Mashhad city in Iran

Deborah Wheeler: The Political Importance of Internet Cafes in Jordan and Egypt

Greg Elmer: Robots.txt: The Politics of Search Engine Exclusion

Jussi Parikka: Bad Bits: Software and Incorporeal Events

John Johnston: Viral Evolution and the New Software Ecology

Tony Sampson: On Anomalous Objects of Digitality. An introduction

Claudia Padovani & Elena Pavan: Between Issue and Social Network. Insights from an ongoing research on mobilization on Communication Rights in Italy

Giorgia Nesti & Matteo Cernison: Advocacy networks and policy networks in the European Union: the case of media pluralism

Stefania Milan: Networks of radical tech collectives: Social logic and technological dimensions of emancipatory practices in the field of digital communication

Francesca Forno: Consumption Styles and Digital Networks in Italy

Claudius Wageman & Manuela Caiani: The extreme right, networks, and the internet: a comparison of the multi-organizational field of the extreme right in Italy and Germany

Marga van Mechelen: Glocalisation as a curatorial and artistic mission

Jean-Paul Fourmentraux: Innovative Artists. Transformations of Work and Arts organizations with ICT

Desiree Hoving, Gertjan de Werk, Danny Soetanto, Dirk-Jan Peet & Heleen Vreugdenhil: Building Successful innovative networks, insights from multidisciplinary research perspectives

Robert van Boeschoten: The executive language: Coding the future

Noortje Marres: The special effect of issue-affectedness. On being sensitive to the normative charges of networks

Matthew Fuller: Requests, Recommendations and Standards: RFC10 and reflexive engineering

Posted by jo at 08:57 AM | Comments (0)

May 22, 2007

The Latency of the Moving Image in New Media


Curated by Eduardo Navas

The Latency of the Moving Image in New Media :: May 25 - June 9, 2007 :: Curated by Eduardo Navas :: Telic Arts Exchange, 975 Chung King Rd, Los Angeles, CA 90012 :: (213) 344 - 6137 :: info[at]telic.info :: The Chilean Collective TROYANO will present their recent bilingual publication, Art and Digital Culture :: Thursday May 24, from 7:30 - 10pm

“The Latency of the Moving Image in New Media” purposefully overlaps the presentation by TROYANO collective on Art and Digital Culture, to take place on May 24. The exhibit in combination with the talk are meant to provide a space for critical reflection on the ongoing development of media culture.

What separates new media from previous media is in part waiting periods that define public and private experience; whether the download of a file from the Internet is taking longer than expected, an e-mail message has not been sent from one server to another for some unknown reason, or a large file is being rendered in video software like Final Cut Pro for output as a viewable movie, new media is largely dependent on constant moments of waiting, often referenced as latency. “The Latency of the Moving Image in New Media” presents artists who make the most of latency as a crucial element in their works.

Some of the works included in the exhibition are to be experienced online while others are to be seen as projections in an actual space, and others are downloadable interactive projects developed as freeware. The works will be available for viewing at TELIC in a way that is sensitive to their original contexts. A website will also be available for viewers outside of Los Angeles to experience the online projects, and to give information about those that are only viewable in the art space.

Artists participating in the exhibition include:

Art blogs:

Corey Eiseman (Miami, Florida, US)
Gustavo Romano (Buenos Aires, AR)

Online art:

Arcangel Constantini (Mexico City, MX)
Yann Le Guennec (Lorient, FR)


Jorge Castro (Cordoba, AR)
Antonio Mendoza (Los Angeles, CA, US)
Katherine Sweetman (Los Angeles, CA, US)

Audiovisual interfaces:

Fuss! Members include
Rey Juan Carlos and Guillermo López, (Madrid, ES) and Timo Daum, (Berlin,
Brian Mackern (Montevideo, UY)
Julia Masvernat (Buenos Aires, AR)

Posted by jo at 11:39 AM | Comments (0)

May 21, 2007

Transitive Materials Ubicomp 2007 Workshop


Call for Papers

Transitive Materials: Towards an Integrated Approach to Material Technology - Ubicomp 2007 Workshop: Call for Papers :: Submission deadline: June 15, 2007 :: Workshop date: September 16, 2007 :: transitive[at]media.mit.edu

The worlds of architecture, fashion and ubiquitous computing are rapidly converging. Shape-changing polymers, parametric design, e-textiles, sensor networks, and intelligent interfaces are now positioned to provide the underpinnings of truly ubiquitous interactivity. Seamless and effective integration will determine our ability to create more cohesive computational systems that extend invisibly from on-body to indoor environment to urban-scale structures, and can more meaningfully respond to our personal and social actvities.

This workshop will focus on the use of responsive materials as the physical and computational bridge between form and function, body and environment, structures and membranes. Rather than overlaying computation using add-on patches or gadgets, we seek to define and emphasize the integration of novel “transitive materials” that blur the gap between computation and structure, and between disciplines that have traditionally stood apart.

We hope to foster an open discussion between researchers and practitioners from the design (architecture, fashion, textiles) and scientific disciplines (ubicomp, wearables, computation, materials), in order to shed light on the possibilities and limitations brought forth by new material technologies. We also hope to explore how such transitive materials can function as the binding matter in the design of objects, garments and spaces that realize truly omnipresent interactivity.

Workshop Format and Submission Instructions

We invite researchers and practitioners from the design (architecture, fashion, textiles) and scientific disciplines (ubicomp, wearables, computation, materials) to submit their work. Full submission details are available at the workshop website.


Marcelo Coelho MIT Media Lab), Sajid Sadi (MIT Media Lab), Pattie Maes (MIT Media Lab), Joanna Berzowska (XS Labs, Concordia University), and Neri Oxman (MIT Department of Architecture).

Program Committee

Michelle Addington (Yale School of Achitecture), Mette Ramsgard Thomsen (The Royal Academy of Fine Arts, CITA) and Jennifer Leonard (IDEO)

Posted by jo at 03:52 PM | Comments (0)

Rafael Lozano-Hemmer at La Biennale di Venezia


Pulse Room

Pulse Room, one hundred incandescent light bulbs controlled by the heartbeat of the public :: Mexican Pavilion at the 52nd International Art Exhibition – La Biennale di Venezia :: Press Preview: 7-9 June, 10 AM-8 PM :: Receptions: 7, 8 and 9 June, 8-10 PM :: Exhibition: 10 June–21 November, 2007 :: Palazzo Van Axel, beside the Chiesa dei Miracoli, Cannaregio 6099, Venice 30121 Italy :: +39-041-520-4807 .

Rafael Lozano-Hemmer represents Mexico at the 52nd Biennale di Venezia with the exhibition “Some Things Happen More Often Than All of the Time”, curated by Príamo Lozada and Bárbara Perea, a show which will mark Mexico’s first official participation in the Biennale. The exhibition will consist of 6 large-scale installations covering 1,000 square metres of the Palazzo Van Axel, a 15th-century gothic landmark bordering the Chiesa Santa Maria dei Miracoli, in the vicinity of the Rialto bridge.

Lozano-Hemmer (Mexico City, 1967) develops large-scale interactive installations combining the languages of architecture and performance art. His work uses technologies such as robotics, surveillance and telematic networks to create platforms for audience participation, creating "anti-monuments for alien agency". His large-scale light and shadow installations are inspired by animatronics, carnivals and phantasmagoria, situating the spectator as a fundamental component to “complete” the work.

“His work succeeds in giving the unchoreographed the power of a full orchestra..."-- CK Kuebel, NY Arts Magazine

Lozano-Hemmer’s work in kinetic sculpture, installation, video and photography has been shown in over thirty countries, including the Biennials of Sydney (Australia), Shanghai (China), Liverpool (United Kingdom), Istanbul (Turkey) and Havana (Cuba). His work is part of important private and public art collections such as those of the Museum of Modern Art in New York, La Colección Jumex in Mexico City, Fundación Cisneros Fontanals in Miami, the Daros Latin America Collection in Zürich and the Tate Collection in London.

The official participation of Mexico in Venice is the result of joint efforts by Secretaría de Relaciones Exteriores, Consejo Nacional para la Cultura y las Artes, Instituto Nacional de Bellas Artes, Consejo de Promoción Turística and the generous support of the Fundación/Colección Jumex and the Fundación BBVA Bancomer. The non-profit Patronato de Arte Contemporáneo, which has also contributed funding and resources, is in charge of the administration of the project. The receptions, starring DJ sets by Sonido Changorama, will feature sponsored drinks by Jumex, Tequila Cuervo and Cerveza Sol.

A bilingual catalogue will be published by Turner Libros, featuring essays by Manuel de Landa, José Luis Barrios, Barbara London, Cuauhtémoc Medina, Victor Stoichita and curators Príamo Lozada and Bárbara Perea.

Coinciding with the 52nd Biennale di Venezia, Lozano-Hemmer’s work will also be exhibited at Art Basel Unlimited, at the Luminato Festival in Toronto and in the exhibition “Automatic Update” at the Museum of Modern Art in New York.

Contact information:

Consejo Nacional para la Cultura y las Artes:
Plácido Pérez Cué, Director General de Comunicación Social
Tel. +52 555 662 1907
Fax +52 555 662 4314

Contact for Rafael Lozano-Hemmer:
Natalie Bouchard
Tel +1 514 597 0917
Fax +1 514 597 2092

Contact for the curators:
Proyectos Hélix
Príamo Lozada and Bárbara Perea
+ 39 340 755 9584 in Venice
+ 52 555 207 6411 in Mexico

Rafael Lozano-Hemmer is represented by Galería OMR (Mexico City), bitforms gallery (New York) and Galerie Guy Bärtschi (Geneva).

Posted by jo at 03:28 PM | Comments (0)

Furtherfield May 21, 2007


New Reviews / Articles / Interviews

Charlotte Frost Interviews David Rokeby- Twisting Fistfuls of Time (Part 1) :: An Interview with David Rokeby, in conjunction with his first UK retrospective ‘Silicon Remembers Carbon’, FACT, Liverpool, (20th April – 10th June). David Rokeby has won acclaim in both artistic and technical fields for his new media artworks. A pioneer in interactive art and an acknowledged innovator in interactive technologies, Rokeby has achieved international recognition as an artist and seen the technologies which he develops for his work given unique applications by a broad range of arts practitioners and medical scientists. Part 2 of the interview.

Review on TRANSreveLATION by Natasha Chuk :: TRANSreveLATION was a one-night showcase of live performance, dance, real-time processing, and a reverie of previously recorded audio compositions. Performed on April 26, 2007 in the basement auditorium of the Unitarian Universalist Community Church of New York in midtown Manhattan, fifty guests gathered to engage in and aurally witness a unique collection of sound art and movement. Nature and technology remarkably mix as a means of exploring the concept of ekphrasis, the basis for this concert, developed and curated by Melissa Grey and Jim Briggs III.

Put simply, ekphrasis is imagery dramatically translated by poetry, but it pertains to any form of media. Pulling us deep into the trail of inspiration, ekphrasis can provide an artist the opportunity to delightfully bury the tracks of artistic motivation in an interpretative web of rhetoric, freely describing one form with another. That tactic is clearly demonstrated in this program.

Review on html_butoh by Alexandra Boutros -lost in…metamorphosis: ursula endlicher’s html_butoh :: Butoh is enigmatic. Sometimes characterized as dance, sometimes as theatre, sometimes as meditation on what it means to be human, butoh seems to resist definition and easy categorization. Undeniably, however, butoh is about movement. Butoh emerged in post world-war II Japan, in part rising out of dissatisfaction with the prevalence of Western dance movements and influences in that country. Some have suggested that the goal of butoh is for the dancer to cease being him/herself, to stop being human, and to become instead another entity altogether. If butoh drives the human out of the dancer through movement, Ursula Endlicher’s html_butoh—a web-driven performance piece—raises questions about humanness in the realm of the internet.

Review by Wylie Schwartz: Kollabor8 - Toegristle Studios :: Kollabor8 is a ‘perceptual canvas blog,’ where any given chain of images has infinite potential for change as each artist manipulates the previous image, and so forth. Functioning as an artists’ hub, members are invited to transform works of digital collage by adding original images, digital photos, reproductions and scans, or by starting a new chain. To encourage collaboration, members are not permitted to upload a direct mutation to their own image. To encourage growth of chains a system of credits is in place. Two credits buy a new chain, and one is earned for every five images uploaded to a pre-existing chain. The art in this case is a virtual archive of the process of creating a work of art.

Other Reviews:

About Furtherfield Reviewers:

If you want to be a reviewer or wish for a project to be reviewed on Furtherfield, contact - marc.garrett[at]furtherfield.org

Posted by jo at 03:25 PM | Comments (0)

070707 UpStage Festival


Performances Announced

Shadow puppets, flights of fancy, air guitar and a visit to a London building site will be some of the virtual attractions at 070707 UpStage Festival - a feast of online performances on July 7, 2007 to celebrate the release of UpStage 2.

New Zealand and international artists are creating work specifically for the UpStage environment, which will be performed for an online audiences and simultaneously screened at the New Zealand Film Archive in Wellington.

UpStage is software that allows audiences from anywhere in the world to participate in live online performances, created in real time by remote players. Audiences need only an internet connection and web browser and can interact through a text chat tool while the players use images to create visual scenes, and operate "avatars" - graphical characters that speak aloud and move.

The diversity of proposals for the festival has impressed the organisers. "It's exciting to see UpStage being used in such a variety of ways," said UpStage project manager Helen Varley Jamieson. "We have all manner of artists - writers, musicians, dancers, performers, videographers, story-tellers - experimenting with how they can use the internet as a creative medium and a site for their work."

The full list of performances and artists is on the UpStage web site. Performance times will be publicised on the UpStage and New Zealand Film Archive web sites soon, and live links to the stages will be accessible from the UpStage web site on July 7; online audiences just need to click!

The performances will be screened live in the the New Zealand Film Archive mediagallery where visitors can buy a coffee, take a seat and watch the performances taking place from remote locations around the world. Exhibitions Manager Mark Williams says "It will be like watching a live movie, as the shows unfold in front our eyes."

UpStage workshop facilitator Vicki Smith has been providing graphic, technical and tutorial support for artists and education groups who are creating performances, and says that the level and range of work being produced promises breathtaking cyberformances (online performances) for audiences to view and take part in.

UpStage 2 is funded by the Community Partnership Fund of the NZ Government's Digital Strategy, with the support of partners CityLink, MediaLab and Auckland University of Technology, and developed by programmer and digital artist Douglas Bagnall.

The launch takes place on 28 June and will be accompanied by an exhibition at the NZ Film Archive from 28 June to 15 July, and the festival on 7 July.

For further information and images, contact:

Helen Varley Jamieson: helen[at]upstage.org.nz
Vicki Smith: vicki[at]upstage.org.nz http://upstage.org.nz/blog/

Posted by jo at 02:57 PM | Comments (0)

Technologically Expanded Dance


Call for Participation

Technologically Expanded Dance: Call for formal presentations, art installations and pocket performances :: November 22 - 24, 2007 :: CULTURGEST, Lisbon Portugal.

The Faculdade de Motricidade Humana, TU Lisbon, is pleased to announce the Conference Technologically Expanded Dance. The following conference topics will be considered: 1. Cross modal perception, artificial synesthesia and intermedial relations between artistic languages 2. Motion capture systems and archives of body movements 3. Aesthetic signification of technology 4. Transfers from game structures onto audible, visual or kinetic narratives 5. Corporeality and new technologies 6. Virtual and augmented reality applied to the stage.

CULTURGEST has a small auditorium, 4 rooms and 1 foyer that could host pannels on the above themes, media art installations, new media artworks and pocket performances. Submitters are invited to check the rider of the hostage spaces within the perspective of site-specific*. Eventually submitters should provide their own equipment. Proposals should be submitted online by 29 June 2007. Following an evaluation by the reviewers, authors will be notified by the end of July 2007.

Posted by jo at 01:06 PM | Comments (0)

project:rendition by JC2


Installation and Performances at Momenta Art

project:rendition by JC2 :: momenta art :: May 25-June 25, 2007 :: Performance Schedule :: Reception: May 25, 7 - 9pm :: 359 Bedford Avenue, Brooklyn, NY 11211 :: 718.218.8058.

project:rendition examines the concept of rendering through an installation that incorporates elements of architecture, printed agitprop, audio, and performance in an interactive environment.

The project title refers to "extraordinary rendition," the Bush Administration's practice of clandestine kidnapping and extradition of suspected terrorists to countries where they can be interrogated and tortured beyond the reach of the US judicial system. While extraordinary rendition is an extreme form of political repression, state-induced fear and disenfranchisement are far more common means of rendering individuals and whole populations politically mute or existentially invisible.

The exhibition revolves around a five-sided structure built entirely of one-way mirror, which functions as an inverted Panopticon or surveillance tower. Visitors may either observe those inside the illuminated structure from the safety of the darkened gallery or reverse roles and become potential objects of scrutiny or fascination by entering it.

An excerpt from the famous 1630 sermon, "A Model of Christian Charity," written by the first Governor of the Massachusetts Bay Colony, John Winthrop, will be available as a free broadside to visitors. From Ronald Reagan's "Shining City on the Hill" to George Bush Sr.'s "Thousand Points of Light," Winthrop's Puritan text has served as the lynchpin for the philosophy of American Exceptionalism for the past 200 years.

Performances are scheduled to take place on site throughout the duration of the show. Please check the project:rendition website for performance schedule: www.projectrendition.info

project:rendition is a collaboration by JC2, a group composed of artists Joy Episalla, Joy Garnett, Carrie Moyer and Carrie Yamaoka. JC2 thanks Brian Webster for his invaluable technical expertise, without which this project would not have been realized.

DIRECTIONS: Momenta Art is located at 359 Bedford Avenue, ground floor, between S4th and S5th Sts. in Williamsburg, Brooklyn. By subway, take the L train to Bedford stop (the first stop in Brooklyn). Exit on the Bedford side. Walk south 12 blocks. By car, take the outside lane of the Williamsburg Bridge to the first exit. Make a sharp right onto Broadway. Drive 2 blocks to Bedford Avenue and make a right. We are located a half block on the right after you pass under the bridge.

Posted by jo at 11:50 AM | Comments (0)

P.Art.y 2007: Network Performance



P.Art.y [People, Art & Technology] :: 3 day festival for live performance, media arts and electronic music :: Organized by ART CENTER NABI, Seoul, Korea :: September 14-16, 2007 :: Deadline: May 31 :: First Prize: $5,000 (US)

Art Center Nabi, a leading media art institute in Seoul, Korea, is organizing P.Art.y, 3 days’ festival for live performance, exhibition, screening, seminar, and workshop in September 2007. All the creative energies at the intersection between arts and technology will gather and explore new landscape of arts in technological era.

Highlighting live and multi-modal experience in arts making and its reception, P.Art.y will present media performances by Korean and internationally-renowned sound, visual, and performing artists. Responding to a changing data flow and the real-time transmission of information, works of our time are often dynamically open-ended. This open structure of arts foregrounds the live, here and now, and improvisational aesthetics, which harks back to the early network art, Global Grove by Nam June Paik in 1973.

Opening up new artistic and cultural outlets in Seoul, P.Art.y will be a platform for gathering, networking, exchange and inspiration for the people who are in the fields of media arts, electronic music, performing arts, popular culture and other cross-disciplinary creative practices emerged in the networked environment.

CATEGORY: Network Performance :: Physical world and virtual space meet and bring out new interactions. The concept of ‘here and now’ has been questioned, reinterpreted, and reconstructed. Especially the technological progress in so-called ubiquitous computing and pervasive network has opened up new creative platforms for the performative experiences. At P.Art.y, artists, audience and all other participants will share the moment of live event where the existing notions of space and time are put in flux and new communities evolve.

We are looking for fresh and original projects that are relating but not limited to the following examples:

_Live performance with real-time communication, impromptu actions, interactions, audience participation
_Sound-visual performance using diverse network technologies such as radio, internet, mobile, and wireless
_Performative project that explores multi-sensory experience
_Investigations onto the city streets and alternative use of public spaces
_Project incorporating street culture such as skate boarding, graffiti, or dérive activity
_Mobile or locative media-based performance
_Telematic or mixed reality gaming
_Performance using interactive instrument and participatory installation



1. 1st winner will be awarded with $ 5,000 USD. Traveling and technical support will be additionally offered for the realization of the proposal at P.Art.y 2007 in Seoul.

2. Other selected works (total numbers not determined) will be invited to P.Art.y 2007. Traveling and technical support will be offered.

_JURY: An international panel of jurors will conduct selection procedure:

Julian Bleecker (US), Professor of Interactive Media Division, USC School of Cinematic Arts
Jo-Anne Green (US), Co-director of New Radio and Performing Arts, Inc. and Turbulence.org.
Drew Hemment (United Kingdom), Director of FutureSonic Festival and Future Everything
Gunalan Nadarajan (Singapore), Festival Director of ISEA 2008, Singapore
Soh Yeong Roh (Korea), Director of Art Center Nabi


1. Theme relevance: Project should relate to the theme of network performance.
2. Originality: Project should address unique issues and take original approaches.
3. Creative use of the medium: Project should make creative re-use of high and low technologies. Interactive and participatory aspects will be highly scored.
4. Practical feasibility: Project should be in realizable and reasonable scope financially as well as technically.



1. All the applicants must register and submit materials via online platform.
2. Biography, project proposal, and other supporting materials (image, sound, movie files) should be uploaded in appropriate format indicated in each section.
Go to http://www.nabi.or.kr/party2007_submission to complete your submission.

Note1: Pre-realized work will be also taken into account only when it is redesigned, upgraded or in different version. In this case, previous versions should be clearly indicated with the information about the exhibitions or events of its previous presentation.
Note2: Awarded works in other festival or competition are not eligible for apply.
Note3: Submitted materials shall not be returned.


Deadline: May 31
Announcement: June 30
(Winner and selected works will be contacted by email and announced at the website.)
P.Art.y 2007: September 14-16, 2007

CONTACT: For more information about the competition, please visit www.nabi.or.kr/party2007.
General info: party[at]nabi.or.kr
Tel: +82-2-2121-0915

Art Center Nabi
99 Seorin-dong, Jongro-ku, SK bldg. 4th fl. Seoul, Korea 110-110

Posted by jo at 09:03 AM | Comments (0)

Anne-Sarah Le Meur


# Eureka + Eye-Ocean

Anne-Sarah Le Meur will present at Eureka: The Moment of Invention, a dialogue between art and science, May 31, 2007.

Eye-Ocean--experimental real time 3D--is on line for 5 days. It is a mono-screen version of an immersive and interactive 3D artwork, Into the Hollow of Darkness, based on exploration and contemplation of non realistic light phenomena in computer generated image. The images are abstract but organic, metaphors of a world both cellular and cosmic, very carnal, so minimal that they become archaïc, a sort of pre-semantic vision (before language). Eye-Ocean is part of the Abbaye de Maubuisson at Contemporary art center in Val-d’Oise during Nuit Blanche on the October 6, 2007.

Posted by jo at 08:21 AM | Comments (0)

May 19, 2007



Einstein's Brain Project

[left: Alan Dunning, Paul Woodrow, The Einstein's Brain Project: The Errant Eye, 1997-2001. Virtual reality installation. The participant navigates around a recognizable visual environment, a forest whose outline faded into an abstract visual universe reflecting the variations in biological signals processed in real time by a computer module.]

Astas Romas & 404 Festival decided to launch a European Tour that begins on May 31, 2007. Directors and team of the "404 Festival" will be visiting cultural centers, public and alternative places performing live concerts, projections and conferences, also presenting "404 selected" artworks from international authors. Artists from different countries will join this tour, such as SadMb (Japan), Synchdub (Belgium), Sample Mousse (Finland), Guillermo Giampietro & Lara Baracetti (Italy), Einstein's Brain Project (Canada), Vladimir Manovski and Aleksandar Secerov (Serbia), Miha Ciglar (Slovenia), among others.

"...The cycle of installations in The Einstein's Brain Project (1995-2001) is a major technological detour for Dunning that, nonetheless, re-examines his past conceptual concerns. In this long-term project begun in 1995 with Paul Woodrow and a team of scientists from different fields, Dunning probes the new epistemological models that have developed thanks to technological advances in virtual reality.

The artificial worlds summoned up by the immersive universes often rekindle the presuppositions of a naturalistic project whose aim is to simulate familiar experiences. The interfaces created by Dunning and Woodrow propose a critical counterbalance to the withdrawal to the Cartesian universe. In the wake of recent research in cognitive science, the two men are interested in how biological and brain processes shape our perception of the world.


[Left: Diagram showing the way biological data gathered in real time on the participant's body is altering the display parameters of a three-dimensional virtual universe.] An initial series of installations completed between 1997 and 2001 explored popular culture's fascination with the human brain. Evidence of this fascination is found in Roland Barthes's essay on the fetishism of Einstein's brain, a reflection that serves as a critical point of reference for the installations in this body of work. By reactivating obsolete systems of representation (phrenology, eugenics, etc.), this series also underlines the impact of pseudo-scientific projections on our knowledge of the body and psyche.

In The Fall, The Furnace, The Flesh (1997), (7) participants underwent a sort of ritual as they crossed through a curtain made up of thin vinyl strips. These strips served as a screen for projecting an image of a blazing fire. Participants found themselves in a cubic space defined by four screens. In the middle of the space was an anatomically correct model of the human head covered with touch-sensitive pads (audio-digital). The location of the 55 pads replicated the brain map developed by the phrenologists Franz Joseph Gall and Johann Spurzheim. In the Victorian age, studying the skull's contours over these zones supposedly revealed a person's character traits and psychological predispositions. Dunning recycled the paradigm of phrenology as a means of accessing the installation's touch-sensitive interface. As participants pressed the pads, a series of video segments were projected on the wall. These segments, which came from various sources, showed irreconcilable objects and events that evoked the series of random associations produced by the brain as it assembles fragments of stored memory. Here, the unconscious content could not easily be distinguished from fragments of images from the media sphere. Images appeared erratically: a lunar eclipse, close-ups of the body, a political demonstration, a hall in a museum, a text flashing at a dizzying speed, barely perceptible abstract images. With the combination of images almost infinite, the screen constantly offered new sequences of juxtaposed images.


[Left: Alan Dunning, Paul Woodrow, The Einstein's Brain Project: The Furnace, 1997-1999. Video and sound installation with interactive components. Segments, from various sources, showing irreconcilable objects and events evoking the series of random associations produced by the brain as it assembles fragments of stored memory. Excerpt of the video documentary The Einstein's Brain Project, The Errant Eye, The Furnace, 1998-1999. Go here and click on the first segment under "Multimedia."]

The virtual environment installations The Errant Eye (1997-2001) and The Madhouse (2001) delved into Dunning and Woodrow's premise that the image captured on the retina doesn't always converge with brain activity. In The Errant Eye, the biological data gathered in real time on the participant's body altered the display parameters of a three-dimensional virtual universe. The participant donned a head-mounted display equipped with encephalogram electrodes that recorded the changing amplitude of brainwaves from the brain's right and left sides. The participant then navigated around a recognizable visual environment, a forest whose outline faded into an abstract visual universe reflecting the variations in biological signals processed in real time by a computer module. Once the feedback process reached the balance sought, the participant could recognize recurring motifs that corresponded to certain types of reactions and perceptions.

The Madhouse (2001), which was presented at the gallery Oboro (Montreal, Canada) in 2001, allowed participants to pool their individual perceptions as they experimented simultaneously with feedback. A luminous life-size cast of the human body lay in the centre of a room and was surrounded by participants in an immersive state. The participants touched the surface of the body, which stored and displayed their handprints and fingerprints as if which stored and displayed their handprints and fingerprints as if the body's material presence were providing them with a kind of anchorage in the physical world. Behind their displays, the participants were catapulted into a virtual world, while viewers on the periphery could observe their erratic gestures, which resembled the spasms of mental patients (hence the work's title). Through this sharing of the immersive experience, which is often deemed autarchic, Dunning and Woodrow's project created a more complex model of a virtual community that didn't exclude the body of the participants.

A series of installations in development will further explore technological and conceptual aspects begun within The Einstein's Brain Project. Under the working title (WIW), Worlds in Worlds, Dunning plans to put together an immersive environment whose boundaries will be defined by the real dimensions of the room the participant is in. Dunning is also interested in the Anatomically Lifelike Biological Interface, which operates via a model reproducing certain bio-anatomical functions. In this vein, he is pursing research on the properties of ferrofluids, liquid matter that can be altered by an electromagnetic field and modified by biological signals from the human body.

V.B. © 2002 Fondation Daniel Langlois

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m-cult news 05/07


Urban TV, Participatory Politics +

M2HZ tests underway: M2HZ, the Helsinki-based urban television project is performing tests in May 14-20, 2007. The test broadcast aims to demonstrate a new type of open television in Finland, where local and public access tv is close to nonexistent. The M2HZ model is based on distributed production for a multi-channel transmission platform.

M2HZ is a collaboration between dozens of media, arts and civil organisations, who wish to affect the media landscape and find new audiences. Over 300 people have contributed their voices, insights and work to the development which kicked off in late 2005.

The test week's days are themed around debates on television and media criticism, local and global issues, live and media art, and the public domain. Throughout the week we follow the Sound & Fury of young bands, the events in the Kallio Kukkii neighbourhood festival, exercises by the Hunger theatre, and short films by media artists and students.

The programme is mostly in Finnish but also includes the first international exchanges: the new film Faceless by Manu Luksch and a retrospective of work by the Swedish Rafilm collective.

The test uses the digital tv and streaming platform of DINA tv, a cable channel of media schools. First tests for digital antenna (DVB-T) and mobile (DVB-H) distribution are performed with the VTT Technical Research Centre and the FinPilot2 project. Other key partners are the Youth Centre of Helsinki, Stadia polytechnic, and Otaniemi Underground Broadcasting System OUBS, the live-in television station of engineering students. M2HZ is coordinated by m-cult and supported by the Uusimaa Regional Council.

Participatory politics: m-cult and the Democracy Unit of the Ministry of Justice realize a workshop on participatory politics and foresight on June 8, 2007. The workshop gathers researchers, decision-makers and NGO representatives to discuss experiences of participatory forums and web tools to support deliberative democracy. Visiting experts are Lars Klüver (Danish Board of Technology) and Richard Rogers (University of Amsterdam / govcom.org).

The aim of the workshop is to find new methods, processes and tools for democracy. A special challenge is to bring citizen's views to affect the early phases of government and technology programmes.

m-cult at Pocketfilms: The Forum des Images has invited m-cult to present work on mobile and urban media at the Pocketfilms festival, Paris June 8-10, 2007. At the Pompidou centre, m-cult presentation includes Heidi Tikka's project Situations, the Mobicast project by Adam Hyde and the mobile production experiments realized within M2HZ.

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The Showroom: Props, events, encounters: the performance of new sculpture



The Showroom: Props, events, encounters: the performance of new sculpture :: Two-part conference at the Rochelle School, Arnold Circus, London E2 7ES :: Saturday 26 May 10.00 – 17.00hrs :: Keynote speakers: Joan Jonas, Andrea Phillips, Jan Verwoert :: Artists: Matti Braun, Pablo Bronstein, Joanne Tatham and Tom O’Sullivan :: Chair: Sally Tallant

Props, events, encounters: the performance of new sculpture takes its cue from Mike Kelley’s description of the inherent structure at work in the objects that he uses in his performances. He ascribes to these objects a self-governing ordering system that is enacted as they appear in his work, a system that differentiates between objects that stay in the background, contextualising objects and those that will be active within the performance itself.

This one-day conference seeks to examine the emergence of forms in contemporary art in which objects are imbued with a theatrical status, but which avoid a return to Michael Fried’s famous distaste for theatricality in minimalist sculpture. Whilst previous generations of artists might be said to have sought a set of phenomenological relations, now artists form autonomous systems, enlivened in some capacity by the entry of a viewer. These objects attest to philosophies of emergence as well as affect, gift economies as well as forms of magical thinking, the existence of different, perhaps utopian or perhaps avowedly anti-social spaces and times. In these environments the viewer is no longer subservient to the object but is granted instead a personal autonomy. Some of these objects stand in for complex systems of rhetoric, others are simply props in a private theatre in which stories may or may not be revealed to the viewer. Many of these objects, left behind in the gallery, are residues of past events, imbued with the melancholia of lost opportunities. Others are detritus, arranged not so simply.

Props, events, encounters… seeks to address the following questions:
• How are contemporary artists changing the status of the object in their work?
• How might these modifications be aided – and abetted – by the presence of the viewer?
• How do such shifts in attitudes towards objects reflect a changing politics in the status of contemporary ‘sculpture’?

To reserve your ticket please call the gallery as soon as possible on +44 (0)208 983 4115.

Props, events, encounters: the performance of new sculpture is generously supported by The Henry Moore Foundation and Outset.

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May 18, 2007

paraflows 07 - annual convention for digital arts and cultures


Proposals due JUNE 15: PARAFLOWS 07, the annual convention for digital arts and cultures in Vienna, is taking place for the first time, it features an exhibition, a symposium, workshops, and various social events. The topic of the 2nd annual convention for digital arts and cultures in the city of Vienna is UN_SPACE.

"A body is defined by having length, width and depth." (Euclid)

In his Philosophy of Nature, Aristotle employs the three dimensions of the body as the basis for his theory of space. For Aristotle, space is the sum of all places occupied by bodies. Space is defined as the limit of the surrounding body toward what is surrounded. This is a theory of relations by which Aristotle rejects the definition of space as the void. Empty space is an impossibility since space is always occupied and there can be no in between.

If aside from the space a body occupies an empty space existed which it enters, empty space and occupied space would overlap, resulting in an unnecessary duplication of space" (Aristotle, Physics).

This year's Paraflows exhibition, titled UN_SPACE, is going to focus on inaccessible, invisible, theoretical, and immaterial space per se. Virtual spaces - a prominent issue in media and net art - as well as social and personal space dimensions and territories (see Erving Goffman, Territorien des Selbst) and real spaces like architectonic, geographic, or elementary, are to be compiled, visualised, and discussed according to their characteristics, their meaning, and their respective insufficiencies.

We also think of UN_SPACE as the elimination of distances, borders and barriers interfering with cultural, social, political and media reality. Concepts dealing with the development of inaccessible territories, technical approaches and theoretical attempts are key aspects of this year's exhibition. Please submit proposals featuring contemporary artworks dealing with the topics mentioned above.

All proposals must be submitted via mail as PDF-files: un_space(at)paraflows.at

in special cases via snail mail to:

paraflows headoffice
c/o monochrom
QDK, Museumsplatz 1
A-1070 Vienna

Mandatory information for submissions to PARAFLOWS 07 - UN_SPACE:

1) name, institution (if existing), address, e-mail, phone number, website/s
2) submitted work: title, medium, author/artist, year of production
3) work description: 1 page max., photos are recommended
4) technical details, room/space requirements, technical requirements(hardware, operating system, additional software)
5) additional information
6) biography
7) documentation of earlier projects and works (url, website will do)

Language: all submissions have to be in ENGLISH or GERMAN, projects dealing with text must have English and/or German subtitles

We especially encourage international submissions.

DEADLINE: 15th of June, 2007

paraflows 07 / CONTACT
Festival-Management: Judith Fegerl, Guenther Friesinger
Office: paraflows headoffice
c/o monochrom
A-1070 Vienna, Museumsplatz 1, Austria
+43/650/20 49 451

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Art Action Festival


Poetic performance and Action Art: Over the past 30 years, Action Art found fertile fields of confluence between the experimentation on vision and gesture and poetic-visual sound dramaturgy. Most of this research was characterized by the connection between Performance Art , “total poetry” and the nomadism of the performer that restlessly shifts through linguistic fields just like through geographic territories and varied socio-cultural circles. This year Harta Performing stresses the concept of nomadism perceived as the key element in the performer work. In the theoretical intervention opening the fifth edition of the festival, great attention will be given to the dialectic of relationships “between spiritus and corpus, subject and object, imagination and reality, thought and action, private and public, local and global, specific and total, project and performance”.

As stated by Giovanni Fontana “on these oppositions, a fluctuating dynamics takes shape, it holds up the energy and matter continuum in which action is strenuously built. The body energy is used to get rid of imposed references and directions and to generate new situations; it continuously breaks the temporary balances and favours the construction of interlinguistic and intermedial systems that influence the dynamics of the elements involved.”

The international festival “ART ACTION - Harta Performing Monza ”, unanimously considered one of the most interesting events in the framework of international Art innovation, is a significant point of reference for cultural exchange. After the success of the previous editions, this year the festival offers to the city of Monza not only a comparison between the new arts but also an opportunity to reflect on one of the most pressing and thrilling issues of the theoretical debate: the meaning and the creation techniques of the “plural work”, true action field of the polyartist , “who can play his cards right between poetry and cinema, theatre and music, dance and visual arts”.


Giovedi 24 Maggio
ore 21 intervento teorico

di Giovanni Fontana
(Nomadismo e tensioni performative)

dalle ore 21,30 alle 24 performances di:

Boris Nieslony (Germania),
Victor Petrov (Bielorussia),
Denis Romanovski (Bielorussia),
Ryszard Lugowski (Polonia),

Venerdi 25 Maggio
dalle ore 21 alle 24 performances di:

John G.Boehme (Canada),
Giovanni Fontana (Italia),
Jan Swidzinski (Polonia),
Luigi Bianco (Italia),

Sabato 26 Maggio
dalle ore 21 alle 24 performances di:

Helge Meyer (Germania),
Gruppo Sinestetico (Italia),
Angelo Pretolani (italia),
Llewyn Maire e Lisa Newman (USA)

Posted by jo at 12:45 PM | Comments (0)



Call for Participants

ARDUINO BASIC & BLUETOOTH WORKSHOP; DIY wireless interative networking for artists & designers :: 11 | 12 & 13 | 14 | 15 June 2007 :: Mediamatic Amsterdam.

Arduino is an affordable computing platform which is particularly useful for designers and artists who want to build small interactive projects. Arduino takes input from a variety of switches or sensors, and controlling a variety of lights, motors, and other outputs. In this workshop you will learn how to work with the basic and the wireless Arduino.

WORKSHOP APPROACH: We offer a 5-day workshop. Depending on your experience you can also register only for the first two, or only for the last three days. We start with a 2-day introduction to Arduino (11 | 12 June), for those who haven't worked with Arduino's before. We will work on the basic USB Arduino, the lay-out of the board, how to connect hardware and some basic programming skills.

In the following days (13 | 14 | 15 June) we will deal with more advanced versions and uses, including Bluetooth Arduino's and the programming possibilities with Pure Data. In these three days you will work on your own small prototype of a wireless Arduino application.

TARGET GROUP: Art students, product developers, computer scientists, hardware hackers, nerds, dancers - everyone is welcome. However, note that some technical affinity is required. Some experience in programming and electronics will come in useful, specifically in soldering and java, but is not strictly necessary. We advise you to download the Arduino software and have a look at http://www.arduino.cc before.

TRAINERS: Ubi de Feo (It) will lead the first days of the workshop. Massimo Banzi (It), who invented Arduino, is present during the last two days.

INFORMATION & REGISTRATION: Check the full programme. For more information about this workshop call Deborah Meibergen of Klaas Kuitenbrouwer + 31 (0)20 6389901 or workshops[at]mediamatic.net. Register here.

LOCATION: Mediamatic is located in the centre of Amsterdam, Oosterdokskade 5, fifth floor, 1011 AD Amsterdam, The Netherlands.

COSTS: 5 days EUR 200,- | 3 days EUR 125,- | 2 days EUR 100,- (incl. VAT).
Including coffee, tea, juice, fruit and cookies but without lunch.

Posted by jo at 12:08 PM | Comments (0)

May 17, 2007

Men in the Wall


Men in the Wall by Liz Aggiss and Billy Cowie :: Opening Reception: Wednesday, June 20, 7 – 10 pm :: Artist Talk 7:30 p.m :: Installation runs June 20 – 30 :: 1639 18th Street, Santa Monica, CA 90404 :: FREE admission :: 310-453-3711.

Men in the Wall is a four-screen, 3-dimensional stereoscopic video dance installation. Special stereoscopic glasses will be provided to watch this 3D world of four men, who share their framed lives in a public quartet while retaining their private differences. The piece runs on a continuous 25-minute loop and will be projected from four different projectors onto the wall.

Billy Cowie and Liz Aggiss principally work together in the area of dance/theatre performance, screen dance and installation. They have made over thirty live performance pieces for their company Divas Dance Theatre, have toured Europe extensively and completed four major screen projects (two BBC Dance for Camera commissions and two ACE Capture projects).

They have created commissioned work for 'Extemporary Dance Theatre',' Mantis', 'Transitions', 'Intoto', 'Carousel' and 'Hi Spin'. Aggis and Cowie’s dance screen work has received numerous international awards including: Czech Crystal, Prague Golden Film Festival (2002); Special Jury Golden Award, Houston (2003); Best Female Film, Mediawaves Hungary (2003); and the Romanian National Office of Cinematography Award (2003). A book about their work entitled Anarchic Dance was published by Routledge in January 2006.

Billy Cowie has composed music performed by Marie McLaughlin, Nicola Hall, Gerard McChrystal, Daphne Scott-Sawyer, Juliet Russell, Rowan Godel, Pammjit Pammi and Naomi Itami. He has also composed music for three BBC Radio projects: 'The Tempest', Philip Pullman's 'Dark Materials Trilogy' (both dir by David Hunter) and Thinking Earth (dir Pam Marshall). He has also composed music for film directors Tony Palmer, Chris Rodley, Stephen Frears and Bob Bently. Billy Cowie is currently Principle Research Fellow at the University of Brighton.

Liz Aggiss is a performer/choreographer/film-maker and has received numerous awards including the Bonnie Bird Choreography Award (1994) and the Arts Council Dance Fellowship Award (2003). She has written for Dance Theatre Journal and animated and is currently Professor of Visual Performance at the University of Brighton.

Posted by jo at 06:53 PM | Comments (0)

darkmatter Journal-Issue: 1 May 2007


Celebrity Big Brother

"The banality of the UK Celebrity Big Brother (CBB) reality television show prepared no one for the global media spectacle of the fracas between the b-list Bollywood star Shilpa Shetty and the d(?)-list British super-ignoramus Jade Goody.1 To debate whether the exchanges between an Indian Actress and a white working-class ex-Big Brother participant (and her co-conspirators) wasn’t a racist confrontation simply denies the multiplicity of racisms of British life. Contrary to Germaine Greer’s2 insistence that Shetty vs. Goody exposed class rather than racial antagonisms, the aftermath of CBB raises more complex issues: What does the CBB media stampede say about the discourse of local-global race, gender and class relations? Is Reality TV the political unconscious of everyday repressed racisms? Does the ‘victory’ for Shetty indicate the triumph of anti-racism and/or multicultural neo-liberalism? These are some of many of the issues which have motivated the production of the first Journal Issue of darkmatter in the form of a series of dialogues interrogating CBB...

...darkmatter is an experiment in creating a collective ‘prosthetic race memory’ that reconfigures the circuits of knowledge and power, in a situation where at present the blinding whiteness of network culture continues to make most of the people on the planet invisible. It seems appropriate for darkmatter to emerge at a time where a eurocentric media culture is reproducing itself as the champion of anti-racism, while simultaneously denying the central role of racism in the terrain of contemporary geo-politics. CBB was a minor symptom of the new digital politics of race to come." From Editorial: Celebrity Big Brother dialogues - the global pantomime of race.

Posted by jo at 06:28 PM | Comments (0)

In The Country of Last Refuge


Call for Work

OPEN CALL: In The Country of Last Refuge: A mash-up, on urbanism, communication (and its breakdown, on an intimate and global level) violence and geography :: by Emma Wilcox and Evonne Davis :: With full color illustrated, perfect bound catalog :: Gallery Aferro, Newark NJ:: Submissions in any and all media due Aug 15.

Urbanism :: Vitality :: Paranoia :: Transformation :: Endurance :: Communication :: Perception :: Geography :: Isolation :: Memory :: Justice :: Violence :: Action :: Indifference

Notification by Sep 1 Delivery by Sep 29. Materials for catalog may be requested earlier than work delivery. In the Country of Violence will be on display at Gallery Aferro, Newark NJ, October 2007.

In The Country of Last Things 2004
In The Country of Last Things 4-Ever 2006
In the Country of Last Refuge 2007

Please refer to exhibition guidelines on website.

Please email work to mapsandguns[at]gmail.com or mail work to Emma Wilcox Gallery Aferro 248 Sherman ave #43 NY NY 10034

The mission of Gallery Aferro is to bring cultural education and esthetic engagement with contemporary issues to all people equally, and to create an environment where artists can gather and share physical and intellectual resources. We are working towards an arts community that is available to everyone, without sacrificing standards or quality of experience. Founded in a converted factory building in the Ironbound, Gallery Aferro was planned as a pilot project to be recreated in different architectural forms, in multiple American cities. Gallery Aferro is currently being run out of a 20,000 sq ft building in downtown Newark.

Posted by jo at 05:59 PM | Comments (0)

iMagine: A workshop envisioning the potencies of


artistic creativity for producing social reality

iMagine: A workshop envisioning the potencies of artistic creativity for producing social reality :: May 17-19, 2007 :: CAC Vilnius.

iMagine is the second event in the series of Public Preparation project: the public preparation phase for the upcoming Biennale of Young Artists in Tallinn in October 2007. Public Preparation is a sequence of informal encounters which at the same time constitutes the publicly visible preparation process of the Biennale as well as the course of preparing and educating the public for the Biennale.

3-day-workshop iMagine gathers ca 30 art professionals from Estonia, Latvia, Lithuania and Poland. Each workshop day will be conducted by one contemporary art professional and enacted by all participants. It is aimed to become a 'total environment' with its own rules, obstructions and ways to generate meanings and ideas. iMagine focuses on discussion, exchanging ideas and sharing opinions rather than producing art objects.

The workshop will be structured as a non-hierarchical knowledge-oriented environment that will develop ideas and ideals regarding the role of artists in contemporary society. The workshop will deal with issues like the concepts of "legality" and "illegality" in creative practice; the consequences of psychoanalytic theory for art and politics; the role and limits of exhibition format etc.

iMagine also serves as a meeting machine for younger generation art
professionals based in Baltic States and Poland. We would like to imagine iMagine as a huge warm swimming pool full of progressive ideas, coffee breaks, topical topics of contemporary art, younger generation art professionals, provoking questions, experience of collective working practice and participation, relevant theories, and contacts of new friends and collaborators.

Tutors: Aaron Schuster, philosopher and art critic, Brussels; Simon Sheikh, curator, Berlin/Copenhagen; Mara Traumane, curator, Berlin/Riga.

iMagine is organised in collaboration with Biennale of Young Artists, Tallinn, CAC Vilnius and CAIC Vilnius.

The team of organisers: Rael Artel (independent curator, co-curator of the Biennale of Young Artists, Public Preparation, Pdrnu); Virginija Januskeviciute (Contemporary Art Centre, Vilnius); Airi Triisberg (freelance researcher, co-organiser of Public Preparation, Berlin); Dovile Tumpyte (Contemporary Art Information Centre of Lithuanian Art Museum, Vilnius).

iMagine was kindly supported by Centre for Contemporary Arts, Estonia
Estonian Cultural Endowment, Vilnius Academy of Fine Arts.

Posted by jo at 03:14 PM | Comments (0)

Snappy Dance Theater


String Beings

Snappy Dance Theater threads together computer science and classically-trained musicians via contemporary dance and theater in its newest work String Beings, Celebrating its 10th Anniversary Season :: May 30-June 10, 2007 :: The Virginia Wimberly Theatre, Stanford Calderwood Pavilion at the Boston Center for the Arts, Boston :: Press Night / Opening Night: Wednesday, May 30 ::

Widely acclaimed for its edgy, ironic and acrobatic performances, Snappy Dance Theater celebrates its 10th anniversary with the world premiere of String Beings, a collaboration with MIT scientist and new media artist Jonathan Bachrach and BSO first violinist Lucia Lin. With real-time video feedback using intelligent video processing and live musicians who become part of the choreography, the new work explores the metaphors of string, focusing on relationships, and commonalities that tie us together by means of Snappy's signature daring, muscular and witty style.

Martha Mason directs the new work, and is the Artistic Director and co-founder of Snappy Dance Theater, a Boston-based contemporary dance company of nine performers who tour nationally and internationally. Mason envisioned the collaboration in early 2006 and brought these artists together to share and develop their ideas. Working closely with Mason is new media artist and MIT computer scientist Jonathan Bachrach Ph.D. He uses his own uniquely-designed intelligent video processing to manipulate live video footage of the Snappy dancers, and then projects the animated video onto the stage, allowing live dancers and virtual “dancers” to interact. String Beings is set to the music of Berlin composer Michael Rodach, and will be performed by Lucia Lin (Boston Symphony and Muir Quartet) and an electric guitarist. Virtuosic Lin brings Rodach’s haunting contemporary score alive, while partnering with the dancers. In one scene, she is lifted and passed between the dancers without ever touching the ground.

Technically, the group works with 2-3 cameras, 2 projectors, multiple screens and stage lighting. Coordinating these technical aspects with the physical, artistic and human elements has created a unique playground for the collaborators. Through the year-long creative process, the artists have explored the dark and humorous sides of social manipulation and the dynamics of power changes both in society and in our personal lives. Snappy’s unique blend of dance, theater, puppetry, circus arts and acrobatics, has provided the artistic and physical elements in which to present these themes. Mason and Bachrach work closely with lighting designer, Joseph Levendusky to experiment with staging and lighting these varied elements. Mason’s direction provides a provocative balance between comedy and tragedy that creates compelling and surprising scenes.

Snappy is the leading contemporary dance company in Massachusetts, and has been presented in 18 States and four countries. The company has attracted major commissions (The Temperamental Wobble by Bank of America Celebrity Series), received critical acclaim in publications, and developed an extensive youth outreach program that complements its general programming. String Beings is partially funded by the LEF Foundation, New England Foundation for the Arts, an anonymous donor and the artists themselves. String Beings is presented in Boston in association with World Music/CRASHarts and Boston Center for the Arts, as part of the BCA’s 2006-07 Cultural Partners Series.

