From director at eaf.asn.au Sun Mar 1 11:51:25 2009 From: director at eaf.asn.au (EAF Director) Date: Sun Mar 1 11:50:51 2009 Subject: [spectre] re: Synthazards Message-ID: <94bbb4411688931b45a2a5d064ab5a1e@eaf.asn.au> Thanks for this Vladimir. It is a quite interesting project, indeed. I certainly look forward to seeing it in May. I am also curious as to why you have chosen to look into, or define, these works through the notion of "hazard"? Also curious if there is any connection to Rene Thom's catastrophe theory? Cheers, Melentie On 26/02/2009, at 10:19 PM, Vladimir Todorovic wrote: > Dear Friends, > > if you are in Singapore, you are welcome to visit Synthazards, a new > project by Syntfarm. > it is on display from 18 Feb to 19 May 2009 at: Lasalle Building 1 > McNally Street, Singapore. > > http://www.syntfarm.org/projects/synthazards/ > > Synthazards are replicas of natural hazards. They are manufactured by > using various rapid prototyping techniques, laser cutouts, and > algorithms. In this project, Syntfarm are fabricating the following: > earthquake, drought, whirlpool, lightning, volcano, tsunami, tornado > and lava. The objects are celebrating mostly formal aspects of these > phenomena. What is apparent in fabrications is a unique synthetic > form, which is given-by algorithms and inscribed in the language of > prototyping machines. Hosted by ICAS, the Institute of Contemporary > Arts Singapore. > > best, > v > > ______________________________________________ > SPECTRE list for media culture in Deep Europe > Info, archive and help: > http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre > > From vladimir.todorovic at gmail.com Sun Mar 1 13:08:07 2009 From: vladimir.todorovic at gmail.com (Vladimir Todorovic) Date: Sun Mar 1 13:08:30 2009 Subject: [spectre] Re: Synthazards In-Reply-To: <94bbb4411688931b45a2a5d064ab5a1e@eaf.asn.au> References: <94bbb4411688931b45a2a5d064ab5a1e@eaf.asn.au> Message-ID: <75A3447C-CBFC-462A-B7F9-3FDACB7819D5@gmail.com> Dear Melentie, thanks for your questions. The work is not based on Thom's catastrophe theory, but definitely there are some parallels we can draw. It is a fact that some hazards trigger other hazards: volcanoes can trigger lightning, earthquakes can cause tsunamis, lightnings trigger landslides, etc. If we could come up with mathematical models for analysis of natural hazards as a dynamical system, we might (not) have been closer to understanding of what natural hazards are. This is something we were not interested in pursuing when we were producing Synthazards. In our project, algorithms used to prototype the hazards are almost arbitrary and they work like one layer of the project that is equally important to the other ones: the type of hazards, the dynamics of the forms generated, materials, etc. they are not used to understand the hazards better, but they are used so that we can manufacture the prototypes we can look at. we used vornoi 2d algorithm for drought, random walk for lightning, simulation of fluid dynamics for lava, and others to focus mainly on the beauty of hazards. one can say that the beauty of the vornoi algorithm is interacting with the beauty of drought. this formal approach is so 'romantic' that it is in a way ignorant of the notions to understand what natural hazards are. best, v On Mar 1, 2009, at 6:51 PM, EAF Director wrote: > Thanks for this Vladimir. > > It is a quite interesting project, indeed. > I certainly look forward to seeing it in May. > > I am also curious as to why you have chosen to look into, or define, > these works through the notion of "hazard"? > Also curious if there is any connection to Rene Thom's catastrophe > theory? > > > Cheers, > > Melentie > > > > On 26/02/2009, at 10:19 PM, Vladimir Todorovic wrote: > >> Dear Friends, >> >> if you are in Singapore, you are welcome to visit Synthazards, a >> new project by Syntfarm. >> it is on display from 18 Feb to 19 May 2009 at: Lasalle Building 1 >> McNally Street, Singapore. >> >> http://www.syntfarm.org/projects/synthazards/ >> >> Synthazards are replicas of natural hazards. They are manufactured >> by using various rapid prototyping techniques, laser cutouts, and >> algorithms. In this project, Syntfarm are fabricating the >> following: earthquake, drought, whirlpool, lightning, volcano, >> tsunami, tornado and lava. The objects are celebrating mostly >> formal aspects of these phenomena. What is apparent in fabrications >> is a unique synthetic form, which is given-by algorithms and >> inscribed in the language of prototyping machines. Hosted by ICAS, >> the Institute of Contemporary Arts Singapore. >> >> best, >> v >> >> ______________________________________________ >> SPECTRE list for media culture in Deep Europe >> Info, archive and help: >> http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre >> >> > > From nc-agricowi at netcologne.de Sun Mar 1 18:23:20 2009 From: nc-agricowi at netcologne.de (artNET) Date: Sun Mar 1 18:23:55 2009 Subject: [spectre] call for entries: Festival Miden 2009 - start from zero! Message-ID: <20090301182320.A4E5B939.45CE8622@192.168.0.3> Call for entries - Festival Miden 2009 - start from zero! Video Art Festival Miden invites all video artists and video creators to participate in this year's events, which will take place, like the past four years, in public spaces at the Historic Centre of the city of Kalamata, Greece, in July 2009. In it's 5th realization, Festival Miden is supported by Kalamata's Historic Centre Organisation, The Messinia Chamber of Commerce and the Municipality of Kalamata. The deadline for the submission of application forms and videos is the 31st of March 2009 (post stamped). This year, along with the main program, Festival Miden wishes to present the following additional special showcases: --> a special theme program entitled "Transforming the ordinary" --> a special theme program entitled "Strange thoughts" --> a tribute to videodance --> a special theme program entitled "Urban (R)evolutions" in the context of the "Urban (R)evolutions" thematic unit, along with video screenings we invite all artists to submit still images (photos, digital images, photo-montages, collages, drawings, 3D graphics, architectural proposals etc) which transform and alter creatively the urban landscape. Each participant can submit up to 10 images. All submitted works will be screened in the form of a slide-show in open spaces of the Historic Centre of Kalamata. Submitted works must be original. Minimum image size 800x600pixels, 72dpi, tiff, jpg or bmp format. Please send your images along with a short cv via e-mail at festivalmiden@gmail.com with the indication "Urban-stills". Deadline: 15/05/2009 For any extra information contact us at: info@festivalmiden.gr For application forms and entry regulations go to http://www.festivalmiden.gr/prosklisi_eng.html ---------------------------------------------------------------- netEX - networkd experience http://www.nmartproject.net/netex/?p=748 From marika at incident.net Mon Mar 2 10:09:09 2009 From: marika at incident.net (Marika Dermineur) Date: Mon Mar 2 10:09:36 2009 Subject: [spectre] Upgrade! Paris #21 - Alain Thibault - 17/03/2009 - Paris Message-ID: <49ABA235.6030400@incident.net> Upgrade!Paris #21 Alain Thibault Anne Laforet Thuesday 17th march 2009 at 7:00pm at Point Ephemere 200 quai de Valmy, 75010 Paris Metro Jaures (ligne 2) free entrance, inscription : upgrade@incident.net *Alain Thibault will present Elektra festival* *and will talk about the diffusion of digital arts* *with: Anne Laforet* *Elektra*, a Montreal-based cultural initiative, presents artists and works of art that align the latest electronic music and visual creations derived from new technologies (animation, installation and robotics). Elektra unites creative media like music, video, cinema, design, gaming and audio or interactive installation with the latest digital technologies. Artists from all disciplines ? composition, performance, dance, visual arts, etc. ? all with a common interest in artistic applications of new technologies, uniting visual and sound. Elektra not only welcomes artists from all over the world, the festival also features local talents, helping make Montreal the North American meeting place for digital arts. *Elektra, 1 > 10 may 2009, 10th edition* http://www.elektramontreal.ca/ http://blog.elektramontreal.ca/ *Alain Thibault* is composer and director of Elektra festival. He comes in Paris for Presences, GRM festival of musical creation, for his piece *Volt+* (for video, ensemble and electronic). *Anne Laforet* is a Net art specialist and researcher. She has just presented her thesis on net art preservation. She writes on electronic culture for Poptronics.fr and Arte.tv. - Info on: http://incident.net/theupgrade/2009/alain-thibault/ Upgrade!Paris sessions are organized by Incident.net. They are public, mounthly and itinerants. Artists, researchers, architects, theorists present during one hour their recent work. Supported by the French Ministere de la Culture et de la Communication. Archives: http://incident.net/theupgrade - From m at 1010.co.uk Mon Mar 2 17:01:16 2009 From: m at 1010.co.uk (m) Date: Mon Mar 2 16:01:51 2009 Subject: [spectre] xxxxx_micro_research workshops: 8_Audiovisuals with SuperCollider//9_open_kirlian [TBC] Message-ID: <4oyblxrn.fsf@xxxxx.xxxxx> A new series of workshops at xxxxx_micro_research [Berlin]; an independent research centre focusing on the expanded construction and experience of free software and open hardware. Calendar: March 7th 2009: Audiovisuals with SuperCollider [with Fredrik Olofsson] March 14th 2009: open workshop [Kirlian photography] [TBC] Forthcoming matter: software radio, hydrogen line, micro-cuisine, kitchen sink chemistry, Kicad, EEG, fiction generation, thoughtography, microcontroller hacking, python coding Other events of interest: Call for overheads: OHPen Surface. http://www.overheads.org/ Pure Data Basics: a Project-Oriented Workshop with Derek Holzer: 11-15 March. eNKa_NK@gmx.de ... contact if you're interested in leading [un]-related workshops or applying for a micro-residency. //<----------------------------------------------- March 7th 2PM 2009: Audiovisuals with SuperCollider [with Fredrik Olofsson] syn-er-gy | noun | the interaction or cooperation of two or more organizations, substances, or other agents to produce a combined effect greater than the sum of their separate effects. [OED] A one-day workshop in which we explore synergies in the form of very direct and one-to-one relationships or mappings between sound and image. The claim is that your music will turn out completely different as you cross map with visual elements. And vice versa: your graphics will look different as you code them to sound better. Audiovisual mapping is a treasure chest of inspiration for control, generation, organisation and systemisation of sounds. We will be using the free software SuperCollider and, as a springboard, the article 'Audiovisuals with SC' (http://www.fredrikolofsson.com/f0blog/?q=node/316). You will learn how to make up your own synergies. Intermediate level - some familiarity with SuperCollider required. You should at the least know how to run and modify code examples. --What to bring: 1) Laptop running Linux, OS X or Windows 2) SuperCollider 3 installed (version 3.2 or later): http://supercollider.sourceforge.net/ 3) Headphones 4) 10 Euros participation fee [including food] --About the Teacher: Fredrik Olofsson, aka. redFrik, is a musician and developer who also sometimes performs tricks with visuals and electronics. http://www.fredrikolofsson.com http://www.klippav.org http://www.musicalfieldsforever.com Please email m@1010.co.uk to reserve a place (strictly limited) ---_______ Background: 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 at pickledfeet have included Martin Kuentz (prd@scrying.org), 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/), Florian Cramer (http://cramer.plaintext.cc:70/), Brendan Howell, jo FRGMNT grys(http://tob.de.vu/), mikomikona http://www.zuviel.tv/mikomikona.html, Antony Hall (http://antonyhall.net) xxxxx_micro_research, pickledfeet, Linienstrasse 54, Berlin 10119 U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl. Telephone: 3050187482. xxxxx_micro_research is supported by Hauptstadtkulturfonds, Berlin 2009 http://1010.co.uk/org/workshop.html http://www.1010.co.uk/org/xxxxx_micro_research.html http://pickledfeet.com From joris at v2.nl Mon Mar 2 17:42:32 2009 From: joris at v2.nl (V2_) Date: Mon Mar 2 17:50:36 2009 Subject: [spectre] V2_ presents: 'Liquid Space 6.0' at the Rotterdam Museum Night, March 7 Message-ID: <49AC0C78.7000009@v2.nl> March 7, Rotterdam Museum Night at V2_ PREVIEW 'LIQUID SPACE 6.0' Daan Roosegaarde March 7, 2009 8 p.m.?2 a.m. Admission: Free Location: V2_, Eendrachtsstraat 10 On Rotterdam?s museum night, V2_ Institute for the Unstable Media will hold a preview of the installation 'Liquid Space 6.0' by Rotterdam artist Daan Roosegaarde (known for projects including the Sustainable Dance Floor at the club WATT). Visitors who enter Liquid Space will notice that the installation responds to them. The installation appears to come alive: its form follows the visitor?s movements, the tubes light up, and the movements of the visitor and the space fuse. Roosegaarde has lived and worked in Rotterdam since his master?s course at the Berlage Institute. His work stems from a fascination with technology. Between the first Liquid Space installation (which Roosegaarde built in 2002, as he was graduating from AKI) and the current sixth version lie years of technological development. The first version of Liquid Space was a moving metal structure driven by clearly visible windshield-wiper motors. Roosegaarde says, ?My goal is to refine the technology so that it is invisible and interaction with the work is experienced as something natural. With Liquid Space 6.0, I feel like the technology really does merge with the experience. Current interactive technologies exist mainly on screens and are therefore flat. I want to make these technologies physical in a poetic way in the form of spaces or landscapes.? 'Liquid Space 6.0' was developed by Daan Roosegaarde and the Studio Roosegaarde team (Peter de Man, Axis Stuifmeel and project staff). On Museumnacht, VJ Barbara Nordhjem will transform V2_ into the ideal visitors? lounge using video projections based on the Liquid Space series. March 12: Test_Lab: Artistic Interfaces On V2_?s Test_Lab night on March 12, Daan Roosegaarde will be present to discuss his work and take questions from the audience. For the full program, see www.v2.nl. www.studioroosegaarde.net www.v2.nl From susannagg at gmail.com Mon Mar 2 22:28:28 2009 From: susannagg at gmail.com (Sus) Date: Mon Mar 2 22:28:55 2009 Subject: [spectre] Sonom.org [Monolit] Audiovisual Installation Message-ID: It is a pleasure to invite you. Sorry for crossposting. English, catalan and spanish versions follow. ---- Sonom.org [ Monolit ] Audiovisual Installation OPENING Thursday 5th of march, 7.30 pm GOMEZ TURU GALERY Consell de Cent, 325 08007 Barcelona (Metro Passeig de Gr?cia) [ Monolit ] Audiovisual Installation There where time overcomes to escape the space, structures are launched against deep surfaces. Emptiness turns frozen when crossing a abyss weaved of networks. Chance permutes to be born in each particle that survives the collision with the immutability. When exceeding the mass, silence is projected over its own absence. Only abstraction is able to bring us back to basic geometry complexity. [ Monolit ] is an inmersive work that plays with spatio-temporal perception through light and sound. The exhibition also presents photographic work; [ Videofar ], audiovisual artfact; and [ Ether ], monochannel experimental video. [Sonom.org ] Emotional waves research. Experimetal artistic group from Barcelona born from the research and exploration of sound as the fundamental medium of universal communication and as base for integration of other paradigmes. www.sonom.org ____________________________________ Sonom.org [ Monolit ] Insta?laci? audiovisual INAUGURACI? Dijous 5 de mar?, 19.30h GOMEZ TURU GALERY Consell de Cent, 325 08007 Barcelona (Metro Passeig de Gr?cia) [ Monolit ] Instal?laci? audiovisual All? on es ven? el temps per a eixir de l?espai, les estructures es llancen contra superf?cies profundes. Es congela el buit tot creuant un abisme teixit de xarxes.? L?atzar permuta per a n?ixer en cada part?cula que sobreviu a la col?lisi? amb l?immutable. En sobrepassar la mat?ria, el silenci es projecta sobre la seva abs?ncia. Tan sols l?abstracci? ?s capa? de retornar-nos a la complexitat de la geometria b?sica. [ Monolit ] ?s una obra immersiva que experimenta amb la percepci? espacio-temporal de l'espectador, que es veu submergit en un buit de llum i so. L'exposici? tamb? presenta peces fotogr?fiques; [ Videofar ], artefacte audiovisual; i [ Ether ], video experimental monocanal. [Sonom.org ] Emotional waves research Col?lectiu art?stic experimental de Barcelona nascuda a partir de la recerca i exploraci? de la llum i el so com mitjans de comunicaci? universal i com base per a la integraci? d'altres paradigmes. www.sonom.org ______________________________________ Sonom.org [ Monolit ] Instalaci?n audiovisual INAUGURACI?N Jueves 5 de marzo, 19.30h GOMEZ TURU GALERY Consell de Cent, 325 08007 Barcelona (Metro Passeig de Gr?cia) [ Monolit ] Instalaci?n audiovisual All? donde se vence el tiempo para salir del espacio, las estructuras se lanzan contra superficies profundas. Se congela el vac?o al cruzar un abismo tejido de redes. El azar permuta para nacer en cada part?cula que sobrevive a la colisi?n con lo inmutable. Al sobrepasar la materia, el silencio se proyecta sobre su ausencia. Tan s?lo la abstracci?n es capaz de devolvernos a la complejidad de la geometr?a b?sica. [ Monolit ] es una obra inmersiva que experimenta con la percepci?n espacio-temporal del espectador, que se ve sumergido en un vac?o de luz y sonido. La exposici?n tambi?n presenta piezas fotogr?ficas; [ Videofar ], artefacto audiovisual; y [ Ether ], video experimental monocanal. [Sonom.org ] Emotional waves research Colectivo art?stico experimental de Barcelona que nace de la b?squeda y exploraci?n del sonido y la luz como medios de comunicaci?n universal y como base para la integraci?n de otros paradigmas. www.sonom.org From liberovskaya at compuserve.com Tue Mar 3 05:42:53 2009 From: liberovskaya at compuserve.com (Katherine Liberovskaya) Date: Tue Mar 3 05:43:33 2009 Subject: [spectre] OptoSonic Tea @ Issue Project Room NYC - Sunday, March 8th, 4pm Message-ID: Sunday March 8th 4 pm OptoSonic Tea Live sets by: - Richard Lainhardt (live visuals and live sound) - Domenico Sciajno (Italy) (live visuals and live sound) with Gene Coleman (live sound) Invited respondent/moderator: - Zach Layton Suggested donation: $ 7 ISSUE PROJECT ROOM 232 3rd Street, 3rd floor (3rd Avenue) Brooklyn NY 11215 http://www.issueprojectroom.org OptoSonic Tea is a regular series of meetings dedicated to the convergence of live visuals with live sound which focuses on the visual component. These presentation-and-discussion meetings aim to explore different forms of live visuals (live video, live film, live slide projection and their variations and combinations) and the different ways they can come into interaction with live audio. Each evening features two different live visual artists or groups of artists who each perform a set with the live sound artists of their choice. The presentations are followed by an informal discussion about the artists' practices over a cup of green tea. A third artist, from previous generations of visualists or related fields, is invited specifically to participate in this discussion so as to create a dialogue between current and past practices and provide different perspectives on the present and the future. Organized by Katherine Liberovskaya and Ursula Scherrer OptoSonic Tea is partly funded by the Experimental Television Center. The Experimental Television Center?s Presentation Funds program is supported by the New York State Council on the Arts. About the artists: Richard Lainhart is an award-winning composer, author, and filmmaker. He studied composition and electronic music with Joel Chadabe at the State University of New York at Albany, and has worked and performed with John Cage, David Tudor, Steve Reich, Phill Niblock, David Berhman, and Jordan Rudess, among many others. He's also played vibes in a swing band; composed music for film, television, CD-ROMs, interactive applications, and the Web; engineered audio for recordings and live sound; and served as technical director at Intelligent Music, a pioneering music software company. His compositions have been performed in the US, England, Sweden, Germany, Australia, and Japan. Recordings of his music have appeared on the Periodic Music, Vacant Lot, XI Records, ExOvo and Airglow Music labels and are distributed online via MusicZeit. As an active performer, Lainhart has appeared in public approximately 2000 times. He has composed over 100 electronic and acoustic works, and has been making music for 40 years. In 2008, he was commissioned by the Electronic Music Foundation to contribute a work to New York Soundscape (www.arts-electric.org/stories/080511_nycsoundscape.html). Lainhart's animations and short films have been shown in festivals in the US, Canada, Germany, and Korea, and online at ResFest, The New Venue, The Bitscreen, and Streaming Cinema 2.0. His film "A Haiku Setting" won awards in several categories at the 2002 International Festival of Cinema and Technology in Toronto. In 2008, he was awarded a Film & Media grant by the New York State Council on the Arts for "No Other Time", full-length intermedia performance designed for a large reverberant space, combining live analog electronics with four- channel playback, and high-definition computer-animated film projection. You can find examples of his music and digital artworks at his website, http://www.otownmedia.com. Some of his short films are available at http://www.vimeo.com/rlainhart. Domenico Sciajno was born in Torino (Italy) in 1965. He is based in Palermo since 1999. A double bass player and composer, he studied 'Instrumental and Electronic Composition' with Gilius Van Bergeijk and Double bass in the 'Royal Conservatory' of Den Haag in Holland. His interest in improvisation and the influence of academic education bring his research to the creative possibilities given by the interaction between acoustic instruments, indeterminacy factors and their live processing by electronic devices or computers. From 1992 he has played at some of the most important festivals as musician, improviser or composer in the contemporary and experimental music scene and some of his work is documented by worldwide independent labels of experimental and electronic music. The wide spectrum of his experiences bring him very close to the concept of performance, where he uses texts and electronics in combination with a choreografic use of the scene space and the projection of visuals made by himself. He also makes Interactive Sound Installations for art galleries and exhibitions. He is also an activist in the developement of experimental arts. In 1995 he founded the association Antitesi and from 1995 and 1998 organized concerts and little festivals (Antitesi in musica ?95/?96, Folk it out! ?97, i(n)terazioni ?98, Inaudito! ?99). In 1997 he collaborated to give birth to the Fringes record label. In 2003 he started toghether with other musicians the label Bowindo and founded the national collective iXem (italian eXperimental electronic music). In the 2004 edition of Prix Ars Electronica his work OUR UR in collaboration with Alvin Curran received an honorary mention. http://www.sciajno.net http://www.myspace.com/sciajno Gene Coleman is a composer, musician and director. He has created over 50 works for various instrumentation and media, often using complex notations and improvisation in the same score. Innovative use of sound, image, space and time allows Coleman to create work that expands our understanding of the world. Since 2001 his work has focused on the global transformation of culture and music's relationship with other media, such as architecture, video and dance. He studied painting, music and film making at the School of the Art Institute of Chicago, where his principle teachers included legendary experimental film artists Stan Brakhage and Ernie Gehr, as well as Robert Snyder (sonic arts) and Barbara Rossi (painting). Since 2000 he has been the artistic director of Soundfield, a producing and presenting organization with operations in Philadelphia, Chicago, San Francisco, New York and internationally. His ongoing projects feature musicians from many parts of the globe. More info at: http://www.soundfield.org Zach Layton is a composer, curator, improviser and new media artist based in Brooklyn with an interest in biofeedback, generative algorithms, experimental culture and architecture. His work investigates complex relationships and topologies created through the interaction of simple core elements like sine waves, minimal surfaces and kinetic visual patterns. Zach's work has been performed by the Cleveland Chamber Symphony and he has performed and exhibited at the Kitchen, Roulette, Joe's Pub, exit art, Art forum Berlin, New York Electronic Art Festival, Yerba bBena Center for the Arts, Eyebeam, Sculpture Center, Diapason, Issue Project Room, Millenium Film Workshop, Bushwick Arts Project, St. Mark's Ontological Theater, Dumbo Arts Festival, New York Digital Salon, Miguel Abreu Gallery, Participant Gallery, Monkeytown and many other venues in New York, South America and Europe. He has collaborated with Luke Dubois, Vito Acconci, Joshua White, Jonas Mekas, Bradley Eros, Andy Graydon, Nick Hallett, Matthew Ostrowski, Michael Evans, MV Carbon, Seth Kirby, Matthew Welch, Christine Bard, Alex Waterman, Patrick Hambrect, Marissa Olsen, Angie Eng, Adam Kendall, Chika Ijima, Tristan Perich and Ray Sweeten among many other artists, filmmakers, curators and musicians. Zach is also founder of Brooklyn's monthly experimental music series, "darmstadt: classics of the avant garde" co-curated with Nick Hallett featuring leading local and international composers and improvisers, co-curator of the PS1 summer warmup music series and is one of the directors of Issue Project Room. Zach has received grants from the Netherlands America Foundation, Turbulence and the Jerome Foundation and is a graduate of the Oberlin Conservatory and the Interactive Telecommunications Program. http://www.zachlaytonindustries.com for more information about OptoSonic Tea please visit: http://www.diapasongallery.org/optosonic.html From c.driver at ulster.ac.uk Mon Mar 2 17:22:18 2009 From: c.driver at ulster.ac.uk (Cherie Driver) Date: Tue Mar 3 10:32:38 2009 Subject: [spectre] ISEA2009 News + 3rd Call for Papers, Deadline 16 Mar 2009 Message-ID: A brief update from us here in Northern Ireland. We have been very busy for the last while with paper proposal reviews under eight sub-themes and a large art submission review by our International Programming Committee. Kathy Rae Huffmann has been to visit us here in Belfast and we are well on the way to drawing up an exciting programme for ISEA2009, including a substantial juried exhibition, a fantastic array of papers, artists presentations and workshops, as well as planning evening events and gigs. Do keep an eye on our website for more regular updates and developments from next week. I am also writing to announce a third call for papers and panels, please log your submission under the tab for the 3rd call on our website. Very best Cherie Driver 3rd CALL FOR PAPERS (across eight sub-themes) and Panel Sessions http://www.isea2009.org Abstracts for papers - across eight sub-themes - artist presentations and panels are sought for ISEA 2009 that will illuminate both the near and long term Future of Digital Media Culture. Proposals which present research outcomes, track trends or developments, describe case studies or works in progress, are speculative projection, challenge existing paradigms or record a history, are all welcome. Submissions are encouraged from any professional, craft or scholarly field that relates to communications art/design, cultural expression, practice and aesthetics, and the technical means by which they are enabled. The sub-themes: Citizenship and contested spaces Interactive storytelling and memory building in post-conflict society Interactive textiles Tracking emotions Posthumanism: New technologies and creative strategies Positionings: local and global transactions Transformative creativity - participatory practices Entertainment and Mobility DEADLINE FOR PAPERS AND PANELS IS 16th of March 2009 KEYNOTES *Masaki Fujihata Director, Professor, Graduate School of Film and New Media, Tokyo University of the Arts. *Josephine Green, Senior Director of Trends and Strategy, Philips *Yvonne Spielmann, Professor of Visual Media, University of the West of Scotland *Sadie Plant an independent British author and philosopher. *Moritz Waldemeyer an independent engineer, who collaborates with architects and fashion designers including Ron Arad, Zaha Hadid and Hussein Chalayan *Sala Manca - Group of independent Jerusalem-based artists that creates in different fields: performance, video, installation & new media since 2000. *MIKA 'Lumi' Tuomola, Artistic director of Crucible Studio, Teacher, Media Lab University of Art and Design Helsinki. Go to www.isea2009.org for further detailed information on symposium sub-themes, broader ISEA2009 activities and information on how to submit your paper/panel proposal. REVIEW PROCESS All paper and project proposal will be double blind peer reviewed by an international panel and published in the proceedings. Other, more substantial publishing opportunities may arise in due course. fields of inquiry and practice: ISEA 2009 accepts submissions from the following fields of inquiry and practice: electronic art, cultural activism, socially and politically engaged practices, mobile environments, locative media, GIS, interactive and nonlinear storytelling, electronic fiction, hypertext, interactive television and cinema, multimedia, new media, streaming media, cinema and video, video art, video installation, interactive and networked performance, digital aesthetics, theory, history, computer games, games culture, games system design, games theory, bio-art, nano-art, sound, electronic music, interactive architecture, MOOs, MUDs, RPG, augmented reality, virtual reality, virtual worlds, DATES FOR SUBMISSION Dates for the submission of 500 word abstracts/proposals: 16th of March 2009 If you have any further questions or problems, please don't hesitate to contact admin@isea2009.org READ this instruction paragraph carefully To make your proposal please go to the tab for the 3rd call on our website and follow the instructions on the platform. Only submit a 500 word abstract for papers, artists presentations and panels, for this deadline. ONLY submit proposals under one topic. Provision for submitting extended abstracts and papers on the web platform is for a later date. You will be given plenty of notice for this by the chair of your chosen panel. From alex at slab.org Tue Mar 3 12:37:54 2009 From: alex at slab.org (alex) Date: Tue Mar 3 12:38:10 2009 Subject: [spectre] Thursday Club, 5th March: Arthur Elsenaar Message-ID: <1236080274.17082.18.camel@duck> Free, all welcome. Programmed and Organised by the Goldsmiths Digital Studios. Supported by the Goldsmiths Graduate School and the Department of Computing. ARTHUR ELSENAAR Date: Thursday 5 March 2009 Location: Seminar Rooms, ground floor, Ben Pimlott Building, Goldsmiths College http://www.gold.ac.uk/find-us/ Time: 18:00 - 20:00 Controlling the human face by a computer instead of the brain can make the face perform in unexpected and often surprising ways. In his current PhD research Arthur is investigating the fundamentals that constitute the computer-controlled face as a medium for algorithmic kinetic art. Humans normally use their faces in a limited way although their facial hardware allows for an enormous range of possible facial patterns. This range of patterns, referred to as 'face-space', is huge and largely unexplored. The level of control that digital technologies can offer allows for a systematic exploration of 'face-space'. The research presented systematically explores this by applying algorithms to map out sections of this space. Controlling the human face by computer clearly shows that biological entities can perform in a different and much more consistent way than when control is left to its biological counterpart, the brain. Digital control of biological entities points to a post-biological future reminiscent of the wildest cyborgian dreams. But the research here does not alter, change or embed elements/parts in the human body; it merely changes its control scheme. ARTHUR ELSENAAR dropped out of electrical engineering due to his heavy involvement in the '80s pirate radio and TV scene, when he operated an illegal radio station and built radio-transmitters for many pirate stations around the Netherlands. He graduated the Fine Art Academy Minerva (Netherlands) in 1993, where he developed radar-controlled interactive sculptures. Since then he investigates the artistic possibilities of the computer-controlled human face. His award-winning work has been presented throughout Europe and USA. He is currently a PhD candidate at the School of Art and Design, Nottingham Trent University. Programmed and Organised by Goldsmiths Digital Studios. Supported by Goldsmiths Graduate School & Department of Computing. http://thethursdayclub.net/ From ab at mikro.in-berlin.de Wed Mar 4 09:49:44 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Wed Mar 4 10:02:09 2009 Subject: [spectre] (fwd) Counterculture in the US West - Call for Papers Message-ID: Date: Tue, 3 Mar 2009 10:13:22 -0800 (PST) From: Robin Oppenheimer Subject: Counterculture Call for Papers I just returned from the College Art Association conference in LA, where I was on a panel about the aesthetics of the US West Coast counterculture (I presented my research about light shows). The two conveners from Denver are now putting out a call for papers for an art exhibition and book on the same theme that I've attached. Thanks! Call For Papers The Countercultural Object: Consciousness and Encounters at the Edge of Art, 1965-1975 Eds. Elissa Auther and Adam Lerner The Countercultural Object: Consciousness and Encounters at the Edge of Art, 1965-1975 is an edited collection of scholarly essays that will consider the unique visual expressions of countercultural artists working on the West coast, the Rocky Mountain West, and the Southwest in the post-war period. The editors welcome proposals for essays focusing on the artistic practices of the American counterculture of the 1960s and 1970s that were aimed at transforming social norms and generating new life patterns. Examples of such practices might include, among others, the hand-built architecture of the communities Drop City and Libre in Colorado, the multi-sensory movement workshops of Anna Halprin in the San Francisco Bay area, the creation of immersive light shows in Los Angeles and San Francisco, and the revival of craft throughout centers of the counterculture in the American West. In this study, art works and practices like those listed above will be organized around five themes emblematic of the counterculture of the 1960s and 1970s: altering consciousness, communal encounters, alternative settlements, ??how to?? publications, and the handmade. Essays will be selected with a view toward a cohesive book that highlights how artists associated with the counterculture contributed to a conception of art as a tool for personal and social transformation, immediate and direct experience, and cultural and political activism. Interested individuals should submit an abstract of no more than 500 words, a 100-word author's biography, and a 2-3 page CV. Proposals must be received by May 31st, 2009. Proposals may be sent as email attachments to counterculturebook@gmail.com or to Drs. Elissa Auther and Adam Lerner, 3433 Pecos St. Denver, CO, 80211. Questions concerning the project may be sent to Elissa Auther and Adam Lerner at counterculturebook@gmail.com. From m.stevens at let.ru.nl Wed Mar 4 10:22:17 2009 From: m.stevens at let.ru.nl (Stevens, M.J.C.G. (Martijn)) Date: Wed Mar 4 10:22:32 2009 Subject: [spectre] Study trip to Prague Message-ID: Dear spectres, I'm an assistant professor of Cultural and Media Studies at Radboud University in Nijmegen, the Netherlands. This Spring, I will be accompanying a study trip to Prague. A visit to a contemporary art gallery and/or a media lab will be part of the programme. Therefore, I would like to ask you to help me find the best places to visit, things to do and people to meet. What would be a good starting point? Thanks in advance! Best wishes, Martijn Stevens From stevehockett at futureeverything.org Wed Mar 4 13:39:39 2009 From: stevehockett at futureeverything.org (Steve Hockett) Date: Wed Mar 4 18:01:53 2009 Subject: [spectre] SOCIAL TECHNOLOGIES SUMMIT:,THE FUTURESONIC CONFERENCE Message-ID: <49AE768B.6000607@futureeverything.org> *SOCIAL TECHNOLOGIES SUMMIT: THE FUTURESONIC CONFERENCE* 13-16 May 2009, Manchester UK Conference passes now on sale. Special Early Bird rate applies until 13th March. Register as a delegate online at http://www.futuresonic.com A part of *FUTURESONIC 2009* Urban Festival of Art, Music and Ideas In 2010 Futuresonic will return as FutureEverything ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| *Social Technologies Summit* ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| The Social Technologies Summit is a leading international conference that brings together 500 opinion formers, futurologists, artists, researchers and technologists to explore the latest upgrade affecting today's digital culture. Pioneering ideas will be presented, transforming the way you and your organisation operate, innovate and interact. This is the place where the technology and digital sectors connect with the creative vision of the international digital arts community. Over four days and nights participants can share, collaborate and network whilst also immersing themselves in exciting and innovative art and music events within the wider festival. Help generate the sparks that grow into new ways of seeing the world and critically explore the trends and innovations that are affecting the digital sphere. Combining keynotes, critical debates, demonstrations and experiences with open space and participatory sessions, it is an engaging, critical and essential event to attend. Confirmed speakers: Stowe Boyd, Adam Greenfield, Jamais Cascio, Tom Ilube, Dr Tristan Thielmann, Roland Harwood, Ewan McIntosh, Alfie Dennon, Helen Aspell, Christian Licoppe, Dr Stefan Agamanolis, Selene Kolman, Lee Bryant, Aaron Koblin, Usman Haque, Christian Nold, Yuri Suzuki. ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| *Themes* ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| *Digital Futures* How can we embrace a digital future? Peer-to-peer interaction, individual contributions and online communities are changing the nature of society. Who are the new specialists, where are the new forms of value exchange, and how do we achieve the goal of universal access? *Environment 2.0* Futuresonic's ongoing theme is ever more prescient today. Environment 2.0 decodes the relationship between people, nature and technology, and explores how online technologists create interfaces between our digital presence and environmental footprint. *Identity and Trust* Trust is the glue that stops the online world collapsing into anarchy. In the online world we can create unique digital personas. How do we trust those we meet and how do we know that online social spaces are secure? *Mobile* Constantly on, always active, the mobile phone is coming of age, and is now the world's most pervasive technology. Coupled with their ever expanding feature set (cameras, GPS, NFC, compass, acceleromaters, etc), they offer the possibility of new and exciting forms of interactivity. *Semantic Web: Cultural Algorithms* Web applications are evolving and learning. Search engines learn habits from the torrent of marketable information produced. The Semantic Web offers an even more accurate map of our preferences. But is this map based on the presumption of common language and experience? ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| *Register* ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Visit http://www.futuresonic.com for current information and to register Participants will be issued with a delegate pass for the Futuresonic festival, which gives access to the Futuresonic Conference: Social Technologies Summit and art and music festival programme*. *Some festival events have limited capacity and will require a ticket. A list of these restricted events will be announced on our website www.futuresonic.com *PASS OPTIONS*(all prices exl vat) Early Bird Pass - book by 13 March 2009 ?80 Advanced Pass - book by 12 May 2009 ?120 Door Pass (bought on the door) ?150 Single Day Pass May 2009 ?85 Students/Concessions Pass No deadline ?30 Further discounts available for group bookings, for further details contact ideas2009@futuresonic.com A limited number of pay-what-you-can Day Passes will be available on each day of the conference. ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| *The Festival* ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Futuresonic Urban Festival of Art, Music and Ideas is an international festival now in its 14th year occupying the orbits of both digital culture and music. It combines the Social Technologies Summit with art and music events, exhibitions and live performances across the city. 13-16 May, Manchester UK Transforming the city into a space of experimentation, making it come alive Futuresonic is presented by FutureEverything CIC. It is a Regularly Funded Organisation (RFO) of Arts Council England North West, a pillar event of Manchester City Council and is supported by the Paul Hamlyn Foundation Futuresonic is presented in partnership with ImaginationLancaster http://imagination.lancaster.ac.uk, a major new research lab at Lancaster University. In 2010 Futuresonic will return as FutureEverything http://www.futuresonic.com -- Steve Hockett Marketing Assistant FutureEverything and Futuresonic 3rd Floor Swan Buildings 20 Swan St Manchester M4 5JW T: +44 (0) 161 834 1300 Futuresonic 2009 13 - 16 May, Manchester UK In 2010 Futuresonic will return as FutureEverything. http://www.futuresonic.com stevehockett@futuresonic.com From hatam at drfz.de Wed Mar 4 18:41:26 2009 From: hatam at drfz.de (Farah Hatam) Date: Wed Mar 4 18:43:46 2009 Subject: [spectre] concert at NK, Berlin Message-ID: concert at NK on March 6th doors open 21 uhr Concerts start on time at 22 uhr CONSUMER ELECTRONICS http://www.myspace.com/dirtywordspecialist PURE duo with HATI http://pure.test.at/ http://www.myspace.com/pvre http://www.myspace.com/hatitah LAST DOMINION LOST http://virb.com/lastdominionlost ANTOINE CHESSEX http://www.soundimplant.com/achessex.html NK http://www.myspace.com/enka52 Elsenstr. 52 2.Hof, first bldg on the left, 2nd floor Neuk?lln 12059, 10 mins walk down Elsenstr from Treptower S-bahn Buses 167, 104 stop Wildenbruch/ Harzer str 10 mins walk from Rathaus Neuk?lln U7 Bus 167 U8 Hermannplatz Bus 171 to Elsenstr./ Harzer From info at rybn.org Wed Mar 4 20:04:13 2009 From: info at rybn.org (rybn) Date: Wed Mar 4 20:04:58 2009 Subject: [spectre] Stock Overflow Message-ID: <5845B293-DD62-42B0-944A-596E6F8283CF@rybn.org> [Fran?ais / English ] Stock Overflow : Recontextualising the Crisis 12 - 31 / 03/ 2009 Exposition & Conf?rences / Exhibition & Conferences Une op?ration propos?e par RYBN pour recontextualiser la crise et les strat?gies politiques et m?diatiques qui l'accompagnent, autour des th?mes de la catastrophe, de l'instabilit? structurelle et des mythologies des march?s. / An operation proposed by RYBN to recontextualize the crisis, its mediatic and politic strategies, on the topics of disaster, structural instability and financial markets mythologies. WITH / AVEC RYBN, Geert Lovink (net activist and theoretician), Florian Schneider (writer, filmmaker, net activist), Brian Holmes (art critic), Late S. Horace Lawson-Hetchely (information systems consulting), Soci?t? R?aliste (artists), Bertrand Charles (journalist specialized in business intelligence). *EXHIBITION* / *EXPOSITION* ANTIDATAMINING, RYBN 2006-2009 http://www.antidatamining.net Antidatamining is a series of visualizations of financial data extracted from the web. Economy is represented by its main agents - companies, groups and holdings, stock exchanges, banks and investment funds - and their interactions : capital relationships, geographic deployments, structuralization on market places. Beyond the current crisis, its mediatic and polictic levers, Antidatamining is a permanent monitoring device, which aims to highlight the structure of the contemporary economy, seen as a complex dynamic system. / Antidatamining est une s?rie de repr?sentations visuelles des donn?es financi?res qui transitent sur internet. L'?conomie contemporaine y est incarn?e par ses principaux acteurs - entreprises, place boursi?res, banques et fonds d'investissement, grands groupes - et par leurs interactions : liens capitalistiques entre les acteurs ?conomiques, d?ploiements g?ographiques, articulation autour des places de march?s. Au-del? de la crise actuelle, de sa m?diatisation et des leviers politiques qu'elle g?n?re, Antidatamining est un dispositif de veille permanente qui tente de mettre en ?vidence la structure de l'?conomie mondiale, envisag?e comme un syst?me dynamique complexe. *CONFERENCES* * GEERT LOVINK & FLORIAN SCHNEIDER Net activism and tactical medias / M?dias tactiques et net-activisme Thursday 12 march - 19h / jeudi 12 mars - 19:00 * RYBN & HORACE LATE LAWSON Financial Information systems / Syst?mes d'informations financiers Friday 20 march - 20h / vendredi 20 mars - 20:00 * BRIAN HOLMES Ecological domination of financial capitalism / Domination ?cologique du capitalisme financier Wednesday 25 march - 19h / mercredi 25 mars - 19:00 * SOCIETE REALISTE & BERTRAND CHARLES Economics subversion / D?tournement ?conomique Friday 27 march - 20h / vendredi 27 mars - 20:00 *INFO* Opening Hours: Wednesday -> Sunday 14:00 - 19:00 Heures d'ouverture: Mercredi -> Dimanche 14:00 - 19:0 Vernissage Expo: jeudi 12 mars - 18:00 / Exhibition Opening: Thursday 12 march - 18:00 FEES/TARIFS : EXHIBITION / EXPOSITION 3?, CONFERENCES free/gratuit Avec le soutien de / With the support of : iMAL, Cimatics and Predict-market.biz leader in the field of financial prediction analysis. More on/ Plus d'infos sur: http://www.imal.org From ab at mikro.in-berlin.de Thu Mar 5 09:03:31 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Thu Mar 5 09:12:31 2009 Subject: [spectre] (fwd) Arts Catalyst Call for Submissions: Eye of the Storm conference Message-ID: From: "The Arts Catalyst" Subject: Call for Submissions: Eye of the Storm Date: Wed, 04 Mar 2009 13:56:25 -0600 An Arts Catalyst / Tate Britain Conference Eye of the Storm An interdisciplinary conference on scientific controversy 19 / 20 June 2009 Tate Britain, Millbank, London SW1, UK http://www.artscatalyst.org/projects/global/eyeofthestorm.html CALL FOR SUBMISSIONS The Arts Catalyst and Tate Britain announce an international call for artists, scientists, social scientists, theorists, policy-makers and other disciplines, to present in Eye of the Storm, a conference exploring scientific controversy from an interdisciplinary perspective. Eye of the Storm aims to explore a range of controversies, from esoteric arguments between physicists over the structure of the universe, to disputes about the causes of species decline and climate change, and highly charged public controversies around the use of stem cells and the distribution of genetically modified organisms. When heated debates around the challenge of climate change have shown how abstruse uncertainties within a scientific community can be amplified and distorted to challenge the whole notion of human-caused greenhouse warming, Eye of the Storm sets out to examine the relationship between scientific uncertainty and public controversies around science. We invite abstracts for papers and proposals for artists' presentations and talks for Eye of the Storm that consider questions such as the following: When the whole culture and ethic of science is based on disagreement and alternative explanations, how does this essential scientific uncertainty work in the quest for knowledge? How do scientific disputes affect political decision-making and society's relationship with science? As scientific and technological developments produce their own controversies, such as those around GM crops, what are the current critical controversies in and around science and technology? What alternative societal and cultural perspectives and contributions do artists and social scientists bring to this area? When the influential science sociologist Bruno Latour has worried that social science - in questioning the 'reality' that science examines - may have contributed to political abuses of science: what is the relationship between scholarship, science and politics? Confirmed keynote speakers are Sheila Jasanoff, Pforzheimer Professor of Science and Technology Studies at Harvard University, and Roger Malina, astrophysicist, Director of Research at CNRS (National Center for Scientific Research), former Director at the Laboratoire d'Astrophysique de Marseille. Submissions Please send 200-word abstracts for papers and presentations (20 minutes maximum) to conference@artscatalyst.org. Artists may attach images (2MB maximum). Deadline: 31 March 2009 Submission categories include: talks/papers, artists' presentations, demonstrations. Selection Committee Michael Bravo, Lecturer, Scott Polar Research Institute, University of Cambridge Bernadette Buckley, Programme Convenor, MA Art & Politics, Goldsmiths, University of London Sian Ede, Director of Arts, Calouste Gulbenkian Foundation Madeleine Keep, Education Department, Tate Britain Rob La Frenais, Curator, The Arts Catalyst Roger Malina, Chairman Emeritus, Leonardo, Director of Research, CNRS Chair: Nicola Triscott, Director, The Arts Catalyst Organisers Eye of the Storm is organised by The Arts Catalyst and Tate Britain in association with Leonardo/OLATS. The Arts Catalyst The Arts Catalyst is a UK-based arts organisation, commissioning new artist's work that experimentally and critically engages with science and is presented in a range of venues: art galleries, museums and other public spaces. Alongside the commissions programme The Arts Catalyst organises symposia and critical debates, artists residencies and participatory and schools projects. The Arts Catalyst has commissioned more than 70 artists' projects in its 15 year existence, presented to a wide public in partnership with venues including the Natural History Museum, Imperial College, the Barbican Centre, the Roundhouse, the ICA, and P3 in London, Tramway in Glasgow, Stills Gallery in Edinburgh, the John Hansard Gallery Southampton, Cornerhouse in Manchester, and Gallery Oldham. Tate Britain Tate Britain is the national gallery of British art from 1500 to the present day. As such, it is the most comprehensive collection of its kind in the world. It houses a substantial collection of the work of J.M.W. Turner. More recent artists include David Hockney, Peter Blake and Francis Bacon. Tate Britain is part of the Tate gallery network in Britain, with Tate Modern, Tate Liverpool and Tate St Ives. Tate Britain symposia bring together experts and scholars to present new research or to discuss aspects of a particular exhibition or wider issues around visual culture. Symposia, sometimes with partner institutions, are a focus for new scholarship and debate within visual culture and its political or social impacts. Leonardo/OLATS Leonardo/OLATS serves the international arts community by promoting and documenting work at the intersection of the arts, sciences, and technology, and by encouraging collaboration between artists, scientists, and technologists. Activities of the Leonardo network include publication of the print journals Leonardo; the Leonardo Music Journal; the Leonardo Book Series (all published by the MIT Press); and several electronic publications. The Arts Catalyst commissions art that experimentally and critically engages with science. We bring together people across the art/science divide and beyond to explore science in its wider social, political and cultural contexts. We produce provocative, playful, risk-taking projects to spark dynamic conversations about our changing world. The Arts Catalyst :: Toynbee Studios :: 28 Commercial Street :: London E1 6LS UK email: admin@artscatalyst.org :: phone: +44 (0)20 7375 3690 url: http://www.artscatalyst.org From nc-agricowi at netcologne.de Fri Mar 6 08:59:01 2009 From: nc-agricowi at netcologne.de (artNET) Date: Fri Mar 6 09:00:11 2009 Subject: [spectre] 52 new SIP - SoundLAB Interviews Message-ID: <20090306085901.9DDD1166.D5827303@192.168.0.3> SIP - SoundLAB Interview project http://sip.newmediafest.org ------------------------------------ In preparation of the launch of SoundLAB VI - soundPOOL next week (9-14 March 2009), SoundLAB- sonic art project environments http://soundlab.newmediafest.org is happy to announce the online release of 52 new interviews with participating soundartists on SIP - SoundLAB Interview Project http://sip.newmediafest.org. -------------------------------------- SoundLAB - sonic art project environments http://soundlab.newmediafest.org is a corporate part of [NewMediaArtProjectNetwork]:||cologne http://www.nmartproject.net the experimental platform for art and new media from Cologne/Germany ---------------------------------------- From G.Giannachi at exeter.ac.uk Fri Mar 6 09:14:13 2009 From: G.Giannachi at exeter.ac.uk (Giannachi, Gabriella) Date: Fri Mar 6 09:14:29 2009 Subject: [spectre] LAST CALL: PhD studentships at the University of Exeter In-Reply-To: Message-ID: Drama PhD Studentships and Bursaries Deadline: 20 March 2009 Interview dates: 2 and 3 April 2009 Excellent funding opportunities are available for PhD study within the Department of Drama at the University of Exeter. We are offering: ? Five PhD Studentships: all fees paid for three years plus a Research Council-equivalent annual maintenance grant for three years. In 2008/09 this was ?12,940; the 2009/10 grant will be announced later in the year. ? 11 PhD Bursaries: ?7,000 per year for three years. Bursary recipients will be required to carry out 80 hours support work a year within the School in the form of teaching, research support or as International Ambassador. The Department of Drama is one of the largest and best equipped in the UK. We offer a supportive and stimulating environment for postgraduate research and practice and welcome students from all around the world. Our impressive reputation is backed up by consistently high scores for student satisfaction and we are ranked 9th in UK for world-leading research (RAE 2008). We host several major grant awards supporting collaborative research with national and international partners. Research in Drama is concentrated around three Centres: the University Centre for Intermedia; the School Centre for Performance Histories; and the School Centre for Intercultural Performance. We also have research groupings in Applied Drama, and Theatre and Writing and Dramaturgy. Drama?s research and supervision encompasses research resources in ancient Greek performance, British Drama 1660-1900 and contemporary British theatre in the Centre for Performance Histories, performance art, multi-media and new media and arts/science collaborations in the Centre for Intermedia. Supervision is available for students who wish to pursue research through practice or in the more traditional form Visit www.exeter.ac.uk/drama for more information. -- Gabriella Giannachi Associate Professor in Performance and New Media Director Centre for Intermedia Department of Drama Exeter University Thornlea, New North Road Exeter EX4 4LA Tel : (01392) 264580 Fax : (01392) 264594 http://www.spa.ex.ac.uk/drama/staffsite/giannachi/welcome.shtml From propaganda at goto10.org Fri Mar 6 19:44:49 2009 From: propaganda at goto10.org (propaganda@goto10.org) Date: Fri Mar 6 19:45:14 2009 Subject: [spectre] New netlabel GOSUB10 announces the Substrate release! Message-ID: <20090306184449.GE25721@hee.jungle> Sorry for autotune, please Spawn Pfunc -- NEW MUSIC COMPILATION, NEW NETLABEL Various Artists - Substrate (GOSUB10-001) -- The new netlabel GOSUB10 today launches Substrate, its inaugural release. A 12-track compilation of music from across the electronic music genre, it features friends and family of the GOTO10 collective, illustrating the strong networks by which the label will grow and providing insight into future directions. /Substrate/ features tracks by: Earweego, krgn, vacca, 0xA, Bazterrak, Frank Barknecht, Yee-King, Soudo, Julian Brook, Martin Howse, Rob Canning and Ultrageranium. Dedicated to innovative music and audio/visuals, the GOSUB10 label will feature an eclectic group of musicians drawn together by their shared use of Free/Libre/Open Source Software (FLOSS). Freely distributed by stream, download and special DVD releases, and made available through an open license, GOSUB10 is run by the GOTO10 collective, an international group of artists, musicians and programmers, dedicated to FLOSS and digital arts. Brought to life in a intensive three day work sprint, the GOSUB10 netlabel is a natural extension of GOTO10's activities supporting and promoting digital art alongside FLOSS tools through workshops, festivals, exhibitions, writing, and more. http://gosub10.org http://goto10.org -- We would like to thank the Institute of Network Cultures (http://networkcultures.org) for hosting us during this sprint and we also want to thank the GISS team (http://giss.tv) who is providing the streaming infrastucture of the GOSUB10 radio. -- :* PS: If you like it, send stroopwafels!!! From info at transfera.es Sat Mar 7 18:13:30 2009 From: info at transfera.es (info@transfera.es) Date: Sat Mar 7 18:13:44 2009 Subject: [spectre] TRANSFERA VIDEOART TV Message-ID: <49B2AB3A.70403@transfera.es> Transfera Video Art is an independent tv program that broadcasts from Madrid on Fridays and Wednesdays at night which specializes in contemporary audio-visual experimentation. You can access to all the information at : http://www.transfera.es/programa32.html The term for the reception of works is still open. Look for the bases at Transfera website. Thanks & greetings. Transfera Staff www.transfera.es From office at paraflows.at Sun Mar 8 19:28:49 2009 From: office at paraflows.at (Office) Date: Sun Mar 8 19:29:01 2009 Subject: [spectre] SUZ2 game online! Message-ID: //////// /////// SOVIET UNTERZOEGERSDORF ////// ///// SECTOR II //// /// The Adventure Game // / An adventure marches on! / // /// http://www.monochrom.at/suz-game/ // / Soviet Unterzoegersdorf (pronounced ?oon-taa-tsee-gars-doorf?) is the last existing client republic of the USSR. The soviet enclave maintains no diplomatic relationship with the surrounding so-called "Republic of Austria" or with the capitalist fortress "European Union". The downfall of the people's motherland -- the Soviet Union -- in the early 1990s had a devastating effect on the country?s intra-economic situation. External reactionary forces threatened the last remaining proletarian paradise. Party secretary Wladislav Gomulka has been kidnapped and is being held in US-Oberzoegersdorf. We must save comrade Gomulka! Because communism isn't an opinion. It's a promise. / // Special Non Player Guest Characters: / Jello Biafra, Bruce Sterling, Cory Doctorow, Emmanuel Goldstein, Mitch Altman, Bre Pettis, David 'DaddyD' Dempsey, Kyle Machulis, MC Frontalot, Eddie Codel, Irina Slutsky, Christian 'plomlompom' Heller, Jason Scott Sadofsky, Hans Bernhard, Robert Stachel (maschek) -- and many more. / // Voice Acting by: / Jevgeni Beliaikin, Sergey Teterin, Mikhail A. Crest, Daria Prawda, Bre Pettis -- and many more. / // Soundtrack features: / The Fat Man/George Alistair Sanger, Q-Burns Abstract Message, Zoe Keating, Neil Landstrumm, Jonathan Mann aka GameJew, Blockwerk, The Extra Action Marching Band, The Lazy, antivolk - Torsun feat. classless Kulla, Jan Klesse & Felix Knoke (left), Savant Trigger, Rioteer, MC Orgelmueller, Magic Jordan, Schaua, Horace, The Vladivostoks, Limpopo, Eric Skiff, Prometheus X, Kertal (feat. sunsetfactory), Bolschewistische Kurkapelle Schwarz-Rot, Farmer's Market, Attention, Cosmonauts!, Woodn Earf, Trishes, Krach the Robot, Prosperity Denied, Arteom Denissov, Dan Oberbauer aka DJ Chronos, LFO DEMON -- and more. / // Operating systems: / Available for Windows, Linux and OSX! And many thanks to the fabulous comrades at CodeWeavers (http://www.codeweavers.com) for Linux/OSX versions. And also bloshevik geetings to the folks at Silver Server (http://www.sil.at) for bandwith sponsoring. / // /// http://www.monochrom.at/suz-game/ // / / // For IBM PC and Non-Compatible /// //// A true tour-de-red-force ///// ////// Russian with English or German subtitles ///// //// Appealing graphical game interface /// // Creative Commons License / Other projects: http://monochrom.at/english From nc-agricowi at netcologne.de Mon Mar 9 09:39:53 2009 From: nc-agricowi at netcologne.de (vCH) Date: Mon Mar 9 09:40:28 2009 Subject: [spectre] Call: one minute films and videos Message-ID: <20090309093953.CFBAC7A4.C2BEFA39@192.168.0.3> Call for entries extended deadline: 2 May 2009 > -------------------------------------------- VideoChannel - video project environments http://videochannel.newmediafest:org is looking for "one minute films and videos" on the theme "memory " and "identity" for an online feature and future screening programs. Please find the entry regulations and form on http://www.nmartproject.net/netex/?p=447 > --------------------------------------------- VideoChannel - video project environments is a corporate part of [NewMediaArtProjectNetworjk]:||cologne http://www.nmartproject.net the experimental plattform for art and new media from Cologne/Germany. From carlos.katastrofsky at cont3xt.net Mon Mar 9 09:45:06 2009 From: carlos.katastrofsky at cont3xt.net (carlos katastrofsky) Date: Mon Mar 9 09:50:14 2009 Subject: [spectre] new work: webzen Message-ID: title: webzen year: 2009 webpage on server launch artwork: http://katastrofsky.cont3xt.net/webzen A Koan: ?All things can be traced back to the One, to what, however, can the One be traced back?? - ?Untitled Document? is written on top of the browser window. No name, no content, no design: a webpage as simple as it can be. Still the work webzen (2009) demands outmost concentration. Clicking from one page to the next, the neverending quest for links is leading further, the skimming through pieces of information and the scanning of texts and pictures is interrupted - which is irritating. webzen is an attempt to abandon representational thinking, to understand life as utterly art of absent-mindedness and to experience the reality beyond duality and logic and beyond space and time. webzen has only one assignment: the single-serving site wants to overcome itself by means of meditating on the basic formulas of sourcecode: , , , <body>, system, spirit, concept, body. But overcoming would only have been possible if the site would have never existed. - another Koan: ?All things can be traced back to the code, to what, however, can the code be traced back?? -- http://katastrofsky.cont3xt.net http://cont3xt.net From derek at umatic.nl Mon Mar 9 15:12:39 2009 From: derek at umatic.nl (Derek Holzer) Date: Mon Mar 9 15:13:08 2009 Subject: [spectre] TONEWHEELS events London UK, 18-24 March 2009 Message-ID: <49B523D7.7080403@umatic.nl> Dear Spectres, I will be in London soon to present my optoelectronic audiovisual performance TONEWHEELS. Hope to see some of you there! best, Derek http://www.umatic.nl/tonewheels.html *** TONEWHEELS events London UK, 18-24 March 2009 ***18 MAR: NOISE=NOISE, Goldsmiths, London UK 6pm-9pm Wednesday 18 March 2009 FREE Small Cinema, Goldsmiths University FREE John Bowers Disinformation Mick Grierson Derek Holzer Ryan Jordan Martin L Julien Ottavi John Richards ***19 MAR: TONEWHEELS lecture+performance, Thursday Club @ Goldsmiths, London UK 6pm Thursday 19 March 2009 Seminar Roooms, Ben Pimlott Building, Goldsmiths University FREE ***20 MAR: Blinking Ears presents Electroacoustic Performances, E:Vent Gallery, London UK 8:30pm-1am Friday 20 March 2009 E:vent, 96 Teesdale Street 5 POUNDS Derek Holzer Joel Cahen Leafcutter John Lina Lapelyte Peter Cusak + DJ Alex Czinczel ***24 MAR: Future of Sound/Future of Light, Goldsmiths, London UK Symposium: Media Resources Building, Screen 1, 2pm-6pm, Free Andrey Smirnov (keynote speaker) http://asmir.theremin.ru/ Jo Hutton myspace.com/johuttonmusic Derek Holzer www.umatic.nl/tonewheels_historical.html Rob Mullender http://silentlight.blogspot.com/ Dr. Mick Grierson mickgrierson.co.uk/ Show: The Great Hall, 7pm-10pm, Free The Sancho Plan thesanchoplan.com United Visual Artists uva.co.uk Scanner scannerdot.com -- derek holzer ::: http://www.umatic.nl ::: http://blog.myspace.com/macumbista ---Oblique Strategy # 37: "Convert a melodic element into a rhythmic element" From turbulence at turbulence.org Mon Mar 9 19:09:00 2009 From: turbulence at turbulence.org (Turbulence) Date: Tue Mar 10 08:07:35 2009 Subject: [spectre] Turbulence Commission: "Eclipse" by EcoArtTech Message-ID: <011301c9a0e2$20a3f980$61ebec80$@org> March 9, 2009 Turbulence Commission: "Eclipse" by EcoArtTech http://turbulence.org/works/eclipse "Eclipse" is a user driven, networked-art application that alters and corrupts United States national and state park images from Flickr.com based on the real-time Air Quality Index (particle pollution data) provided by the United States Environmental Protection Agency (E.P.A.) at the site www.airnow.gov. "We visit national parks to get away from traffic and smog. But the latter can be hard to shake, even in remote, pristine-seeming places. "Eclipse", an open-source program created by Cary Peppermint and Leila Christine Nadir of EcoArtTech, will make air pollution's presence visually -- and viscerally -- explicit." Anna Lena Phillips, American Scientist "Eclipse" is a 2008 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. BIOGRAPHIES EcoArtTech is Cary Peppermint and Christine Nadir. They have been working together informally since 1996 and began exhibiting together in 2004. In 2005, they founded EcoArtTech as their collaborative platform for digital environmental art. LEILA CHRISTINE NADIR recently completed her doctoral studies in English and Comparative Literature at Columbia University and regularly gives talks on environmental ethics, art, and literature at international conferences and universities. She has taught at Columbia, Oneonta State College, and Colgate University, including courses on American literature, modernity and modernism, and new media art history and theory. In 2008, the Society for Utopian Studies awarded her the annual Arthur O. Lewis for the best paper by a young scholar. In addition to EcoArtTech, her current projects include writing a memoir on growing up Afghan and Muslim in the United States and reworking her dissertation into a book titled "Sacrifice and its Discontents: Ethical Paradox in Twentieth-Century Environmental Writing and Art." CARY PEPPERMINT is a conceptual and performance artist working with digital technologies and "natural" environments. Cary is known for his website "Restlessculture.net," an internationallly recognized platform for his ongoing series of net art and networked performance art. Cary has curated international exhibitions of digitally infused eco-art, including Nature Version 2.0: Ecological Modernities and Digital Environmentalism, Technorganic, and Wilderness Information Network. He is assistant professor of art at Colgate University where he teaches courses in the theory and practice of digital and new media art. Cary has been the recipient of numerous awards, including a Franklin Furnace Performance Grant, Experimental Television Workshop Grant, and NYSCA's Decentralization Grant. His work is in the collections of the Walker Art Center, Rhizome.org at the New Museum for Contemporary Art, Computer Fine Arts, and The Whitney Museum of American Art. For more Turbulence Commissions, please visit http://turbulence.org. Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org Networked_Performance Blog: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Upgrade! Boston: http://turbulence.org/upgrade New American Radio: http://somewhere.org From nc-agricowi at netcologne.de Tue Mar 10 08:10:45 2009 From: nc-agricowi at netcologne.de (artNET) Date: Tue Mar 10 08:11:11 2009 Subject: [spectre] call: The Best of Flash on the Net Message-ID: <20090310081045.563E7325.ABC7D7BE@192.168.0.3> extended deadline:30 June 2009 -------------------------------- Cinematheque - streaming media project environments http://cinema.nmartproject.net Call for entries \\ Flash & Thunder Flash as a medium and tool for artistic creations // Since the Internet became popular in the late 90'ies of 20th century, the software program "FLASH", once developed and prepared for the commercial market by Macromedia, and now owned by Adobe, represents a vector based developing environment which enables the creator to combine different media and develop vector based animations especially for the Internet. .swf data file extension became a standard for animations online and offline, and Flash video and its .flv file format stands for "videostreaming" on the net. As soon as the Internet started, artists captured it for artistic purposes, and the same is good for certain software used for the net, particularly Flash is predestined for developing artistic creations due to its intuitive use. It became one of the most popular software tools for the net, computer based animations and interactive applications like games. Flash based artworks entered media festivals, even festivals solely based on movies created in Flash are organised. After Cinematheque - streaming media environments - explored in 2007 the capabilities of "Quicktime" as an artistic medium in the comprehensive show \\Slowtime? Quicktime as an artistic medium// - its now the time to explore in 2009 the artistic potential of Flash in its own way in a big online show, as well. // Flash and Thunder Flash as a medium and tool for artistic creations \\ Cinematheque is looking for the best artistic Flash works created since 2000. Please find the regulations and entry form on http://www.nmartproject.net/netex/?p=408 /////////////////////////////////////////////////////////// Cinematheque - streaming media project environments http://cinema.nmartproject.net is a corporate part of [NewMediaArtProjectNetwork]:||cologne http://www.nmartproject.net - the experimental platform for art and new media from Cologne/Germany ///////////////////////////////////////////////////////// From joris at v2.nl Tue Mar 10 10:03:59 2009 From: joris at v2.nl (V2_) Date: Tue Mar 10 10:04:11 2009 Subject: [spectre] V2_Test_Lab: Artistic Interfaces, 12/03/2009 Message-ID: <49B62CFF.3010607@v2.nl> V2_Events: Test_Lab: Artistic Interfaces V2_ Ground floor, Eendrachtsstraat 10, Rotterdam. March 12, 2009, 8 p.m. Admission: free. This event will be streamed live at http://live.v2.nl Test_Lab is a bi-monthly public event organized by V2_ Institute for the Unstable Media that provides an informal setting for the presentation, demonstration, testing, and discussion of artistic research and development (aRt&D). In this edition of Test_Lab, the outcome of artistic experiments in (counter-) intuitive Artistic Interfaces will be elaborated upon by interaction maker and researcher Kristina Andersen. While designers aim to advance interfaces to more intuitive use, through notions such as metaphor, artists often take a radically different approach, by incorporating counter-intuitive responses. This tension will be exemplified through demonstrations of the intuitive software design of Watch That Sound (Jacques van de Veerdonk and V2_Lab), a preview of the adaptive physical space of Liquid Space 6.0 (Studio Roosegaarde), and the body interface and tangible interaction prototypes of Dark Matter (Tom Heene and the Center for User Experience Research, KU Leuven) and Cubebrowser Ludwig Zeller). The audience, in the tradition of Test_Lab, is once again invited to actively engage with the demonstrated works and put their use to the test. Full program description: www.v2.nl Kristina Andersen www.lockergirl.com The Watch That Sound tool is a co-production between Jacques van de Veerdonk and V2_Lab. www.watchthatsound.nl CubeBrowser is a project by Ludwig Zeller in collaboration with Martin Nawrath, Nando Nkrumah, Bernd Voss, Charlotte Krauss, Andreas Muxel, Heinz Nink and Lasse Scherffig. www.cubebrowser.de Dark Matter is a project initiated by media artist Tom Heene and the Center for User Experience Research - CUO (KU Leuven, Dries De Roeck & Dirk Bollen). It is developed in collaboration with LAHAAG (Pieter Heremans & Gert Aertsen), NODEBOX (Lievn Menschaert & Tom De Smedt) and WICA (UGent, Kris Vanhecke & Tom Deryckere). Dark Matter is an Art&D project funded by the IBBT (Interdisciplinary Institute for Broadband Technology). It has the support of XenICs and iMAL (Center for Digital Cultures and Technology). soc.kuleuven.be/com/mediac/artd Liquid Space 6.0 was developed by Daan Roosegaarde and the Studio Roosegaarde team (Peter de Man, Axis Stuifmeel and project staff). www.studioroosegaarde.net For more information, please contact Michel van Dartel, E: michel@v2.nl T: +31 (0)10 2067272. From ab at mikro.in-berlin.de Tue Mar 10 11:35:02 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Tue Mar 10 11:40:31 2009 Subject: [spectre] (fwd) VIDEONALE 12, Bonn/D - das Festivalprogramm Message-ID: <a0624081fc5dbf2bbb080@[192.168.2.107]> Date: Tue, 10 Mar 2009 10:25:15 +0100 From: Mareike Winter <mareike.winter@televisor.de> Subject: VIDEONALE 12 - das Festivalprogramm FOR ENGLISH VERSION SEE BELOW Die ausf?hrliche Version dieser Pressemitteilung finden Sie unter http://www.videonale.org/444.html?&L VIDEONALE 12 - das Festivalprogramm vom 26. bis 28. M?rz 2009 Festival f?r zeitgen?ssische Videokunst Ausstellung vom 26. M?rz bis 26. April 2009 im Kunstmuseum Bonn Das komplette Rahmenprogramm des Festivals ist nun online unter www.videonale.org abzurufen. Hier einige H?hepunkte: VIDEOKUNST UND INTERNET - DIE ZUKUNFT DES BEWEGTEN BILDES Videonale Symposium Tag 1 - Donnerstag, 26. M?rz 2009 Mit YouTube hat eine wahre Renaissance des kurzen Videos begonnen, auch junge K?nstler nutzen l?ngst die M?glichkeiten der Webvideo-Services, um - im Sinne einer virtuellen Galerie - ihr Publikum zu finden. Am ersten Tag des VIDEONALE Symposiums wird untersucht, welchen Einfluss das Internet auf die k?nstlerische Produktion - und Distribution - von Videokunst nehmen kann. OPEN ARCHIVE - GRENZEN UND M?GLICHKEITEN VON PARTIZIPATORISCHEN ARCHIVPROZESSEN Videonale Symposium Tag 2 - Freitag, 27. M?rz 2009 In der Zeit seines inzwischen 25-j?hrigen Bestehens hat der VIDEONALE e.V. einen beachtlichen Fundus an Bild-, Ton- und Dokumentationsmaterial angesammelt, das zuk?nftig der ?ffentlichkeit zug?nglich gemacht werden soll. Die VIDEONALE will dabei kein in sich geschlossenes Archiv-System schaffen, sondern die M?glichkeiten und Grenzen f?r ein in unterschiedliche Richtungen offenes Archiv ?berpr?fen. M?glichkeiten und Grenzen von Kollaboration und Partizipation bei der Erstellung und Interpretation von Archiven werden daher am zweiten Tag des Videonale Symposiums er?rtert. INTERVENTIONEN - HOCHSCHULAKTIONEN UND -PROJEKTE DER VIDEONALE 12 Samstag, 28. M?rz 2009 1984 gegr?ndet, hat sich die VIDEONALE von Beginn an als eine Plattform f?r eine damals noch junge Kunstform und besonders auch f?r junge K?nstler verstanden. Zum 25-j?hrigen Jubil?um der VIDEONALE setzt der Verein sein Engagement fort und bietet dem k?nstlerischen Nachwuchs im Rahmen der VIDEONALE 12 eine besondere Plattform. F?r das Festival zur VIDEONALE 12 wurden vier Professoren verschiedener Kunsthochschulen und ihre Studenten eingeladen, Beitr?ge unter dem Titel INTERVENTIONEN zu entwickeln. DIE AUSERW?HLTEN - GENERATIONEN ARCHIV VIDEONALE Sonntag, 26. April 2009 Welche Probleme k?nnen auftauchen, wenn wir in der Zukunft in unseren Archiven st?bern - dies antizipiert das Video "Noriko.Manga - Auf der Suche...". Das Video, das zur Finissage am Sonntag, 26. April 13 Uhr, erstmals vorgef?hrt wird, entstand im Rahmen von DIE AUSERW?HLTEN - GenerationenArchivVideonale, dem Kunstvermittlungsprojekt der VIDEONALE 12: Jugendliche der Bonner Bertolt-Brecht-Gesamtschule und Bonner Senioren widmen sich dem Dialog der Generationen ?ber Kunst in der Auseinandersetzung mit dem Thema Archiv. In der Ausstellung der VIDEONALE 12 werden die Ergebnisse aus der Projektarbeit in einem eigenen Display pr?sentiert. Zur Finissage am Sonntag, 26. April, wird das gesamte Projekt vorgestellt. Auch das Symposium der VIDEONALE greift das Thema ARCHIV am Freitag, 27. M?rz, auf. VIDEOVOICES Auf "Simultan-Vermittlung" baut ein zweites Vermittlungsformat der VIDEONALE: die VideoVoices. In besonderen Seminaren geschulte Bonner und K?lner Studenten stehen den Besuchern ?ber die gesamte Laufzeit der Ausstellung als Ansprechpartner zur Verf?gung. Durch die durchgehende Pr?senz der VideoVoices in der Ausstellung ist der Besucher nicht an hergebrachte F?hrungsformate und -zeiten gebunden, sondern kann sich - entsprechend seinen individuellen Interessen und Bed?rfnissen - jederzeit mit den f?r ihn relevanten Fragen an die Studenten wenden. KATALOG UND DVD ZUR VIDEONALE 12 Anl?sslich der VIDEONALE 12 erscheint wieder ein zweisprachiger Katalog mit zahlreichen Abbildungen der ausgestellten Arbeiten, wissenschaftlichen Aufs?tzen und einer DVD, auf welcher der ?berwiegende Teil der in der Videonale pr?sentierten Arbeiten enthalten ist. Die VIDEONALE 12 wird gef?rdert von der Stadt Bonn, vom Land NRW, der Kunststiftung NRW, der Stiftung Kunst der Sparkasse in Bonn, dem LVR, der RheinEnergieStiftung Kultur, dem Generalkonsulat des K?nigreichs der Niederlande, cine plus (Techniksponsor), Langenbach Cuisine Modern und der KfW Bankengruppe als Hauptsponsor. TERMINE DER VIDEONALE 12 Pressekonferenz: Dienstag, 24. M?rz 2009 ? 11.30 Uhr Er?ffnung und Verleihung des VIDEONALEPREISES: Mittwoch, 25. M?rz 2009 ? 20.00 Uhr Festivalprogramm: Donnerstag, 26. M?rz bis Samstag, 28. M?rz 2009 Finissage: Sonntag, 26. April 2009 - Werkpr?sentation und K?nstlergespr?ch Candice Breitz KONTAKT Videonale e.V. im Kunstmuseum Bonn Friedrich-Ebert-Allee 2 53113 Bonn Tel. 0049 228 77 62 86 Fax 0049 228 90 85 81 7 info@videonale.org www.videonale.org PRESSEKONTAKT + FOTOBESTELLUNG TELEVISOR Mediendienstleistungen GmbH Mareike Winter + Michael P. Aust Trajanstr. 27 50678 K?ln fon 0049 221 931844 0 fax 0049 221 931844 9 presse@videonale.org www.televisor.de ----- For the complete press release please go to http://www.videonale.org/444.html?&L=0&L=1 VIDEONALE 12 - Festival programme from 26th to 28th March 2009 Festival of Contemporary Video Art Exhibition from 26th March to 26th April in the Kunstmuseum Bonn The complete programme of the festival can now be accessed online under www.videonale.org. Some highlights: VIDEO ART AND INTERNET - THE FUTURE OF THE MOVING PICTURE VIDEONALE Symposium Day 1 - Thursday, 26th March 2009 With YouTube, a true renaissance of the short video has begun. Young artists have for some time been exploiting the potential of the web video service, to find their audience - in a virtual gallery, as it were. On the first day of the VIDEONALE Symposium, the question will be discussed what influence the Internet can have on the production - and distribution - of video art. OPEN ARCHIVE - POSSIBILITIES AND LIMITS OF PARTICIPATORY ARCHIVE PROCESSES VIDEONALE Symposium Day 2 - Friday, 27th March 2009 During the 25 years of its existence, the VIDEONALE has collected a considerable body of pictorial, sound and documentary material, which will in the future be made available to the general public. In doing this, the VIDEONALE does not intend to create a self-contained archive system, but rather explore the possibilities and limits of an archive open in various directions. For this reason, on the second day of the VIDEONALE Symposium, the possibilities and limits of collaboration and participation in the creation and interpretation of archives will be discussed. INTERVENTIONS - ACTIONS AND PROJECTS OF VIDEONALE 12 in higher education Saturday, 28th March 2009 Founded in 1984, the VIDEONALE saw itself from the beginning as a platform for an art form that was young at the time, and in particular one for young artists. On the occasion of the VIDEONALE's 25th anniversary, the association continues its commitment to this view, offering young and emerging artists a forum of their own within the framework of the VIDEONALE. For the Festival of VIDEONALE 12, four professors from various art academies, and their students, have been invited to present contributions under the title INTERVENTIONS. DIE AUSERW?HLTEN (THE CHOSEN ONES) - THE VIDEONALE GENERATION ARCHIVE Sunday 26th April 2009 The problems that can arise when we come to browse in our archives at some time in the future are anticipated by the video "Noriko.Manga - In Search of...". This video, which will be shown on the occasion of the final ceremony of the exhibition on Sunday 26th April at 1 p.m., was made with the context of DIE AUSERW?HLTEN - the VideonaleGenerationArchive, the project of VIDEONALE 12 for the teaching of art. Young people from the Bertolt Brecht Comprehensive School, Bonn, together with senior citizens of Bonn, engage in an inter-generation dialogue about art, with special reference to the topic of archives. In the exhibition of VIDEONALE 12, the results from work on the project will be presented in a special display. The project as a whole will be presented at the final ceremony of the exhibition on Sunday 26th April. The Symposium of the VIDEONALE will be concerned with the topic of ARCHIVES on Friday 27th March. VIDEOVOICES A second mode of information of the VIDEONALE - VideoVoices - is based on "simultaneous guidance". Students from Bonn and Cologne, who have been trained in special seminars, will be available for consultation throughout the exhibition. With the constant presence of the VideoVoices at the exhibition, the visitor is not tied to traditional forms and times of guidance, but is able, according to his/her individual interests and requirements, to consult the students at any time with relevant questions that arise. CATALOGUE AND DVD ON THE VIDEONALE 12 On the occasion of VIDEONALE 12, once again a two-language catalogue is being produced with numerous illustrations of the works exhibited, scholarly essays, and a DVD containing the major part of the works presented in the VIDEONALE. VIDEONALE 12 is sponsored by the city of Bonn, the federal state of North Rhine-Westphalia, the Kunststiftung NRW, the Stiftung Kunst der Sparkasse in Bonn, the Consulate General of the Kingdom of the Netherlands, cine plus (technology sponsor), Langenbach Cuisine Moderne, the chief sponsor being the KfW Bankengruppe. MAIN DATES OF VIDEONALE 12 Press conference: Tuesday 24th March 2009, 11.30 a.m. Opening, and award of the VIDEONALE Prize: Wednesday 25th March 2009, 8.00 p.m. Festival programme: Thursday 26th March to Saturday, 28th March 2009 Final ceremony of the exhibition: Sunday 26th April 2009 - Candice Breitz: presentation of works and discussion with the artist. CONTACT Videonale e.V. im Kunstmuseum Bonn Friedrich-Ebert-Allee 2 53113 Bonn Tel. 0049 228 77 62 86 Fax 0049 228 90 85 81 7 info@videonale.org www.videonale.org PRESS CONTACT + PHOTO ORDERING TELEVISOR Mediendienstleistungen GmbH Mareike Winter + Michael P. Aust Trajanstr. 