Performances run Wednesday, Thursday and Sunday at 7:30pm; Friday and Saturday at 8pm; and Saturday and Sunday matinees at 3pm. Tickets are $15―$45. Tickets and information: CRASHarts (617) 876-4275 or www.CRASHarts.org, or at www.BostonTheaterScene.com.

Learn more about the artists:
Snappy Dance Theater – http://www.snappydance.com
Jonathan Bachrach, Ph.D. - http://people.csail.mit.edu/jrb/jrb.html
Lucia Lin - http://www.bso.org/biography.jhtml?area=bso&id=2100095
Michael Rodach - http://www.michaelrodach.com/

Contact Snappy to interview the artists. Carey Foster, cmckinley[at]snappydance.com, 617-947-8370

Posted by jo at 01:46 PM | Comments (0)




In collaboration with VIVO and VJ Theory, The Escape Artists presents INTERCONTINENTAL SKYPE DISCUSSION ON VJ THEORY (vjtheory.net), PRACTICE AND FUTURE DIRECTIONS LOCALLY AND GLOBALLY :: Saturday, May 26, 1-3 pm, at the VIVO (Video In | Video Out), 1965 Main Street, Vancouver :: 604-872-8337.

We expect this presentation will be of interest to practitioners and people interested in the area of vjing and realtime interaction (theorists, developers, programmers, artists, activists). This presentation/discussion hopes to create awareness and get people interested in the vjtheory project. We would also like to receive feedback from the participants on the work done so far and ways in which it could expand, specifically, what people want in terms of interacting with each other online about vjing.

We would like to focus our presentation on the subject of community development: How does VJ Theory become a platform for the development of theory informed by individual and collective practice and theory originated by a community instead of an author or group of defined authors.

Participants should expect to get more familiar with the vjtheory project and people involved (contributors and editorial body), providing the opportunity to ask questions to the editors about contributions or any other relevant subject. People can also participate by introducing examples of communities they are familiar with and expressing their ideas on what kinds of interaction they may like to find in a site such as vjtheory.net

For more info on the event contact Camille Baker at camille[at]escapeartists.ca at 604-708-0997


vjtheory.net is an online community of VJs and artists who reflect on their work and share their ideas with others in the community. This community actively discusses and reflects on philosophy and theory related with VJing and realtime interaction.

The project has been running for over two years and has built up an extensive collection of work which can help other practitioners to critically examine their practice. Through publishing articles, interviews and reviews, the project is able to distribute the work of the community and organise online debates in areas which are highlighted by our contributors.

In this way we have been, increasingly, linking artists, activists and VJs (the links are often already there) which in turn links practices such as realtime installation, performance and political praxis.


VJ Theory: Philosophy and Theory of VJing and Realtime Interaction
Editors: Ana Carvalho and Brendan Byrne
Co-editors: Lara Houston and Paul Mumford

The Escape Artists Society (T.E.A.S.) is a small Vancouver media performance society, putting works of media art, performance media, music/sound art, and visual art events into predominantly unusual locations – inserting ‘our’ world into ‘there’ world– penetrating public perceptions of culture, genre and form.

VIVO Media Arts (Video In | Video Out) is a 33 year old media centre focusing on the exhibition, production, education and distribution of video and interdisciplinary media art.

Camille Baker
The Escape Artists Society
Executive Director/ Curator

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May 16, 2007

(in)visible sounds


Exhibition and Seminar

(in)visible sounds :: June 2 - July 14, 2007 :: Opening June 1, 5:00 p.m. :: Erich Berger, David Haines & Joyce Hinterding, Usman Haque & Rob Davis, Informationlab (Ursula Lavrencic & Auke Touwslager), Olga Kisseleva, Brandon LaBelle & James Watts, Semiconductor, Theodore Watson :: Exhibition in cooperation with the 5 days off festival.

The omnipresence of computers and mobile communications apparatus has led to digital technology increasingly becoming a part of our environment. Invisible wireless networks have altered our ways of communicating, working, learning and playing. They have even taken on an important role in the creation of our identity and our relationships with others. In the course of this development, interest in the apparatus has increasingly shifted from the technology itself to the role it plays in shaping our experience. The artists in this exhibition investigate the invisible world of sound waves and frequencies and electromagnetic fields. In all cases they touch on issues concerning the radiation that is ever-present, but imperceptible to our senses. They make use of technologies that are present around us, but invisible, and by playing with electromagnetic waves and different frequencies their works surprise us with an abundance of information and possibilities.

In his work Tempest (2004) Erich Berger (Sweden) makes use of the basic principles of Van Eck Phreaking, a technology through which the content van a computer screen can be reconstructed at a distance by picking up the electromagnetic field surrounding that screen. In Tempest pure generative graphic forms are transformed into a dense and intense composition of sound, noise and light. The graphic forms that appear on the screen produce radio waves, which are then picked up by several transistor radios. These are tuned to various AM frequencies and ultimately produce the distinct and lively sounds that go together with the images. David Haines and Joyce Hinterding (Australia) use the live data stream from televisions to precipitate avalanches. In their work Purple Rain (2004) Haines and Hinterding draw an overwhelming connection between the mystic forces of nature and the presence of the thousands of watts that are stirred up by the frequencies of the electromagnetic field.

In the installation Evolving Sonic Environment (2005-2007) Usman Haque and Rob Davis (UK) investigate to what degree the presence of people in a space influences the audio composition created, without the intervention of sensors. Several audio speakers hang form the ceiling, each generating a sound with a different frequency. Intercommunication between these units balances the sounds and maintains the sensitive sonic ecosystem, which is only disrupted by visitors. The consequences these interventions have on the brain of the space can be observed, live on the internet..

The visitors also play an important role in the installation AudioSpace (2005-2007) by Theodore Watson (US). In the 3D augmented aural space visitors can leave messages for others in the form of sound. By means of a special headset with a microphone, texts can be spoken into the space, and at the same time, messages left earlier can be retrieved. The space is filled with invisible messages from previous visitors. On the other hand, Brandon LaBelle and James Watts (US) let one hear the mystic sounds of the building. In the site-specific installation Radio Flirt (2007) visitors with small portable radios walk through the space in search of characteristic noises and the secrets of the building.

Olga Kisseleva (Russia) lets us see the flows of energy and magnetic pollution that surround us. In Landstreams (2006) she creates a new type of abstract landscape art. The paintings are based on various data flows that have been analyzed by a computer. In the film Earth Moves (2006) by Semiconductor (UK) the visualization of unseen forces is also central. Earth Moves reveals an unstable world that is always in flux. The contours and forms of everything around us are being altered by the invisible force of acoustic waves. This process is imperceptible to the naked eye. By combining digital photos of various places with sound from the same locations, new acoustic landscapes are created.

Finally, in a humorous way Informationlab (Ursula Lavrencic, SLO and Auke Touwslager, Netherlands) reveal the invisible aura of the mobile telephone. Cell Phone Disco (2006) is an installation made out of LED-lamps that respond to the electromagnetic field of mobile telephones. As visitors walk through the installation while making calls, the telephone signal activates the LEDs, so that a trail of flickering LEDs follow them through the space. The unseen body of the mobile telephone becomes perceptible.

In addition to the works in the exhibition a selection of video works from the Institute's own collection can be viewed on monitors. These afford insight into an important historic tradition.

Websites artists:
http://randomseed.org/ http://www.sunvalleyresearch.com/haines.htm

Seminar (in)visible technology :: Saturday, June 2, 2:00 to 4:30 p.m.

The consequences of invisible technology are to be further examined in a brief seminar. It is becoming increasingly difficult to recognize the effects of these technologies, because once technologies become invisible they also disappear from our consciousness. The environment is no longer experienced as constructed, and people become even more remote from the technology and its influence on their everyday life, actions and thought. In order to break out of this cycle we need to have examples that throw a new light on existing networks and structures. A number of speakers will be casting light into the darkness. The conversation will be based around examples which introduce other ways of accessing invisible networks.

With: Usman Haque & Rob Davis, David Haines & Joyce Hinterding and Olga
Commentator: Rob van Kranenburg.
Admission 5,- (students 3,-).
Reservations: info[at]montevideo.nl

5 days off takes place from July 4 through 8 in Paradiso, Melkweg, the Netherlands Media Arts Institute and the Heineken Music Hall. Check for updates: www.5daysoff.nl

Exhibition open: Tuesday through Saturday, 1:00 - 6:00 p.m., also open the first Sunday of the month. Admision 2,50 (1,50 with discount). During 5 days off, free admission with any sort of 5 days off ticket.

For more information and visual material: Marieke Istha, Communications 020 6237101/06 41635002, istha[at]montevideo.nl

With thanks to: Fund for Podium Programming and Marketing, Mondriaan Foundation, Prince Bernhard Cultural Fund, VSB Fund, Australian Council, Maison Descartes, BeamSystems and Steim

Netherlands Media Art Institute
Montevideo / Time Based Arts
Keizersgracht 264
1016 EV Amsterdam
The Netherlands
T +31 (0)20 6237101
F +31 (0)20 6244423

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Upgrade! Paris


Igor Stromajer presents Ballettikka Internettikka

Upgrade! Paris: Igor Stromajer presents Ballettikka Internettikka :: mediator: Anne Roquigny :: Date: Friday, June 1 at 7:00PM (Paris) :: Place: Ars Longa, 67, av Parmentier, 75011 Paris, M° Parmentier :: Streamed (video & audio) in English.

Ballettikka Internettikka, by Igor Stromajer and Brane Zorman, is a serial of tactical art projects which began in 2001 with the exploration of internet ballet. It explores wireless internet ballet performances combined with guerrilla tactics and mobile live internet broadcasting strategies.

Igor Stromajer is an mobile intimate communicator. He researches tactical emotional states and traumatic low-tech strategies. He has shown his work at more than a hundred exhibitions in forty-two countries and received a number of awards. His works are included in the permanent collections of the Centre Georges Pompidou, Paris; the Museo Nacional Centro de Arte Reina Sofía, Madrid; Moderna galerija Ljubljana, Slovenia; Computerfinearts Gallery, New York and others.

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May 15, 2007

The Geospatial Web


Shaping the Network Society

Arno Scharl, Klaus Tochtermann (Eds.): The Geospatial Web - How Geobrowsers, Social Software and the Web 2.0 are Shaping the Network Society. Advanced Information and Knowledge Processing Series. London: Springer (2007). With a Foreword by Patrick J. Hogan, Program Manager of NASA World Wind

The Geospatial Web will have a profound impact on managing knowledge, structuring workflows within and across organizations, and communicating with like-minded individuals in virtual communities. The enabling technologies for the Geospatial Web are geobrowsers such as NASA World Wind, Google Earth and Microsoft Live Local 3D. These three-dimensional platforms not only reveal the geographic distribution of Web resources and services, but also bring together people of similar interests, browsing behavior, or geographic location.

This edited volume summarizes the latest research on the Geoweb’s technical foundations, describes collaborative tools built on top of geobrowsers, and investigates the environmental, social and economic impacts of geospatial applications. The role of contextual knowledge in shaping the emerging network society deserves particular attention. By integrating geospatial and semantic technology, such contextual knowledge can be extracted automatically - for example, when processing Web documents to identify relevant content for customized news services.

The book's Web site provides the table of contents, preface and foreword, author biographies, 25 abstracts and a sample chapter on "Media Platforms for Managing Geotagged Knowledge Repositories".

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Revolutionary Breakthroughs in Human/Plant Communication

An evening of psychobotany with performances, presentations, and live demos by Botanicalls and the Center for Tactical Magic :: May 15, 8pm :: Machine Project, 1200 D North Alvarado Street, Los Angeles, CA.

Wouldn't it be great if your plants could call you if they needed water? The Botanicalls team has found a way to make this happen. When a plant on the Botanicalls network needs water, it can call a person and ask for exactly what it needs. The Botanicalls team will be on-hand to demonstrate their unique system of human/plant communication and promote inter-species understanding.

The Center for Tactical Magic presents a performance lecture exploring the magic and mystery of psychobotany. Ranging from Moses’ consultation with a burning bush to the Pentagon’s recent development of “sentinel plants,” Aaron Gach of the CTM provides a brief history of plants as purveyors of knowledge. Audience members will also participate in a live demonstration of extra-sensory perception mediated through the cooperation of living plants.

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May 14, 2007

Geert Lovink interviews


Vito Campanelli

Interview with Vito Campanelli about Web Aesthetics by Geert Lovink, nettime.

Ever since I worked with Matthew Fuller in 2004 on A Decade of Web Design, I have been interested in the question if there is such a thing as web aesthetics that could operate beyond the overheated nineteen nineties Internet rhetoric. It is easy to historicize net.art as a pseudo historical avant-garde and then declare it dead, but whats the point of such an all too obvious statement? The Web continues to grow and change at an astonishing rate. It is not sufficient to criticize Web 2.0 as a remake of dotcommania. Corporate and state dominance of the Web continues to be a threat, but this should not shy us away from a rigorous theorization of the Web in all its aspects. It was on the Web that I first encountered the works of the Italian theorist, Vito Campanelli, culminating in a visit to his hometown, Naples, in October 2006. After an inspiring meeting in-real-life we continued our exchange online, culminating in this online interview.

Vito Campanelli is assistant professor of Theory and technique of the
mass communication at University of Napoli LOrientale and a free
lance contributor to magazines such as Neural, Boiler, and Memenest.
Vito also co-founded the web designers collective Klash. From there,
he joined USAD in 2005, a research and development group focused on
e-learning. He is also an independent curator, working for cultural
events in Naples such as Sintesi, the Electronic Arts Festival, and is
the originator of the Web aesthetics research project called The Net
Observer. More recently he co-founded the Napoli new media initiative
MAO, the Media & Arts Office. Vito Campanelli published the book,
Larte della Rete, larte in Rete. Il Neen, la rivoluzione estetica
about the artist Miltos Manetas.

GL: Lets start. Youre working on web aesthetics. The first
association, of course, would be with web design, HTML and the look
and feel of a website. But perhaps thats not what youre aiming at.

VC: In my research into aesthetic forms of the Net, I make a clear
division between commercial expressions and aesthetic expressions,
without qualification. Im not so interested in the latter, while
Im fascinated by the former - those aesthetic forms that exhaust
their essence just in being there, without any intent or aim that
exceeds the personal expressive needs of whoever designed them. This
distinction could seem arbitrary- it could also find a basis if we
consider that modern mediated mass communication is poles apart
relative to any aesthetic feeling: vulgarity and arrogance nullify any
hypothesis of meaning. On the contrary, the research of an aesthetic
point of view is the attempt to assign - again - a sense to our human

In my opinion aesthetics is the more powerful answer to the violence
of mass communication (or modern commercial communication).
Mass communication eludes every determination, it aims to be
contemporaneously one thing, its own opposite - and everything
between the two opposites. Exposing the message to all its possible
variants, it finishes to abolish it. Indeed, the goal of mass
communication is always the dissipation of any content.

The only alternative to the effects of mass communication is a
return to an aesthetic feeling of things, a kind of aesthetics not
so much ideological, but rather more active (e.g. Adorno) - a kind
of aesthetics able to bring again into society and culture feelings
of economic unconcern (rather an unconcerned interest), discretion,
moderation, the taste for challenge, witticism, and seduction.
Aesthetics is exactly this.

Talking about feelings and emotions means to free oneself from the
communication domain, while facing a category of beauty has become
one of the most subversive actions we can devise in contrast to
the reigning factory of culture and consensus. Within this view
Im suggesting, technology stays in the background: it creates the
necessary conditions for spreading ones own creativity through
digital media. If we accept this position, no matter if a website is
made using HTML or Flash, whats really important is the beauty it

GL: Do you find it useful to build a bridge back to the classics of
aesthetics - from Kant to Croce? How should we read such old authors
in the light of the Internet and its development?

VC: A theory that doesnt interface itself to the historical
presupposition of our thinking is nothing more than a stupid and
useless utopia. Nevertheless, the authors you mentioned are not at
the center of my thoughts. Kant doesnt attribute any cognitive value
to art, while Croce is sidelined with respect to Internet and its
socio-cultural postulates. In Croces aesthetics there is a strong
devaluation of technique, as he considers it extrinsic to the art and
linked instead to the communication concept. Moreover, Croce himself
doesnt pose the question of communication. The intuition-expression
is indeed already communication in itself. Croce would never say that
the medium is the message. I refer to other authors, above all Deleuze
and Guattari, who had the merit of prefiguring the actual rhizomatic
structure of the Internet society, and Panofsky, who is a source of
inspiration for Manovich. I find the approach of Rudolf Arnheim very
valuable: according to him we must build aesthetics, starting from
the perceptive and sensory world, not from the idea. If we consider
the relational nature of most Net Art, it becomes interesting also
trying to read, under a different lens, Herbert Marcuses Eros and

GL: It is hard to move away from the postmodern chapter and the way
that era defined aesthetics. Is that a struggle for you? Could we say
that we, still, live in the aftermath of that theory storm and merely
apply the collected insights of the late 20th century to a phenomenon
like the World Wide Web?

VC: What you emphasize is a concrete risk and perhaps it is also a
reason for the difficulties academia has in opening itself up to
a dialectic comparison with the issues the Web has introduced. If
we look closely at the more relevant aesthetic phenomenon in the
last twenty-year period, Net Art, it becomes hard to refute that
this movement, even in its heterogeneity, has introduced new and
confrontational aesthetic canons. Above all, it seems crucial to me
the overtaking of any distinction between content and form or medium:
the interface (that, as Manovich asserts, replaces the form and the
medium into the modern paradigm) is so merged with the content that
thinking of it as a separate level means to eliminate the artistic
dimension. Broadly speaking, I think that authentic advances will be
reached when we cease thinking of the Web as an expressive medium, and
more of a cultural and social interface.

GL: It is said that Deleuze and Guattaris concept have become so
virulent, so active, that they have passed the point of anticipation,
and are now an integral part of our media life. It doesnt mean that
D&G and their followers were wrong or sold out. In fact, it points at
a new condition of theory in which critical concepts start to open
up spaces and come alive, in the midst of the mess called global
capitalism. Seen in this light, what role should a theory of web
aesthetics play?

VC: What happened to Deleuze and Guattaris theories is merely what
always happens: human thought is faster than technical progress. It
often occurs that we are not able to understand the true significance
of contemporary thought, nevertheless,afterwards, inrereading a
book, we see clearly its capacity ofbeing ahead of its time. Its a
situation that characterizes not only philosophy but also, in general,
literature. Im still amazed, for example, at how some cyberpunk
novels have anticipated the focal themes of our times, according to
simple literary inventions. Gibson wrote Neuromancer(July, 1984)
without any knowledge of the Webs reality, still, he had not
difficulty carrying his thought over technologicalarts state.

My idea of aesthetics has - above all - a factual dimension. Id
like to think about a kind of aesthetics busy with dirtying its
hands with the concrete and daily world.Its role should be therefore
giving back to us a beauty dimension which we can contrast against
the widespread vulgarity. To contrast an ephemeral aesthetic act
to the actual dogma of creativity under command, means to take
oneself away from the alienation that characterizes contemporary
creative production. To affirm that aesthetic forms possess a social
and cultural (even pedagogic in some ways) value, it means to negate
- at root - the modern social organization that comes to measure any
expression, including artistic ones, on the basis of market value.

Again, to affirm that a message, a form, a thought, has an intrinsic
value before the commercial one seems banal, nevertheless is an
aversive affirmation if compared to that you describe as the mess
called global capitalism. In my opinion, the diffusion of a Web
aesthetics is ultimately one of the few practicable ways to liberate
our new (digital) world from the slavery in which it has been
condemned by commercial communication.

GL: Its so easy these days to proclaim that theory is dead. How
do you deal with such cynical observations? Is there an Italian
equivalent of pragmatism?

VC: To ask an indolent idealistic Southerner a question about
pragmatism could sound like a provocation, even if - to tell the
truth - you get the point when highlighting the possibility of
different approaches. I do believe that there are peoples who, due
to historical and cultural traditions, are more inclined to theory,
while others are more inclined to direct experience. Even with regard
to new technologies, it seems to me that its possible to highlight
an approach, predominantly European, that tends to make an issue of
technique and to design paths between actual technologic conquests
and the classic thought. There is another approach, one that finds
its fulcrum in California, that appears instead much more focused on
technique in itself. Manovich is an exception, but in his theories
he continuously betrays his Russian origins. Theorys death is
like spring and autumns death: a good topic of conversation for
boring living rooms. History teaches us that theory always returns in
unexpected ways. Theory is dead, long live theory!

GL: Do you teach Web aesthetics? Can you tell us something how
students are bridging theory and the immense drive towards tinkering
and producing?

VC: I wish I was teaching Web aesthetics! Actually, I teach Theory
and techniques of mass communication and I try to feed pills of
aesthetic evaluations into these lessons.

As for students, they seem to me mainly oriented to use the more
various objects (PC,digital devices, books, etc...) and not inclined
to ask themselves questions about the things they are using. They
use them without asking themselves where they come from or which
valences they express over the function of use, or even, which
evolutionary paths they design? This attitude is probably the fruit of
the ruling consumerism that represents, de facto, the only historical
reality that new generations know first hand. Nevertheless there
is perhaps something more: the more or less widespread resignation
and renunciation ofplaying an active and critical role in examining
what surrounds us. Most of the students I usually meet seem to
incarnate the ideal consumer model dreamed up by marketing gurus.
They uncritically accept a lifestyle that other people have designed
for them, rather than shaping their own. The picture of the situation
could appear tragic, nevertheless, its amazing to look at the
reactions that you can breed in them when you are able to uncover
some conditioned thought processes of which they are victim. When it
happens, you can clearly see how a growing interest rises in them,
together with the determination to react (also in a creative way). The
walk is quite long, therefore its important that none of us give up
the responsibility to educate and make new generations aware.

GL: Can you tell us what your theory of Web aesthetics consists of? Is
it a book that youre working on?

VC: Ive published a book on Miltos Manetas and the Neen movement
that, in my opinion, is one of the more significant artistic
avant-garde expressions in the last twenty-years. To state that
websites are the art of our times, as Manetas did in his Manifesto,
means to put intangible and immaterial artworks outside of the art
merchants tentacles. Indeed, the market still doesnt know how to
sell objects like websites, but if we erase the commercial layer, then
Art returns to its natural function: to open windows where mankind can
look at its own condition.

At present Ive finished, together with Danilo Capasso, another book
that has moved from five questions about digital culture that Lev
Manovich thought for us at the occasion of a lecture that Danilo and
myself organized in Naples in April 2005. We asked more than 100
persons (artists, theorists, curators, mathematicians, etc.) all
around the world to answer to Manovichs suggestions and then we chose
50 contributions in order to publish them. The book is now complete
with two different authors reflections but - unfortunately - we are
still waiting for the editor to make up his mind and pass our work
over to the press. This is one of the most significant problems of
publishing nowadays: editors are far too slow to follow the velocity
of circulation of modern ideas. More generally, I look forward to
writing a book on the aesthetics of the database theme and lately,
Ive focused my research in this direction, but - to tell the truth
- the visualization forms of data are so numerous that Im still
lost at sea. GL: The first decade of web design was focused on
speculative thinking about the potentials of the medium, followed by
best practices literature and the long silence after the dotcom boom
crashed. Where are we now?

VC: We are at the Web 2.0 point, and this indicates an evolution of
the way we look at this medium. Despite a lack of unanimity on what
Web 2.0 should be, we certainly have made some steps forward - for
example, we have dropped the useless antithesis between texts and
images: now we consider them as modalities of reading and representing
reality, and we believe that a rich medium (such as the Web) has to
enhance them both, instead of contrasting them. Nowadays we can easily
observe, within the framework of the Net, words that become images and
images that becomes words.

We have also dropped the ideas that the Web constitutes a return to
the oral tradition or to the written word indeed, both statements
have proven fallacious, and we now prefer to speak about a continuum
of languages. These conceptual advances also find a hands-on
application in web design, as interface designs are responding to
narrative and orientation needs that are miles beyond the early
desktop metaphor. As a consequence, the web designers role is no
longer to draw, but rather to arrange environments for interaction
(between users, between image and text, between books and TV,
between the symbolic and the perceptive, between the active and the
passive, etc...). More generally, I think we have overcome that stage
of excitement over the potentials of the medium, and we are now
focusing on the nature of the Web itself - its developments and the
interactions between the Net and society.

I feel tempted to suggest a bold comparison with the situation of
falling in love: first comes the arousal over the potentials of a
body, then the attention shifts to the nature of the soul trapped in
that body (a person takes the place of a body), and finally, all our
thoughts are absorbed in imagining the possible relations between that
person and people all around us (our family, our clan, our workmates,
our flat mates, our playmates, our comrades, etc...). Its also
funny to note that, in accepting this comparison, we have to admit
that network culture is a postulate of the early excitement over the
Web (an excitement that had been driven by the dotcom boom), as a
marriage is a postulate of the initial arousal over a body (driven
by a hormonal boom), allowing us to put the two booms on the same

GL: Is theory in Italy a place of refuge because there is so little
institutional support for new media in your country?

VC: Yes, it is. In my country new media are like Godot in Samuel
Beckettstragicomedy: all the institutions keep on chattering about
the advent of the Internet and new digital tools, but nobody realizes
that they already surround us. In this upsetting situation, theory
becomes the only way to be in touch with such things.

GL: Could we also read the lively Internet scene in Italy as a
subcultural necessity from the age of Berlusconi who managed to
monopolize both commercial and state media when he ruled as prime
minister? And, as a result of that could we say that there is a
sort of temporary compromise between autonomous cultures and more
progressive part of the (IT) business community?

VC: On one hand the lively media scene in Italy is an answer to the
Berlusconi monopoly on broadcast media, but we must not forget that
the one you emphasized is not the only critical situation, indeed
Italy is the country of monopolies, oligopolies, and cartels: Internet
and telecommunications, banks and insurance companies, most of the
vital business articulations are monopolized by the usual suspects.
Onthe other hand there is a very deep-rooted tradition in media
activism. It would suffice to remember the experience of Radio Alice
that started transmitting in 1976, and introduced techniques such as
linguistic sabotage and diffusion of arbitrary information. Many of
the actual initiatives are expressly linked toones born at the end of
the 1970s, although the needs of that period are replaced with more
modern issues.

From my point of view, the most interesting aspect in media activism
is that it leaves behind the dominant communication language;
breaking with language in order to reach life as Artaud said.
Its fascinating to me how the language of advertising, as well as
various modes of ideological communication, are revised into the
best-made operations of subadvertising. Reusingelements of well-known
media such as popular icons and clichs, along with the detournement
of contemporary mass culture headlines, are very creative ways to
criticize the context we live in. To my great displeasure I have to
underline that often initiatives such as street TV or illegal radio
exhaust their energy in building a new transmitting source but what
fails is content. Its like building empty boxes: after the initial
curiosity, nobody wants really to get in.

I dont see any progressive part of the (IT) business community in
Italy. Sure, there is a part that looks cool: its the one that
scans the autonomous cultures searching for coolness. The point
is, there isnt any dialogue. A dialogue presumes a predisposition
to change ones point of view and Im quite sure that thebusiness
communityabsolutely doesnt want to put their assumptions up for

GL: You attended the MyCreativity conference in Amsterdam. Do you see
any trace of the creative industries discourse in Italy? If Europes
destiny is going to be exporting design and other lifestyle-related
experiences, then Italy would be in the best possible position. Is

VC: Debate about the creative industry in Italy still has far to go.
The term industry is still not used in association with the term
creativity, as we usually speak about the fashion industry, or
shoe industry or, even, furniture industry. This layout doesnt
encourage the emersion of the creative works element as lowest common
denominator around the different entrepreneurial activities that bring
to life the famous Made in Italy moniker. Creative work is - without
a doubt - at the bottom of the product Italy; nevertheless, the
emphasis is always on Italian genius (that is, the attitude to invent
surprising things), or on Italian lifestyle. I guess that if we took
a poll of strangers accustomed to buying fashionable stuff made in
Italy, we would discover that they believe they are buying the right
to participate in the Italian lifestyle, more than the fruits of
Italian creative labor.

GL: Southern Europe envies the North for all its festivals, centers
and cultural funding whereas Northern Europeans cant stop showing
their excitement for the Virnos, Berardis, Negris, Agambens,
Lazzoratos and Pasquinellis. Isnt that a strange form of symbolic
circulation? How do you see this play between ideas and institutional
cultures on a European scale? Shouldnt we just stop thinking in those
terms and start working on equal levels and forget all this regional
labeling? Eastern Europe, for instance, has suffered for many years
from the regional stigma. Where you come from overdetermines what you
do. Northerners tend not to respond to that criticism.

VC: Maybe the answer is already in your preamble: due to the fact
that in Southern Europe it is quite tough to get funding and support
for cultural initiatives (especially when you move outside of the
mainstream), and many people are more inclined to make intellectual
reflections, rather then to plan events. I would like to avoid any
regional labeling, nevertheless it can be said, with some justice,
that those labels express a state of affairs that is still heavily
conditioned by disparities and specificities working on a regional
basis. Also if we assume a merely linguistic point of view, it is
completely evident that non-anglophone realities suffer enormously
from the inability to participate in an active way with the European
(or international) cultural debate. This fact pushes these realities
to retreat into themselves and to bring to life expressive modalities
distinguished by perspectives that are more regional than global.

As for Italy, one of the most interesting specificity is that the
lack in cultural funding has transformed the country into an amazing
training ground for auto-production phenomena. Operating from the
bottom is, in my opinion, a key phenomenon these days, indeed, it
puts into the cultural economy some truly innovative dynamics, as
long these dynamics break (finally) the chain constraining cultural
production to the economy of (induced) consumptions and needs.
>From this field, to put a lens on the specificity of this Italian
phenomenon could offer answers more interesting than the ones you
obtain considering Italy in the overall European movement.

GL: Is it desirable for you to overcome net.art, media theory, and
electronic arts by integrating it into a broader praxis that would not
have a techno prefix?

VC: My attempt is just that: to free media theory and electronic arts
from techno prefixes in order to consider them just as contemporary
culture. In a book I wrote a couple of years ago, I stated that we
need, now, to surpass the concept of Contemporary Art in order to
define a new contest, one able to contain the theory and the culture
born during the last years and centered around the new medium: the
Internet. Indeed if Contemporary Arts medium has been Television,
it is right to close that chapter so we may open a new one dedicated
to the cultural movements produced by the impact of the Net on
contemporary society. Its not just a question of definitions, rather,
it is an issue of a cultural shift: giving up the critical and
interpretive tools still in use, to build new ones rising from the
awareness that the computer (or the database, as Manovich would say)
has replaced narration as a predominant cultural representation.

GL: Lets go back to web aesthetics. Besides beauty, could we also
use the term style? Is there a positive and critical tradition
of talking about style or is that merely something for fashion
magazines? Maybe it is not wise to look down on fashion Is there
style on the Net?

VC: Nowadays the term style appears to be monopolized by fashion
and design gurus, nevertheless, we should be able to overcome the
nuisance that this linguistic abuse causes, in order to reactivate
a genuine critical debate. To deny the existence of style means to
erase more than five hundred years of philosophical and aesthetical
reflections: the term style, in fact, has been used since the
16th century with the ascendance of the Renaissance maniera that
indicates the personal style of an artist. Style is not a genre and
not prearranged forms that the artist can choose according to his
preferences. Instead, style is a need because it reflects a way of
living, thinking, and imagining the world in which the artist is
immersed. Style is a reflection of the times, and very often the
choice of a style is not even an aware choice: the artist applies the
style of his environment/times without any consciousness (in this
sense the critic is much more aware than the artist).

Style is always related to an epoch, thus it changes along with
the life and the culture existing under the influence of social,
economical and psychological factors. This is the reason style (as
the expression of an epoch) is not transmitted from one generation
to the next. Sometimes the term style is inaccurately described as
artistic individual preferences (le style cest lhomme), but we
have to refuse this equivocal interpretation: individual forms and
preferences need a different denomination, while style is today as
it was 500 years ago the common language of an epoch. If we accept
this interpretation, the pretension of being without a style becomes
silly and disingenuous: can we imagine an artistic work that doesnt
reflect its times?

When I hear speeches about the refusal of style, my mind goes
immediately to the characters of an Orhan Pamuks novel: My Name is
Red. The main characters in this novel are miniaturists of the Ottoman
Empire that discuss (and fight and kill each other) around the subject
of style, the question is: which is true art? The expression of the
individual artist, or a perfect representation of the divine (in
which the artist suppresses any trace of his personal vanity)? The
Nobel Prize-winnings novel describes a very paradigmatic situation:
two different cultures are colliding (the Ottoman Empire meets the
Venetian Empire) and a new epoch rises. There is nothing to do for
the miniaturists - a new epoch introduces a new style, and all their
efforts to keep the traditional approach to the miniature are in vain.

If we look at the Net we can clearly see a lot of genres (mail art,
ASCII art, generative art, hacker art, pixel art, and so on...), but
we can also identify a style. A couple of the main elements of this
style are in my very personal opinion the remixing attitude and
the D.I.Y. practice. Human culture has always been defined by its
ability to remix ideas, concepts and inspirations, but nowadays there
is something new: the new media advent has extended our potential to
such an extent that we remix continuously, even when we are not aware
of it. New media force us to do a continuous cut and paste of the
endless digital data surrounding us. Thus, we can assume that remixing
is the composition method of our times.

At the same time, new media give us the potential to get our hands
around this growing digital data sea, indeed, we can manage and shape
it even if we dont have particular expertise. So we draw data from an
endless source and we recombine them using all kind of digital tools,
in few words: we remix culture on our own. In this situation, can we
imagine an artistic expression that is immune to the two most popular
practices of our times? I dont think so. Instead, the style of our
epoch can be found into what I am tempted to call: R.I.Y. (Remix It

Obviously, there are other elements that contribute to the actual
style, for example, its easy to observe how non-linear narrative
is taking linear narratives place. Instead of denying the concept
of style, we should look around us to identify what are the
characteristics of our times, and in doing that, we would also
understand what the actual style is shaped by.

GL: How do you deal with the popular in web aesthetics? Often it is
said that popular culture is so trashy. But with Internet culture the
masses of users these days are so advanced. Theory and criticism have
yet to discover blogs, Second Life, Wikipedia and all that. Having
said that, its clear we no longer live in the 1980s and have to
promote a serious study of popular (media) culture. Cultural Studies
has established itself in such a big way, we shouldnt have to make
such calls Still there is the question, from a theory point of view,
whether or not to overcome the popular.

VC: What is the popular? This is a good starting point, if we refer
to the Web, and broadly to digital media. Common people are the
vanguard we need to test our theories, our hypothesis, our projects,
and our products too. Whos discovering a new world like Second Life?
Whos populating our databases, our wikis and our blogs? Whos testing
our new digital tools? We need them to reach a critical mass. As a
consequence all the communication is directed to them: try this new
product for free, trial period, make a free tour, open your own
blog, publish your photo album, these and many others formulas
witnessing that we need the masses of users in order to get feedback,
to give basis to our theories, to shape our products.

We dont need them just as audience (the TV age model), the Internet
age postulates an active participation, thus, the masses are required
to turn themselves into players. What would remain of Web 2.0 and
social networks without masses? A desert, I guess.

With all the digital media and contexts we are creating the masses
have also produced an incredible amount of content. If that is
actually what we define as popular culture, then the questions are:
what are we supposed to do with all this stuff? Is this cultural
production significant? Should we spend our time in studying and
analyzing it?

For sure we dont have time to do that, so (usually) we limit
ourselves to give a bit of our attention to the events that, pushed
by mass media, bounce under our noses. The most interesting thing for
me is to observe how the top rated/most viewed videos on YouTube are
all commercial TV like products; the usual Second Life public spaces
(streets and buildings) are crowded with more advertising than Las
Vegas (most of them are dedicated to sex); the stick memories of the
average MP3 players are filled with the same music you can listen to
on any commercial radio station, and shall we talk about the subjects
of the photos stored in millions of digital cameras?

What Im trying to mark is that with new media we are repeating the
stupidity and the uselessness of our TV formats, the advertisings
invasion of any public space, the boredom of the pop music scene,
etc... Vulgarity and the dissipation of any significance are moving
from old media to new media, and I dont see any good reason to spend
my time with such popular culture.

Besides this, its also very interesting to observe how the old media
are becoming more and more permeable to blogs and D.I.Y. information.
This phenomenon is not due to a fascination in more democratic
information sources (the traditional media holders hate new media and
people involved with it), on the contrary - the pressure is rising due
to the growth of the eyes (digital cameras and all the new devices)
that are watching the same events that mainstream media are reporting
to us: the possibility of being uncovered are too many and broadcast
journalists are forced to tell the truth (or at least a plausible
version of it). As a consequence, blogs have become the major source
of news and information about the Abu Ghraib prison abuse scandal
(a scandal born thanks to modern digital devices) and the Iraq War.
Then the question is: what impact is the blogosphere having on the
traditional medias control over news and information? We also have to
consider that bloggers are often the only real journalists, as they
(at their own risk) provide independent news in countries where the
mainstream media is censored or under control.

GL: Is it your aim to promote sophistication in web design? How can we
identify, and then design sophisticated communication?

VC: I dont like sophistication very much, I prefer a minimalist
approach to web design, with clear and linear interfaces that give
intuitive access to sophisticated and very structured data. When you
have to manage complex data sets or very rich multimedia contents, the
best you can do is design a structure that is very minimal. Indeed,
you dont have to add meaning to the content you are representing,
otherwise you make it useless and baroque. Nevertheless, minimalist
doesnt mean careless or dull, instead it means not one sign more
than necessary, it means taking care of details, it means being
moderate and objective.

We also have to consider that there are so many kinds of data that
there cant be one universal formula of access. In fact, some
information, such as the structure of a network, need graphic
expedients to be understood. Also, there are many realities that
have no meaning if showed only in a textual format. In those cases
we use graphs, charts, etc., and very often we obtain wonderful and
unexpected forms. For example, if you look at the Manuel Limas
project, Visual Complexity (www.visualcomplexity.com), youll easily
find many wonderful visualizations of complex networks.

In view of such artistic representation of data the problem becomes:
where is the line? How much graphic sophistication (or embellishment)
do we need to solve a visualization problem? I guess the answer can
found on a case-by-case basis, and the only line we can certainly
detect is the one between the amount of complexity required by a
representation (objective factor) and the self-satisfaction that
pushes any designer into going over what is required (subjective

(edited by Henry Warwick)

- --


Vito Campanelli's home page
Media & Arts Office
Web designers collective Klash
The Net Observer
Boiler magazine

Posted by jo at 05:11 PM | Comments (0)

History Will Repeat Itself: Strategies of Re-enactment


in Contemporary (Media) Art and Performance

History Will Repeat Itself: Strategies of Re-enactment in Contemporary (Media) Art and Performance :: Hartware MedienKunstVerein at PHOENIX Halle Dortmund, Germany: June 9 - September 23, 2007; Opening: Friday, June 8, 2007, 19:00 :: KW Institute for Contemporary Art Berlin, Germany: November 18, 2007 – January 13, 2008; Opening: Saturday, November 17, 2007 :: Concept: Inke Arns; Curated by: Inke Arns and
Gabriele Horn; Co-curator: Katharina Fichtner.

The exhibition History Will Repeat Itself illuminates current strategies of re-enactment in contemporary (media) art and performance, and presents the positions and strategies of 23 international artists. A cooperative project by Hartware MedienKunstVerein (HMKV) Dortmund and KW Institute for Contemporary Art Berlin, this is the first comprehensive exhibition project on the subject of re-enactment in Germany.

Unlike popular historical re-enactments, artistic re-enactments are not simply affirming what has happened in the past, but rather they are questioning the present via repeating or re-enacting historical events that have left their traces in the collective memory. Re-enactments are artistic interrogations of media images that try to scrutinise the reality of the images, while at the same time pointing towards the fact that the collective memory is significantly informed by media images.

Participating artists include: Guy Ben-Ner (IL/DE), Walter Benjamin (YU), Irina Botea (RO/US), C-Level (US), Daniela Comani (IT/DE), Jeremy Deller (GB), Rod Dickinson (GB), Nikolai Evreinov (RU), Omer Fast (IL/DE), Iain Forsyth & Jane Pollard (GB), Heike Gallmeier (DE), Felix Gmelin (SE), Pierre Huyghe (FR), Evil Knievel (US), Korpys/Loeffler (DE), Zbigniew Libera (PL), Robert Longo (US), Tom McCarthy (GB), Frédéric Moser / Philippe Schwinger (CH), Collier Schorr (US), Kerry Tribe (US), T.R. Uthco & Ant Farm (US), Artur Zmijewski (PL).

In Dortmund, the exhibition will run in parallel (9 June - 23 September) to Documenta 12 in Kassel and skulptur.projekte muenster in Munster, Germany. The venue of the show is Hartware MedienKunstVerein at PHOENIX Halle Dortmund, a spectacular 1895 factory hall measuring 2.200 square meters belonging to a giant former steel production plant.

Located in the formerly heavily industrialized region of the Ruhr valley, Hartware MedienKunstVerein (HMKV) Dortmund is one of the leading institutions for media art in today's Germany. Founded in 1996, HMKV serves as a platform for the production, presentation, education on and contextualisation of contemporary and experimental media art.

Please note that Dortmund is only 30 min. by train from Munster, and 2,5 hours from Kassel.

Later this year, the show will travel to Berlin and be on display at the KW Institute for Contemporary Art from 18 November 2007 until 13 January 2008.

The exhibition History Will Repeat Itself is funded by the Federal Cultural Foundation, Kunststiftung NRW, Staatskanzlei NRW, Bundesamt für Kultur BAK (Switzerland), NRW Kultursekretariat Wuppertal, The Henry Moore Foundation, Pro Helvetia, and The British Council.

The program of Hartware MedienKunstVerein at PHOENIX Halle Dortmund is supported by Kulturbuero and by Wirtschaftsfoerderung der Stadt Dortmund.

The cultural programs of KW Institute for Contemporary Art are made possible thanks to the support of The Governing Mayor of Berlin - Senate Chancellery - Cultural Affairs.

For press material, please contact Roland Kentrup, kentrup[at]zk.nrw-online.de

Venue and opening hours:
HMKV at PHOENIX Halle Dortmund (exhibition venue)
Thursday and Friday 11 - 22
Saturday and Sunday 11 - 20
Hochofenstrasse / corner Rombergstrasse

How to get there- Map.

Hartware MedienKunstVerein (office)
Guentherstr. 65
44143 Dortmund
T ++49.231.823106
F ++49.231.8820240

Posted by jo at 05:01 PM | Comments (0)

May 11, 2007

Upgrade! Vancouver


New Writing, New Technologies

Upgrade! Vancouver: New Writing, New Technologies :: May 17, 2007, 7:30 pm :: Launch Party for The Capilano Review [TCR] 2-50: Artifice and Intelligence, guest edited by Andrew Klobucar :: With panel discussion, food, & live a/v by CineCitta :: Co-presented with The Capilano Review :: Intersections Digital Studios (IDS), Emily Carr Institute of Art + Design, 1399 Johnston Street, Granville Island.

The latest issue of The Capilano Review: 2-50 - Artifice and Intelligence, features an array of cultural producers currently investigating the complex and rapidly evolving relationships between writing, art, and digital technology.

Join us as we explore critical questions on how contemporary developments in media technologies - its tools and methods - continue to influence many of today's most important literary and art movements, and how these new technologies affect the concept of knowledge.

Panel discussion with Jim Andrews, Kate Armstrong, David Jhave Johnston, Laura Marks, Sandra Seekins, and Darren Wershler-Henry, moderated by Andrew Klobucar.

Join us for food, drinks and live a/v by CineCitta 7:30pm
Panel discussion: 8:30 pm

Supported by The Canada Council for the Arts, Capilano College, Upgrade! Vancouver, & Emily Carr Institute for Art and Design. Darren Wershler-Henry appears courtesy of Capilano College's new Creative Writing Program reading series OPEN TEXT.

The Capilano Review: 2-50 - Artifice and Intelligence
Global Telelanguage Resources
Sandra Seekins
Kate Armstrong
David Jhave Johnston
Laura U. Marks
Sharla Sava
Antonia Hirsch
Kevin Magee
Jim Andrews
Gordon Winiemko
Nancy Patterson
Darren Werschler-Henry

Posted by jo at 04:01 PM | Comments (0)

Flux Factory presents


Paterson, a collaboration between Flux Factory and a city

Flux Factory is proud to present Paterson, an artistic collaboration between Flux Factory and an entire city :: June 2-July 14 :: Opening Party: Saturday, June 2, 4pm at the Paterson Museum, Paterson, NJ :: For further information: Website, Phone: 718-707-3362, Email contact: Stefany Anne Golberg, info[at]fluxfactory.org

What Are We Doing? Flux Factory has assembled a team of artists and art professionals to create a proposal for a monument to the city of Paterson, New Jersey. We will keep a headquarters at the Paterson Museum which will act as a meeting place, research library, and installation. We are going to immerse ourselves in Paterson in order to come up with ideas that reflect the real people and the real experience of the place. During our six weeks in Paterson there will be daily events like walking tours, lectures, readings, discussions, performances, get-togethers, picnics, boat and bicycle rides, and debates, all free and open to the general public (not including transportation). Tours will be given by Flux Factory and Patersonians alike. Please visit our website for an updated list of event schedules.

Why Paterson? Paterson, New Jersey is a special place. Founded as the first planned industrial city by Alexander Hamilton and others, it played a major role in the industrial and economic development of the United States. But Paterson is also part of the cultural imagination of our country. William Carlos Williams wrote an extended lyric poem taking Paterson as his title and subject. The important American artist Robert Smithson considered Paterson and the surrounding Passaic Valley to be a source of artistic inspiration. Indeed, Paterson and the American Imagination are deeply connected.

Anything Else We Should Know? Monuments are often a disappointment, to say the least, though human beings have been building them since the beginning of civilization. There are places and people we all want to pay homage to. But the end result is often dull and lifeless, the very opposite of the subject being memorialized. What is a monument? Is it an ode to bygone days? A celebration of the past or an expression of the future? We think that “Paterson” will create an artwork out of the process of thinking through these questions. Most fundamentally, this project carries forward an idea of collaboration that animates everything we do at Flux Factory. Flux Factory projects are always about bringing groups of people together in order to create an experience. In this case, the idea of collaboration is being pushed to a whole new level: a collaboration that involves an entire city. Indeed, more than an entire city, since a basic assumption of this project is that Paterson is a lens through which one can discover things about the American experience in general and involve people from all over the world.

PATERSON PARTICIPANTS: Jean Barberis, Mikey Barringer, Angela Beallor, Jason David Brown, Christine Conforti, Joseph Costa, Giacomo De Stefano, Peter Duyan, Alita Edgar, eteam, Neil Freeman, Dana Gramp, The Ivanhoe Artists Mosaic of Paterson, Suzanne Joelson, Joe Milutis, The Paterson Museum, Leonora Retsas, Joe Ruffilo, Shuli Sade, Ruth Stanford.

*Conceived and Organized by Stefany Anne Golberg and Morgan Meis*

‘Paterson’ is made possible with public funds from the New York State Council on the Arts, New York City Department of Cultural Affairs, and Queens Council on the Arts, as well as generous support from the Andy Warhol Foundation for the Visual Arts, The Greenwall Foundation, and Carnegie Corporation of New York.


*PLEASE NOTE: Schedules may be subject to change, so please visit our website, www.fluxfactory.org, for more information. Most tours, unless otherwise indicated, are walking tours. Please wear comfortable shoes and be prepared to walk.

Town Hall Meetings: Discuss the project with the design team. This is open to the general public—Patersonians and New Yorkers alike. Make your voice heard!
Where to meet: Paterson Museum
Dates: Every Thursday evening from June 7-July 12
Time: 7:00pm

Opening Party: Reception and introduction to the project
Where to meet: Paterson Museum
Date: Saturday, June 2
Time: 4:00pm

Paterson reading group with Joe Milutis: The “Paterson Reading Group” will be an informal discussion of William Carlos Williams’ epic poem Paterson, meeting on throughout June, and featuring tours and special guests. Participants will be expected to furnish their own copy of ‘Paterson’; we’ll be using the “revised edition” with annotations by Christopher MacGowan. To register for the reading group and receive updates and meeting locations, please email joe_milutis[at]brown.edu.

Sunday, June 3; 2pm
Introductions; tour of the Passaic Falls, Paterson Museum;
dutch-treat dinner at Griselda’s.

Monday, June 11; 7pm
Discussion of Book I of Paterson.