27 50678 K?ln Tel. 0049 221 931844 0 Fax 0049 221 931844 9 presse@videonale.org www.televisor.de From ab at mikro.in-berlin.de Tue Mar 10 11:38:04 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Tue Mar 10 11:40:44 2009 Subject: [spectre] (fwd) David Link on Very Early Algorithms, Science Museum London, 12 March 2009 Message-ID: <a06240820c5dbf317c629@[192.168.2.107]> Date: Tue, 10 Mar 2009 11:06:23 +0100 From: "Dr. David Link" <david@khm.de> ::: The Archaeology of Very Early Algorithms, 1948-58 - Christopher Strachey's Love Letter Generator Date: 12th March 2009 Time: 14.30 Room is open from 14.00 - meet up with society members Location: Fellows Library of the Science Museum, Exhibition Road, London, SW7 2DD About the seminar This talk will describe early steps in the programming of the first computers, illustrated by some interesting examples. David Link will present his reconstruction of the "loveletters" algorithm (1952) by Christopher Strachey together with his implementation of an emulator of the Ferranti Mark 1 and the project currently underway to build a functional replica of the machine. He will provide an overview of the software developed in this formative period of British computing, and discuss examples of the software he managed to locate. In June 1948, a team led by Frederic Williams and Tom Kilburn built the first fully electronic, digital, stored-program and universal computer worldwide at the Electrical Engineering Department of Manchester University: the Manchester "baby" prototype. It was based on the first reliable means of volatile storage, the Williams tube. Max Newman and Alan Turing from the Mathematics Department played an important and still disputed role in the conception of the machine. From 1949 to 1950, the computer was extended and modified on a daily basis, to become the "Manchester Mark 1". In 1951, the firm of Ferranti industrially produced an `engineered' production version of it, the "Ferranti Mark 1", of which two were sold, one to Manchester University and one to Toronto University. The machine was programmed in four-letter operation codes from the 5-bit Baudot alphabet, common in teleprinters and wartime cryptography. Soon, a number of conventions were created to make programming less cumbersome, using "Schemes" and "Autocodes". It is estimated that already by 1953, some 50 scientists were employing the machine in their research. The main disciplines they were coming from were x-ray crystallography, molecular chemistry, meteorology, engineering, and nuclear physics. When the Ferranti Mark 1 in Manchester was replaced in 1958, it was disassembled, and this is why only very few parts of the machine remain. Unfortunately, the situation is similar for the software developed for it. Despite intensive efforts, I could only unearth an alarmingly small fraction of these pioneering programmes. A part of British techno-cultural heritage of international importance is at stake. About the Speakers Dr David Link took his PhD in philosophy in 2005 at Humboldt-University, Berlin, with a thesis on text generating algorithms in the early years of computer development ("Poetry Machines / Machine Poetry"). He works as a theorist, artist and programmer. His current research focusses on the convergence of mathematics and engineering in the early 20th century. For further information see his website, and the article there titled "There must be an angel. On the beginnings of the arithmetics of rays", in: Variantology 2 (2007). Background The Digital 60 website has more about the Ferranti Mark 1 computer, and about programming on the Ferranti Mark 1. http://www.digital60.org A brief profile of Christopher Strachey is in a recent issue of Resurrection. -- David Link Alpha 60 technologies /Systems/ Development T: +49 173 244 81 57 M: david@khm.de W: alpha60.de From natabor at aa-vv.org Tue Mar 10 11:43:17 2009 From: natabor at aa-vv.org (=?UTF-8?Q?=C3=B1?=) Date: Tue Mar 10 11:43:39 2009 Subject: [spectre] Creative workshop: Miraculous Agitation. Coils Magnets Music. May 5-9. Munich. Schwerereiter Message-ID: <99d5be664d9338e10ac352ac36c7f3c5@aa-vv.org> The creative workshop: Miraculous Agitation. Coils Magnets Music With: Dan Wilson and Chris Weaver UK Where: Munich. Schwere Reiter Halle. Dachauerstr. 114 When: May 5-9 2009 3-9 PM. Presentation May 9 at Materialausgabe 2009 Participation: ?15 places. Attendance is free. Electronic parts 30,-Euro Registration: http://www.aa-vv.org/?av_02010101 by April 15 2009 Organized by: http://aa-vv.org In cooperation with: http://echtzeithalle.de and http://schwerereiter.de Support: Department of Arts and Culture of Munich More: http://www.aa-vv.org/?av_0201 Drawing the hidden music out of everyday objects. Coils are the very soul of electronic music. The Victorians made jump, Jimi Hendrix made them howl and this workshop hopes to make them sing. It guides participants in creating and using electro-magnetic forces to create a type of 'acoustically synthesized' music from salvaged metal objects. We will explore how any object can be turned into a loud speaker and how the principal of feedback can make these objects vibrate with sound. You will learn among other things: How inventors, musicians and experimenters have used various objects as sound diffusers throughout the history of electronic music. How to stereoscopically eavesdrop on the inner of workings of electronic devices. How to make a basic amplifier. How to create an electromagnetic field capable of resonating ferric metal objects. How to create cheap and effective contact microphones. How to adapt an amplifier so that it becomes an expressive touch-controlled instrument, namely a 'crackle box'. Day 1-5: Introduction to music made with similar techniques involving an emphasis on coils. The relationship between music and electromagnetism. Listening to different electro-magnetic fields. Demonstration of an object being resonated. Demonstration of sympathetic resonance. How to read electronic schematics. How to solder. Construction of simple audio amplifiers. Feeding an audio signal into a coil. Adapting the amplifier to create a 'crackle-box'. Exploring, personalizing and tailoring the circuit to your own fancies. Miraculous agitation! Acoustic waveshaping. Scavenger hunt trip. Using the coils and amplifiers to resonate junk objects. Filtering sounds through the objects. Setting up. Recap and rehearsal. Gala! ?: How about shifting the current educational emphases more towards co-creation of the interesting spatial and acoustic situation, complex setup? The openness of instruments, setup and us are very important to me. CW: So to summarise your reply. More composition less gadgets! Great, these kind of events get far to bogged down in technology. ?: And please, please: 'How to interact' (including public) instead of 'How to solder'! And in case someone somehow did miss a soldering technique in his/her life, it could be explained. Secretly. Although sure: learning, soldering and building instruments.. CW: I agree I would much prefer to get on with the music and composition rather than teaching people how to solder! The aim of the workshop is to get the participants quickly to the point where they have two adaptable instruments (a cracklebox and essential a DIY ebow to be focused on using these tools to pull out a wide soundscape from discarded objects. Each participant would be an 'island of sound' in the space, surrounded by the junk that they were using their newly constructed instruments to transform into a harmonic sound environment! Because we are using the junk objects as loud speakers all over the space allowing the public to see exactly what is going on soundwise. Dan Wilson is a composer, instrument builder and sound designer from Hertfordshire with a BA and MA in Sonic Art, and whose interests lie primarily in the use of electromagnetic agitation in new instrument design. As of 2009 he features on SPNM's composer shortlist. As well as instrument building, he is also a keen practitioner and theorist of mediadropping the act of leaving homemade tapes or CDs in public places for people to find). He was awarded the 2007 Arts Foundation electroacoustic composition fellowship (nominated by the Ed Baxter of the LMC) which led to a performance of his electromagnetic work 'Corrosion Suite' at the Tate Modern in June that year. He has been featured in The Wire on numerous occasions, in Unknown Public, in Nic Collins' book 'Handmade Electronic Music', and in the groundbreaking 365 Days Project MP3 series on Ubuweb. He is a performer in the electroacoustic improve quartet Oscillatorial Binnage. Chris Weaver is a composer and experimentalist, laptop and electronics improviser from London. When not manning the helm at London's Resonance104.4FM, he can be found alongside vocalist KJ Grant in their frequent duo and sporadic guest-lead trios. Occasionally he also turns up twanging rubber bands and playing circuit bent casios in the group, Oscillatory Binnnage. Some ideas on where to stay in Munich: http://www.hoteltheresia.de/e_index.htm http://www.euro-youth-hotel.de/ http://www.munich-info.de/hotels/hotel-pension-central/welcome_de.html http://www.globalfreeloaders.com/memberlocations.php?city=munich&code=GM-02-883330 Get in touch: workshop[at]aa-vv.org Please, feel free to forward Sorry for the x-postings Kind regards ? From paul at paul-brown.com Tue Mar 10 13:09:47 2009 From: paul at paul-brown.com (Paul Brown) Date: Tue Mar 10 13:10:51 2009 Subject: [spectre] CAS April Meeting - Rob Saunders: Computational Models of Curiosity Message-ID: <5C5FDA21-2AF4-488D-92B4-5CBF4A8240EB@paul-brown.com> The Computer Arts Society BCS SG is pleased to invite you to our April meeting. This event is open to the public and is free. Please note we have changed our meetings to 'the first Wednesday of the month!' Wednesday 1 April 2009 6:30 for 7:00pm London Knowledge Lab - Institute of Education 23 - 29 Emerald St London WC1N 3QS, England Tube: Holborn, Russell Square or Chancery Lane Map: http://tinyurl.com/6h5cds Rob Saunders: Computational Models of Curiosity "In this talk I will present my research developing computational models of curiosity and their application to the modelling of individual and social creativity. Curiosity is a behavioural response to a perceived lack of information. Computational models of curiosity can be constructed using a wide range of machine learning technologies. The development of agent-based models of curiosity opens up new possibilities for modelling creative behaviour, including the autonomous exploration of conceptual spaces. The autonomy of motivated creative agents supports the modelling of emergent dynamics of social creativity. Motivated creative agents also present new opportunities for supporting human creativity." Rob Saunders is Lecturer in Design Computing at The Design Lab in The University of Sydney, Australia. His research has focussed on the development of computational models of creativity. In particular, he has developed computational models to explore the role of curiosity, interest and boredom in the creative process. He has used his models of curiosity to develop computational models of social creativity to explore the emergent dynamics of social creativity. His most recent research includes extending models of social creativity to include aspects of language and culture to explore the consequences of these phenomena on the evolution of creativity. CAS 1968-2009 - supporting the Computer Arts for over 40 years http://www.computer-arts-society.org CAS is a BCS Specialist Group Future CAS meetings: Wed 6 May - Jorn Ebner ==== Paul Brown - based in the UK March 2009 mailto:paul@paul-brown.com == http://www.paul-brown.com UK Mobile +44 (0)794 104 8228 == USA fax +1 309 216 9900 Skype paul-g-brown ==== Visiting Professor - Sussex University http://www.cogs.susx.ac.uk/ccnr/research/creativity.html ==== From monica at laboralcentrodearte.org Tue Mar 10 13:31:32 2009 From: monica at laboralcentrodearte.org (Monica) Date: Tue Mar 10 13:32:30 2009 Subject: [spectre] =?windows-1252?q?NO_TOURS_WITH_ESCOITAR=2EORG=5FLABora?= =?windows-1252?q?l_Centro_de_Arte_y_Creaci=F3n_Industrial?= Message-ID: <49B65DA4.6020904@laboralcentrodearte.org> NO TOURS WITH ESCOITAR.ORG 25th, 26th and 27th March 2009 LABoral Centro de Arte y Creaci?n Industrial Escoitar.org is currently working in Gij?n in the exhibition /The Past in The Present (and The Near in The Far),/ curated by Juan Antonio ?lvarez Reyes for Laboral Centro de Arte, opening its doors on April 3rd. The collective?s collaboration will consist in the development of an audio-guide of the Cimadevilla (a district in the city of Gij?n) based on GPS technology. The system (PDA, hand-held computer connected to several satellites) can be used by local residents while they walk through Cimadevilla and listen to real and fictional stories, and acoustic experiences associated with the place. This system can precisely locate the user, and tell you stories related to this specific space. The idea behind Escoitar.org?s /No Tours/ workshop is to rediscover the city while analysing the value of sound as a form of engaging with today?s society. Focusing on the listening experience and the problems historically affecting sound, this workshop will examine the composition of a sound cartography of Cimadevilla made during a sound-walk with GPS technology. The workshop will conclude with the production of a work to be included in the exhibition /El Pasado en el Presente./ Escoitar.org is a cultural association from Galicia linked to a research group at the University of Vigo, whose priority goal is the promotion and encouragement of the sound phenomenon and active listening. This collective also promotes Aural Studies in Spain, a new field of knowledge which explores societies through the sounds it produces and listens to. Anthropologists, musicologists, engineers and artists are involved, among other activities, in the preservation of sound memory, the acknowledgment of intangible cultural heritage, the encouragement of listeners? involvement in the composition of the sound heritage and the field works, recording and contextualization of environmental sounds in the country. Escoitar.org has worked all over the world offering their particular point of ?hearing? (view) about sound experience and the potential of sound as a witness of history. One of their lines of works with the greatest impact is research into some of the hidden aspects of sound, and particularly of sound technologies of social control (and acoustic weapons). Escoitar.org has recently collaborated with the National Music Library of Mexico and ZKM (an art centre located in the south of Germany engaged in new media and digital culture). www.escoitar.org ABOUT THE ARTISTS: Chiu Longina, anthropologist, sound artist and acoustic spaces creator, is also a member of the production team of IFI, the sound art festival held in Pontevedra, the collective SINSALaudio from Vigo, the association Alg-a and the Centre for Experimental Creation in Cuenca. Chiu Longina is also co-editor of the network projects Mediateletipos.net and Artesonoro.org. Juan-Gil L?pez Rodr?guez is musicologist who collaborates in the projects Mediateletipos.net and Artesonoro.org. He is involved in several research projects in the field of ethnomusicology and contemporary music. Enrique Tom?s is an engineer and composer of interactive sound systems interested in sound art and computer music. He has participated in festivals such as Ars Electronica, Sonar, Observatori, to name a few, and currently works in Futurelab and Ars Electronica. This event is organised by LABoral in collaboration with Fundaci?n Municipal de Cultura of Ayuntamiento de Gij?n. + INFORMATION: _http://www.laboralcentrodearte.org <http://www.laboralcentrodearte.org/profesionales/proximos/39> _http://www.escoitar.org/notours/ <http://www.escoitar.org/notours/> From m at 1010.co.uk Tue Mar 10 17:48:58 2009 From: m at 1010.co.uk (m) Date: Tue Mar 10 16:49:14 2009 Subject: [spectre] xxxxx_micro_research workshops: 9_open_kirlian//10_[Out of] Control with Gijs Gieskes Message-ID: <mybts4qt.fsf@xxxxx.xxxxx> A new series of weekly workshops and monthly salon events at xxxxx_micro_research [Berlin]; an independent research centre focusing on the expanded construction and experience of free software and open hardware. Calendar: March 14th 2009: open working group [Kirlian photography] March 21st 2009: [Out of] Control with Gijs Gieskes[NL] [+concert] March 26th 2009: scrying SALON [last Thursday monthly] Forthcoming matter: software radio, hydrogen line, micro-cuisine, kitchen sink chemistry, Kicad, EEG, fiction generation, thoughtography, python coding ... contact if you're interested in leading [un]-related workshops or applying for a micro-residency. //<----------------------------------------------- March 14th 2009 2PM: open working group [Kirlian photography] // presentation the conversion of nonelectrical properties of the object being photographed into electrical ones... with a direct transfer of charges from the object to the photographic plate. [Kirlian and Kirlian, 1961] Kirlian photography effects a transition or translation, a series of exchanges which are subject to varying, over-determined interpretations. Photographic emulsions and imaging techniques are explicitly opened to the electromagnetic, acting as a medium for another form of perception, an exchange primarily between biologic systems and presencing or bringing to light. open_kirlian is the first in a new series of working groups projecting the intense, collective one day investigation of diverse research fields relating to core concerns. The open_kirlian working group will explore the domain of Kirlian photography, from the production of a high frequency, high voltage supply, through experimentation with varying photographic processes and techniques towards the assessment of Kirlian process images using [in]organic specimens under varying conditions. Participants are welcome to bring relevant documentation, high voltage supplies or components, digital or analogue cameras or materials, objects to be imaged within the Kirlian process. All participants take part at their own risk. The working group will briefly present the afternoon's research at 8PM. All welcome. References: http://www.uoguelph.ca/~antoon/circ/hv/kirlian/kirlian.html http://www.imagesco.com/articles/kirlian/07.html Fee: 5 euros (parts and food, presentation: free) Please email m@1010.co.uk to reserve a place (strictly limited) ---_______ Background: 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 at pickledfeet have included Martin Kuentz (prd@scrying.org), 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/), Florian Cramer (http://cramer.plaintext.cc:70/), Brendan Howell, jo FRGMNT grys(http://tob.de.vu/), mikomikona http://www.zuviel.tv/mikomikona.html, Antony Hall (http://antonyhall.net) xxxxx_micro_research, pickledfeet, Linienstrasse 54, Berlin 10119 U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl. Telephone: 3050187482. xxxxx_micro_research is supported by Hauptstadtkulturfonds, Berlin 2009 http://1010.co.uk/org/workshop.html http://www.1010.co.uk/org/xxxxx_micro_research.html http://pickledfeet.com From drew at futuresonic.com Tue Mar 10 16:52:32 2009 From: drew at futuresonic.com (Drew Hemment) Date: Tue Mar 10 16:52:53 2009 Subject: [spectre] Futuresonic 2009 - Final Days for Early Bird Registration Message-ID: <B25FAB64-6292-4287-8115-206A5B323F85@futuresonic.com> Please forward - Final Days for Early Bird Delegate Registration: till Fri 13 March FUTURESONIC 2009 13-16 May 2009, Manchester UK Urban Festival of Art, Music and Ideas http://www.futuresonic.com In 2010 Futuresonic will return as FutureEverything |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Futuresonic 2009 |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Now in its 14th year, Futuresonic is an international festival featuring world premiers of astonishing artworks, an explosive city- wide music programme, and visionary thinkers from around the world. Featuring 50,000 festival visitors and 300 artists at 100 events in a city-wide urban festival experience. Final Days for Early Bird Delegate Registration: till Fri 13 March |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Art |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Futuresonic's 2009 art programme is more ambitious and relevant than ever. A forest in the gallery grown from Joseph Beuys' acorns, a project engaging the population of Manchester in monitoring climate and biodiversity, and John Lennon's Imagine ringing out on cathedral bells in Liverpool. Themes include society, technology and the city plus this year Environment 2.0. Art exhibition across Manchester and beyond, centred at the CUBE Gallery. All Art events are free http://www.futuresonic.com/art |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Music |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| All Music events are on sale now. From the breathtaking AV performance of Mexican electronica pioneer Murcof and the lo-fi future folk of LA's Ariel Pink, to legendary NYC hip-hop crew Anti-Pop Consortium, the driving doom metal of Electric Wizard and a highly anticipated UK performance from Icelandic composer Johann Johannsson, this is the best, most explosive, all-encompassing Futuresonic music lineup to date. For full listings and to buy tickets visit http://www.futuresonic.com/music |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Social Technologies Summit |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Delegate Passes are now on sale. Book before the 13th March for special ?80 Early Bird rate. The Social Technologies Summit is the place where the technology and digital sectors connect with the creative vision of the international digital arts community. A leading international conference where 500 opinion formers, futurologists, artists, researchers and technologists to explore the latest upgrade affecting today's digital culture. Leading international speakers include Stowe Boyd, Jamais Cascio, Rachel O'Connell, Adam Greenfield and Tom Ilube. Register as a delegate online at http://www.futuresonic.com/conference |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| EVNTS |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| The Futuresonic EVNTS strand is a festival-within-the-festival showcasing the best new and original events, performances and creative happenings. An innovation unique to Futuresonic, EVNTS is a place to discover the genres, artforms and stars of tomorrow and takes place across the entire city centre. EVNTS is a 'wiki-festival' which throws open the doors of the festival to new and innovative event organisers and artist groups. EVNTS is 5 years old this year! To see the full list of the 2009 EVNTS award winners visit http://www.futuresonic.com/evnts |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Volunteers |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Futuresonic offers a range of opportunities to get involved through volunteering. In the lead up and during the festival this may include tasks in marketing, production, artist liason and front of house. Get in touch if you'd like to be involved in making the festival a great success. Contact: volunteers@futuresonic.com http://www.futuresonic.com/getinvolved |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| The Festival |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Futuresonic Urban Festival of Art, Music and Ideas is an international festival now in its 14th year occupying the orbits of both digital culture and music. It combines the Social Technologies Summit with art and music events, exhibitions and live performances across the city. 13-16 May, Manchester UK Transforming the city into a space of experimentation, making it come alive Futuresonic is presented by FutureEverything CIC. It is a Regularly Funded Organisation (RFO) of Arts Council England North West, a pillar event of Manchester City Council and is supported by the Paul Hamlyn Foundation. FutureEverything was shortlisted for the highly acclaimed 2009 Lever Prize. Futuresonic is presented in partnership with ImaginationLancaster http://imagination.lancaster.ac.uk , a major new research lab at Lancaster University. In 2010 Futuresonic will return as FutureEverything http://www.futuresonic.com #futr09= From lotu5 at resist.ca Wed Mar 11 04:02:29 2009 From: lotu5 at resist.ca (dj lotu5) Date: Wed Mar 11 04:02:52 2009 Subject: [spectre] Sat, Lui Velazquez Opens New Space with New Show Message-ID: <49B729C5.7090908@resist.ca> Come out Saturday night and celebrate the opening of our new space, with much more space! Please pass this on to anyone interested... Intimate Simulations Grand opening of Lui Velazquez 2.0 Saturday March 14th / Sabado 14 Marzo 7-9pm Featuring the work of: Susy Bielak Dream Addictive Lab Elle Mehrmand Zac Montanaro Priscilla L?zaro Rabago Co-curated by Katherine Sweetman, Micha C?rdenas and Felipe Zu?iga Lui Velazquez Calle Jos? Maria Larroque #273. 2do Piso, Int. 6, Colonia Federal. Tijuana, Baja California. Mexico, C.P. 22 300* * flyer at: http://luivelazquez.com/lui_card1 directions at: http://luivelazquez.com/directions // Intimate Simulations // In contemporary western society, we have developed an intimate relationship with our simulations. Both simulation and reenactment have become part of our daily lives, and we are familiar with their logics. Simulation is so deeply embedded in our thinking, that many of our most important decisions are made based on simulation, such as the dropping of bombs. Yet simple, personal decisions in our daily lives are also made on simulations, such as weather simulations. In our homes at night, we watch the news and see reenactments of crimes. Our political struggles are influenced by the reenactments of the lives of historical figures and moments, such as the recent film 'Milk'. Scientists rely on the logic of simulation to inform their decisions and conclusions, making the most sacrosanct act of 'proof' in our society, based on a simulation of, for example, biological behaviors. Legal decisions depend on reenactments such as in the assassination of JFK. In Simulacra and Simulation Baudrillard quotes Ecclesiastes saying "the simulacrum is never what hides the truth-- It is truth that hides the fact that there is none. the simulacrum is true." Today this idea still holds great significance as new forms of simulation and reenactment work themselves into our most private moments. Artists are directly engaging with the logics of simulation and reenactment, using their vernaculars and exploring their dimensions and implications. In this show, we are presenting a number of pieces which deeply engage with simulation and reenactment. In Suzy Bielak's "Quake/Temblor", a reenactment of the Mexico City earthquake of 1985, we witness a reenactment of a moment from her personal history, using the technologies of scientific simulation. Elle Mehrmand's "w3eks.." simulates her memory of 3 weeks of her life, providing an intimate reliving of her experience. Priscilla L?zaro Rabago's performance and video both contains and recreates a puppet show, creating a nested topology of copies and simulations of humanness. Zac Montanaro's "Missing Priest Puts Focus on Cluster Ballooning" reenacts a political act of communication through low tech border disturbance gestures. While Dream Addictive's Untitled_Mood is a simulator of a virtual mirror with a memory, in which the viewers intimtate experience of their own image in the mirror is fractured and doubled through the memory of the mirror itself. These pieces explore multiple trajectories of simulation and evoke its place, embedded in our lives, between us and ourselves. More information about Lui Velazquez and past shows at http://luivelazquez.com -- micha c?rdenas performance /social media / public culture C(a)lit2 Researcher, http://bang.calit2.net CRCA Researcher, http://crca.ucsd.edu MFA Candidate, UCSD, http://visarts.ucsd.edu MA, EGS, http://egs.edu blog: http://bang.calit2.net/tts From lotu5 at resist.ca Thu Mar 12 00:29:08 2009 From: lotu5 at resist.ca (dj lotu5) Date: Thu Mar 12 00:29:35 2009 Subject: [spectre] Lui Velazquez Gallery Announces New Larger Space and new Advisory Board Message-ID: <49B84944.4020100@resist.ca> FOR IMMEDIATE RELEASE Lui Velazquez Gallery Announces New Larger Space and new Advisory Board Contact: Katherine Sweetman, Director 619-838-7666 me@katherinesweetman.com Micha C?rdenas, Curator 619-750-8851 mcardenas@ucsd.edu Felipe Zu?iga, Curator and Co-Founder felipe.zunigaglez@gmail.com Where: Lui Velazquez Calle Jos? Maria Larroque #273. 2do Piso, Int. 6, Colonia Federal. Tijuana, Baja California. Mexico, C.P. 22 300* * Lui Velazquez, a space for transborder, transdisciplinary dialog and art located just a few feet from the turnstiles of the US/Mexico border crossing, would like to announce our two new expansions. Lui Velazquez will be moving into a new space, three times the size of its previous location. The grand opening of the new space will coincide with the exhibition "Intimate Simulations", opening on Saturday, March 14th from 7-9pm. The show features the work of Susy Bielak, Dream Addictive Lab, Elle Mehrmand, Zac Montanaro, Priscilla L?zaro Rabago and was curated by Katherine Sweetman, Micha C?rdenas and Felipe Zu?iga. More details about the opening are at http://luivelazquez.com. The new location will be the site of Lui Velazquez's series of programming for the year entitled "Poetry, Politics and Pedagogy", focusing on the intersections of these three topics. The series includes performances, workshops and discussions including Dream Addictive, the ALTBIT project, Upgrade! Tijuana, UCSD MFA candidates Elle Mehrmand and Lesha Rodriguez and many other artists and collectives from Tijuana and San Diego. We are very happy to announce our expansion and are happy to accept project proposals from artists who seek to further our mission of creating cross border community and a space for critical dialog supported by transdisciplinary practice. In addition to this exciting new move, Lui Velazquez is announcing the inauguration of its new advisory board. The board consists of Teddy Cruz, Adriene Jenik, Ricardo Dominguez, Louis Hock, Lucia Sanroman, Robert J Sanchez and Bill Kelley. The board's role will be to provide valuable feedback on our direction, to help establish relationships with artists and institutions and to suggest possible avenues for funding. Teddy Cruz? work dwells at the border between San Diego, California and Tijuana, Mexico, where he has been developing a practice and pedagogy that emerge out of the particularities of this bicultural territory and the integration of theoretical research and design production. Teddy? Cruz has been recognized internationally in collaboration with community-based nonprofit organizations such as Casa Familiar for its work on housing and its relationship to an urban policy more inclusive of social and cultural programs for the city. He obtained a Masters in Design Studies from Harvard University and the Rome Prize in Architecture from the American Academy in Rome. He has recently received the 2004-05 James Stirling Memorial Lecture On The City Prize and is currently an Associate Professor in public culture and urbanism in the Visual Arts Department at UCSD in San Diego. Ricardo Dominguez is a co-founder of The Electronic Disturbance Theater (EDT), a group who developed Virtual-Sit-In technologies in 1998 in solidarity with the Zapatista communities in Chiapas, Mexico. He was co-Director of The Thing (www.thing.net) an ISP for artists and activists from 2000 to 2004, as well as Senior Editor from 1996 to 1999. He is a former member of Critical Art Ensemble. Ricardo?s performances have been presented in museums, galleries, theater festivals, hacker meetings, tactical media events and as direct actions on the streets and around the world. Louis Hock began making films when he was studying psychology and poetry at the University of Arizona, graduating with a BA in Psychology in 1970. In 1973 he received an MFA from the School of the Art Institute of Chicago. Before joining the Visual Arts Department in 1977, he established the film program at the University of Texas at Arlington. In the fall of 1997 Hock participated in inSITE97, an international exhibition spanning the U.S./Mexico border region with his installation, International Waters / Aguas Internacionales. Poinsettia, a multimedia installation by Hock, was commissioned by the Ex Teresa Arte Actual in Mexico City in 2000/01. The work centered on the Flor de Noche Buena (the Poinsettia plant), and its emblematic relationship to U.S.& Mexico. La Panaderia in Mexico City exhibited Hock's Piramide del Sol: A monument to Invisible Labor in 2002. In the fall of 2003 the International Center for Photography in New York showed Hock's photos, Nightscope Series, in their traveling (through 05), ?Only Skin Deep? exhibition, curated by Brian Wallis and Coco Fusco. At LAMOCA in the fall of 2004, Hock screened a new media installation, FERAL, as part of the LA Freewaves event. A single channel version of the work was then screened in Chile, Argentina, and Israel. Also in 2004, Hock screened a new digital version of his 1979 cine-mural, Southern California, at the Getty Center a one person event. Hock has been the recipient of numerous awards and grants including the National Endowment for the Arts, the American Film Institute, the Rockefeller Foundation, and California Arts Council (2002). At the University, his research is associated with the Center for Latin American Studies (CILAS) , Center for U.S./Mexican Studies, the Center for Research in Computing and the Arts (CRCA), and the University of California Digital Arts Research Network (DARNET). Lucia Sanroman is a contemporary art curator and is currently Assistant Curator of the Museum of Contemporary Art San Diego. She was born in Guadalajara, M?xico, and educated in Victoria, British Columbia (M.A., 2003, art history, University of Victoria; B.A., 1997, University of Victoria; Fine Arts Diploma, 1989, Victoria College of Art). She has held the position of assistant curator at the Museum of Contemporary Art San Diego since 2006. At MCASD, she has curated numerous exhibitions, including Material Actions, Suburban Sublime, Memory is Your Image of Perfection, and Drawing the Line, critically celebrated group exhibitions that combine collection artworks with new work by invited artists. She is primarily responsible for selecting the artists and organizing the acclaimed Cerca Series of solo exhibitions, where she has worked with regional and international artists, including James Drake, Yvonne Venegas, Brian Ulrich, Hector Zamora, Peter Simensky, William Feeney, Iana Quesnel, Joshua Mosley, Nina Katchadourian, and Javier Ramirez Lim?n. Her current projects include co-curating, with Director Hugh M. Davies, MIX: Nine San Diego Architects and Designers (summer 2009), and an upcoming exhibition of San Diego contemporary artists, as well as a solo exhibition by Los Angeles-based artist Ruben Ochoa. In 2008 Sanroman co-curated, with Ruth Estevez, the group exhibition Project C?vico/Civic Project the inaugural exhibition for El Cubo, the Centro Cultural Tijuana?s new museum expansion. She lives in Tijuana, Mexico, and has published extensively about contemporary art of this city. Adriene Jenik <http://www.adrienejenik.net> is a telecommunications media artist who has been working for over 15 years as an artist, teacher, curator, administrator, and engineer. Her works combine "high" technology and human desire to propose new forms of literature, cinema, and performance. She received her BA in English from Douglass College, Rutgers University and her MFA in Electronic Arts from Rensselaer Polytechnic Institute. Prior to joining the UCSD faculty, Jenik was employed as an engineer in the Blast Jr. development team for Disney Online's Daily Blast. Over the past 15 years she has taught a broad range of electronic media classes at California Institute of the Arts (CalArts), UC Irvine, University of Southern California (USC), and UCLA's New Media Lab. Bill Kelley, Jr. is an educator, independent writer, curator, and critic based in Los Angeles. Bill is the former director and current Editorial Advisor of the journal LatinArt.com and is pursuing his Ph.D. in contemporary theory and criticism at UC San Diego. His most recent projects include Proyecto C?vico: Di?logos y Interrogantes for CECUT (Tijuana, Mexico 2009) and Laboratorio de Arte y Espacio Social for Museo del Banco Central (Quito, Ecuador 2008). Robert J Sanchez is an internationally exhibited and collected artist and arts educator. A Chicano born in Austin, Texas in 1952, Robert graduated with a B.F.A. from Memphis College of Art, a M.A. from The University of New Mexico, and did post-graduate work at Cornell University. His solo and collaborative work includes painting, drawing, text, installations, performances, and video projects. His conceptual base is essentially narrative and the content reflects an on-going interest in the symbiotic relationships between artistic expression and cultural issues that shape community and society. He has had solo exhibitions at the Centro Cultural de la Raza San Diego, the Porter Troupe Gallery in San Diego, at Terrain Gallery in San Francisco, and Casa de la Cultura in Tijuana. Important group shows include the Venice Biennale, the Istanbul Biennial, Fundacio Joan Miro Barcelona, Artist Space New York, and Newport Harbor Museum Biennial. Texts on Sanchez have been published in Barcelona and Helsinki and most recently in ?Contemporary Chicano and Chicano Art?, Bilingual Press, Tempe, AZ. He has worked in collaboratives such as BAW/TAF, Los Anthropolocos, Mobile Toy Theater, and currently is a member of The Infinity Lab. He resides in San Diego and is an Associate Professor of Art at San Diego Mesa College. Lui Velazquez is a contemporary art project that takes the form of a space, a collective practice and a platform. As a project, Lui Velazquez started as an extension of research dealing with relational aesthetics, which included projects from Shannon Spanakhe, Camilo Ontiveros, Felipe Zuniga and Sergio de la Torre dealing with performative, social, media and conceptual gesutres. As a collective practice, Lui Velazquez has established a strategy of interdisciplinary promiscuity, collaborating with dj?s, poets, graphic designers, net labels, musicians, television producers, curators and media activists. As a platform, Lui Velazquez functions as a facilitator of producers outside of the ?mainstream art world?. Lui Velazquez functions as a flexible organization that hosts residencies, collaborations and productions which aims to trouble the flows of distribution and production of cultural expressions in the transborder region of Tijuana/San Diego. Katherine Sweetman is an artist, educator, curator, and internationally exhibited artist in the fields of new media art and documentary video. Her current work deals with online social networking sites and the issues surrounding personal disclosure in the public realm of the World Wide Web. Katherine has a B.A. from Cal-State San Marcos, and an MFA form the University of California, San Diego. She is also currently a part-time instructor at Cal-State San Marcos and has recently completed a summer teaching fellowship the University of California, San Diego. Micha C?rdenas / dj lotu5 / Azdel Slade is a transgender artist, theorist and trouble maker. She is an MFA candidate at the University of California San Diego and holds a Master's degree in Media and Communications with distinction from the European Graduate School and a Bachelor's degree in Computer Science from Florida International University. She is a researcher at CalIT2 and the Center for Research in Computnig and the Arts. Her interests include the interplay of technology, gender, sex, desire and resistance. She is a founding member of a number of art/activism collectives including Sharing Is Sexy, the borderlands Hacklab and the City Heights Free Skool. Her work has been exhibited internationally at museums, galleries, conferences, community spaces and public spaces. She blogs at http://bang.calit2.net/tts and http://secondloop.wordpress.com . Felipe Z??iga's (Mexico City, b. 1978) installations and videos have been shown in Mexico as well as internationally in venues such as the Zacheta National Gallery of Art in Warsaw, Poland; El Centro Cultural Espa?ol (CCE) in Miami, Florida; the Consulate General of Mexico in Los Angeles, California; and Casa del Lago, Mexico City, among others. His recent artistic practice has been focus in the interconnection between body, communication and space. This broad equation has been contracted and expanded regarding he is working in an private-intimate space such as my studio or public spaces such as the border between Tijuana an San Diego. His working field is developed in the intersection between performance, language, and video. There is also an important component about the individual-personal and the collective-social that fluctuates from project to project, i.e. the use of speech quotation of a selected group of people regarding identity politics in one case, to the insertion of intimate statements in the public realm. For more information, see http://luivelazquez.com http://trac.superluser.net/altbit http://theupgrade.net/ http://louishock.info http://specflic.net http://www.thing.net/~rdom/ http://bang.calit2.net http://bang.calit2.net/tts http://secondloop.wordpress.com http://katherinesweetman.com/ # From greg.smith at utoronto.ca Thu Mar 12 06:14:02 2009 From: greg.smith at utoronto.ca (Greg J. Smith) Date: Thu Mar 12 06:14:22 2009 Subject: [spectre] Announcing Vague Terrain 13: citySCENE Message-ID: <49B89A1A.9080406@utoronto.ca> We are excited to announce the launch of Vague Terrain 13: citySCENE, the latest edition of our online digital arts publication. Curated by Greg J. Smith, the issue indexes a wide range of strategies for representing and visualizing urban space. Drawing on the collective talent of an international pool of new media artists and scholars, citySCENE catalogs how cartography, infrastructure and locative media shape perception in the contemporary city. Many submissions also explore more subjective urban experiences and consider notions of vision, acoustic ecology, movement and agency through experiments and interventions staged in a number of global cities. Contributors: Abinadi Meza, Andrea Rojas, Mattia Casalegno & Michael Langeder, Michael Chen & Jason J. Lee, Conor McGarrigle, David Drury, Franke Dresme, Greg Giannis, Hector Centeno, Katharine S. Willis, Michael Surtees, Mitchell Whitelaw, Olga Mink, Ivan Safrin & Christian Marc Schmidt, Thomas Dreher, Tori Foster and Yukiko Bowman. To view the issue please visit http://vagueterrain.net/journal13 Subscribe to the Vague Terrain RSS feed at: http://feeds2.feedburner.com/vagueterrain From director at eaf.asn.au Thu Mar 12 07:14:15 2009 From: director at eaf.asn.au (EAF Director) Date: Thu Mar 12 07:14:54 2009 Subject: [spectre] =?windows-1252?q?Biotech_Art_=96_Revisited__9_April_?= =?windows-1252?q?=96_2_May_2009__?= Message-ID: <ea011e22d30eb92e8cef790fea47c4b3@eaf.asn.au> EXPERIMENTAL ART FOUNDATION Lion Arts Centre North Tce [West End] Adelaide South Australia +61-(0)8-82117505 info@eaf.asn.au www.eaf.asn.au Gallery Hours 11-5pm Tues-Fri. 2-5 Sat Media Release Biotech Art ? Revisited 9 April ? 2 May 2009 exhibition ? symposium ? workshop eaf.asn.au/2009/biotech09.html In his final exhibition project as director of the EAF Melentie Pandilovski revisits a signature theme ? art and biotechnology. Biotech Art ? Revisited includes an exhibition (of the same name), a workshop ? Vital micro-ecologies: splice, dice, duplicate, and a free public symposium ? Life, death & biotechnia. The project plans to tease out connections between art, culture, biotechnology & genomics, with leading Australian and international artists and theorists set to install & present their recent works. exhibition ? Biotech Art ? Revisited Opening 6pm Wednesday 8 April CURATOR Melentie Pandilovski ARTISTS/SCIENTISTS Trish Adams, Bio-Kino (Guy Ben-Ary & Tanja Visosevic), BioHome (Catherine Fargher & Terumi Narushima), Andr? Brodyk, Gary Cass & Donna Franklin, FOaM (Maja Kuzmanovic & Nik Gaffney), Niki Sperou, Paul Thomas in collaboration with Kevin Raxworthy, Tissue Culture & Art Project (Oron Catts & Ionat Zurr) The works in the exhibition will present an array of approaches ? from the humorous and playful to the deadly serious ? from the way we think about the ?origins? of life, the scale and dimensions of living matter, to relationships with nourishment, death, fashion and appearance. Australia?s leading international artists in the field ? Tissue Culture & Art Project ? will exhibit mark II of their award winning NoArk, a bioreactor that houses a ?chimerical blob? or a ?sub-life neo-organism?. What to call these semi-living cells is called to question,? how to think about them at all? BioHome will exhibit/perform The Chromosome Knitting Project, an event that blurs the distinction between home and laboratory, between expert and novice. Guy Ben-Ary & Tanya Visosevic have invented what they call the ?bio-cinematic? which presents ?Bio-Art as a Freak Show? with The Living Screen, whilst Donna Franklin & Gary Cass will display living cloth/skin in Micro ?be? Fermented Fashion. Nanoessense is a foray into nanotechnology by Paul Thomas and Kevin Raxworthy, whilst Andr? Brodyk works with representation at a minuscule scale by developing his own strain of bacteria in the installation Proto-animate19. Niki Sperou is enamoured of the aesthetic and cultural poetics of vegetal micro bacterial chimera in Man a Plant; whilst still in the vegetal world but at a human-scale FOaM takes a political stance in their multi-nodal groWorld, initiating actions using the forces of design, permaculture and technology. FOaM?s mantra is: ?For more serendipity and cross-fertilisation ? minimise borders and maximise edges!? symposium ? Life, death & biotechnia Wednesday 8th April. 10am ? 5pm. Venue: Mercury Cinema. Admission is free CONVENORS Melentie Pandilovski & Linda Cooper SPEAKERS Marcello Costa FAA, Professor of Neurophysiology, Flinders University; Linda Cooper, Director of the Bragg Initiative in the Department of the Premier and Cabinet South Aust; Niki Sperou, Dr Catherine Fargher & Terumi Narushima, Oron Catts, Dr Paul Thomas, Tania Visosevic, Vicki Sowry, Andr? Brodyk, Dr Trish Adams Life, death & biotechnia is a one-day symposium that brings together the artists & scientists participating in the Biotech Art ? Revisited project, along with others involved in the discourses surrounding art/science collaborations. The speakers will present their most recent questions, understandings and misreadings relating to ethical relationships to partial life, the endless limitations and opportunities for artists and scientists to (mis)understand the others disciplines, challenges for all kinds of taxonomies, the methods and manners of the ubiquitous ?infiltration? of biotechnicity into everyday life. Bookings can be made by emailing info@eaf.asn.au. Include your name and those of any others attending with you. * further: eaf.asn.au/2009/biotech09-symposium.html workshop ? Splice, dice, duplicate Tuesday 14 ? Friday 17 April Venue: Flinders University, Health Sciences Building 4.41 Department of Medical Biotechnology APPLY NOW Applications close 20 March 5pm c.o.b WORKSHOP LEADER Niki Sperou As a part of the Biotech Art ? Revisited project the Experimental Art Foundation has organized a workshop titled Vital micro-ecologies: splice, dice, duplicate. The workshop ? led by the South Australian biotech artist Niki Sperou and hosted by the Department of Medical Biotechnology at Flinders University ? will serve as a theoretical and practical introduction to the creation of biotech art. Participation in the workshop is free. Applications are now invited from artists, curators, writers & others interested in participating. In an email addressed to info@eaf.asn.au with the subject line Biotech Art Workshop, tell us in no more than 200 words why you want to attend the workshop, what you hope to get from it etc. Attach a 1 page CV. * further: eaf.asn.au/2009/biotech09-workshop.html For more images, interviews or more detail contact the EAF Program Manager for Design & Publicity Teri Hoskin by email at info@eaf.asn.au or by phone [08] 8211 7505 ?A ghost is haunting the arts, the ghost of biotechnology.? Melentie Pandilovski, The Ghost of Biotechnology: Art of the Biotech Era From nc-agricowi at netcologne.de Thu Mar 12 08:15:44 2009 From: nc-agricowi at netcologne.de (soundNET) Date: Thu Mar 12 08:16:08 2009 Subject: [spectre] SoundLAB VI - soundPOOL Message-ID: <20090312081544.67A01B.5174908C@192.168.0.3> SoundLAB - sonic art project environments http://soundlab.newmediafest.org is happy to launch its 6th edition ----------------------------------------------- SoundLAB VI - soundPOOL sound compositions - a challenge for imagination ----------------------------------------------- "soundPOOL " - represents an exciting composition consisting of soundcreations by 128 soundartists which want to activate the senses, to encourage the listener to dive deeply until the bottom of the pool which is offerring a wide range of unusual soundart works. ---> Erfan Abdi (Iran), Adern X (IT), Rodolphe Alexis (FR), Marco Albert (IT), Jorge Antunes (BR), Gast?n Ar?valo (UY), Oliver Augst & Jessika Ferriol (GER), Elise Baldwin (USA) Andr? Bartetzki (Ger), Adam Basanta (Ca), Gennaro Becchimanzi (IT), Hans Bernhard (A) Max Biasoni (IT), bleedingboy (PH), Sean Burn (UK), Joe Leo Cantrell (USA) Osvaldo Cibils (Uruguay), Alfonso Carrasco Mart?nez (MX), Jen-Kuang Chang (TW) Efthymios Chatzigiannis (GR), Curt Cloninger (USA), Lin Culbertson (USA) Adrian Democ (SK), Paul Devens (B), Dezroyadam (Turkey), David van Dokkum (USA) Robert Dow (USA), Dorsey Dunn (USA), Heloisa Escudero (Brazil) Xerex C.Fang (Taiwan), Flow in (UK), Luca Forcucci (IT), Satoshi Fukushima (Japan) L. Gaab (USA), garlo (F/CA), Erin Marie Gee (CA), Cynthia Gomez (Ar) Max Alexander (USA), Henry Gwiazda (USA), Pieter Gyselinck (B) Susan Wishart Halawi (Aus), Scott F. Hall (USA), Alex Hetherington (UK) Thomas HILBERT (F), Jeremy Hight (USA), Richard Higlett (UK), Fu Fan Hsu (China) Infrason (IT), Yuichi Ito (Japan), Max Jacob (Ger), Claudio Jacomucci (IT), Sirpa Jokinen (FI) Bobby Jones (CR), Markus Jones (UK), Bernadette Johnson (CH) Timo Kahlen (GER), sibyll kalff/missippi goddamn (GER), Thanasis Kaproulias | Novi_sad (GR) Koji Kawai (Japan), Chris Kaczmarek (USA), Noema Khepry (USA), Andras Kiss (HU) Meri von KleinSmid (USA), The Volume (UA/KAZ), Pavel Kopecky (CZ) Bart Koppe (NL), Rainer Krause (Chile), Marco Lampis (IT) Dubravko Lapaine & Hrvoje Niksic (CR), Alain Lefebvre (CA), Daniel Lercher (A), Jessica Leza (USA) Gianluca Licciardi, (IT), Jesus Lopez-Donado (VE), Edwin Lo (China), Kevin Logan (UK) Jarryd Lowder (USA), Sergio Luque (MX), Wittwulf Y Malik (GER), Aymeric Mansoux (FR) John Maters (NL), Wolfgang Peter Menzel (SWE), Luc Messinezis (GR), Gurkan Mihci (Turkey) Anton Mobin (F), Satoshi Morita (Japan), David Mooney (USA), Sayandep Mukherjee (India) Shay Nassi (Israel), Agoston Nagy (HU), Joseph Nechvatal (FR), Meri Nikula (FI) Rudi Punzo (IT), Rovar17 (HU ), Graham Phillips (UK), Per Platou (NO), Rebekkah Palov (USA) Antonella Pintus (IT). Giuseppe Pradella (IT), Debra Petrovitch (AU), Jean-Philippe Renoult (FR) Marko Ritosa /Ritosha/ (CR), Ann Ros?n (SWE), Jedrzej Rusin (POL), Janek Schaefer (UK) Joan Schuman (USA), Ashley Scott (AUS), Koichi Shimizu (Japan), Alexander Sigman (USA) Yolanda Sp?nola (ES), Peter V. Swendsen (USA), Jenny Spiers (AUS), Annemarie Steinvoort (NL) Joe Stevens (UK), Lauren Sopher (USA), M?rk Skog (HU), Sarah Layne Soriano (USA) Adam Stansbie (UK), Morgen Franzjoseph Stary (CA), Tobias Thiele (GER), Michael Trommer (CA) TZ/X - Zolt?n Tonka (HU), unclejim (UK), Juha Valkeap?? (Fi), Corsin VOGEL (Switzerland) Jan de Weille (NL), Rexz Xerex (China), xxxxx/Martin Howse (UK), Vladimir Zykov (USA), zheimeer (PL) --> But SoundLAB VI - soundPOOL is complete only through the component of more than 50 interviews with soundartists participating in this new edition, spotlighting the background of their sound creating For these interviews go to ---> http://sip.newmediafest.org ------------------------------------------------------------------- Visit also the 5 previous SoundLAB editions I-V on SoundLAB - sonic art project environments http://soundlab.newmediafest.org --> corporate part of [NewMediaArt ProjectNetwork]:||cologne http://www.nmartproject.net the experimental platform for art and new media from Cologne/Germany ------------------------------------------------------------------- info (at) nmartproject.net ------------------------------------------------------------------- From ab at mikro.in-berlin.de Thu Mar 12 10:45:40 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Thu Mar 12 10:55:46 2009 Subject: [spectre] Fwd: CIANT LAB 2009 Arts Research Residencies Message-ID: <a0624080ac5de8a15be8e@[172.23.235.247]> From: Pavel Sedlak | CIANT <<mailto:sedlak@ciant.cz>sedlak@ciant.cz> Date: 2009/3/10 Subject: CIANT LAB 2009 Arts Research Residencies With greetings from Prague we would like to announce this call for residents at CIANT LAB PRAGUE. Feel free to circulate the call towards your colleagues and friends. Many thanks in advance for your kind collaboration, Pavel Sedlak CIANT --- CIANT LAB 2009 Arts Research Residencies Media artists from the Czech Republic and beyond, are invited to apply for a three-month arts research residency at CIANT LAB in Prague, Czech Republic, between April to end of 2009. The deadline for applications is Friday the 3rd of April 2009. Artists are offered a media laboratory space, a payment of 1000 EUR per month and access to lab equipment and technical support. The emphasis for this residency is on collaborative research and development in the field of networked/distributed performance. Presently, two positions are on offer: A. Area of 3D modeling (3ds MAX), avatar creation and integration with motion capture systems driven virtual environments, B. Area of interactive sound creation (max/MSP, PD, etc.). CIANT | International Centre for Art and New Technologies (<http://www.ciant.cz/>http://www.ciant.cz) is a non-profit art/science organization with an artist residency, commissions, research, production, promotion, and training programs. CIANT has worked with over 400 artists in the last couple of years supporting interdisciplinary practice, mobility and exchange. CIANT LAB engages with artists and researchers to produce work that challenges use and impact of emerging technologies in arts, culture and society. Selection criteria: The ability to research, interpret and present innovative ideas. Experience in the field of networked/distributed performance. Experience in public presentation of completed work and its proper documentation. Experience of working on fixed term residencies with deadlines. To apply please provide the following: - Project description, Artist Statement and CV - Supporting materials/documentation of previous work. Please send your application to: CIANT (Attn: Pavel Sedlak, Vice-Director), Kubelikova 27, 13000 Prague, Czech Republic. Applications via email will be accepted but must have the Subject: "CIANT LAB 2009 Residency Application". For more information about this opportunity and application process please email <http://sedlak@ciant.cz/>sedlak@ciant.cz. DEADLINE: Friday 3rd of April 2009, 11 PM CET. Selection will take place before the end of March, all applicants will be notified shortly after that. Equal Opportunities CIANT seeks to ensure that no present or potential member of our staff or project participants will be treated less favorably than another on the grounds of age (up to statutory retirement age), class, colour, disability, ethnic origin, gender, marital status, political persuasion or sexual orientation. CIANT LAB premises have limited access. However, we aim to ensure that as many of our activities are as accessible as possible. If you have any particular access needs, please contact us. Association registered in the Czech Republic No. 69061998. --- Join us also at: <http://www.new.facebook.com/group.php?gid=53347391050&ref=ts>http://www.new.facebook.com/group.php?gid=53347391050&ref=ts RECENT NEWS ABOUT CIANT CIANT will run a conference session at SCIENCE BEYOND FICTION: THE EUROPEAN FUTURE TECHNOLOGIES CONFERENCE (<http://ec.europa.eu/information_society/events/fet/2009/>http://ec.europa.eu/information_society/events/fet/2009/) on Wednesday, April 22, 2-3.30 PM, with accepted title "Bridging the Gap between Brain and Machine: New Challenge for Art and Science". We will discuss state-of-the-art and future of BMI (brain-machine interface) technology. <http://ec.europa.eu/information_society/events/fet/2009/documents/programme.pdf>http://ec.europa.eu/information_society/events/fet/2009/documents/programme.pdf Featured current research and co-production projects: 1. GAMA - Gateway to Archives of Media Art <http://www.gama-gateway.eu/>http://www.gama-gateway.eu/ 2. CASPAR - Cultural, Artistic and Scientific Knowledge for Preservation, Access and Retrieval <http://www.casparpreserves.eu/>http://www.casparpreserves.eu/ 3. CO-ME-DI-A - Cooperation and Mediation in Digital Arts <http://www.comedia.eu.org/>http://www.comedia.eu.org From geert at xs4all.nl Fri Mar 13 14:17:51 2009 From: geert at xs4all.nl (Geert Lovink) Date: Fri Mar 13 14:18:21 2009 Subject: [spectre] Call: Open Source Art Works Wanted! References: <49BA563E.3010105@incident.net> Message-ID: <63923C85-81D2-400B-B909-1EFE2D23DA5C@xs4all.nl> > From: KRN <KRN@incident.net> > > Hi all of you! > > [fr ci-dessous] > > I'm presenting a Selection of Open Source Art Works during the > "Journees de la Francophonie" in Dakar on March 19th. > And I need you! > If you have any suggestion to send me, please fill in the small > questionnaire below. > Thank you very much in advance! > KRN:) > > --------- > > OPEN SOURCE ART WORK: > > - Title: > > - Artist/Collective Name: > > - Date: > > - Open source technology / free software used: > > - Short description of the work/process: > > > ---------fr--------- > > Bonjour tout le monde, > > Je pr?sente une s?lection d'oeuvres d'art libres ? l'occasion des > Journ?es de la Francophonie ? Dakar, le 19 mars prochain. > Et j'ai besoin de vous! > Si vous avez des id?es d'oeuvres ? m'envoyer, merci de me renvoyer > ce petit questionnaire rempli. > Merci infiniment par avance, > KRN:) > > --------- > > OEUVRE D'ART LIBRE: > > - Titre: > > - Nom de l'artiste/collectif: > > - Date de cr?ation: > > - Technologie ou logiciel libre utilis?(e): > > - Courte description de l'oeuvre/processus: From istha at nimk.nl Fri Mar 13 15:59:39 2009 From: istha at nimk.nl (Marieke Istha) Date: Fri Mar 13 16:17:01 2009 Subject: [spectre] TERRITORIAL IN/-/FORMATION - Workshops by Linda Hilfling Message-ID: <49BA74DB.6010607@nimk.nl> TERRITORIAL IN/-/FORMATION Workshops by Linda Hilfling March 21 Location: Netherlands Media Art Institute, Amsterdam, http://www.nimk.nl TERRITORIAL IN/-/FORMATION territorial adj 1: of or relating to a territory; 'the territorial government of the Virgin Islands'; 'territorial claims made by a country' 2: displaying territoriality; defending a territory from intruders; 'territorial behavior'; 'strongly territorial birds' [ant: nonterritorial] 3: of or relating to the local vicinity;'territorial waters'[ant: extraterritorial] n 1: nonprofessional soldier member of a territorial military unit 2: a territorial military unit [syn: territorial reserve] in The specific signification of in is situation or place with respect to surrounding, environment, encompassment, etc. It is used with verbs signifying being, resting, or moving within limits, or within circumstances or conditions of any kind conceived of as limiting, confining, or investing, either wholly or in part. In its different applications, it approaches some of the meanings of, and sometimes is interchangeable with, within, into, on, at, of, and among. in- An inseparable prefix, or particle, meaning not, non-, un- as, inactive, incapable, inapt. formation The act of giving form or shape to anything; a forming; a shaping. The manner in which a thing is formed; structure; construction; conformation; form; as, the peculiar formation of the heart. information The act of informing, or communicating knowledge or intelligence. Any fact or set of facts, knowledge, news, or advice, whether communicated by others or obtained by personal study and investigation; any datum that reduces uncertainty about the state of any part of the world; intelligence; knowledge derived from reading, observation, or instruction. This workshop examines the performative gaps in between laws and their structure of participation in offline as well as online territories. A number of casestudies and artistic projects will serve as the starting point for a discussion of the different, yet interacting materialities of territorial information. Physical spaces as well as information architectures are being explored: >From the art of misspelling as an intervention into the corrective info regimes of search engines, to a house on wheels as a circumvention of building regulations or the extra-territorial paradox of virtual embassies. Following these examples, the participants are encouraged to work individually or in groups developing their own interventions or strategies for mapping out territorial in/-/formation. Workshop programme: 11.00-13.00: Introduction Casestudies and projects: As a point of departure for the discussion, Linda will present different cases and projects that explore the greyzone of informational territoriality. In different ways each of the cases points out occurencies where the territorial structures breaks or where their incompleteness are being revealed. 13.00-14.00: Lunch break 14.00-14.30: A discussion of the mornings presentation. Subjects of interest are being defined and participants are selecting working areas. 14.30-16.00: The participants work individual or in groups 16.00-17.00: Roundtable presentations and final discussion. A small reader will be provided online one week before the actual workshop. This reader is voluntary reading, but might be a source of inspiration before or after the workshop. Participants are welcome to bring projects which they are already working on. Feel free to email any questions to info [at] gatepeepin [dot] org . Linda Hilfling (Odense, Denmark, 1975) has a background in studies of filmmaking, architecture, urban planning and media design. Her interest in those fields is founded in an attention to the structures they are part of and how practice is inscribed in but also re-forming these structures. This has lead her to interventions within existing media-structures. Works range from concepts for using ATM-machines or surveillance cameras as local-media platforms to the Misspelling Generator - a firefox extension that circumvents Google's selfcensorship and rigid information structure. She is also the co-curator and initiator of the Art of the Overhead ? a media archaeological festival celebrating the overhead projector ( http://www.overheads.org/ ). Linda graduated at the Danish Royal Academy of Art, School of Architecture, Copenhagen (BA Architecture) in 2003 and graduated at Piet Zwart Institute (MA Media Design) in 2008. Linda stayed as an artist-in-residence at NIMk in 2008. http://www.nimk.nl Date: Saturday March 21, 10.30-17.00h Location: Netherlands Media Art Institute, Keizersgracht 264, Amsterdam Registration: Please register by sending an e-mail + your cv and a brief description of your motivation for attending the workshop to anouk@nimk.nl To ensure a place, please register before March 15. Places are limited to 15. Cost: euro 15,- / 10,- students (incl coffee, tea and lunch) From hatam at drfz.de Sat Mar 14 13:02:07 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Sat Mar 14 13:02:48 2009 Subject: [spectre] Handmade Electronic Music 2d Wkshp with Nicolas Collins Berlin April 20 & 21 Message-ID: <380-2200936141227760@M2W006.mail2web.com> Handmade Electronic Music ? Hardware Hacking Workshops with Nicolas Collins Monday 20 April & Tuesday April 21 11.00-19.00 daily with one hour lunch break Lokation: NK / ElsenStr. 52 (2.Hof) Berlin, Germany Telephone: +49 (0)176 20626386 Course Participation fee: 50? per day Registration is required for this workshop and can only be done via email to: eNKa_NK(at)gmx(dot)de www.myspace.com/enka52 Please register early to ensure a place Places are limited to 20. Hardware Hacking Workshops Description Nicolas Collins presents two hands-on workshops in Hardware Hacking. Assuming no technical background whatsoever, these workshops guide the participants through a series of sound-producing electronic construction projects, from making simple contact microphones, through "bending" toys", to making oscillators and other circuits from scratch. The workshops end with a performance/installation by all participants, and a party to celebrate the publication of the expanded second edition of his book, Handmade Electronic Music ? The Art of Hardware Hacking. April 20: Basic Hacking Alternate microphones (contact mikes, coil pickups, using speakers and headphone as microphones, tape heads, etc.). Homemade transducers for sending sound through objects for physical filtering (cheap "Rainforest"). "Victorian synthesizer" (making an oscillator with just a speaker and a battery). "Laying of hands" on a radio circuit board (the poor man?s Cracklebox). "Circuit Bending" (new noises from old toys). April 21: Advanced Hacking Circuits from scratch: oscillators, tremolo/gate/panner, mixers preamp/distortion, weird analog signal processing. New York born and raised, Nicolas Collins studied composition with Alvin Lucier, worked for many years with David Tudor, and has collaborated with numerous musicians around the world. He lived most of the 1990s in Europe, where he was Visiting Artistic Director of Stichting STEIM (Amsterdam), and a DAAD composer-in-residence in Berlin. Since 1997 he has been editor-in-chief of the Leonardo Music Journal. He is a Professor in the Department of Sound at the School of the Art Institute of Chicago. Collins has the dubious distinction of having played at both CBGBs and the Concertgebouw. www.nicolascollins.com -------------------------------------------------------------------- mail2web - Check your email from the web at http://link.mail2web.com/mail2web From hatam at drfz.de Sat Mar 14 14:24:49 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Sat Mar 14 14:25:11 2009 Subject: [spectre] Max/Msp/Jitter 5 : a Project-Oriented Workshop with Jeremy Bernstein, Peter Castine, John Dekron Message-ID: <380-220093614132449643@M2W031.mail2web.com> Max/Msp/Jitter 5 : a Project-Oriented Workshop with Jeremy Bernstein, Peter Castine, and John Dekron. Participant level: Beginners and Intermediate users. Monday 30 March- Friday April 3rd (Course Work) 11.00-19.00 daily with one hour lunch break Final Presentation Friday April 3rd-5th Location: NK / ElsenStr. 52 (2.Hof) Berlin, Germany Telephone: +49(0)176 20626386 Course Participation fee: 325 ? (Student discount on the purchase of the software up to 30-days post Wkshp) email to: eNKa_NK[at]gmx[dot]de Please register early to ensure a place. Places are limited to 12 Full description of Workshop can be viewed under www.myspace.com/enka52 -------------------------------------------------------------------- mail2web - Check your email from the web at http://link.mail2web.com/mail2web From n0name at gmx.de Sat Mar 14 17:56:41 2009 From: n0name at gmx.de (n0name@gmx.de) Date: Sat Mar 14 17:58:46 2009 Subject: [spectre] 2010 - Das Jahr, in dem wir die Krise bekommen Message-ID: <20090314165641.9840@gmx.net> |<------ Breite: 72 Zeichen - Fixed Width Font: Courier New, 10 ------>| 2010 - Das Jahr, in dem wir die Krise bekommen Der Titel ist phrasenhaft, aber die Eckdaten sind passend: 1967, zur Zeit der schon doch ja grossen Krise des Kapitals in der BRD wurde "2001 - Odyssee im Weltraum" gedreht, 1999 war das Jahr, in dem der Boom der IT-Branche (damals "Neue Oekonomie" genannt und von der Lovink-Schule im Umfeld des "Toywars" als "Tulipomania" gegeiszelt) von 1995 bis 2000 den meisten suspekt wurde, jedenfalls genaehrt von apokalyptischen Jahrtausendwende-Fantasien, 2001 wurde angeblich die Welt am Ort der damals noch erfolgreichsten/erhitztesten Boerse (New York) im September neu geordnet, 2010 sollte die europaeische Agenda zum Abschluss gekommen sein und die EU das staerkste Land der Welt. Interessant ist, dass die Ost-West-Teilung der Welt, 1984, im Jahr des ersten Wuerfels "Macintosh", noch ganz klar einer Friedensbotschaft bedurfte, waehrend also die atomare Bedrohung gross war und Apple wenigstens im Video gegen den Ueberwachungsstaat von Microsoft stand. Allerdings sah Arthur C. Clarke's Buch diese nicht vor, und die Konkurrenz der Nationen ist noch laut dem Text auf der Videohuelle von "2010 - Das Jahr, in dem wir Kontakt aufnehmen" von damals eine zwischen China und der Kooperation (!) der UdSSR mit den USA. Und auch Hans-Werner Sinn vom deutschen Ifo Institut fuer Wirtschaftsforschung weisz: "Wir werden fruehestens im Winter 2010 da sein, wo die USA im letzten Herbst waren [...]." Das bedeutet, dass das amerikanische Raumschiff noch etwas schneller ist, als unseres. Und wirklich, wo "2001" alles versagte, nicht sagte, aber verbilderte, also anders sagte (?) und mystisch, religioes die rationalen Codes austrieb, oder das Versagen des Rationalen, repraesentiert von HAL, zumindest auf rationalistische Double-binds zurueckfuehrte (HAL konnte berechnend seinen Befehlen nicht zugleich gehorchen und nicht gehorchen und zerstoerte dann eine Variable durch Toeten), da wo die Krise der Kommunikation und des Sprechens im reellen Jahr nach dem Zusammenbruch des New Economy ins Jenseits der siegreichen Konsumwelt fuehrte, naemlich zu den Sternen, klaert "2010" plappernd in den Requisiten von 1967, also im Jahr, in dem die EU die Krise oder die Krise die EU erreicht hat, gnadenlos auf. Wenn man nun die im Buergertum herrschende Angst vor der Apokalypse, wie Linke auf den Bahamas vielleicht formulieren wuerden, nimmt, und auf der Suche nach den sich selbst deutenden Zeichen, des immer in der Krise befindlichen Kapitalismus sucht, und alles fein vermengt, haben wir in "2010" dem Film und 2010 dem Jahr etwas vorliegen, was die Remix-Kopie von 2001 dem Jahr, dem angeblichen Beginn des ersten (?) Krieges im 21. Jahrhundert und "2001" dem Film sein koennte. Gibt es selbstentlarvende Artefakte? Ich erinnere mich an den Film "Creature" (ebenfalls 1984) mit Klaus Kinski, einem "Alien"-Verschnitt, in dem relativ coole Raumanzuege aus "2001" getragen werden, "Nazi"-Kinski aber einen proportional viel zu grossen Helm traegt und das Budget fuer einen naturalistischen Ausserirdischen=Kapitalisten nicht mehr gereicht hat. Im Film ("2010"), wo alle Antworten im Computer liegen und der lustige Held sie nur noch aus ihm herausholen muss, der Computer der Tempel und die Maschine des Rationalen der Mission Aufklaerung, den keine Schuld trifft und der nach 2001 (Film und Realitaet) endlich rehabilitiert wird, kann ja schlieszlich doch immer und zugleich nie das eintreffen, was mit der CeBIT und dem neuen Breitband 2008 den Massen versprochen wurde, 2 Mio. Arbeitsplaetze und jedem ein DSL 1000 (max. Download: 1024 kbit/s, max. Upload: 128 kbit/s). Das Versagen ist das Versprechen. Die Botschaft kommt von oben, sie lautet Klassenbruderschaft -- in "2010" retten sich die sowjetischen Kosmonauten mit den US-amerikanischen Astronauten vor dem schwarzen Loch, welches der Galaxis eine neue zweite Sonne gebiert. Wo Kubrick Naturwissenschaft an kosmische Grenzen bringt und Wissen mit dem grossen Unerklaerlichen konfrontiert, Wissen also unueberschreitbare Grenzen hat (Physik endet wo Gott anfaengt), da wird der rehablitierte Rechner in knapp zwei Jahren die unhinterschreitbare filmische Grenze des jetzigen Wissens sein medialisiert-organisiert in einer Maschine, die im Gegensatz zum Film aber nicht geopfert werden kann, um den Tod nah zu erfahren. Die Konkurrenz der Nationen wurde dargestellt als verrueckte Bedrohung (verrueckter Computer, verrueckte Russen) mit der Heilsbotschaft einer geeinten Menschheit. 2010 - Das Jahr, in dem uns die Krise bekommen, wird das eher banal korrigieren, ohne "Lux Aeterna" (Ewiges Licht), sprich ohne Gott. Der Tod Gottes und der Uebermensch sind dann Thema des Links-Nietzscheanischen Seminars. Ali Emas "2010 - Das Jahr, in dem wir Kontakt aufnehmen" Tele 5 Sa., 14.03.2009 20:15 Uhr in: n0name newsletter #136 -- Erscheint in Kuerze in Deiner Mailist -- Nur bis 16.03.! DSL-Komplettanschluss inkl. WLAN-Modem f?r nur 17,95 ?/mtl. + 1 Monat gratis!* http://dsl.gmx.de/?ac=OM.AD.PD003K11308T4569a From ajaco at xs4all.nl Sun Mar 15 23:37:29 2009 From: ajaco at xs4all.nl (Andreas Jacobs) Date: Sun Mar 15 23:37:55 2009 Subject: [spectre] Call For submissions: Post Cultural Interrogations Message-ID: <686DD981-A093-4319-8F46-9754CAB2E7EF@xs4all.nl> Post Cultural Interrogations Link: http://www.nictoglobe.com/moblog.php Deadline: April 30, 2009 What is it that clings us towards our perceived realities? and how can we free ourselves form this behavioral slavery? With regard to the thesis that nowadays we do not exist in a cultural environment anymore, neither in a textual or literate, nor in a visual or iconological. Being existent in a post cultural word leads to some hitherto veiled entities, such as the non-existence of gender or the non existence of polarity, or dogma for that matter Researching these questions is the subject of our call for submission Post Cultural Interrogations Participate? Send your cellphone textphoto's to: ir3abf@nictoglobe.com All entries will be available after 2 minutes Thanks for your participation Andreas Jacobs e: ajaco@xs4all.nl w: http://www.nictoglobe.com From nc-agricowi at netcologne.de Mon Mar 16 08:24:36 2009 From: nc-agricowi at netcologne.de (=?ISO-8859-1?Q?[the=5Fnetwork]?=) Date: Mon Mar 16 08:25:19 2009 Subject: [spectre] Call --> Draft Title: SHOAH Message-ID: <20090316082436.AE9A2FF5.196DC7CE@192.168.0.3> Deadline: 30 September 2009 ----------------------------- [NewMediaArtProjectNetwork]:||cologne http://www.nmartproject.net - the experimental platform for art and new media is planning in 2010-2012 a physical exhibition on the subject of SHOAH and aspects as they are described in the exhibition concept on http://dts.engad.org/blog/?page_id=10 , and is looking for artists, who worked already on the given subject, or who would like to work on this subject. In the focus of interest stand primarily digital media, in first place video/film, but also netart, computer basded multi-media, soundart, digital photography and media installation. Those artists who feel addressed to are encouraged to submit their expression of interest in participating by sending one or more work or concept proposals. The submission form can be found on http://dts.engad.org/blog/?page_id=18 All serious submissions will be collected, reviewed and archived Participating will be possible only on personal invitation. Project blog http://dts.engad.org info (at) nmartproject.net ------------------------- From geert at xs4all.nl Mon Mar 16 16:27:54 2009 From: geert at xs4all.nl (Geert Lovink) Date: Mon Mar 16 16:28:43 2009 Subject: [spectre] Migrants in detention complex Schiphol Airport fight brutality, call for help Message-ID: <62E956A1-2E4F-4222-A57B-4BFB84F0DB70@xs4all.nl> Migrants in detention complex Schiphol Airport fight brutality, call for help M2M Radio, Migrant to Migrant, calls on activists and artists for international collaboration in solidarity Amsterdam, NL. March 2009 --- http://m2m.streamtime.org ---- On the 18th of February the inmates of Block L demanded clear information on their fate. ?How long can they keep us here? Is asking for asylum a crime in this country? Why are we here?? In Block L migrants are detained who are supposed to be deported back home. They did not fulfill the tough requirements to be accepted as a refugee. But it can take a long time, even more than a year, for the Ministry of Justice to find out how to deport a single person, especially when s/he is from a country like Sudan, Somalia or Palestine, where the civil registers are not quite up to date. According to Dutch law the simple fact of not having the proper documents is not a violation. The reason for detaining thousands of migrants is administrative: to facilitate a smooth exit when opportunity knocks. Hunger strike When satisfying answers to their questions were not available from the staff and the director, some 40 of the migrants, decided to insist by sitting down on the ground of the cage for fresh air and refuse to return to their cells. This action was then broken by forcing them one- by-one back to his or her cell, handcuffed and when ?opportune? in isolation cells. Fifty riot police in full gear entered the stage and used ?proportional violence?, in the terms used by the managing director of Penitentiary Institutions in a report of Dutch NOVA TV. Twenty inmates were forced to watch how Surah Keladze (from Georgia) was beaten up, how Ibrahim Hussein (Sudan) was hit in his genitals. That same day 36 of the inmates of Block L went on hunger strike and are now organizing their resistance, their fight for freedom. And they call on us to fight with them. In Dutch detention centers the conditions are worse than in regular prisons. There are women among the men, which is against the law. People have to sleep in paper sheets. There are less facilities for recreation, medical care and communication. This adds to the isolated locations and the lack of family in many cases. This drives many of the detained sans-papiers crazy and mad. Resistance is met by violence: isolation cells, hand cuffs and beatings are regular practices. It is not the first time that a group of inmates starts a protest, but it is a new that inmates manage to communicate directly with activists and advocacy groups in the country of Holland. M2M Radio, Migrant to Migrant, receives daily reports from several outspoken detainees in Block L over the phone. This is made possible by people who donate eleven Euro for phone credit. You can listen to their recorded phone calls at the M2M website: http://m2m.streamtime.org/index.php/2009/now-every-day-block-l-calling-for-freedom/ The number eleven is a direct symbolic reference to the eleven migrants who died in the fire in Block K in October 2005. This fire has been a turning point in the growing social movement rallying against these detention centers and for a humane treatment of migrants. The survivors of the ?Schiphol Fire? are united in their quest for truth and justice and M2M is their platform. The cause of justice for all survivors boils down to the case of the only man that has been accused so far: his name is Ahmed Isa. He was condemned to three years in jail in 2007 and will stand to appeal in spring 2009. Parallel to the proceedings against Ahmed Isa, criminal charges have been brought up by an ad hoc committee of human rights groups and other advocates of the survivors and relatives of the deceased against the two directly responsible ministers accusing them of creating the conditions that made the fire possible and for inhuman treatment of the survivors of the fire. The European Court of Human Rights has endorsed the accusations and this means that for the first time the authorities are brought to account. They have to reply to all points of the accusations. A proper administration of justice is of the highest importance for the well being of the survivors and indeed for their lives. The Dutch detention complex More than three years after the Schiphol Fire no substantial change has been made in the migration politics: migrants are chased, locked up by the thousands and either deported or rotting a way like dead dogs in detention. The lesson learnt by the state is to build new and permanent facilities for detaing migrant, including special child friendly facilities for minors and mothers. At Rotterdam Airport and Schiphol these new prisons will replace the redundant temporary and substandard hangars and containers. Worse even, the Dutch deputy minister is succesfully promoting this Dutch approach as a model for the European Union: Italy, Spain and the UK have adopted the same regiem and the EU has opted for a maximum period of one-and-a-half year of administratieve detention. So far Holland had no legal time limit. Many people find it hard to believe that the Netherlands, a country that poses as a champion of human rights and international justice, is guilty of this systematic violation of human and civil rights. Not only undocumented migrants, also legal immigrants and complete communities and neighbourhoods are disturbed and disrupted by this state policy. It is a policy that goes hand in hand with the wave of xenophobia and anti-islamic nationalist parties. That is why M2M does not hesitate to call this region a frontline in the global struggle for the acceptance of migration as a fundamental freedom of man. Outlawing human beings is not only brutally humiliating, it undermines the core values and the basic rights that any civilized society is held to respect. No borders between us! Cross the line. Break the silence! Every Saturday and Sunday at 2 p.m. People come to perform together in acts of witnessing, protest and solidarity at the fence of the detention complex at Schiphol Oost. Address: Ten Pol, 1438 AJ Oude Meer (bus 187 from Schiphol Plaza) The M2M Foundation promotes free communication of migrants. Look with us, not at us. http://m2m.streamtime.org e: m2m@streamtime.org +31624248872 Donations to Postbank 3452284, Jo van der Spek, Amsterdam. Ref: M2M, Hungerstrike From m at 1010.co.uk Mon Mar 16 22:42:15 2009 From: m at 1010.co.uk (m) Date: Mon Mar 16 21:27:44 2009 Subject: [spectre] xxxxx_micro_research workshops: 10_[Out