Monday, June 25; 7pm
Discussion of Book II of Paterson;
walk on Garrett Mountain

Monday, July 2; 7pm
Discussion of Book III of Paterson;
visit to Paterson Public Library

Monday, July 9; 7pm
Discussion of Books IV and V of Paterson

Special Tour with artist duo eteam: More information to come
Where to meet: TBA
Date: Saturday, June 9
Time: TBA

The Expert’s Historic Tour: Tour with Paterson Museum Director Giacomo De Stefano
Where to meet: Paterson Museum
Dates: Sunday, June 10
Time: 2:00pm

The Flâneur Tour: Three cooperative, unstructured car drives through Paterson with artist Neil Freeman. PLEASE NOTE: Because of space, these tours are limited to 3-4 participants each. First come first serve. Please RSVP to 718.707.3362.
Where to meet: Paterson Museum
Dates: June 10, June 16, June 30
Time: 11:00am

The Pilgrimage Tour: Jean Barberis takes you on a stroll that starts in Grand Central Station and leads you all the way to the Great Falls in Paterson. Actually, it’s only 20 miles, so don’t be shy! Beverages are on us.
Where to meet: Grand Central Station, NYC
Date: Saturday, June 16
Time: 11:00am

The Paterson Art Scene-War Stories from Those Who Know: Artists Joe Ruffilo and Don Kommit give you the lowdown on Paterson’s rich artistic and literary history, from personal stories of Kerouac and Ginsburg to the present.
Where to meet: Paterson Museum
Date: Saturday, July 23
Time: 2:00pm

The Religious Institutions of Paterson: Their Architecture and Influence on the Community: The city of Paterson has nearly 140 places of worship. This tour will focus on the design of a few of the institutions and their effects on the growth and development of the community. Led by Leonora Retsas.
Where to meet: Paterson Museum
Date: Sunday, June 24
Time: 2:00pm

Wednesdays at the Ivanhoe: Visit the one and only Ivanhoe Artists Mosaic, a nonprofit arts organization, meeting house, and gallery in Paterson, for their monthly "Open Mike" with the opening reception for "Love Affair with Paterson" a tribute to all there is to love about the world's first planned industrial city. See website for details and directions to all events, www.ivanhoeartists.org.
Where to meet: Ivanhoe Wheelhouse, Spruce Street between Market St. and McBride Ave, next to Burger King
Date: Wednesday, June 27
Time: 8:00pm

Industrial Archaeology Tour: Tour the city’s unbelievable old mill buildings and industrial architecture with Shuli Sade and others.
Where to meet: Paterson Museum
Date: Saturday, June 30
Time: 1:00pm

Cinematic Visions of Paterson: Films about Paterson, films by Patersonians, and unexpected films… An event with Mikey Barringer. To be followed by a party at the Ivanhoe.
Where to meet: Paterson Museum
Date: Sunday, July 1
Time: 3:00pm

A Re-Tour Of The Monuments Of The Passaic: Travel with Peter Duyan as you re-create, re-walk, and re-photograph Robert Smithson's experience of monumental discovery through Passaic, New Jersey. What are today's New Monuments? Lets find out.

Where to meet: Port Authority NYC. Meet at the 190 bus gate going to Paterson. Roundtrip tickets between NYC and Paterson are $9.00 and can be purchased at the bud station. Call 646.708.2360 for more info.
Date: Saturday, July 7
Time: 10:45am

The Paterson Mystery Tour: Stefany Anne Golberg and Morgan Meis take you on a tour of Paterson full of special discoveries and hidden places…To be followed by drinks and more at The Ivanhoe
Where to meet: Paterson Museum
Date: Sunday, July 8
Time: 2:00pm

Closing Party: Details TBA. See www.fluxfactory.org for updates. Date: Saturday, July 14

There are a number of great festivals happening in Paterson this summer! Check them out:

African American Heritage Parade: June 16, 2007, beginning at 10:00am. Parade starts at the Masonic Temple on Broadway

Puerto Rican Parade and Festival: The festival will happen on Marshall Street from August 24-16. The parade will be on Main Street on August 26

Getting to Paterson from NYC

By Bus: From Port Authority, take the 190 bus to Paterson. For Paterson Museum, take the bus to the end of the line, Broadway. Buses usually leave every 15 minutes. Go to www.njtransit.com for more info. Cost: $4.50 each way

By Train: From Penn Station. Must switch trains in Secaucus. Go to www.njtransit.com for more info and schedules. Cost: $5.25 each way

By Car:Follow Route 80 West and signs to Paterson. For the Paterson Museum, get off at Exit 57-A/B, to Downtown Paterson.

For detailed driving directions to the Paterson Museum, visit www.thepatersonmuseum.com

Flux Factory is a 501(c)(3) nonprofit arts organization.

Posted by jo at 08:28 AM | Comments (0)

May 10, 2007



koosil-ja / danceKUMIKO

The Japan Society presents mech[a]OUTPUT by koosil-ja / danceKUMIKO :: Thu-Sat May 31- June 2, 2007.

Radical New York-based choreographer/dancer/ singer song writer/ new media artist Koosil-Ja presents an electrifying multimedia dance-performance with live 3-D environment, seamlessly incorporating elements of traditional noh music and choreography from the classic noh play Dojoji. The legends surrounding Dojo-ji Temple in Wakayama, southeast of Osaka, have inspired numerous noh and kabuki plays about the vengeful spirit of a spurned woman. By juxtaposing the restrained and subtle choreography of Dojoji with 3D world imaging projected on to a large screen, the daring Bessie Award and Guggenheim Fellowship-winning artist Koosil-ja transposes the work into her own aesthetic context, creating an innovative blend of modern and traditional, digital and flesh.

The production features 3D world designed and production by Claudia Hart, 3D Interactive interface designed and performed by John Klima, live Neo Punk Music by Geoff Matters, dramaturgy by Nanako Nakajima, Pendulum & Physical Apparatus Design and Kinetic Engineering by Michael Casselli, Head Gear by Tara Webb, and Betnon-C Bainbirdge (Video Projection Super Engineering).


Geoff Matters (Live Neo Punk Music and Software Design)
Nanako Nakajima (Dramaturgy)
Michael Casselli (Pendulum & Physical Apparatus Design and Kinetic Engineering)
Claudia Hart (3D Wrold)
John Klima (3D Interface & Live Performance)
koosil-ja (Concept, Dance, Video, Video pendulum, Song, Sound Installation and Costume)
Tara Webb (Head Gear)
Benton-C Bainbirdge (Video Projection Super Engineering)

Dates: Thu-Sat May 31- June 2, 2007
Time: 7:30PM
Location: 333 East 47th Street, btwn 1st and 2nd Ave. NYC
Tickets: $25/$20 Japan Society members.
Reservations: Japan Society (212) 715-1258
at JAPAN SOCIETY Ticket Information

STUDENT RUSH $12.50 Student Rush (50% off!)
Pending availability, Student Rush tickets will go on sale an hour
before showtime. Valid ID required, 2 tickets max per ID.

mech[a]OUTPUT is made possible by a commission from Japan Society; funds from American Music Center Live Music for Dance, and New York City Department of Cultural Affairs; and generous individual contributions.

Posted by jo at 03:37 PM | Comments (0)

The Prosthetic Impulse:


From a Posthuman Present to a Biocultural Future

Prosthesis -- pointing to an addition, replacement, extension, enhancement -- has become something of an all-purpose metaphor for the interactions of body and technology. Concerned with cybernetics, transplant technology, artificial intelligence, and virtual reality, among other cultural and scientific developments, "the prosthetic" conjures up a posthuman condition. In response to this, the 13 original essays in The Prosthetic Impulse reassert the phenomenological, material, and embodied nature of prosthesis without dismissing its metaphorical potential. They examine the historical and conceptual edge between the human and the posthuman -- between flesh and its accompanying technologies. Rather than tracking the transformation of one into the other, these essays address this borderline and the delicate dialectical situation in which it places us. Concentrating on this edge, the collection demonstrates how the human has been technologized and technology humanized.

The eclectic approach taken by The Prosthetic Impulse draws on disciplines ranging from gender studies, philosophy, and visual culture to psychoanalysis, cybertheory, and phenomenology. The first section, "Carnality: Between Phenomenology and the Biocultural" concentrates on the organic, describing a body that, by its very materiality, is always and already prosthetic. The second section, "Assembling: Internalization. Externalization," considers the technological qualities and peculiarities of prosthesis, raising questions about the ways in which film, photography, AI, drawing, and literature -- representation itself -- can be situated within the framework of a prosthetic discourse. Taken together, the essays suggest that prosthesis is material as well as metaphorical. "It is just a matter of pondering where the inelegant edges lie," the editors write, "and living them most wonderfully."

From The Prosthetic Impulse: From a Posthuman Present to a Biocultural Future, Edited by Marquard Smith and Joanne Morra.

Marquard Smith is Course Director of the Masters Programme in Art History and Senior Lecturer in Visual Culture in the School of Art and Design History, Kingston University, London. He is editor-in-chief of the journal of visual culture.

Joanne Morra is Senior Lecturer in Historical and Theoretical Studies at Central Saint Martins College of Art and Design, University of the Arts London. She is principal editor of the journal of visual culture.

Posted by jo at 01:45 PM | Comments (0)

Upgrade! New York


Michael Mandiberg

Upgrade! New York: Michael Mandiberg :: Thursday, May 10, 7:30 PM :: @ Eyebeam, 540-548 west 21st street (bet 10 & 11 Ave).

Michael Mandiberg will be giving a talk + workshop about his new project Real Costs. Attendees are encouraged to bring a laptop to play along. Programming knowledge useful, but not necessary. This hybrid talk/workshop will include a 30 minute presentation of the project, and how it relates to Michael's previous work, followed by guided mod'ing of the script. Michael will provide a focused walk through of the code, and then set everyone free to make some modifications and provide feedback for the project.

Michael Mandiberg is an artist, computer programmer and rogue economist who uses the Internet, video and performance to explore subjectivity, labor and commerce. Michael’s most recent project, Oil Standard, created a browser plug-in that converts all prices on any web page to their equivalent value in barrels of oil. He will continue this vein of work at Eyebeam, employing devices such as Firefox plug-ins and open API platforms to highlight real environmental costs in a global economy.

Posted by jo at 11:35 AM | Comments (0)

Upgrade! Sofia


Blender & Open Source Software and Communities

Upgrade! Sofia wakes up in the heat of May to bring local enthusiasts a few steps closer to the international open source software and community with Blender & Open Source Software and Communities :: Wednesday, May, 16th, 2007 :: Cammer Hall, National Theatre of Satire "Aleko Konstantinov", 26 Stefan Karadja Street :: start: 19:00.

An evening of three presentations. Three professionals from three different countries with long experience in 3D graphics and open source software and communities. Three points of view: Why is Blender one of most successful open source projects in multimedia?

Presenters: The point of view of a 3D developer: Rui Campos (Portugal) - Head of the Blender Foundation Education Board. Developer and Trainer of an e-learning platform for internal use. NewsForge writer.

The point of view of an game designer: Sanu Vamanchery Mana (India) - 8 years of experience in the broadcast, gaming and web Industry. Thorough knowledge of 3D Max and Maya's capabilities. Skilled modeler, excellent lighting, dynamic procedural texturing, compositing, keying and mattes, motion tracking and rotoscoping.

The point of view of an architect: Theodore Dounas (Greece) - Research in architectural design and threedimentional computer games Phd candidate. Teaching of architectural design in Intergraphics College, Intergeraphics educational group, www.intergraphics.gr Teaching of computer aided design for architects and designers, in educational organization Papiotis.

The presenters are official trianers at the TOSMI (training on open -source multimedia instruments) organized by InterSpace and supported by the MEDIA programme of the European Commission.

For the people still working with Maya and 3D Studio Max - Blender is the open source software for 3D modeling, animation, rendering, post-production, interactive creation and playback. In one word: it does everything you usually do, but for free.

Links: theupgrade.i-space.org

Posted by jo at 11:25 AM | Comments (0)



9 juin (9 of june), Rennes (France - UE)

A BarCamp(1) will be organized in Rennes. It will be held on June 9 in Rennes in France. All are welcome! This BarCamp is on contemporary artistic practices ("ArtCamp" : digital arts, Net art, electronic music, visual arts...) with sciences and ICT. The purpose is to support exchanges between international experts, researchers, engineers, amateurs, artists from all horizons... Everything is possible: to cross methods of innovation, to make known a project or a innovating idea, to imagine new collaborations, to show your experiments, to find competences which you lack... A maximum of 80 people can come. Inscription is free but obligatory! Information can be found here. Contact : emmanuel.mahe[at]orange-ftgroup.com

(1) What is a BarCamp? BarCamp is an international network of unconferences — open, participatory workshop-events, whose content is provided by participants — focusing on early-stage web applications, and related open source technologies and social protocols. The name is a playful allusion to its origins, with reference to the hacker slang term, foobar: BarCamp arose as a spin-off from Foo Camp, an annual invitation-only unconference hosted by open source publishing luminary, Tim O'Reilly.

BarCamps are organized (and evangelized) largely through the web, harnessing what might be called a Web 2.0 communications toolkit. By "open-sourcing" the organizational process of a Foo Camp unconference, that is, codifying it in a wiki and making that publicly available, BarCamp seems to have struck a chord. It has since been implemented in 31 cities around the world and is serving as a reference for unconferences in other fields. The involvement of key figures in the web development community, such as Tantek Çelik and Ross Mayfield, no doubt has helped its adoption. More information about BarCamps.

Posted by jo at 11:11 AM | Comments (0)

May 09, 2007

Illogic of Sense: The Gregory L. Ulmer Remix


Download it Now

Illogic of Sense: The Gregory L. Ulmer Remix :: Edited by Darren Tofts and Lisa Gye. Design by Joel Swanson (hippocrit.com). Contributors include Niall Lucy, Jon McKenzie, Linda Marie Walker, Craig Saper, Rowan Wilken, Marcel O'Gorman, Teri Hoskin, and Michael Jarrett, with an introduction by editors Tofts and Gye.

"Illogic of Sense: The Gregory L. Ulmer Remix" is an exciting new ebook publication that employs theorist Gregory Ulmer's invocation to invent new forms of electronic writing. As the ebook's editors, Darren Tofts and Lisa Gye, write in their brilliant introduction, "Ulmer has been at the forefront of thinking about new cultural formations as the paradigm of literacy converges with digital culture." Ulmer's work has been central to contemporary thinking on the future of writing and his international presence as one of the leading figures in media arts discourse has influenced a multitude of disciplines from electronic literature and Internet art to critical theory, communications studies, and art history.

The ebook features a diverse group of artists, theorists, and creative writers who develop new forms of hybridized "digital rhetoric." Their inventive and audacious experiments take advantage of recent developments in the field of new media studies, and as part of Alt-X's mission to participate in the creative commons provided by the Web, are available for free download.

This provocative collection of multi-tracked writing puts into play many of Ulmer's breakthrough theories summed up in his most recognized hot-button terms: applied grammatology, heuretics, post(e)-pedagogy, textshop, mystory, and choragraphy. Encouraged by the example of Ulmer's own hyperrhetorical writing style, the authors incorporate collaged imagery, mp3 soundtracks, and QuickTime movies into their innovative multimedia mix while exploring how these same extensions of "writerly performance" explode the false barrier between academic discourse and spontaneous poetics, narrative and rhetoric, and autobiography and fiction. Positing an "illogic of sense" to reclaim what Ulmer calls an "anticipatory consciousness," designed to utilize the force of intuition as a way to invent emergent forms of knowledge, this grouping of hypermedia texts showcase how interdisciplinary writers can remix the methodological approach of an avant-garde philosophy propelled by Ulmer, one that prioritizes an ongoing process of discovery and media arts assemblage.

The ebook is beautifully designed by artist Joel Swanson of hippocrit.com, who crosses his visionary design sensibility with state of the art technology to produce an original work of ebook-art that many will view as finally fulfilling the long-promised potential of online publishing to use stimulating visual arrangement, media hybridization, and typographical ingenuity to blur the distinction between publication, exhibition, and design performance.

Download "Illogic of Sense: The Gregory L. Ulmer Remix" ebook here. (46MB)

Posted by jo at 07:34 PM | Comments (0)



Needs your Help

Fijuu2 was accepted for installation at the New Interfaces for Musical Expression conference in New York, on show from June 07 through til the 10th this year. We have a very nice (read 'expensive') small form-factor shuttle that we usually use for presenting the piece here in Europe, running Ubuntu 6.10 and a recent NVIDIA SLI graphics card.

As is common in America, there's no fee for presenting work at NIME, so we're reluctant to send the machine over the Atlantic at our own expense. Travel expenses are also not covered, so we're not going to NIME itself. To that effect we can't bring the machine with us as carry-on luggage (like we normally do).

So, we're looking for someone in the New York area that would be willing to provide a machine on which to present Fijuu2 for those three days - publically credited as our official NIME07 hardware sponsor ;)

Installing Fijuu2 itslf is now just a case of double-clicking a few Debian packages - no UNIX kungfu required. this places the only requirements being a gamepad (we can send that over), Ubuntu 6.10, a reasonable sound-card and fast graphics card.

Here's a bit about the project: http://fijuu.com/outline/index.html; recent video describing the interface model: home page here; and here's a bit about NIME 07. Write to inf[at]@fijuu.com if you think you can help. Thanks for reading!


Posted by jo at 06:27 PM | Comments (0)



Revolutionary Breakthroughs in Human/Plant Communication

Psychobotany: Revolutionary Breakthroughs in Human/Plant Communication" :: Opening May 12th 7-10pm :: Machine Project, 1200 D North Alvarado Street, Los Angeles :: curated by Aaron Gach.

It is rumored that attendees may witness: - documentation of collaborations between plants, dancers, and synthesizers in the 70s - a plant alerting its owner of underwatering via telephone - plants responsive to touch - newsreporting by the Plant Media Network - a potion corner. Vistors can also participate in a social experiment that tests the collective impact of positive and negative thoughts on tomato plants. Druids may or may not be in attendance. All plants and humans welcome.

Featuring the efforts of...

Sir Jagadis Chunder Bose
Cleve Backster
Center for Tactical Magic
Peter Coffin
Earth Films
Molly Frances
Marc Herbst
Denise King
John Lifton
Richard Lowenberg
Jim Wiseman
Tom Zahuranec
plus Moses, the Druids, and More!

Machine Project
1200 D North Alvarado Street, Los Angeles, CA 90026

Posted by jo at 06:19 PM | Comments (0)

MediaNoche presents


Ursula Endlicher to Perform www.myspace.com

MediaNoche presents: New media artist Ursula Endlicher will perform www.myspace.com from her "Website Impersonations: The Ten Most Visited" series :: May 12 2007, 8PM :: 161 East 106th Street, between Lexington and Third Avenues.

Ursula will take direction from the site's real-time source code combined with material from her 'html-movement-library', which contains movements and gestures submitted by the public. This will determine the flow of her "Website Impersonations" as she follows these choreographic instructions in MediaNoche. Visitors to the exhibition and passers-by are invited to participate in the performance.

According to the artist, "Website Impersonations: The Ten Most Visited is a performance series utilizing the html-movement-library for enacting and re-interpreting the "ten most popular" websites. The choreography for each Website Impersonation comes from the real-time html structure of each site, translated by the library into movement suggestions 'on the fly.' As a performer I never know which html tag, and therefore which movement task will come next as this is depending on how the site is scripted at the moment.

MediaNoche is Uptown's first new media gallery where the digital arts and community converge. Only blocks from Museum Mile, MediaNoche is easily reached by the IRT #6 train to East 103rd Street, or by the bus routes along Third and Lexington Avenues.

FREE and open to the public!
For more information:
Judith Escalona, Director of MediaNoche
212.646.228.7950 or 212.828.0401

This performance is presented in conjunction with Ursula's current exhibition "The html-movement-library and Singing Website Wallpaper" at MediaNoche, extended through June 8, 2007. For more information on the performance series go to

Posted by jo at 06:01 PM | Comments (0)

Upgrade! Berlin


Field trip to Trampoline Berlin

Upgrade! Berlin: field trip to Trampoline Berlin :: Wednesday, May 9 at 7 pm at Trampoline Berlin, Rungestrasse 20; near U - Station Jannowitzbrücke.

Meet the curators of Trampoline Berlin for a talk about the curatorial agenda of this place. We are especially interested in finding out more about their approaches towards innovative presentation formats of media art. The video of this evening will be available online by the end of May.

Trampoline is dedicated to the promotion of new technology art and artists and aims to present cutting edge art in an informal atmosphere; encouraging new artists to exhibit work to a real audience, whilst providing a platform for established artists working in new directions. Trampoline began life in 1997 as Nottingham's first ever platform event for new media art.

In 2001, founders Miles Chalcraft and Anette Schäfer moved to Berlin and expanded Trampoline to Germany. Co-founder Gareth Howell continued Trampoline Nottingham throughout 2001 and 2002. Since then Trampoline has been left in the capable hands of a series of guest curators including Sharmila Cogger and Lizzy Whirrity, Nottingham art based collective, REACTOR and now Emma Lewis. The most recent events took place in October and December 2005, as part of the Radiator Festival. Work is always selected for Trampoline from an open call for submissions. Please find more information here.

You want to join us on our caravan of questions, roaming the media art
spaces of Berlin? Just get in touch with us here.

Posted by jo at 10:09 AM | Comments (0)

May 08, 2007

Psychological Prosthetics


@ Pathogeographies

Anya Liftig will be in Chicago this weekend performing her piece, 'Loomed' for the Pathogeographies Show at University of Chicago and Mess Hall. May 13: 2pm: Anya Liftig, Loomed' Performance :: at MESS HALL, 6932 N. Glenwood Avenue, Chicago, IL 60626 :: 773 465 4033 :: 'Morse' stop on the CTA.

Liftig and Lian Sifuentes (PSYCHOLOGICAL PROSTHETICS™) will participate in a Roundtable Discussion, "The Pathological Body," on May 12: 7pm.

About Psychological Prosthetics: Founded in 2005 Psychological Prosthetics explores your political feelings; we help you handle your emotional baggage in these political times. Our products and services range from deluxe to economy. Each service and product is designed for you to explore your political feelings of anxiety, guilt, outrage, apathy, anger, hopelessness and regret. Explore our full range of products from our 30 second rant recorder (investigate your outrage) to our custom designed suitcases for your personal emotional, political baggage.

Psychological Prosthetics™ has traveled internationally to England, France, Switzerland, Israel and the US. Most recently the full range of services was available at the “Corporate Art Expo 07” at the LAB, San Francisco, and at the University of Chicago “Pathogeographies” exhibition.


About Pathogeographies: Pathogeographies: Or, Other People’s Baggage

How do you carry your pile of political feelings, and how do you want to encourage others to carry theirs? Pathogeographies is an exhibition project to be held at Gallery 400 at the University of Illinois at Chicago, June 15-July 7, 2007.

The term pathogeography is modeled on the Situationists’ psychogeography but substitutes pathos (feeling) for psyche (the soul), emphasizing the emotional investments, temperatures, traumas, pleasures, and ephemeral experiences circulating throughout the political and cultural landscape. For Pathogeographies, we have invited other collectives and individuals—artists and non-artists alike—to create suitcases, real or imagined, that can carry tools around the city of Chicago and elsewhere to incite, create, collect, and record political/emotional scenes and return them to the gallery to be inspected, collated, discussed, distributed, and diverted to new uses. We envision the project as a surrealist but not unsympathetic irritant to current cartographic trends in art making. With our collaborators, we want not only to reveal hidden political histories as we map the affective expressions of various body politics, but also to create magical linkages and intensities that might extend our political horizons.

What’s at stake in such a project? Some might argue that despair is the pervasive/prevailing emotional current right now in many political communities—where the only “belief” is in our collective and accumulated failures—of stopping the war, of building a creative and effective left. The political arena seems either unthinkable or out of reach, eliciting intense cynicism from people whose votes aren’t counted, whose needs are ignored, whose grievances have no impact, and for whom “politics” signifies little but abuse of power. An unending sense of emergency is matched only by a corresponding sense of alienation, of not “knowing what to do,” and often, of not knowing what to think and how to feel. And yet, like so many, we persist; we are moved, not only by necessity, but by a relentless search for joy, for a life that can be called good and just. Can hopelessness be transformed? Is there anything useful about guilt? How might we collectivize our despair, and our joys? What’s YOUR utopia in need of a rescue? To explore all these pathogeographies, we call on you, your ideas, energy, participation.

Reviewed by Ryan Griffis:

June 15-July7
Gallery 400, University of Illinois, Chicago

In an overcrowded London neighborhood in 1854, the powerful combination of cartography and medical knowledge defeated a cholera outbreak that had killed over 600 residents. Dr. John Snow, credited as single-handedly halting the spread of the disease, mapped the proximity of the deaths to water wells and determined that a single well was the source of infection. Subsequently, he managed to have the use of that well stopped, despite the reluctance of local officials, by removing the pump's handle, thus stopping the outbreak. At least, that's how the story of the development of medical cartography and epidemiology if often told.

A century after Snow's formative maps of London's cholera-stricken Broad Street neighborhood, members of the Lettrist International initiated the theory and practice of psychogeography as the study of how the urban, physical environment impacted the consciousness of its inhabitants. Like Snow, the post-Lettrist Situationists sought to counter a disease they saw contained within the built environment. Also like Snow, they did so with the help of maps - only their maps sought to counter, rather than ameliorate, the oppressive instrumentality of capitalist urban space.

Cartography and mapping, including variations on psychogeography, have become a common trope in contemporary art practice, finding expression in forms across media and subject. It is within this context, among others, that I read the recent exhibition and event series, Pathogeographies. Organized by a Chicago-based collective known as Feel Tank, who's work investigates "the emotional temperature of the body politic," Pathogeographies offers an empathic critique of the urban environment, adding social bonding strategies to the oppositional methods of earlier psychogeographic practice.

The exhibition at Gallery 400 is organized into five key themes, giving some framework to the multitude of projects presented. "Moving Compan" contained interventions in space and place, such as the Institute for Infinitely Small Things' "Unmarked Package: A Case for Feeling Insecure" in which the group traveled around the city with a collection of white boxes marked "Unmarked Package" discussing insecurity with passersby. In "Left Luggage," designed by another Chicago collective, Material Exchange, visitors can browse through a collection of suitcases containing artist projects Laura Davis' autobiographical "My Eighties Self," to Matthew Slaats participatory photo-documentary "Timed Change." Gallery visitors were asked to take an emotional and political breather in the "Slow Feeling" section, where Laurie Palmer's "Cloud Cover" challenges us to connect the effects of UV light on our emotional health with the architectural and political reality we have constructed around us. "Raw Material" presents informational projects, such as the Friends of William Blake's "New Yorkers' Guide to Military Recruitment" and Bonnie Fortune's "Radical Grandmothers" zine in a space also designed to encourage visitors to produce projects of their own. And for "Body Politic," Feel Tank organized a series of events distributed throughout Chicago, including their own "Fifth Annual International Parade of the Politically Depressed," on, appropriately, the Fourth of the July.

At the exhibition opening, Dewayne Slightweight performed "I Want to Know the Habits of Other Girls," a self-described 'queer opera.' The artist performed conversations with characters Gilda Radner, Gordon Gaskill, Limbo Tomboy and The Great Auntie, played by life-sized mannequins made of sewn and stuffed shiny fabric. Slightweight's choreographed music and recorded call-and-response dialogue, unevenly, but quite movingly, climaxed in a utopian, choral sing- along with the audience.

"I Want to Know the Habits" provided, arguably, a great encapsulation of the desires and overall effect of Pathogeographies. The audience, seated mostly on the floor, in a semi-circle around Slightweight's minimal yet baroque 'set,' was presented with a constructed narrative, but without the mandate to suspend disbelief. Yet, neither was there an imperative to reveal truth. Both fiction and reality can serve to oppress and liberate, their objective status as one or the other matters little to our experience of them. What seems to matter most here is the collective nature of reality, how individual experience is multiplied and magnified through social structures. Emotional states become emotional States.

Even as mapping tools become more and more available to a larger public, it becomes increasingly difficult to believe in the potential of maps to lead us somewhere more liberating. While artists and activists will no doubt continue to visualize the spaces of both oppression and community, the organizers of Pathogeographies seem to suggest that it's equally important to resist and create those respective spaces. At some point, the handle might need to be put
back on the pump.

Posted by jo at 12:48 PM | Comments (0)

ISEA 2008 Artist In Residence


Call for Proposals

ISEA 2008 Call for Proposals - Artist In Residence @ National University of Singapore.

The organizing committee of the International Symposium of Electronic Arts 2008 (ISEA2008) with generous support from the National University of Singapore (NUS), is soliciting proposals from New Media artists to work collaboratively with NUS centers of research and arts in preparation of work to be submitted for exhibition during the July 2008 ISEA in Singapore. Unlike previous symposia where there was a separate call for artists in residence and one of art works for exhibition, ISEA2008 will only have one call for artists' submission. The submissions selected for the AIR will also be subsequently produced and shown in the main ISEA exhibition. Submissions from countries and cultures underrepresented at other New Media venues are particularly encouraged.

Residencies of up to 3 months in duration can be supported, and must be completed before July 2008. Financial support from NUS is available for:

- Economy airfare to and from the artist/designers country of residence,
- University housing while the artist is in Singapore,
- A monthly allowance of S$2000,
- Materials cost of up to S$1000.

In addition, NUS Host Centers will provide equipment, facilities, and expertise as agreed to on a per-project basis.

Artists will have the opportunity and be expected to participate in public and academic community activities such as lectures and demonstrations during the course of their residency.

More details and the guidelines about AIR call submissions can be found at:

Symposium Themes

The global and unequally distributed proliferation of information, communication and experiential technologies has led to the development of a highly differentiated and structurally complicated media arts field. Even as the advent of some technologies is actively celebrated and their potential exploited by some, some others have barely come to grips with the possibilities of 'long-obsolescent' technologies.

Even as some struggle with the newness of certain technologies, others somewhat jaded with the determinative influence on their lives and creativity are consciously opting for "old" and "low" technologies. In such a globally differentiated situation, the very notions of "new" and "old" technologies though pandered as an issue of relative sophistication is revealed as an issue of relative access largely determined by historical, political, economic and cultural contexts. That such technologies have become important engines of economic development has made a critical evaluation of their complicities in and complex relationships to particular socio-cultural, economic and political ways of being especially difficult. That one can simultaneously critique technologies and yet enjoy the benefits and pleasures of some particular technologies might seem like a compromise and sell-out for some, but is a necessary aspect of one's being in a world infused with such technologies to a point where opting out is both pragmatically impossible and ethically irresponsible.

In the art world, the problems of how one critically evaluates creative uses of technology are often confused with the questions of how one creatively enables the critical uses of technology. The themes for ISEA2008 Symposium have been selected to respond thus to the challenges of new and old technologies in creatively engaging the critical problems and possibilities of our age.

Locating Media

The oft-heard rhetoric of recent media technologies is that it complicates traditional notions of spatial and geographical location insofar as these technologies are said to attend to one's technological needs without regard to where one is; for example, one common myth goes like this: 'one can access information about anything and communicate with people on the net without regard to which country one is in'.

Such postulations of location-neutrality, however, are based on a fallacious assumption that one's location is merely a secondary aspect of one's experiential environment and thus can be phenomenologically simulated or even negligibly circumvented by the mediation of communication, information and experiential technologies.

Location, however, is a complex experience constituted by one's cultural, economic, political and technological environment that is differentially distributed and conceived in different parts of the world. Thus, new technologies, even while purporting to surmount location, seem to be merely following the contours of the location-specific 27 variables that operate in any particular space. While many recent technologies also present themselves as 'location-aware' that enable one's ability to address these location-specific variables in some ways, it is noteworthy that such experiences very often rely on simulating only an indexical notion of location through a series of sensory cues related to a particular space.

In the light of the centrality of location as a critical problematic and possibility, this theme seeks to examine how the specificities of location mediate and are mediated by both old and new technologies of information, communication and experience. We invite academic research, design and artistic explorations that explore the possibilities and problems of addressing location through media technologies. We are especially keen on works that address the complex historical, cultural, socio-political and economic contexts that affect location-specific interactions with such technologies.

Wiki Wiki

It is interesting that the Hawaiian word, 'wiki wiki', meaning "quick" has become co-opted to label the revolutionary systems and practices that support the easy and speedy tele-collaborative authoring of knowledge online
- i.e., wiki.

Wiki is an extremely easy-to-use authoring system for online content that cannibalizes on the HTML protocols with additional facilities to monitor all the changes being made, revert to content prior to editing as well as a space to discuss the evolving content. The fact that users are able to access the pages and change content without any restrictions, defies the development of a notion of single authorship and thus also the possibility of authorial responsibility for such content.

The relative ease in developing online content with a community of 'at a distance' presents wiki as a model tool for tele-collaborative production. Wiki is yet another example of how technologies are changing the ways in which creative knowledge production is being transformed by enabling collaboration between diverse individuals. In this theme, we seek to initiate discussion, deliberation and development in collaborative creation using new technologies. How have new and old technologies contributed to the development of collaborative making? What are some of the issues raised by collaborative creation; for example, authorship, artistic responsibility, claims to intellectual property, conflicts and confluences of disciplinary knowledge and practices, etc. What are the spaces of such collaborative work - what are the transitional spaces between the artists' studios and scientific labs?

We invite artistic and academic work that addresses and/or exemplifies the problems and possibilities of collaborative creative work that are enabled by technologies. Works that are created by collaborations between diverse and geographically diverse communities are especially encouraged.

Ludic Interfaces

The infantilization of play, that is, the historical association of playing with children and non-serious activities, has led to the systematic exclusion of play and fun from 'serious' creative, scientific and technological investigations. While the ludic (i.e., play-related) dimensions of artistic creativity have been variously explored recently in both art works and in scholarly research, the interactions between technological developments and the pleasures described as 'fun', are few and far between.

In fact, the history of technological development has more instances of people enjoying technologies than of those willing to acknowledge or systematically deliberate on such pleasures. It has been argued recently that the phenomenal development of the game and entertainment industries, primarily driven by various technologies that engender the expanded exploration of embodied pleasures, has highlighted the potential of technologically-driven experiences of fun.

However, there are those who assert that there is still much more need to investigate the complicities between technology and pleasure in these experiences and to develop alternative modalities of exploring the technological possibilities of pleasure and vice versa. In this theme, we seek to address the ways in which fun and enjoyment interact with and complicate new media technologies both in its design, creative development, everyday uses and discursive articulations. We especially encourage works that critically explore the entertainment industries and their use of recent technologies.

Reality Jam

While the reality effects of photography had forced a re-evaluation of the conventions and concerns of painting as well as of perception in the mid 19th century, the realistic aspirations of recent visualization and experiential technologies (e.g., in animation, gaming, immersive environments, mixed / augmented reality) are forcing us to reconsider our registers of the 'real' in our media and our everyday lives.

The confusing of the real and the virtual through seamless transitions and the perpetual obfuscation of the edges that demarcate them are increasingly the focus of scientific research as well as of creative works. The improvisational nature and interference potential of such 'reality jamming' - i.e., this pressing together of the real and virtual in a context where their distinctions are deliberately obscured - open further possibilities for research, scholarship and creative production.

In this theme, we also seek to encourage artists and researchers to explore the ways in which the 'virtual' presences and experiences of folklore, religious beliefs, magical rituals and science and media-fiction interact with and counteract the lived experiences of the 'real'. Scholarly presentations, art works and research in the areas of virtual, mixed and augmented reality, not restricted to the technological platforms and equipment that enable such experiences, are especially encouraged.

Border Transmissions

The 'borderless world' and the 'global village' are different imaginaries of a world seemingly transformed by the speed and efficiency of information, communication and experiential technologies - of a world where the political borders of nation states were considered to be either irrelevant or difficult to sustain.

The age that announced the 'borderless world' is, however, ironically also the one that has displayed the greatest anxiety about this breakdown and invested the largest amount of resources and time in the increasing surveillance and control of these borders. While these borders historically have been permeable to certain kinds of economic, socio-cultural, political and military transactions (i.e., trade, cultural objects and experiences, religious missions, etc.), the development of technologies that facilitated greater communication and transportation across them has only increased the anxiety to control these transactions. The contestation over these borders and of the transmissions across them continues to be a struggle as much determined by technological developments as it is by the politics, cultures and socio-economic systems that mediate within and between these borders. The question of how one negotiates technological developments that simultaneously contribute to the increasing opening and ossification of borders is of utmost significance and in this theme, we invite artistic and scholarly work that engages this question.

We seek to showcase research and creative interventions that deal with the strategic and tactical possibilities of networking, communication and experiential technologies in ways that enable the emergence of different conceptions of borders, nation-states and of the infectious transmissions that problematize these demarcations.

Posted by jo at 11:48 AM | Comments (0)

If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution


Feminist Movement: Constant Action + Restless Criticality

Huis & Festival a/d Werf presents If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution: Edition II: ‘Feminist Legacies and Potentials in Contemporary Art Practice’ :: Episode III at Festival a/d Werf, Utrecht May 17 – May 26 2007.

bel hooks talks about ‘feminist movement’, reactivating the term in a transitive way - as a verb almost - so that it becomes this notion of constant action and a kind of restless criticality. – Connie Butler 2007

If I Can’t Dance… is a rolling curatorial project based on performative practices, which departs from a spirit of open questioning and a long term enquiry with artists. Currently it focuses on the legacies and potentials of feminism(s) in relation to art today. Inspired by the quote of Emma Goldman, “If I can’t dance, I don’t want to be part of your revolution”, the project explores the critical and celebratory implications of this statement in artists’ work.

This edition of If I Can’t Dance… explores how feminist thinking on all levels (social, artistic, political, theoretical, ideological or structural) may be important in our cultural life. The project has explored these tendencies as inquisitively and openly as possible over the last year and a half by repeatedly working with an expanding group of over thirty artists and mounting exhibitions, organising symposia and performance events, and running an on-going reading group.

This May for Festival a/d Werf in Utrecht a new programme of performances by Jutta Koether, Jon Mikel Euba, Itziar Okariz and planningtorock will take place. If I Can’t Dance… will also premiere the newly commissioned film of The Otolith Group, “Otolith II’”, at Casco in Utrecht.


The Otolith Group - “Otolith II”
Casco, Office for Art, Design and Theory, Nieuwenkade 213-215
Dutch premiere on Thursday May 17, 20:00 with an introduction by the artists Anjalika Sagar and Kodwo Eshun; further screenings on Friday May 18, Saturday May 19 & Sunday May 20 15:00, 16:00, 17:00, 18:00, 19:00, 20:00 (45 min)
“Otolith II” is coproduced by Huis & Festival a/d Werf, If I Can’t Dance..., KunstenFestivalDesArts & Argos, Centre for Media and Art

Jutta Koether - “Touch and Resist”
Huis a/d Werf, Studio 2 and 3
Monday May 21 & Tuesday May 22 19:30 hrs (30 min)
“Touch and Resist” is coproduced by Huis & Festival a/d Werf

Jon Mikel Euba – “Re: HORSE” & “RGB Horse”
“Re: Horse”: Tuesday May 22 & Wednesday May 23 17:00 (60 min)
“RGB Horse”: Friday May 25 & Saturday May 26 19:30 (30 min)

Itziar Okariz - “Climbing Buildings”
De Neude
Friday May 25 & Saturday May 26 in the afteroon

planningtorock - “Show me what you got”
Huis a/d Werf, Koepelzaal
Friday May 25 & Saturday May 26 22:15 (45 min)

Curators: Frederique Bergholtz and Annie Fletcher.

Partners & Episodes: Edition II of If I Can’t Dance…is staged in 4 episodes: Huis & Festival a/d Werf, Utrecht, May 2006 & May 2007 | de Appel, Amsterdam, November 2006 – January 2007 | MuHKA, Antwerp, October 2007 – January 2008

Financial Support: Edition II of If I Can’t Dance... is financially supported by Amsterdams Fonds voor de Kunst, British Council, Stichting Cultuurfonds van de Bank Nederlandse Gemeenten, The Netherlands Fund for Visual Arts, Design and Architecture, Mondriaan Foundation, Prins Bernhard Cultuurfonds.

Information: For updated information on the programme and addresses of the venues, times and entrance fees check: http://www.festivalaandewerf.nl.

Contact: info[at]ificantdance.org

Posted by jo at 11:45 AM | Comments (0)

Urban Pilgrims


Generating a New Cartography of Place

urbanpilgrims.org/wien :: Exhibition, Website, Survey, Guided Tours, Performances.

Based on an interactive and continuously growing online archive that is generated by the inhabitants of a place, urbanilgrims.org researches individual stories of urban space and interweaves them with real space - guided tours in public using performance / gesture / sound, photographs, as well as discussions with guests / audiences and an installation. On an online questionnaire and map of the city visitors are asked about their personal experiences in relation to specific locations of their choice. Naturally, and through the accumulation of answers, issues of power relationships, space structures, image production and forms of urban appropriation will be addressed. The results of the questionnaire-responses will be structured according to different key-words to easily facilitate access to the information. The questionnaire is adapted throughout the project and tailored to specific issues that want to be addressed by the community. Individual experiences become a public field which generates a new cartography of the place.

Urban Pilgrims are interested in finding aspects, images and moments that are characteristic of place. They want to come closer to the subconscious and collective knowledge, the aim is to converge site-specifically to the genius loci of the location. The genius loci (latin: genius = (protective) spirit, loci = genitiv singular of locus = place) was historically the protective spirit of a place. It was often depicted as a snake. In contemporary usage, genius loci usually refers to a location's distinctive atmosphere, or a 'spirit of place`. (source: Wikipedia, the free encyclopedia).

'Angela Dorrer's Pilgrimage digs into the strata of urban myth and anecdote. Responding to a survey model it does not propose a 'more true' reading of the urban landscape. Instead it gives the viewer a glimpse of a particular subjectivity, a part of which is the viewer's own. Dorrer dislocates her project from totalistic narratives and instead aims for a pilgrimage tracing a constellation across the urban environment, responding to traces collected through her survey and the tales of those surveyed.` (Marc Clintberg, Montreal 2006)

With Vienna is starting an internationally planned series. The next cities are Montreal and Copenhagen. Every city originates a complete new series of works.

EXHIBITION: BlumbergB0, blumberggasse 20, A - 1160 Wien
11.05.-24.06.2007, ErC6ffnung Freitag 11.05., 19:00
Installation: Angela Dorrer
with works of Isabel Becker, Judith Fegerl, Barbara Husar, Gerd Gerhard Loeffler, mschuber, monochrom, Doris Steinbichler, vice versa (Gertrude Moser-Wagner/Beverly Piersol)

5 URBAN PILGRIMAGES: The pilgrimages adopt the form of the traditional religious pilgrimage - a journey with several stations. They are a combination of a guided art-tour, punctuated with discussion, performative gesture, and occasionally specific food or music.

19.05.07, Wo die Sonne nie unterging. Multikulturelles Wien und ParallelitC$ten.
Guest: Parvis Amoghli (author, Vienna/cologne), 16:00 b 19:00, 20:00 pilgrims theme-meal
BlumbergB0, blumberggasse 20, A - 1160 Wien,

- b u s p i l g r i m a g e

17.06.2007, 17:00 - 20:00, 20:00 pilgrims theme-meal sonntags 191/urbanpilgrims.org
hosted by Az W Architekturzentrum Wien
meeting point: 16:45 Uhr Museumsshop im MQ, Museumsplatz 1, A - 1070 WIEN
Tickets 18/14 b reservation 1/522 31 15 12, kuzmany[at]azw.at

Concept, design, update, realisation: Angela Dorrer
Programming, technical and support: Patrick Gruban
tel 0043-650-5145356, mail: info[at]urbanpilgrims.org, Info: urbanpilgrims.org

BlumbergB0, blumberggasse 20, A - 1160 Wien, 0699/11 36 41 10

urbanpilgrims.org is supported by the city of Vienna Wien Kultur MA 7, the festival Sohoinottakring, monochrom and AzW Architekturzentrum Wien.

Angela Dorrer, Max Weber Platz 9, 81675 Munich
[email] angela[at]andorrer.de
[april-july07] c/o BlumbergB0, blumberggasse 20, 1160 Wien [cell] +43-(0)-650-5145356 [skype] angela.dorrer [e-fax] +49-(0)-12120-248202 [www] andorrer.de, urbanpilgrims.org, programangels.org (2000-2005)

Posted by jo at 11:35 AM | Comments (0)

New art dynamics in Web 2 mode



MEETING [New art dynamics in Web 2 mode] :: Meeting moderator: Juan Martmn Prada :: Deadline for Submissions: June 1st 2007 :: Places: Medialab Madrid, Madrid, Espaqa.

Norms of participation: Researchers, artists, professionals, teachers or collectives interested in participating in this meeting must send an abstract of the research or art project (in the case of theory research, we recommend sending in the full paper) and a brief risumi through the following application form.

Main subject areas of the meeting: What follows is a draft proposal of a number of high-priority subject-matter nuclei for this meeting. Nevertheless, we will also consider projects and research initiatives related to other subject areas proposed by the researchers and/or artists, insofar as they pose an interesting contribution to the subject areas engaged in this meeting.

-An analysis of the processes of transition to the so-called Web 2 and their relationship to the development of new aesthetic and artistic phenomena. New projects, and the current state of the research endeavour.

-Art projects as a model for alternative communication practises in the new digital networks. New media design and new tools for community-based digital action.

-Artistic appropriation of online collective participation technologies.

-Subjectivity, creativity, and critical thought in the context of the new ditigal cooperation platforms.

-The creative, social, and political dimension of the "blog" phenomenon.

-Developments in the field of "Blog-art".

-Cyberfeminist art creativity in the context of the current models of digital participation and cooperation.

-The possibilities of Web 2 regarding the intensification of the inter-cultural dynamics and the circulation of cultural diversity.

-The role of Web 2 in the processes of cultural globalisation.

-Educational applications and/or experiences in Web 2 oriented towards the critical comprehension of the new aesthetic and artistic behaviours.

-New initiatives and cultural policies for the development and support of online art creation.

Posted by jo at 11:30 AM | Comments (0)

Upgrade! Second Life


Brad Kligerman

Upgrade! Second Life presents Brad Kligerman, Ars Virtua Artist in Residence :: Thursday May 10 at Noon SLT (Pacific time) :: Here. Brad Kligerman will present a program of short videos that illustrate his current exhibit at Ars Virtua and his residency.

"SL is unique, even as far a synthetic worlds are concerned, due to the fact that all of the its material artifacts are invented, fabricated and owned by its citizens. The world's creators provide the material context (the physical rules and the tools with which to manipulate them) and the social-spatial fabric emerges from a multiplicity of intentions and interests that migrate with its inhabitants. Observation reveals that most of this content, the buildings, clothes, weapons... are replicas of similarly functioning objects from the real world. In the case of objects representing the inhabited environment, this reveals a strange inconsistency in that the SL objects do not function at all like their RL counterparts. This begs the question for the invention of spaces & forms, buildings & agglomerations, programs & structures that are emerging from real SL usages, and not just a symbol of an intention." -- Kligerman


Kligerman will talk about how his interaction and experiments during his residency effected his final work in the gallery. He will show how his work represents the depth and breadth of his experience during the 11 week period. His video presentation will examine his view of the different sources of "creation" in Second Life and his push toward fully "native" experiences.

"Avatars "Engage" in this process which projects them from image to project site in a transformative process expressing the inherent condition of immaterial space. It is a function of frames per second, flickering forever between Image+Space: 2-D+3-D, concept+fabrication, machine+architecture, actual+virtual..." -- Kligerman

AVAIR is an extended performance whose purpose is to investigate the nature of art making in the 3D synthetic environment of Second Life. It is an examination of policy and institution, as well as a reflection on place and art. Artists are given a stipend and technical support. Their methodologies are documented here.

“AVAIR” is a 2006-2007 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the Jerome Foundation.

Ars Virtua is a new media center and gallery located in the synthetic world of Second Life. It is a new type of space that leverages the tension between 3-D rendered game space and terrestrial reality, between simulated and simulation. Ars Virtua is sponsored by the CADRE Laboratory for New Media.

Upgrade! Second Life or UpgradeSL is a bi-monthly meeting of artists and interested parties held in Second Life. UpgradeSL is currently sponsored by BitFactory and Ars Virtua Gallery and New Media Center.

Posted by jo at 11:21 AM | Comments (0)



Curated by Marisa Olson for Rhizome

Touring Show is an online exhibition of artists' maps and 'virtual tours' of contested spaces, ranging from the Military Industrial Complex, to the US-Mexico border, to the body. The mapping and social organization of spaces has not only had a profound impact on the cultures that inhabit them, it has also contributed to the development of a number of artistic traditions, including cartography, drafting, and landscape painting and photography. More recently, the emergence of the artists' lectures and tours as artistic media has coincided with the practice of 'radical cartography,' which in its most elemental terms is the charting of a space's relationship to the empire or ideology that governs it. Also significant to the specific cultural moment traced here is the mingling of technology's impact on our landscape and the use of technologies to explore and document this terrain. The artists here offer a combination of web-based and public projects that can be interpreted as tours in this vein. While some of the projects read as interventions, others simply present the information needed to navigate viewers' own subjective traversals.

Posted by jo at 08:12 AM | Comments (0)

May 07, 2007

Silver Lake Film Festival "fringe fest"


Think Again + Miracles in Reverse

Los Angeles Center for Digital Art in conjunction with the Silver Lake Film Festival "fringe fest" presents: Think Again (outdoor public projection) and Miracles in Reverse (interactive video installation) :: Reception and Screenings: Thursday May 10, 2007 7-9pm (in conjunction with downtown art walk).

Think Again is pleased to announce the NAFTA Effect, a public projection project that challenges anti-immigrant rhetoric and mistreatment of migrant labor. It is a two person collaboration between David John Attyah and S.A. Bachman. Think Again's mobile projection will be on view after dark in downtown Los Angeles on May 10 during the Silver Lake Film Festival and the downtown los angeles art walk. talking back to the advertising-dominated landscape of the city, this project acknowledges the contribution and participation of immigrant laborers in the life of Los Angeles.

On the level of policy, the NAFTA Effect highlights how international treaties like NAFTA, in concert with national anti-immigration efforts, reshape the ways that families live and work on both sides of the border. The project addresses current debates surrounding h.r.4437, challenges the proposed 700-mile border fence, and criticizes the criminalization of undocumented workers.


Miracles in Reverse, an ambitious challenge to classic cinematic technique, is an interactive dvd-rom written, directed, and produced by New York artist Julia Heyward. This interactive feature invites single players to navigate a labyrinthine, blair-witch style tale by "scratching" hot spots in the film with a mouse, much the way d.j.'s scratch vinyl records to alter their sound. "Dizzyingly provocative, the film works like memory... it''s a dark, harrowing piece, and the technology works in its favor." Cate McQuaid/ Boston Globe.