of] Control with Gijs Gieskes Message-ID: <tz5tp2ko.fsf@xxxxx.xxxxx> A series of weekly workshops and monthly salon events at xxxxx_micro_research [Berlin]; an independent research centre focusing on the expanded construction and experience of free software and open hardware. Calendar: March 21st 2009: [Out of] Control with Gijs Gieskes [+concert] March 26th 2009: scrying SALON [last Thursday monthly] Forthcoming matter: software radio, hydrogen line, micro-cuisine, kitchen sink chemistry, Kicad, EEG, fiction generation, thoughtography, python coding, ultrasonics ... contact if you're interested in leading [un]-related workshops or applying for a micro-residency. //<----------------------------------------------- March 21st 2009 2PM: [Out of] Control with Gijs Gieskes[NL] [+concert] In the future all information might be lost on what a Gameboy is.. so then people can still see the Gameboy and wonder what it was used for... That's why I buried the Gameboys as a symbol of what archeologists might find in the future. [Gijs Gieskes interview] Hardware and software imply control. Wide ranging process is transformed into logic to be embedded within complex (control) systems of economy and being. Control is a promise for the future which is already betrayed by cheap, consumer electronics and desktop-bound software. Data and circuit bending, crash and glitch, celebrate the loss of control. Industrial designer Gijs Gieskes bends and constructs a vast panoply of convertors, translators, sequencers, and controllers morphing signals, web data, music, video, software icons, game levels for performance and play in the no man's land of contemporary control. The one day construction workshop will involve basic electronics and simple scripting for the control of consumer electronic devices using microcontrollers, Arduino, and throwaway logic chips. Participants will also be able to build the hard-soft synth with a kit from Gijs. The workshop will close with Gijs and participants in performance either at micro_research or a venue TBC. Please bring devices for [Out of] controlling such as: - walkmans//any portable cassette or dead media player - small motors - small keyboards - any electronic devices... if it runs on batteries we can give it a try. An Arduino board is also recommended (available from http://segor.de in Berlin) but we will also have all parts available to build a simpler (free) equivalent. About the teacher: Gijs Gieskes is a industrial designer, mostly busy making devices that do things... Often these devices make music. http://gieskes.nl/ http://gieskes.nl/instruments/?file=hard-soft-synth-1 Fee: 10 euros (food, all parts except kits) Please email m@1010.co.uk to reserve a place (strictly limited) ---_______ Background: 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 at pickledfeet have included Martin Kuentz (prd@scrying.org), 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/), Florian Cramer (http://cramer.plaintext.cc:70/), Brendan Howell, jo FRGMNT grys(http://tob.de.vu/), mikomikona http://www.zuviel.tv/mikomikona.html, Antony Hall (http://antonyhall.net) xxxxx_micro_research, pickledfeet, Linienstrasse 54, Berlin 10119 U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl. Telephone: 3050187482. xxxxx_micro_research is supported by Hauptstadtkulturfonds, Berlin 2009 http://1010.co.uk/org/workshop.html http://www.1010.co.uk/org/xxxxx_micro_research.html http://pickledfeet.com From carlos.katastrofsky at cont3xt.net Tue Mar 17 08:22:10 2009 From: carlos.katastrofsky at cont3xt.net (carlos katastrofsky) Date: Tue Mar 17 08:22:44 2009 Subject: [spectre] [carlos katastrofsky] news 01/2009 Message-ID: <fb9095bf0903170022t1da1c8ebq45d66bb15b2e5a27@mail.gmail.com> ++++++++++++++++++++++++++ :: carlos katastrofsky - news :: http://katastrofsky.cont3xt.net :: 01/2009 :: March 16, 2009 ++++++++++++++++++++++++++ CONTENT: [WORK] WEBZEN [WORK] ALL YOU CAN SEE [WORK] INTERFERENCE [COMMISSION] ANTI-BODIES [UPCOMING EXHIBITION] KUBATUR IM FLUC [EXHIBITION SERIES] INTERFERENCE [ONLINE DISCUSSION] CURATING, COMMUNICATION & OPEN SOURCE [TALK] KULT/UR/VERD?CHTIG: DIE GEGENWART IST IMMER UNSICHTBAR [LECTURE] WORKS AND PROJECTS 04-08 [CATALOGUE] ALT CPH [REVIEWS] ++++++++++++++++++++++++++ [WORK] WEBZEN http://katastrofsky.cont3xt.net/home/?p=208 webzen is an attempt to abandon representational thinking, to understand life as utterly art of absent-mindedness and to experience the reality beyond duality and logic and beyond space and time. ++++++++++++++++++++++++++ [WORK] ALL YOU CAN SEE http://katastrofsky.cont3xt.net/home/?p=186 A video, playing with the time-based representation of structures of the digital art production, that are inherent in the system, and the processes attendant to it. ++++++++++++++++++++++++++ [WORK] INTERFERENCE http://katastrofsky.cont3xt.net/home/?p=137 A a phenomenon of simultaneous overlapping. ++++++++++++++++++++++++++ [COMMISSION] ANTI-BODIES: INFECTED http://www.anti-bodies.net/ab.php?pn=infected-selected-artists "KURATOR is collaborating with LX 2.0, Lisbon, Portugal, to develop a programme of new work to infect the Olympics. Artists carlos katastrofsky and Heath Bunting have been selected from an open call INFECTED: VIRAL CALL FOR VIRAL WORK which invited proposals for online commissions that respond to the idea of the 'virus'." ++++++++++++++++++++++++++ [UPCOMING EXHIBITION] IM PRINZIP, ZEITBASIERT June 17, 2009 @ Fluc/Vienna. With Siegfried Fruhauf, Joerg Piringer and carlos katastrofsky. More to be announced. ++++++++++++++++++++++++++ [EXHIBITION SERIES] INTERFERENCE http://cont3xt.net/blog/?p=875 INTERFERENCE is a multipart exhibition shown from December 2008 to March 2009 in Copenhagen and Aarhus (Denmark) at three different exhibition venues: mikrogalleriet, netfilmmakers, and Spanien 19C. ++++++++++++++++++++++++++ [ONLINE DISCUSSION] CURATING, COMMUNICATION & OPEN SOURCE http://cont3xt.net/blog/?page_id=1047 ++++++++++++++++++++++++++ [TALK] KULT/UR/VERD?CHTIG: DIE GEGENWART IST IMMER UNSICHTBAR Talk at periscope (http://periscope.at ; Salzburg, Austria) on Jan. 10th, 2009 ++++++++++++++++++++++++++ [LECTURE] WORKS AND PROJECTS 04-08 Lecture at the Copenhagen Institute of Interaction Design on Dec 8th, 2008 ++++++++++++++++++++++++++ [REVIEWS] http://www.kopenhagen.dk/index.php?id=15983 http://www.kunsten.nu/artikler/artikel.php?russisk+roulette+og+afvaebning http://transition.turbulence.org/blog/2008/10/21/curating-interference-online/ ++++++++++++++++++++++++++ http://katastrofsky.cont3xt.net http://cont3xt.net From marc.garrett at furtherfield.org Tue Mar 17 14:00:10 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Tue Mar 17 14:00:51 2009 Subject: [spectre] 2 New Reviews on Furtherfield March 17th 09. In-Reply-To: <47594D51.1060602@franck-ancel.com> References: <47594D51.1060602@franck-ancel.com> Message-ID: <49BF9EDA.90101@furtherfield.org> 2 New Reviews on Furtherfield March 17th 09. www.furtherfield.org Microcodes by Pall Thayer. Review by Rob Myers. Pall Thayer's Microcodes are short code art pieces written in Perl and presented on a website for viewers to read, download, and execute. Each code piece encapsulates tasks performed by artworks such as portraiture or memento mori. They follow on from Thayer's earlier "Exist.pl", which allegorized life, death and being using running Perl code. The program listings are presented on a modern, neutrally styled, website for download and execution. The code is licensed under the GNU GPL version 3 (or later), so everyone is free to use, study, modify and redistribute it. The use of the GPL should be a given for code art, but far too many artists are happy to take the freedom that they are given by other hackers and not pass it on. Thayer deserves credit for doing the right thing. You don't need to be able to program to appreciate or add to it. It can be taken and modified as an aesthetic as well as executable resource. Its framing as code is clear, but its presentation on a social site and its licensing under the GPL leave its use by other artists, whether programmers or not, open. It frustrates those of us who hoped to use code to draw a line in the sand by using code effectively as a social product and resource. Permlink: http://www.furtherfield.org/displayreview.php?review_id=337 (sans femme et sans aviateur) by Jorn Ebner. Review by Rob Myers. Jorn Ebner's "(sans femme et sans aviateur)" is an atmospheric time-based multi-window web-browser image work that presents an evocative exploration of contemporary Paris. It consists of four series of pop-up browser web windows containing image slide shows which are programmatically arranged in turn on the desktop. The content of each window is static but animated by blurring or scrolling. The frames of the windows are also animated, being opened, closed and placed. Window choreography in net art has a long history, but there's something subtle and satisfyingly compositional about Ebner's windows. They are part of the flow of the story, or absence of story. The build-up of windows on the desktop resembles the way that windows accumulate during the average computer user's working day, only arranged with more intent and precision. Instead of word processor and spreadsheets or web pages and emails the windows present what looks as if it should be a narrative told using photographs of the streets, alleys and parks of contemporary Paris. Permlink: http://www.furtherfield.org/displayreview.php?review_id=336 MORE INFO:> Reviews, interviews & articles: http://www.furtherfield.org/reviews.php About Furtherfield: Furtherfield.org believes that through creative and critical engagement with practices in art and technology people are inspired and enabled to become active co-creators of their cultures and societies. Furtherfield.org provides platforms for creating, viewing, discussing and learning about experimental practices at the intersections of art, technology and social change. More About Furtherfield - http://www.furtherfield.org/about.php From gcox at plymouth.ac.uk Wed Mar 11 00:42:03 2009 From: gcox at plymouth.ac.uk (geoff cox) Date: Wed Mar 18 08:11:07 2009 Subject: [spectre] Art + Politics of P2P Message-ID: <49B6FACB.8080602@plymouth.ac.uk> The Art + Politics of P2P 24 March, 19.00 Arnolfini, Bristol, UK FREE Michel Bauwens Respondents: Matthew Fuller and Olga Goriunova The presentation introduces the work of the Foundation for Peer-to-Peer Alternatives - a clearing house for open/free, participatory/p2p and commons-oriented initiatives. The interest is in how P2P networks challenge hierarchical server-client relations and provide an alternative organisational principle for understanding cultural production and the creation of value. In discussion we aim to explore the potential of this way of thinking to re-energise the production of art following the principle that emergent and radical arts practices can be found in social energies not yet recognised as art. http://blog.p2pfoundation.net/about Michel Bauwens is an active writer, researcher and conference speaker on the subject of technology, culture and business innovation. He is the founder of the Foundation for Peer-to-Peer Alternatives and works in collaboration with a global group of researchers in the exploration of peer production, governance, and property. He teaches at the Dhurakii Pundit University International College in Bangkok, Thailand. http://en.wikipedia.org/wiki/Dhurakij_Pundit_University http://p2pfoundation.net/Bio Matthew Fuller is author of 'Behind the Blip, essays on the culture of software' and 'Media Ecologies, materialist energies in art and technoculture' and is editor of 'Software Studies, a lexicon' amongst other titles. He works at the Centre for Cultural Studies, Goldsmiths and is involved in a number of projects in art, experimental software and media. http://spc.org/fuller/ Olga Goriunova is currently a Lecturer in Interactive Media at the Centre for Cultural Studies, Goldsmiths College. She has been involved in the field of software cultures, co-producing four software art festivals Readme (http://readme.runme.org) and a software art repository Runme.org. She is currently working on a book 'Art Platforms'. http://project.arnolfini.org.uk/cgi-bin/wiki/read.cgi?section=P2P&page=Home organised by Arnolfini and Art & Social Technologies Research group (University of Plymouth), with support from the Pervasive Media Studio/Watershed. http://project.arnolfini.org.uk/ http://www.art-social.net/ http://www.pmstudio.co.uk/ +++ From turbulence at turbulence.org Wed Mar 11 22:46:25 2009 From: turbulence at turbulence.org (Turbulence) Date: Wed Mar 18 08:11:08 2009 Subject: [spectre] Upgrade! Boston: Ursula Endlicher Message-ID: <008801c9a292$d5750230$805f0690$@org> Upgrade! Boston: Ursula Endlicher March 17, 2009; 7:00 - 9:00 pm Massachusetts College of Art and Design 621 Huntington Avenue Boston, Massachusetts, USA http://turbulence.org/upgrade_boston/2009/02/ursula-endlicher/ Ursula Endlicher's work resides on the intersection of Internet, performance and multi-media installation. Since 1994 the Internet has an impact on her practice where she bridges the Web and physical reality. Her focus lies in analyzing the social, political and structural components of the Web while translating its hidden architectures and languages - such as HTML - into choreography for performances, into layouts for visualizations, installations or objects, or into notation for music. Endlicher's recent projects include Website Impersonations: The Ten Most Visited (2006-09), a ten-part Live/Web performance series that utilizes Web Code as choreography. This series as well as the project html_butoh, a web-based participatory performance commissioned by Turbulence.org in 2006, are built on the html-movement-library, a database for small video clips enacting the html language through movement. She created Website Impersonations: The Amazons (.at versus .com), an interactive multi-media installation with real-time web-feed navigable via the "mouse-chair" for which she received a production grant by the Austrian Cultural Forum NY in 2006. A presentation of her web works including Famous For One Spam was commissioned by the Whitney Museum's artport in 2004. Web Performer 1.0 was among the first net art works included into Rhizome's ArtBase in 1999. She produced her very first piece for the Internet - Left/Right - for The Thing Vienna BBS in 1994. More here http://turbulence.org/upgrade_boston/2009/02/ursula-endlicher/ Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org Networked_Performance Blog: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Upgrade! Boston: http://turbulence.org/upgrade New American Radio: http://somewhere.org From turbulence at turbulence.org Thu Mar 12 19:24:54 2009 From: turbulence at turbulence.org (Turbulence) Date: Wed Mar 18 08:11:09 2009 Subject: [spectre] Floating Points 6: Games of Culture | Art of Games Message-ID: <00f401c9a33f$d97684a0$8c638de0$@org> Floating Points 6: Games of Culture | Art of Games http://institute.emerson.edu/floatingpoints/2009/ A Film Screening, Symposium and Workshops with Asi Burak, Anita Fontaine, Jesper Juul, Friedrich Kirschner, Marcin Ramocki, Jason Rohrer, Adriana de Souza Silva, Mushon Zer-Aviv DATE: March 20-21, 2009 VENUE: Emerson College, Boston + streamed live on the web and in Second Life FREE and OPEN to the public. Registration details on the website Video games extend beyond the gaming console into nearly every aspect of contemporary life. They are fun. They drive innovation, consumer engagement and employee productivity. Is our culture turning everything into a game? Video Games have had a greater impact on narrative form than any medium since film. They are altering our experience of both virtual and physical space. Gamespace is everywhere and nowhere (McKenzie Wark, "Gamer Theory"). In "Video Game Spaces: Image, Play, and Structure in 3D Worlds", Michael Nitsche introduces five analytical layers - rule-based space, mediated space, fictional space, play space, and social space. How do artists and game designers use these spaces in their creative practice? How does structured play impact our engagement with other people, both online and in urban space? What are the political and cultural implications of gaming practices? Please join us for a lively discussion. Co-Organized and Co-Presented by Emerson College and Turbulence.org Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org Networked_Performance Blog: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Upgrade! Boston: http://turbulence.org/upgrade New American Radio: http://somewhere.org From Info at edith-russ-haus.de Fri Mar 13 10:16:57 2009 From: Info at edith-russ-haus.de (Edith-Russ-Haus) Date: Wed Mar 18 08:11:14 2009 Subject: [spectre] STOLEN ART ein Film von Simon Backes | 19. Maerz 2009, 20 Uhr References: <49B96AB3020000AE0004D292@NI2.stadt-oldenburg.de> <49BA3299020000AE0004D37E@NI2.stadt-oldenburg.de> Message-ID: <49BA3290.CA9C.00AE.0@edith-russ-haus.de> Wir m?chten Sie zu folgender Veranstaltung herzlich einladen | We would like to invite you cordially to the following event STOLEN ART - Ein Dokumentarfilm von Simon Back?s STOLEN ART - A documentary by Simon Back?s Filmpr?sentation | Screening Donnerstag, 19. M?rz 2009, 20 Uhr | Thursday, 19 March 2009, 8 p.m. im Edith-Ru?-Haus f?r Medienkunst in Oldenburg | at the Edith-Russ-Site for Media Art in Oldenburg, Germany ************************************************* STOLEN ART - a private collection, 2008 Ein Dokumentarfilm von Simon Back?s 56 min., franz?sisch/englisch mit englischen Untertiteln New York, 1978: ein unbekannter tschechischer K?nstler mit Namen Pavel Novak sorgt f?r einen Skandal im Kunstbetrieb: unter dem Titel STOLEN ART zeigt er seine aktuellen Arbeiten in einer Galerie in SoHo. An den W?nden h?ngen Gem?lde von Rembrandt, Courbet, Van Gogh und anderen alten Meistern, die Novak scheinbar auf erstaunlich exakte und einf?hlsame Weise kopiert hatte. Allerdings wird Novak`s Courbet-F?lschung von Experten als das Original ausgewiesen, das einige Monate vorher aus einer privaten Kunstsammlung gestohlen wurde. Daraufhin verschwindet der K?nstler bis heute. Der Filmemacher Simon Backes begibt sich 30 Jahre sp?ter mit dieser spannenden Dokumentation auf die detektivische Suche nach Pavel Novak und der mysteri?sen Kunstsammlung. Er befragt bekannte Wissenschaftler und Experten aus Museen, unter anderem in Washington, Prag und St. Petersburg nach Merkmalen von Originalen und ihren Besitzverh?ltnissen, provoziert die Frage nach dem geistigen Eigentum. Was macht das Original aus? Gibt es eine Sch?nheit bzw. Aura auch in der Kopie? Kann Back?s den unbekannten K?nstler Pavel Novak ausfindig machen und ihn nach den Hintergr?nden f?r die Ausstellung und zu seiner Kritik des Kunstsystems befragen? Simon Back?s ist Auto und Filmemacher, studierte an der Filmschule INSAS in Br?ssel. Seine Kurzfilme, Dokumentationen und Fiktionen wurden auf internationalen Festivals gezeigt: Michel Journiac, la philosophie dans le boudin (1994) ; The Fall of the Roman Empire (2003) ; The Last Trick (1999) ; Welcome in Utopia (2001), L'impossible enqu?te (2004) und Gr?goire House (2005), den er zusammen mit dem belgischen K?nstler Lo?c Vanderstichelen realisierte. Der Film wird im Rahmen der aktuellen Ausstellung CORNELIA SOLLFRANK - ORIGINALE UND ANDERE F?LSCHUNGEN gezeigt, die noch bis zum 19. April 2009 im Edith-Ru?-Haus f?r Medienkunst zu sehen ist. Im Zentrum der Arbeiten steht die Frage nach den geistigen Eigentumsverh?ltnissen und der Beziehung zwischen Original und Reproduktion. Die K?nstlerin bezieht sich auf Werke aus Oldenburger Museen, darunter Originale von Horst Jansen ebenso wie Kopien vermeintlicher Rembrandt-Originale, und zeigt exemplarisch die Verwertungskette bis hin zum Verkauf durch ihre Bildagentur http://www.art-content24.de. Cornelia Sollfrank ORIGINALE UND ANDERE F?LSCHUNGEN 24. Januar bis 19. April 2009 Wir m?chten ebenfalls auf folgende Termine hinweisen: Donnerstag, 26. M?rz und 09. April 2009, 17-20 Uhr Abend?ffnung mit F?hrung von der Kuratorin Katrin Werner um 18 Uhr Kostenlose F?hrungen jeden Sonntag um 15 Uhr. Sonntag, 29. M?rz 2009, 16 Uhr Buchpr?sentation Cornelia Sollfrank EXPANDED ORIGINAL Hrsg. von Sabine Himmelsbach f?r das Edith-Ru?-Haus f?r Medienkunst mit Texten von Jacob Lillemose, Rahel Puffert, Gerald Raunig, Silke Wenk Hatje Cantz Verlag, Erscheinungsdatum: Ende M?rz 2009 Weitere Informationen unter: http://artwarez.org und www.edith-russ-haus.de ?FFNUNGSZEITEN Dienstag - Freitag 14 - 17 Uhr Samstag und Sonntag 11 - 17 Uhr Montag geschlossen Eintritt: 2,50 / 1,50 ? Edith-Ru?-Haus f?r Medienkunst Katharinenstra?e 23 D-26121 Oldenburg fon: +49 (0)441 - 235 25 68 fax: +49 (0)441 - 235 21 61 info@edith-russ-haus.de www.edith-russ-haus.de Sollten Sie keine Informationen mehr von uns erhalten wollen, benachrichtigen Sie uns bitte unter unserer email-Adresse: info@edith-russ-haus.de *********************************************** STOLEN ART - a private collection, 2008 A documentary by Simon Back?s 56 min - french/english with english subtitles New York, 1978: an unknown czech artist named Pavel Novak showed his latest works in a SoHo gallery, under the general title STOLEN ART. There is a Rembrandt, a Courbet, a Van Gogh* all master paintings, seemingly reproduced, with amazing accuracy, by Novak, in a critical effort to reappropriate the art of his predecessors. But shortly afterwards, scandal raised its ugly head: Pavel Novak*s supposedly *reproduced* Courbet was thoroughly examined by experts, who declared it to be the original, that had been stolen from a rich collector*s private home. As for Pavel Novak, he quickly disappeared, and never showed up again. The title STOLEN ART was to be taken more literally than anyone had dared to imagine! At least, as far as the Courbet was concerned*for the true nature of the other pieces *presented* in the exhibition was never clearly defined. Simon Backes questions with this aesthetical detective story the notions of property and originality in Art, considered both as cultural object and as merchandise. He asks experts and scientists from museums in Washington, Prague and Saint Petersburg for the characteristics of originals and the structure of ownership rather for intellectual property. Can there be Beauty without a copyright? Is it possible for Backes to find Pavel Novak and trying to find out what became of that strange artist. Backes studied film direction at the INSAS film school in Brussels. He has written and directed several short and medium-length documentaries as well as fiction films (The Last Trick, 1999 ; Welcome in Utopia, 2001) and has co-directed, with Belgian artist Lo?c Vanderstichelen, a dozen of *fake fiction* films that have been screened in festivals and art galleries in Brussels, Paris, and Berlin (Dood in Brugge / Death in Bruges, 2002; Het Onmogelijke Onderzoek /The Investigation, 2004; Gr?goire House, 2005). This documentary will be presented within the exhibition CORNELIA SOLLFRANK - ORIGINALS AND OTHER FAKES, which can be seen until April 19th at Edith Russ Site for Media Art. The exhibition centres on the question of intellectual property as related to art works that are public property. For the project Museum Shop, a number of original works - all on loan from Oldenburg museums - are exhibited. These works are used to demonstrate an investigation of the utilization chain and lands in the online database of a picture agency http://www.art-content24.de. Cornelia Sollfrank ORIGINALS AND OTHER FAKES On show from 24 January to 19 April 2009 We would like to announce the following events: Thursday, 26 March and 9 April 2009, 5 to 8 p.m. Late Opening with guided tour at 6 p.m. with Katrin Werner, Curator Regular guided tours every Sunday at 3 p.m. Sunday, 29 March 2009, 4 p.m. Book presentation Cornelia Sollfrank EXPANDED ORIGINAL edited by Sabine Himmelsbach with texts by Jacob Lillemose, Rahel Puffert, Gerald Raunig, Silke Wenk; Hatje Cantz Verlag, date of publication: late march 2009 Please find detailed information at http://artwarez.org and www.edith-russ-haus.de OPENING HOURS Tuesday - Friday 2 - 5 p.m. Saturday and Sunday 11 a.m. - 5 p.m. Monday closed Admission: 2,50 / 1,50 ? Edith Russ Site for Media Art Katharinenstra?e 23 D-26121 Oldenburg fon: +49 (0)441 - 235 32 08 fax: +49 (0)441 - 235 21 61 info@edith-russ-haus.de www.edith-russ-haus.de If you don't want to receive our newsletter anymore, please contact us by email: info@edith-russ-haus.de From christoph at wechsel-strom.net Wed Mar 18 08:59:10 2009 From: christoph at wechsel-strom.net (christoph theiler) Date: Wed Mar 18 08:59:28 2009 Subject: [spectre] Kompositionen gesucht - =?windows-1252?q?=D6sterreich_bekommt_ein?= =?windows-1252?q?_Piefkedenkmal?= Message-ID: <49C0A9CE.5040107@wechsel-strom.net> ============================================ KOMPOSITIONEN gesucht ? CALL for COMPOSITIONS ============================================ Gesucht: Kompositionen f?r Oboe, Fl?gelhorn (B) und Glockenspiel (und/oder kleine Trommel ? 1 Musiker/in) Dauer: zwischen 30 Sekunden und 2 Minuten Einsendeschluss: 30. Juni 2009 Auff?hrung: 09.09.09 in G?nserndorf bei Wien Einsendungen mit Partitur und Einzelstimmen sowie einem kurzen k?nstlerischen Lebenslauf und Name, Adresse, Telefonnummer, e-mail, Web (falls vorhanden) an: wechselstrom c/o Christoph Theiler Grundsteingasse 44/1/5 A-1160 Wien Austria e-mail: christoph(at)wechsel-strom.net web: www.piefkedenkmal.at ?sterreich bekommt ein Piefkedenkmal! Am 9. Sept. 2009 wird in G?nserndorf bei Wien das weltweit erste und einzige Piefkedenkmal anl?sslich des 194. Geburtstages des Komponisten aufgestellt und feierlich enth?llt. F?r diesen Festakt werden Kompositionen in der Besetzung Oboe, Fl?gelhorn (B) und Glockenspiel (und/oder kleine Trommel ? 1 Musiker/in) mit einer Dauer zwischen 30 Sekunden und 2 Minuten gesucht. Die eingereichten Werke k?nnen bereits aufgef?hrt sein. Von den Einsendungen werden 12-15 Werke ausgew?hlt, die zur Auff?hrung kommen. Einsendeschluss: 30. Juni 2009 Auff?hrung: 09.09.09 in G?nserndorf bei Wien Nahe liegend ist es, den Charakter der Kompositionen in ernsthafter, heiterer, grotesker, sarkastischer oder humoristischer Weise auf den Themenkreis Marschmusik abzustimmen. Ebenso willkommen sind aber auch Kompositionen, die sich dieser ungew?hnlichen Besetzung in offener, rein konzertanter Form annehmen. Ein Projekt im Rahmen des ?Viertelfestival Nieder?sterreich 09 ? Weinviertel?. From geert at xs4all.nl Wed Mar 18 09:46:05 2009 From: geert at xs4all.nl (Geert Lovink) Date: Wed Mar 18 09:46:40 2009 Subject: [spectre] cfp: media programs and the program of media Message-ID: <150907A5-685E-483D-81B8-75A5AE688B9A@xs4all.nl> Call for Papers: DFG Symposion in Media Studies Date: 21.-24.September 2009 Location: 'Kutschstall im Haus der Brandenburgisch-Preu?ischen Geschichte' 14467 Potsdam, Schlossstrasse 12, Germany Topic: Media programs and the program of media In 2009, the first in an open-ended series of Symposia in Media Studies organized at the behest of the DFG, the Deutsche Forschungsgesellschaft (German national society for scientific research), will be held in Potsdam. In the coming years, Symposia in Media Studies will be held every second year. The idea of the Symposia is to foster the develompent of Media Studies (Medienwissenschaft) in Germany as part of the humanities through a debate about key issues in current and future research. Participants are required to: - hand in an abstract for a contribution to one of the four thematic sections listed below (1 page) by March 31, 2009. - submit the written manuscript of their contribution (no more than 30 pages) by June 30, 2009. - act as respondents to one of the other contributions to the Symposion - participate in discussions for the duration of the Symposion - Further questions, as well as paper proposals, should be addressed to: Prof. Dr. Joachim Paech (Jopaech@aol.com) Correspondence address: Prof. Dr. Dieter Mersch Universit?t Potsdam Institut f?r K?nste und Medien Am Neuen Palais 10 14469 Potsdam Tel: 0331 977 4160 mailto: dmersch@uni-potsdam.de The first Symposion in Media Studies will addresss the topic of Media Programs. The concept of program opens up a variety of productive avenues for approaches to the concept of media itself. Traditionally, programs have been understood as structures, patterns or forms of temporal and discursive ordering in the arts and the mass media. Programming situates media devices between symbolic and technical registers. Anything that can be organized and articulated in a force field of medium and form may be called programmable. We have now reached a point where even live forms seem programmable, requiring an approach to questions of program and programming that addresses issues of gender and power along with issues of medium, form and technology. Accordingly, the concept of program may be seen as programmatic for media studies in general, a platform for a continuous reassessment of the discipline in its relationship to the arts as well as other disciplines in- and outside of the humanities. Dividing the rich and field of connections between program and medium into four major areas of inquiry, the Symposion proposes a two-day schedule of four panels with four contributions per panel. The opening night will be dedicated to a commented musical performance. In addition, the Symposion will be accompanied by a thematic exhibition of programs and artefacts relating to questions of programming in the domain of music, curated by Elena Ungeheuer. Section 1: Programs (Reponsible: Joachim Paech, Konstanz) Section 1 focuses on programs as devices for announcing and structuring religious, political, artistic and mass-mediated events. Time and again, chiliastic expectations and political promises have been laid down in the form of programs. Programs articulate claims to power. Mechanically programmed production processes provide a model for marketing programs such as catalogs and other forms of inventory. Artists use programs to differentiate their work, museums present art in the form of programs and programmatic catalogs. Transitory art forms such as theater, film and music vitally depend on programs for their presentation. Mass media distribute content through programs that identify genres and formats and create patterns that help audiences identify their content of coice. In fact, mass media depend on programs so much that it is hard to imagine such media without programs. Thus, radio and television appear in temporal sequences of various forms of output, while printe programs make broadcast programs accessible by transferring the temporal sequence into the spatial layout of the printed schedule. The task of program schedules is to reduce the improbability for a specific program to find ist audience and to increase the probability that the reception and consumption of a program at a given place and a given time actually takes place. In that persepctive, programs are transformations or, to borrow Luhmann's definition of the term, ?media" with specific operational tasks in the process of mediated communication. The history of programs is largely written by and with an eye to specific institutions (churches, politicl parties, coroporations, groups of artists, etc.). Programs thus raise a complex set of questions: How do programs organize socio- cultural processes that in turn produce new programs? How do - religious, political, artistic and mass media - programs structure events that only become readable and perceptible as events through programs? How have programs evolved over time in specific artistic and mass media contexts? Is the program of Modernity a media program, and how does the program in modernity affect, and inform, isues of gender? Insystematic perspective this section focuses on approaches that study the relationship between program and medium with an eye to the question of how media ?program" the forms in which they appear, i.e. whether through an articulation of independent elements in the sense of Luhmann, or otherwise. Section 2: What is programming? (responsible: Hartmut Winkler, Paderborn) Programming, understood as an activity, first brings to mind the computer. People tell computers what to do. Computing presupposes programming. But do programs necessarily have to be written by humans? Programming always already involves programs, and some programs act on their own. It is no coincidence that some types of computer programs are called ?software agents". But if programs are symbolic constructs, how can we analyzes them in terms of their ?performance"? But it is not jus the software, but the technological basis, the hardware, that raises some fundamenal issues. Taking the ?Berlin key" as his example, Bruno Latour showed that material objects presuppose and induce specific patterns of actions. Should technology best be understood as a form of programming, then? Do material objects determine patterns of use? If so, technological hardware would actually be proramming the user rather than the other way around. And how do we account for the unforeseen consequences of technology and its uses? How does programming relate to intention and factual outome? More generally, the question of programming raises the question of agency and of the validity of theoretical models of social action and competence. How can we discuss programming in terms of power? How powerful is the programmer? It is no coincidence that computer programs always take the form of imperatives. Program and execution are separate areas. Cybernetics as a discipline or a field makes claims of ?control" and ?steering" even through its title. Does the question of programming imply a return of the old logic of maser and servant, of intellectual and physical labor? But then again, agency appears to be distributed and even dispersed between humans and technology. And finally, expanding the view to include other media: Are programs in media other than the computer necessarily related to specific roles and assignments in terms of agency? Are there counter-programs that question and undermine the power claims related to, and implied in, programs? And finally it seems as if programming did not necessarily require consciousness and planning. Are there unconscious forms of ?programming", such as convention and habit? Are genes a form of programming? Are humans programmed by their instincts? If so, how? Is programming a metaphor for biological processes, or is there a litteral sense to the application of ?programming" to ?nature"? And how do the semiotic and technical devices of programming feed back into the unconscious registers of programming? Section 3: What can be programmed? (responsible: Lorenz Engell, Weimar) ?Only worlds that we can foresee can be programmed. Only worlds that can be programmed can be construed and inhabited in a humane fashion." (Max Bense, 1969) Today, we can probably no longer wholeheartedly subscirbe to Max Benses decisive statement, and the wording of the phrase certainly raises questions. Despite all the current talk about the ?programm of life", any direct identification of the ?humane" with the ?programmable" would raise significant objections. But the idenditifaction of ?programmable" and ?foreseeable" seems equally questionable, if not out of date. We have long reach a state where computer programs systematically generate unforseen outcomes that transcend the framework of structured necessity. And finally we should not neglect the fact that constructing and programming are two substantially different ways of world-making, as different as ruse is from knowledge. Rather than being identical, they intersect and, perhaps, complement each other. But the deeper meaning of Bense's statement lies in its value as a polemical document. Bense's statement reminds us that, at one point in history, programming was a heroic mode of defense against a wild, unforeseeable, uncontrollable and inhumane world, a world that needed to be brought under control, much as, or so Bense continues, the metaphorical needed to be brought under the control of mathematics and the problematic under the control of the systematic. But whatever became of this wild world and Bense's heroic gesture of defense in the last fourty-plus years? We can no longer easily determine the boundaries of the programmable. For some time now, for instance, the systematic, the inhabitable world, and the program of intelligence have themselves become the problem, and metaphors now emerge from mathematics rather than being reigned in by mathematics. The unforeseeable and the inhumane have long become programmable. Experiments in programmed creativity make it to museums as easily as artefacts that keep on insisting on the resilience and the very materiality of the material. Even in politics and the economy, in pleasure and love, we tend to carefully delineate and preserve, as if we did not know better, residual spheres of non-programmable emergence and contingency. The concept of the game has become the very essence of the program. But if that is true what, then, is the specific status, technologically, ontologically, and aesthetically, of the programmable? What does the programmable diverge from, how and in relation to what does it unfold? Or have we reached a stage where we can no longer define the programmable by delineating its outer reaches? If so, the world of the programmable could only be analyzed in terms of its internal structures and elements, as a juxataposition and opposition of different competing programs whose interaction and mutual production would form a kind of immanent outside of the programmable within the world of the program itself. What kind of a world would this be? But then again, we can try to understand programming as a form of ordering in a double sense. What we need to study, then, are orderings of orderings, or rather of orders that have to be followed, that generate consequences and thus create linear time and feedback. The key to an understanding of the programmable, then, would be temporality and temporalization, and the programmable would find its boundary in that which resists temporalization, the fleeting instant and the eternal. Accordingly, we would need to contrast program and project and study their relationship. Spatial orderings could appear to be forms of programs, of programming behavior and movement, but they would still function as supplements, or complements, to the programmable. But then, the reverse is possible, too: Only programs are programmable. Only that which already has the form of a program before being programmed can be programmed. If programs function as forms, i.e. as articulations of independent events, then programs depend on media in and through which they articulate a chain of events. But then, media have always already pre-structured these events, however loosely. Accordingly, media and programs may be differenciated, but they can still be seamlessly converted into each other. If so, the perparatory production of programmability would constitute the key function of media. The programmable would be nothing less than mediality itself, and vice versa. Section 4: The Research Program of Media Studies [Medienwissenschaft] (responsible: John Durham Peters (Department of Communication Studies), University of Iowa, USA) Media Studies has a long past but a short history, as Ebbinghaus supposedly once said of psychology. Precipitously coming together in the late twentieth century, the academic field of media studies has been fiercely interdisciplinary in its ambitions and voracious in its interdisciplinary borrowings. For some of its practitioners, media studies is not just one among many competing fields: it is a new meta- field that promises to engulf and govern several older fields by bringing together the natural and the social sciences, the humanities and the fine arts, mathematics and philosophy. On some campuses around the world, departments of media studies recreate the intellectual and disciplinary diversity once found across several faculties. If media are indeed fundamental to political and cognitive order, then media studies endorses a vision of history, culture, and society that promises to rewrite our understanding of the past, present, and future. The last thing to be secured in a science is its foundation, quipped Alfred North Whitehead, and media studies has reached a point in which it needs to shore up and secure its intellectual resources and disciplinary identity. This section proposes to make a critical inventory of the traditions and opportunities as well as pitfalls found in the new blossoming of media studies. To what extent is there a canon of media studies? What are its central methods and questions? What is the legitimacy of the practice of rereading older authors and texts, retroactively baptizing them as media scholars? To what degree are different traditions of scholarship ripe for interdisciplinary dialogue with media studies? To what degree can media studies in the German language exist apart from its strong philological method and philosophical inheritance? To what degree may we incorporate diverse intellectual traditions into the ambit of media studies-such as German idealism, psychoanalysis, American pragmatism, the Frankfurter Schule, Canadian political economy, art history, the sociology of media and Publizistik, Foucaultian archaeology, feminist and critical race analysis, etc.? To what degree is the intellectual heritage of media studies a wish-list or fantasy of noble ancestors? What principles can help produce a useable past for media studies that is equal to the ambition and intellectual excitement of the field? Some specific areas for consideration: Classics: orality and literacy, the Homer problem, Comparative religion: ritual practice as cosmological media History: the record and its transmission as a media problem Literature: the seedbed of modern media studies Law: inscription, filing, and documentation practices Mathematics: paper-machines as the context of mathematical production Medicine: the body as fundamental datum of media studies Music: performance, notation, and reproduction Theology: "media salutis" From nc-agricowi at netcologne.de Wed Mar 18 11:51:22 2009 From: nc-agricowi at netcologne.de (artNET) Date: Wed Mar 18 11:52:02 2009 Subject: [spectre] CologneOFF in France and on Iceland Message-ID: <20090318115122.1397F790.22699D5@192.168.0.3> CologneOFF - Cologne Online Film Festival http://coff.newmediafest.org is happy to present in March 2009 its programs in cooperation with festivals in France and Iceland --> VideoFormes - International Festival of Video and New Media Clermont Ferrand (France) - http://www.videoformes.com - 11-28 March 2009 is presenting in an exhibition the selections --> Women Directors Cut - 13: 13. 13 13 female directors - 13 videos - 13 countries featuring videos by Rahel Maher (Australia), Larissa Sansour (Palestine) Unnur A. Einarsdottir (Iceland) , Oksana Shatalova/Alla Girik (Kazakhstan) Beatrice Allegranti (UK), Ina Loitzl (Austria), Johanna Reich (Germany) Letitia El Halli Obeid (Argentina), Margarida Paiva (Portugal) Sonja VUK (Croatia), Clare Ultimo (USA), Nancy Atakan (Turkey) Silvia Cacciatori Filloy (Uruguay) --> and Videoart from Ukraine curated by Yarina Butkovska (Lviv/Ukraine) featuring videos by Kateryna Babkina, Borys Pasichniy and Julia Pavlovska: Oleg Ushchenko, Olexiy Khoroshko, Viacheslav Poliakov Mykola Kondratenko, Oksana Chepelyk, Yuriy Kruchak: MaxFlood, Svitlana Oleshko & Mykhaylo Barbara --> 700IS Reindeerland Video Festival, Iceland, 21-28 March 2009 - http://www.700.is is screening "Selection 1" from CologneOFF IV - Here We Are! featuring videos by Dario Bardic ( Croatia), Giuseppe Girardi (Italy), Sinasi G?nes (Turkey), Mihai Grecu (Romania) David Jakubovic (USA), Miri Nishri (Israel) Felipe Matilla Alonso (Spain), Daniel Slattnes (Norway) Yin-Ling Chen (Taiwan), Jay Needham (USA), Nhieu Do (USA) -------------------------------------------------- CologneOFF - Cologne Online Film Festival http://coff.newmediafest.org is corporate part of [NewMediaArtProjectNetwork]:||cologne http://www.nmartproject.net info (at) nmartproject.net From phd at paulohartmann.net Wed Mar 18 16:19:02 2009 From: phd at paulohartmann.net (paulohartmanndesign) Date: Wed Mar 18 16:19:36 2009 Subject: [spectre] IV Mobilefest 09 - Call for papers Message-ID: <49C110E6.2050104@paulohartmann.net> IV MOBILEFEST 2009 - International Festival of Mobile Art and Creativity Call for Papers, Projects, Prototypes and Products. THEME How can mobile technology contribute to democracy, culture, art, ecology, peace, education, health and the third-sector? KEY WORDS 3g, mobile applications, interactive architecture, electronic art, mobile activism, bluetooth, cyberculture, live cinema, mociology, culture, democracy, inclusion design, ecology, education, d-i-y, gprs, gps, LBS, innovation, mobile and wireless games, lbs, locative, geotagging, electronic music, mobile music, m-health, m-payment, m-gov, mobile narrative, peace, interactive net performances with mobile and wireless devices, interchange, video production and distribution, augmented reality, open wireless, mesh, social nets, rfid, expanded classroom, health, sms, mobile streaming, wearable technolgies, tendencies, third-sector, citizen video, video call, TV on mobile, wi-fi, wi-max, zigbee, etc. INTRODUCTION Brazil 2009: over 150 million mobile phones. Mobilefest ? International Festival of Mobile Art and Creativity, an event that intends to question and discuss the coming of new mobile technologies in their relations with the most varied sectors of society, being the first international festival of its kind. Our main objective is to provide a multifaceted and heterogeneous environment of discussions, actions and creations that through the virtualities of the new mobile technologies, aim intelligent solutions to solve and discuss questions that afflict contemporary society. The efforts upon new communication technologies is based on the perception of its exponential growth - over 4 billion active mobile phones in the world nowadays - and its crescent use not only in communication between people but in activities related to education, social inclusion, varied artistic productions, entertainment, safety, content production and distribution, making of social nets, activist actions, health, commerce, advertising, etc. HISTORY The I Mobilefest was launched in November, 2006, an international seminar and exhibition, that happened in Sao Paulo, at Sesc Paulista, with free and live transmission over the internet. The seminar counted with the participation of 36 artists and researchers, 16 of which from abroad, and 20 from Brazil. The II Mobilefest (2007) gathered 26 artists and researchers from abroad and 28 Brazilian artists and researchers. We held a 3 day seminar, 2 day boot camp - MobileActive at Mobilefest ? and a 30 day international exhibition at Sesc Paulista Gallery. As its programme grew more widely, the great news were simultaneous events in England (University of Westminster), in Holland, (The Waag Society) and in the US (New York University - ITP and California - USC) through video conferences and presential meetings in those countries. Regarding the audio-visual segment, Mobilefest consolidated the wish of creating an international net of festivals about mobile content production. The event also counted with the launch of recognition awards for the best works and mobile applications, the 1st Mobilefest Awards, that granted best works in the categories of Photojournalism, SMS Writing (poetry and micro-story), videos, moblogs and videologs. Also in 2007 Mobilefest became part of the official calendar of the city of Sao Paulo. Mobilefest?s third edition took place at MIS - Museu da Imagem e do Som (Museum of Image and Sound) and amplified its activities including artistic performances in areas of heavy traffic of Sao Paulo?s citizens like underground stations where over 2 million people circulate daily. The Exhibition and Seminar had 14 foreign artists and researchers and 27 from Brazil, generating excellent background for interchange among them and the audience as well. OBJETICVES * Popularise mobile technology so to contribute with social inclusion through generalisation of knowledge, its forms of usage and possibilities of interaction opened by these new communication medium. * Offer the first specialized awards in recognition of works that use mobile technology * Promote cultural interchange between national and international researchers of this field. * Incite creative thought and production on the new technologies aiming to expand possible hardware and software functions in the mobile technology segment. * Encourage content production in the mobile technology segment in Brazil be it in terms of industrial or independent production. * Make the participation of all those interested in producing and distributing content through mobile communication networks possible. DEADLINE The deadline for call for papers registration is 15th June 2009. Announcement of selected works will happen until 15th July 2009. REGISTRATION Registrations should be sent by 15th June 2009 via email to 2009(at)mobilefest.org with the information as follows below: Full name: Organisation/ Company: Short biography: Age: Abstract: Demo included? YES/NO New tool or version to open during the event? YES/NO Format: Conference / Workshop / Demonstration Internet connection needed? YES/NO Country: City: Landline telephone number: Mobile number: University (optional): Category proposed (democracy, culture, art, ecology, peace, education, health, third sector or ?all? **) ** MOBILEFEST is a transdisciplinary event. The more interconnection of information, the better. NOTE: - Abstracts should be at least 500 words long - Papers should be at least 1000 words long - Papers sent can be written in Portuguese, Spanish, English or Italian - Presentations should be performed in Portuguese or English - Works sent are limited to 45 minute presentation - Paper should be attached in your email in .TXT, .RTF, .DOC or PDF. formats - Technical Rider: installation plan, photos, video and complete description - Send as many projects as you wish, but limited to one by e-mail sent - Workshop / Demonstration - Format: from 30 minute to 2 hour demonstration / workshop WHO HAS PARTICIPATED Adriene Jenik, Alan Kay, Alberto Magno, Alberto Tognazzi, Alexandre Matias, Alvaro U?a, Ami Dar, Amyris Fernandez, Analivia Cordeiro, Andr? Lemos, Andreas Blazoudakis, Angela Bardin, Anilton Salles, Antoni Abad, Armin Medosch, Becky Faith, Brenda Burrell, Bruno Bresani, Camille Baker, Carmen Maia, Carol Mafra, Cesar Jartorelli, Christian Wiener, Chun-Chi Wang, Cl?vis Borges, Cory Ramey, Cyrus Frisch, Daniel Ara?jo, Daniel Flor?ncio, Daniel Oelsner Lopes, David Barnard, David Cavallo, Douglas Nadalini da Silva, Duncan Kennedy, Eduardo Bicudo, Eduardo Henrique Marcondes, Eliezer Muniz, Eve Arpo, Eugenio Tissello, Eva Weber, Evamaria Trischak, Evandri Ferreira, Evgeny Morozov, Fabio Fon, Fabio Josgrilberg, Jared Hawkey, Felipe Albuquerque Pereira, Fernando Teco Sodr?, Gabe Sawhney, Geandre Tomazoni, Geert Lovink, Geoffrey Shea, Georgina Malagarriga, Gilson Schwartz, Giselle Beiguelman, Graham Brown-Martin, Graziela Tanaka, Gustavo Mansur, Gustavo Syllos, Heather A. Horst, Hermes Renato Hildebrand, Hernani Dimantas, Howard Rheingold, Hyejin Choi, Iat? Cannabrava, Irene Karaguilla Ficheman, Jackson Filho, Jane Placca, Jason Lewis, Javier Rodrigo, Jean-No?l Montagn?, Jinwoo Chung, Joan Coll, Jonah Brucker-Cohen, Jorge Lopes Ramos, Juan Carlos Zu?iga Torres, Juca Varella, Julien Ottavi, Karinna Bidermann, Kate Bauer, Kati Hartman, Kati London, Katrin Verclas, Liana Brazil, Lisa Roberts, Lucas Bambozzi, Lucas Longo, Lucie B?langer , Lucio Agra, Mara Gabrilli, Marcello Dantas, Marcelo Nunes de Carvalho, Marcelo Rubens Paiva, Marcelo Tas, Marcia Tiburi, Marco Chiaretti, Mariana Di Stella Piazzolla, Mario Lynch, Maroussia L?vesque, Martin Owen, Maur?cio Hirata, Mauro Rubens, Max Leite, Max Schleser, Mieke Gerritzen, Mimi Ito, Norene Leddy, Oleksandr Demchenko, Otakar Svacina, Paula Carolei, Paulo Henrique Ferreira, Pedro Paranagu?, Rachel Jacobs, Rachel Payne, Renato Cruz, Renato Rollemberg, Riin Kranna-R??s, Rob King, Rob van Kranenburg, Robson Lisboa, Rog?rio da Costa, Ronaldo Sim?o da Costa, Rosana Herman, Roseli de Deus Lopes, Russ Rive, Sandra Rubia da Silva, Sergio Amadeu da Silveira, Shawn Van Every, Sheila Kinkade, Silvia Regina Guadagnini, Simone Freitas, Sofia Oliveira, Soraya Braz, Suely Rolnik, Tadeu Jungle, Tamaryn Nelson, Tarc?sio Bannwart, Toni Eliasz, Victor Rebou?as, Volker Grassmut, Wagner Martins, Yara Guasque, Zico G?es. PARTICIPANT COUNTRIES Argentina, Austria, Bangladesh, Belgium, Brazil, Canada, China, Colombia, England, Estonia, France, Finland, Germany, Holland, India, Italy, Luxemburg, Mexico, Peru, Portugal, Scotland, Serbia, South Korea, Spain, Uruguay, Sweden, USA, Zimbabwe. MOBILEFEST?S NETWORK OF FESTIVALS If you?re part of a Mobile Festival and wish to join this net, please contact us via e-mail at 2009videos(at)mobilefest.org. PARTNERSHIPS NODES + MOBILEFEST LABS Mobilefest has created Mobilefest ?Nodes? in Universities, Media Centres and Research Institutes around the world. If you wish to have your institution linked Mobilefest, please contact us at 2009(at)mobilefest.org. -- + + + + + + + + + + + + + + + + + PAULO HARTMANN DESIGN www.paulohartmann.net phd@paulohartmann.net m: 5511-94531314 From ab at mikro.in-berlin.de Thu Mar 19 08:38:35 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Thu Mar 19 08:47:29 2009 Subject: [spectre] (fwd) book - Programming Electronic Music in Pure Data Message-ID: <a06240883c5e7a6b12fd5@[172.23.235.247]> --english text below-- Bekanntgabe: Pd-Buch ver?ffentlicht Ich freue mich bekannt geben zu k?nnen, dass das gro?e Pure Data (Pd) - Tutorial, das ich dank eines Stipendiums der Musikhochschule Freiburg in den letzten Jahren geschrieben habe, nun online ist in deutsch und englisch. Au?erdem ist es als Buch bei Wolke erschienen. http://www.pd-tutorial.com http://www.wolke-verlag.de/musik_u_t/loadbang.html http://www.buecher-zur-musik.de/assets/s2dmain.html?http://www.buecher-zur-musik.de/53108697370a2cb3f/5310869bc400a7a02.html Pd ist eine professionelle, leistungsstarke Programmiersprache zur elektronischen Klangverarbeitung. Sie ist open source, also frei im Internet erh?ltlich. Dieses Handbuch ist f?r Einsteiger und Fortgeschrittene, die Pd im Selbststudium erlernen wollen. Die dargestellten Patches k?nnen frei heruntergeladen werden. Announcement: Pd Book is released I am pleased to announce that the big Pure Data (Pd) tutorial I wrote in the last years with the help of a grant by the Music University of Freiburg / Germany, is now online, in english and in german. It is also available as a book (paperback) at Wolke Publishing House. http://www.pd-tutorial.com http://www.wolke-verlag.de/musik_u_t/loadbang.html http://www.buecher-zur-musik.de/assets/s2dmain.html?http://www.buecher-zur-musik.de/53108697370a2cb3f/5310869bc400a7a02.html Pd was initiated by American software engineer Miller Puckette, who previous co-developed the well known and similarly structured software Max/Msp. Pd is not commercial software; i.e., it was not developed by a corporation and is not for sale. Instead, it is "open source": its source code is not the (patented) property of a corporation, but is rather freely available to all. One drawback to this is that a detailed operating manual for users who lack programming experience has not existed until now. In contrast to a corporation- which has a monetary interest in ensuring that first-time users can easily operate new software-the open source movement lacks such a driving force to make itself accessible. This book is an attempt to fill that gap. This tutorial is designed for self-study, principally for composers. It begins with explanations of basic programming and acoustic principles then gradually builds up to the most advanced electronic music processing techniques. The book's teaching approach is focused primarily on hearing, which we consider a faster and more enjoyable way to absorb new concepts than through abstract formulas. The patches described are available for download. Gr??e / Regards, Johannes Kreidler www.kreidler-net.de From bbrace at eskimo.com Thu Mar 19 11:43:36 2009 From: bbrace at eskimo.com ({ brad brace }) Date: Thu Mar 19 11:44:26 2009 Subject: [spectre] IV Mobilefest 09 - Call for papers In-Reply-To: <49C110E6.2050104@paulohartmann.net> References: <49C110E6.2050104@paulohartmann.net> Message-ID: <Pine.SUN.4.58.0903190341130.14016@eskimo.com> rinkbait - a 9-minute movie with microsound http://216.70.118.235/rinkbait.mp4 (download/open link with mp4 viewer) http://216.70.118.235/rinkbait.3gp (video ringtone for mobile phones) http://216.70.118.235/rinkbaitringtone.mp3 (mp3 ringtone for mobile phones) ----------------------------------------------------------------------- brad brace sound: http://69.64.229.114:8000 http://bbrace.net/undisclosed.html creative cv: http://bbrace.net/creative-cv.html pdf and sound design: Global Islands Project: http://bbrace.laughingsquid.net/id.html http://bbrace.net/id.html From qrndnc at yahoo.it Thu Mar 19 22:59:07 2009 From: qrndnc at yahoo.it (Domenico Quaranta) Date: Thu Mar 19 23:01:00 2009 Subject: [spectre] =?windows-1252?q?RE=3Aakt!_Reconstruction=2C_Re-enactm?= =?windows-1252?q?ent=2C_Re-reporting=A0at_Galerija_=8Akuc=2C_Ljubljana?= Message-ID: <A3BD8CAB-4E05-4FB4-B66E-D7577EBE2389@yahoo.it> FOR IMMEDIATE RELEASE RE:akt! Reconstruction, Re-enactment, Re-reporting curated by: Domenico Quaranta www.reakt.org Galerija ?kuc Stari trg 21, Ljubljana, Slovenia 25 March ? 17 April 2009 Presentation of the book: 25 March 2009 at 19:00 Exhibition opening: 25 March 2009 at 20:00 Featured artists: Lucas Bambozzi, Vaginal Davis, Janez Jan?a, Janez Jan?a, Janez Jan?a, Eva and Franco Mattes (aka 0100101110101101.ORG), SilentCell Network (Mare Bulc, Janez Jan?a, Bojana Kunst, Igor ?tromajer) Galerija ?kuc is proud to announce ?RE:akt! Reconstruction, Re- enactment, Re-reporting?, the exhibition of the works realized in the last three years within the platform ?RE:akt!? produced by the Slovenian cultural institution Aksioma. During recent years the term re-enactment and the practices it refers to have enjoyed increasing success in the artistic context. On one hand, the success of re-enactment appears to be connected to a parallel, vigorous return to performance art, both as a genre practiced by the new generations, and as an artistic practice with its own historicization. On the other hand the term re-enactment accompanies two phenomena that at least at first glance have very little in common: re-staging artistic performances of the past, and revisiting, in performance form, ?real? events ? be they linked to history or current affairs, past or present. ?RE:akt! Reconstruction, Re-enactment, Re-reporting? tries both to research on the complexity of this concept and to get rid of it, approaching re-enactment not merely as ?live action role-playing? or ?living history? but rather as a strategy for cultural critique, analysis and artistic expression. ?RE:akt!? ? meaning not only ?to act again? but also ?to respond to / to react upon? and ?Regarding: act!?? confronts current ideological and intellectual canons, power structures, policies, and distribution channels by re- enacting selected historical and culturally relevant events. Through processes of analysis, deconstruction, re-enactment and re-reporting, the intermedia research and presentation project ?RE:akt!? examines media?s roles in manipulating perceptions and creating postmodern historical myths and contemporary mythology. Thus, ?RE:akt! Reconstruction, Re-enactment, Re-reporting?, curated by the Italian art critic and curator Domenico Quaranta, will collect ten different approaches to the concept of enaction: from Ich Lubbe Berlin! (2005, SilentCell Network), a take on the 1933 burning of the Reichstag building in Berlin, which explores the contemporary meaning of symbols such as the Reichstag itself, and of concepts such as ?communism? and ?terrorism?; to Das KAPITAL (2006, Janez Jan?a), a performance which re-stages the 1968 occupation of Czechoslovakia by Warsaw Pact forces with the languages of popular street artists; from C'?tait un rendez-vous (d?ja vu) (Janez Jan?a in collaboration with Quentin Drouet), a project that plays with the paradigmatic history of a well known artwork, the film C'?tait un rendez-vous by Claude Lelouch, from ?cinema verit?? to ?media fiction?; to VD as VB (2007), a series of actions in which Vaginal Davis, the ?grande dame? of the queer underground in Los Angeles, dialogues with Vanessa Beecroft's performances. In Mount Triglav on Mount Triglav (2007), the three artists Janez Jan?a, Janez Jan?a and Janez Jan?a re-stage a well known performance of the OHO group from the late Sixties, recently appropriated by the IRWIN group for their Like to Like Series (2004), performing it on the Mount Triglav itself, and then translating it into a monumental golden sculpture; while in Slovene National Theatre (2007), Janez Jan?a translates an infamous fact of recent racism against Gypsies ? known in Slovenia as ?the Ambrus case? - into a piece of theatre, re-invoicing it as it was featured by the mass media. In their Synthetic Performances (2007), Eva and Franco Mattes aka 0100101110101101.ORG reenact on the virtual platform of Second Life a series of historical performances that are all but virtual, raising issues such as body, violence, sex and pain, thus exploring the meaning of these very issues in a virtual world. In SS-XXX | Die Frau Helga (2007), Janez Jan?a (in collaboration with Dejan Dragosavac Ruta) again adds details and proofs of evidence to an ?urban legend? recently circulated on the Net and mainstream media, concerning the presumed creation of a cyber-sex doll by the Nazis. Thus, performance and reenactment are far from being the only strategies adopted in ?RE:akt!?, which also involves strategies such as documentation, remix, re-invoicement, reconstruction and remediation (such as in the project The Day S?o Paulo Stopped 2009 by Brazilian artist Lucas Bambozzi), and media such as photographic print, video, media installation and even architecture (such as in the project Il porto dell'amore, by Janez Jan?a (in collaboration with Bor Punger?i?), an homage to Fiume as an example of pirate utopia). On Wednesday, March 25, ?kuc will host the presentation of the book RE:akt! Reconstruction, Re-enactment, Re-reporting featuring the co- editors Janez Jan?a, artist and director of Aksioma and the italian theoretician Antonio Caronia. The book was published on March 2009 by FPeditions and includes contributions by Rod Dickinson, Jennifer Allen, Jan Verwoert, Antonio Caronia and Domenico Quaranta. More: www.reakt.org/book On Saturday, March 28, SS-XXX | Die Frau Helga (2007), by Janez Jan?a will be presented in a solo show at the Fabio Paris Art Gallery in Brescia, Italy. More: www.fabioparisartgallery.com. On May 22, the exhibition will travel to MMSU ? Museum of Modern and Contemporary Art in Rijeka (Croatia). FREE IMAGES FOR PRESS and MORE INFO: www.reakt.org/press Production: Aksioma ? Institute for Contemporary Art, Ljubljana www.aksioma.org Galerija ?kuc http://www.galerija.skuc-drustvo.si/ Supported by: the European Cultural Foundation www.eurocult.org the Ministry of Culture of the Republic of Slovenia www.mk.gov.si the Municipality of Ljubljana www.ljubljana.si the Italian Cultural Institut in Ljubljana www.iiclubiana.esteri.it/IIC_Lubiana The programme of Galerija ?kuc is supported by the Ministry of Culture of Republic of Slovenia and the City Council Ljubljana-Cultural department. Contact: Marcela Okreti? Aksioma ? Institute for Contemporary Art, Ljubljana Neubergerjeva 25, 1000 Ljubljana, Slovenija gsm : +386 ? (0)41 250 830 e-mail: aksioma4@siol.net www.aksioma.org --- Domenico Quaranta mob. +39 340 2392478 email. qrndnc@yahoo.it home. vicolo San Giorgio 18 - 25122 brescia (BS) web. http://www.domenicoquaranta.net/ "Computers are incredibly fast, accurate and stupid. Human beings are incredibly slow, inaccurate and brilliant. Together they are powerful beyond imagination." Albert Einstein From chiarapassa at gmail.com Wed Mar 18 14:22:57 2009 From: chiarapassa at gmail.com (Chiara Passa) Date: Fri Mar 20 08:50:59 2009 Subject: [spectre] "Over the limbo" out now! In-Reply-To: <d5883bb50903180537xe2e0acawc6db01e7a78cbe10@mail.gmail.com> References: <d5883bb50903180537xe2e0acawc6db01e7a78cbe10@mail.gmail.com> Message-ID: <d5883bb50903180622m5ccbf466p70c6803f8e63e6d5@mail.gmail.com> Dear friends & colleagues, I'm glad to inform you that my new interactive video installation "Over the limbo" is out now at: http://www.chiarapassa.it/overthelimbo.html Thanks & best regards, Chiara -- Chiara Passa chiarapassa@gmail.com http://www.chiarapassa.it http://www.ideasonair.net http://twitter.com/jogador Skype: ideasonair From chiarapassa at gmail.com Wed Mar 18 18:18:14 2009 From: chiarapassa at gmail.com (Chiara Passa) Date: Fri Mar 20 08:51:00 2009 Subject: [spectre] RomaeuropaFAKEFactory Message-ID: <d5883bb50903181018u60c19759v808a84e518a07b44@mail.gmail.com> http://www.romaeuropa.org/ presents [ REFF.erence ] Friday 20th and Saturday 21st, March 2009 @ Rome The international competition RomaEuropaFAKEFactory re-lauches in Rome on March 20th and 21st with two dense days dedicated to the theme "Freedom to Remix": at the Italian Senate, at the Libreria Flexi and at the Neo Club, with a triple event crossing the borders between different spaces and contexts of the metropolis, from institutional ones to the night clubbing scene of via Libetta. The Italian Senate, it its "ex Hotel Bologna" (via di S.Chiara 4), hosts, on March 20th, 10:00 to 14:00 [ REFF.erence ] "Cultural politics and management of intellectual property in the contemporary era" (*) a coference-debate in which the competition becomes the trigger to start up a dialogue on the meanings of art, culture and creativity, on the management of cultural politics, on the relationships between new business models and the law for what concerns copyright, patents and intellectual property, starring REFF promoters, featuring video interventions by Derrick de Kerckhove, Massimo Canevacci, Carlo Infante, with senator Vincenzo Vita summing up and drawing conclusions and perspectives. Among the others: councillor Giulia Rodano, councillor Cecilia D'Elia, Luca Neri, casaluce/geiger synusy@cyborg, Simona Lodi, Arturo Di Corinto, Francesco Monico, Stefano Coletto, Francesco "Warbear" Macarone Palmieri, Gianluca del Gobbo, Valeria "Jemma Temp" Guarcini, Alex Giordano, Davide D'Atri, Guido Scorza, Marco Scialdone, Valerio Mattioli, OtherehtO, Marco Fagotti, Rosella Ongaretto, Francesco Magnocavallo, Gennaro Francione. On March 21st starting at 18:00 let's meet for a [ REFF.ternoon ] at the Flexi Caf? Library, in the heart of Rione Monti, for the presentation of the book "La Baia dei Pirati - Assalto al Copyright" (The Pirate Bay - Assaulting Copyright) (Edizioni Cooper), introduced by Arturo di Corinto; after that the author, Luca Neri, will meet the guests and host a meeting-debate. The evocative ex factory will be animated with the "Flight SynEp" new media art installation by OtherehtO. Following up, starting at 23:00 and into the night, [ REFF.jected ] RomaEuropaFAKEFactory Launch Party In the invisible space of the Neo Club, Rejected invites its rejects to the continuous pirate remix of identities, playing on the concept of inclusion/exclusion and on musical remix, digital, human, experiential, in a series of performances, installations, live VJ sets and DJ sets. in the Red Room: "Empty Mirror", live performance by Global Groove, a couple of visionary unfair artists that have been working on the idea of the noise of fragments for 20 years; "Remixing People" by xDxD.vs.xDxD, the inventor of [A]rt is [O]pen [S]ource and creator of cyber bodies and robotic and software arts, and Kevin Pistone, historical figure of Rome's independent photohraphy scene and founder of the MyJemmaTemp workshop, joining forces with an installation and a photographic set challenging each other disassembling and reassembling people's bodies. All in the frame of ATOMIC, the new qeer party that will instantiate its imaginaries built on indie disco and obscene pop with Bebop on the controls, the exhibits and performances by Martin Dee vs Industria Indipendente. In the Caveau: an environmental interzone running from Zanzibar to William Burroughs, with a 4 DJ squad, 3 VJs and a videoart installation: Opening set with the tech house by Jason K, Neo Resident and promoter of the Bootleg and Fonia parties. Following up, a part of the history to come of the subversive Rome penetrating the world thrugh the paths of D.I.Y. , party culture and the Queer imaginaries of the Phag Off project. Warbear connects plots and configures libertarian dancefloors with a set of Incredibly Strange Techno, mashing up spoken words and vocal samples to 4-quarters narrative structures. Then Bit_Repeat, Rejected resident Djs, with a techno and minimal set. The video setup is curated by LPM, the global meeting of live video performances, providing the best performers from the roster of Flyer Visual Agency. Infidel (Phag Off, L-ektrika,Loaded, Anarchy in the Club), Nikky (Phag Off, Sick Marylin) and Aira (L-ektrika, Kitchen) will alternate at the video controls creating umoral un-pop visions. The BEAT-ify installation will allow you to loose yourself in the extasy of the synesthesia created between berzerk generative cut-ups and the beats of the dancefloor, under the cures of the FLxER team and xDxD.vs.xDxD Kanu, party shooter and Rejected promoter, will be the witness of the party. And the news are not yet over. RomaeuropaFAKEFactory adds two new sections and a new deadline (May 15th 2009) 100Flash, dedicated to GIF art and 100Spaces, dedicated to design, architecture and landscape Starting from March 20th, the new web site will be available: a brand new Open Source platform to manage competitions and a social network. By using it artists will be able to register their remix artworks to the literary (100Quotes), music (100Samples), video (100Cuts), LawArt (legal remix of legislative texts on copyright and patents), and to the two new sections: 100Flash and 100Spaces. More information on the official website of the project www.romaeuropa.org RomaeuropaFAKEFactory is a project by [A]rt is [O]pen [S]ource in collaboration with Torino Share Festival - DegradArte - Istituto per le Politiche dell'Innovazione - BeatPick - ComputerLaw 2.0 - LPM, Flyer Communication - PerformngMedia - FLxER - ShockArt.net - NeRVi - Digicult - Associazione Partito Pirata - Nephogram.net - Nictoglobe - Gennaro Francione - Edizioni Cooper - Les Liens Invisible - A.H.A. - Francesco "Warbear" Macarone Palmieri - Superfluo - Deliriouniversale - My Jemma Temp - ArtsBlog.it - CodiceBinario - PEAM - Artificialia - Biodoll - Ninja Marketing - Arturo di Corinto - Linux-Club - Guido Vetere - The National Cynical Network - NoemaLab - Free Hardware Foundation - Collettivo Nove - Yesmoke - IPJustice - Rejected - casaluce/geiger synusy@cyborg - Fake - Liber Liber - Domenico Quaranta - ESpace paRtout - creActive commUnity - Metromorfosi - Descentro ? Anomolo ? Giovanni Ziccardi ? Wilfied Agricola de Cologne ? Isotype - aStronza - Ramallah Underground - Uqbar - Luisa Valeriani - SIFIR - m-node - muvideo - E32 - Leo Sorge - myMedia - Derrick de Kerckhove - OtherethO - netBehaviour - Milano in Digitale... ... (*) to attend the coference write to: info@romaeuropa.org -------------------------------------------------------------------------- Program Detail .: Friday March 20th, 2009 REFF.erence - 10:00-14:30 conference-debate - Ex Hotel Bologna , Senato della Repubblica via di S. Chiara 4 "Freedom to Remix". Cultural politics and intellectual property management in the contemporary era: presentation of the international competition RomaEuropaFAKEFactory [ ore 10:00 - 10:30 ] REFF Opening: "origins of RomaEuropaFAKEFactory" Salvatore Iaconesi (aka xDxD) Art is Open Source [ ore 10:20 - 11:20 ] Panel 1 "art, culture and creativity in the contemporary era" moderator: Rossella Ongaretto video-intervention by Massimo Canevacci introduction: Francesco "Warbear" Macarone Palmieri roundtable: casaluce-geiger synusi@cyborg, OtherethO, Gennaro Francione, Valerio Mattioli [ ore 11:20 - 12:40 ] Panel 2 "the management of the politics of culture, art and creativity" moderator: Valeria "Jemma Temp" Guarcini introduction: Simona Lodi roundtable: Francesco Monico, Gianluca del Gobbo, Stefano Coletto, Arturo Di Corinto, Ass. Giulia Rodano, ass. Cecilia D'Elia Video-intevention by Carlo Infante [ ore 12:40 - 13:00 ] coffee break [ ore 13:00 - 14:00 ] Panel 3 "economic models and innovation: business and management models for contemporary intellectualproperty" moderator: Luca Neri introduction: Alex Giordano roundtable: Davide D'Atri, Guido Scorza, Marco Scialdone, Marco Fagotti, Francesco Magnocavallo [ore 14:00 - 14:15 ] REFF Perspectives Oriana Persico (NeRVi) video-intervention by Derrick De Kerkove [ ore 14:15 - 14:30 ] Conclusions/greetings sen. Vincenzo Vita (vice president of the Cultural Commission of the Italian Senate) .: Saturday March 21st, 2009 [ ore 18:00-21:00 ] REFF.ternoon Aperitif , presentations, installations Flexi Libreria Caff? - via Clementina 9 Roma presentation of the book "La Baia dei Pirati - Assalto al Copyright" (The Pirate Bay - Assaulting Copyright) introduces: Arturo di Corinto following up, meeting and debate with Luca Neri, author of the book video-installation "Flight SynEp" by OtherehtO [ Ore 23:00-4:30 ] Rejected & Neo Club present REFF.jected Launch Party Via degli Argonauti 18 (corner with Via di Libetta) Red Room Live: Live: Global Groove presenting "Empty Mirror" Djs, Perfos & Exhibit : ATOMIC - Mashing the waste (bootlegs/Mash Ups/Nu Disco) - BeBop/Martin Dee/Sabine Jay & The Atomic Kids Media Art: "Remixing People" by xDxD + Kevin Pistone Foto: Kanu Caveau: Djs: Jason K - Phonia/Bootleg (Tech House) - WARBEAR (Incredibly Strange Techno) Bit_repeat (Minimal Techno) Vjs: Infidel (FLxER/LPM) Nikky (FLxER/LPM) Aira (FLxER/LPM) Media Art: "BEAT-ify" xDxD.vs.xDxD + FLxER Team Foto: Kanu [FREE ENTRY -- Chiara Passa chiarapassa@gmail.com http://www.chiarapassa.it http://www.ideasonair.net http://twitter.com/jogador Skype: ideasonair From ab at mikro.in-berlin.de Fri Mar 20 11:46:00 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Fri Mar 20 11:48:52 2009 Subject: [spectre] Fwd: The Nine of Tarnac - 'we shall speak no more' Message-ID: <a062408c1c5e9240219d8@[172.23.235.247]> (x-posted from nettime and Multitudes-infos) Confronted by an ever more absurd state power, we shall speak no more LE MONDE | 16.03.09 bwo Multitudes-infos list/ Frederic Neyrat For four month now, the legal & media spectacle titled "The Tarnac affair" won't come to an end. Was Julien Coupat to come out of prison for Christmas? For New Year's Eve then? Or would Friday the 13th be his lucky day? No. In the end 'we' will keep him a bit longer in jail, locked into his new role as 'leader of an invisible cell'. Since a few people in power appear to have an interest in letting this charade go on, even beyond the limits of the grotesque, for the sake of collective clarification, we will have to take once more the garb that has been knit for us ("the 9 from Tarnac"). Well then. Firstly. As journos were burrowing into our garbage cans, the cops were fingering our assholes. Not the funniest of experience. For months you have been opening our mail, eavesdropping our phones, harassing our friends and video-tapping our homes. And you delectate in these actions. We, the 'nine', we endure them, like so many others. We have been atomised by judicial procedures, nine times one single individual, whereas you are one administration, one police force, and the one and whole logic of one system. As we stand now, we have been double-dealt, and the stake is already erected. So please don't expect us to play cricket. Secondly. Of course you do desperately need 'individual suspects' making up 'cells' belonging to a 'movement' relating to a certain 'fraction' on the political chessboard. You need all this, because it constitutes your last and only handle on an increasing part of reality, which cannot be longer reduced to 'the society' you pretend to protect. You are right, there is something happening in France, but it is definitely not the rebirth of the 'ultra left' [*N1]. We are merely symbol people, a, rather rustic, crystallisation of the conflict that criss-crosses our times. The media-police edge of a ruthless conflict opposing an order that is collapsing against everything and anyone who dares pretend to survive it. It is rather obvious that when looking at what is going in Guadeloupe, Martinique [*N2], in the banlieues (big cities suburbs) and in the universities, among the wine-growers, the fishermen, the railway workers and the sans-papiers (undocumented immigrants), you will soon need more judges than teachers to control the mess. You don't get it - and don't bank on the sleuths of DCRI (French home security intelligence service) to enlighten you - they're just as clueless. Thirdly. We can but notice that there is much more joy in our friendships and our 'company of miscreants' than in your offices and court houses. Fourthly. Whereas it would appear entirely appropriate to you, given the seriousness of your employ, to question us regarding our political thoughts and our friendships, for us, we do not feel like a duty to talk to you about these matters. No life will ever be entirely transparent to the State and its judicial apparatus. You wanted to shed some light on certain things? You have rather managed to spread obscurity. And as rumour has reached us, in order to escape your glance, the numbers are growing of those who go to demos without mobile phones, who encrypt their messages, and who take the long winding way home to reach their homes. As the saying goes: makes sense. Fifthly. From the start of this "affair", you appear to have deliberately given great credence to the statements of a mythomaniac witness, heard under the cover of anonymity. And you persist, a brave stand we admit, to somehow believe this heap of lies, reviving a practice, delation, that 'honoured' France a few scores of years ago [*N3]. It would be almost moving, if this did not mainly frame the prosecution of Julien Coupat, and hence his ongoing detention. And as if this kind of 'witness statement' was necessary to make arbitrary arrests, like in Villiers-le Bel (Paris suburb) after the riots there. And finally. Given the fact that the margin of liberty left to us is henceforth rather limited, and that the only moments we can escape your clutches are actually the ones in which you subject us to questioning, what you do regularly; And that Julien Coupat has now for the fourth time seen his request for release denied; And that he is our friend; And that he is no more than we are: We are to state that from this day onwards, following the heroic tradition of Bartleby, "we would rather not". Meaning roughly: That we will speak no more till you liberate him, that you abandon the qualification of 'leader' for him, and of 'terrorists' for us all. In one word, that you drop the whole case. For all those, wherever they are, fight and do not resign. For all those who are not suffocated by resentment, and make joy their line of offensive. For our friends, our children, our brothers and sisters, and the support committee. Have no fear, harbour no commiseration. We are not heroes, we are not martyrs. It is precisely because this 'affair' had no legal standing from its very inception that we need to bring the conflict in the realm of politics. What the ever increasing number of attacks launched against us by an ever more absurd political power calls for is a generalisation of collective practices of self-defense everywhere where it becomes a necessity. There are no nine people to be saved. There is a regime to be felled. Aria, Benjamin, Bertrand, Elsa, Gabrielle, Manon, Matthieu, Yldune are, together with Julien Coupat, indicted in what has become known as "The Tarnac Affair". 'Q 'n' D' translation by Patrice Riemens Bangalore, St Patrick's Day, 2009 ------------------ Translator's notes [*N1] "Ultra-gauche" in French. A neologism of sorts coined by interior minister Michelle Alliot-Marie in a bid to distinguish it from traditional extreme left ('extreme gauche) of old. The 'ultra gauche' was deemed to be 'anarchist', 'autonomous' and, of course 'violent'. The '9 of Tarnac' were arrested and lengthily detained after a number of sabotages of hi-speed ('TGV') train lines last autumn, which have not at all been elucidated yet, let alone materially linked to 'the 9'. [*N2] Add Reunion to the list. The French 'overseas departments' in the Carraibic and the Indian Ocean are boiling at the moment, as the chickens come home to roost after years of a colonialism without name, an artificial 'motherland'-oriented economy, ill-mitigated by a pretense of welfare and a reality of increasingly unmanageable clientelist hand-outs culture. [*N3] Authors refer to the collaborationist (with the Nazis) government of Vichy France (1940-45) where the 'citoyens' engaged in settling their private scores with their neighbours by denouncing them to the regime's police or the Gestapo with gay abandon. Official France long time choose to and still would rather like forget this unsavoury page of history. # distributed via <nettime>: no commercial use without permission # <nettime> is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: http://mail.kein.org/mailman/listinfo/nettime-l # archive: http://www.nettime.org contact: nettime@kein.org From istha at nimk.nl Fri Mar 20 12:26:35 2009 From: istha at nimk.nl (Marieke Istha) Date: Fri Mar 20 12:27:30 2009 Subject: [spectre] SYMPOSIUM: Positions in flux: On the changing role of the artist and institution in the networked society Message-ID: <49C37D6B.6070705@nimk.nl> Positions in flux: On the changing role of the artist and institution in the networked society Friday, May 8th, 2009 Organised by Netherlands Media Art Institute (NIMk), Amsterdam Symposium venue: Trouw Amsterdam Wibautstraat 131, Amsterdam www.trouwamsterdam.nl The symposium 'Positions in flux: On the changing role of the artist and institution in the networked society' will center on some of the major parameters for the current and future development of contemporary art. In particular it will reflect on the aspect of cultural sustainability of art projects, art and technology initiatives and art curating. 'Positions in flux' will give floor to international artists, theoreticians, critics, cultural producers and aims to initiate a truly critical debate. The symposium is designed for a broad audience working in the field of contemporary culture and art, with a desire to understand what comes ahead and how to respond to these changes on an artistic or institutional level. 