Posted by jo at 05:58 PM | Comments (0)

Inbetween Zone Workshop, Budapest


Call for Participants

Inbetween Zone workshop by Impex – Contemporary Art Provider :: Deadline for applications: 14 May 2007

Challenged by the ongoing rapid and substantial transformation of urban environment, IMPEX aims to act as a platform for the critical analysis of urban development, social discourse and collaboration in art and cultural practices. Therefore, with its own location as a starting point, and at the same time encompassing a wider general discourse on the role of cultural potentials in urban development, IMPEX initiates a long-term interdisciplinary research project. This long-term project will include workshops, exhibitions, public interventions, publications and other alternative methods of collecting, generating and organizing ideas and knowledge.

The first stage of the project is the workshop entitled Inbetween Zone, which will take place from 16 to 23 June 2007, simultaneously with the 7th Biennial of European Towns and Town Planners. (http://www.makingplaces.hu).

The Corvin Promenade project covers an area larger than 80,700 m2 in a zone of the VIII. district adjacent to the downtown, presently undergoing complete urban and architectural reconstruction. Meanwhile, development projects of a different scale, but similar impact as regards urban restructuring, are under way in two neighboring districts (VII, IX). This continuous zone, reaching over districts, will be the ground of the workshop.

Themes of the Workshop are:

1. Public art and urban planning
2. Techniques of collective and individual intervention: how inhabitants can use and form their own living-space
3. Grassroots: creative, grassroots initiations vs. urban planning
4. Limits to planning: limitations of urban planning projects
5. Mistake assessment: analysis and planning of errors in city development projects.
6. Urban policy and identity formation: urban legends – local heroes

What do we provide? Maximum 100 EUR traveling cost for the participants, accommodation and production costs of the workshop. Participation in the workshop is free of charge.

Whom do we expect? Hungarian and foreign applicants who are engaged in the fields of culture, commerce, media or social sciences (artists, architects, sociologists, urbanists, cultural managers, philosophers, filmmakers, anthropologists, designers, economists, managers, communication experts, etc.).

The application has to include: CV and attached documentation of relevant professional practices in English or Hungarian. We accept applications via email, not larger than 1 MB, to the following address: urbancreativity[at]gmail.com

Deadline for applications: 14 May 2007

Further information: contact[at]impex-info.org

Posted by jo at 12:21 PM | Comments (0)

Subtle Technologies Symposium


in situ – art | body | medicine

in situ – art | body | medicine: The 10th Annual Subtle Technologies Festival 2007, Toronto, Canada :: May 24-27, 2007: Subtle Technologies Symposium - Register Early for discounted Festival Passes!

Subtle Technologies is a unique, multidisciplinary festival that explores the complex and subtle relationships between art and science. For the 10th Annual Festival, Subtle Technologies presents practitioners of arts, sciences and medicines, and those who study their context, historians, ethicists, and other critical thinkers to contemplate how these disciplines can work together and reshape perspectives on the body.

As scientific and technological breakthroughs prominently occupy our culture, we ask where the boundaries are. We investigate how we relate bodies in situ: as parts, as a whole, as systems; how we identify, map, modify, protect, violate, and heal.

The programming juxtaposes cutting-edge artistic projects and scientific exploration.

Events include:

BioArt Online Discussion co-presented with Year Zero One.

SymbioticA Tissue Engineering Workshop for Artists co-presented with Year Zero One.

Panel Discussion on the biological as a medium in art and science: Art, Science, and the Emotional Response co-presented with MicrobeWorld and Ontario College of Art & Design (OCAD).

Symposium featuring 26 speakers.

Evening of Performance featuring dance, robotics, butoh.

Exhibitions at InterAccess Electronic Media Arts Centre, Ontario Science Centre, Innis Town Hall Neighbourhood + Ayurveda on Queen Street West.

For more information, please visit our website

Partners: InterAccess Electronic Media Arts Centre, Year Zero One, SymbioticA, University of Western Australia, Ontario College of Art & Design, Ontario Science Centre, MicrobeWorld, University of Toronto Institute for Biomaterials and Biomedical Engineering, Design Exchange, University of Toronto Health Care, Technology, and Place.

Supporters: Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council, Australian Network for Art & Technology.

Posted by jo at 11:41 AM | Comments (0)

2007 Subtle Technologies Festival


SymbioticA Tissue Engineering Workshop for Artists

SymbioticA Tissue Engineering Workshop for Artists, part of the 2007 Subtle Technologies Festival - in situ – art | body | medicine :: May 18, 19, 20, 2007 :: Toronto, Canada.

The increasing recognition of technological intervention and integration in medicine and the body has introduced tissue culture (TC) and tissue engineering (TE) as new possibilities for artistic engagement. Bioart, an emerging art form that uses the biological as its medium, explores the vast possibilities of biotechnology. The use of TE for non medical ends is also been explored in areas such as food production (in-vitro meat), leather replacement, locomotion, research models, and art.

Biomedical research has a major influence on perceptions of body, self and medical thinking. TE enables researchers to grow three dimensional living tissue constructs of varying sizes, shapes and tissue types. These constructs continue living and growing in-vitro or as a “new kind of body”.

This two and a half day intensive workshop will introduce artists and other interested people (including architects, designers, ethicists, policy makers) to basic principles of animal TC and TE, as well as to its history and the different artistic projects working with TC and TE. No prior experience necessary.

The workshop was developed by Oron Catts, Ionat Zurr and Dr Stuart Hodgetts and is conducted by artist/researcher/curator Oron Catts, the Artistic Director of SymbioticA (University of Western Australia).

SymbioticA is an artistic laboratory dedicated to the research, learning and critique of life sciences. SymbioticA is the first research laboratory of its kind, in that it enables artists to engage in wet biology practices in a biological science department. Catts has eleven years of experience researching tissue technologies as an artistic medium through the Tissue Culture and Art Project (TC&A) that he founded in 1996.

Tissue engineering is the use of a combination of cells, engineering and materials methods, and suitable biochemical and physio-chemical factors to improve or replace biological functions. While most definitions of tissue engineering cover a broad range of applications, in practice the term is closely associated with applications that repair or replace portions of or whole tissues.

Dates and Times:

May 18, Friday, 1pm~5pm
May 19, Saturday, 10am~5pm
May 20, Sunday, 10am~5pm

Location: University of Toronto

There are approximately 25 positions available for this workshop, including up to 5 fully funded scholarships.

More information and application procedures are detailed on the website.

Subtle Technologies Festival includes Performances, Exhibitions, Panel Discussions, Symposium, and Community-based Artwork in addition to this Workshop. Subtle Technologies is supported by the Canada Council for the Arts, Ontario Arts Council, and Toronto Arts Council, and the Australian Network for Art and Technology.

Posted by jo at 11:31 AM | Comments (0)



Creative Interruptions

MOUSEMIXER: An evening of creative interruptions featuring experimental mashups of digital and new media art technologies :: March 8, 2007 @ 9PM :: Schupf Artists Studios, 54 Montgomery Street, Hamilton, NY. :: INSTRUCTIONS: Find the Mixmouse and knock seven times for admission.

MIXMOUSE.NET is an ongoing, experimental site of student works from Arts 302, Digital Studio II at Colgate University. MIXMOUSE.NET is a platform for the online exhibition and distribution of digital and new media works including net.art and networked performances. MIXMOUSE.NET is: Jon Costantino, Jessica Cozzetta, Polina Koronkevich, Phill O'Connor, Mary Pratt, Jason Rand, Bailey Rogers, Cori Schattner, Ruth Sylvia, Shelby Scott, Colin Twomey, and Jess Worby. MIXMOUSE.NET was initiated and is directed by Cary Peppermint, Assistant Professor of Digital Art. Mixmouse.net is made possible by the Department of Art & Art History at Colgate University.

Posted by jo at 11:20 AM | Comments (0)

1st Internacional Congress Art Tech Media


Spain, May 9-11

1st Internacional Congress Art Tech Media :: 9 - 10 - 11th m a y 2007 :: Spain.

The First International Art Tech Media Conference has been set up in order to reflect upon and analyse questions currently being raised about art and new technological media within an international context. In a globalised world, dominated by communication technologies, with countless questions concerning a future that affects our everyday life, it is essential to make this analysis and to consider, from different perspectives, how our polyhedral, altered reality is being effected by the widespread use of new technology as a support for new ideas and possibilities that are almost infinite. We need to investigate how this occurs in different societies and cultures and to propose models that may go beyond what has been known until now.

The Conference will focus on three clearly complementary regions: national, international (European, Asian) and Ibero-American. The conference is open to the general public, especially those connected to the visual arts and in particular those working in digital art.

Wendsday 9 th may:
Plaza del Rey

12,00 h
Traslation systems receptors

12,30 h:
Opening of 1st Internacional Congress Art Tech Media

Ministra de Cultura. Carmen Calvo
Institutions Collaborators
Directors of Art Tech Media . Montse Arbelo y Joseba Franco


16,30 - 18,45 h. - Debate: Culturals Politics
- Pavel Smetana. Director CIANT. Prague
- Gefried Stocker. Director Ars Electronica.Linz
- Alberto Saraiva. OI Futuro. Brasil
- Rachel Baker. Visual Arts: Media Art and Moving Image . Art Council UK
- José Carlos Mariategui. Founder of Alta Tecnología Andina (ATA) in Lima, Perú. Currently researcher
in technology and media at London School of Economics, UK.
- Ricardo Echevarría. President of AVAM
- Rebeca Allen. Media Artist /Professor at UCLA Design | Media Arts , former Research Director
at MIT Media Lab Europe in Dublin. Work with Nicholas Negroponte OLPC/MIT
- Andreas Broeckmann. Director TESLA. Berlin

19,00 - 20,00 h. - Presentation of Libro Blanco FECYT
- Eulalia Pérez. Directora Generalof FECYT (Science and Technology Spainish Foundation la Tecnología)
- José Luis Brea.Principal Researcher and Coordinator of Libro blanco
- Javier Echevarría. Director Humanidades CSIC (High Commision of Science

20,00 - 21,30 h. - Cocktail

Thursday 10th may: MINISTERIO DE CULTURA


9,30 h – 11,00 h. Debate: Museums and Art Centers XXI Century: Production, Curators and exhibition of digital art , Inmaterial Museum

- Nina Colosi. Founder/curator, TheProjectRoom.org
International arts & education program @ Chelsea Art Museum, New York
- Lisa Dorin. Curator The Art Institute of Chicago
- Marie-Claire Uberquoi. Director Es Baluard
- Javier Panera. Director DA2
- Laura Barreca. Curator Pan-Palazzo delle Arti Napoli and Università degli Studi della Tuscia
- Elena Rossi. Curator NetSpace: Viaggio dell'arte della rete at MAXXI.
Museo Nazionale delle Arti del XXI Secolo, Roma
- Antonio Franco. Director MEIAC
- Angela Martínez. Director Audiovisual Department of CCCB
- Nacho Ruiz. Gallery T-20

11,00 h – 12,00 h. Coffe break

12,00 h – 12,30 h. Internacionals Abstract: Centers of art production :
MediaLab, new platforms and process
- Niranjan Rajah. Assistant Professor School of Interactive Arts and Technology Simon Fraser University
- Semi Ryu. Assistant Professor, Kinetic Imaging School of the Arts Virginia Commonwealth University
- Zhuang Lixiao. Counselor Cultural Matters. Embassy of the Popular Republic of China
- Menene Gras. Director Exhibitions Casa Asia

12,30 h – 14,00 h. Debate: Centers of art production : MediaLab, new platforms and process
- Andreas Broeckmann. Director TESLA, Director Transmediale
- Gefried Stocker. Director Ars Electronica.Linz
- Ximo Lizana. Robotic Artist
- Luigi Pagliarini. Robotic expert and director of Peam Festival
- Rosina Gómez-Baeza. Director La Laboral
- Pedro Soler. Hangar
- Marcos M.. Medialab Madrid
- Montse Arbelo y Joseba Franco. Directores Art Tech Media


16,30 h – 18,00 h. Debate: Art– Industry– Research

- Innovación Tecnológica. Comunidad Madrid
- Vicente Matallana. La Agencia
- Luis Prieto. Sudirector Sociedad de la información. Miniterio de Cultura
- Alejandro Sacristán. Silicon Artists
- Anne Nigten. LAb V2 . Roterdam
- Marcel.lí. Artist
- Anna María Guasch. Crítica de Arte, Universidad Barcelona

18,00 h – 19,00 h. Break

Thurdays 10th may: INSTITUTO CERVANTES


19,00h – 21,00 h. Debate: Art and new media . The Iberoamerican Platform

- José Carlos Mariategui. Founder of Alta Tecnología Andina (ATA) in Lima, Perú. Currently researcher
in technology and media at London School of Economics, UK.
- Arcangel Constantini. Artist , curator Cyberlounge Museo Tamayo Arte Contemporáneo . Mexico city
- Graciela Taquini. Curator: Centro de Desarrollo Multimedia del Centro
Cultural General
San Martin of Ministerio de Cultura del Gobierno de la Ciudad de Buenos Aires
- Enrique Aguerre. Coordinator : Video Department of Museum Nacional of Visual Arts in Uruguay .
Curator of Uruguay in Biennal of Veneza 2007



9,30 – 11,00 h. Debate: Art Critic, pensamiento and Mass Media

- Francisco Serrano. Director Foundation Telefonica
- Rachel Baker. Art Council. UK
- Roberta Bosco. new media journalist. CiberPaís
- Anne Nigten. Roterdam V2
- Graciela Taquini. Curator: Centro de Desarrollo Multimedia del Centro Cultural General
San Martin of Ministerio de Cultura del Gobierno de la Ciudad de Buenos Aires
- Margarita Schultz. Philosphy´s doctor (Aestetic). Facultad de Artes. University of Chile
- Sergio Calvo Fernández. Decano Facultad de Comunicación. European University of Madrid
- Tina Velho Artista, Coordinadora del Laboratorio de Arte e Tecnologia da Escola de
Artes Visuais do Parque Lage, Rio de Janeiro, Brasil.

11,00 h – 12,00 h. Coffee break

11,30 – 13,00 h. Debate: New market: galleries, fairs, biennals, rights

- Montxo Algora. Director Art Futura
- Nestor Olhagaray. Director of Bienal de Video y Nuevos Medios de Chile.
- Luis Silva. Curador, turbulence y director The upgrade Lisboa
- Enrique Aguerre. Coordinator : Video Department of Museum Nacional of Visual Arts in Uruguay .
Curator of Uruguay in Biennal of Veneza 2007
- Ricardo Echevarría. Presidente AVAM

13,15 – 14,00 h. Conclusions

Friday 11th may CASA DE AMERICA


16,30 – 20,00 h. Abstracts, Iberoamerican Debates

- Tania Aedo. - Tania Aedo. Director of Multimedia Center of CENART (Centro Nacional de las Artes. Mexico
- Gustavo Romano. Artist. Coordinator of Medialab of Centro Cultural de España
at Buenos Aires. Director Limbo project at Museum of Modern Art. Buenos Aires
- Maria José Monge . Adj. Director of MADC Museo de Arte Contemporáneo de Costa Rica. (San José)
- Mauricio Delfín. Director of Realidad Visual / Gestor del Programa New
technologies, gestión and cultural politics in Peru.

Posted by jo at 08:38 AM | Comments (0)

May 04, 2007

Storefront for Art and Architecture



Storefront for Art and Architecture :: New York City :: May 28 - June 2, 2007

Postopolis! is a five-day event of near-continuous conversation about architecture, urbanism, landscape, and design. Four bloggers, from four different cities, will host a series of live discussions, interviews, slideshows, panels, talks, and other presentations, and fuse the informal energy and interdisciplinary approach of the architectural blogosphere with the immediacy of face to face interaction.

"BLDGBLOG (Los Angeles), City of Sound (London), Inhabitat (New York City), and Subtopia (San Francisco) will meet in person to orchestrate the event, inviting everyone from practicing architects, city planners, and urban theorists to military historians, game developers, and materials scientists to give their take on both the built and natural environments.

For the past five years, blogging has helped to expand the bounds of architectural discussion; its influence now spreads far beyond the internet to affect museums, institutions, and even higher education. Postopolis! is an historic opportunity to look back at what architecture blogs have achieved – both to celebrate their strengths and to think about their future.

Posted by jo at 06:12 PM | Comments (0)



Myths of Immateriality

DANUBE TELELECTURE # 3 from the MUMOK, Vienna : Myths of Immateriality: Curating, Collecting and Archiving Media Art :: Christiane Paul and Paul Sermon :: The Department for Image Science at Danube-University Krems created a new format of international lecture and debates on key questions of Image Science and Media Art with high-calibre experts - the DANUBE TELELECTURES. The discussion will be recorded by several cameras and transmitted live over the www. Online viewers can participate live in the discussion via email.

During the last decades media art has grown to be the art of our time, though it has hardly arrived in our cultural institutions. The mainstream of art history has neglected developing adequate research tools for these contemporary art works, they are exhibited infrequently in museums, and there are few collectors. Media art is hardly being archived and systematically preserved like ancient and traditional forms of art. This loss of data our society is facing because of the change in storage media and operational systems threatens to result in a total loss of our contemporary digital art. Which practices and strategies in the curating and documenting of media art do experts in the field suggest?

CHRISTIANE PAUL, curator for New Media, Whitney Museum, NY, author of "Digital Art" (Thames & Hudson 2003)
PAUL SERMON, media artist and scientist at the University of Salford, UK.
*(Introduction: Oliver Grau, Univ.-Prof. and Head of the Department for Image Science, Danube University Krems).

Danube TeleLecture # 3 at the MUMOK, MuseumsQuartier, Vienna
Time: May 27, 2007, 17.00h CET (Start of Streaming).

You can attend the event in MUMOK or in realtime over the www.

After 20 minute long lectures the audience will have the possibility to ask the speakers questions. Internet users may join the discussion via e-mail.

Contact: Mag. Jeanna Nikolov-Rammrez Gaviria
Tel: +43 (0)2732 893-2570
E-Mail: jeanna.nikolov[at]donau-uni.ac.at


Posted by jo at 04:07 PM | Comments (0)



Call for Participation

Piksel07 :: November 15-18 2007 :: Call for Participation :: Deadline: July 15, 2007 :: Piksel[1] is an international event for artists and developers working with open source audiovisual software, hardware & art. Part workshop, part festival, it is organised in Bergen, Norway, by the Bergen Centre for Electronic Arts (BEK) [2] and involves participants from more than a dozen countries exchanging ideas, coding, presenting art and software projects, doing workshops, performances and discussions on the aesthetics and politics of FLOSS & art.

This years event - Piksel07 - continues the exploration of free/libre and open source audiovisual code and it's myriad of expressions, and also investigates further the open hardware theme introduced at Piksel06.

Piksel07 is done in collaboration with Gallery 3,14[3] which will host this years exhibition. Piksel is organised by BEK and a community of core participants including members of collectives dyne.org, goto10.org, ap/xxxxx, hackitectura.net, riereta.net, drone.ws, gephex.org and others.


For the exhibition and other parts of the programme we currently seek projects in the following categories:

1. Installations: Projects related to the open hardware theme including but not restricted to: circuit bending, reverse engineering, repurposing, modding and DIY electronics, preferably programmed by and running on free and open source software.

2. Audiovisual performance: Live art realised by the use of open source software and/or hardware.

3. Software/Hardware presentations: Innovative DIY hardware and audiovisual software tools or software art released under an open licence.

Deadline - july 15. 2007

Please use the online submit form or send documentation material - preferably as a URL to online documentation with images/video to piksel07[at]bek.no

BEK, att: Gisle Froysland
C. Sundtsgt. 55
5004 Bergen

piksel07 is produced in cooperation with Kunsthoegskolen in Bergen dep The Academy of Fine Arts, Gallery 3,14. Supported by Bergen Kommune, Norsk Kulturfond and Vestnorsk Filmsenter.

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Upgrade! Montreal



UPGRADE! MONTREAL: POLITICS UNDER FIRE :: THURSDAY, May 17th :: 20:30H -­ 24:00H :: Société des arts technologiques (SAT), 1195 St. Laurent :: Free and open to the public :: video-art screening & experimental music.

Renegade curators Horea Avram and tobias c. van Veen present works that tackle the social and political dimension of new media, from control and alternatives to control, strategies of democratization and access to creative tactics for confronting mechanisms of power.

The evening is presented as part of the [CTRL]: Technology : Art : Society Symposium, taking place at McGill during daylight hours of May 17th, to which everyone is welcome.


20H30 + / presentation of 'Anti-Data Mining' by RYBN, France. Rybn is a transversal collective which came out of new practices linked to vjing, electonic music, sensorial technologies and open source software.

21H15 + uninterrupted screening of video art. Featuring video-artists Rozalinda Borcila, Ondrej Brody & Kristofer Paetau, Andrew Lynn and The Vacuum Cleaner. Curated by Horea Avram.

22H30 + live electronic and experimental music. Performances by Tara Rodgers, Doug van Nort, Javier Arciniegas, tobias.dj. Also time for drinks.

:: HORAIRE [CTRL]: TAS schedule :: 17 MAI 2007 ::

14H ­ 15:30 DEMOCRACY, ART & MEDIA: PANEL :: With members of / Avec des membres du the Levier Project, Oboro, Centre Canadien d¹Architecture (CCA), Fair Trade Media & Île Sans Fil. [ Banquet Room, Thomson House, 3635 McTavish St., McGill ]

16H ­ 18:00 McKENZIE WARK: GAMER THEORY :: Professor of Cultural and Media Studies at Lang College, New School University. He is the author of several books, most recently Dispositions and A Hacker Manifesto (Harvard UP, 2007). Ever get the feeling that life's a game with changing rules and no clear sides, one you are compelled to play yet cannot win? Welcome to gamespace. Gamer Theory uncovers the significance of games in the gap between the near-perfection of actual games and the highly imperfect gamespace of everyday life in the rat race of free-market society. [ Keynote talk, Adams Auditorium, 3450 University St., McGill ]

18H ­ 20:00 Time for dinner

20:00H ­ 24 UpgradeMTL :: POLITICS UNDER FIRE :: [ Society for Arts and Technology (SAT), 1195 St. Laurent ]

[CTRL]: TAS is sponsored by The Beaverbrook Fund for Media@McGill with assistance from the Post-Graduate Students Society and AHCS_GSA. TAS partners include UpgradeMTL, the Society for Art and Technology and the Department of Art History and Communication Studies, McGill University. [CTRL]: TAS is Anna Feigenbaum, tobias c. van Veen & Horea Avram.

Upgrade! is an autonomous, international and grassroots organization of monthly gatherings for digital culture and the technology arts. Upgrade Montreal is generously supported by the Society for Arts and Technology [SAT], through networks of the Upgrade International, the various partners we work with, the artists who donate their time and the personal energies of its organizer triumvirate of tobias c. van Veen, Sophie Le-Phat Ho & Anik Fournier.

Posted by jo at 03:12 PM | Comments (0)



An Unconference

Mobilized! Exploring Mobile Media and Public Space :: an unconference focused on mobile communications media practices and technologies and the ways they are rapidly changing public space and social interaction :: Saturday, May 5, 7PM EYEBEAM 540 W.21st St. Bet. 10th & 11th Ave., NYC. :: Sunday, May 6, 10AM - 8PM POLYTECHNIC UNIVERSITY - Six Metrotech Center, Brooklyn.

Mobilized! is an unconference where content is driven and created by a convergence of students, designers, artists, scholars, activists, and media professionals in the spirit of the open source movement. Mobilized! is a chance to look at what people are doing with mobile media, a chance to find out how to do it yourself, and a moment to reflect on the social significance of these practices.

Mobilized! will feature: A kickoff event with keynote by Siva Vaidhyanathan, author of The Anarchist in the Library; a showcase of student, artist, community and new business projects and mobile video and project awards; workshops focused on creating platforms and projects on mobile devices including new tools like Python, Java Micro Edition (J2ME), Microsofts .NET Mobile Edition, Flash Lite, Google Maps and Mobile, Mobile Processing, and a look at how they are being used in areas from open source telephony and mobile video blogging, to mobile gaming and locative urbanism with noted designers, programmers and artists.

There is still room to present projects or conduct a workshop: That means were ooking for anyone, particularly but by no means exclusively, students, interested in doing a presentation of work, a workshop, a talk or discussion around mobile or locative technologies and public space, interpreted widely

If you want to do a workshop, let us know. We have spaces with projectors, computers, etc. If you want to present work, either finished art, design, software, hardware, finished or a work-in-progress, let us know. We will have a presentation area.

Send a note to email: tellme (at) mobilizednyc.org

CUNYcolab, The Center for Social Media at American University, and a group of university programs doing work in digital media have joined to sponsor an event that brings together people making mobile media, designing software, and using mobile and locative technologies.

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Artists' Television Access


Call for Work

Artists' Television Access (ATA) is accepting experimental and independent shorts (running 20 minutes or less) in all genres for the ATA Film & Video Festival 2007! POSTMARK DEADLINE: June 15, 2007. More details.

Artists' Television Access is a 501(c)(3) nonprofit, all-volunteer, artist-run, experimental media arts gallery that has been in operation since 1984. ATA hosts a series of film and video screenings, exhibitions and performances by emerging and established artists and a weekly cable access television program. To celebrate and promote experimental film and filmmakers, ATA hosts the ATA Film and Video Festival —an assembly of short films you won’t see anywhere else.

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May 03, 2007



Jon Ippolito: Art After Institutions

argos, centre for art & media in Brussels, presents: THURSDAYS@ARGOS LECTURE: Jon Ippolito: Art After Institutions.

Participatory media like Flickr and YouTube have given ordinary netizens a chance to shine as media creators, but this fact hasn't gone over well with "serious" artists and their curatorial counterparts. Seemingly bereft of the social status, economic privilege, and institutional recognition of mainstream art stars, some new media artists wonder what role, if any, remains for them to play in the the Web 2.0 age of peer-filtered creativity. As Joline Blais and Jon Ippolito argue in the 2006 book 'At the Edge of Art', new media art's dependence on institutions is indeed in crisis, but this is more of a loss for galleries and museums than for the artists themselves. For participatory media are on the verge of enabling creators to regain the power they once held before the era of commodity speculation and the art market: the ability to reconnect people in new forms of creative kinship, whereby artworks facilitate social transactions rather than financial ones. To accept this new role, however, artists, curators, and critics may have to renounce the pyramid scheme offered by the brick-and-mortar art world, replacing the monolithic canon of Great Artists with a dense network of creative participants.

The recipient of Tiffany, Lannan, and American Foundation awards, Jon Ippolito exhibited artwork with collaborative teammates Janet Cohen and Keith Frank at the Walker Art Center, ZKM/Center for Art and Media Karlsruhe, and WNET's ReelNewYork Web site. As Associate Curator of Media Arts at the Guggenheim Museum, he curated Virtual Reality: An Emerging Medium and, with John G. Hanhardt, The Worlds of Nam June Paik. Ippolito's critical writing has appeared in periodicals ranging from Flash Art and the Art Journal to the Washington Post. At the Still Water lab co-founded with Joline Blais, Ippolito is at work on three projects--the Variable Media Network, the Open Art Network, and their 2006 book 'At the Edge of Art'--that aim to expand the art world beyond its traditional confines.

In cooperation with the International Visitors Program for Media Arts organised by Digitaal Platform IAK/IBK and Flanders Image.

Werfstraat 13 rue du Chantier
B-1000 Brussels
tel +32 2 229 00 03
fax +32 2 223 73 31

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the story of a never ending line


Call for Contributions

Zachary Lieberman is making a performance at the OFFF festival along with his good friend Theo Watson (of L.A.S.E.R TAG fame). The idea of the performance is really quite simple -- the story of a never ending line -- and the performance will be made up of both videos as well as live material, and synthesized graphics.

We are asking you, with your awesome brains and wicked fast design skills, to send us videos in your own style, of a line being drawn from one side of the screen to another. It can be animated, live video, computer generated, or some other way we can't even think of yet.

We would love to get videos from you to use in our performance. The more imaginative the better! All the videos used will be credited at the end of the performance so it will be a great chance to show what you can do with a line and 5 seconds of time. Multiple submissions are encouraged!


1: The line should start off screen, enter on one side and leave on
another (doesn't have to be right to left, can be any side to any side, including the same leaving on the same side the line started on).

2: The line should have the effect of being drawn, not moved across the screen. See examples bellow.

Good: http://impssble.com/OFFF/good.mov
Bad: http://impssble.com/OFFF/bad.mov

3: Once a part of a line is drawn it should not move too much, the animation should be the effect of drawing the line (as in the good movie above).

4. The video doesn't necessarily have to be the drawing of a line (although most of what we are working with is), but it can also be something moving along a very clear path. The idea should be about going from point a to point b.

5. Both sound or silent is ok.

6: Videos should be 3 - 8 seconds long, 640 480 quicktime format. (320x240 also ok)

7: Videos should be submitted to zlieb[at]parsons.edu or theo[at]muonics.net (if under 10MB) or posted online for download.

8: We need them by tuesday 8th of May.

We hope you enjoy this challenge, and would like to take part in our project. Thanks and have fun!

zach & theo

Posted by jo at 11:52 AM | Comments (0)

May 02, 2007



Call for Proposals

Conflux 2007 will take place in Brooklyn again this September and we want you in it! The call for proposals is at http://confluxfestival.org and has all the information you need on how to participate. DEADLINE EXTENDED TO MAY 10TH.

The Conflux festival has been described as "a network of maverick artists and unorthodox urban investigators…making fresh, if underground,contributions to pedestrian life in New York City, and upping the ante on today's fight for the soul of high-density metropolises." At Conflux visual and sound artists, writers, urban adventurers and the public gather for four days to explore the physical and psychological landscape of the city. For more information about Conflux, check out the Conflux 2006 site.

Posted by jo at 06:16 PM | Comments (0)



Call for Participants

Last chance to apply to TransISTor workshop in JUNE organised by www.FAMU.cz and www.CIANT.cz.

TransISTor focuses on computer games technologies while opening up their creative potential for non-gaming storytelling domains including art, cinema, TV, educational applications and cross-media productions.

Session 1: Game modifications and machinima films :: 14. 06. - 17. 06. 2007, Prague :: Application deadline: 14. MAY 2007 :: Working language is English :: From combination of comics and video games to films created with game engines. This session will provide an overview of tools and techniques used for customizing and expanding computer games. We will examine issues of game design and game play in the context of cross media production. The goal is to explore the basics of how to create and modify game levels. In the intensive 4-day workshop your will create your first machinima film.

14. - 17. JUNE 2007 | Prague | € 400 (freelancer) / € 800 (corporate) - The price includes training, didactic materials, accommodation and meals.

Preliminary schedule:

14. June
9:00 - 12:00 AM | VIKTOR ANTONOV: Visual storytelling for Game worlds: designing and building a sci-fi universe
1:30 - 5:00 PM | DANI SÁNCHEZ-CRESPO: Independent Vs. Commercial games: from aesthetic to industry aspects

15. June
9:00 - 12:00 AM | FRIEDRICH KIRSCHNER: From game engine to machinima movie 1:30 - 5:00 PM | FRIEDRICH KIRSCHNER: Machinima workshop I.: What makes a machinima?

16. June
9:00 - 12:00 AM | MICHAEL NITSCHE: Machinima and performance 1:30 - 5:00 PM | FRIEDRICH KIRSCHNER: Machinima workshop II.: Live Machinima Sketch.

17. JUNE
9:00 - 12:00 AM | MICHAEL NITSCHE: Machinima and the moving image 1:30 - 5:00 PM | FRIEDRICH KIRSCHNER: Machinima workshop III: A small Movie.

VIKTOR ANTONOV: Visual storytelling for Game worlds: designing and building a sci-fi universe - Case studies of game design by Viktor Antonov, the concept designer and the lead art director of Half-Life 2. On examples of his previous and current work, he will illustrate the different stages of world creation from research to architecture, lighting, and concepts, concentrating on the functions of visual design and visual storytelling. In the presentation he will discuss the fundamentals of game design and principles of creating game environments and spaces that provide good gameplay.

VIKTOR ANTONOV (USA/FR/BG): Art-director and concept designer for Half-Life 2 currently working on a new game “The Crossing” which merges single- and multiplayer aspects into a new genre of "cross-play“.

FRIEDRICH KIRSCHNER: From game engine to machinima movie Machinima is somewhat new and emerging medium that makes use of the realtime rendering capabilities of modern day computer systems to create animated movies. Often enough, machinima repurposes computer gaming technology to help „shooting film in virtual reality“. Though by definition not necessarily bound to computer gaming as such, the two are closely link, not only technologically, but also in their social relevance. Often using the characters and assets from the underlying computer game, machinima works as a way of criticising the games' content and enables the audience to become creative and expand the boundaries set by the rules of the computer game. Machinima transforms into creative play, emphasizing the process of filmmaking as a socially relevant new form of expression and media awareness. With the way machinima is made come broader issues stretching from copyright infringement to new channels of distribution.

FRIEDRICH KIRSCHNER: Machinima workshop I. What makes a machinima? In this session we will look at the Workflow and Content ProductionPipeline for Machinima movies.

II. Live Machinima Sketch. In this session we will create a simple character setup and perform a live sketch.
III. A small Movie.

In the final Workshop session, participants will create a small Machinima sequence and render it to the disk for editing, sound and post-production. The Machinima workshop will consist of a brief overview of the history of machinima, followed by a basic explanation of the concepts and workings and finally some hands-on experience. Through analysis of example movies, attendees will get an idea of what makes machinima unique. The larger context of computer games and gaming culture will be explained and the idea of the social relevancy of machinima will be discussed. We briefly talk about the legal aspects of machinima moviemaking and take a look at newly formed distribution channels like youTube or google video. Druing the 4 day workshop participants will create a small machinima movie with a tool based on the game Unreal Tournament 2004 called MovieSandbox.

FRIEDRICH KIRSCHNER (AT): Artist and researcher at the Ars Electronica Futurelab in Linz working with the emerging genre of machinima films.

DANI SÁNCHEZ-CRESPO: Independent Vs. Commercial games: from aesthetic to industry aspects :: Should we consider video games an art form or they are simply a commercial product with no values? The presentation will discuss the need for an aesthetic of video games and evaluation of artistic merit, so consumers learn to appreciate what is and what is not relevant in a video game. We will talk about video game artists, their training, and the need to broaden our creator base to incorporate new ideas and creativity. The lecture is driven by examples, from Mario to Half Life, trying to bridge the gap between classic gamers and art critics.

DANI SÁNCHEZ-CRESPO (ES): Entrepreneur and one of the leading voices in game research in Europe who founded Europe’s first Master’s Degree in Video Game Creation. Sub-director of ArtFutura, Spain’s main multimedia festival, and a member of the jury at the Independent Games Festival.

MICHAEL NITSCHE: Machinima and performance: 'part theatre, part film, part videogame' [Salen 2002, 99] Machinima grows from a performance in a virtual world. What are the conditions of this performance? We will look at theory and practice of the idea of the computer as theater for machinima.

Project presentation: Tangible User Interfaces for 3D Real-Time Environments (TUI3D) MICHAEL NITSCHE: Machinima and the moving image 'Filmmaking + Animation + Game Tech' [Marino 2004, 3] No matter what the appearance of machinima, it always deals with the question of the cinematic. But because it is generated so differently from established methods, the 'question of the cinematic' is a two-sided sword in the case of machinima. Is it a move of game media towards film or a simple acquisition of game technologies in the world of moving image production? What is the position of machinima in relation to film? Project presentation: Machinima editing tool Pre-vis efforts.

MICHAEL NITSCHE (USA) Assistant Professor at the School of Literature, Communication & Culture LCC at the Georgia Institute of Technology who launched a website on the academic take on machinima and the first academic book publication on this relatively new field where games and film/ video merge.

TransISTor is a training initiative organised by CIANT - International Centre for Art and New Technologies in cooperation with FAMU - Film and TV Faculty of the Academy of Performing Arts in Prague supported by the MEDIA Training Programme of the European Union.

CIANT - International Centre for Art and New Technologies
Address: Kubelíkova 27, 130 00 Prague, Czech Republic
Tel.: +42 (0) 296 330 965, Fax: +42 (0) 296 330 964
e-mail: transistor2007 AT ciant.c

Posted by jo at 02:17 PM | Comments (0)

SUMMIT non-aligned initiatives in education culture


Meeting in Berlin

SUMMIT non-aligned initiatives in education culture :: May 24 to 28, 2007, Berlin (DE) :: Two weeks before this years G-8 meeting a wide range of projects, initiatives and protagonists from the fields of art, culture and political activism are going to gather in Berlin for "SUMMIT non-aligned initiatives in education culture": SUMMIT is a proposal to question and to change some of the fundamental terms of the debate around education, knowledge production and information society.

Beyond the widespread lament about the crisis in education there are numerous initiatives converging around "education", recognizing that it is equally a platform for cultural actualisation and self organization: these projects range from free academies, to exhibitions as educational modes to ad-hoc initiatives within social, political and cultural organisations. Parallel to that many initiatives are taking place within or at the margins of institutions which work against the grain of their official modes and expand rather than defy existing aims.

SUMMIT seeks to bring together various approaches from different genres and calls to come forth and unalign from both, the tendencies of bureaucratization and privatization of knowledge and education. The four-day event focusses on four thematic tracks: "Knowledge and Migrancy", "Self-authorization, -organization, -valorization", "Creative Practices" and "Education unrealized and ongoing".

SUMMIT features an evening program with lectures, curated dialogs and performances, a series of meetings and sessions in working groups caucuses, workshops, drafting sessions and history lessons as well as open forums for initiating proposals, highlighting practices and making theory urgent.

SUMMMIT is designed by Irit Rogoff and Florian Schneider in collaboration with Kodwo Eshun, Susanne Lang, Nicolas Siepen and Nora Sternfeld.

Registration and further information at: http://summit.kein.org

Organization: Multitude e.V., together with Goldsmiths College, London University and Witte de With, Rotterdam. SUMMIT is supported by the Federal Culture Foundation, Germany.

Posted by jo at 01:57 PM | Comments (0)

A Handbook for Coding Cultures


Platforms for Communication and Creativity

A Handbook for Coding Cultures provides a lasting companion to the inspiring projects and topical currents of thought explored in the Coding Cultures Symposium and Concept Lab. Six invited writers and groups from Australia, Belgium, Brazil, England, Italy and Hong Kong share their experiences of building imaginative digital tools, social networks, open labs and internet-based knowledge platforms for communication and creativity. Complementing these commissioned texts are contributions from our guest artists from Canada, England and Jamaica. Artist statements from Symposium speakers completes this snapshot of contemporary cultural practice.

Keeping true to the traditions of the free circulation of knowledge and culture, the Coding Cultures Handbook is available free of charge. A limited print edition of the Handbook was launched at the Coding Cultures Symposium on 9 March 2007. It was commissioned by Francesca da Rimini and d/Lux/MediaArts.

The complete Handbook can be viewed or downloaded below. Alternatively, essays can also be downloaded individually ... and where available, a link to the Author's online essay is also provided.

A Handbook for Coding Cultures (in pdf) (3MB) (full version)
A Handbook for Coding Cultures (zipped ) (2.8MB) (full version)

List of Contents :

Lisa Havilah (AUS) - Foreword
David Cranswick (AUS) - Preface

Francesca da Rimini (AUS): Introduction: Archipelagos of open code and free culture

Ruth Catlow and Marc Garrett, Furtherfield (England): Do It With Others (DIWO): contributory media in the Furtherfield Neighbourhood

Maja Kuzmanovic and Nik Gaffney, (Belgium): Open ended processes, open space technologies and open laboratories

Andrew Lowenthal, (AUS): Free Beer vs Free Media

Leandro Fossá, (Brazil) in collaboraton with Claudio Prado (Brazil): Digital Culture: The jump from the 19th to the 21st Century

Lam Oi Wan, (Hong Kong): What is that Star? Media cultural action in the claiming of space

Agnese Trocchi (Italy): Shivers of sharing

Alice Angus and Giles Lane, Proboscis (UK): Cultures of Listening

mervin Jarman (Jamaica) in collaboration with Sonia Mills: mongrelstreet: the culture of codes

Camille Turner (Canada): Representing in Digital Space

David S. Vadiveloo (AUS): A time for empowerment or a new digital divide?

Tallstoreez Productionz (AUS): Returning the Gaze: the hero-project, how to join politics, youth empowerment and entertainment

Christopher Saunders (AUS): Big hART - a model for social and cultural change

Lena Nahlous, Ben Hoh and Trey Thomas (aka MC Trey) (AUS): A presentation about why ICE exists and how it works

Posted by jo at 12:06 PM | Comments (0)

h2.0: New Minds, New Bodies, New Identities


Conference Webcast

h2.0: New Minds, New Bodies, New Identities :: Massachusetts Institute of Technology: May 9 :: 8:30 am to 4:30 pm :: webcast here.

Ushering in a New Era for Human Capability: The story of civilization is the story of humans and their tools. Use of tools has changed the human mind, altered the human body, and fundamentally reshaped human identity. Now at the dawn of the 21st century, a new category of tools and machines is poised to radically change humanity at a velocity well beyond the pace of Darwinian evolution.

A science is emerging that combines a new understanding of how humans work to usher in a new generation of machines that mimic or aid human physical and mental capabilities. Some 150 million of us are over the age of 80, while 200 million of us suffer from severe cognitive, emotional, sensory, or physical disabilities. Giving all or even most of this population a quality of life beyond mere survival is both the scientific challenge of the epoch and the basis for a coming revolution over what it means to be human. To unleash this next stage in human development, our bodies will change, our minds will change, and our identities will change. The age of Human 2.0 is here.

Hosts: JOHN HOCKENBERRY, award-winning journalist; distinguished Media Lab fellow and HUGH HERR, NEC Career Development Professor, MIT Media Lab :: Keynote: OLIVER SACKS :: Special Guests: MICHAEL GRAVES, MICHAEL CHOROST, JOHN DONOGHUE, AIMEE MULLINS and DOUGLAS H. SMITH.

The Media Lab at the Center

In a dramatic and crucially important new initiative, h2.0, the MIT Media Lab seeks to advance on all fronts to define and focus this scientific realignment. The Lab will leverage a new understanding of human cognition, emotion, perception, and movement to produce machines that better serve humanity.

Positioning itself at the center of a confluence of new science is a familiar place for the Media Lab. Understanding the adaptive impulse of humans and harnessing it for the pursuit of a new generation of machines is an endeavor as world shattering as anything the Media Lab has ever undertaken. The goal? New Minds, New Bodies, New Identities.

Posted by jo at 11:31 AM | Comments (0)

Upgrade! Brussels/Ghent


Courtisane Festival for Shortfilm, Video and New Media

Upgrade! Brussels/Ghent: Courtisane Festival for Shortfilm, Video and New Media :: May 3-6, Vooruit, Ghent. From the part of Frictions, platform for media art at Vooruit, your special attention for:

From Safety to Where -- exhibition :: May 3-6 (daily from 13.00 to midnight - ballroom and studio's - free entrance): From Safety to Where gathers video and audiovisual installations where urges and senses rule supreme, where nature turns your world upside down or where nature is the lost piece in the puzzle that makes everything right, where violence can be a catalyst and music is salvation for the soul. (With Aernoudt Jacobs, Jacob Kirkegaard, Lars Nilsson, Jeremy Shaw and Richard T. Walker)

Andrea Bozic: Still life with man and woman -- dance performance :: May 3-6 (20.00 - dome - 11/8 euro): A film set within a live performance with uninvited apparitions, imaginary friends and some real people: a man and a woman. One follows the other but they never manage to end up in the same space. Instead, the space develops a life of its own.

FrictiesSalon: Gerard Holthuis :: May 5 (18.30 - dansstudio - free entrance): Gerard Holthuis recently finished his series 'Careless Reef', six films about life underseas and managed to snatch several international prizes right away. He is the central guest in the FrictiesSalon where we would like to hear him speak about different modes of watching and his peculiar fascination for underwater life and city landscapes.

Christian Marclay's 'Screen Play' -- audiovisual performance :: May 6 (20.00 - theatrehall - 10/8 euro): With Screen Play Christian Marclay made a silent visual score that combines found filmfootage and graphics. Three trio's will bring their interpretation of Marclay's visual score: Greg Kelley/Bhob Rainey/Jason Lescalleet, Tetuzi Akiyama/Ignatz/Stef Irritant en Steve Beresford/John Butcher/Paul Lovens.

Posted by jo at 11:18 AM | Comments (0)

May 01, 2007



Call for Submissions

OK.VIDEO MILITIA: 3rd Jakarta International Video Festival, Indonesia :: July 10 - 21 July, 2007 :: Call for VIDEO IN / VIDEO OUT / TV SCRATCHING / VIDEO SHOP / WORKSHOPS SERIES :: DEADLINE MAY 15, 2007.

OK.VIDEO: O.K. Video – biannual Jakarta International Video Festival that was established in 2003 by ruangrupa, an artists’ initiative based in Jakarta that focuses on supporting the development of the arts in the specific context of culture in Indonesia through research, study and documentation, along with intensive collaboration and cooperation with artists through organizing exhibitions, artist residency programs, art projects and workshops.

OK.VIDEO: MILITIA: In this 3rd OK.Video Festival, we will try to develop a collaboration work between the artistic team of the festival with the participating artists or with the context of a certain public space. This collaboration work will try to get an artistic strategy that could be fit with the context of the community, public and certain space. The theme of the 3rd Ok. Video Festival is “MILITIA”, means to empowered the civilians in a more organize way or by plan so it also mobilize and connected with some activity that push some changes which is initiated from itself.

In this context, we relate this theme with the development of video as the medium in the society today. With this focus we will try to empower the society as a technology and media user to build a social, political, cultural, and historical consciousness towards the reality that happened in our surroundings.

With MILITIA, as the theme of this year festival, the festival will be showing video works that have this kind of tendencies:

- playing or questioning video/audio technology in our daily life such as video camera, digital camera, videophone, computer, television, surveillance camera, etc.
- investigation, which is raise a social, political and cultural issue or situation that happened in our surroundings.
- video exploration, as a strategy to empower the society such as community video.
- presenting history with personal point of view.
- showing personal experience or society in the daily life with video diary or testimony.

Posted by jo at 01:22 PM | Comments (0)

April 30, 2007

The Situational Drive


Complexities of Public Sphere Engagement

inSite and Creative Time are pleased to present The Situational Drive: Complexities of Public Sphere Engagement, a two-day multidisciplinary sequence of panel discussions, conversations, and art projects rethinking the challenges of artistic, curatorial, architectural and theoretical engagement in urban and other public spheres :: May 12 - 13, 2007 [May 12, 10am – 7pm; May 13, 10:45am – 6:15pm] :: Cooper Union, The Great Hall, 7th Street, btw 3rd and 4th Ave, NYC :: Organized by Joshua Decter.

In the network society everyone puts together their own city. Naturally this touches on the essence of the concept of public domain…Public domain experiences occur at the boundary between friction and freedom. --Maarten Hajer and Arnold Reijndorp, In Search of New Public Domain

What is at stake today in terms of public domain experiences? How do we know the impact of cultural projects upon the imaginations of citizens? Do we believe in the possibility of transforming publics? What is the nature of our situational drive?

Participants: Dennis Adams, Doug Aitken, Doug Ashford, Judith Barry, Ute Meta Bauer, Mark Beasley, Bulbo, Teddy Cruz, CUP (Center for Urban Pedagogy), Tom Eccles, Peter Eleey, Hamish Fulton, Gelitin, Joseph Grima, Maarten Hajer, David Harvey, Mary Jane Jacob, Nina Katchadourian, Vasif Kortun, Laura Kurgan, Rick Lowe, Markus Miessen, France Morin, Antoni Muntadas, Kyong Park, Anne Pasternak, Vong Phaophanit, Michael Rakowitz, Paul Ramirez Jonas, Osvaldo Sanchez, Saskia Sassen, Allan Sekula, Shuddhabrata Sengupta (Raqs Media Collective), Michael Sorkin, Javier Tellez, Nato Thompson, Anthony Vidler, Anton Vidokle, Judi Werthein, Krzysztof Wodiczko, Mans Wrange.

For a full program of events: http://www.inSite05.org or http://www.Creativetime.org.
Tickets are Free! No reservation necessary.

The Situational Drive is made possible, in part, by Artography: Arts in a Changing America, a grant and documentation program of Leveraging Investments in Creativity, funded by the Ford Foundation.

Additional support provided by haudenschildGarage and the Ronald and Lucille Neeley Foundation; media support by The Village Voice.

In conjunction with The Situational Drive, inSite is pleased to launch Dynamic Equilibrium: In Pursuit of Public Terrain, the third in a series of books documenting inSite_05. Dynamic Equilibrium includes essays and dialogues drawn from the inSite_05 Conversations, which took place in San Diego and Tijuana from November 2003 through November 2005. For more information, or to place an order, please visit http://www.inSite05.org.

Posted by jo at 07:26 PM | Comments (0)

The Aesthetic Interface



The Aesthetic Interface :: 9-13 May 2007 :: Aarhus University, Denmark.

The interface is the primary cultural form of the digital age. Here the invisible technological dimensions of the computer are given form in order to meet human perception and agency. This encounter is enacted through aesthetic forms stemming not only from the functional domains and tools, but increasingly also from aesthetic traditions, the old media and from the new media aesthetics. This interplay takes place both in software interfaces, where aesthetic and cultural perspectives are gaining ground, in the digital arts and in our general technological culture – keywords range from experience oriented design and creative software to software studies, software art, new media, digital arts, techno culture and digital activism.

This conference will focus on how the encounter of the functional and the representational in the interface shapes contemporary art, aesthetics and culture. What are the dimensions of the aesthetic interface, what are the potentials, clashes and breakdowns? Which kinds of criticism, aesthetic praxes and forms of action are possible and necessary?

The conference is accompanied by an exhibition and workshops.
Christian Ulrik Andersen(DK): ’Writerly gaming’ – social impact games
Inke Arns (DE): Transparency and Politics. On Spaces of the Political beyond the Visible, or: How transparency came to be the lead paradigm of the 21st century.