'Positions in flux' will provide a platform and ?thinkspace? for artists, cultural workers, theoreticians and a broader public to envision the future in our field and to provide us with the necessary information to make choices for a meaningful and sustainable development of society and culture. The three panel discussions follow a clear thematic scheme and try to bring in as much expertise and viewpoints as possible. The panels are interlinked and designed to initiate an ongoing discussion among the participants. The symposium will be streamed from the symposium venue, Trouw Amsterdam. Online audiences will have the opportunity to participate in the debate in the live discussion forum. The results of the debate and its main contributions are reviewed and published online on the new Media Art Platform. www.mediaartplatform.org The symposium is part of the 'Here we are ? There we go' programme at the Netherlands Media Art Institute, May 8th ? 10th, 2009 which takes place on the occasion of the Institute?s 30th anniversary. 'Here we are ? There we go' celebrates the Institute?s achievements in these thirty years and plans for the future with an inspiring open house weekend of artist talks, performances, installations, tours and a party. 'Positions in flux' is made possible with the kind support of the Mondriaan Foundation. The conference language is English. Please contact: info@nimk.nl for inquiries ENTRANCE: 15 euro (Students 10 euro). You can buy your ticket in advance at the reception of the NIMk (sale starts May 1th) or you can pay at the venue location until a half hour before the symposium starts. Including tea, coffee, reception at the NIMk at the end of the day RESERVATIONS: Please make reservations by sending you name and contact information to info@nimk.nl Speakers and panels Please note that speakers and times are subject to change. 9:00 ? 10:00 Registration 9:45 Welcome and Introduction by Heiner Holtappels, director of NIMk and Susanne Jaschko, the symposium's curator 10.30 ? 12.30 Panel 1: Art goes politics In this session we will discuss the potential of art to contribute to global and local problems such as religious conflicts, environmental or social crisis. Or is art constrained to raising awareness only? Should art become an agency for political and social affairs at all? How to successfully implement and conduct art projects in zones of crisis? What does it take to successfully implement and conduct projects in zones of crisis? How far do these projects benefit from the dubious attention of the mass media? Hans Bernhard (AT), artist, UBERMORGEN.COM http://www.ubermorgen.com Wafaa Bilal, artist (IQ/US) http://www.wafaabilal.com Knowbotic Research, artist group (DE/CH), artist in residence at NIMk 2008/2009 http://www.krcf.org Moderated by Chris Keulemans, writer and journalist (NL) (tbc) http://roadtrip.submarinechannel.com/content/view.jsp?mapid=5986&itemid=4897&menu=true 12.30 ? 13.30 Lunch break 13.30 ? 15.30 Panel 2: New territories and cultures of the digital This panel will look at the geographical shift that media culture currently undergoes and that will shape the future of this field. In the past, Europe, North America and Japan were at the forefront of digital production, design, art and technological research. Now that digital technologies become available at lower prices and spread more widely on the globe, new digital communities flourish. This panel looks specifically at new initiatives and bottom-up organisations in other parts of the world such as East Europe, the Middle East, Africa and South America, trying to understand what characterizes these initiatives. In how far do local and national cultures shape digital culture? Do these initiatives share common experiences and challenges, or is there no common ground to be found? Which kind of art arises from these new nodes on the digital map? How can we support the growth and establishment of these organisations? Bronac Ferran (UK), researcher, consultant and founding member of bricolabs http://www.boundaryobject.org Nat Muller, independent curator and critic (NL) Marcus Neustetter, media artist, curator and co-founder of Trinity Session (ZA) http://www.onair.co.za/thetrinitysession/index_temp.html Adam Somlai-Fischer, artist and architect, programme director of Kitchen Budapest (HU) http://www.kitchenbudapest.hu Moderated by Rob van Kranenburg, thinker, networker and author (NL/BE) Van Kranenburg has been teaching at various schools in the Netherlands (UvA, EMMA Interaction Design, Industrial Design). Currently he works as the Head of the Public Domain Program at Waag Society. He is author of ?The Internet of Things.? For this session we will ask initiatives and organisations around the world to come up with a short written or a 1 minute video statement about challenges they face in the future. These contributions will be shown during the panel. 15.30 ? 16.00 Coffee Break 16.00 ? 18.00 Panel 3: Open Source ? A scheme for art production and curating? This session deals with the concept of open source for art production and its presentation. The open source movement is driven by the idea of collective, process-based, sustainable production and improvement. In software development this strategy has already proven to be valid; however can this model be applied to other products such as artworks or even exhibitions? In how far does the open source model differ from other forms of artistic collaboration? Is there a new role model for both the artist and the curator in the future? Which (economic) value and impact has expertise in open source production? How could institutions and organisations respond to this trend? Marcos Garcia, director of Interactivos, Medialab Prado (ES) http://www.medialab-prado.es Jaromil, dyne.org and researcher at NIMk http://jaromil.dyne.org/journal/ Joasia Krysa, curator, founder of KURATOR (PL/UK) http://www.kurator.org Moderated by Susanne Jaschko, chief curator NIMk (DE/NL) http://www.sujaschko.de 19:30 Reception at the Netherlands Media Art Institute, Netherland Media Art Institute Keizersgracht 264 1016 EV Amsterdam http://www.nimk.nl From lotu5 at resist.ca Fri Mar 20 21:10:43 2009 From: lotu5 at resist.ca (dj lotu5) Date: Fri Mar 20 21:11:18 2009 Subject: [spectre] San Diego @ Agitprop Panel Discussion Tomorrow Night, March 21st in Message-ID: <49C3F843.3000306@resist.ca> pass it on... see you there! -------- Original Message -------- Subject: San Diego @ Agitprop Panel Discussion Tomorrow Night, March 21st in Date: Fri, 20 Mar 2009 10:09:38 -0700 From: Lui Velazquez <luivelazquezart@gmail.com> To: Lui Velazquez <luivelazquezart@gmail.com> CC: calacapress@cox.net, centro@centroculturaldelaraza.org *Mexican/Chicano Art in Context * *A Panel Discussion & Exhibit March 21, 2009 | 9PM Panel: Luis Ituarte, Mario Torero, Omar Pimienta, Roberto Rosique* *Moderator: Micha Cardenas* *Agitprop Gallery North Park 2837 University Ave. (University and Utah) San Diego, CA 92104* *+ This is the first ever "North Park Nights" -- north park near Ray Street, gallery openings, projections, panel discussions etc. Every 3rd Saturday of the month. * * *flyer here: http://bang.calit2.net/tts/3-19-discussion.jpg From datadandy at gmx.net Sun Mar 22 14:48:15 2009 From: datadandy at gmx.net (datadandy) Date: Sun Mar 22 14:48:52 2009 Subject: [spectre] CODED CULTURES - Exploring Creative Emergences Message-ID: <6D0D7EF9-2579-4F28-A2D4-24E3254924D3@gmx.net> CODED CULTURES -Exploring Creative Emergences Binational Festival to explore new artistic creative Ability-Profiles within media integrated Delineation Cultures further details are available at: www.codedcultures.net Loctation: MuseumsQuartier Vienna Opening: May 27th 2009 Freiraum/quartier21 Symposium: May 28th - May 31st 2009 - Museum of Modern Art Vienna Exhibition: May 27th - June 07th 2009 - Freiraum/quartier21 ABOUT CODED CULTURES - Exploring Creative Emergences The second edition of CODED CULTURES is a binational festival (Austria ? Japan) in the year 2009 to explore new artistic practices and creative ability profiles within media integrated project-cultures and digital media related art, focusing on Japan and Europe. The festival is part of the official ?Austria ? Japan Year 2009?. Through the establishment of new creative cultures, enabled by digital media and global communication networks, new practices and ability profiles of creative and artistic delineation and exploration are gaining new grounds. Furthermore, economic models are eager to create synergies with symbolic values of cultural and artistic programs to deal with the potentials of ?creativity?. At the moment these profiles are roughly subsumed (e.g. as ?creative class?), but at the present day it is difficult to predict which catalysts and draft programs can be put into effect for these creative innovation processes. On the other hand it has to be questioned if innovation like it is understood by policy makers of entrepreneurship is a desired state for artistic projects and networks. This phenomena which is set up via global nodes of creativity (e.g. networks, communities, organizations, projects, etc.) is more and more uprooting disciplinary guidelines and permitted structures of local traditions. Therefore, this vectors have changed the ways of cooperation and development in socio-cultural production paradigms. CODED CULTURES is asking how artistic and creative projects are dealing with this conditions and in which way they support or antagonize this developments. In this context ?new? things happen based on cultural conditions of transformation, which have departed from established mechanisms of delineation and creation. They activate an innovation-fabric which does not yet have any adequate surface for the assessment of observations and mediations in such transformation processes. ?CODED CULTURES ? Exploring Creative Emergences? enables and presents artistic-creative production coherences which are based on digitally linked media-cultural organizations and actively integrate these into the delineation process of their operating level. Thereby, new options of interaction emerge within the intersection of art / culture / economics / knowledge development / idea aggregation / intermediation a.s.o. This parameters are integrated in the conditions of digital communication and media technologies, as well as their conditions of participation. Therefore, the festival creates a surrounding in which new ways of emerging arts, creativity, theories, projects and ideas can be explored in the field of digital media related forms of creative delineation and arts. The particular aim is to present, discuss and criticize topics, which are situated on the intersection of disciplines and activities in order to enforce new potentials of artistic practices and positions. By these means, persons who derive joy from discovering ways to circumvent limitations, are welcome to take part of the festival. Regarding this, CODED CULTURES is presenting projects, works, theories and networks which are shaping new vectors of creation and art situated between: e.g. Science & Art, Technology & Art, Design & Art, Fashion & Art, Economy & Art, a.s.o. Responsible for the content: 5uper.net MuseumsQuartier Wien / quartier 21 Museumsplatz 1/10/7, 1070 Vienna mail: office@codedcultures.net From inke.arns at snafu.de Sun Mar 22 17:18:40 2009 From: inke.arns at snafu.de (Inke Arns) Date: Sun Mar 22 17:21:49 2009 Subject: [spectre] Arctic Perspective: Open Architecture Design Competition Message-ID: <B0F66662-F1EC-4C50-869D-D73F93785578@snafu.de> Dear fellow Spectres, we are pleased to announce our project "Arctic Perspective ? Third Culture 2008-2010" which HMKV is organising with its partners Projekt Atol (Slovenia), The Arts Catalyst (GB), LORNA (Iceland) and CTASC (Canada). This project has been funded with support from the European Commission - Culture Programme. The project directs attention to the global cultural and ecological significance of the polar regions. These are zones of contemporary geopolitical conflict and at the same time potential spaces for transnational and intercultural cooperation and collaboration. The jointly obtained results will be presented in the PHOENIX Halle Dortmund in the framework of European Capital of Culture Ruhr.2010 as well as the international media-art conference ISEA 2010 RUHR. Comprehensive information can be found at http://www.hmkv.de/dyn/e_program_exhibitions/detail.php? nr=3594&rubric=exhibitions& http://arcticperspective.org/ In the framework of this project HMKV together with its partners announces a call for proposals for a "Mobile Media-Centric Habitation and Work Unit" to be sited in the Arctic region (deadline 1 July 2009; 9.000 Euro in prize money available). The call for proposals can be found at the URLs indicated above or in the attached PDF document. Please feel free to forward this information to anybody who might be interested. Thank you! Sincerely yours, the HMKV team ----------- CALL FOR PROPOSALS OPEN ARCHITECTURE DESIGN COMPETITION ARCTIC PERSPECTIVE INITIATIVE ?MOBILE MEDIA-CENTRIC HABITATION AND WORK UNIT? First Prize: 5.000 EUR Second Prize: 2.500 EUR Third Prize: 1.500 EUR DEADLINE: 23:59:59 UTC, JULY 1, 2009 The ARCTIC PERSPECTIVE INITIATIVE ?MOBILE MEDIA-CENTRIC HABITATION AND WORK UNIT? open architecture design competition is aimed at the submission of proposals for the design of a mobile media-centric facility, life support habitation and work module with renewable energy supply, waste recycling, and communications systems. We invite proposals from architects, designers, engineers, artists, students, and engineering teams. The design should be an open source mobile architecture/system/ machine capable of functioning in extreme as well as temperate climates and containing mass/industrial and amateur production/ manufacturing potential. The unit is to serve as a model for mobile research within extreme cold environments, with the ability to incorporate high tech solutions while utilizing sustainable resources. Jury decisions to be published by October 1, 2009. All winners and honorable mentions will be published in the API Cahier #2 ?Architecture?, which will be edited in the Fall/Winter 2009. All winners and honorable mentions will be, among others, also included in exhibitions and presentations in the framework of European Capital of Culture RUHR.2010 as well as the international media-art conference ISEA 2010 RUHR. Full information and rules and regulations are at: http:// www.arcticperspective.org For questions please email: design2009@arcticperspective.org Dr. Inke Arns Kuenstlerische Leiterin / Artistic Director Hartware MedienKunstVerein (HMKV) Guentherstr. 65 (office) 44143 Dortmund/Germany T ++49 - 231 - 823 106 M ++49 - 173 - 988 99 84 inke.arns@hmkv.de www.hmkv.de Upcoming: ?Wach sind nur die Geister? - Uber Gespenster und ihre Medien "Awake Are Only The Spirits" - On Ghosts And Their Media PHOENIX Halle Dortmund Hochofenstr. / Ecke Rombergstr, Dortmund-Hoerde 16 May ? 18 Oct 2009 Opening: 15 May 2009, 19:00 From communicate at anat.org.au Mon Mar 23 06:48:07 2009 From: communicate at anat.org.au (ANAT Communications) Date: Mon Mar 23 06:49:03 2009 Subject: [spectre] Deadline Looms: S U P E R H U M A N Symposium Call for Abstracts Message-ID: <20090323161807.UKRAIKFEGHGOOF@anat.org.au> Super Human: Revolution of Species Symposium Melbourne, 23-24 November 2009 CALL FOR ABSTRACTS DEADLINE - 30 MARCH 2009 Inspired by the 150th publication anniversary of Darwin's evolutionary treatise, 'On the Origin of the Species', ANAT presents the Super Human: Revolution of the Species Symposium. A single-stream high calibre event, the Symposium turns the spotlight on contemporary art and science collaborative research and practice and its interpretations of - and impacts upon - the human body now and into the future. The Symposium is open to any format or style of presentation so long as it directly engages with one or more of the Symposium themes: Augmentation, Cognition, Nanoscale Interventions. For more information about these themes or to download the call for abstracts please visit www.superhuman.org.au. We invite abstracts of 250-500 words in word/pdf format plus up to two jpg images. Email abstracts or questions to the Symposium Chair at as@anat.org.au. The Super Human: Revolution of the Species website goes live in mid-April. Be sure to visit and subscribe to receive Super Human updates as they happen! ____________________________________________________ ANAT is assisted by the Australian Government through the Australia Council http://www.ozco.gov.au its arts funding and advisory body, by the South Australian Government through Arts SA http://www.arts.sa.gov.au and the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. If you would like to change your contact details or be added or removed from this list please email anat@anat.org.au From marc.garrett at furtherfield.org Mon Mar 23 10:28:40 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon Mar 23 10:29:20 2009 Subject: [spectre] In support of Ada Lovelace Day. In-Reply-To: <B0F66662-F1EC-4C50-869D-D73F93785578@snafu.de> References: <B0F66662-F1EC-4C50-869D-D73F93785578@snafu.de> Message-ID: <49C75648.9040809@furtherfield.org> In support of Ada Lovelace Day we are inviting all women who work in media arts and net art to join the NetBehaviour email list for a week between 23rd and 30th March. http://www.netbehaviour.org/mailman/listinfo/netbehaviour We would like to know about your work and that of other women who have inspired you in your own practice. So please come and squat the NetBehaviour list for a week (of course we hope you'll stick around for longer:) and share your inspirations with our friendly community of artists, academics, writers, code geeks, curators, independent thinkers, activists and net mutualists. Posts are welcome in any format and frequency. The following is offered as an example. ==================== MY NAME: Ruth Catlow URL: http://www.furtherfield.org/display_user.php?ID=14 INSPIRED BY: Ele Carpenter - http://www.elecarpenter.org.uk/ for tech inspired and facilitated participation with Open Source Embroidery, her curatorial project exploring artists practice that explores the relationship between programming for embroidery and computing. Auriea Harvey - for her part with Entropy8Zuper in early intimate networked performances http://entropy8zuper.org/wirefire and for Endless Forest, Tale of Tales's bucolic social screensaver http://tale-of-tales.com/TheEndlessForest Mary Flanagan - for her energetic explorations as academic, educator, artist and programmer at the intersection of games, art and feminism and exploring collaborative approaches to thinking about values in http://www.valuesatplay.org/ ============================== At the end of the week we will collate all of the posts in the thread and feature them on Furtherfield.org. See you on Netbehaviour : )) With all best wishes from Ruth and the Furtherfield team http://www.furtherfield.org ========================== Ada Lovelace Day -bringing women in technology to the fore http://findingada.com/blog/2009/01/05/ada-lovelace-day/ sign a pledge to blog about inspirational women in tech on 24th March. NetBehaviour is the Furtherfield.org email discussion listJoin NetBehaviour for a week between 23rd and 30th March (of course we hope you will stick around: ) http://www.netbehaviour.org/mailman/listinfo/netbehaviour From ab at mikro.in-berlin.de Mon Mar 23 10:42:35 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Mon Mar 23 10:59:32 2009 Subject: [spectre] Call: Art of the Overhead Festival, Malmoe, 15 - 31 May 2009 Message-ID: <a062408e1c5ed09125e7d@[172.23.235.247]> From: Kristoffer Gansing <kristoffer.gansing@mah.se> Date: Wed, 18 Mar 2009 11:45:08 +0100 * T H E A R T O F T H E O V E R H E A D * 2 o o 9 * http://www.overheads.org Call for Overheads We are happy to announce "OHPen Surface" - the 2009 edition of the Art of the Overhead Festival featuring an exhibition, performances and workshops in Malm?, Sweden May 15 - 31 2009. This years festival will take place at Stapelb?ddsparken, a former Shipbuilding slipway featuring 3000m2 of largely underground areas in Malm?, Sweden. The "OHpen Surface" theme then, refers not only to the OHpen Surface of the Overhead projector but also the physical location and organisational workshop-based structure of the festival itself. However, with this framework we also aim to encourage a critical reflection on how technological standards, such as the Overhead projector, relates to the dynamic of open and closed which is so pervasive in the standards of today's networked media culture (read on below for more details on the festival theme). We are now welcoming submissions for the OHPen Surface workshop and/or festival in the following categories: * Transparencies for The Art of the Overhead Archive (physical or as PDF's for printing). The archive is a wall-mounted installation where folders containing the different works can be browsed and projected by the audience. * Installation, works incorporating overhead projection, custom built projectors, digital-analogue hybrids etc. * Performances, live performances incorporating overhead projectors. From live cinema, vj acts or different kinds of kinetic-sound generation to the good old conference presentation. Deadline for submissions is March 30, 2009 - use our "Submit" PDF on the http://www.overheads.org website for contributions in any of the above categories. * Projects for OHPen Surface Workshop: For work-in-progress (or more or less finished works which require some time for preparation) you may apply for our workshop week which will run from May 15 until the opening weekend May 22-23. (NB: you do not need to be present the whole week, please state how many days you'd like to participate) This part of the festival is organised in collaboration with "Kunst und Musik mit dem Tageslichtsprojektor" (derstrudel.org, Ralf Schreiber and Tina Tonagel) from K?ln and focuses on low-tech DIY appopriations and performative uses of the Overhead projector. *** O H P e n S u r f a c e - F e s t i v a l T h e m e 2 0 0 9 *** "The reason for why we used simple overhead projectors was because of their open surface, where you could directly work with your materials." - Joshua White of Joshua Light Show. Through performances, installations, workshops and a growing archive of overhead transparencies, the festival reflects on the different practices connected to the history of the overhead projector, from the bureaucratic and educational settings of the classroom or business conference to the counter-culture context of the 1960's and onwards to the contemporary media culture. The overhead prepared us for the cognitive structure of PowerPoint, teaching us the importance of keywords, summaries, bullet-lists, illustrative pictures and a straightforward way of presentation. In short, the overhead as a device for instruction is a disciplinary technology. But there are other histories of the Overhead projector as well: from the 1940's it was a standard equipment in Bowling alleys for the projection of players scores and later in the 1950's and 1960's it was appropriated by beatniks and hippies to create psychedelic "light shows". This edition of the media-archaeological festival The Art of the Overhead is centered around the theme of the OHPen Surface, aiming at a critical reflection on the role of standards in the contemporary mediascape. The overhead projector is a clearly recognisable standard for the art of projection: it comes with institutional disciplinary settings such as the school or the business enterprise and with regulatory frameworks of presentation both of the material (such as the illuminated surface and the transparency) and the mental/cognitive kind (presentation guidelines, the do's and don'ts of instruction). In our culture of increasingly integrated networks of data flows, standards take on a pivotal role, from legal frameworks to file formats and communication protocols, we are surrounded by the institutions of cultural production that they bring about. What is important to remember is that while all these areas define different models of the "Open", they, as all standards do, also leave some other paths closed. How can such tensions be revealed and acted-reflected upon in artistic production? With this call for contributions for The Art of the Overhead 2009 - we encourage artists and other media practitioners to depart from the Overhead projector as a standardized technology which has the potential for re-activation by way of its near outdated character. This entails reflection-as-projection, deploying the Overhead projector in the double sense of projection described by Siegfried Zielinski: as both casting out images representing the world and as a shaping movement, a production or rather a visionary pro-jecting of reality as delimited by how we see it through the image. To work in one media, criticizing another, or reflecting across a whole domain of media culture through a particular and well-known technological institution is a kind of non-digitalisable cultural practice that The Art of the Overhead is all about, and through the OHPen Surface we call for works that engage in this dynamic. AbOHut The Art of the Overhead is an international media art festival, which took place for the first time in Copenhagen September-October 2005. Since then it has been followed by various exhibitions and workshops, inspiring the collaborating offshoot project "Kunst und Musik mit dem Tageslichtsprojektor" in Cologne 2007. Now we join forces and return to Scandinavia for a 2009 edition in Malm?, Sweden. cOHntact Concept and Coordinators: Linda Hilfling & Kristoffer Gansing OHpen Surface is managed by the cultural association The Art of the Overhead which is based in the ?resund region and supported by Framtidens Kultur and Malm? Stad. info@overheads.org http://www.overheads.org Adress: The Art of the Overhead C/O Kristoffer Gansing K3 School of Arts and Communication Malm? University 205 06 Malm? Sweden O H P E N S U R F A C E OHOH OHOH OH OH /OH OH OH OH OH OH / OH OH OH OH OH OH / OH OH OH OH OH OH ___ / OH OH OH OH OH // / / OH OH OH OH OH |\\_\ \ OH OHOHOHOHOH OH OH | \ OH OHOHOHOHOH OH OH | \ OH OH OH OH OH OH |_______ \ OH OH OH OH OH OH |======== \OH OH OH OH OHOHOHOHOH OHOHOHOHOH | | OHOH OH OH OHOHOHOHOH OHOHOHOHOH | | |======== F O R O V E R H E A D S | | | | o o * T H E A R T O F T H E O V E R H E A D * 2 o o 9 * http://www.overheads.org * Workshops, Exhibition and Performances * May 15 - 31 * Stapelb?ddsparken, Malm?, Sweden * From image.science at donau-uni.ac.at Mon Mar 23 14:08:30 2009 From: image.science at donau-uni.ac.at (Image Science) Date: Mon Mar 23 14:09:06 2009 Subject: [spectre] REV-CONF: Gazing into the 21st Century (Veigl) Message-ID: <49C797DE0200007D000079EE@gwgwia.donau-uni.ac.at> Conference Proceeding Second International Conference for Image Science Goettweig 08: Gazing into the 21st Century. Organised by: Department for Image Science, Danube University Krems, October 16th - 18th 2008, www.donau-uni.ac.at/dis The increasing number of new technical and social possibilities to produce and distribute visual material - from YouTube, Flickr to other virtual spaces - demonstrates more and more the demand for strengthening visual competencies. On that basis the credo of the conference Gazing into the 21st Century, which brought together American experts on image science like Felice Frankel, Barbara Stafford or Michael Naimark with German representatives like Marie-Luise Angerer, Oliver Grau or Nikolaj van der Meulen et al., was dedicated to the inventory, classification and historiography of the latest worlds of images in the domains of publicity, art, entertainment and science. Nowadays individual worlds of images form the background of PCs and cell phones; TV transforms to the global field of zapping of thousands partly even interactive channels; several hundred thousand new videos are published online every day in video communities; in interactive three-dimensional worlds of images a virtual and seemingly authentic parallel universe expands. In addition to entertainment also science and politics use the new dimensions of creating images and impact images. New questions arise in this new context: which inspirations do current image worlds experience though art? Which influences does medium have over the iconic character of the image? Which chances and challenges arise for intermediators of images and museums because of the ?liquidity? of the image? Additionally, democratic chances and risks are directly related to processes of transformation in publicity provoked new image worlds, chances which ask for sensitive handling and augmented projects of archiving. Practices of collective writing, as they appear on the most famous hypertext Wikipedia, revolutionized within a decade the over centuries established status of author variability, style and aesthetical shape. The same developments were noticed by the journalist and photograph Stefan Heidenreich from Berlin in the world of the electronic image. YouTube and Flickr represent new forms of a collaborative visual process, obtaining more and more dominance. The transformations resulting in the fields of copyright, artistic institutions, popular culture and economy seem to be vague. The discussions led to the consensus that the possibilities for an increasing democratization of image policy exists more than ever, but that the increasing frankness of communication also needs more critical faculties and sensibility for the handling of visual material. Despite the alteration of the world of images in both professional and most private fields, the social reactions lag behind these developments. Felice Frankel, representative of North American image science and founder of the Image and Meaning Initiative - against the background of image policy claimed for an intensification of the dialogue between natural sciences with image sciences, designers and artists with natural scientists, in order to make the power of images more visible in the representation of science. A lot of visualizations that respond to the intellectual canon of today?s societies, do not correspond to the contemporary state of research and thus communicate a wrong or dated image. Oliver Grau, professor for image science at the Danube University Krems, also took on the question of image policy in the public place and pointed out main problems of current cultural policy. Media art, ?the? contemporary art form, is still rarely collected by museums, not accepted in a suitable manner and nearly inaccessible for the non north-western public. Grau worries about the erasure of three decades of artistic work from the cultural memory. For the near future he recommends the establishment of an encyclopaedia of vissciences, like the Human Genome Project, it would relay the history of seeing and its relation to the evolution of image media. Jan Henselder from Berlin, dealt with the loss of contemporary material, too, and digitized biographical interviews about the national socialist and GDR past and preserves them for future generations. R?gis Debray can add to the conversation, that beyond the communication via new technologies adequate social institutions are also necessary in order to guarantee the transfer of medial contents. Another focus of the conference was the question about the finding of knowledge through technological procedures of visualization concerning natural sciences. So the medical scientists Dolores und David Steinman from Toronto University showed, resulting from their practical experience, that most of the images clinicians are confronted with are computer generated interpretations of patients? records. Organic processes as well as the bloodstreams? dynamics elude the human view, what makes computer aided imaging techniques indispensable for timely diagnosis and therapy. The challenge is the integration of scientific truth, aesthetic trends and established scientific-medical conventions. These days doctors primarily make decisions how the digitally measured values are to be displayed. This causes, like in many fields that are not trained in the handling of images and respectively whose training does not broach the issue of the phenomenon image, a na?ve handling of new image forms. The discussion underlined the need for scientific image qualification in creating scientific knowledge influenced by technological methods of visualization. Nicolaj van der Meulen, image scientist and professor for art history at University Basel, claimed for an applied image research that should not only deal with the representation but also the generation of knowledge by use of visual concepts. A web based, digital medium for image-oriented research was presented in this context by Martin Warnke, head of the data center of Lueneburg University. ?HyperImage? fulfills the long wished for requirement not to treat visual forms semiotically. Observations on images may be marked, arranged, published and utilized scientifically without adding linguistic remarks. (www.hyperimage.org) Already at the beginning of the international conference the American media artist Michael Naimark pointed out the image development of Google Earth: Despite the promises of virtual reality many applications emerging during the last years are, due to a lack of combination of photo-realistic and interactive features, not able to involve recipients in such a way that you can feel the illusion of the site. Harald Kraemer, university lecturer and media producer, noticed the need for improvement of the dramaturgy of web sites. The recipient should be integrated through a feeling of solidarity and empathy, which can be achieved through a holistic attempt of the symbiosis of content, navigation and design. The rector of the Art College for Media in Cologne, Marie-Luise Angerer, integrated the advanced problem area with the title ?The Affective and Emotional Addressing of Recipients of Digital Media.? The discussion about affective and emotional addressing finds a broad base what, interdisciplinary practised, should and could lead to an ?affect policy?. Barbara Stafford from the University of Chicago pointed out another aspect. The ?Social - Memory - Hypothesis? sees a condition for the maintaining of social cohesion in the coordination of individual satisfaction of needs and inter-subjective behaviour. In order to clarify the workings of this ?social synchronization? she pleaded for an intensified relation to aspects of associative art in historic and recent worlds of images and drew a line from ancient hieroglyphs to hybrid collages. Results of the conference can be seen that the main challenge for making use of the democratic chances presented by the image politics of our time is the further expansion of visual competencies on the part of recipients as well as producers of new image worlds and digital archiving projects. The dialog between artists, scholars from the humanities and natural sciences offers the necessary platform on which image competency may be further developed through new educational research and teaching tools in order to serve the needs of the general public. Many of the lectures are archived on our website: www.donau-uni.ac.at/telelectures A publication about the conference results is in preparation and should be published in 2009. A continuation of the Goettweig image conference is planed for 2010. by Thomas Veigl From kirsty at karakuri.info Tue Mar 24 19:25:25 2009 From: kirsty at karakuri.info (kirsty boyle) Date: Tue Mar 24 19:26:01 2009 Subject: [spectre] =?iso-8859-1?q?Roboloco_-_Festival_f=FCr_Maschinenkuns?= =?iso-8859-1?q?t_und_Robotik/Festival_for_Mechatronic_Art_and_Robo?= =?iso-8859-1?q?tics?= Message-ID: <da2393170903241125y29741f45q81234578ceaa595b@mail.gmail.com> Roboloco - Festival f?r Maschinenkunst und Robotik Aufruf zum Mitmachen (K?nstlerInnen, IngenieurInnen und StudentInnen) Mach mit! Bei Konzerten, Ausstellung, Workshops und Vortr?gen. Lass andere an Deinen Donnerstag 7. bis Samstag 9. Mai 2009, Reitschule Grosse Halle, Bern Die Ausstellungen, Konzerte, Vortr?ge und Workshops rund um das Festival besch?ftigen sich mit den Schnittstellen zwischen Mensch und Maschine. ?roboloco? untersucht, welchen Raum neue Technologien in unserem Alltag bereits einnehmen, befragt die vielseitigen Entwicklungen und inwieweit Roboter unsere Gesellschaft ver?ndern? Schauplatz des Festivals ist die Grosse Halle der Reitschule im Herzen der Stadt Bern. Veranstalter ist die Schweizerische Gesellschaft f?r Mechatronische Kunst, SGMK, in Zusammenarbeit mit dem Verein ?Tr?gerschaft Grosse Halle? der Reitschule Bern und dem K?nstlerkollektiv ?Cycle Operant? aus der Romandie. ?roboloco? ist ein Spektakel, welches in seiner spezifischen Ausrichtung und dem lustvoll-kreativem Umgang mit Technologie die ?ffentliche Diskussion im Grenzbereich zwischen Kunst, Wissenschaft und Gesellschaft f?rdert. Es soll auch zum Erfinden neuer Systeme anregen. Die Verantwortlichen legen viel Wert auf die Arbeit mit lokalen K?nstlerInnen und IngenieurInnen sowie auf die ?berregionale Vernetzung mit Hochschulen und Institutionen. Es geht um gemeinsame k?nstlerische Aktivit?ten und den Austausch von Wissen im Bereich der mechatronischen Kunst unter Einbezug von Mechanik, Elektronik und Informatik. ?roboloco? stellt sich diesem Thema sowohl mittels k?nstlerischen Aneignungsprozessen als auch technischen Programmpunkten. Die Einreichfrist f?r Deine Teilnahme am ?roboloco? l?uft bis Dienstag 31. M?rz 2009 http://www.diyfestival.ch/roboloco ************************************************* Roboloco - Festival for Mechatronic Art and Robotics Call for participation from artists, engineers and students Join in with concerts, art show, workshops and talks. Share your vision and creativity! Thursday 7th May ? Saturday 9th May 2009 in the Reitschule Hall, Bern The Festival will comprise of an exhibition, concerts, talks and workshops on the theme of the boundaries between humans and machines. Roboloco will address questions surrounding the development of new technologies, such as the role robots play in our everyday life and will play in future changes in society. The Festival will take place in the large hall of the Reitschule in Bern city center. The organizers are the Swiss Mechatronic Art Society together with the sponsors of the Reitschule Hall and the artists' collective, Cycle Operant, from the French part of Switzerland. Roboloco is a spectacle of creative technology which will provide a forum for discussions on, and at, the borders of art, science and society. From these border areas ideas for new systems may emerge. Joint artistic endeavors and the exchange of knowledge about the mechanical, electronic and informatics systems used in mechatronic art are central to the Festival programme. The Festival organizers are interested in working with local artists and engineers and in establishing links with regional and national technical universities and institutions. Closing date for submissions is 31st March 2009 http://www.diyfestival.ch/roboloco From ab at mikro.in-berlin.de Tue Mar 24 19:28:20 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Tue Mar 24 19:28:47 2009 Subject: [spectre] (fwd) Call for Papers: The Ethics of Waste in the Information Society Message-ID: <20090324192820.42113ryb6wkp8284@webmail.in-berlin.de> Call for Papers Network Ecologies: The Ethics of Waste in the Information Society Call for Papers for Vol. 11 (02/2009) by Soenke Zehle, Matthias Feilhauer Deadline for extended abstracts: May 1, 2009 Notification of acceptance to authors: May 15, 2009 Deadline for full articles: July 15, 2009 Deadline for revised articles: August 15, 2009 Publication: August 2009 Introduction The (emergent) transnational network of organizing around environmental and social justice issues in the global networks of electronics production is arguably the most vital area of 'network culture' when it comes to broader ecopolitical concerns. Given the fetishization of dematerialization-through-technology of an earlier generation of cyberlibertarian theorizing, we consider these efforts to have significance beyond the already broad array of issues related to the toxicity of computers and its implications to workers, users, and the environment. The contemporary environmental justice movement has already (and successfully) criticized conceptual frameworks that consider environmentalism a post-materialist luxury rather than a matter of survival, and made visible the 'coloniality' of a wilderness tradition that had underwritten territorial expansion across the US and in other parts of the world. Yet while its organizational dynamic already incolves questions of historial and political epistemology, few people look to ecopolitics as a vehicle to advance broader causes of (cultural, economic, political, social) justice. Which is why, for this issue of IRIE, we would like to invite suggestions on how our new (and old) networking machines might become the pragmata of a new ecopolitics, true ?matters of concern? (Bruno Latour) of info-ethical reflection. With this issue, IRIE, dedicated to the development of information ethics as reflexive practice and conceptual horizon, aims to engage the broad range of materialities involved in acts and processes of communication, information, and knowledge production. This includes, but is not limited to, the very instruments we employ, use, and discard in ever-shorter cycles of consumption, outpacing our efforts to develop appropriate mechanisms of disposal and recycling : from old television sets to lcd and plasma displays, from old disk drives to flash cards and rfid chips. Used locally, but designed, produced, and discarded across the world, the usage of these instruments ? things - raises a host of questions whose technical and political questions are increasingly being explored, but whose info-ethical dimensions deserve greater attention as they may requires us to revisit cherished assumptions regarding the scope and desirability of information-societal developments as we know them. Electronics activism has already defined an agenda of environmental and social justice, drawing on number of perspectives such as environmental debt, environmental and resource rights, political and social ecology, resource efficiency, and occupational health and safety. In addition to giving rise to concrete initiatives in the areas of fair production, procurement, and disposal, these activisms also encourage a reappropriation of notion of sustainability. Since the UN 'Earth Summit' in 1992, sustainability has featured prominently in policy initiatives. And while for some, it has been discredited by its vagueness and widespread subordination to corporate visisons of self-regulation it might be revitalized to refer to the outcomes of (inevitable) ecological distribution conflicts, encouraging ecopolitics to venture beyond consensus-oriented paradigms of environmental governance. Such broader ecopolitical perspectives (or network ecologies, the term we would like to suggest as an umbrella concept) can serve as an integrative idiom to combine important vectors of inquiry that open up more general descriptions of the contemporary conjuncture. We therefore invite contributors to reflect on the question of a 'sustainable' information society from within an ecopolitical, info-ethical horizon. Suggested topics include: No single injunction to reuse or reycle will resonate across all net.cultures. What role do questions of translation, inter- and transculturality play in the articulation of new ecopolitical perspectives? Can info-ethics avoid the conceptual deadend of a culture/nature divide in its exploration of a politics of nature by way of engaging process-oriented, procedural perspectives on political ecology? If so, how does it address questions of agency and accountability? What is the link between such network ecologies and aesthetic regimes, from postcolonial analysis of how 'we' have looked at nature to artists developing an ecopolitical aesthetics of disappearance? What role might the open, decentralized creation of hard- and software play in the creation of sustainable ICT infrastructures? The transnational networks of design, production, and disposal involve large numbers of migrant workers, often concentrated in export-orientated economic zones partially exempt from national (environmental, social) regulation. What role do questions of labor and the transformation of sovereignty play in the articulation of new ecopolitical perspectives? What role do ICTs play in other ecopolitical controversies (climate change, water, food security)? References Greenpeace. Chemical contamination at e-waste recycling and disposal sites in Accra and Korforidua, Ghana. 