Morten Breinbjerg (DK): Music automata: the creative machine or how music and compositional practices is modelled in software
Christophe Bruno (F): Collective hallucination and capitalism 2.0
Geoff Cox (UK): Means-End of Software
Florian Cramer (DE/NL): What is Interface Aesthetics?
Matthew Fuller (UK): The Computation of Space
Lone Koefoed Hansen (DK): The interface at the skin
Erkki Huhtamo (USA/Fin): Multiple Screens – Intercultural Approaches to Screen Practice(s)
Jacob Lillemose (DK): Interfacing the Interfaces of Free Software. X-devian: The New Technologies to the People System
Henrik Kaare Nielsen (DK): The Interface and the Public Sphere
Søren Pold (DK): Interface Perception
Bodil Marie Thomsen (DK): The Haptic Interface
Jacob Wamberg (DK): Interface/Interlace, Or Is Telepresence Teleological?

Organised by: The Aesthetics of Interface Culture, Digital Aesthetics Research Center, TEKNE, Aarhus Kunstbygning, The Doctoral School in Arts and Aesthetics, .

Supported by: The Danish Research Council for the Humanities, The Aarhus University Research Foundation, The Doctoral School in Arts and Aesthetics, Aarhus University's Research Focus on the Knowledge Society, Region Midtjylland, Aarhus Kommune. The exhibition is supported by:Region Midtjylland, Århus Kommunes kulturpulje, Kunststyrelsen, Den Spanske Ambassade, Egetæpper.

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Open Call

In 2007, ctrl_alt_del will be realized by NOMAD in corporation with Istanbul Technical University – MIAM and Kadir Has University. The base of the project will be Kadir Has University which is located on Golden Horn. This year ctrl_alt_del will include Opening Concert, Performance Series (live), Workshops, Panels, Presentations, Open Call, Field Studies/Workshops, Exhibition, Radio Programmes, Publication and CD release. The theme of ctrl_alt_del in 2007 will be “remote orienteering”. As the first dedicated sound art festival in Turkey, ctrl_alt_del enjoyed a great deal of international publicity in 2003 and 2005. For the third ctrl_alt_del to be held in September 2007, we are now looking for interesting, provocative, subversive, experimental and sophisticated works. 5 pieces will be selected by the jury and will be presented during ctrl_alt_del.

JURY: Georg Dietzler, Paul Devens, Murat Ertel, Hassan Khan, Scanner, Eran Sachs, Istanbul Technical University - MIAM (Pieter Snapper and Can Karadogan), NOMAD (Emre Erkal, Erhan Muratoglu, Basak Senova)

THEME: The practice of “remote orienteering” suggests generating content and schematics in our conduct. Equally applicable for radical means of urban subversion, “remote orienteering” is the key process which the entries of ctrl-alt-del should be directed. The pieces are asked to be compliant with the following subjects in order to create an intellectual climate of comprehension and discussion:

1. sounds for orientation, or sound as orientation.
2. distant sounds or sound in spatial contexts
3. sound and cultural subversion


1. Two audio CD’s (original and a copy) of only ONE piece is the format of the submission. Piece will not be more than 4 minutes long. Projects which rely on specific visual documentation can be submitted on a DVD, but in any case clip should not be longer than 4 minutes.

2. The name of the participant and the name of the piece(s) should be written on this CD with a permanent marker.

3. An A4 size page with name, address, e-mail and telephone number of the participant, and the names of the piece will be submitted.

4. An optional, separate A4 size page with a description, clarification or reflection could be submitted depending completely on the desire of the participant. These optional documents will not be used for evaluation, but they could be used in later stages.

The works should be at the below mailing address before the 29th of June, 2007: Basak Senova PK 16 Suadiye 34741 Istanbul, Turkey

ANNOUNCEMENT: Selected works and their owners will be announced in August 2007 on the NOMAD website: http://www.nomad-tv.net/

All of the submitted material will be kept in NOMAD archive.


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A-WAL, Edition Q2


Art for Technovernacular and Non-Traditional Environments

A-WAL Public Art Project: | Edition: Quarter 2, 2007 | Vers des lendemains qui chantent. | Curated by Tirdad Zolghadr | Artists featured in this edition: Cassius Al Madhloum, Fia Backström, Cabaret Voltaire (featuring a dotmaster piece), the Parking Gallery - a project by Amirali Ghassemi, and Richard Rhys.

The A-WAL Public Art Project is an experimental initiative that situates art in the vernacular through the commissioning of curators and artists for special projects in technovernacular and non-traditional environments. This project is at once central and extracurricular to A-WAL email, the email where cyber expression is commandeered through use of art and personal images as backgrounds. A-WAL has been featured as extension of exhibition at Satellite Project Shanghai Biennial, Observatori Contemporary (Valencia, Spain), Spring / Wooster graffiti project (New York), and will be present at the Venice Biennale in various unorthodox locales including a cave. A-WAL challenges traditional and technical modes of communications channels, redefines the relationship of public/private, and attacks the bourgeoisie notion and privileged role associated with collecting.

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MadCat Women's International Film Festival


Seeking Submissions

The 11th Annual MadCat Women's International Film Festival is seeking submissions! MadCat seeks provocative and visionary films and videos directed or co-directed by women. Films can be of any length or genre and produced ANY year. MadCat is committed to showcasing work that challenges the use of sound and image and explores notions of visual story telling. All subjects / topics will be considered. Submission Fee: $10-30 sliding scale. Pay what you can afford. International entrants may disregard the fee. For more details go to www.madcatfilmfestival.org or call 415 436-9523. Preview Formats: VHS or DVD. Exhibition Formats: 35mm, 16mm, Super8, Beta SP, Mini DV, VHS, DVD. All entries must include a self addressed stamped envelope for return of materials. Previews will not be returned without a self addressed stamped envelope. Late Deadline: May 21, 2007.


MadCat is currently on TOUR with a portion of last year's Festival. We will let you know if MadCat plans to travel to your area. Or let us know if you want to set up a screening near you.

Private Eyes

"Private Eyes," the first program in curator, Ariella Ben-Dov's series features an eclectic selection of experimental documentaries and animated works from the UK, Czech Republic, Norway and the US. The Intimacy of Strangers, follows a clandestine film crew that prowls the streets, capturing phone conversations. The filmmaker "steals" these intimate moments and explores the ever-shrinking gap between private and public spheres. Deep Woods is a performative video that lures male participants through evocative advertisements. These innovative works reveal the power of modern technologies to upend of notions of privacy.

Fools Tricks

The second program in curator Ariella Ben-Dov's series - "Fools Tricks," highlights experiments in avant-garde filmmaking. Optical printing, painting on film and other tricks of the cinematic trade create an intriguing body of work. Set against the background of real and imagined calamities, Boll Weevil Days re-conceptualizes the disaster narrative. A fragile paper city and yellowing pictures of rescue workers from the 1930s creates an elliptical portrayal of intimacy in the face of oblivion. Blending documentary and conceptual audio Tune-In uncovers the world of amateur radio operators. Also see an abstracted lunar eclipse, the inner workings of a monastery's bakery and the re-creation of planets, among other stories.

MadCat Women's International Film Festival
639 Steiner Street Unit C
San Francisco, CA 94117 USA
P. 415 436-9523
F. 415 934-0642
E. info[at]madcatfilmfestival.org

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Body-Process Arts

a-m-b-e_r is an Istanbul based initiative that aims to explore artistic forms of expression at the conjunction of the body and the digital process. It was founded in 2007 as an association by a team of researchers and artists from disciplines such as dance, performance, design, social sciences and engineering. The founders of amber came together in order to create a local discussion and production platform in a Globalized World itself transformed by new technologies.

a-m-b-e_r defines its area of interest through the wording of its subtitle. Body-process arts points to artistic forms that incorporate and exploit the interaction of human bodies and technological processes. a-m-b-e_r's objective is to establish a permanent center in Istanbul, which would focus on research, production and education in the field of body-process arts. Simultaneously, a-m-b-e_r seeks to create an international network of artists, researchers and technicians with whom it would continue to work and cooperate. It thus aims to participate in universal art from its local and regional perspective.

From this year on, a-m-b-e_r will be regularly organizing a-m-b-e_r body-process arts festivals as part of its activities. a-m-b-e_r'07 body-process arts festival will take place in between 9-17 November, 2007 in Istanbul. The theme of a-m-b-e_r'07 is "voice and survival".

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Mushon Zer Aviv + Dan Phiffer


Present ShiftSpace Today

Mushon Zer-Aviv and Dan Phiffer will present their thesis ShiftSpace - an open-source layer above any website - at ITP today. Dan's presentation is at 4:00 pm, Mushon's is at 7:00 pm :: 721 Broadway at Waverly Place, 4th Floor, South Elevators, New York, NY 10003. If you can't make it you can follow it online.

While the Internet’s design is widely understood to be open and distributed, control over how users interact online has given us largely centralized and closed systems. The web is undergoing a transformation whose promise is user empowerment—but who controls the terms of this new read/write web? The web has followed the physical movement of the city’s social center from the (public) town square to the (private) mall. ShiftSpace attempts to subvert this trend by providing a new public space on the web.

By pressing the [Shift] + [Space] keys, a ShiftSpace user can invoke a new meta layer above any web page to browse and create additional interpretations, contextualizations and interventions – which we call Shifts. Users can choose between several authoring tools we’re working to develop – which we call Spaces. Some are utilitarian (like Notes) and some are more experimental / interventionist (like ImageSwap and SourceShift). In the near future users will be invited to map these shifts into Trails. These trails can be used for collaborative research, for curating netart exhibitions or as a platform to facilitate a context-based public debate.

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April 27, 2007

CounterPULSE presents STREAM/fest


Media-Assisted Performance

CounterPULSE presents STREAM/fest a festival of cutting-edge performance, including MAP: Media-Assisted Performance (Thurs-Fri) and EPF: Emerging Performance Festival (Sat-Sun) :: When: Thursday-Sunday, May 17-20 @ 8pm :: Where: CounterPULSE, 1310 Mission Street @ 9th, San Francisco :: Tickets: $12-20 Sliding scale :: Info/Res: 415-435-7552 or info[at]counterpulse.org :: Contact info: Jessica Robinson, 415-626-2060 or jessica[at]counterpulse.org.

MAP: Media-Assisted Performance-- Thursday & Friday, May 17 & 18: Artists respond to climate change, advances in technology and media saturation with a sophisticated mélange of live performance and interactive media. DAVID SZALASA presents a sneak preview of “My HOT Lobotomy,” a farcical interdisciplinary media performance about a NASA employee who willingly has a lobotomy to forget what he knows about global warming. SUBJECT TO CHANGE PERFORMANCE COMPANY's "Study 2013" references both global warming and the second coming of Christ, employing bodies, video, text and sound to explore both the tension and the comedy of living in 'The End Times.'

• SMITH/WYMORE DISAPPEARING ACTS employs a high-tech sound and motion tracking process to create "Unstable Atmospheres," a technologically enhanced interactive environment where performers negotiate a charged and turbulent space, resulting in surprising relationships between computers and humans.

• In "Frames of Mind," CATHERINE GALASSO's dancers stagger across the stage clutching televisions containing images of themselves, highlighting our culture's increasing divide between the physical body and the digital self.

• The ERIKA SHUCH PERFORMANCE PROJECT presents the dance film, "To Hellen Bach," a visually arresting and dream-like journey into the interior of a disturbed mind, featuring performance by Erika Chong Shuch and video by Ishan Vernallis.

• Esther Williams meets MTV in ERIC KOZIOL's experimental dance film, "Synchro," a study in human kinetics and buoyancy featuring a solo swimmer in a technicolor underwater environment.

EPF: Emerging Performance Festival—Saturday & Sunday, May 19 & 20: Performances ranging from modern dance to dark comedy and from Bharathanatyam to spoken word explore the complexities of contemporary life.

• RABBLE ROUSER DANCE THEATER, directed by Sarah-Luella Baker, uses raw movement, live music, and illuminated singing to create a non-linear parable about the burial and unearthing of the archetypal feminine in "SCORE: sad song with birds."

• In "Blood of the Virgin," by JULIA STELLE ALLEN, a male hustler haunted by his first time intersects with a virgin woman struggling for purity in a “dirty world”, and the tragic true-story of the sacrifice of a small child. Sex and violence, saints and sinners, all speak the truths we try to forget and the fictions we hope to believe.

• DEEP WATERS DANCE THEATRE, Directed by Amara Tabor-Smith, examines how deforestation and inner city living are cultural genocide for people whose traditions are rooted in nature. Drawing from folklore and ritual of the Yoruba spiritual tradition, “Precious Dirt” tells a story of violence in our communities and the link to our disconnection from nature.

• COURTNEY MORENO & SONYA SMITH use movement to create a visual landscape of expression and response. "Right Behind You" investigates emotional intelligence using two dancers, a quiz, a blindfold, and photographs. The result is a relationship as unique as it is universal, and a dance on the edge of risk and vulnerability.

• "A Young Wife's Journey" by DEEPA SUBRAMANIAM fuses classical South Indian dance, world music and spoken word poetry, as it chronicles the fear, loneliness and excitement of a young Indian wife's immigration and subsequent shift in identity.

• KIM HARMON's "parts is parts: animal nature" presents striking visceral imagery, energetic choreography, and soaring original music. Questions of responsibility, objectification, containment and fragmentation wordlessly spiral around the structure of our "natural" world in this first installment of an evocative performance sequence on the theme of compartmentalization

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Borders Boundaries and Liminal Spaces


Go there now!

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The Centre for Research into Material Digital Cultures


Sensorium: Embodied Experience versus Digital Media

The Centre for Research into Material Digital Cultures at the University of Sussex, Public Lecture: 'Sensorium: Embodied Experience versus Digital Media' :: Monday May 21, 2007 t 5:30 pm :: Brighton and Sussex Medical School Lecture Theatre, University of Sussex :: All Welcome :: RSVP to Vanessa Sammut so we can keep track of numbers: V.A.Sammut[at]sussex.ac.uk

Speaker: Caroline Jones, Professor of Art History, MIT :: Respondent: Esther Leslie, Professor of Political Aesthetics at Birkbeck, University of London. Welcome: Professor Sue Thornham, University of Sussex/Caroline Bassett, Director, Centre for Research in Material Digital Cultures Chair: Dr Michael Bull, founding editor of Senses and Society.

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April 26, 2007

Upgrade! São Paulo


Networks and Artistic Spaces of Intervention

Upgrade! São Paulo: gilbertto prado: Networks and Artistic Spaces of Intervention :: May 17, 2007, 7:30 pm @ i-People: Av Vergueiro 727, next to the Vergueiro Subway Station.

Experimentations with art and technology have multiplied in the last three decades with the use of several kinds of creation, production and distribution by artists. Those possibilities are emphasized particularly through the internet and its popularization in the 90's and more recently through the wireless devices and the virtual multi-user environments. The purpose of this presentation is to bring a brief panorama pointing out some artists, as well as to present some recent personal artistic works such as interactive installations and videogame.

Gilbertto Prado is multimedia artist, professor of the Department of Fine Arts at the School of Communication and Art of the University of São Paulo. He studied Engineer and Fine Arts at UNICAMP and in 1994 he receveid his Doctorate Degree from the University of Paris 1. He has curated and participated of numberless exhibitions in Brazil and abroad. In 2003, his book "Telematics Art: from the punctual interchanges to the virtual multi-user environments" was published by the Itaú Cultural, São Paulo.

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Art and Urban Practices

Art and Urban Practices: New City-Territories :: 12-13 JUNE 2007 :: VENICE :: aMAZElab via Cola Montano 8, 20159 Milan, Italy :: Ph/Fax +39 02 6071623 :: info[at]amaze.it

aMAZElab proposes an international workshop aimed at students and young artists, along with a study day / conference on the theme of Mediterranean Atlas. Art and Urban Practices. New city-territories. Artists, architects and theorists describe contemporary living and the transformations of six Mediterranean cities: Istanbul, Beirut, Nicosia, Tel Aviv, Alexandria and Barcelona and Venice. An experimental and multi-disciplinary debate on these six "case study" cities, on contemporary perceptions of the city, as well as on the theme of new territories. Migratory flows of people, cultures and economies. The writing on the walls of contemporary city-territories, open maps with multiple meanings between their emotional, geographical, historical and social layers.

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Bios 4


Art, Biology and the Environment

Bios 4: Centro Andaluz de Arte Contemporneo :: Seville 2007 May 3 - September 2 :: curator: Antonio Cerveira Pinto.

A broad view on biotech art, including some of its relations with the human body, nano-entities, environmental issues, artificial life and robots. Open seminar on biotech and environmental art | may 2, 1800 (free entrance) Opening | may 3, 2000 (invitational).

Biotech art is part of the cognitive art vortex. It is actually the real new thing in post-contemporary culture. It is not another modern art melting down of symbolic representation. Post-contemporary art entities are basically cognitive in the way that they need both knowledge to evolve and inteligent perusers to interact. - Antonio Cerveira-Pinto


Agnes Denes | Amy Youngs | Andrew K?tting, Giles Lane, Mark Lythgoe | Andy Gracie | Andy Lomas | Aniko Meszaros | Antony Hall | Genetic Architectures | Aviva Rahmani | Beatriz da Costa | Bestiario (Santiago Ortiz, Jose Aguirre, Carolina Valejo, Andr?s Ortiz) | Betty Beaumont | Bill Vorn | Bioteknica (Shawn Bailey, Jennifer Willet) | Brandon Balleng? | Catherine Wagner | Cynthia Verspaget & Adam Fiannaca | Dmitry Bulatov | Driessens & Verstappen | Eduardo Kac | France Cadet | Biopresence (Georg Tremmel, Shiho Fukuhara) | George Gessert | Heather Ackroyd & Dan Harvey | Joe Davis | Justine Cooper | Kathy High | Ken Rinaldo | Laura Cinti, Howard Boland (c-lab) | Mark Cypher | Marta de Menezes | Mateusz Herczka | Natalie Jeremijenko | Nell Tenhaaf | Norman T White | Paul Vanouse | Paula Gaetano | Peter Gena | Philip Ross | Polona Tratnik | Sonya Rapoport | Theo Jansen | Ursula Damm | Victoria Vesna and James Gimzewski, in collaboration with Gil Kuno, Sarah Cross, Tyler Adams, Paul Wilkinson |

ANTONIO CERVEIRA PINTO (CkS): I am an artist, content designer, writer and professional consultant, presently futurizing the world in a post-carbon era. Post-contemporary culture, complex art and architecture, is my specific field of investigation and creativity.

Postal address:
Rua Alberto Oliveira, Palacio Corucheus, At. 27
1700-019 Lisboa - PT
Mobile 1 : +351 965 416 370
Mobile 2: +34 664 012 855
Skype ID: antoniocerveirapinto

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April 25, 2007

Borders Boundaries and Liminal Spaces


Conference ON/IN Second Life

Borders Boundaries and Liminal Spaces: A conference in the liminal space of Second Life sponsored by Ars Virtua and presented with the New Media Consortium Virtual Worlds. Teleport HERE (instructions are here) you must be a member of the NMC Guests group to use this link, membership is free)

Borders are frequently under contention; they are regions that neatly separate two entities and enable a form of deconstruction. However, the distinctions formed by borders are not sufficient and we realize that often the border begins to represent a third region and generates more contentious borders. It is truly difficult to discern the breadth a border, an indeterminate space, and it's depth is dependent on the sphere, there is a point when you can cross into the "other." Borders would be impossible to cross if this was false and the liminal space would disappear. It is our assertion that the synthetic world is a fundamentally liminal space....

Day 1 (Thursday, April 26, 2007) -all times Pacific Time/SLT

* 11:30 - 11:50am Invocation/Welcoming Statements

* Noon - 1:15pm Session: Remains

Brad Kligerman -Artist and Architect Brad Kligerman has turned the idea of art making upside down or rather inside out in his AVAIR exhibit. Kligerman questions the idea of materiality in the rendered environment and the nature of image. He successfully blends the idea of moving through "space" with the idea of moving through image in his new multi-sim installations.

Renée Ridgway - is an artist and free-lance curato ased in Amsterdam. Ridgway´s visual projects can be interpreted as a mapping of different occupations/occupancies by the use of a migrating identity to understand foreign territories, unknown areas and (sub)cultures. While social groups, peoples and cultures usually emphasize apparent differences to define themselves, she chooses to focus on similarities and raise questions about how identity can be constructed, including her own.

Laura Jones -- is an applied anthropologist and archaeologist. Her research areas are California and French Polynesia. She has worked for the Muwekma Tribe of Ohlone Indians, Stanford University, the Field Museum of Natural History and the Carnegie Foundation for the Advancement of Teaching.

moderator James Morgan

* 1:15pm - on De-compression Event: Demo Day - building, scripting and animating in SL

Day 2 (Friday, April 27, 2007) All Times Pacific Time

* 11-12:15pm Session: Out of Body

Michele White - Michele White is an Assistant Professor in the Department of Communication at Tulane University. She teaches Internet and new media studies, television and film theory, art history and contemporary visual culture, science fiction and technology literature, gender and queer theory, and critical race and postcolonial studies.

Elouise Pasteur - Eloise Pasteur is an avatar on Second Life and is widely known as an educator, writer, coder, and businesswoman with a first life background as an educator of students with disabilities. She is the author of innovative educational designs that foster in world learning and and is also known for her designs that she sells to the Second Life S&M community.

Dore Bowen - Dore Bowen holds a Ph.D. in Visual and Cultural Studies from the University of Rochester, an M.A. in Interdisciplinary Art from San Francisco State University, and a B.A. in Media Studies from The Evergreen State College. Her writing and curatorial projects focus on the phenomenology of perception, particularly within the interstices of the temporal and visual arts. Her criticism has appeared in journals and catalogues. She is currently Assistant Professor of Modern and Contemporary Art History at San Jose State University.

Moderator: Thomas Asmuth

* 12:30-1:30 De-compression Event: Sex Tour

* 1:45- 3:00 Session: Body in Quotes

Nathaniel Stern - an internationally exhibited installation and video artist, net.artist, printmaker and performance poet. His interactive installations have won awards in New York, Australia and South Africa, and his video and net.art have been featured in festivals all over Europe, Asia and the US. nathaniel's collaborative physical theatre and multimedia performance work with the Forgotten Angle Theatre Collaborative has won three of South Africa's FNB Vita Awards and seen three main stage features at the Grahamstown National Arts Festival.

Jeremy Turner - aka. Wirxli Flimflam is a new media artist, published writer, avatar performer and music (audio) composer currently based in Vancouver but exhibits, curates, performs and collaborates globally. As Wirxli Flimflam, he is the founding member of the performance art group Second Front in Second Life. He was the Coordinator for the LIVE 2005 Biennial of Performance Art in Vancouver. www.livevancouver.bc.ca and is now the Director of Avatar Development for LIVE 2007.

Stuart Bunt

moderator Carlos Castellanos

Day 3 (Saturday April 28, 2007) All Times Pacific Time

* 11:00-12:15 SLT Session: Game the System

Patrick Lichty - is a conceptual intermedia artist working in activist art, retrotech, digital minimalism, alpha revisionism, and experimental video, among others. In addition, he is an editor, curator, writer, musician, and engineer. He is Editor -in-Chief for Intelligent Agent Magazine.

Joseph DeLappe - has been engaging in visual arts practice since the early 1980s. His works in mixed media, digital photography, sculpture and interactive installation have been shown throughout the United States and internationally. DeLappe joined UNR as the head of the Art Department's New Genres area in 1993. DeLappe is a native of San Francisco, California.

Trevor Smith - founder of the Ogoglio project which is building an online city for creative work. A graduate of the dot.com boom and bust, he spent several years as a member of the research staff at Xerox PARC before starting a Seattle based space hosting company, Transmutable. He is available in digital form at http://trevor.smith.name/

comoderated kyungwha lee & john bruneau

* 12:30 on De-compression Event: WoW raid(s)/Grind

Schedule: http://arsvirtua.com/bordersprog.php
Location: http://arsvirtua.com/borders/location.php
email: nmc at arsvirtua dot com

Ars Virtua is a new media center and gallery located in the synthetic world of Second Life. It is a new type of space that leverages the tension between 3-D rendered game space and terrestrial reality, between simulated and simulation. Ars Virtua is sponsored by the CADRE Laboratory for New Media.

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The Stakes + the Networks of Creation in the Post-Contemporary Era


A Symposium

Symposium on "the stakes and the networks of creation at the post-contemporary era" proposed by Abdallah Karroum (The apppartement 22) Morocco, from 25 to 27 Ocober 2007. (Date and place to be confirmed later)

The three principal axes of this symposium will stress on the reflexion on: 1- The practice of art as an act of participation in society. (ecology, politics, economics). How does contemporary forms of creation act and interact in society? 2- The role of the school, is it information or formation? or for providing tools of individual development or the development of the collective memory and social creativity? How to prepare students to the stakes of coperation and to the sharing of knowledge? The "workshop" as an alternative to the traditional school of art?

3- Co-operative networks and the problematic of contemporary creation. Co-operative approach of the cultural action. This window will be a platform of reflexion in order to develop an active method that we will adopt for the 3co_operative Festival of Contemporary Creation". The question of representation of the aurhor as well as that of the subject and public will be aproached with regards to existing experiences as well as future projects.

To participate in this symposium please send your proposals by email to akarroum[at]yahoo.fr or by snail mail to Apartment 22, 279 avenue Mohamed V, Rabat, Morocco.

PARTNERS: ESAV (Ecole Superieur d'Arts Visuels), Marrakech and Site des Editions hors-champs, Fez.

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Hz Journal


Call for Articles and Net Art

On-line journal Hz is looking for articles on New Media, Net Art, Sound Art and Electro-Acoustic Music. We accept earlier published and unpublished articles in English. Please send your submissions to hz-journal[at]telia.com :: Deadline: 25 May, 2007. Hz is also looking for Net Art works to be included in its virtual gallery. Please send your URLs to hz-journal[at]telia.com.

Hz is published by the non-profit organization Fylkingen in Stockholm. Established in 1933, Fylkingen has been known for introducing yet-to-be-established art forms throughout its history. Nam June Paik, Stockhausen, Cage, etc. have all been introduced to the Swedish audience through Fylkingen. Its members consist of leading composers, musicians, dancers, performance artists and video artists in Sweden. For more information on Fylkingen, please visit http://www.fylkingen.se/about or http://www.hz-journal.org/n4/hultberg.html.

Posted by jo at 08:24 AM | Comments (0)

April 24, 2007

Opensource: {Videodance} Symposium


Call for Proposals

The second international Opensource: {Videodance} Symposium :: Universal Hall Arts Centre, Findhorn Foundation Community, Morayshire, Scotland :: 21st - 25th November 2007.

Screen dance is a rapidly expanding area of artistic, academic and curatorial activity worldwide. Inherent in screen dance practice is the interface and collaboration between dance artists and media arts practitioners. Opensource: {Videodance} 2007 is an open symposium for video dance-makers and dance artists, academics, curators and producers coming together, to share ideas and work, network and debate, and provide a valuable platform for current issues in the area of screen dance practice to come to the surface.

Building on the strengths of the 2006 event, this symposium expressly aims to place current screen dance practice in a wider theoretical and critical context and to bring people from the collaborating disciplines together in a way that rarely happens, in order to impact significantly and positively on the lives and work of the participating individuals. The vision is to create an exciting and supportive place for people to engage, talk, hang out, relax, think, and listen, and to enable the spontaneous and dynamic unfolding of events. The programme for the four days will be a mixture of pre-arranged presentations and open forums initiated by the participants.

Whilst the greater part of the timetable will be dedicated to allowing the participants to initiate and following though discussion, we will again approach a select few artists/academics to give special presentations/lectures designed to inspire and provoke thought beyond the direct concerns of the participants. In addition, this year we are inviting proposals for limited number of presentations.

Call for proposals:

Seminar and Paper proposals are invited for presentation from authors (Academics and practitioners) of investigations into the interfaces of screen dance to one of the following formats: Academic research paper, Reports on practice-based work, Essay, Curated screening of work.

We encourage contributions that are related to all aspects of screen dance practice including interdisciplinary approaches in performance,

architecture, music, literature, visual arts, and new media but particular preference will be given to those exploring the outcomes of the first Opensource {Videodance} symposium in 2006, notably the "draft (hu)manifesto" available to read here.

All proposals will be peer-reviewed and selected based on their quality, originality, and potential for further discourse and appropriateness for the symposium. Paper Proposals/Abstracts should be submitted no later than June 30, 2007. Notification of acceptance will be sent by July 30, 2007. Those selected will be invited to submit their presentation for publication in the first issue of The Screendance Journal. email: abstracts[at]screendance.org

Due to the open nature of this symposium presentation slots are limited therefore we are interested in inviting speakers who will be able to engage fully with the wider aims of the event.

Produced by Bodysurf Scotland and Videodance.org.uk . Funded and supported by Scottish Arts Council and The School of Media Arts and Imaging, University of Dundee, Scotland, UK

Contact bodysurf[at]findhorn.com for booking details and to register interest and keep checking http://videodance.blogspot.com for bulletins.

Posted by jo at 07:09 PM | Comments (0)



Presentations by ITP Graduate Students

Venue: The Change You want to See Gallery, 84 Havemeyer @ Metropolitan, Brooklyn, NY 11211 :: L to Bedford o Lorimer, G to Metropolitan, J/M/Z to Marcy :: Hours: 12-5 pm, Saturday, April 28, 2007.

Presentations on the theory & practice of tactical media and contemporary protest art, by graduate students in the ITP program at NYU's Tisch School of the arts.

The presenters' talks will be grouped into three panels, to be moderated by their Professor, Marisa Olson (Editor & Curator, Rhizome), on the topics of Play & Consumption; Fear, Spectacle, and the Media; and the Interfaces and Architecture of Control. These panels will consist of both artist talks and analytical essays and audience members will be invited to give feedback on a few works in progress.


12:00 Open Seating

12:15 Welcome & Introduction, Marisa Olson

12:30-2 Practicing Play & Consumption

Panelists: Kati London, Felipe Ribeiro, Tim McNerney, and Stefanie Wuschitz

2-3:30 Fear, Spectacle, and the Media

Panelists: Armin Cooper, Emery Martin, Anjali Patel, and Ben Yee

3:30-5 Interfaces & Architectures of Control

Panelists: Mushon Zer-Aviv; collaborators Nick Hasty, Josh Knowles,
and Tim Stutts; and collaborators Kunal Gupta and Tristan Perich

About the venue: The Change You Want To See is the gallery and convergence stage run by the activist arts collective Not An Alternative.

Posted by jo at 07:01 PM | Comments (0)



Geographies of the Migrant Bodies

TEKFESTIVAL AND QWATZ PRESENT: URSULA BIEMANN, GEOGRAPHIES OF THE MIGRANT BODIES :: May 5th-12th 2007 - Rome, Italy :: Agadez Chronicle / video-installation (Love&Dissent Gallery, opening May 5th h.6.30pm) :: 3 video-essays: Performing the Border (1999), Writing Desire (2000), and Europlex (2003) :: (Cinema Farnese, May 6th/8th): A workshop on migration and mobility (1:1projects, May 7th/8th).

It all started in Ciudad Juarez, the Mexican city at the U.S. border grown around the industrial parks managed by multinational companies with the approval of the Mexican government. Here Ursula Biemann has filmed Performing the Border (1999) and started her journey exploring the darkest sides of globalization. To describe the border, the Chicano writer Gloria Anzaldua has used the metaphor of 'nepantla', a liminal and unstable space that discloses new ideas, encounters and a feeling of uneasiness. Living in this 'tierra disconoscida' means to experience a state of unbelonging and change.

The women in Performing the Border perceive the frontier as a space of control and exploitation and, at the same time, as a space of transgression from an overbearing patriarchal structure. If gender identity is constituted through a series of negotiations and disciplinary rituals, by the same token the border is the result of the repetition of relations of belonging and exclusion that produce material and emotional effects.

Drawing on the idea that "gender and border are performed simultaneously on the border under very specific economic and spatial conditions," Ursula Biemann has realized a video-essay trilogy that, besides Performing the Border, comprises Writing Desire (2000) and Remote Sensing (2001) - a film presented at the Tekfestival 2006. The latter two films focus on the affective and sexual services offered in the global sex market after the end of the Cold War. Writing Desire's aesthetics incorporates the graphic style of the Internet through a highly fragmented editing which simulates Internet browsing. Analyzing the bride traffic phenomenon and penpal relationships, the artist shows that the Internet is the ideal space for the marketing of desire.

The contradictions of the European space - caught between the increasing circulation of goods and the closing down of the border - emerge in the last works of the Swiss artist, including Europlex (2003) and Agadez Chronicle that visualize the "movements of life" across the Mediterranean coasts. Biemann's counter-geographies show the plurality of migrants' passages. The relationship between migrants and borders is always precarious, resulting from the constant conflict between state efforts to control mobility and the people's desire to inhabit the possibilities opened up by globalization. Biemann is not interested in dealing with the romantic metaphor of nomadism. She prefers, instead, to highlight the ambivalence of migratory experiences. In her video-essay, often realized in collaboration with other artist, activists and scholars, the migrants are recognized as "political subjects" who acquire a voice in their own right.

WOP/Ursula Biemann. Geographies of the migrant bodies is presented by Tekfestival and qwatz, a new artist-in-residency program in Rome, with the support of Province of Rome and the Swiss Institute in Rome. The project is realized in collaboration with 1:1projects and Love&Dissent.

Posted by jo at 05:39 PM | Comments (0)

doing digital: using digital resources in the arts and humanities



doing digital: using digital resources in the arts and humanities :: DRHA07 :: Dartington College of Art : 9 - 12 September 2007 :: Bringing together creators, practitioners, users, distributors,and custodians of Digital Resources in the Arts and Humanities :: Deadline: May 2nd 2007.

Over the last decade the annual Digital Resources for the Humanities and Arts (DRHA) conferences have constructed an unusual kind of meeting place: a space in which researchers, curators, and distributors of digital resources could meet and share perspectives on their complementary agendas. Last year, that forum was expanded to include participants from the creative and performing arts, giving the event a new flavour and a new direction.

This year, the conference aims to explore further major issues at the interface between traditional humanities scholarship and the creative arts, by focussing on their differing or complementary approaches to the deployment of digital technologies. Can the Arts and the Humanities share expertise? Are they divided by a common tongue? To what extent are they developing common technical solutions to different problem areas?

As in previous years, the conference will articulate these questions by showcasing the very best in current practice across the widest spectrum of digital applications in the arts and humanities and by fostering informed but accessible debate amongst professionals.

The Programme Committee for DRHA07 is now soliciting imaginative and provocative contributions for the conference addressing such topics as:

* the benefits and the challenges of using digital resources in creative work, in teaching and learning, and in scholarship;
* the challenges and opportunities associated with scale and sustainability in the digital arena;
* new insights and new forms of expression arising from the integration of digital resources in the arts, humanities, and sciences;
* social and political issues surrounding digital resource provision in the context of global ICT developments;
* the implications of "born-digital" resources for curators, consumers, and performers;
* training methods and best practice for digital arts and humanities practitioners.

Other themes include: interactivity and performance; digital media in time and space; integration and deployment of existing digital resources in new contexts; policies and strategies for digital deployment, both commercial and non-commercial; cataloguing and metadata aspects of resource discovery; digital repositories; Web 2.0 and other new technologies; encoding standards; intellectual property rights; funding, cost-recovery, and charging mechanisms; digitization techniques and problems.

Format: The conference will take up three intensive days, comprising presentation of academic papers and technical reports, performance and installation events, software and product demonstrations, debates and training events. The atmosphere will be informal, the discussion energetic. Leading practitioners and representatives of key funding agencies, such as the the Arts Council, the AHRC, the JISC, and the AHDS will be amongst the participants. We hope that from this occasion a new consensus will emerge based on real life
experience of the application of digital techniques and resources in the Humanities and Arts.

Timetable: Proposals are now invited for academic papers, themed panel sessions and reports of work in progress.Your proposal should be no smaller than 500 words and no longer than 2000; closing date for proposals is May 2nd 2007. All proposals will be reviewed by an independent panel of reviewers, and notifications of acceptance will be sent out by 13th June 2007. All accepted proposals will be included in the Conference preprint volume, and will also be
considered for a post-conference publication.

Cost: The all-in conference rate covering all meals and accomodation as well as conference registration and proceedings will not exceed £400. Reduced rates for early registration, and partial rates for one- day or non-residential attendance will be announced shortly on the conference website.

Further information: The conference web site will be regularly updated, and includes full details of the procedure for submitting proposals, the programme, and registration information. Bookmark it now!

Posted by jo at 05:39 PM | Comments (0)

Media Art Friesland Festival 2007


Call for submissions

Nederlandse tekst: zie hieronder | Media Art Friesland Festival 2007: Call for submissions.

We invite you to send your works in the areas of film, video, DVD, CD-ROM & Internet project, installation, performance and workshop.

WHO: Artists and students Fine Art working with audiovisual and new media WHAT: Media Art Friesland Festival 2007 is the 11th edition. It’s is the international platform for audiovisual arts, as video, film, new media, sound, installations and internet in the north of the Netherlands WHERE: The main locations are Leeuwarden, Drachten, Beetsterzwaag and Groningen WHEN: 20 - 30 September 2007 TO APPLY: submission guidelines and entry form online DEADLINE: 1 June 2007

Posted by jo at 02:53 PM | Comments (0)

Enter_Unknown Territories


The MediaShed

THE TEMPORARY MEDIASHED at Enter_Unknown Territories :: April 26th-29th :: Dome 1, Parkers Piece, Cambridge.

Free-media from the Mouth of the Thames: The MediaShed is the first "free-media" space in the East of England, located in Southend-on-Sea. Now you can experience it for yourself by visiting the temporary MediaShed in Parker's Piece. Join in with activities such as video sniffin' local CCTV cameras, Data Jamming, flying "spy-kites" over Cambridge or just making use of the recycled PC internet cafi. Guest slots are available each day for other free-media artists to present their work.

THURSDAY 26 April, 12:00 - 13:00 :: Welcome to the MediaShed! The MediaShed was set up last year after a workshop involving local artists, designers, arts organisers, computer engineers and technicians. What is special about the MediaShed model that made us choose it for Southend?

13:00 - 14:00 :: Social Telephony: from Cromwell's Head to Congolese Street Phones (Richard Wright) :: Mongrel has been developing new forms of "contagious" telephone media to engage marginalised communities that have fallen outside of mainstream media. Using cheap telephony cards and free software these projects allow people to build social networks by passing phone calls between each other.

14:00 - 15:00 :: Free LED Sculpture Workshops (Mark Dixon) :: We will be getting people to contribute to the NETWORK covering the main dome viewable in the evening. Workshops will be a very friendly hands-on event. Accessible to ALL ages.

15:00 - 15:30 :: SkintStream :: SkintStream uses streaming media to connect audiences and grass roots sound producers previously separated by economic, geographic and political distances - a "poor to poor" network. SkintStream.net radio and the "SkintStream Europe" network are now taking this to the next level.

15:30 - 16:00 :: AWSoM (Stuart Bowditch & Damien Robinson) :: AWSoM - the Ambient Weather Sound Machine - uses found-sounds, triggered by the weather on recycled and found technologies to recreate environmental sound and feelscapes.

16:00 - 16:30 :: Antarctic Data Jam - Dance to the Sound of the Ice Caps Melting :: MediaShed launches the CD/DVD of the Antarctic Data Jam sessions /In February 2007, Adam Hyde from r a d i o q u a l i a set up the first artists radio station on the South Pole, beaming back cold Antarctic data to the MediaShed and The Junction to be melted into pulsating audio visual performances by members of the public.

16:30 - 17:00 (outside the Dome) :: Video Sniffin' (David Valentine) :: Hack wireless CCTV cameras while strolling through the streets of Cambridge. Video Sniffin' means you can create your own television studio within the buildings, shopping centers or streets of any town.

FRIDAY 27 April

11:00 - 12:00 :: On The Fly: VJ Mokital (Mike Lowther) :: Free and informal visual performance workshop using free open source software, video distortion, live insects and humans.

12:00 - 13:00 :: The Mimeticon: How to Talk to Images (Richard Wright) :: Although we are used to hunting for images using search engines, we still have to use words to describe them. "The Mimeticon" is a search engine that uses visual similarity to find images that could not be retrieved in any other way. It is also an artwork about the visual history of writing.

13:00 - 14:00 :: NetMonster: The Networked Image (Harwood) :: The "NetMonster" is designed to continuously generate a "networked image" of the internet. Made up out of the results of internet searches guided by various keywords, it allows people to collaboratively build up a composite "snapshot" of the internet out of images, text and addresses.

14:00 - 15:00 :: gearbox.mediashed.org (The Free-media Video Toolkit) :: A collaboration with Eyebeam in New York, "gearbox"will create an online toolkit for young people to make low budget videos using free and open source software. Touring throughout the Eastern region by the end of 2007. If you are interested in learning more about the tour there will be a meeting directly afterwards.

16:30 - 17:00 (outside the Dome) :: Video Sniffin' (David Valentine) :: Hack wireless CCTV cameras while strolling through the streets of Cambridge. Video Sniffin' means you can create your own television studio within the buildings, shopping centers or streets of any town.


12:00 - 16:00 :: Retro Gaming (Tommy and Phil Pope) :: Despite the likes of Xbox 360's and Playstation 3's, games are becoming more and more bland. It's time for people to get reacquainted with classics from the past that still boast unbeatable game play. Come and experience the games that helped shape the industry and kept us imprisoned in our bedrooms.

12:00 - 16:00 (outside the Dome) :: Spy Kiting :: Fly kites equipped with CCTV cameras in Parkers Piece and get an aerial "spy-cam" view of the area. The images will be beamed directly to screens in the MediaShed.

12:00 - 16:00 (outside the Dome) :: Video Sniffin' (David Valentine) :: Hack wireless CCTV cameras while strolling through the streets of Cambridge. Video Sniffin' means you can create your own television studio within the buildings, shopping centers or streets of any town.

16:00 - 18:00 :: E2PROM (David Valentine) :: The E2Prom (pronounced ee-prom; the 2 is silent) events showcase the best of local work alongside international talent in animation, photography, film and electronica, giving them a chance for critical feedback and exposure to new ideas.

SUNDAY 29 April

10:00 - 14:00 :: Retro Gaming (Tommy and Phil Pope) :: It's time for people to get reacquainted with classics from the past that still boast unbeatable game play. Come and experience the games that helped shape the industry and kept us imprisoned in our bedrooms.

10:00 - 14:00 (outside the Dome) :: Spy Kiting :: Fly kites equipped with CCTV cameras in Parkers Piece and get an aerial 'spy-cam' view of the area. The images will be beamed directly to screens in the MediaShed.

10:00 - 14:00 (outside the Dome) :: Video Sniffin' (David Valentine) :: Hack wireless CCTV cameras while strolling through the streets of Cambridge. Video Sniffin' means you can create your own television studio within the buildings, shopping centers or streets of any town.

12:00 - 14:00 (outside the dome) :: We will be breaking-down Mark Dixon's 'Network' LED sculpture for distribution around the city so people can come back and collect their workshop work and help distribute the 3000 units on display

Every night on the MediaShed dome from 18:00

Network (Mark Dixon) :: A visually exciting artwork to animate the dome structure during the night. Using custom electronics and ultrabright LEDs Mark will create a work that will visibly respond to wireless activity such as mobile phones using thousands of LED's to cover the outer skin of the centre dome.

Every day outside the MediaShed dome:

Inflatables (Gordon Flemons) :: Inflatables subvert the classical understanding of buildings as being solid, permanent, and worthy. Instead, the use of materials such as polythene bin bags and plastic shopping bags emphasises their qualities as hollow, ephemeral, and playful.

General Info

-Parker's Piece is located in the centre of Cambridge, bordered by Park Terrace, Regent Terrace, Parkside and Gonville Place.

- The Temporary MediaShed is part of the Enter_net festival and as with all the Festival's exhibitions, and public events, it is free. You can find out more about the festival and the conference at www.enternet.org.uk. The MediaShed is an community interest company set up by Mongrel members, an internationally recognised artists group specialising in digital media. Mongrel is supported through Arts Council England's Grants for the Arts.

Posted by jo at 10:54 AM | Comments (0)



Exhibition, Performance + Workshops

HACKmit! :: Medien und Kunst zum Leben (Media and Art to Live) :: 1st May - 26th August 2007, MACHmit! Museum, Berlin, Germany :: Opening: 1st May, 11.00am :: Free entrance :: A project curated by Tatiana Bazzichelli at MACHmit! Museum fuer Kinder.

HACK MIT! is an exhibition and event about art and new media, with a particular focus on the concept of hacking. The idea is to bring children closed to the new technologies, like computers, videos, televisions, and at the same time associate those technologies to the more traditional art field, from the classical avant-gardes (such as Surrealism, Dadaism, Futurism) to the present. Italian artists and German ones are brought together to realise a project where children can playfully learn to use media. The aim is to provide an approach of using technology in a creative way.

Central concept is the do-it-yourself creation and hacker ethic. Hackers give life to an alternative and independent way of producing information, cultural consciousness and communication. They share the good of knowledge and fight for free communication and access for all, aiming to create and spread knowledge for the public domain. This way of thinking is very closed to the approach children have to objects and society in general: they learn playing and de-constructing the reality, applying new meanings and unpredictable results to it. Today, many children learn very early how to use computer and technologies, but many of them have no possibility to learn how to use them in a critical and non-commercial way, and understand how media can be easily linked to art and creativity. With this exhibition, they can experience how art can be easy to do, and how technology can be consciously used.

Much research are focused on the bad effect of media in children's perception of reality and the construction of cultural and social paradigms. But if children learn how to use media self-consciously, technology can be an important tool for creating, learning and realising art. Media are considered in their creative possibilities, presented in a historical perspective and highlighted in their diversity from the past to present. Art thus becomes common experience, a field of experimentation with media, offering an opportunity of individual participation in the process of artistic creation.

The history of contemporary art has gradually destroyed the concept of art as a property. It has empowered the spectator as a no longer a passive consumer, but active participant of the artwork. The role of the artist as an all-powerful creator has also been gradually broken up as well, by artistic happenings which require the participation of the audience (from Fluxus to Mail Art) so that a process takes place which is controlled by the creative spontaneity of the people, showing that it is possible to make one's own art and create self-made media.

The idea is to illustrate how art and technology have increasingly converged and how it is possible today, through a self-governed use of media and languages, to practice a "hacking art" and work in truly collaborative fashion. Art makes sense if people can act inside, the artwork becomes a stream of collective patchwork, contaminations, copying, alteration of language codes and icons.

Several workshops will bring together the diverse Italian cultures of hacking and media art with its German counterparts. Children can view interactive models of media and art and can participate in video and computer laboratories. They can create works of art, such as dada-collages, surrealistic sculptures and be involved in mail art process. They can become artists and inventors building up their own television and constructing their own TV show, presenting their ideas in public as real TV "directors". They can do art with a vacuum cleaner and experiment the art of realising and printing stamps.

Performance-laboratory: The exhibition event will be open with the Minimal TV performance made by the Italian group Quinta Parete. With Minimal TV anybody, at least for one day, can have their own private network and children can create their own television-show together with the artists. Let's understand how television is running and what is the difference between reality and pure fiction! http://www.minimaltv.cjb.net


The workshops are realized by Italian and German artists in the course of the exhibitions.

- RUUUUUMBLE - Futurism Printing Workshop (by Gabriele Zaverio, Aldo Cesar Faga)
- The interview - Video Workshop (by Simonetta Fadda)
- Linux - Digital Fotos and Graphic Works with Free Software (by Bjoern Balcke)
- Creative Writing (by Sebastian Luetgert).


Children interact directly with projects in the field of art and technology. There are 7 different stages/stations:

1. Dadaism: "Dada Sprechen" (Speaking Dada); Dada Project by Giuliana Del Zanna and Anna Laudani.

2. Surrealism: "Ich und mein Traum" (Me and my Dream): A Surrealistic project by Giuliana Del Zanna and Anna Laudani.

3. POSTmit! "Ein 5-jaehriges Kind kann dies tun!" (A five-years-old child can do it!): A mail art network project coordinated by Vittore Baroni. The process of the "Eternal Network" of Mail Art is reproduced by activating a direct postal exchange between the children and a sample of the Mail Art population (30 mail artists from all over the world).

4. "Empty World" - VACUUM Work Station: Project by Aldo Cesar Faga': Realizing artworks with a Vacuum Cleaner and a machine constructed with assembled technologies.

5. Radio Scanner - Discovering Radio Waves: A Radio project by Gabriele Zaverio. Millions of weird and strange radio stations all around the world, spreading codes, data, informations, incredible transmissions can be hearded and decoded.

6. Museum Visit: A PHOTO-STORYBOARD Workshop and Project by Simonetta Fadda: How to realise a film script and draw a short storyboard of the MACHmit
museum visit.

7. Cinema. The Lumiere Brothers' First Films Experience: Screening of the first film: "Arrivée d'un train à la Ciotat" (1895); curated by Simonetta Fadda.


1. Ambient/Sphere Installation: by Aldo Cesar Faga'. Immersive 360° installation with a synchro-optical sphere.

2. The Mirror-game (Spiegel-Spiel) by Simonetta Fadda. with: "Videogame" and "I is another" Installations. Video is a "fake mirror": let's play together with our mirror and tv images and discover their differences.

3. Klang-chromatische Energien: Interactive Installation by Flavia Alman and Sabine Reiff – Pigreca. By moving and interacting in front of the screen, children produce colors and sounds.

4. DADA Theater: Experience the Tristan Tzara Theatre (A Dada-Soirée in Paris, 1923). An interactive installation by Anna Laudani and Giuliana Del Zanna.

With: Minimal TV (Giacomo Verde, Federico Bucalossi, Vania Pucci), Freaknet Medialab (Gabriele Zaverio, Aldo Cesar Fagà ), Pigreca (Flavia Alman and Sabine Reiff), Simonetta Fadda, Sebastian Luetgert, Vittore Baroni(*), Bjoern Balcke, Anna Laudani and Giuliana Del Zanna.

(*) Networking with: Martha Aitchison (UK), buZ blurr (USA), Gregory T. Byrd (USA), Bruno Capatti (IT), David Dellafiora (Australia), Mike Dickau (USA), Jas W Felter (Canada), John Held Jr. (USA), Jo.Anne Hill (UK), Susanna Lakner (D), Michael Leigh (UK), Graciela Gutièrrez Marx (Argentina), Emilio Morandi (IT), Angela and Peter Netmail (D), Clemente Padin (Uruguay), Franco Piri Focardi (IT), Claudio Romeo (IT), Karla Sachse (D), Gianni Simone (Japan), The Sticker Dude (USA), Giovanni and Renata Strada (IT), Lucien Suel (France), Rod Summers / VEC (The Netherlands), Annina Van Sebroeck and Luc Fierens (Belgium), Reid Wood (USA), Special Guest: Anna Banana.

MACHmit! Museum fuer Kinder gGmbH
Senefelderstr. 5, 10437 Berlin
Tel: +49-30-7477 82 00
Fax: +49-30-7477 82 05

Director: Marie Lorbeer
Press: Katrin Fandrich and Edgar Steiger (Assistent)
Tel: +49-30-7477 8202
E-Mail presse[at]machmitmuseum.de

The HACKmit Exhibition is supported by Hauptstadtkulturfonds Berlin.

Posted by jo at 10:37 AM | Comments (0)

April 23, 2007

Futuresonic presents Art For Shopping Centres


Three Commissioned Works

Thirty years after Brian Eno's Music For Airports, Futuresonic presents Art For Shopping Centres, an exhibition of major, world premier artworks, after which you will never look at a shopping centre the same again. Transforming the city into a space of experimentation, freeing urban space, making it strange. Featuring three major new artworks commissioned by Futuresonic 2007:

MediaShed ft's Methods of Movement, The Duellists: Parkour, or freerunning, involves fluid, uninterrupted movement, adapting motion to obstacles in the environment. Like free-media, freerunning makes use of and re-energises the infrastructure of the city. MediaShed ft Methods of Movement present an acrobatic parkour competition between two late-night traceurs, staged overnight in the Arndale shopping centre, filmed using only the in-house CCTV system, in the first official implementation of the GEARBOX free-media video toolkit, and shown on the screens inside the shopping centre, with an original soundtrack by Hybernation.

Katherine Moriwaki's Everything Really Is Connected After All: Visit the Arndale to discover a whole new shopping experience. Using a flock of mobile devices, emergent narratives adapt to the proximity of other people around you while you roam the plazas and arcades. The shopping centre is a 'non-place', a space that is unique but identical everywhere across the world. The stories are tales of everyday people encountered in this space. As a backdrop for desire, projection, and the acquisition of material objects, the Arndale and the experience of shopping is explored in order to locate and find experiences and concerns that bind us together in small and large ways.

Harwood's Netmonster:Harwood seeks to uncover truths forgotten in the light reflected from the endless shop windows, in an ever-evolving 'network image' showing how the Arndale and Manchester city centre have risen from the ashes of the 1996 IRA bomb. Coinciding with the date Ian Paisley and Gerry Adams are scheduled to form an historic power-sharing government in Northern Ireland, Harwood revisits the legacy of the 1996 IRA bomb, which famously detonated just a few meters away from Manchester Arndale. Harwood's NetMonster software searches the internet for thematic content, sniffing out links and connections, creating a living, composite image from images splintered around the worlds media.

Art For Shopping Centres is the centrepiece of Urban Play, continuing Futuresonic's focus since 2004 on taking artworks out of the galleries and into urban space.

Posted by jo at 07:16 PM | Comments (0)

GHava{SL} Center for the Arts + Fuse Gallery present


Destroy Television

GHava{SL} Center for the Arts is proud to announce Destroy Television, an interactive virtual art installation by futurist Jerry Paffendorf and metaverse architect Christian Westbrook. This exhibition will occur simultaneously in the metaverse Second Life as well as in NYC at Fuse Gallery. It opens May 23, runs through June 2, 2007. It is curated by Annie Ok of GHava{SL} Center for the Arts.

Born and raised beneath a kitchen sink in Brooklyn, Destroy Television is an avatar in the user-created 3D virtual world of Second Life. But unlike other avatars that are owned and controlled by individuals, Destroy is an expression of everyone who controls and speaks through it at destroytv.com. As a result it encompasses many simultaneous voices and motivations, of which any given user can be one. For the duration of the show it will be recording a searchable video lifelog of its experience that visitors can easily explore, edit, and comment on. They can also click through its live online video and visit Destroy as an avatar inside Second Life, surf over to its lifelog afterwards and find themselves in its perfect memory as part of the menagerie.

Additionally on display in Fuse Gallery and at GHava{SL} Center for the Arts will be an installation documenting Destroy's real life conception beneath the kitchen sink as well as its early days in Second Life.

Destroy Television unleashes numerous true intelligences on a world that's simultaneously finite and limitless. People who visit the avatar in real life at the gallery and in Second Life at the art center will be encouraged to interact, communicate, and perform with the avatar, and by doing so enter its lifelog, unforgettably.

Jerry Paffendorf is resident futurist with The Electric Sheep Company where he explores the future of virtual worlds and how they're coming to intersect with and impact the real world. Previously he worked with the nonprofit Acceleration Studies Foundation who research accelerating technological change, why it happens and what it means. He has an MS in Studies of the Future from the University of Houston-Clear Lake and a BFA in Fine Arts from Montclair State University in New Jersey. He's always talking at conferences, pushing new projects, lives in Williamsburg, Brooklyn, and believes the 21st century will be absolutely insane as the web goes everywhere all the time and we turn the world into something like a video game and ourselves into something like avatars.

Christian Westbrook is a creative technologist who constantly seeks new ways to merge code, music, and art. He currently is metaverse architect for The Electric Sheep Company, building bridges between real and virtual worlds and improving open source tools that enable others to create. Christian has a BS in Computer Science from Rice University, where DTV's older brother, a robot named Virgil, still gives tours on sunny days, and is a big fan of sushi and Ableton Live.

Jerry Paffendorf & Christian Westbrook: "Destroy Television" Opens May 23, runs through June 2, 2007.

Fuse Gallery
93 2nd Ave
(between E 5th & E 6th)
NY, NY 10003
Phone: +1.212.777.7988

GHava{SL} Center for the Arts is located at
Haenim (11, 114, 550) in Second Life
SLUrl: http://tinyurl.com/2yxyc4

Posted by jo at 06:02 PM | Comments (0)

LA Freewaves 2007


Call for Contributions

LA Freewaves: Do you dare support art on the edge?

Where can you see a bird’s eye view of thousands of rooftop gardens amid Hong Kong, a South African short experimental love story and a battle of stereotypes all in one place? Freewaves dares to unleash media art: * outside the art marketplace * outside the political mainstream * beyond US borders.

In 2006, Freewaves: * presented our most ambitious exhibition of 100 videos in our biennial festival * developed a new online curatorial model, working with diverse international curators, resulting in a truly global perspective * upgraded our website into an interactive, next generation festival venue.

In 2007, Freewaves: * is reengineering past festival websites into a searchable media arts archive * is gearing up for our 2008 festival in a new ground-breaking format.

Although Freewaves accomplishes a lot on a small budget, with the help of our supportive friends, it has become a challenge to survive the current economic and political environment. We must now rely more heavily on those who share our vision. Your donation of any amount will contribute immensely towards artists fees, equipment upgrades, technical advances, and public outreach.

With sincere thanks and continued hope for emerging ideas,

Anne Bray
Executive Director

Posted by jo at 05:53 PM | Comments (0)



Call for Applications

BIP 2007: BUILDING INTERACTIVE PLAYGROUNDS :: Elettrowave, July 20-21, 2007 – Florence [Stazione Leopolda] :: We are currently accepting applications to participate in BIP 2007, a festival about interaction design projects for events and public spaces.

After the great success of BIP 2006 edition in Arezzo (43 high quality proposals received from 12 different countries and 4 selected and presented projects) BIP goes to Florence, together with Italiawave and Elettrowave.

BIP is an international competition for interaction design projects for public events. Through an international call for works, opened to interaction designers, artists, researchers, architets and students, it aims to select, invite and show interactive installations, specifically conceived for events and public spaces. Simple and straight-forward projects, involving exploration, irony, play and social relationships, that can intrigue a curious and young audience. Projects that are able to transform festival locations into programmed spaces, active processes, playing with time, space and people.

Interaction Design applied to an electronic music festival's environment: nightlife, clubbers, a young, unrespectuful and challenging audience. BIP is an arena in which music and design live together and talk to each other, trying to tear down the usual distinctions between high & low, entertainment and research.

All project proposals must be submitted by May 10, 2007

More informations about BIP 2007 call for works and submission rules are available at: www.todo.to.it/bip2007

In the context of BIP - building interactive playgrounds festival Arsnova - Accademia per le Arti e le Scienze Digitali, in collaboration with Elettrowave and Associazione Culturale NADA, organizes Touchdown!, an intensive workshop about physical computing applied to videogames.

Posted by jo at 02:03 PM | Comments (0)

This happened


The Stories Behind Interaction Design

This happened: Orlando Mathias , Moritz Waldemeyer, Durrell Bishop and Troika :: May 2, 7:45pm :: The Griffin (Shoreditch London). Register online to attend.

This happened is a series of events focusing on the stories behind interaction design. Having ideas is easier than making them happen. We delve into projects that exist today, how their concepts and production process can help inform future work.

Interaction design companies are often too closed off to the outside. We want to encourage people to be more open in their methods and ideas. We aim to have a mix of established practitioners, commercial companies and students. We want to encourage the perspectives from the other side of the fence, so will also be inviting curators and commissioners of work to give presentations.

This happened was started by Chris O’Shea (Pixelsumo), Joel Gethin Lewis (United Visual Artists) and Andreas Müller (Nanika). Each event will be curated by the trio to select a balance of speakers and topics related to the field.

Posted by jo at 01:59 PM | Comments (0)

PAM] the Perpetual Art Machine


Three Events

[PAM] the Perpetual Art Machine Trifecta.

[PAM] TO BE FEATURED AT COACHELLA MUSIC AND ARTS FESTIVAL :: April 27 - 30, 2007 :: In its first appearance on the U.S. West Coast, Perpetual Art Machine [PAM] will be a featured multimedia installation at the Coachella Valley Music and Arts Festival, Indio, California, April 27-29.

This year, Coachella is presenting over 100 of the biggest names in music and art, including Bjork, The Red Hot Chili Peppers, Rage Against the Machine and Sonic Youth. [PAM] is putting into place its largest installation to date, at the Empire Polo Fields, a desert oasis just outside Palm Springs, for this three day outdoor 70,000 person sold out event.

Combining touch screen and projection technology, [PAM] gives its users an immersive 5 channel interactive video experience. Entering into the [PAM] installation, the user becomes the curator of some of the most cutting edge video work made this century. [PAM] democratizes the curatorial process by inviting both the artist and the viewer/user to participate on site and online at perpetualartmachine.com.

[PAM] was created in December 2005 as a collaboration between the artists Lee Wells, Raphaele Shirley, Chris Borkowski and Aaron Miller and has had installations and screenings worldwide including the United States, England, Austria, Russia, Brazil, Canada, France and Croatia.

At this year¹s Coachella festival, [PAM] will premiere its first ever compilation DVD titled "Perpetual Art Machine 2006-2007: Year one · Volume One" featuring 16 videos highlighting some (but not all) of the best work in the [PAM] archive.

For more information on Coachella go to http://www.coachella.com
For immediate assistance please call Lee Wells at 917 723 2524.

[PAM] TO BE FEATURED IN NEW MEDIA ART LOUNGE at artDC. :: April 27 - 30, 2007 :: Perpetual Art Machine [PAM] will be featured as a new media project at the inaugural Modern and Contemporary Art Fair, Washington DC - artDC. Modern, contemporary and high quality cutting edge work defines this newest art fair in America.

[PAM] will present a single channel interactive multimedia installation and will feature the artwork of Bill Dolson, Miroslaw Rogala and Raphaele Shirley. The New Media Lounge is organized by Rody Douzoglou and artDC takes place 27 ­ 30 April at Washington Convention Center, Hall E.

[PAM] co-founder, Raphaele Shirley also will be part of the New Media: Exploration and Innovations panel, which will explore the exciting area of new media, which is gaining more attention than any other medium in the current art market. The very distinguished panel of experts will discuss the topic.

Panelists include:
Peggy Parsons, Moderator,
Film Department Head of the National Gallery of Art, DC
Kerry Brougher,
Chief Curator of the Hirshhorn Museum and Sculpture Gardens, DC
Beth Turner,
Senior Curator of the Phillips Collection, DC
John Hanhardt,
Consulting Curator of Film and Media of the Smithsonian Museum, DC
Raphaele Shirley,
Artist and co-founder of Perpetual Art Machine, NYC

For more information on artDC, go to: http://www.dc-artfair.com.
For immediate assistance please call Raphaele Shirley at 917 805 6320.

[PAM] PROFILED IN VIDEO AS URBAN CONDITION PROJECT IN AUSTRIA AND BRAZIL :: Exhibition @ Lentos Kunstmsueum/Museum of Modern Art Linz, Austria :: April 19 ­ May 27, 2007.

Screening: Fundação Clóvis Salgado/Palácio das Artes, Belo Horizonte, Brazil
April 28, 2007.

Compiled by UK artist, Anthony Auerbach, the Video as Urban Condition project explores how video shapes urban experience.

Video is a medium of mass production, mass participation and mass consumption. Video as Urban Condition recognizes the diversity of activity in the field and challenges the participant to reflect on how the relations of representation in society are mediated by video.

The project reflects on the mutability of video as it shifts between fact and fiction, entertainment and persuasion, urban fantasy and reality-TV, art and activism, surveillance and control - tracing the web of interactions between of media and architecture, subject and commodity, identity and desire, the city and its phantasmagoria.

Video as Urban Condition examines a medium whose most distinctive characteristics are multiplicity and diversity, a form, which is not contained by the norms and institutions of art nor by the exclusive domains of professionals.

[PAM] Video Pool contributing artists: Anonymous (Iraq), George Barber (UK), Luis Berrios-Negron (Puerto Rico), Chris Borkowski (US), Josephin Böttger (Germany), Wilson Brown (Brazil), DnasaB (US), G.H. Hovagimyan (US), Stephanie Lempert (US), Aaron Miller (US), Motomichi Nakimura (Japan), Pierre St. Jacques (US), Sanotes (Spain), Raphaele Shirley (US/France), Jeremy Slater (US), Endre Tveitan (Norway), Lee Wells (US)

For more information on Video as Urban Condition go to:
For immediate assistance please call Raphaele Shirley at 917 805 6320.

Posted by jo at 01:36 PM | Comments (0)

OurFloatingPoints 4: Participatory Media


The Art of Living a Second Life

Emerson College, New Radio and Performing Arts, Inc./Turbulence.org, and the Museum of Science present OurFloatingPoints 4: The Art of living a Second Life :: DATE: April 25, 7 pm :: VENUE: Museum of Science, Cahners Theater, Boston :: STREAMED LIVE online and BROADCAST TO SECOND LIFE :: FREE AND OPEN TO ALL!

A panel discussion with Wagner James Au (aka Hamlet Linden), John Lester (aka Pathfinder Linden), and John (Craig) Freeman (aka JC Freemont); moderated by Eric Gordon (aka Boston Borst).

Called "the biggest digital art installation in the world" (Warren Ellis), Second Life is a highly imaginative, online, 3-D rendered environment populated with avatars (graphic representations of people). In Second Life you can teleport, fly, live in a house, go to clubs, take classes, make and view art, or just "hang out." You cannot drown and you do not age. Spanning more than 42,000 acres in real-world scale--larger than metropolitan Boston--Second Life is second home to over 2 million "residents," many of whom collaboratively create its content. It is a place where real business is conducted using virtual dollars that can also be traded in the real world. Join us during the Boston Cyberarts Festival for a discussion about the creative, social and economic implications of Second Life. For more information, go to the Museum of Science.

Posted by jo at 01:20 PM | Comments (0)

We Love Technology. Again.


WLT needs you

We Love Technology is back. After a fabulous first year, the only conference to focus on the creative (mis)use of emerging technology returns in July, with a fun and informal programme of presentations and workshops on the themes of games and architecture. What's more, WLT needs you.

WLT is different. In a nutshell, it's the place where art, culture and technology is souped-up, subverted, and made a lot more fun. It ignores the everyday stuff, and aims to find out what weird and wonderful things artists, games designers and architects are doing with new-fangled wizardry. As one of last year's participants commented, "WLT opened me up to a world of new media that I'd only dreamt existed.I went back to work buzzing with ideas."

The annual creative technology showcase is chaired by Matt Locke, Commissioning Editor, Education New Media at Channel 4, hosted by the University of Huddersfield and The Media Centre, and supported by Arts Council of England Yorkshire and Screen Yorkshire.

And WLT is calling for papers and presentations. Conference organisers are looking for mind-expanding presentations and workshops (30 or 60 minutes) from leading edge technology manufacturers, new media artists, technologists, researchers, academics and tec bloggers, concerned with games and/or architecture. As always, speakers should focus on why they love technology, and how their work encourages new forms of creative expression. The deadline for proposals is 14 May.

And if you're feeling really creative, send in your own interpretations of a test card, to be displayed during WLT 2007. What's a test card? Find out more here: http://en.wikipedia.org/wiki/test_card. The audience vote winner takes the mystery prize. Send in your jpegs - 300dpi 8x10cm landscape format - by 29 June.

To promote your own business at WLT 2007, send fun tec toys, magazines, books, flyers, stickers, badges to the address below by 10 July.

Contact: Lisa Roberts lisa[at]blinkmedia.org

Blink, the Old Caretakers House, J L Brierley Mills, Quay Street, Huddersfield, West Yorkshire HD1 6QT

Posted by jo at 12:45 PM | Comments (0)

Extensions Journal Volume 4: TempoRealities of Performance


Call For Submissions

Extensions invites submissions for its forthcoming issue: TempoRealities of Performance. We welcome scholarly essays, experimental writing, interviews, reviews, media / Web-based art works / projects, and documentation of music, dance, visual, sound, and performance art that interrogate the relationship of temporality to performance.

Time, particularly "the present," has been configured as the ontological force field that grounds performance. Yet, the present as a temporal category, and presence as material proof of that time, is being challenged on many fronts. For example, how have the virtual stages of new media shifted definitional assumptions about presence and performance, and of what constitutes a performance event? How have the space-time compressions of globalized capital and travel suggested simultaneous and sometimes competing geo-temporalities? Do performance sites create / condition / presuppose their own temporality? How do archival technologies figuratively and literally mediate performance?

Submission topics might include but are not limited to:

Intersections of spatiality and temporality
Technology and the archive
Ephemerality and endurance of performance
Lingering presents/presence
Futurity and/or historicity
Recyclings and (re)imaginings of pasts, presents, and futures
Foucauldian technologies of performance
Tempo, rhythm and other measurements of time
Performativity of time: spectacular, messianic, queer, etc.

Extensions: The Online Journal of Embodiment and Technology is an annual Web journal produced by the graduate students of the UCLA Center for Performance Studies. Extensions follows the Center's mission to "engage performance at every front, to open and broaden the definition of performance and the texts that prompt them, to explore performance practices and test the ground on which they rest." Extensions is further dedicated to interrogating performance according to new logics of embodiment and technology, opening those terms to methods and objects of contemporary scholarly and artistic inquiry.

Submissions should be received/postmarked by August 1, 2007. Essays should be sent to extensionsjournal_at_yahoo.com. Other files should be sent on CD or DVD to:

Extensions Journal c/o Harmony Bench
Glorya Kaufman Hall 120 Westwood Plaza, Suite 50 Box
Los Angeles, CA 90095-1608 USA

Articles must be sent in full as MS Word documents and should follow MLA style. Images should be sent as .jpg files and video submitted in QuickTime. We are also happy to accept Flash (.swf) files. If applicable, please include a thumbnail image to accompany your submission. Inquiries regarding supportable file formats and other questions should be directed to extensionsjournal_at_yahoo.com. Extensions requires hardcopy media files and 50-word bios from all accepted contributors. Artistic submissions should include an original statement that elucidates, expands or reflects on a conceptual or technological aspect of the work.

Contributors will be notified of acceptance by October 15, 2007. Our anticipated launch date is May 1, 2008.

Extensions Volume 3: Interactivity and Kinesthetic Sense can be viewed at www.performancestudies.ucla.edu/extensionsjournal/

Posted by jo at 09:20 AM | Comments (0)

52nd International Art Exhibition, La Biennale di Venezia


Migration Addicts

ddm warehouse :: 52nd International Art Exhibition, La Biennale di Venezia :: Migration Addicts, Curated by Biljana Ciric, Karin Gavassa :: Urban interventions, Venice :: June 6 -15, 2007 :: Opening party (by invitation) on June 7th 2007, from 9 p.m. to 2 a.m., at Orange Restaurant and Champagne Lounge, Campo Santa Margherita, featuring Rizman Putra The Hyperbolic Alpha Male performance, and Giorgio Pulini aka RACH3 live dj set.

Migration Addicts began as an ongoing project two years ago in Shanghai, investigating how migration re-determines issues related to human identity, gender and spiritual needs. The fast expansion of urban spaces, following the model of big cities, has led to new social conflicts within the social structure. Recently the tension between Western and Chinese traditional values and lifestyles, as well as the late arriving of capitalism and the persisting communism, have not hindered the Chinese impulse towards assimilating the “international standards”, while fostering its own economic development.

The project is touching upon topics which concern not only Shanghai but many other expanding Asian and Western cities. The structure of the exhibition is based on a series of interventions that will take place throughout the public space in Venice, articulating new perspectives entrenched directly in the urban environment, and methodologically operating in time and in space.

The exhibition investigates the questions of temporal and spatial strategies which deal with this situation. On political and aesthetic levels, these projects interact with people from outside artistic circles opening to the encounter with the unknown viewer, expanding the idea of art and its experience, to continue an engagement with the public sphere.

Venice is currently undergoing profound changes with respect to the urban landscape and its own future depends on the new structure it undertakes. More and more Venetians are leaving the lagoon to settle in other towns. In the next 30-40 years, it is certain that Venice’s population will be dramatically reduced.

The artists participating in Migration Addicts face through their own culture and artistic practices the topic of migration, providing a direct relationship with the public space where the exhibition is hosted, reflecting on the peculiarities of the territory, investigating differences and possible points in common.

Participating artists and sites: Htein Lin, (Myanmar), Campo San Barnaba; Jin Shan, (China), Campo San Polo; Li Pinghu, (China), Campo San Salvatore; Huang Kui, (China), Campo San Maurizio; Miljohn Ruperto, (Philippines / USA), Campo Sant’Angelo; Josefina Posch, (Sweden / USA), Campo Santo Stefano; Mogas Station, (Vietnam), Cultural Association Aurora Street, Caffè Aurora, Piazza San Marco, 48,49,50; TODO, (Italy), the town - starting point at Chiostro Ex Chiesa Santi Cosma e Damiano, Giudecca, 620; Belén Cerezo, (Spain), Campo San Bortolomio; Yap Sau Bin, (Malaysia), Cultural Association Aurora Street, Caffè Aurora, Piazza San Marco, 48,49,50; Hasan Elahi, (Bangladesh / USA), Campo Santa Margherita, Dorsoduro, 3054; Rizman Putra, (Singapore), Orange Restaurant & Champagne Lounge, Santa Margherita, Dorsoduro, 3054.

Presented and organized by ddm warehouse, Shanghai, China

Collaborator: Vision

Sponsors: New Margin Ventures, ShanghArt Gallery, Shanghai, Creative Capital Foundation, Oriental Vista Art Collections, CCAA, N.O. Gallery-CONTEMPORARY ART, Milano.

Media partners: DROME magazine, www.ionly.com.cn, art in culture, Art China
Art World, universes-in-universe.de, art.mofile.com, and art monthly.

Special thanks: Cultural Association Aurora Street, Caffè Aurora, Venezia; Stefano Coletto and the Atelier of Fondazione Bevilacqua La Masa, Venezia; Galleria d’Arte Santo Stefano, Venezia.

Please check http://www.ddmwarehouse.org for updates.

For more information please contact: biljana.ciric[at]gmail.com or karin.gavassa[at]gmail.com

Posted by jo at 08:51 AM | Comments (0)

April 21, 2007

Upgrade! Istanbul


Alternative Directory by Anna Sala

Upgrade! Istanbul: Alternative Directory by Anna Sala :: 26th of April 18:00 :: santralistanbul will host this meeting at Istanbul Bilgi University, Dolapdere Campus, Z-04

The goal of the project is to have an useful tool for a transcultural dialogue and a platform to interconnect the alternative or independent movements (artists and spaces) with other geographical scenarios in order to create and spread cultural exchange networks.

Anna Sala is currently based in Barcelona. She graduated as a graphic designer from Massana School of Fine Arts in Barcelona. Her career as a graphic designer brought her to multimedia studios in Paris, Wrexam and New York. Since 2004 she has been involved with social movements and several political arts projects in Barcelona. She was one of the founders of the collective Eclectica dv, a non-profit arts organization that wants to promote the use and benefits of new technologies through the independent art production and networks using free software & copyleft. She is currently involved in developping interfaces for people and networks using printed and online material.

Projects: Map & workshops; Technology: http://www.eclecticadv.net, http://donestech.net; Public space; In summer of 2006, she participated in Lost Highway Expedition.

Upgrade! Istanbul is a monthly gathering for new media artists, academicians, practitioners, curators and for all of the other actors of digital culture, organized by NOMAD and hosted by santralistanbul.

The Upgrade! is a network of international monthly meetings in the field of art and technology. Founded by media artist Yael Kanarek in 1999, the Upgrade! exists as forums for artists, designers, critics, curators and educators who form the communities in different cities to discuss and share knowledge. Current nodes include Boston, Chicago, Montreal, Munich, NYC, Oklahoma City, Scotland, Seoul, Sofia, Tel-Aviv, Istanbul, Vancouver Lisbon and Toronto. Host organisations include Eyebeam, Turbulence.org , New Media Scotland, Art Centre Nabi, The Western Front, The Society for Arts and Technology (SAT), InterSpace, I-camp, DCA, CCA, No-Org.net, Art Interactive, santralistanbul, Lisboa 20 Arte Contemporânea. Open-Node.com and TUBE.

Posted by jo at 04:53 PM | Comments (0)

Turbulence Commission:


Handheld Histories as Hyper-Monuments

Turbulence Commission: Handheld Histories as Hyper-Monuments by Carmin Karasic, Rolf van Gelder and Rob Coshow, with special thanks to the HP mscapers team, Brett Stalbaum, and Jo Rhodes :: Part of the Boston Cyberarts Festival, pick up a smartphone at the Judi Rotenberg Gallery, 130 Newbury Street, Boston :: April 21-28, 2007, Tues-Sat 10am-6pm. Gallery talk today: 2:00 pm.

Designed for HP iPAQ 6900 series smartphones, Handheld Histories as Hyper-Monuments uses GPS and mobile technologies to address historic bias in Boston's public monuments. The artwork gathers non-official stories to socially construct hyper-monuments that exist as digital doubles, augmenting specific historic monuments. For example, imagine you are near the Old South Church in Boston, MA, USA. The smartphone sounds church bells to get your attention. It then displays an easily identifiable image of the Old South Church circa 2007, followed by images of the church that take you back in time. Finally you see the location as it was in its natural, wild state. You can send text, image and audio content to the website from the monument location via any internet enabled device. Or use any internet browser to view and add histories to the hyper-monuments.

HHHM requires HP mediascapes locative media software to create content rich hotspots on GPS aware maps. Once the HHHM mediascape is installed on a handheld device, a GPS fix is required to automatically display the hyper-monument. WiFi internet connectivity is best for viewing and contributing to the hyper-monument via the handheld's browser.

“Handheld Histories as Hyper-Monuments” is a 2007 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the LEF Foundation.


One November morning in 1994, CARMIN KARASIC was listening to digital artists on NPR when she realized she was a digital artist trapped in a Fidelity Technical Project Manager's body. This simple realization changed her life. A multimedia artist focused on Internet Art, she is also an Assistant Director of Boston Cyberarts, and on the faculty of Lesley University. Her work can be seen online in several e-zines, websites, and galleries, such as CAGE. She has exhibited in the Boston area at the DeCordova Museum, MIT List Center, the Attleboro Museum, Computer Museum, New England School of Art and Design, The Art Institute of Boston, and The Brodigan Gallery; in NY at the Studio Museum, Harlem; Brooks Gallery at Cooper Union, and the New York Hall of Science; and Austria, Canada, Japan, and Germany. Carmin has been awarded a Mudge Fellowship from the Groton School and a duPont Fellowship from the Art Institute of Boston.

ROLF VAN GELDER is an artist and web developer. Self-taught, he has been creating visual art since the early 80s. He has been collaborating with Carmin Karasic since the 1990s. They created "d{s}eduction dialogue" for the 2001 Boston Cyberarts Festival and "Virtual Quilt" (2002) for the DeCordova Museum and Sculpture Park, Lincoln, MA, USA (with Clara Wainwright). In 1995 Rolf founded one of the first on-line art galleries, CAGE - Cyber Art Gallery Eindhoven (http://www.cage.nl). His work has been exhibited in over 50 exhibitions in the U.S.A., Canada, Austria, Portugal, Italy, Sweden, Germany, UK, Spain and the Netherlands.

ROB COSHOW is an artist/photographer who recently graduated Magna Cum Laude from the Art Institute of Boston. Trained in classic wet-lab photography as well as digital and new media, Rob has honed his experimental approach to create works that bridge multiple disciplines. In 2006, he exhibited his “Crab Cake” robots at Axiom Gallery, and collaborated with Jeff Warmouth, Roland Smart and other Boston artists to create “Art Show Down” at Art Interactive. He has received various honors for his photography and illustrious reviews for his new media work.

Posted by jo at 10:10 AM | Comments (0)



A KQED Digital Storytelling Summit

LOCATING OURSELVES: A KQED Digital Storytelling Summit :: May 26, 2007; 10-4 pm (Bonus: Friday evening, May 25, 6-8 pm party and showcase celebrating the Coming to California contest) :: KQED, 2601 Mariposa Street, SF :: All are welcome ::Lunch provided, so please RSVP: lrule[at]kqed.org

Come participate in an exploration of the current Digital Storytelling Landsacpe, with special attention given to place-based storytelling, locative media, and mobile technologies. So much is happening, and it's been a long while since we've come together to discuss where we might be going.

Many of us are practitioners, so please let us know what themes you'd like to see explored. Email Leslie Rule at lrule[at]kqed.org. We also invite you to join us Friday evening as we celebrate our high school digital storytellers who participated in the 5th Annual Coming to California Digital Storytelling Contest.

Posted by jo at 08:21 AM | Comments (0)

April 20, 2007

NTT InterCommunication Center (ICC)


10th Anniversary

10th Anniversary Session Series: Established on April 1997 to promote dialogue between science and the arts around the core theme of "communication," NTT InterCommunication Center (ICC) is celebrating its 10th anniversary this year. In the past decade, information technology has undergone dramatic change. Above all, penetration of the digital network environment has enabled people to send out or share information beyond the limitations of space. Given these circumstances of today, the significance and possibilities of arts and media technology need to be re-defined in relation to society and culture. To that end, ICC is launching the "10th Anniversary Session Series," which offers various events throughout this year as opportunities for interdisciplinary dialogue on a variety of themes. As the first event of the series, we are holding a special two-day symposium, "The Future of Media and Art" in April (to be broadcast live online).

2) ICC 10th Anniversary Session Series Vol. 1: Special Symposium "The Future of Media x Art"

Date : April 21(Sat.) , April 22(Sun.) 2:00pm-5:00pm
Venue : ICC Gallery A
Capacity : 250 persons(first-come basis)
Admission : Free * English/Japanese translation
*Live on the Internet

As the information environment is constantly updated, the realms of art and creation associated with media have been diversifying on an unprecedented scale. Creation in today's world is related to social trends of culture, science and technology, while simultaneously highlighting these facets from unique perspectives, opening the way for wider participation of, and communication between, people. This symposium invites key players in the media culture from Japan and abroad, who have spearheaded the formulation and development of media culture by providing creative inspiration via media technology and art, to talk about the creative possibilities of the future, in consideration of the circumstances and changes over the past decade from multiple perspectives.

April 21(sat):
Alex ADRIAANSENS(Director, V2, The Netherlands)
Soh-Yeong Roh(Director, art center nabi, Korea)
FUJIHATA Masaki(Media Artist/ Dean, Graduate School
of Film and New Media, Tokyo National University of Fine Arts and Music) MIKAMI Seiko(Artist/Associate Prof. Tama Art University) moderated by HATANAKA Minoru(ICC)

April 22(sun):
ABE Kazunao(Artistic Director, YCAM, Yamaguchi)
Alessandro LUDOVICO(Executive Editor, neural, Italy)
Casey REAS(Co-founder of "processing"/Associate Prof. UCLA) TAKATANI Shiro(Artist/dumb type) moderated by SHIKATA Yukiko(ICC)

3) ICC Chronology

"ICC Chronology : 1997-2006", a special exhibition commemorating ICC's 10th anniversary, presents its 10 years of activities through posters,chronologies, images, and videos of the decade.

Date : April 19(Thu.)-June 24(Sun.),2007
Venue : ICC Gallery A
Hours : 10:00am-6:00pm
Admission : Free

4) Open Space 2007

ICC Open Space is a community space that is free of charge and open throughout the year. It utilizes part of the gallery, library, mini theater and lounge and is organized around this year's concept, "Open!" As an accumulation of the core activities at ICC, about ten works are presented free of charge at the following ICC Zones and Corners: Art & Technology, Research & Development, Network, and Archive. It is also possible to further research the activity history of ICC through various reference materials and visual recordings. With a completely functional cafe, shop, and lounge, ICC aims to create an environment where one encounters and engages with the progressive experimental activities derived from the dialogue between technology and art. Exhibitions are planned to change annually.

Date : April 19(Thu.)-March 9(Sun.), 2008

Posted by jo at 11:46 AM | Comments (0)

N3KROZOFT LTD's Aether 9


Collaborative Video Performance

the N3KROZOFT LTD media group is pleased to announce the world premiere of the collaborative video performance, Aether 9. Linking nine performers in various remote locations around the globe, this performance will occur on May 3, 2007, 21:00 CET, in the framework of Mapping Festival Geneva, in conclusion to a 3-day workshop directed by N3KROZOFT members.

Conditions of participation: [1] Participating in the workshop : If you wish to follow the workshop in Geneva: plase send an email to wrkshp[at]1904.cc describing briefly your experience and motivations (moderate knowledge and experience of video tools + originality of ideas is expected). Workshop dates are: May 1st-3rd, 14:00-18:00. Workshop location: BAC, Geneva (see below).

[2] Participating as a remote performer: Artists wishing to participate in one of the remaining performance slots: please send an email to remote[at]n3krozoft.com. Requirements for remote performers:

- You need to have access to an imaging device (webcam, miniDV camera) and a computer linked to the internet.
- Sufficient knowledge of video tools + performance is expected, to operate for instance a webcam and upload its images to a server. Server access will be provided.
- Knowledge of Max/msp or Pure Data is an advantage, but not a necessity.
- You are required to be available through skype or similar protocols for instructions and synchronisation during the days prior to the performance (1st-3rd May).
- 100% availability during the performance and at least 1 hour prior to performance is crucial.

Questions and Answers

Q - What will this look like?

A - The basic concept: 9 different locations will be linked during a 60 minute performance. The performance will be projected as a 3x3 grid of videoframes.

Q - When and where will the performance take place?

A - The performance will occur on Thursday 3rd May 2007, 21:00 (9 PM) Central European Time. The location is the BAC (Bâtiment d'Art Contemporain), 10 rue des Vieux-Grenadiers / 28, rue des Bains, Geneva, Switzerland.

Q - Is it possible to watch the performance on the internet?

A - The performance will be visible through the internet. Not directly as a video stream, but as a standalone viewer application, which will be available at http://n3krozoft.com/remote. If you are in charge of a public venue, you are welcome to use the standalone viewer to broadcast to performance to an audience. Click here to find your local performance time: http://tinyurl.com/2rjxhb

Q - Will there be any dogma/ritual imposed on the performers?

A - The content of the performance will be dictated by a formal set of rules, which will be established in part during the first 2 days of the workshop. The significance of time and the subjectivity of human experience in a specific
timeframe will be a crucial element of the performance.

Q - What technology will be used for the transmission of images?

A - To insure the possibility for performers in low-tech situations to participate, the system will be designed for robustness rather than for speed. Since streaming video needs a considerable upload rate, the transmission of images will occur rather through image-by-image upload, allowing participants to use slower transmission lines. The target frame refresh rate will be 5 seconds, similar to the transmission rate of the videophone devices in use during the 1990's. At the main performance venue, buffered playback will occur at much faster or slower framerates, depending on the performer's actions.

Posted by jo at 10:33 AM | Comments (0)

Brad Kligerman Ars Virtua Artist-in-Residence (AVAIR)


Determining Image-Space

Brad Kligerman Ars Virtua Artist-in-Residence (AVAIR) « Organizing light in the time and space of the projected image » (the determination of an Image-Space) :: Opening TONIGHT April 20 (23:59 SLT) & April 21 (12:00 SLT - noon) :: Go Here >>

Artist and Architect Brad Kligerman has turned the idea of art making upside down or rather inside out in his AVAIR exhibit. Kligerman questions the idea of materiality in the rendered environment and the nature of image. He successfully blends the idea of moving through "space" with the idea of moving through image in his new multi-sim installations.

Over the course of Kligerman's eleven week residency he has collected images from various experiments in SL. These images have been deftly applied to objects which form a path through three "machines." Kliger uses these machines to extract data from SL in order to understand materiality, quote the history of art and painting and contrast with what has become "traditional" Second Life architecture. The end result is a series of places where image and space become one.

"In contrast to projects that view virtual worlds as simply another node in a communication strategy, this project attempts to find another creative and productive scenario by interrogating the physical and material extents of SL."

"This project recognizes synthetic space not for its faculties of communication, but rather for its potential as a representational, sensational medium. "

"Image resonates on its surface, through its envelope and beyond its physical reach, to capture, through the distribution of space, its tangible atmosphere. Avatars merge in image, emerge through the image, we lose ourselves in the image, of art, only to reemerge through it. The colors, lights and forms, the tensions and compressions of the space's force, superpose to project an «Image-Space »."

AVAIR is an extended performance whose purpose is to investigate the nature of art making in the 3D synthetic environment of Second Life. It is an examination of policy and institution, as well as a reflection on place and art. Artists are given a stipend and technical support. They are expected to have an open studio, produce an exhibition, and make a public presentation. Their methodologies are documented here. Orchestrated through the classic structure of the gallery, the performances run at any time of the day or night, and create a platform for exchange between artist and audience.

“AVAIR” is a 2006-2007 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the Jerome Foundation.

Ars Virtua is a new media center and gallery located in the synthetic world of Second Life. It is a new type of space that leverages the tension between 3-D rendered game space and terrestrial reality, between simulated and simulation. Ars Virtua is sponsored by the CADRE Laboratory for New Media.

Posted by jo at 10:19 AM | Comments (0)




THURSDAY CLUB: CURATING INTERDISCIPLINARY ARTS :: 10 MAY, 6-8:30pm, Seminar Rooms at Ben Pimlott Building (Ground Floor, right), Goldsmiths, University of London, New Cross, SE14 6NW :: FREE, ALL ARE WELCOME.

Issues of policies have frequently emerged at Thursday Club presentations, specifically in relation to the funding and curation of digital/ media arts, art-science collaborations, and interdisciplinary work in general. So, for the summer term 2007, we invited four distinguished speakers to take part in a round table discussion addressing the question:

Is curation as a practice relevant within the field of interdisciplinary work such as digital /media arts, sci-art, and networked arts? If so, what type of curation is appropriate to, and can support such practices?

The speakers are:

KELLI DIPPLE: Kelli is currently Webcasting Curator at Tate, London. Working on the development, programming and production of live webcasts and interface design in conjunction with Digital programmes - Tate Online and Education and Interpretation at Tate Modern and Tate Britain. Kelli has worked for the past decade at the intersection of digital technology and performance practice under the name of Gravelrash Integrated Media, specializing in the integration of visual, interactive, communication and network technologies into live events for live audiences. More info: http://www.macster.plus.com/gravelrash/

FURTHERFIELD.ORG [RUTH CATLOW & MARC GARRETT] : Furtherfield is an online platform for the creation, promotion, and criticism of adventurous digital/net art work for public viewing, experience and interaction. Furtherfield creates imaginative strategies that actively communicate ideas and issues in a range of digital & terrestrial media contexts; featuring works online and organising global, contributory projects, simultaneously on the Internet, the streets and public venues. It focuses on network-related projects that explore new social contexts that transcend the digital, or offer a subjective voice that communicates beyond the medium. Furtherfield is the collaborative work of artists, programmers, writers, activists, musicians and thinkers who explore beyond traditional remits. Ruth Catlow and Marc Garrett are Furtherfield's co-founders and co-directors. They are both artists involved in research into net art and cultural context on the Internet. They co-curate works featured on Furtherfield.

ARMIN MEDOSCH: Armin is a writer, curator, artist, and Associate Senior Lecturer in digital media at Ravensbourne College of Design and Communication. He has written and edited several books on new media and network culture, his latest work including texts on wireless community networking and free and open source culture. His latest work as a curator includes a contribution to the exhibition OpenNature at NTTICC Tokyo and the exhibition Waves, Riga 2006. In his spare time he is conducting research on collaborative and participative art forms, open cartography and mobile and interactive travelogues. Armin is a PhD candidate at Goldsmiths Digital Studios.

CHAIR: PROF. JANIS JEFFERIES: Janis is an artist, writer, curator, and Professor of Visual Arts at the Department of Computing, Goldsmiths College. She is Artistic Director of the Goldsmiths Digital Studios, Director of the Constance Howard Resource and Research Centre in Textiles, and Convener of the GoldsmithsThursday Club.

THE THURSDAY CLUB is an open forum discussion group for anyone interested in the theories and practices of cross-disciplinarity, interactivity, technologies and philosophies of the state-of-the-art in today' (and tomorrow') cultural landscape(s).

For more information check http://www.goldsmiths.ac.uk/gds/events.php or email maria x at drp01mc[at].ac.uk
To find Goldsmiths check http://www.goldsmiths.ac.uk/find-us/. Supported by the Goldsmiths DIGITAL STUDIOS and the Goldsmiths GRADUATE SCHOOL.

Posted by jo at 09:07 AM | Comments (0)

April 19, 2007

The Reception


Performance + Discussion

A tele-immersive cross-disciplinary performance piece called The Reception will be presented April 20, 21, 27, 28 at 8pm and April 22, 29 at 2pm as a part of the Berkeley Dance Project 2007. The piece was created by the co-directors of SmithWymore Disappearing Acts, Lisa Wymore and Sheldon B. Smith in collaboration with Ruzena Bajcsy of CITRIS (Center for Information Technology Research in the Interest of Society). Live performance and streamed realtime 3d tele-immersive technology are used to poetically examine the subject of presence. BDP is an annual collection of danceworks presented by UCBerkeley's Department of Theater Dance and Performance Studies. Performances will take place at UCB's Zellerbach Playhouse theater.

The April 22 performance will be followed by a post-performance discussion: Being Here: Presence/Remote Presence within Live and Media Based Performance by N. Katherine Hayles. The discussion will feature a demonstration of a live bi-located dance utilizing the tele-immersion labs at UC Berkeley and the University of Illinois, Urbana-Champaign. Co-sponsored by the UC Berkeley Department of Theater, Dance, and Performance Studies, the Towsend Center Dance Studies Working Group, and the Dance Department and Intermedia Program at Mills College. The discussion is free and open to the public.

Posted by jo at 07:40 PM | Comments (0)

Upgrade! Boston


Technological Frontiers and the Limits of Nature: Networked Interventions

UPGRADE! BOSTON: Technological Frontiers and the Limits of Nature: Networked Interventions -- a panel discussion with Jane D. Marsching, Cary Peppermint and Brooke Singer; moderated by Shane Brennan :: WHEN: May 3, 7 pm :: WHERE: Art Interactive, 130 Bishop Allen Drive, Cambridge.

Technology both extends humanity into the natural environment and brings the "wilderness" indoors. "Arctic Listening Post" by Jane D. Marsching seeks to create hybrid digitally based forms that interweave science, culture, representation, history, and wonder through works that look at our human impact on climate change in the Arctic. "A Series of Practical Performances in the Wilderness - Summer 2005," by Cary Peppermint and Christine Nadir, attempts to bring wilderness into the global digital network through vlogs (video blogs) via Quicktime, DVD interactivity, and the database format with which it was conceptualized. Brooke Singer will discuss working with and documenting communities living in toxic sites across the US who are tackling remediation themselves because either the government has not responded or simply says, “all is well.” About the speakers.

Part of the Boston Cyberarts Festival. Funded by the LEF Foundation.

Upgrade! Boston is curated by Jo-Anne Green for Turbulence.org in partnership with Art Interactive. It is one of 24 nodes currently active in Upgrade! International, an emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. If you would like to present your work or get involved, please email jo[at]turbulence.org.

Posted by jo at 12:16 PM | Comments (0)

Upstage Matchmaking

There will be another UPSTAGE "matchmaking" session on 24/25 April for people interested in collaborating or supporting performances for the 070707 UpStage festival. it will be at 9pm on the 24th in Western Europe, which is 5am on the 25th in Brisbane, Australia. find your local time here:

if you want to come and you don't have your own login, you must email Helen beforehand for a guest login. helen[at]creative-catalyst.com.

Posted by newradio at 11:55 AM | Comments (0)

Upgrade! Berlin


Field trip to NewYorkRioTokyo

Upgrade! Berlin: field trip to NewYorkRioTokyo :: Thursday, April 19, 5 pm at NewYorkRioTokyo :: Brunnenstrasse 7/2, near U - Station Brunnenstrasse.

The mobile caravan of Upgrade! Berlin will visit the nomadic gallery NewYorkRioTokyo tonight and have a discussion with the curators. Join us on our caravan of questions on media art in Berlin...

The non profit association NewYorkRioTokyo has been founded in summer 2005 with the purpose to create an international network for the promotion of young artists, designers and curators. In the project room “E 4" in Berlin, Prenzlauer Berg they mainly present videos, installations, performances and interventions in public space. Additionally, the NYRT team organises lectures and talks on a regular basis. This platform is run by seven 7 curators and artists from different countries.

You are invited to join us on our next Upgrade! field trip, where we will meet the NYRT's curator Kai Schupke for a talk about the curatorial agenda of this place. We are especially interested in finding out more about their approaches towards innovative presentation formats of media art. The video of this evening will be available online by the beginning of May.

You want to join us on our caravan of questions, roaming the media art spaces of Berlin? Just get in touch with us here.

Posted by jo at 10:58 AM | Comments (0)

April 18, 2007



Venice - Urban Mobile Game

AreYouHere? :: 2007 - June 6th/15th - Venice - urban mobile game :: AreYouHere? is one of the 12 urban interventions of Migration Addicts, 52nd International Art Exhibition, La Biennale di Venezia, Collateral events :: Site: the whole city - starting point at Chiostro Ex Chiesa Santi Cosma e Damiano, Giudecca, 620.

AreYouHere? is an urban mobile game that aims to explore Venice through its inhabitants/migrants. More and more Venetians are leaving the lagoon to settle in other towns. In the next 30-40 years, it is certain that Venice's population will be dramatically reduced. Bar and hotel owners now come from abroad while the town is losing its original inhabitants and becoming more and more globalized. Thousands of tourists arrive to Venice everyday. The Observer provocatively wrote that if the only destiny of the town is low cost tourism then it would be better to have Venice managed by Disneyland Corporation. A kind of paradox is happening. Venice could be everywhere, that "exotic" does not exist anymore. Labor migrants from Asia are welcoming you and serving you Italian food. You are in Venice. But are you really in Venice? What do you see? Who do you meet?

AreYouHere? is an urban exploration through the faces of the people anyone can meet during his/her stay. Faces of migrants that have become the actual inhabitants, while the player is the stranger. A touristic and personal exploration of people and their faces. Those photos will be joined together into a personal postcard. He/she will receive the postcard at home. A postcard that is actually sent by him/herself. The player will receive the postcard to his/her home: a postcard that is actually sent by him/herself.. But the places you are supposed to visit, however, are not the ones you would expect to go, the top visited.

Surely you'd never take a photo of people who lives and works in these places. But that's what you have to do: shoot photos at immigrant people who live and work in Venice, carefully following the path that has been created for you, because you are the stranger, the tourist, and they are a part of Venice instead. You should take those photos with your mobile phone and send them by MMS to the number you found on the invitation. But remember, the first photo you send must be a photo of yourself: because you are a part of the game. [via]

Posted by jo at 04:34 PM | Comments (0)

Spatiul Public Bucuresti | Public Art Bucharest 2007


Artists’ Interventions

[Image: Anetta Mona Chisa, What the fuck are you staring at!?, color video with sound on DVD pal, 01'56" (loop), 2001, courtesy of the author] Spatiul Public Bucuresti | Public Art Bucharest 2007 :: 20 April – 15 October 2007 :: Bucharest – Romania :: Curated by Marius Babias and Sabine Hentzsch :: Assistant curator: Raluca Voinea .

Spatiul Public Bucuresti | Public Art Bucharest 2007 is a pilot project which creates a platform for trans-disciplinary discussions and debates exploring how public art encourages a critical engagement with the structures of power which are dominant in society.. The non-existence of a public sphere in Romania during Communism created the conditions for the unfettered capitalism of the post-Communist period to acquire a monopoly on the public space. Bucharest is one of the fastest developing cities in Europe, however one where post-Communism and globalization have created specific tensions and eccentric juxtapositions in the architecture, urban environment and social life. The ways in which people in the city perceive, experience and respond to these tensions define an active public space, which needs to be acknowledged by the cultural discourse and analysed in open debates.

The project Spatiul Public Bucuresti | Public Art Bucharest 2007 has three objectives:

--to support Bucharest’s synchronization with the evolution of contemporary art and to create awareness about the importance of the public space;
--in the medium term, to create a self-sustained initiative for public art;
--in the long term this self-sustained initiative allows continuous and consistent realization of public art projects.

For the pilot stage of the project, taking place throughout 2007, the following Romanian artists with international profile were invited to participate: Mircea Cantor, Anetta Mona Chisa in collaboration with Lucia Tkácová, Nicoleta Esinencu, H.arta, Daniel Knorr, Dan Perjovschi, and Lia Perjovschi. The artists’ projects confront the public with a series of contemporary themes relevant both from an international perspective and for a context in which the exercise of democracy has not yet been fully incorporated. The streets, squares and markets of the city, public and private institutions, public transportation, and mass media channels constitute settings for the artists’ interventions. Within the artists’ projects a central role is held by a multifunctional project space, which opens in September for one month, with a daily program of activities.

Professionals from different fields will present and discuss contemporary issues. The project space will attra ct not only an audience with a cultural background, but also young people, a casual street audience or people frequenting bars. Along with the discussions and workshops, a variety of activities will be staged, such as lectures, film projections, musical performances and club events.

The artists’ books series is published by IDEA Publishing House Cluj and Walther König Cologne, 2007.

Spatiul Public Bucuresti | Public Art Bucharest 2007 opens on 20th of April 2007 with an international conference which brings together theorists, representatives of institutions which are supporting public art initiatives, as well as key figures of the cultural and public life of Bucharest. The conference participants are: Marius Babias, Marlis Drevermann, Sabine Hentzsch, Olaf Metzel, Timotei Nadasan, Horia-Roman Patapievici, Serban Sturdza, Michael M. Thoss, and Adriean Videanu.

Initiated by the partner institutions Goethe-Institut Bukarest, Institutul Cultural Român (ICR), and Allianz Kulturstiftung. Financially supported by the Cultural Programme of the German EU Presidency in 2007 provided by the German Foreign Office, and Erste Foundation. Media partners: IDEA, Verlag der Buchhandlung Walther König, Cologne, Suplimentul de Cultura, E-cart.ro.


For more information contact Goethe-Institut Bukarest
T: +40 21 3119762
E: il[at]bukarest.goethe.org

Posted by jo at 12:35 PM | Comments (0)

Computação Física


Physical Computing Workshop

CADA - Atmosferas Digital Arts Center is organizing "Let's Get Physical - Physical Computing with Arduino", Lisbon, 3-6- May, Massimo Banzi.

Arduino is an open-source physical computing platform based on a simple i/o board and a development environment that implements the Processing language. Arduino can be used to develop standalone interactive objects or can be connected to software on your computer (e.g. Flash, Processing, Max/MSP). The boards can be assembled by hand or purchased preassembled; the open-source IDE can be downloaded for free.

The Arduino Project was developed out of an educational environment and is therefore great for newcomers to get things working quickly. The Arduino philosophy is based on making design rather then talking about it. It is a constant search for faster and more accurate ways to build better prototypes. We have explored many prototyping techniques and developed ways of thinking with our hands. This workshop has a strong practical component. At the end of the workshop participants will devellop a mini-project.

Massimo Banzi is the co-founder of Arduino. Currently teaches Physical Interaction Design at the Interaction Design Institute Ivrea. Has worked on interactive design projects for clients like Prada, Artemide and Adidas. He is the co-founder of the Interaction Design Lab; Personal site.

Computação Física envolve o design de objectos interactivos que comunicam com humanos e com o ambiente envolvente através do uso de sensores controlados por software. O Projecto Arduino nasceu num enquadramento educacional e está desenhado para permitir uma experimentação acessível e rápida. É uma plataforma Open Source - hardware e software - baseada no IDE de programação Processing.

A filosofia Arduino baseia-se na ideia de fazer design em vez de falar sobre design. Este workshop tem uma componente fortemente prática de iniciação à computação física que dota os participantes dos conceitos e das ferramentas necessárias à criação de um mini projecto final. Massimo Banzi - Milão, It - Fundador do Arduino. É professor de Computação Física e Design Interactivo no Interaction Design Institute, Ivrea. Trabalhou em projectos de design interactivo para clientes como Prada, Artemide e Adidas.

Projectos recentes incluem Tune Me, uma instalação interactiva para o Museu V&A, Londres, e o design, tecnologia e prototipagem para a loja Prada epicenter. É co-fundador do Interaction Design Lab.

Local e Datas: 3 - 6 Maio, 07, Lisboa, nas instalações do Clube Português de Artes e Ideias, Largo Rafael Bordalo Pinheiro, 29, 2º (ao Chiado).

6 Maio, 22h – Apresentação pública dos resultados do workshop.

Informações e inscrições: www.atmosferas.net

CADA - Centro de Artes Digitais Atmosferas
R. da Boavista 102-2º, 1200-069 Lisboa
21 343 07 77 | 93 447 3003

Posted by jo at 12:18 PM | Comments (0)

April 17, 2007

2007 Bent Festival


The Fourth Annual Circuit Bending Festival!

The term circuit bending refers to the inspired short-circuiting of battery-powered children's toys to create new musical instruments, and over the last few decades a worldwide subculture has sprung up around this amazing art form. We are very excited that for the first time the Bent Festival will be crossing America in April, making stops in Los Angeles, Minneapolis and New York.

We will bring together performers, educators, and visual artists from around the world who not only push the circuit bending genre forward but also are on the cutting edge of the contemporary music and art scenes. In addition to interactive art installations and nightly concerts, adults and children alike can participate in workshops l ed by some of the world's greatest circuit benders.

A direct result of experimentation and play, circuit bending requires very little technical know-how to get started, giving everyone the opportunity to experience making electronic music. "In a society that is increasingly focused on sophisticated technology, it is amazingly satisfying to get the general public ripping apart circuit boards and showing them how much fun they can have with just the smallest bit of know-how", explains festival co-curator Daniel Greenfeld. This year the festival will also focus attention on artists who create new circuits in addition to those who modify old ones. Mike Rosenthal explains, "Each year the level of skill and creativity these artists bring to the festival increases substantially. Folks who started out bending a few years ago have been honing their skills, taking their work to the next level, and increasingly creating their own instruments from scratch. That's something we're really looking to highlight this year."

The Festival will start off in Los Angeles this year, move next to Minneapolis and then come home to New York City April 26-28 with three days of concerts, workshops, and art installations at Eyebeam Atelier. The Saturday morning circuit bending intro workshop is perfect for kids and adults of all ages and requires no previous knowledge. Just come with an open mind and any old toys that make sounds that you dont mind breaking! Eyebeam is an art and technology center that provides a fertile context and state-of-the art tools for digital research and experimentation and is proud to be hosting the New York Bent Festival this year..

The 2007 Bent Festival is produced by The Tank, a non-profit space for performing and visual arts in New York City with a mission to provide a welcoming, creative, collaborative, and affordable environment for artists and activists engaged in the pursuit of new ideas. The Festival is Intermedia Arts is proud to be co-presenting the Minneapolis Bent Festival"made possible in part by Make Magazine, the first publication on the subject of DIY technology projects. And by Periscope Entertainment, a Los Angeles based film and television company that prides itself on supporting independent thought and innovative creation. This event is made possible with public funds from the New York State Council on the Arts, a state agency.

Bent Festival New York City - April 26-28 2007 :: Presented by The Tank :: All workshops, concerts, and installations will be held at Eyebeam Atelier 540 W. 21st Street, (between 10th and 11th Avenues), NY, NY Artwork from: Matt Durant Ranjit Bhatnagar Andreas Stoiber Stephanie Rothenberg Patrick Boblin Phil Stearns Jeff Donaldson Caitlin Berrigan Joker Nies



6:00pm: Solid Logic - With Phil Stearns. $10.: This hands-on workshop will consist of a brief intro to electricity, resistance, capacitance, RC timing and basic CMOS digital ICs.


11:00am: Intro to Circuit Bending Workshop - FREE and fun for kids of all ages! Circuit bending is a do-it-yourself sound art, which allows one to discover new hidden organic sounds in battery-powered electronic toys recycled from thrift stores and garage sales. In the Introduction to Circuit Bending Workshop participants will learn the fundamentals of circuit bending and have the opportunity to take a hands-on approach to modifying their own electronic devices. Participants are encouraged to bring their own devices for bending; this would include any battery-operated children's toys that make sounds (keyboards, speak and spells, etc). Participants are also encouraged to bring extra batteries to use on their machines.

12:00pm: Usernomics 1.0 with Stephanie Rothenberg. $10. 2 hours The School of Perpetual Training presents "Usernomics 1.0". Participants will learn how to interface hacked USB keyboards with Macromedia Flash and other interactive computer programs to explore alternative ways of interacting with the computer. In the first hour participants will disassemble USB keyboards and experiment with various materials and soldering techniques to create unique and unusual external interfaces. The external interfaces will be used to control the movements of an onscreen avatar. In the second hour, participants use their newly created devices in a competition to control an online "worker". Participants are encouraged to bring their own computer and random electronics junk.

2:00pm: Introduction into The Giant Chaotic Circuit Bending Merzbau Jungle, with Andreas Stoiber. Andreas is an artist in residence for the Bent Festival and will be creating a rhizomatic structure of interactions between musical instruments and other devices. For this workshop, the audience is encouraged to plug their own instruments somewhere into the wires and learn how his installation works and how it can be engaged with. All are welcome! Bring your bent toys!

2:00pm: MintyBoost with Limor Fried. $20. 90 minutes: Participants will make the MintyBoost USB charger (for iPods, mp3 players, cell phones, etc.). Will cover basic soldering skills.

2:00pm: From Circuit Bending to Circuit Design -- Intro to the Dark Arts of The Man: Circuitbending has long taken a subversive role in the world of electronics by using consumer products as a starting media. While this approach has much in the way of ideological validity, many circuitbenders find they want to learn more about how the circuits they are bending actually work. This workshop functions as a crash course in the tools, methods and theories that are actually used to design circuits from the ground up. With Todd Bailey.

4:00pm: Scavenged Analog Video Games with Ed Bear and Lea Bertucci

4:00pm: Alternative Power Sources for Bent Creations with Mouna Andraos: During this workshop, participants will be provided with an introduction to basic physical computing and make a flashlight powered by shaking motion. Participants are encouraged to bring their battery powered 'bent creations with them, as they will learn how to power various creations using this form of energy.

4:00pm: Arc Anomino and the sono-reductronic

Evening: Jamie O'Shea: 10 min demonstrations from his famous machine research centering on the creation of a human-sized chamber with giant suspended antenna whose function will be to make its occupant famous


Thursday 4/26 (Doors @ 7:30pm) Friday April 27 (Doors @ 7:30pm) Saturday April 28 (Doors @ 7:30pm) Buy Tix Now Buy Tix Now Buy Tix Now Andrew Hlynsky and EncantithegovernmentMario de Vega Sebastian Boazarc.OzzzDie Fuchteln Pixel FormGmackrrMr. Resistor Gunung SariLorin Edwin ParkerLoud Objects Jamie AllenBeatrix*JarAndreas Stoiber Jeff DonaldsonCarlos Antenna MudboyDr. Rek PatterndiverBurnkit2600 Peter EdwardsAlias Pail

Posted by jo at 04:39 PM | Comments (0)



the Insurrection Internationale

Version>07 the Insurrection Internationale is starting this week: April 19 - May 6, 2007.

Produced by the Public Media Institute, a non profit 501 3c corporation, Version is an annual springtime convergence that brings together over 500 artists, musicians, and educators from around the world to present some of the most challenging ideas and progressive art projects of our day. The eighteen day festival showcases emerging trends in art, technology and music and has earned critical accolades here in Chicago and abroad.

The hybrid art festival / art fair brings together individuals, groups and networks that utilize visual and conceptual art strategies, innovative social practices, public art projects, and new music to push the counter cultures forwards.

Version festival presents a diverse program of activities featuring an exposition/art fair called the NFO EXPO, multiple art exhibitions, urban events, film screenings, interactive technologies, performances, street art, presentations, talks, workshops, and art rendezvous and action.

Alternative spaces open for staging actions. Public spaces and corporate places become terrains of intervention. Much of Version>07 Insurrection Internationale was programmed via an open online submissions platform.Other projects and programs were selected and curated by the Version>07 Organisers

Posted by jo at 02:05 PM | Comments (0)



Generative Art Peru

Announcing Artware4, the digital art bienale of Lima, Perú. Organized and curated by Umberto Roncoroni for the Instituto Cultural Peruano Norteamericano of Lima. This year' edition is dedictaed to generative art, aiming to preasent to peruvian public different aspects of international generative art, ranging from visual art, architecture and programming.

Artists: Alain Lioret (France) Andy Lomas (UK), Michael Handsmeyer (Germany), Umberto Roncoroni (Italy), Bogdan Soban (Slovenia)and a group of peruvian artists: Beno Juarez, Arturo Reategui and a group of students of the faculty of Architecture of the San Martin de Porres University.

Here is a link to the past editions' web page:

Posted by jo at 02:01 PM | Comments (0)

Upgrade! Paris


Horia Cosmin Samoïla + Ewen Chardronnet

Upgrade! Paris: HORIA COSMIN SAMOÏLA & EWEN CHARDRONNET :: Friday, april 20th, from 6:00 pm to 7:00 pm :: CONFLUENCES: 190, Bd de Charonne 75020 PARIS :: Metro: Philippe-Auguste or Alexandre-Dumas (12) [This meeting will take place during the Mal Au Pixel Festival, in the "new cartographies" program, and will precede a lecture on Multimedia Cartography, a new perception of our territories, with Benjamin Cadon and Franck Ancel.]

Horia Cosmin Samoïla and Ewen Chardronnet work together since a few months within Spectral Investigations Collective (with Bureau d'Etudes and other people). Inside Net radio Radio operator Tower Xchange program, Horia Cosmin Samoïla and Spectral Investigations Collective will explore the electromagnetic (and psychotronic) environment of the Eiffel Tower, and this at the time of the first turn of the presidential elections. Ewen Chardronnet will question Horia Cosmin Samoïla on its former artistic activities and the current hot lines of its projects.

Horia Cosmin Samoïla: Originally from Romania, founder of Ghostlab and member of SIC. Uses the electromagnetic medium like raw material with the realization of immaterial sculptures, experimental installations and extra-cognitive devices.

Ewen Chardronnet: Artist, curator and journalist, author of an anthology on the Association of the Autonomous Astronauts ("Quitter la Gravite", l'Eclat Editions) and prize winner of the Leonardo Price New Horizons 2003. http://e-ngo.orghttp://semaphore.blogs.com

Posted by jo at 01:40 PM | Comments (0)

Upgrade! Lisbon


Olivier Perriquet

Upgrade! Lisbon: Olivier Perriquet /*(un)setting rules*/ :: April 26, 2007 19:00 :: @ Lisboa20 Arte Contemporâneam, Rua Tenente Ferreira Durão 18B (Campo de Ourique).

Olivier Perriquet was born in Lille, France in 1974. He is both a media artist and a scientific researcher. After having completed a master degree in pure maths and a PhD in computer science, he currently works as a researcher in the bioinformatics department at the Centre for Artificial Intelligence (CENTRIA) in Lisbon. His ongoing artistic work is inspired by a scientific approach that leads to performances and installations and often makes reference to scientific protocols, in which the public is actively involved but not always in control of their interactions, contrary to what they might believe or feel during their experience of the work.


In 2002, as a performer, he started to experiment with the cinematic live event. During these performances, he explores the mental images of childhood contained in family footage of the 70s and searches for new narative forms, naming them protonarrative, in which the spectator sees himself responsible for part of the construction of the narratio of the work. The images - sequences of ordinary life taken fro super8 amateur films - are composed live via a set of mechanical picture machines and hybrid 16 mm projectors connected to a computer.

In parallel, Perriquet also graduated from Le Fresnoy with first class honors. Lately he has focused his work on the behaviour of the body and its immersion into a virtual world. Within a protocol that looks permissive, the public finds itself involved in the ambivalence of game (playing within a set of predefined rules) and play (i.e. playing a role, playing an instrument). The nstallation is based on the hypothesis that the motions of the body may witness somehow one's personality and thus unveil the strategies one has developed in order to grow up.

During the talk he will expose the leading directions of his artistic work and thoughts. He may also make an insight into some mathematical aspects of bioinformatics in order to give a certain experience of the scientific approach. The title, written as a comment line in a c++ code should be considered as an underlying guideline of the talk.

Posted by jo at 12:43 PM | Comments (0)

Collision Collective presents


COLLISIONeleven (C11)

Collision Collective presents COLLISIONeleven (C11) :: MIT Stata Center Balcony Gallery, 3rd floor up stairs from main entrance, 32 Vassar Street, Cambridge, MA USA :: part of Boston Cyberarts and the Cambridge Science Festival :: April 20 - May 1, 2007 :: Weekdays 9-5 :: Weekends 12-6pm :: Opening Sat Apr 21 6-9pm

C11 is an experimental art show where artists invent new technologies, new art forms, and even new forms of life. Artists include jonathan bachrach, rebecca baron, david bouchard, marcelo coelho, rob gonsalves, doug goodwin, eric gunther, steve helsing, shawn lawson, georgina lewis, jeff lieberman, henry kaufman, owen meyers, peggy nelson, dietmar offenhuber, roy pardi, amanda parkes, kim sinae, mark stock, fran trainor, and william tremblay.

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Ars Virtua New Gallery and New Media Center


CADRE Salon: Camille Utterback

April 18th 2007, 6:30pm, Ars Virtua New Gallery and New Media Center presents CADRE Salon with artist Camille Utterback.

Camille Utterback is a pioneering artist and programmer in the field of interactive installation. Her work has been exhibited at galleries, festivals, and museums internationally including The New Museum of Contemporary Art, The American Museum of the Moving Image, New York; The NTT InterCommunication Center, Tokyo; The Seoul Metropolitan Museum of Art; The Netherlands Institute for Media Art; The Taipei Museum of Contemporary Art; The Center for Contemporary Art, Kiev, Ukraine; and the Ars Electronica Center, Austria. Utterback's work is in private and public collections including The La Caixa Foundation in Barcelona, Spain.

In addition to creating her own artwork, Utterback develops long term and permanent installations for commercial and museum settings via her company Creative Nerve, Inc. Creative Nerve commissions include work for The American Museum of Natural History in New York, The Pittsburgh Children's Museum, The Manhattan Children's Museum, Herman Miller, Shiseido Cosmetics, and other private corporations. Utterback holds a BA in Art from Williams College, and a Masters degree from The Interactive Telecommunications Program at New York University's Tisch School of the Arts.


You must register at http://cadre.sjsu.edu/salons/ to attend in RL.

Ars Virtua is a new media center and gallery located in the synthetic world of Second Life. It is a new type of space that leverages the tension between 3-D rendered game space and terrestrial reality, between simulated and simulation. Ars Virtua is sponsored by the CADRE Laboratory for New Media.

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unitednationsplaza: Five Short Texts on the Possibility of Creating an Economy of Equivalence


Liam Gillick

Five Short Texts on the Possibility of Creating an Economy of Equivalence: Liam Gillick :: May 7 – May 11, 2007 :: All sessions will start at 7:30 PM :: unitednationsplaza, Platz der Vereinten Nationen 14a, Berlin 10249 Germany :: T. +49 (0)30 700 89 0 90 :: Admission is free but space is limited, please register with Magdalena[at]unitednationsplaza.org

Five thirty minute lectures, followed by drinks in the bar at unitednationsplaza. The outline of a possible text. Five parts will be tested and developed, quickly.

Day 1: The day before closure of an experimental factory.
Day 2: Redundancy following the lure of infinite flexibility.
Day 3: Reoccupation, recuperation and aimless renovation.
Day 4: Reconfiguring the recent past.
Day 5: Relations of equivalence – three potential endings.

“The text looks again at the dynamic that exists within a group when one set of people thinks that there will ‘have to be change’ and ‘things won’t be able to continue this way’ and the other believes that change will only occur as a result of direct action.”

“We are interested in the cone shaped gap that you could argue is perceivable in the trajectory between modernity and modernism. Modernity leading to both Wal-Mart and memory sticks on one hand and modernism as a kind of ‘circling the drain’ complex of striated, layered forms of self-referentiality which at the same time attempts a way to envision creating continual and endless possibilities of critique in relation to modernity, modernism or any of its late and post iterations.”

“The question is whether they return to the abandoned factory to play out a new economy of equivalence or finally put it to rest and focus on other places that remain fixed and secure in earlier models of spectacular exchange masquerading as revelation or mere reflections of dominant models that currently leave all relationships intact.”

Liam Gillick is based in New York and London. Numerous solo exhibitions since 1989 include ‘Literally’, The Museum of Modern Art, New York, 2003; ‘Communes, bar and greenrooms’, The Powerplant Contemporary Art Gallery, Toronto, 2003; ‘The Wood Way’, Whitechapel Gallery, London, 2002; ‘A short text on the possibility of creating an economy of equivalence’, Palais de Tokyo, 2005. Selected group exhibitions include ‘Singular Forms’, Guggenheim Museum, 2004; 50th Venice Biennale, 2003; ‘What If’, Moderna Museet, Stockholm, 2000 and documenta X, 1997. Numerous public projects and interventions include Ft. Lauderdale Airport in 2002; the new Home Office government building in London in 2005 and the Lufthansa Headquarters in Frankfurt in 2006. Since 1995 Liam Gillick has published a number of books that function in parallel to his artwork including Literally No Place (Book Works, London, 2002); Five or Six (Lukas & Sternberg, New York, 1999); Discussion Islan d/Big Conference Centre (Kunstverein Ludwigsburg, Ludwigsburg, and Orchard Gallery, Derry, 1997), Erasmus is Late (Book Works, London, 1995) and most recently PROXEMICS: SELECTED WRITINGS 1988–2006 (JRP|Ringier, Zurich, 2007). Liam Gillick has contributed to many art magazines and journals including Artforum, Parkett, Frieze, Art Monthly and a regular column for Metropolis M in Amsterdam and has taught at Columbia University, New York, since 1997.

Admission is free but space is limited, please register by email with

unitednationsplaza is exhibition as school. Structured as a seminar/residency program in the city of Berlin, it will involve collaboration with approximately 60 artists, writers, theorists and a wide range of audiences for a period of one year. In the tradition of Free Universities, most of its events will be open to all those interested to take part. unitednationsplaza is organized by Anton Vidokle in collaboration with Liam Gillick, Boris Groys, Martha Rosler, Walid Raad, Jalal Toufic, Nikolaus Hirsch, Natascha Sadr Haghighian and Tirdad Zolghadr.

Selected lectures at unitednationsplaza are now available to view online at http://www.unitednationsplaza.org/broadcast.html

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LabforCulture workshop, Istanbul


Facilitating Cross-Collaboration

Organised by the LabforCulture in collaboration with Art Management Programme at İstanbul Bilgi University :: Dolapdere campus :: April 18, 2007; 17:30-19:30.

What could be done to better understand and use more efficiently the power of new technologies to improve cross-border and cross-disciplinary collaboration in Europe? How can we build a truly interactive, effective and innovative online community for cultural practitioners across Europe that will enhance creative exchange and collaborative actions?

Moderated by Katherine Watson, Director, LabforCulture and Angela Plohman, Content Development, LabforCulture. With a presentation by NOMAD.

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Call for Entries


Memefest, the International Festival of Radical Communication -- born in Slovenia and rapidly reaching a critical mass worldwide -- is proud to announce its sixth annual competition. Once again, Memefest is encouraging students, writers, artists, designers, thinkers, philosophers, and counter-culturalists to submit their work to our panel of renowned judges. This year, jury members will include P.K. Langshaw, the Chair of and Associate Professor in the Department of the Design and Computation Arts at Concordia University in Montreal, Quebec, Jason Grant, Director of Inkahoots, the adventurous graphic design studio in Brisbane, Australia, Luli Radfahrer, Professor at the Communication and Art School in Sao Paulo, Brazil, and founder of Hipermidia, one of the first digital communication agencies in that country and Carmen Luke a leading international scholar in the field of media literacy and new media, feminist studies and globalization, based in Brisbane.

Traditionally, the Memefest team has asked participants to respond to the opinions expressed in a selected text using the medium appropriate for each category (Communication and Sociology- both written, Visual Arts, and Beyond). This year, for the first time, we have chosen the same text for the academic and artistic categories, and, also unlike other years, where the chosen texts were essays, or book or manifesto excerpts, this year's chosen text is the 1960's movie trailer for Alfred Hitchcock's The Birds. This trailer features a witty, cynical, and humorous, yet dark and serious soliloquy by the director himself.

Even more pertinent (might we say urgent) today than when first seen generations ago in movie theatres, Hitchcok's genius commentary on man's relationship with nature will no doubt provoke a plethora of unequivocal responses. And, as always, those whose work does not take a conventional format can enter the Beyond category, where the name of the game is challenging mainstream practices and beliefs! Beyond continues to grow in popularity as a category not only because of its avant-garde appeal but because it is open to non-students as well.

Memefest occurs completely online at www.memefest.org, and all entries will be available for full access and commentary in the site galleries. In 2006, Memefest received almost 500 entries from participants of every continent on the globe (except Antarctica). We hope to get bigger, and to spread more of those good infectious ideas, so keep thinking- and producing.

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April 16, 2007

Gameplay: Video Games in Contemporary Art Practice


Call for submissions

At once, the word video game is associated with both interactivity and seclusion. Through the agency of the internet, online gaming has become a participatory source of virtual interaction with online communities of gamers. However, video games can also be considered a solitary retreat into a virtual utopia—lands in which the empowered user can manipulate, destroy, and engender. Historically, ideas of games and play are inextricably bound up with pleasure, desire, and a retreat into the self via intense absorption. This withdrawl into the self, however, is connected to outside relations, as it is an ultimate yearning for exterior engagement.

The word “gameplay” refers to the creative, resistant, or artful manipulation of video games by users. It can be said that “gameplay” relates not only to the strategic, but also emotional framework of play, as it is a unique reflection the individual’s meaningful bond to the game itself. According to Sid Meier, a world-renowned designer, a game is a “series of interesting choices.” If art can also be considered a “series of interesting choices,” what happens when the realms of art and video game intersect?

Around the Coyote is seeking submissions for our July 2007 group show, Gameplay: Video Games in Contemporary Art Practice. For Gameplay, we are looking for artists who use video games in a myriad of ways: Do you use video games or its software to explore your own identity or place in this world? Do you use it politically, as a site of resistance? Do you use it as a tool for interactivity or collaboration with other artists or subjects? Do you see virtual worlds as a site of meaning? Does your video game work result in art objects such as photographs, installations or performances?

If your practice is related to video games, and you would like to be considered for Gameplay: Video Games in Contemporary Art Practice, please apply in accordance with the following application procedures. For questions, please contact jessica[at]aroundthecoyote.org.

Deadline and Application procedure:

If would like to be considered for this exhibition, please submit the following to the Around the Coyote Gallery no later than May 5, 2007 at 6pm.

1. Digital documentation of each submitted piece - artists can submit a maximum of six images on CD. All submitted images must be of work that is available for sale and exhibition from July 6 through July 28, 2007.
2. An image list with your name, title of each piece, year it was made, media, dimensions and price (in US currency). Keep in mind that Around the Coyote takes 35% of all sales when submitting your pricing information.
3. Artist’s Statement
4. Artist’s Bio/C.V.
5. One paragraph description about each submitted piece and/or a short description that applies to all submitted work (if not covered in your artist statement).

Submission materials will not be returned. Slides are not accepted.

Send Application Materials:
Around the Coyote
1935 ½ West North Ave.
Chicago, IL 60622
Attn: Gameplay

For submission questions please contact Jessica Cochran: jessica[at]aroundthecoyote.org

About Around the Coyote: Around the Coyote is one of Chicago’s most active and dynamic non profit arts organizations. Located in Wicker Park, ATC supports, promotes and makes accessible Chicago's multidisciplinary arts community. Our activities enhance public discourse and provide creative outlets for emerging artists. Year-round programming includes multi-media arts festivals featuring visual art, theater, dance, film, music, video and poetry in the winter and fall; art exhibitions in the Around the Coyote gallery; an artist-in-residence program; membership opportunities for artists and art aficionados; educational outreach for all ages through multi-media art workshops, lectures, collaborations with local schools and agencies, and career development workshops for artists. This programming is partially supported by a grant from the Illinois Arts Council, a state agency, and the CityArts Program 2 grant from the City of Chicago Department of Cultural Affairs.

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On Byways and Backlanes:


The Philosophy of Free Culture

"In this short paper I attempt to follow Heidegger (2000) in suggesting that the work of a philosophy of free culture is to awaken us and undo what we take to be the ordinary; looking beyond what I shall call the ontic to uncover the ontological (Heidegger 2000c: 28-35). In this respect we should look to free culture to allow us to think and act in an untimely manner, that is, to suggest alternative political imaginaries and ideas. For this then, I outline what I think are the ontological possibilities of free culture and defend them against being subsumed under more explicitly ontic struggles, such as copyright reform. That is not to say that the ontic can have no value whatsoever, indeed through its position within an easily graspable dimension of the political/technical the direct struggles over IPR, for example, could mitigate some of the worst effects of an expansion of capital or of an instrumental reason immanent to the ontology of a technological culture. However, to look to a more primordial level, the ontological, we might find in free culture alternative possibilities available where we might develop free relations with our technologies and hence new ways of being-in-the-world." Read On Byways and Backlanes: The Philosophy of Free Culture by David M. Berry, NOEMA.

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Tele-Agency: Telematics, Telerobotics, and the Art of Meaning


by Edward A. Shanken

"... The human and political implications of agency, especially with respect to technology, demand that agency be problematized as it relates to telematics and telerobotics. By analyzing artworks that use these telecommunications technologies, it is possible to differentiate between various models of agency and suggest their epistemological and ontological implications. Simon Nora and Adam Minc originally defined telematics as a broad field of computer-mediated communications, such as the Internet. In this context, telerobotics can be seen as a specialized sub-division of telematics. By comparing the historical ideological issues underlying telematics and telematic art with the goals for telerobotics and telerobotic art, it is possible to identify some of the continuities and discontinuities between them, especially as they concern agency. In particular, in classic works of telematic art such as La plissure du texte (1982) by Roy Ascott, active agents exchange information with other active agents. Standard implementations of telerobots, by contrast, are predicated on a model in which an active agent controls a passive entity that lacks agency. Some works of telecommunications art expand conventional conceptions of telerobotics. For example, Norman White and Doug Back’s Telephonic Arm Wresting (1986), Paul Sermon’s Telematic Vision and Eduardo Kac and Ikuo Nakamura’s Essay Concerning Human Understanding (1994) employ active-active models of telerobotic agency. Such artworks shed light on the philosophical, ethical, and aesthetic limits of active-passive telerobots and offer alternative structures for the creation of knowledge and being at a distance..." from Tele-Agency: Telematics, Telerobotics, and the Art of Meaning by Edward A. Shanken, Neme.

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E-Poetry Symposium 2007


Present Poetic Forms in Action!

E-Poetry Symposium 2007 :: NYC: Performances and A Symposium on the LEA New Media Poetry Special Issue 21 April 2007 1600 - 1800hrs :: Segue Reading Series at the Bowery Poetry Club, 308 Bowery at Bleecker, New York City :: Event Guest-Curated by Loss Pequeño Glazier :: Featuring Aya Karpinska, Elizabeth Knipe, and Jim Rosenberg. Shawn Rider, Respondent: Tim Peterson, Series Curator.

Live performances, talks, and discussion about New Media art forms, issues, and poetics in a cordial setting. Poetry is on the move ... catch a glimpse of present poetic forms in action! This event seeks to further conversation about poetics through its sampling in digital forms. Join us for an historic presentation of digital poetics featuring an engaging mix of foundational and emerging digital poets!

About the participants:

Aya Karpinska is a digital media artist and interaction designer. She is the 2006 recipient of the prestigious Brown University Fellowship in Electronic Writing.

Elizabeth Knipe is an engaging interdisciplinary artist. She is digital poet and experimental video artist who entertains an interest in physical electronic installations.

Jim Rosenberg has been working in non-linear poetic forms in one medium or another since 1966 and is one of the foundational figures in digital poetry. His best-known work is *Intergrams*.

Shawn Rider is a writer, artist, teacher and programmer, currently working as a Web Technologist for PBS TeacherLine. He is also the owner and Editor in Chief of GamesFirst.com, a long-running independent videogame review website.

Loss Pequeño Glazier is a digital poet, professor of Media Study, and Founder and Director of the Electronic Poetry Center. He is the author of the digitally-informed poetry collection *Anatman, Pumpkin Seed, Algorithm* (Salt Press) and the digital theory treatise *Digital Poetics: The Making of E-Poetries* (Alabama UP).

Tim Peterson is the author of *Since I Moved In* (Chax Press). He edits EOAGH: A Journal of the Arts and currently curates part of the Segue Reading Series in New York.

About the LEA issue

Guest edited by Tim Peterson, the issue features Loss Pequeño Glazier, John Cayley with Dimitri Lemmerman, Lori Emerson, Phillippe Bootz, Manuel Portela, Stephanie Strickland, Mez, Maria Engberg and Matthias Hillner. Don't forget to scurry over to the equally exciting gallery, exhibiting works by Jason Nelson, Aya Karpinska, Daniel Canazon Howe, mIEKAL aND, CamillE BacoS, Nadine Hilbert and Gast Bouschet. Click here to access the LEA New Media Poetics Special (LEA Vol 14 No 5 - 6). URL: http://leoalmanac.org/journal/Vol_14/lea_v14_n05-06/index.asp

Join us on April 21st for this celebration of *LEA*, the poetics of the present, and the diversity of digital forms!

Useful URLs

LEA Current Issue: http://leoalmanac.org/

Gallery: http://leoalmanac.org/gallery/index.asp

Posted by jo at 01:40 PM | Comments (0)

Locative Media Summer Conference


Call for Papers

Locative Media Summer Conference: Call for Papers :: September 3-5, 2007 :: Research Center "Media Upheavals", University of Siegen, Germany :: Submission deadline: May 15, 2007.

"Everything is related to everything else, but closer things are more closely related" (Waldo Tobler's First Law of Geography, 1970)

Nowadays everything in the media world gets tracked, tagged and mapped. Cell phones become location-aware, computer games move outside, the web is tagged with geospatial information, and geobrowsers like Google Earth are thought of as an entirely new genre of media. Spatial representations have been inflected by electronic technologies (radar, sonar, GPS, WLAN, Bluetooth, RFID etc.) traditionally used in mapping, navigation, wayfinding, or location and proximity sensing. We are seeing the rise of a new generation that is "location-aware". This generation is becoming familiar with the fact that wherever we are on the planet corresponds with a latitude / longitude coordinate.

The term "Locative Media", initially coined in 2003 by Karlis Kalnins and the 2006 topic of a special issue of the Leonardo Electronic Almanac, seems to be appropriate for digital media applying to real places, communication media bound to a location and thus triggering real social interactions. Locative Media works on locations and yet many of its applications are still location-independent in a technical sense. As in the case of digital media, where the medium itself is not digital but the content is digital, in Locative Media the medium itself might not be location-oriented, whereas the content is location-oriented. Can Locative Media like digital media thus be understood as an upheaval in the media evolution? This is one question we want to discuss at the Locative Media Summer Conference in Germany.

Locative Media can now be categorized under one of two types of mapping, either annotative (virtually tagging the world) or phenomenological (tracing the action of the subject in the world). Where annotative projects seek to demystify (see all the Google Earth Hacks), tracing-based projects typically seek to use high technology methods to stimulate dying everyday practices such as walking or occupying public space. The Japanese mobile phone culture, in particular, embraces location-dependent information and context-awareness. It is thus projected that in the near future Locative Media will emerge as the third great wave of modern digital technology.

The combination of mobile devices with positioning technologies is opening up a manifold of different ways in which geographical space can be encountered and drawn. It thereby presents a frame through which a wide range of spatial practices that have emerged since Walter Benjamin's urban flaneur may be looked at anew. Or are Locative Media only a new site for old discussions about the relationship of consciousness to place and other people? In the early days of sea travel, it was only the navigator who held such awareness of his exact position on Earth. What would it mean for us to have as accurate an awareness of space as we have of time? In the same way that clocks and watches tell us the exact second, portable GPS devices help us pinpoint our exact location on Earth. As we dig a bit deeper into how particular Locative Media projects negotiate local and global spaces, we see the increasing "technologisation" and commodification of urban and public spaces. Are Locative Media the avant-garde of the "society of control"? If this kind of media practice resides in pure code (tracklogs), what is the difference between Locative Media and software development? Or is the recent rise of Locative Media just a response to the disappearance of net art?

In reaching beyond art, many of us are becoming familiar with GPS units, such as navigation systems. GPS technologies now appear in mobile, location-aware computing games such as "Mogi" or "Tiger Telematics Gizmondo," which utilize GPS to enable players to see each other's locations. Most of the location-based games nowadays seem to emphasize collecting, trading and meeting over combat. Does this indicate a social trend in mobile entertainment? Do Locative Media generate more accessible than aggressive play plots? Can we say that the numerous distributed geotagging projects (Flickr, Geocaching etc.) unleashed have given rise to a new genre of collaborative "geocommunities"? Could these geolocated spatio-temporal web portals become a dynamic visualization matrix for all scales, from nano to astro, and incorporate interoperability standards for the biological sciences, the geosciences, history, economics, and other social sciences? And finally, are Locative Media a kind of manifestation of what Bruno Latour means by the "Internet of Things"? By geotagging objects instead of people, and having these objects tell us their stories, do we create what Jean-Jacques Rousseau called for, an awareness of the genealogy of an object as it is embedded in the matrix of its production?

This summer conference will attempt to give an overview of actual research on this topic, especially focusing on how Locative Media tackle social and political contexts of production by focusing on social networking, access and participatory media content including story-telling and spatial annotation. Participants from all relevant disciplines are invited, especially researchers in social science, IT design, urban, media and cultural studies. Project demonstrations are warmly encouraged, but the main objective is to move beyond presentation and to build conceptual and theoretical links and exchanges between disciplines. This kind of conference is meant a forum for the presentation of papers, further discussion, collective reading work and as a preliminary step for the publication of an edited volume in 2008.

Invited Speakers:

Prof. Dr. Lev Manovich, University of California, San Diego (USA), http://www.manovich.net/

Prof. Dr. Stephen Graham, University of Durham (GB), Department of Geography, http://www.geography.dur.ac.uk/information/staff/personal/graham/index.html

Dr. Miya Yoshida, Malmv Art Academy, Lund University (S), http://invisible-landscapes.net/

Dr. Drew Hemment, University of Salford/Futuresonic Festival (GB), http://www.drewhemment.com

Dr. Adrian Mackenzie, Lancaster University (GB), http://www.lancs.ac.uk/staff/mackenza/

How to participate:

Submissions should include 1) Title, 2) 500-word abstract 3) Selected bibliography and 4) 200-word CV for the presenter.

These should be sent to thielmann[at]spatialturn.de as pdf or doc attachments by May 15, 2007. Notification of acceptance will be provided two weeks later so as to allow adequate to make travel arrangements. Full papers for publication are due on December 31, 2007.

For further information contact Tristan Thielmann: thielmann[at]spatialturn.de. The summer conference is organised by the research group "Media Topographies" of the Collaborative Research Center "Media Upheavals", University Siegen, Am Eichenhang 50, 57076 Siegen, Germany.

Posted by jo at 01:10 PM | Comments (0)

Subtle Technologies 10th Annual Festival


IN SITU: Art, Body and Medicine

Subtle Technologies 10th Annual Festival: Art, Body and Medicine :: 10 years of blurring the boundaries between science and art :: May 24 - 27 :: Innis Town Hall, University of Toronto, Canada.

To celebrate its 10th Annual Festival, Subtle Technologies presents practitioners of arts, sciences and medicines, and those who study their context to contemplate how these disciplines can work together and reshape perspectives on the body. As scientific and technological breakthroughs prominently occupy our culture, we ask where the boundaries are. We investigate how we relate bodies in situ: as parts, as a whole, as systems; how we identify, map, modify, protect, violate, and heal.

Festival includes:

- Exhibitions at Ontario Science Centre and InterAccess Media Arts Centre
- Tissue Engineering Workshop for artists
- Performances ranging from butoh to dancing with robots
- 'Art, Science and the Emotional Response': An evening of discussion with bioartists and microbiologists
- Symposia featuring over 30 speakers on Art, Body and Medicine

More details to follow.

Subtle Technologies is a multidisciplinary Festival exploring complex and subtle relationships between art and science. The annual international event combines symposia, exhibitions, workshops and performances that juxtapose cutting-edge artistic projects and scientific exploration.

Posted by jo at 01:02 PM | Comments (0)

April 14, 2007

Glocal & Outsiders


Call for Proposals

Center for Global Studies (Academy of Sciences and Charles University), International Centre for Art and New Technologies (CIANT) and Prague Biennale 3 invite you to send proposals for Glocal & Outsiders, the conference on the interplay between art, culture and technology and issues of globalization and international cooperation (part of the Prague Biennale 3) :: Prague, July 13-14, 2007.

Since the mid 1990's biennial exhibits in cities such as Johannesburg, Istanbul, Melbourne, Havana, Sao Paulo and other expanded the art world's institutional context beyond any imagination. Art became a new global spectacle which exposes various cultures and nations to an international audience. Asian contemporary art has become something like a fashion and museums are being built at an increasing rate in Asia as well as throughout South America with new collectors popping up all over the world.

Parallel to this, art also incorporated emerging technologies and developed various interdisciplinary relations to science and industry. Technological innovations and artistic creativity joined forces in various new media festivals and events which brought new and very diverse groups and interests into play. Technology and globalization also changed the economic infrastructure of the art world.

Internet services such as artprice.com allow artists to showcase their work to a very broad audience of international collectors which fund the contemporary art boom. On the other hand, many artists use the distributive and peer to peer properties of the internet to experiment with new economic models. Artists, critics, curators but also buyers are part of these global and technological exchanges and it is not clear yet whether these interdependences, integrations and interactions lead to reduction in diversity, to assimilation or to hybridization:

What are the challenges artworld is facing in the time of globalization and increasing technologization? How to balance cultural interests and local scenes with global opportunities and art with technological innovations? How to view the interplay of art and globalization in the context of complex economic, trade, social, technological, cultural and political interrelationships? How does art reflect upon globalization: does it support intercultural and transnational ideals or it is indifferent to claims of geography, history, and identity? How does it resist and how does it support globalization? Do new institutions and technologies allow us to enjoy and experience art from different cultures or they unify them? What new forms of artistic and technical exchanges are taking place? How does international cooperation help emerging fields of art? How can new technologies expand the social, economical, cultural and artistic aspects? What are the limits or possibilities on the technological level to build art projects that improve international cooperation? Do emerging technologies and art institutions support cultural diversity or they level it?

We are calling for proposals by cultural theorists, cultural historians, museum experts, art historians, art curators and experts of other disciplines. Any program formats (papers, roundtable discussions, media presentations etc.) are welcommed.

Proposals should include the following items:

1. Preliminary abstract, 150-300 words.
2. CV with e-mail address, phone and fax numbers.

Please send them by May 15, 2007 via e-mail to: Denisa Kera (kera AT ff.cuni.cz) and Aurelie Besson (aurelie AT ciant.cz)

Posted by jo at 10:49 AM | Comments (0)

April 13, 2007

16 Beaver Group


Realizing the Impossible

Realizing the Impossible -- Art and Anarchism: What: Roundtable Discussion on Anarchist Aesthetics :: When: Monday 04.16.07 @ 7:30 :: Where: 16Beaver Street, 4th Floor :: Who: Free and open to all.

We are happy to host a conversation on Anarchist Aesthetics with several contributors to the new book “Realizing the Impossible: Art Against Authority” (AK Press), edited by Josh MacPhee and Erik Reuland. Erika Biddle, Dara Greenwald, Josh MacPhee, and Cindy Milstein will present a roundtable discussion that is intended to be an open forum, not a panel.
Their hope is that this public event will bring together people that may not be in dialogue yet, but should be. We would like to start the Roundtable promptly at 7:30, so please come early if possible, and bring questions.

This event dovetails with Saturday’s 1st Annual New York Anarchist Bookfair.

For the complete contents of the book please go to http://www.16beavergroup.org/anarchist/content.jpg

Presenter Bios:

Josh MacPhee is an artist, curator and activist currently living in Troy, NY, usa. His work often revolves around themes of radical politics, privatization and public space. His second book Realizing the Impossible: Art Against Authority (AK Press, co-edited with Erik Reuland) was just published. He also organizes the Celebrate People's History Poster Series and is part of the political art collective.

Cindy Milstein is co-organizer of the Renewing the Anarchist Tradition conference and a board member with the Institute for Anarchist Studies. [LINK TO www.anarchiststudies.org] She's also a member of the Free Society Collective and Black Sheep Books Collective in Vermont. Her written work appears in periodicals and several recent anthologies, including Globalize Liberation (City Lights), Confronting Capitalism (Soft Skull), and Only a Beginning (Arsenal Pulp).

Erika Biddle is a founding member of the collective Artists in Dialogue. She can often be found tweaking text for Autonomedia and for Perspectives, the biannual journal of the Institute for Anarchist Studies. She is also on the board of the IAS. One of these days she's going to lose her mind, remember how to write, and become a full-time poet.

Dara Greenwald has participated in collaborative and collective cultural production and activism for many years. Participation includes the Pink Bloque, Ladyfest Midwest Chicago, Version>03, Pilot TV Chicago, and other groupings that resist being named. She worked as the distribution manager at the Video Data Bank from 1998-2005, where she distributed independent media and experimental video art and worked on the preservation of the Videofreex collection. She also writes, curates, and makes art. Her videos have screened widely, including at Images Festival(Toronto), New York Underground, Yerba Buena Center (SF), and Ocularis(NY). She is currently studying Electronic Arts at RPI in Troy, NY.

Introduction/Realizing the Impossible

It is said that an anarchist society is impossible. Artistic activity is the process of realizing the impossible. —Max Blechman, “Toward an Anarchist Aesthetic”

by editors Josh MacPhee and Erik Reuland

For years we have wanted to read a book like this, and finally we have been able to produce it. As anarchists, we have seen our politics denigrated by other artists; as artists, we have had our cultural production attacked as frivolous by activists. Our interest in the intersection of these subjects is both extremely personal and intensely political. One of the goals of this book is to put forth examples, past and present, of groups and individuals that have attempted to collapse the dichotomy between pure aesthetics, unmoored from a societal context, and purely utilitarian art, slavishly beholden to politics. Much of what is explored in this collection, from Clifford Harper’s focus on craft to the social experimentation of 1970s video collectives, exists in this in-between space, each in its own way refusing “art for art’s sake” as well as the rigid rules of propaganda.

Even if we reject the idea that art can be boiled down to simple utility, that doesn’t mean we can abandon a concern with efficacy. Although our art might be rooted in an attempt to achieve some sort of liberated self-expression, as artists we also create in order to communicate. It is not surprising, however, that we have little sense of the influence of anarchist art, since there is hardly any discussion about art within anarchist and anti-authoritarian circles (or any Left political circles beyond Marxist academia, for that matter). We want to interrogate this here: What is the impact? Who is the audience? What are anarchist artists trying to say, to whom, and why?

Of all the political philosophies, anarchism has been the most open to artistic freedom, rejecting the basis of both Marxist and capitalist conceptions of art. Both of these ideologies use different language to make the same basic claim: the former states that all art is simply a product of class antagonisms, or in other words, art is the result of the prevailing economic conditions (currently, market capitalism); and the latter demands that all cultural production should be squeezed into the market system, or in the logic of capitalism, the primary productive use of art is economic. For full text please read online at: http://www.16beavergroup.org/events/archives/002200.php

Reappropriate the Imagination! by Cindy Milstein
(published in Realizing the impossible, edited by Josh MacPhee & Erik Reuland, AK Press, 2007)

An art exhibit, albeit a small one, is always housed in the bathroom of a coffeehouse in my town. A recent display featured cardboard and paper haphazardly glued together, and adorned with the stenciled or hand-lettered words of classical anarchists such as Mikhail Bakunin and Errico Malatesta. The artist’s statement proclaimed, “I am not an artist.” The show offered only “cheap art,” with pieces priced at a few dollars. Undoubtedly the materials came from recycling bins or trash cans, and perhaps this artist-who-is-not-an-artist choose to look the quotes up in “low-tech” zines.

There is something heartwarming about finding anarchist slogans in the most unexpected of places. So much of the time, the principles that we anarchists hold dear are contradicted at every turn, never discussed, or just plain invisible. And thus seeing some antiquated anarchist writings scribbled on makeshift canvases in a public place, even a restroom, raised a smile of recognition.

But only for a moment—then despair set in. Why is anarchist art so often a parody of itself, predictable and uninteresting? Sure, everyone is capable of doing art, but that doesn’t mean that everyone is an artist. And yet it is generally perceived as wrong in anarchist circles that some people are or want to be artists, and others of us aren’t or don’t want to be. Beyond the issue of who makes works of art, why can’t art made by anti-authoritarians be provocative, thoughtful, innovative—and even composed of materials that can’t be found in a dumpster? More to the point, why do or should anarchists make art at all today? And what would we want art to be in the more egalitarian, nonhierarchical societies we dream of?

This I know: an anarchist aesthetic should never be boxed in by a cardboard imagination.

Pointing Beyond the Present

The name of one radical puppetry collective, Art and Revolution, aptly captures the dilemma faced by contemporary anarchist artists. It simultaneously affirms that art can be political and that revolution should include beauty. Yet it also underscores the fine line between art as social critique and art as propaganda tool. Moreover, it obscures the question of an anarchist aesthetic outside various acts of rebellion. It is perhaps no coincidence at all, then, that Art and Revolution’s logo design echoes the oft-quoted Bertolt Brecht contention that “art is not a mirror held up to reality, but a hammer with which to shape it”—with “ART,” in this collective’s case, literally depicted as the hammerhead.

Certainly, an art that self-reflectively engages with—and thus illuminates—today’s many crushing injustices is more necessary than ever. An art that also manages to engender beauty against the ugliness of the current social order is one of the few ways to point beyond the present, toward something that approximates a joyful existence for all. To read the full text with images and notes, please go to: http://www.16beavergroup.org/anarchist/cindy.pdf

16 Beaver Group
16 Beaver Street, 4th / 5th fl.
New York, NY 10004
phone: 212.480.2099

4,5 Bowling Green
R,W Whitehall
2,3 Wall Street
J,M Broad Street
1,9 South Ferry

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Aesthetics and Politics

REALIZING THE IMPOSSIBLE: ART AGAINST AUTHORITY by Josh MacPhee, Erik Reuland, editors :: There has always been a close relationship between aesthetics and politics in anti-authoritarian social movements. And those movements have in turn influenced many of the last century's most important art movements, including cubism, Dada, post-impressionism, abstract expressionism, surrealism, Fluxus, Situationism, and punk. Today, the movement against corporate globalization, with its creative acts of resistance, has brought anti-authoritarian politics into the forefront. This sprawling, inclusive collection explores this vibrant history, with topics ranging from turn-of-the-century French cartoonists to modern Indonesian printmaking, from people rolling giant balls of trash down Chicago streets to massive squatted urban villages and renegade playgrounds in Denmark, from stencil artists of Argentina to radical video collectives of the US and Mexico. Lots of illustrations, all b&w.

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April 12, 2007

The Minnesota Museum of American Art


Sound in Art/Art in Sound

Sound in Art/Art in Sound :: Exhibition dates: April 14 through July 1, 2007 :: OPENING PARTY: SATURDAY, APRIL 14, 2007, 7-10pm :: $10/$5 MMAA Members :: Live music by Beatrix Jar, a local sound-art-duo :: Food and drinks!

St. Paul, MN–The Minnesota Museum of American Art is pleased to announce the opening of its new exhibition Sound in Art/Art in Sound, an auditory exploration of the power and nuance of sound. The artwork in this exhibition is comprised of both sound art pieces and visual art which incorporates sound as a critical element, and ranges from sound art, digital projection, installation, and sculpture to interactive artwork.

The first exhibition in the Twin Cities to focus solely on the role of sound in art, this exhibition showcases the many forms of sound- as mechanical, temporal, dynamic, collected and altered. The artwork brings “noise” from the background of our daily lives to the foreground of our consciousness; it examines the ways in which we communicate with each other and with the world around us; it speaks about place, dialogue, documentation, and humor by transforming perception and transporting the mind/body experience.

Eleven artists from across the nation are featured in the exhibition which includes thirteen works of art. The artists in Sound in Art/Art in Sound are as follows: J. Anthony Allen of Minneapolis, Christopher Baker of Minneapolis, Leif Brush of Duluth, Cheryl Wilgren Clyne of St. Paul, Shawn Decker of Evanston, IL, Matthew Garrison of Downingtown, PA, Mike Hallenbeck of Minneapolis, Helena Keeffe of Oakland, CA, Abinadi Meza of Minneapolis, Jack F. X. Pavlik of Minneapolis, and Anne Wallace of San Antonio, TX.

Descriptions of the artwork:

Mike Hallenbeck’s Sound Spandrel: MMAA is an acoustic architectural portrait of the “silent” gallery space experienced through headphones. Anne Wallace’s Clear Fork Soundscape transports listeners to a ranch in Texas through the crisp sounds of nocturnal animals, storms, and livestock which she recorded over the course of a year.

Cheryl Wilgren Clyne’s film three addresses the roles of generations within a family through repetitive imagery and a carefully synched cacophony of sounds resulting from manipulated recordings. Matthew Garrison’s Autorange combines chilling United States Department of Defense video and sound footage from recent international conflicts with clips from D.W. Griffith’s silent films of war and sound from American Revolutionary War reenactors.

Composer J. Anthony Allen and visual artist Christopher Baker’s collaborative Urban Echo interweaves voicemail and text messages, live collected sounds from four remote locations across the Twin Cities, and live transmitted sounds from within the gallery into a dynamic interactive projection and composition. To participate in Urban Echo, the public may now call 612-501-2598 in response to the following two questions: What do you hear? What do you want others to hear? The artists request that callers leave their zip code as part of their voice or text message so they can create a map of the locations of the added material.

An unsung pioneer of sound art, and equal parts artist and physicist, Leif Brush combines science and nature in his sound pieces with recordings of normally undetectable natural sound phenomena such as the sounds of roots growing. This winter, sound artist Abinadi Meza recorded the pinging of individual snowflakes hitting a steel plate and the low rumble of nighttime snow plows. From those recordings Meza has created Beacon, a voluminous, seductive soundscape that visitors experience through wireless surround-sound headphones while watching his mesmerizing video of snow falling in front of a streetlight at night.

Shawn Decker’s installation Green, was inspired by the patterned sounds of insects and birds in Midwestern meadows. Made up of 32 small speakers and four homemade custom-programmed micro-controllers, Green creates a spatial and rhythmic series of clicks and buzzes resulting from impulses based on ever-changing light levels and natural radiation.

Sculpture in the exhibition includes Jack F. X. Pavlik’s The Storm, a large-scale kinetic sculpture made of a wide strip of steel undulating loudly on a steel frame, and Meza’s Creatures, two pet carrier bags with emanating purring and scratching sounds.

A mixed media piece in the exhibition by Helena Keeffe titled The Past Is Over includes speeches written by 5th graders for George W. Bush and recorded by a professional voice impersonator along with the handwritten speeches and a celebratory cake.

Posted by jo at 04:36 PM | Comments (0)

Multiplace – Network Culture Festival


10 Cities, 6 Countries

Multiplace – Network Culture Festival :: Brno, Prague (Czech Republic), Budapest (Hungary), Kielce (Poland), Cluj (Romania), Bratislava, Kosice, Trnava, Zilina (Slovak Republic), Providence (Rhode Island, USA) and Internet :: April 13 – April 22, 2007.

Multiplace is a network of people and independent organizations interested in the interaction between media, technology, the arts, culture and society. Activities of this network culminates this year in the sixth annual festival that take place between April 13 and April 22, 2007, in 10 cities and 6 countries simultaneously. There are around 70 different projects organized around the framework of the festival – workshops, installations, discussions, concerts, performances, exhibitions, presentations, screenings, streaming or parties, and also live streaming from different locations through the internet.

This year's new definition, Network Culture Festival replaces, "new media" because it more accurately defines the festival's emphasis on networking collaborations and related inspiring possibilities. Since the festival is an open structure, there in no exact number of events and thanks to the "floating" part of the program called "Jump Into the Network", it is open to your participation.

Jump into the Network is an interactive part of the program. You can join, via the Internet, a series of psycho-geographical games created by the Rumanian Association AltArt, take part of one of the workshops, bring your old computer to be recycled, or offer your talkative parrot for Internet discussion. In both Bratislava and Brno, there are also platforms for the realization of your own projects.

Program selection

In Bratislava, there is a festival Infocentre at A4 – Zero Space with information and daily public events. Young designers in their Open Design Studio present work on topics like collaborative design, DIY magazines and give you personal advice about your visual communication. You can also take part in discussions about the state of the internet in Slovakia, or about phenomena like web2 or Second Life. A4 also features screenings, hardware workshops, as well as evenings of the international music festival, "Unsound on Tour Across Borders", that will also stop in Brno and Prague.

Additionally, in Bratislava, there is the opportunity to see the video installations of Nora Ruzickova in the 13m3 Gallery and to visit artists' studios and design studios such as OST-960 (of artist Erik Binder), STUPIDesign and Kamikadze. There are screenings of films awarded Prix Ars Electronica and YouTube, Machinima films, concert by the Polish experimental sound group Karbido in Kosice and Zilina. In Trnava, there are lectures connecting science and art, talks on non-conventional music and video presentations.

In Brno, there is another Festival Infocentre and concerts at the Faculty of Visual Arts at the Technical University, as well as workshops, discussions, live presentations, a radio show, video installation, parties, 'chill out', and open platforms for your creativity.

Visitors in Budapest will have the opportunity to see a screening of films related to architecture, as well as presentations of VJs, Polish Kiecle presents light sensitive installation and video screening and in Providence, (Rhode Island, USA) the RISD Museum offers screenings of New Central European video art.

There is also a couple of "matches" going on – in the radio space between Czech and Slovak radios, and between different young artists from various "competing" art schools taking part on billboards.

We are looking forward to meeting you at Multiplace, in real or virtual word.

MULTIPLACE 2007: people, machines, design, music, video, software, workshops, exhibitions, visits and more.

Jump into the network of art and creativity!

Zuzana Cernakova, Executive Director, +421 907 467 598, zuzana[at]34.sk
Maria Riskova, Program Coordinator, m[at]13m3.sk
Viera Levitt, Multiplace USA, International PR, 001 401 714 9698, vieralevitt[at]gmail.com
Peter Pankuch, PR Manager Slovakia, +421 907 151 565, pagastan[at]post.sk

http://www.multiplace.sk , admin[at]multiplace.sk

Posted by jo at 12:30 PM | Comments (0)

Gazira Babeli: Collateral Damage


A Comprehensive Survey, 2006-07

On April 16t, 2007, 6:00 pm SLT, the ExhibitA gallery (38,30,23) on the Odyssey simulator within the online virtual world called Second Life, will present the first comprehensive look at the pioneering work of Gazira Babeli. Gazira Babeli is an artist creating works within Second Life and a member of Second Front - the first performance art group in Second Life.

Gazira labels herself a "code performer" and indeed the code is at the heart of her work, tying it to the system at a deep level and reaching out to the viewer in ways that inherent to the SL platform. Her pieces are alive with scripts created using the Linden scripting language - a core component of Second Life. A Campbells soup can that is a trap, and a self proclaimed menace disguised as pop art, encases the viewer and takes him on a ride proclaiming "you love pop art, pop art hates you" until the unsuspecting avatar manages to run fast enough to escape. The sky filled with question marks, a vengeful tornado, these are a few of Gaz's signature works that can be seen on her site. In the spirit of opensource - Gazira has licensed much of her code via creative commons, and you can download it for your own use on her site.

Gazira Babeli: Collateral Damage - a comprehensive survey of works from 2006-2007 :: location: Odyssey (38,30,23)

Please join us for the opening of this exhibit. Press are invited to attend at 1pm SL time. The general opening is at 6pm SL time. Inquiries may be directed to Beavis Palowakski: rushchris[at]mac.com, or to Sugar Seville: sugarseville[at]gmail.com.

Posted by jo at 08:52 AM | Comments (0)

April 11, 2007

Net(works): Art and Pre-Existing Web Platforms


Call for papers

Net(works): Art and Pre-Existing Web Platforms @ SECAC 2007 (Southeastern College Art Conference) :: Call for papers :: Proposals are due May 1st, 2007. Conference is October 17-20, 2007 in Charleston, West Virginia.

Beyond using the internet as a way to show representations of visual and performance work, artists have been using pre-existing dynamic content web sites as the actual site of the work. One of the first projects of this nature included Keith Obadike selling his blackness on eBay. More recently, Cary Peppermint’s Department of Networked Performance (image, left), an educational situation, uses MySpace as its host. The Gif Show also used MySpace, appropriately, as a parallel site for a curatorial project in real space about the aesthetics of low-bit production. A public art competition and gallery shows have suddenly been popping up in Second Life, a virtual world created by users and inhabited by their avatars, which interact with each other in real-time.

Some of the topics raised may include, but are not limited to: How are artists currently using these and similar spaces? Are these projects considered interventions, or otherwise? Are these spaces appropriate for undergraduate education projects? How do real curatorial spaces intersect with these virtual spaces? What do these spaces, with or without the art world, mean within visual culture contexts? Please propose your presentation as it pertains to any field - practice, history/theory/criticism, museum studies, and/or education.

Patrick Holbrook, Georgia College & State University :: Email: patrick.holbrook[at]gcsu.edu (Please let me know if you have any questions, if I can help you with anything, or even if you are just thinking about it)

Posted by jo at 05:37 PM | Comments (0)

Christiane Paul



[Image: one of various projects from Software Structures by Casey Reas] a minima / newmediaFIX Feature on Christiane Paul ::

artport, a website designed as a main portal to Internet art worldwide, and as an online gallery space for new and specially commissioned net and digital art was launched by the Whitney Museum of American Art in New York on March 1, 2001. The site provides both a comprehensive resource of net art and access to original art works created specifically for the site and commissioned by the Whitney. artport consists of five areas:

A gatepage section that archives the splash pages created by artists who are invited on a monthly basis to make a small artwork as a gateway the artport site. The gatepages contain links to the respective artist’s site and most important projects, so that the gatepage archive functions as a database of net art projects created since the beginning of Web-based art. An exhibition section, where current net art / digital arts exhibitions are accessible and past exhibitions, such as the Whitney Biennial Internet art projects, are archived.

A resources archive with links to new media organizations and virtual galleries on the Web, net art exhibitions worldwide, festivals, as well as net art publications on the Web. This archive is continually evolving as new organizations and resources are being added. A collection area that archives the works of net art and digital art in the Whitney Museum’s holdings, such as Douglas Davis’ The World’s First Collaborative Sentence, the first work of Internet art acquired by the Whitney Museum in 1995. A commissions section, which provides access to artworks commissioned by the Whitney specifically for the artport site. More >>

Posted by jo at 11:49 AM | Comments (0)

Upgrade! Sofia


Demo Scene Phenomenon

Upgrade! Sofia: Demo Scene Phenomenon :: Today 11.04.2007 :: place: Club Apple, Sofia :: time: 20:00 (free lecture) :: Party: 22:00 (4 BGN entrance fee)

What is the demoscene? Short answer: A subculture in the computer underground culture universe, dealing with the creative and constructive side of technology, proving that a computer can be used for much more than writing a letter in MS-Word and hence emphasize on computer technology as just another medium that can transport ideas and styles, show off skills and express opinions etc. Another theory says, that it's just a bunch of boozing computer nerds, programming weird, useless multimedia stuff.

In Bulgaria the demo scene is a unknown phenomenon. In Europe this cult status form of art became hyperpopular in the last 20 years. Yet in our country we still don't know nothing about it, despite the fact that Bulgaria is already a member of the European Union. When we talk about demo, the last thing that pops up in our minds is high-tech multimedia installation. That's why Georgi Penkov (aka EXo) and Kamen Merachev (aka kmn) will join Upgrade! Sofia for a event that threatens to unveal the mistery of the 10 MB files that give birth to a 20 minute high-quality video.

The one of the king lecture will be held at club Apple and will present the whole history of the demo scene (coming from the '80s hacker scene) and it's development during the years. Examples of cult demo productions will be given, the ideas behind them, the basics of the making -of process, as well as presentations of the best demogroups. The gathering will turn into a party with special DJ appearances by DTX (click & tech sounds), EXo (dubstep), CooH (experimental dub). The event is supported by Mirizma.org, HMSU.org and InterSpace. For more information: scene.org

Posted by jo at 10:28 AM | Comments (0)

Last Chance Upstage Festival


The 070707 UpStage festival will soon be finalising its programme. Friday April 13 is the last chance to be a part of the first ever UpStage festival! Please send:

o working title of your cyberformance and 3-4 sentences about it;
o names and locations of people involved;
o brief background/bios (not more than 300 words);
o preferred time(s), in your local time, for presentation on 070707;
o contact email and postal address (so thst we can send you documentation after the festival).

Performances can be on any theme or topic - adapt a stage classic, tell your own story or go for the avant garde! The only rules are it must be no longer than 21 minutes, and must be created and performed in UpStage.

Posted by newradio at 10:20 AM | Comments (0)

Composite club


JODI @ VertexList

VertexList space has the pleasure to announce “Composite club”, a solo exhibition by the legendary new media collaborative JODI. A reception will take place on Friday, May 4th 2007 from 7pm - 10pm, with the artists in attendance. The exhibition will be on display until Sunday, June 10th, 2007.

JODI, or jodi.org, are unanimously considered pioneers of new media art. It is a collective of two artists: Joan Heemskerk (the Netherlands) and Dirk Paesmans (Belgium). Their background is in photography and video art; and in the mid-1990s they were the first to create Internet based artworks. In more recent works, they modified video games such as Wolfenstein 3D, Quake, Jet Set Willy, and Max Payne 2.

Works on display at VertexList include brand new projects including “Composite Club” (an installation Involving Playstation camera games triggered by prerecorded video clips), “wrongbrowser.us” (live online browser limited to the .us domain), and RSS based mailinglist "Wordstar". They will also feature JODI classic Wolfenstein modification S.O.D Bcd etc (sod.jodi.org).

“Composite club” will be presented in conjunction with and/or gallery in Dallas, TX, which will features JODI game hacks and work of Arcangel Constantini. Life video feed will be set up between the galleries during the opening reception. JODI’'s work has been included in many international exhibitions and festivals, including Documenta X in 1997. They received a Webby Award in the Arts category in 1999 (UCSOB) and were featured in “Digital Art” by Christiane Paul and “Internet Art” by Rachel Greene.

JODI project url: www.compositeclub.cc
Live demo by Jodi @ the opening reception.

email: info[at]vertexlist.net

Posted by jo at 08:55 AM | Comments (0)

Biology and Art: Two Worlds or One?


What's science, what's art?

Scientific discoveries pervade popular culture more and more and artists are becoming part of this cycle. Several recent exhibitions, books, and magazine features have demonstrated the popularity of science-based projects among contemporary artists. However, it is in symposia like the upcoming one organized by the New York Academy of Sciences (scheduled for April 14), that the examination of this new field is more often taking place. The conference's title, 'Biology and Art: Two Worlds or One?' acknowledges that the artistic approach to the scientific realm is mainly occurring within the biological sciences. Therefore, the focus of the discussions will be on how biological objects--whether viruses, animals, plants, cells, or organelles--inspire or even are employed by artists, and how scientists-always stressing objectivity in method-respond to artistic representations, which are necessarily subjective.

The keynote address will be given by Belgian artist Wim Delvoye, recognized within the community for 'Cloaca' (2002), a work that resulted from a three-year collaboration with scientists at the University of Antwerp, whose shared mission was to duplicate the functions of the human digestive system. The rest of the day will be comprised of conversations between artists and scientists that are collaborating or in which the latter's current research informs the former's current output. Speakers include Laura Splan, Jonathan A. King, Michael Joaquin Grey, and Gabriel Robles-De-La-Torre. Lively talks and extensive debate will provide a forum where ideas generated in these two different spheres of creative endeavor will be expressed, elaborated upon, and deliberated, thus bringing together what has been separated throughout history. - Miguel Amado, Rhizome News.

Posted by jo at 08:01 AM | Comments (0)

April 10, 2007

DEAF: Snack&Surge Brunch: Marked Up City


You Are Not Here.org: Gaza - Tel Aviv

Marked Up City: You Are Not Here.org: Gaza - Tel Aviv :: Hosted and introduced by Nat Muller (NL) :: Saturday 14 April 2007, 11:00 – 13:30 hrs :: Location: V2_Studio :: Entrance: € 7,50 :: LIVE STREAM (REALVIDEO) - 14 april, 11:00-13:30 (Clicking on the above link before the indicated time will result in an error message!) This live stream can be viewed with the free RealPlayer.

Cities are more than their streets and squares, their commerce and inhabitants: they are part and parcel of a whole economy which brands and markets "the urban experience" to us as a commodity. Tourism is of course the latter's most logical instrument: more often than not we are sold a sugar-coated product, which discards the dynamics, frictions and population groups, which make up the city proper. Marked Up City dips into the belly of city branding and urban tourism... with a twist.

You Are Not Here.org (YANH), urban tourism mash-up project by artist Thomas Duc (US), media activist Mushon Zer-Aviv (IL/US), interaction designer Kati London (US) and new media hacker Dan Phiffer (US) :: Laila El-Haddad (PS/US), journalist and writer :: Merijn Oudenampsen (NL), specialises in issues concerning flexibility of labour, precarity, gentrification, and city branding.

The SNACK & SURGE Brunches create a performative and gastronomic theatre of operations addressing political, technological and artistic questions relating to the poetics of power. We invite the DEAF audience to kick off their day pondering the aesthetics, actions and media of resistance and critique. Part hang-out, part culinary experiment, SNACK & SURGE intends to be a caress for the palate, an opener for the mind, and a rebelliously festive wake-up for the mood.

Rise and start your day deliciously: biting at the poetics of power!

Food by: anders eten.com

Posted by jo at 01:34 PM | Comments (0)

16 Beaver Group


Deborah Bright + Linda Dittmar

16 Beaver Group: Deborah Bright + Linda Dittmar :: What: Presentation / Discussion :: When: Friday evening 4.13.07; 7:30 pm :: Where: 16Beaver Street, 4th Floor, NYC :: Free and open to all.

16 Beaver Group is very pleased to have photographer Deborah Bright and Israeli-American writer and scholar, Linda Dittmar, at 16beaver. Deborah and Linda will present an informal slide preview of their collaborative project documenting remains of the 1948 Nakba (Catastrophe) when some 750,000 Palestinians were exiled from their homes in what became the State of Israel.

This work is predicated on the belief that until the pain and losses (of family, community, homeland) of the Palestinian Arabs in 1948 (not to mention 1967) are publicly recognized and dealt with by both Israel and its primary sponsor, the United States, no lasting peace and stability is possible.

Deborah Bright is an internationally known photographer, writer, and professor of photography at RISD. She edited 'The Passionate Camera: photography and bodies of desire' (1998). More information about her work can be found at http://www.deborahbright.com

Linda Dittmar grew up as a third generation Israeli who witnessed the events of 1948 as a child in Tel Aviv. She is professor of literature and film at the University of Massachusetts, Boston, and co-edited 'From Hanoi to Hollywood:The Vietnam War in Film' and 'Multiple Voices in Feminist Film Criticism'.

16 Beaver Group
16 Beaver Street, 4th / 5th fl.
New York, NY 10004
phone: 212.480.2099

4,5 Bowling Green
R,W Whitehall
2,3 Wall Street
J,M Broad Street
1,9 South Ferry

Posted by jo at 12:04 PM | Comments (0)

[PUBLIC] _____ curating



[PUBLIC] _____ curating is an ongoing research-project by the Vienna-based organisation CONT3XT.NET, collecting methods, resources, and theories concerning the changing conditions of curatorial practices on the Web. The blog is an experimental database of international curating projects, theoretical approaches and a resource for curatorial platforms, art-databases and contemporary ways of New Media Curating.

With the changing of the production and reception of art on the Internet, not only the art itself changed but also the possibilities of curation and thus require new forms of investigation and communication too. During the past decade the concept of what was called "Curating (on) the Web" (1) already in 1998, has changed into a multifaceted and interrelative communication-process between artists, theorists, writers and "normal" Internet-users -- nowadays curators are described as "cultural context providers" (2), "meta-artists" (3), "power users" (4), "filter feeders" (5) or simply as "proactive consumers" (6).

_____ research-blog: http://publiccurating.cont3xt.net
_____ link-collection: http://del.icio.us/publiccurating

(1) http://www.archimuse.com/mw98/papers/dietz/dietz_curatingtheweb.html
(2) http://www.metamute.org/en/Art-Place-Technology-Conference
(3) http://mailman.thing.net/pipermail/idc/2006-April/000325.html
(4) http://www.nettime.org/Lists-Archives/nettime-l-0606/msg00136.html
(5) http://www.intelligentagent.com/archive/Vol3_No1_curation_schleiner.html
(6) http://ullamaaria.typepad.com/hobbyprincess/2006/06/museums_and_web.html

Posted by jo at 11:46 AM | Comments (0)

Ubiquitous Media: Asian Transformations



Ubiquitous Media: Asian Transformations (Tokyo July 13-16,2007) :: DEADLINE: April 26 :: Plenary speakers will include: Rem Koolhaas (OMA Rotterdam); Mark B.N. Hansen (University of Chicago); Katherine Hayles (University of California at Los Angeles); Shigehiko Hasumi (Former President of The University of Tokyo); Ken Sakamura (The University of Tokyo); Barbara Maria Stafford (University of Chicago); Friedrich Kittler (Humboldt University); Akira Asada (Kyoto University); and Bernard Stiegler (Centre Georges-Pompidou, Paris).

Today media are increasingly ubiquitous: more and more people live in a world of Internet pop-ups and streaming television, mobile phone texting and video clips, MP3 players and pod-casting. The media mobility means greater connectivity via smart wireless environments in the office, the car and airport. It also offers greater possibilities for recording, storage and archiving of media content. This provides not just the potential for greater choice and flexibility in re-working content (tv programmes, movies, music, images, textual data), but also great surveillance (CCTV cameras, computer spyware, credit data checking and biometrics). The media, then, can no longer be considered to be a monolithic structure producing uniform media effects. Terminology such as 'multi-media,' and 'new media,' fail to adequately capture the proliferation of media forms. Indeed, as media become ubiquitous they become increasingly embedded in material objects and environments, bodies and clothing, zones of transmission and reception. Media pervade out bodies, cultures and societies.

These ubiquitous media constitute our consumer and brand environment. Their interfaces and codes pervade our bodies and our biology. They pervade our urban spaces. They are ubiquitous in art, religion and our use of language. Yet from another angle art and language are, and have immemorially been, media. Media are about the physical, algorithm and generative code; but they are also immaterial and metaphysical. Communication is about channels and hardware/software; but communication is also about communion and community. Media deal in images: that is in the material; but their idiom is also symbols and the transcendental.

To theorize about today's world, we evidently need to theorize media. Yet to theorize media also means we need to focus on how technological media are used in everyday practices. Not least, we need to address the question of the relationship of media practices to politics. This opens up questions about the formation of informed publics, new social movements and media events, not just the alleged need to combat media terrorism, nationalism and crime. Suggesting further questions about the power and influence of transnational media, intellectual property rights and openness of access. Raising issues of generativity, creativity and critical intervention.

Asia - East Asia, South Asia, and increasingly crucial, the Middle East - are becoming sites for these processes. Global geopolitics has been restructured by the 'rise' of China and India and the turbulence of the Middle East. With concomitant transformations of the role of the West and Japan, this conference becomes also a question of 'ubiquitous Asia.' These transformations are producing new trans-Asian culture industries, social movements and activism. At stake are a set of transformations of Asian culture(s) itself - of language, and modes of cultural thought and being. We will seek to address these uestions of media transformations and their relation to social and cultural processes in a number of plenary sessions, paper sessions, round tables and events.

About Organizers

This conference is organized by Theory, Culture & Society and Interfaculty Initiative in Information Studies / Graduate School of Arts and Sciences, The University of Tokyo.

Posted by jo at 11:39 AM | Comments (0)

Turbulence Commission: The Simultaneous Translator


Live Performance on April 15

Turbulence Commission: The Simultaneous Translator by John Roach and Willy Whip [Requires Windows OS] LIVE PERFORMANCE: Sunday April 15; 12:00 PM EST to 3:00 PM EST

The Simultaneous Translator (SimTrans) is a Windows based audio interface that enables anyone to load audio streams and manipulate them in real time on the Internet. SimTrans makes the delays and fluctuations of the Internet visible and audible. The Internet becomes your collaborator as you create your mix, and the instability you usually try to avoid becomes a tool for creation. Distance and delay are manifest within the interface numerically and as a series of sliding heads; there is also a link to Google Earth where you can watch the dynamic flight of data travel between yourself and the audio source.

“SimTrans” is a 2007 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the Murray G. and Beatrice H. Sherman Charitable Trust.

THE PERFORMANCE: The Simultaneous Translator grew out of the artists’ live networked performance project "Simultaneous Translation," in which the delays of the internet are used to dynamically effect the live performances of geographically distant artists.

The performance will take place from 12:00 PM EST to 3:00 PM EST on Sunday April 15. Log on via http://turbulence.org/Works/simtrans.

Participants: Greg Davis (USA), Kenneth Goldsmith (USA), John Hudak (USA), Keyman (France), Lawrence Li (China), Mice69 (France), Miguel Ramos (Spain), Joe Reinsel (USA), John Roach (USA) and Willy Whip (France).


JOHN ROACH doesn't consider himself an installation artist, a sound artist, or a sculptor, but prefers to think of himself as a nomad, touching down in whatever place is most hospitable to his ideas. Recent projects have been an installation at the 2B Gallery in Budapest, Hungary; a collaborative performance with objects and video at the Saint Stephen Museum in Szekesfehervar, Hungary; and a web video project called Sweet Music. He continues to work with Willy Whip on their long-standing live networked performance project Simultaneous Translation.

WILLY WHIP is a designer and teacher in hypermedia interactivity. Outside his institutional work he likes to produce mashups that fertilize his own secret garden. This personal research and development leads him on a quest for hybrids: connect this information to that information; grow new contents; release new senses. Recent activity includes projects with the artists Anika Mignotte, Reynald Drouhin, and Du Zhenjun.

Posted by jo at 09:20 AM | Comments (0)

Maxwell City: an artistic investigation into the electromagnetic urban environment


call for workshop participation

Maxwell City: an artistic investigation into the electromagnetic urban environment :: Two consecutive workshops: Workshop I: Wednesday 9th of May - Saturday 12th of May; Workshop II: Wednesday 30th of May - Saturday 2nd of June :: Where: Atelier Nord Lakkegata 55D N-0817 Oslo :: Directors: Erich Berger and Martin Howse; Guests: Armin Medosch, Honor Hager :: Participation is free of charge :: Application deadline: Friday 13th of April :: Send applications with CV and motivation to sense[at]anart.no

In 1864 the Scottish physicist James Clerk Maxwell presented a set of mathematical equations to the Royal Society. These equations which are now known as Maxwell.s equations describe the behaviour of electric and magnetic fields and their interaction with matter - electromagnetism. Maxwell showed that his equations predict waves of oscillating electric and magnetic fields that travel through empty space - electromagnetic waves.

Almost 150 years later, the practical applications of Maxwell's mathematics are deeply and indispensably entwined with our everyday lives. Radio, Television, Mobile phones or wireless networks, all are based on wireless data and information transmission utilizing electromagnetic radiation as a medium. Every wire, cable and electrical device leaks electromagnetic waves during operation. The electromagnetic spectrum which is the range of all possible electromagnetic radiation is a hotly fought over private, commercial and political territory.

Every city with its uncountable electric facilities, devices, senders and receivers has an unknown and invisible man-made twin; the Maxwell City. It is an alien kind of architecture and landscape composed from the electromagnetic emissions of its substantial sibling; a truly spectral double resonating across bodies, vehicles and an architecture of embedded conduction.

Maxwell City is an artistic investigation into electromagnetic substance within the city of Oslo and its surroundings. Naturally these investigations will happen in the city itself, including possible originating artworks, situations or interventions. Short lectures, presentations and discussions within the group will provide the workshops with the necessary theoretical and practical background. Maxwell City is interested in both the theory and praxis of electromagnetic waves, politics of technology and the electromagnetic spectrum, electromagnetic waves as artistic material, artistic strategies in the urban environment, invisible and alternate realities and how to make these perceptible.

Participating artists do not need to have practical or theoretical knowledge about the electromagnetic spectrum. They need to bring a keen interest to work as a group with unusual artistic material within the urban environment. As the workshops build upon each other it is preferable to participate in both workshops.

Further information about the workshop, the content, the directors and guests is available at: http://anart.no/projects/maxwell-city/

Posted by jo at 08:55 AM | Comments (0)

DEAF07 Workshop


Tracking Technology for the Performing Arts

DEAF07: Tracking Technology for the Performing Arts :: V2_Testlab2 :: Wednesday 11 to Saturday 14 April :: Cost: € 200 / € 150 (student discount), including lunch, workshop materials, entrance to the Interrupting Realities seminar and the exhibition :: Maximum participants: 30.

This hands-on workshop on Tracking Technologies is oriented towards performing artists / choreographers who are interested in using new technologies, as well as people with a technical / scientific background who want to apply their technical knowledge in an artistic domain. In the performing arts exciting new ways of expression are becoming possible by recent advances in tracking and sensing technologies. Body-worn sensors and large area position tracking systems are now accessible for use in performances, enabling for example new types of interaction.

The workshop will set out to investigate data interpretations from real-time tracking devices and mappings of this data for artistic purposes, using max/msp. Working in small groups with a workshop leader the participants will explore two integrated modules:

_Data interpretations for the performing arts, with applications such as movement analysis and interactive soundscapes.
_A technical introduction to state of the art tracking technology.
_Participants will be challenged to create their own systems that interpret real-time tracking data.

After completing the workshop participants will have a clear understanding of how data from tracking systems can be interpreted for use in the performing arts.

The workshop is accompanied by the seminar Interrupting Realities , which will attempt to deal with some of the theoretical issues raised by this seminar. Entrance to the seminar is free for workshop participants.

Posted by jo at 08:44 AM | Comments (0)

April 09, 2007

Lessons in NetArt: Theory


by Thomas Dreher

IASL online Lessons in NetArt: Theory: Now two texts are available in English:

Conceptual Art and Software Art: Notations, Algorithms and Codes: Self-replicative and generative codes have been developed in Software Art. Intermedia Art´s relations between notation and realisation are expanded by new mutations in relations between readable code and computer processing: Examples of program codes appear as the next step after formalizations of verbal concepts in Dada, Fluxus and Conceptual Art. And on the other hand: These formalized notations can be presented as precursors of Software Art.

Participation with Camera: From the Video Camera to the Camera Phone: The development of the camera´s technology (video camera, WebCam, camera phone) and its context had and has consequences for the development of strategies to integrate participative uses of cameras into projects. The article outlines the camera´s use as a subject of change from video and net projects to collaborative mapping with locative media.

The article "Participation with Camera" offers an overview on some of the nearly hundred projects described in German in:

Collected tips: Interactive Urban Experience with Locative Media (Mapping) Part 1, Part 2.

Collected tips 1-3: Interactive Urban Experience with Digital Media (Internet, Mobile Telephone and Locative Media).

Dr. phil. Thomas Dreher
Schwanthalerstraße 158
D-80339 München


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Urban Interface | Berlin (Olso)


Interspaces of Public/Private Urban Space

Urban Interface Berlin :: A symposium, exhibition and curatorial research project exploring the interspaces between public and private urban space :: April 15 to May 6, 2007 :: Berlin and Oslo :: Some of the works are:

Exposure, by Jussi Ängeslevä (FI) and Richard The (DE), is a spatial art installation combining smart materials, simple sensor electronics and poster design to weave micro narratives for the unsuspecting public as they navigate through the urban landscape. An array of unobtrusive, monochromatic posters is arranged along a segment of a passageway. Adjacent to the individual posters a light gate is watching when a pedestrian passes by the poster. The light gate is connected to a tele-objective camera flash and triggers it, casting the person’s shadow momentarily on the poster. The poster, being covered with fluorescent ink, captures the shadows and retains the glowing silhouette, becoming an integrated element of the poster’s graphics which gradually fade away. The work can be seen as a commentary and counter-reaction to the established disempowerment of the individual. Above and beyond the exhausted Big Brother discourse, Exposure takes a stand also on the new emergent "Participatory Panopticon", or "Little Brother", the ever present prying eye of the neighbours’ ubiquitous camera equipped digital device.


The project series Mitting operates at the interface between the sociologically and culturally different boroughs of Mitte and Wedding. For two days, the area that has been defined for the exhibition acts as a space for actions and as a starting point for mobile and stationary events. Oliver Hangl puts on two “Secret Tours” through public and private spaces that bring the coexistence of these parallel cultures to awareness. The participants, equipped with two-channel wireless headsets that enable them to choose between two alternative streams of information presented by the guides and musical liveacts, will be led through the different areas by two tour guides as well as musicians, actors, artists, DJs and a technical crew. Statements from pedestrians and local residents will flow into the liveact audio streams.

Mitting separates levels of perception while isolating the participants. On the streets, in warehouses, flats, and wherever the groups enter, they appear mute to residents and passers-by. Because of the dialogue that is sent inward through headphones, the action bears a subversive potential. But the participants should also be alert to when reality turns suddenly into fiction.

Oliver Hangl declares spaces, participants and watchers an open field of imagination, an audiovisual energy field that oscillates between performance, demo-protest and communication experiment… „Remember, that it’s all in your head!“ (Gorillaz)


Daniel Jolliffe presents the project Berliner Stimmen in the context of urban interface | berlin. His work is a mixture of mobile sculpture and performance that examines the participatory moment. Visually, Berliner Stimmen is a sculpture mounted behind a bicycle, but its main function is performative. Over a period of three weeks, Jolliffe will cycle through the borough of Mitte, Wedding and Gesundbrunnen three times a week. While he is travelling, the loudspeaker broadcasts previously recorded one-minute calls. It is possible for each caller to have his message broadcast in the public space. The past realisations of the project under the name of One Free Minute in San José and Vancouver have shown that the callers use this public platform for different reasons. The spectrum of the recorded messages includes private statements and stories as well as commercial announcements and political speeches. In times when governments and public agencies are increasingly vigilant of who is saying what and where, citizens and activists can express their opinions in Berliner Stimmen freely and without fear of repression.

Also on exhibit: Laura Beloff's Head; Zone-out of Vision.

ABOUT urban interface | berlin

The project deals with the changing notion of private and public space that occurs due to, particularly, the everyday use of communication technologies. The artworks in the context of urban interface convey the idea of public space as an accessible and contributive sphere and call attention to a more sensitive engagement with the private, physical and digital spheres.

The works are developed for individual spaces by participating artists and if possible realised in cooperation with hosts. Hosts can be private individuals as well as companies, which then communicate the artworks out of their private spaces into the public. Private becomes public, public becomes private. Art space intermixes with urban space.

In responding to selected public and semi-public sites and their inherent qualities, the artworks will become focal points of the shifting conceptions of private and public space. Being often immaterial and digital and located at the difficult-to-define boundaries of private and public space, the artworks challenge all users – perceivers, organisers and the local authorities to formulate and discuss their individual understanding of those spaces. At the same time, the dispersed and temporary nature of the artworks challenges the formula of exhibitions in public space.

This website is conceived as an archive and contributive forum which ideally could serve as a knowledge platform for other art projects dealing with or happening in public space. To that end, relevant processes between the involved parties such as artists, sponsors, organisers and the city administration will be published on this website. Hence this website can be understood as another interface between private and public, theory and practice.

The thematic discourse is extended to presentations and panels accompanying the exhibitions

Posted by jo at 05:27 PM | Comments (0)

Network Notebooks


Technobohemians or the new Cybertariat?

Technobohemians or the new Cybertariat? New media work in Amsterdam a decade after the web by Rosalind Gill is the first publication in the series Network Notebooks, published by the Institute of Network Cultures, Hogeschool van Amsterdam. Order printed copies by sending an email to info (at) networkcultures.org. A pdf is also freely available.

Accounts of new media working draw heavily on two polarised stereotypes, veering between techno-utopianism on the one hand, and a vision of web-workers as the new ‘precariat’, victims of neoliberal economic policies and moves to flexibilisation and insecurity on the other. Heralded from both perspectives as representing the brave new world of work what is striking is the absence of research on new media workers own experiences, particularly in a European context. This report goes beyond the contemporary myths of new media work, to explore how people working in the field experience the pleasures, pressures and challenges of working on the web. Illustrated throughout with quotations from interviews, this research examines the different career biographies emerging for content-producers in web-based industries, questions the relevance of existing education and training, and highlights the different ways in which people manage and negotiate freelancing, job insecurity, and keeping up to date in a fast-moving field where software and expectations change rapidly.

The research is based on 35 interviews carried out in Amsterdam in 2005, and contextually draws upon a further 60 interviews with web designers in London and Brighton. The interviews were carried out by Danielle van Diemen and Rosalind Gill.

Rosalind Gill is a teacher and researcher based at the London School of Economics and Political Science. She is author of The Gender-Technology Relation (with Keith Grint) and her new book Gender and the Media has just been published by Polity press. She carried out research on new media working for the European Commission in 2000 and published some of the results relating to new inequalities in this field in an influential article entitled ‘Cool, creative and egalitarian?’ She is currently preparing a book about women and the web, and completing analysis of 180 interviews with web designers in London, Brighton and L.A.

Interviews: Rosalind Gill and Danielle van Diemen
Copy editing: Ned Rossiter
Design: Léon&Loes, Rotterdam
Network Notebooks editors: Geert Lovink and Sabine Niederer
Printing: Cito Repro, Amsterdam
Publisher: Institute of Network Cultures, Amsterdam

If you want to order copies please contact:
Institute of Network Cultures
HvA Interactieve media
Weesperzijde 190
1097 DZ Amsterdam
The Netherlands
t: +31 (0)20 5951863 f: +31 (0)20 5951840

This publication is licensed under the Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Netherlands License.

Posted by jo at 10:54 AM | Comments (0)




II MOBILEFEST 2007 SEMINAR AND EXHIBITION:: CALL FOR PAPERS AND PROJECTS :: November 21-23, 2007 :: Sesc Paulista, Sco Paulo, Brazil.

Mobilefest - International Festival of Mobile Arts and Creativity is an event that aims to question and discuss the advent of the new mobile technologies in their relationships with the various segments of society, being the first International Festival of the kind. The main objective is to provide and multifaceted and heterogenic environment of discussions, actions and creations that seek for intelligent solutions, through the virtualities of the new mobile technologies, to solve or even discuss the issues that trouble contemporary societies.

The effort of the event about the new communication technologies is based on the perception of its potential growth - there are nearly 3 billion active mobiles in the nowadays[1] - and the increase of its use not only for communication between people but, also in activities of education, social inclusion, varied artistic productions, entertainment, security, content production and distribution, sociability nets configuration, activism actions, health, commerce, advertising, etc.

History: The I Mobilefest was launched in November 2006, with an international seminar that took place in Sco Paulo, at Sesc Paulista, with live and free transmission via the Internet.

In its first edition, it broached the social, cultural and aesthetic implications that the mobile ands mobile technologies have been promoting in global scale. The festival discussed the main outlining of the relationships between mobile technologies (like mobile, handhelds, etc.) and the many segments of the society listed above. Besides the discussion, the event is made of technical and cultural activities and also includes expositive exhibition and the launch of recognition award of the best mobile jobs and applications, the I Mobilefest Awards. The seminar gathered 14 foreign artists and researchers and Brazilian 20 artists and specialists.

Objectives: Popularise the mobile technology as to contribute to social inclusion though the generalisation of knowledge, its use and possibilities of interaction promoted by these new communication media. Offer the audience the first awarding specialised in recognising works that use mobile technology. Promote cultural interchange among national and international researchers and producers of this area. Incentive the creative thought and production about the new technologies aiming to expand the possible hardware e software functions in the technology mobile sector.

Stimulate the production of content in the mobile technology segment in Brazil in terms of production in the industrial segment as well as from the point of view of the independent creator, thus intending to seek for balanced ways of relationships between these two players which will not mean mutual negation. Enable the participation of all interested in producing and distributing content through the mobile communication networks.

II Mobilefest - International Festival of Mobile Arts and Creativity / 2007

The use of the mobile phone, the main development feature of mobile technology, starts in Brazil in 1990, when we had around 667 units. Since then, and added to all changes linked to globalisation, opening of market shares, more and more accelerated development of new technologies, all that already announced since the 80s in the core countries, the amount of mobiles has increased exponentially reaching 6700 no in the following year, 30 thousand in 1992, nearly 50 millions in 2004 and, nowadays according to Anatel, Brazil has already almost 100 million active mobile units (what means 53 mobile/ 100 inhabitants)[2].

It was also during the 1990s that the environmental issue started being present in the daily guidelines not only of the mass communication media but, as well in the civil associations as a rather relevant topic of the main social movements all over the world, and as core subject in several universities and specialised research institutes. Among the numerous points and dimensions involved in the planet's environmental problem, the climate issue directed everyone's attention due to uncountable environmental disasters caused by weather alterations.

While the technological development takes wide steps, considering the a mobile technology as one of the main protagonists of lately, environmental issue also grow disputing the news with the high-tech market good news. Many times it seems like a battle in fact, since the productive and technological development is takne as one of the main causes of environmental problems. Specially about mobiles, one of the shocking points between technological development and environmental issue regards the garbage generated by disused units and discarded batteries that grows as fast as the new technological developments.

However, if less than 150 years ago we only had a telegraphic signal to generate an S.O.S, now we have the latest generation networks mobile phones with photo and video cameras, GPS and LBS, linked to wireless, viral and instant internet that challenging us to find new technological solutions and collective actions in favour of the environment.

How can Mobile Technology contribute to democracy, culture, art, ECOLOGY, peace, education, health and third-sector?

Considering that, II Mobilefest 2007 intends to dedicate part of its activities and reflections upon environmental issue.

Festival Mobilefest 2007 Theme: In 2007, besides the more general proposal which leads to the question - How can Mobile Technology contribute to democracy, culture, art, ecology, peace, education, health and third- sector? Mobilefest has in view special emphasis in ecology, with the theme Environment, trying to explore the potentialities of the mobile technologies through the proposal "Protecting the environment using mobile technologies". The choice of the theme Environment intends to mobilise the civil society before numerous environmental tragedies already under course and, because we see this as a very rich experimentation space through the use of mobile technologies.

[1] According to forecast by research company Informa Telecoms an Media (cf. < http://www1.folha.uol.com.br/folha/bbc/ult272u59649.shtml >).

[2] According to Anatel: http://www.atarde.com.br/especiais/telefoniamovel/mat_histbrasil.php


II MOBILEFEST 2007 is open to receive project and paper proposals to be selected to participate in the II Mobilefest International Seminar and Exhibition that will take place in the second semester 2007, in Sco Paulo, Brazil. It is intended that papers and projects presented reflect upon Mobilefest
theme: How can Mobile Technology contribute to democracy, culture, art, ecology, peace, education, health and third- sector?

REGISTRATION PROCEDURE: Registrations are open until 31st July 2007 via email sent to 2007(at)mobilefest.com.br with the following information:

Full name:
Land line:
University (not compulsory):
Graduation level (not compulsory):


( ) democracy
( ) culture
( ) arts
( ) peace
( ) education
( ) health
( ) third-sector

Presentations sent should last no longer than 30 minutes.

Projects sent will be selected by categories, marked in the registration form.

Registration should include a brief description of the presentation proposed (up to 200 words), technical information and participants involved, in .rtf, doc or pdf.

Send your work to: 2007(at)mobilefest.com.br

All selected presentations will be broadcasted live via internet and will be available on podcast soon after.

Project sending: 31st July 2007
Notification: 1st September 2007

In case of doubt, please write to 2007(at)mobilefest.com.br

Related links:


Posted by jo at 10:45 AM | Comments (0)

Symposium C6:


The Art World is Flat: Globalism--Crisis and Opportunity

Symposium C6: The Art World is Flat: Globalism--Crisis and Opportunity :: April 26-28, 2007 :: Pritzker Pavilion, Millennium Park, Chicago.

Symposium C6 will explore how the forces of globalism are challenging traditional cultural hierarchies, redistributing capital, creating powerful collaborations, and generating new hybrid cultural practices. It will feature keynotes, presentations, panel discussions, and performances by an international group of innovative and socially engaged artists, entrepreneurs, technologists, writers, designers, curators, patrons, and collectors.

Conference highlights include a keynote by Peter Sellars, world-renowned theatre director and professor of World Arts and Culture at U.C.L.A., a private screening of Lynn Hershman Leeson’s new film Strange Culture, and a very special closing performance by award-winning playwright, actress and MacArthur Foundation fellow Anna Deavere Smith.

“Unlike any other gathering in the art world, Symposium C6 is bringing together people not just from the arts, but from a variety of disciplines and practices who can generate new ideas, collaborations and solutions to the challenges we face”, according to Lynne Sowder, conference organizer with Victoria Burns of Burns Sowder Arts Advisory. “We hope this gathering helps create new connections between participants and attendees and points the way toward new, vital, engaged cultural practices.”

The three-day conference will feature over 30 speakers working across various disciplines. Topics and speakers will include:

New Capital(s), looks at new models of cultural activism, production and distribution with presenters including:

Stanley Hainsworth, Vice-President Global Creative for Starbucks Coffee Company; Rick Lowe, artist and founder of Project Row Houses; Anne Pasternak, president and artistic director of the cultural production agency Creative Time; and Ruby Lerner, director of Creative Capital, an arts foundation modeled on venture capital concepts.

No Borders Here? explores the relationships between cultural practice and international nomadism, ubiquitous technology and new political alliances, with presenters including:

Artist, pilot, and award winning film maker Simone Aaberg Kærn; artist, engineer, former Director of the Experimental Product Design Initiative at Yale University Natalie Jeremijenko; designer Stephen Burks, whose is presently collaborating with crafts people in the developing world for Artecnica’s Aids to Artisans initiative; and Lu Jie, whose Long March Project is designed to “interrogate Chinese visual culture and revolutionary memory.”

Green World, examines how cultural practices are shaping and responding to a global ecological crisis, with artists, architects and designers including:

David Buckland, artist and creator of the Cape Farewell climate change project; Ed Gillespie, Creative Director and Co-Founder of Futerra, a consultancy developing creative communications for sustainability; Bruce Mau, visionary designer whose recent Massive Change project positions design as “one of the world’s most powerful forces…in a period were all economies and ecologies are becoming global, relational and interconnected”; and artist and designer Lucy Orta whose Fluid Architecture and Refugee Wear blur the boundaries separating art, fashion and architecture.

Symposium C6 was conceived and developed by Lynne Sowder and Victoria Burns of Burns Sowder Arts Advisory in collaboration with independent curator and critic Bruce Ferguson, and is produced by Merchandise Mart Properties, Inc.

Registration in advance is required; passes for single day and all three days are available.</