2008. Grossmann, Elizabeth. High Tech Trash: Digital Devices, Hidden Toxics, and Human Health. Washington et al: Island Press, 2006. Latour, Bruno, and Peter Weibel, eds. Making Things Public: Atmospheres of Democracy. Cambridge: MIT Press, 2005. Latour, Bruno. Politics of Nature: How to Bring the Sciences into Democracy. Translated by Catherine Porter. Cambridge: Harvard University Press, 2004. Pellow, David Naguib. The Silicon Valley of Dreams: Environmental Injustice, Immigrant Workers, and the High-Tech Global Economy. New York: New York University Press, 2003. Smith, Ted, et al., eds. Challenging the Chip: Labor Rights and Environmental Justice in the Global Electronics Industry. Philadelphia: Temple U niversity Press, 2006. Stengers, Isabelle. ?Un engagement pour le possible.? Cosmopolitiques 1 (Juin 2002). 27-36. UNEP-Vital-Graphics. Vital Waste Graphics. E-Waste - The great e-waste recycling debate. October 2004. <http://www.grida.no/publications/vg/waste/page/2868.aspx,> Schauer, Thomas, Markus Neuvonen, Matti Penttilae, eds. Information Technology, Competitiveness and the Environment. <http://www.clubofrome.at/archive/helsinki06.html> Schauer, Thomas. The Sustainable Information Society - Vision and Risiks. <http://www.clubofrome.at/archive/sustainable-information-society.html> Organizations Good Electronics Network <http://goodelectronics.org> SACOM <http://sacom.hk/> Taiwan Environmental Action Network <http://www.iepanet.org/> Toxics Link <http://www.toxicslink.org/> Silicon Valley Toxics Coalition <http://www.etoxics.org> Basel Action Network <http://ban.org/> Abstracts and Submissions Potential authors must provide an extended abstract (max. 1500 words) by May 1, 2009. Abstracts may be submitted in the native language of the author though an English translation of this abstract must be included if the chosen language is not English. IRIE will publish articles in English, French, German, Portuguese or Spanish. The author(s) of contributions in French, Portuguese, or Spanish must nominate at least two potential peer reviewers. Abstracts will be evaluated by the guest editors. The authors will be informed of acceptance or rejection by May 15, 2009. Deadline for the final article (usually ca. 3.000 words or 20.000 characters including blanks) is July 15, 2009. All submissions will be subject to peer review. Therefore the acceptance of an extended abstract does not imply the publication of the final text (August 2009) unless the article has passed the peer review. For more information about the journal see: <http://www.i-r-i-e.net>. Please send your abstracts to the guest editors at: Soenke Zehle <s.zehle@mx.uni-saarland.de> Matthias Feilhauer <matthi@stdio.info> From alex at slab.org Wed Mar 25 00:30:18 2009 From: alex at slab.org (alex) Date: Wed Mar 25 00:30:51 2009 Subject: [spectre] Thursday Club, 26th March from 6pm: Rachel Armstrong & Joanna Zylinska Message-ID: <1237937418.8694.89.camel@duck> ~-~-~-~-~-~-~-~-~-~ THE THURSDAY CLUB ~-~-~-~-~-~-~-~-~-~ Date: Thursday 26th March 2009 Location: Seminar Rooms, Ben Pimlott Building, Goldsmiths, London UK http://www.gold.ac.uk/find-us/ Time: 6pm - 8pm Free, all welcome. BIO FEMINISM: MOVE OVER DARWIN Rachel Armstrong Respondent: Joanna Zylinska A significant change is occurring in the biological sciences with implications for feminist identity politics. This illustrated presentation examines cutting edge developments from pioneering laboratories and invites the audience to engage with the notion that Bio Feminism is set to play a pioneering role in the science of the third millennium. Modern science rests upon philosophical pillars that originate from 19th Century principles of logical analysis, reductionism and machines, particularly with respect to the organism. Feminist writers such as Evelyn Fox Keller and Donna Haraway, both of whom were trained biologists, have raised objection to this hierarchical, traditional view of science and made provocations for change towards a more inclusive feminist model of science whose organizational agenda is ?cyborg?. At the start of the 21st Century there is a convergence between feminist and biological scientific agendas, which propose a more complex view of life and cell mechanisms than stated by traditional science and is the basis for a new reading of biological identity that Armstrong has called Bio Feminism. This engages with a mechanism for the evolution of Haraway?s cybernetic entities and also embodies the unique politics of the cyborg. Despite counter arguments that feminist agendas have no contribution to make to scientific practice, feminist scientific thinkers have proven to be prophetic. The emerging disciplines of synthetic biology, Alife and chembiogenesis are more in keeping in their methodologies and rhetoric with modern feminist principles than their 19th Century scientific counterparts and as such, mark the emergence of a mainstream branch of science that could be regarded as inherently sympathetic to the feminist critique. Bio Feminist science promotes the treacherous biology of the cyborg challenging notions of aliveness, performing every transgressive act possible within autopoietic systems at a molecular level and redefining our view of evolution. RACHEL ARMSTRONG is a medical doctor, author and arts collaborator who has worked at the intersection of art, science, technology and human space habitation. She has appeared regularly in the media and at international conferences speculating on the future of humankind, non-Darwinian techniques of evolution and the challenges of the extra-terrestrial environment. Her work includes collaborations with the artists Stelarc, Helen Chadwick and Orlan in the field of radical body modification and anatomical design. Armstrong is an academic architect working at the intersection of biology and design of autopoietic materials that facilitate the construction of autonomous architecture. She is a member of AVATAR, the advanced virtual and technological architecture research group. Armstrong has also written a number of Science Fiction narratives. Her current affiliations are with the Bartlett School of Architecture and SMARTlab Digital Media Institute UEL. JOANNA ZYLINSKA is a Reader in New Media and Communications at Goldsmiths. She is the author of three books: Bioethics in the Age of New Media (MIT Press, 2009), The Ethics of Cultural Studies (Continuum, 2005) and On Spiders, Cyborgs and Being Scared: the Feminine and the Sublime (Manchester University Press, 2001). She is also the editor of The Cyborg Experiments: the Extensions of the Body in the Media Age, a collection of essays on the work of performance artists Stelarc and Orlan (Continuum, 2002) and co-editor of Imaginary Neighbors: Mediating Polish-Jewish Relations after the Holocaust (University of Nebraska Press, 2007). Most recently she has been combining her philosophical writings with photographic art practice. http://thethursdayclub.net/ Programmed and Organised by the Goldsmiths Digital Studios. Supported by the Goldsmiths Graduate School and the Department of Computing. From paul at paul-brown.com Wed Mar 25 08:44:12 2009 From: paul at paul-brown.com (Paul Brown) Date: Wed Mar 25 08:44:59 2009 Subject: [spectre] CAS April Meeting - Rob Saunders: Computational Models of Curiosity Message-ID: <3606F49B-0A67-4610-8453-DC5B56B32BA7@paul-brown.com> !!REMINDER!! The Computer Arts Society BCS SG is pleased to invite you to our April meeting. This event is open to the public and is free. Please note we have changed our meetings to 'the first Wednesday of the month!' Wednesday 1 April 2009 6:30 for 7:00pm London Knowledge Lab - Institute of Education 23 - 29 Emerald St London WC1N 3QS, England Tube: Holborn, Russell Square or Chancery Lane Map: http://tinyurl.com/6h5cds Rob Saunders: Computational Models of Curiosity "In this talk I will present my research developing computational models of curiosity and their application to the modelling of individual and social creativity. Curiosity is a behavioural response to a perceived lack of information. Computational models of curiosity can be constructed using a wide range of machine learning technologies. The development of agent-based models of curiosity opens up new possibilities for modelling creative behaviour, including the autonomous exploration of conceptual spaces. The autonomy of motivated creative agents supports the modelling of emergent dynamics of social creativity. Motivated creative agents also present new opportunities for supporting human creativity." Rob Saunders is Lecturer in Design Computing at The Design Lab in The University of Sydney, Australia. His research has focussed on the development of computational models of creativity. In particular, he has developed computational models to explore the role of curiosity, interest and boredom in the creative process. He has used his models of curiosity to develop computational models of social creativity to explore the emergent dynamics of social creativity. His most recent research includes extending models of social creativity to include aspects of language and culture to explore the consequences of these phenomena on the evolution of creativity. CAS 1968-2009 - supporting the Computer Arts for over 40 years http://www.computer-arts-society.org CAS is a BCS Specialist Group Future CAS meetings: Wed 6 May - Jorn Ebner ==== Paul Brown - based in the UK March 2009 mailto:paul@paul-brown.com == http://www.paul-brown.com UK Mobile +44 (0)794 104 8228 == USA fax +1 309 216 9900 Skype paul-g-brown ==== Visiting Professor - Sussex University http://www.cogs.susx.ac.uk/ccnr/research/creativity.html ==== From jennifer.stoddart at folly.co.uk Wed Mar 25 17:37:25 2009 From: jennifer.stoddart at folly.co.uk (Jennifer Stoddart) Date: Wed Mar 25 17:37:59 2009 Subject: [spectre] *** deadline approaching *** AND Festival Producer (folly), UK Message-ID: <0256B6C2667A3E4882F0FEF08218671344676E@follyone.FOLLY.local> *** Deadline for applications - 30th March 2009 *** folly, FACT and Cornerhouse are embarking on an exciting joint venture to deliver a collaborative programme across the region; AND (Abandon Normal Devices) is an annual festival of new cinema and digital culture in the North West, taking place in Liverpool and Manchester on alternate years, with a distributed programme in Cumbria, Lancashire and Cheshire. AND is part of the region's WE PLAY offer for audiences which will enable people to be involved in high-profile quality events in the lead up to the Olympics and have a positive legacy beyond 2012. folly is excited to advertise the key role of the AND Festival Producer, a new position based in Lancaster, working out of the folly offices. The principle purpose of the role is to develop and deliver the annual distributed offer of the festival. The post will require travel around the North West region. AND Festival Producer (folly) - Freelance ?20,029 - ?21,484 pro rata. Salaries are reviewed annually from April. visit http://www.folly.co.uk/click/1366/100 for further information, job description and person specification Deadline for applications - 30th March 2009 Applications by e-mail only to wendy.rogerson 'at' folly.co.uk Application should include: * Current CV * Letter of application outlining individual strengths, relevant work experience, online links to existing work, references * A completed Equal Opportunities Monitoring Form All applicants will need to provide evidence of right to work if shortlisted for interview. folly is committed to Equal Opportunities in our employment, programme and services and has Investors In People status. From marc.garrett at furtherfield.org Thu Mar 26 14:33:23 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Thu Mar 26 14:33:59 2009 Subject: [spectre] Our Ada Lovelace Day ends Mar 30th. In-Reply-To: <47596B5D.1040409@rybn.org> References: <47596B5D.1040409@rybn.org> Message-ID: <49CB8423.9040001@furtherfield.org> Our Ada Lovelace Day ends Mar 30th. Just a reminder to those who missed Ada Lovelace Day and still wishes to be a part of the project to submit your contributions. There is still time... We have been receiving many entries in support of Ada Lovelace Day, which will be a valuable resource for all in the future. Original call out below... In support of Ada Lovelace Day we are inviting all women who work in media arts and net art to join the NetBehaviour email list for a week between 23rd and 30th March. http://www.netbehaviour.org/mailman/listinfo/netbehaviour We would like to know about your work and that of other women who have inspired you in your own practice. So please come and squat the NetBehaviour list for a week (of course we hope you'll stick around for longer:) and share your inspirations with our friendly community of artists, academics, writers, code geeks, curators, independent thinkers, activists and net mutualists. Posts are welcome in any format and frequency. The following is offered as an example. ==================== MY NAME: Ruth Catlow URL: http://www.furtherfield.org/display_user.php?ID=14 INSPIRED BY: Ele Carpenter - http://www.elecarpenter.org.uk/ for tech inspired and facilitated participation with Open Source Embroidery, her curatorial project exploring artists practice that explores the relationship between programming for embroidery and computing. Auriea Harvey - for her part with Entropy8Zuper in early intimate networked performances http://entropy8zuper.org/wirefire and for Endless Forest, Tale of Tales's bucolic social screensaver http://tale-of-tales.com/TheEndlessForest Mary Flanagan - for her energetic explorations as academic, educator, artist and programmer at the intersection of games, art and feminism and exploring collaborative approaches to thinking about values in http://www.valuesatplay.org/ ============================== At the end of the week we will collate all of the posts in the thread and feature them on Furtherfield.org. See you on Netbehaviour : )) With all best wishes from Ruth and the Furtherfield team ========================== Ada Lovelace Day -bringing women in technology to the fore http://findingada.com/blog/2009/01/05/ada-lovelace-day/ sign a pledge to blog about inspirational women in tech on 24th March. NetBehaviour is the Furtherfield.org email discussion listJoin NetBehaviour for a week between 23rd and 30th March (of course we hope you will stick around: ) http://www.netbehaviour.org/mailman/listinfo/netbehaviour From nc-agricowi at netcologne.de Fri Mar 27 10:43:21 2009 From: nc-agricowi at netcologne.de (netEX) Date: Fri Mar 27 10:44:36 2009 Subject: [spectre] netEX: calls & deadlines --> April 2009 Message-ID: <20090327104321.D9B68ED7.98F82A38@192.168.0.3> netEX: calls & deadlines -->April 2009 ------------------------------------- [NewMediaArtProjectNetwork]:||cologne newsletter contents calls & deadlines 03 Calls: 2009 deadlines internal 15 Calls: April 2009 deadlines external 9 Calls: ongoing external/internal ------------------------------------------------ Calls & deadlines ---> ------------------------------------------------ 2009: deadlines internal Deadline: 30 September A Virtual Memorial - memorial project environments is looking for artists who work on the subject "SHOAH" in digital media, primarily videoart/filmart, but also netart, soundart, digital photography and media installation http://www.nmartproject.net/netex/?p=662 extended Deadline 30 June 2009 Cinematheque - streaming media project environments call: Flash & Thunder - Flash as a medium and tool for artistic creations http://www.nmartproject.net/netex/?p=408 extended Deadline 2 May 2009 VideoChannel - video project environments call: One Minute Videos http://www.nmartproject.net/netex/?p=447 ------------------------------------------------ April 2009 deadlines: external ------------------------------------------------ 30 April 5th Short Film festival Ljubljana/Slovenia http://www.nmartproject.net/netex/?p=847 30 April Earth 2009 - The Green Exhibition http://www.nmartproject.net/netex/?p=753 30 April Tramuntana 09 Festival Cadaques/Spain http://www.nmartproject.net/netex/?p=819 30 April Sardinia Film Festival Sassari/Italy http://www.nmartproject.net/netex/?p=742 25 April International Film Festival Torun/Poland http://www.nmartproject.net/netex/?p=758 20 April One Minute Shot Film Festival Yerewan/Armenia http://www.nmartproject.net/netex/?p=852 20 April One Minute Film Festival Croatia http://www.nmartproject.net/netex/?p=870 20 April Kurye Internation Video Festival Istanbul /Turkey http://www.nmartproject.net/netex/?p=794 17 April Radio Art Contest Madrid/Spain http://www.nmartproject.net/netex/?p=766 15 April Palazzo Barberini Screening Nights (Italy) http://www.nmartproject.net/netex/?p=827 15 April 36th Bourges International Competitions Bourges/France http://www.nmartproject.net/netex/?p=724 12 April Art-o-thlon Vilnius 2009 (Lithuania) http://www.nmartproject.net/netex/?p=880 10 April Onion City Film/Video Festival Chicago/USA http://www.nmartproject.net/netex/?p=551 7 April Interactivos? Lima 2009 - workshop Lima/Peru http://www.nmartproject.net/netex/?p=791 1 April Tabor Short Film Fest (Croatia) http://www.nmartproject.net/netex/?p=786 ----------------------------------------------- Ongoing calls: external/internal ----------------------------------------------- -->Videos for Bivouac Projects Sumter/USA -->OUTCASTING - web based screenings -->Films and video screenings Sioux City (USA) -->Laisle screenings Rio de Janeiro/Brazil -->Videos for Helsinki based video gallery - 00130 Gallery -->Web based works for 00130 Gallery Helsinki/Finland -->Project: Repetition as a Model for Progression by Marianne Holm Hansen -->US webjournal Atomic Unicorn seeks netart and video art for coming editions -->TAGallery and more deadlines on http://www.nmartproject.net/netex/?page_id=4 ----------------------------------------------- NetEX - networked experience http://netex.nmartproject.net # calls in the external section--> http://www.nmartproject.net/netex/?cat=3 # calls in the internal section--> http://www.nmartproject.net/netex/?cat=1 ----------------------------------------------- # This newsletter is also released on http://www.nmartproject.net/netex/?cat=9 # netEX - networked experiences is a free information service powered by [NewMediaArtProjectNetwork]:||cologne http://www.nmartproject.net - the experimental platform for art and new media from Cologne/Germany # info & contact: info (at) nmartproject.net From toyoto at no-log.org Fri Mar 27 13:08:04 2009 From: toyoto at no-log.org (toyoto@no-log.org) Date: Fri Mar 27 13:10:52 2009 Subject: [spectre] HSF 2009 | Call for proposal Message-ID: <2212.AQZRWlkHWyg=.1238155684.squirrel@webmail.no-log.org> ======================================================================== /tmp/lab announces the second Hacker Space Festival (Paris, 26-30 June 2009) ======================================================================== Hacker Space Festival 2009 | Call For Proposals In 2008, we organized HSF[1] on the spot, as an ad-hoc meeting for hackerspaces-related networks, technical and artistic research emerging from them and social questionning arising from them. This sudden experiment proved to be a huge success, as much as on the self-organizing level as on the participants and meetings quality, as well as the emotionally-charged ambient, the kind of which you make fond memories. The 2008 edition generated a strong emulation in France, from its historical role as the first official hack meeting there, and in Europe with the subsequent creation of the Hacker Space Brussels[2], the rapprochement with The Fiber in Amsterdam and the hackerspaces.org[3] network. Initiatives of hackerspace openings in Grenoble or Lille, or the upcoming FrHack[4] conference show an actual enthusiasm in the French hackers community that was doomed to the "underground" not so long ago. We salute these initiatives and their diversity! Soon enough, we wanted to reiterate the HSF experience : however, it was out of the question to institutionalize this temporary autonomous zone, nor make it an ersatz of the previous edition, nor even to wrap it into an "elite" or "underground" aura. On the opposite, we ardently desire; and especially to explore further, in all directions some lesser known domains (see below) et foster meeting and sharing around experiences at the confluence of art, technology and politics. The world financial crisis, the decay of democracy in Europe, the obscurantism, paranoia and lack of culture presiding over legislation (Internet and Reaction... Err... Creation Law[5][6]) seem a fertile environment for the sensible development of new (social...) life forms. Quick! Let's rest for a few days in jubilation and ecstasy to take a deep breathe of freedom under the indelicate smells of the medicine factory nearby! For if the public space is shrinking to oblivion, where any side-step becomes suspect, and that, from an early age (deviant behavior detection in nursery school), where moving without a mobile phone becomes suspect (hello you Julien Coupat[7], a French political prisoner in France!), there's a domain that the Leviathan would have a lot of trouble to contain, and for a reason: that of sensitivity. Even the desperate attempts of the State to block the free and premonitory expression of sense (hello you Demeure du Chaos![8]) cannot do anything against a loud laughter or a knowing glance, a sensual kiss or an explosion of colors. Sensitivity, we could say, is what is left to a human being when she has nothing anymore, and differenciates her from the body corporate or the institution, that are, in essence, devoid of it. Therefore, Art definitely remains the public space to share between humans, and only between us. And if it the last one to share, we propose to explore it and take it over during the upcoming edition of the Hacker Space Festival, from the 26th to 30th of June, 2009 at Vitry sur Seine[9]. ======================================================================== Keynote Speakers: Sergey Grim and Larry Fake with Eric Schmoudt Groogle Summer of Crode, Survivor style "VLC, I vote against you because you really fucked up when..." ======================================================================== == W A N T E D ========================================================= Focus on solutions rather than problems. * The Final (Hardware) Frontier: Open FPGA Cores, Reverse Engineering * Designer Religions and Creative Beliefs Systems * WiFiDoors & WiFi System-on-Chip controllers firmware hacking, infection & backdooring * Telecom Core Network Equipment Reverse Engineering: MSC, STP, Switches, ... * Algebraic Attacks and Modern Cryptography Attacks * Autonomous, Parasitic and Viral Drones * Enhanced or Infected Reality Swarms * Auto-Builders / Self-Fabrication * Embedded OS breakins stories & recipes * Actualization rather than mere concepts * FPGA & ASIC hacking / backdooring * Cloud+Privacy+Open Source: O Brave New World? * Explosion-Proof clothing * Radio Appz & Hackz: Mesh @ RF Layer 1-3 * Database & Privacy * Problematic & Ethical Open Source/Content Licenses * Institutional Relationships: Lobbying or Licking? * Non Lethal Protection (anti-taser vests?) * Survival in the Age of the Ministry of Immigration and National Identity * Mental asylum improvised visit * Open Source Legacy Media(TM) Production Solutions (TV, Radio, Press, DRM) * Gas Sensors & Environmental Benchmarking * Building Hackerspaces Without Money * Milsatcomm hacking: Military satellites shots, broken birds in the sky * Other research topics on security and insecurity * Academics and Hackers * Organics and Fermentation * Clean Food in Tainted Environment * Low Impact Energy & Recycling * Media Sandwich: layers of crap makes good food? * Deconstructing Carla Sarkozy * Knitting DIY Factory (jazzy, eh?) * Signs of life among industrial wasteland * Hallucinogenic & Computing: Can you Code on Acid? * Mesh Networking (Wireless BattleMesh Royal!) * Legal Sabotage: When Democracy Needs You And anything that does not fit. ======================================================================== == P R O P O S E ======================================================= Send you contributions to HSF2009-CFP@lists.tmplab.org + Type of the proposal: 1. conference (45min. presentation + 10min. for questions) 2. workshop / demo (30min. ? 2 heures) 3. installation / performance (music, plastic, sound, video) Lightning talks can be proposed and organized until the last moment, according to available space and schedule, in the form of BarCamps or Blitz Conferences. + Required Information: * Title of the presentation * Type (see above) * Language : French or English * Name of speaker(s) * Affiliation (organization / company) * Short biography * Abstract (5 to 10 lines) * Topics / Keywords * Includes a demo? YES | NO * Release during the festival? YES | NO * Internet connection required? YES | NO + Acceptable Formats * Open Document * PDF * Plain Text * RTF + Agenda * beginning of proposals : now * end of proposals : 01 May 2009 * selection notification : 07 May 2009 * publication of program : 15 May 2009 + Evaluation criteria for proposals: 1. Innovating Topic 2. Open Technology 3. Demonstration / Live Act 4. DIY Reproducibility 5. Fun Potential The Programming Committee resembles that of last year See : http://hackerspace.net/committee ======================================================================== == V E N U E =========================================================== /tmp/lab 6 Bis rue Leon Geffroy 94400 Vitry sur Seine France http://hackerspace.net/directions ======================================================================== == P A R T I C I P A T E =============================================== Email : http://lists.tmplab.org/listinfo.cgi/hsf2009-talk-tmplab.org CFPmail: HSF2009-CFP@lists.tmplab.org IRC : irc://irc.freenode.net/frlab Jabber : xmpp:hsf2009@space.cepheide.org?join Wiki : http://hackerspace.net/hsf2009 ======================================================================== == L I N K S =========================================================== The CFP is available online at http://hackerspace.net/cfp [1] http://hackerspace.net/hsf2008 [2] http://hsb.wikidot.com/ [3] http://hackerspaces.org/ [4] http://www.frhack.org/ [5] http://jaimelesautistes.fr/ [6] http://laquadrature.net/ [7] http://fr.wikipedia.org/wiki/Julien_Coupat [8] http://www.demeureduchaos.org/ [9] http://hackerspace.net/ _______________________________________________ Tmplab mailing list Tmplab@lists.tmplab.org http://lists.tmplab.org/listinfo.cgi/tmplab-tmplab.org http://www.tmplab.org (Blog) http://tinyurl.com/4aob9u (Calendar) http://www.tmplab.org/wiki/index.php (Wiki) http://embed.mibbit.com/?server=irc.freenode.net&channel=%23frlab (IRC french) http://embed.mibbit.com/?server=irc.freenode.net&channel=%23tmplab (IRC english) From wallace at autistici.org Fri Mar 27 14:05:40 2009 From: wallace at autistici.org (wallace) Date: Fri Mar 27 14:06:07 2009 Subject: [spectre] Freifeld Message-ID: <49CCCF24.6090205@autistici.org> Freifeld - 28.03.2009 http://www.fantomton.de/news/freifeld1.html We are pleased to invite you to Freifeld, a free space for electronic arts in Edelweiss[1], Berlin. The S3 literaturswerke[2] group begins the evening at 10.30 pm and reads its provocative texts. After that we slowly fade from literature to music when at 0:30 Nina Blondich acts p0rn0pr0n, a reading about pornography, spam and technology. The live electronic band Phantom Crunch accompanies the voice with experimental noise music escorted by Un-defined visuals. At 1:00 Phantom Crunch[3] performs a live soundtrack to a short version of Fritz Lang's famous movie Metropolis cutted by Chiara Morcelli At 1:30 we proudly present you the latest Fantomton[4] release - Radarstation. Various artists used samples recorded at the radar station located on the Teufelsberg in Berlin. Each of them interpreted the material in their own manner, still retaining an overarching ambience. Beatstorm[5] will perform a vjset with some images of Teufelsberg. We still keep an experimental touch when Undergrind[6] plays his liveset at 2:00 am and the vjset of Beatstorm[5]. At 3:00 Initial Gain, an electronic band playing with tons of analougue equipment heats the room with dancable, intelligent music somewhere between acid, breakbeat, techno and ambient. Then Freifeld gets cosy but vivid when Radarfilm[7] plays his ambient/electronica liveact at 4:30. Feel free to stay in our chillout area and listen to the bands Delorean Greycode and Initial Gain, who take care of your relaxation. The Freifeld floor is part of the "We can dance - Tanzrauminitiative"[8] party, more infos @ http://www.fantomton.de, http://www.symbiont-music.com [1] http://maps.google.com/maps?f=q&source=s_q&hl=en&geocode=&q=edelwei%C3%9F+berlin+G%C3%B6rlitzerstr.+1-3&sll=52.425751,13.423261&sspn=0.009552,0.014119&g=edelwei%C3%9F+berlin&ie=UTF8&z=16&iwloc=A [2] http://www.myspace.com/s3literaturwerke [3] http://www.myspace.com/phantomcrunch [4] http://www.fantomton.de/ [5] http://www.myspace.com/beatstormarea [6] http://www.myspace.com/radarfilm [7] http://www.myspace.com/undergrinder [8] http://event.myspace.com/index.cfm?fuseaction=events.detail&eventID=497195.05968&hashcode=3fb0630e-da72-4cf1-890b-a1bed4335f02 From redazione at digicult.it Sat Mar 28 16:29:12 2009 From: redazione at digicult.it (Redazione Digicult) Date: Sat Mar 28 16:29:57 2009 Subject: [Spectre] Digicult_Digimag 42 / March 09_Digimag 41 / February 09_english version online Message-ID: <000001c9afb9$fe7e4b30$82661201@marco> Sorry for any crosspostings Digimag International is back! Many of you kindly wrote us asking for the English version of Digimag: we are so sorry for the delay, we had some big problems with english translators. But, here we are again We translated the last 2 issues, the Issue 41 / February 09 (scroll down) and Issue 42 / March 09: DIGIMAG 42 / MARCH 2009 http://www.digicult.it/digimag_eng/index.asp You can read all the past articles and issues in the Archive section here: http://www.digicult.it/en/Archive/ .................................... [INTERVIEWS]: - BRIAN ENO - di Matteo Milani - http://www.digicult.it/digimag/article.asp?id=1397 - CHRISTOPHE BRUNO - di Giulia Simi - http://www.digicult.it/digimag/article.asp?id=1400 - FRANCO BERARDI (BIFO) - di Loretta Borrelli - http://www.digicult.it/digimag/article.asp?id=1399 - JAN ROHLF (CTM) - di Donata Marletta - http://www.digicult.it/digimag/article.asp?id=1393 - DOMENICO QUARANTA - di Marco Mancuso - http://www.digicult.it/digimag/article.asp?id=1402 - DARIO NEIRA - di Elena Gianni - http://www.digicult.it/digimag/article.asp?id=1373 - FRANCESCO MENEGHINI - di Elisabetta Colombo - http://www.digicult.it/digimag/article.asp?id=1394 - GUIDO SMIDER - di Teresa De Feo - http://www.digicult.it/digimag/article.asp?id=1404 - ZONE TEATRALI LIBERE - di Massimo Schiavoni - http://www.digicult.it/digimag/article.asp?id=1376 [REPORTS]: - THE INFLUENCERS 09 - di Barbara Sansone - http://www.digicult.it/digimag/article.asp?id=1398 - ELEKTRA 2009 - di Marco Mancuso - http://www.digicult.it/digimag/article.asp?id=1395 - FUTURE FILM FESTIVAL - di Marco Riciputi - http://www.digicult.it/digimag/article.asp?id=1375 [FEATURING]: - PHILIPPE PARRENO - di Francesco Bertocco - http://www.digicult.it/digimag/article.asp?id=1405 - DICK RAAIJMAKERS - di Lucrezia Cippitelli - http://www.digicult.it/digimag/article.asp?id=1396 - FUTURISMI TEATRALI - di Annamaria Monteverdi - http://www.digicult.it/digimag/article.asp?id=1377 [THEMES]: - IL FUTURO DELLE NOTIZIE SCIENTIFICHE - di Luigi Ghezzi - http://www.digicult.it/digimag/article.asp?id=1401 - ARTE E SCIENZA - di Stefano Raimondi - http://www.digicult.it/digimag/article.asp?id=1372 - BEYOND BODY BOUNDARIES - di Otherehto - http://www.digicult.it/digimag/article.asp?id=1403 [COVER]: - Marco Mancuso - Mylicon/En live set ---------------------- DIGIMAG 41 / FEBRUARY 2009 http://www.digicult.it/archivio/digimag_41eng/ You can read all the past articles and issues in the Archive section here: http://www.digicult.it/en/Archive/ .................................... [INTERVIEWS]: - TREVOR WISHART - di Matteo Milani - http://www.digicult.it/digimag/article.asp?id=1383 - EDUARDO NAVAS - di Lucrezia Cippitelli - http://www.digicult.it/digimag/article.asp?id=1387 - OTOLAB - di Claudia D'Alonzo - http://www.digicult.it/digimag/article.asp?id=1380 - MOMO - di Silvia Bianchi - http://www.digicult.it/digimag/article.asp?id=1382 - CORPICRUDI - di Massimo Schiavoni - http://www.digicult.it/digimag/article.asp?id=1357 - CADA DESIGN - di Marco Mancuso - http://www.digicult.it/digimag/article.asp?id=1390 [REPORTS]: - TRANSMEDIALE 09 - di Donata Marletta - http://www.digicult.it/digimag/article.asp?id=1388 - MATTHEW BARNEY - di Francesco Bertocco - http://www.digicult.it/digimag/article.asp?id=1391 - YOU3B - di Monica Ponzini - http://www.digicult.it/digimag/article.asp?id=1392 [FEATURING]: - CARLO ZANNI - di Giulia Simi - http://www.digicult.it/digimag/article.asp?id=1353 - BERARDO CARBONI/MACHINIMA - di Marco Riciputi - http://www.digicult.it/digimag/article.asp?id=1358 - LORENZO BRUSCI - di Elena Granulla - http://www.digicult.it/digimag/article.asp?id=1347 - INHARMONICITY - di Alessio Galbiati - http://www.digicult.it/digimag/article.asp?id=1343 [THEMES]: - MILAN 2009 - di Bertram Niessen e Marco Mancuso - http://www.digicult.it/digimag/article.asp?id=1385 - ANNA ADAMOLO - di Antonio Caronia, Loretta Borrelli, Tatiana Bazzichelli - http://www.digicult.it/digimag/article.asp?id=1384 - GENERATIVE NATURE - di Marco Mancuso - http://www.digicult.it/digimag/article.asp?id=1386 - BIOLOGICAL STRATEGIES FOR DESIGN - di Carla Langella - http://www.digicult.it/digimag/article.asp?id=1381 - GIVE SHAPE TO SOCIAL NETWORKS - di Luigi Ghezzi - http://www.digicult.it/digimag/article.asp?id=1389 [COVER]: - Pierpaolo policappelli - Cox18/Milan .................................... DIGICULT is an Italian cultural and editorial project concerning knowledge and share of contemporary digital art, design and culture, speaking about the impact of new technologies and sciences on general creativity, communication and social environment. DIGICULT is based on the active participation of more than 40 professional people, which represent the first wide Italian Network of journalists, curators and critics in the field of New Media Art. The DIGICULT project is directed by Marco Mancuso, from January 2005 without any money supporting and with a cultural activist approach. DIGICULT is today a web portal updated daily with news events, calls for artists, projects highlights, links, reviews, interviews and articles. DIGICULT is also the editor of the monthly magazine DIGIMAG, discussing with a critic and journalistic approach, about net art, hacktivism, video art, electronica, audio video, interaction design, artificial intelligence, new media, software art, performing art. DIGICULT produce an electronic music and audiovisual podcast, DIGIPOD, and has also its own newsletter international service DIGINEWS. DIGICULT in finally involved with the art agency DIGIMADE in activities like media partnerships and special journalistic/critic reports of some important festivals, special projects and curatorial in Italy and worldwide, and is actually working as curator/promoter of some Italian artists presenting their work within some important festivals, events, platforms and cultural centers in Europe and worldwide, operating with digital art and new media culture. www.digicult.it/en/ www.digicult.it/digimag_eng/ www.digicult.it/podcast www.digicult.it/agency .................................... [EDITORIAL STAFF]: - Marco Mancuso - director - Luca Restifo - technical consultancy - Riccardo Vescovo - graphic design - Laurea Magistrale in Traduzione Specialistica, Universit? IULM - editing - Claudia D'Alonzo - press office - Giuseppe Cordaro - podcast - Mauro Minnone e Luigi Ghezzi - web 2.0 strategies [CONTENTS]: Luigi Pagliarini, Tatiana Bazzichelli, Bertram Niessen, Teresa De Feo, Luigi Ghezzi, Giulia Baldi, Domenico Quaranta, Lorenzo Tripodi, Massimo Schiavoni, Monica Ponzini, Valentina Tanni, Annamaria Monteverdi, Motor, Isabella Depanis, Tiziana Gemin, Lucrezia Cippitelli, Silvia Bianchi, Francesca Valsecchi, Claudia D'Alonzo, Barbara Sansone, Alessandro Massobrio, Giulia Simi, Silvia Scaravaggi, Maresa Lippolis, Alessio Galbiati, Giuseppe Cordaro, Antonio Caronia, Clemente Pestelli, Davide Anni, Donata Marletta, Valeria Merlini, Loretta Borrelli, Stefano Raimondi, Otherehto, Carla Langella, Stefano Bertocco, Elena Gianni, Matteo Milani, Marco Riciputi [TRANSLATIONS]: Ali Ustun, Paola Arrigoni, Emanuela Cassol, Chiara Resmini, Luisa Bertolatti, Valeria Grillo -------------------- Marco Mancuso Digital Arts & Culture Critic, Curator and Journalist --------------------------------- Digicult Director & Founder Naba Academy & Ied Teacher --------------------------------- Ripa Porta Ticinese 39 20122 Milano - Italy Mob: +39.340.8371816 Skype: sostakovich --------------------------------- www.digicult.it www.digicult.it/digimag www.digicult.it/podcast www.digicult.it/agency From christoph at wechsel-strom.net Sun Mar 29 10:47:00 2009 From: christoph at wechsel-strom.net (christoph theiler) Date: Sun Mar 29 10:47:14 2009 Subject: [spectre] wer ist =?iso-8859-1?q?daf=FCr_zust=E4ndig_=3F?= Message-ID: <49CF3584.7020505@wechsel-strom.net> will die Ernsthaftigkeit parlamentarischer Arbeit keinesfalls in Zweifel ziehen, aber folgende 5 Anfragen zur gleichen Kunstaktion gehen ein wenig zu weit: Gesundheitsministerium: http://www.parlament.gv.at/PG/DE/XXIV/J/J_00911/imfname_150023.pdf Kunstministerium 1: http://www.parlament.gv.at/PG/DE/XXIV/J/J_00912/imfname_150022.pdf Landwirtschaftsministerium: http://www.parlament.gv.at/PG/DE/XXIV/J/J_00989/imfname_150294.pdf Kunstministerium 2: http://www.parlament.gv.at/PG/DE/XXIV/J/J_00990/imfname_150293.pdf Justizministerium: http://www.parlament.gv.at/PG/DE/XXIV/J/J_01142/imfname_151530.pdf am 1. April 09, 00:05 Uhr auf Deutschlandradio-Kultur das Feature zum Thema Live-Stream unter: http://www.dradio.de/dkultur/sendungen/feature/918112/ christoph - wechselstrom - From rhinolver37 at gmx.net Sun Mar 29 18:20:12 2009 From: rhinolver37 at gmx.net (elisabeth enke) Date: Sun Mar 29 18:21:05 2009 Subject: [spectre] wer ist =?ISO-8859-1?Q?daf=FCr_zust=E4ndig_=3F?= In-Reply-To: <49CF3584.7020505@wechsel-strom.net> References: <49CF3584.7020505@wechsel-strom.net> Message-ID: <49CF9FBC.9060606@gmx.net> grossartige aktion, christoph ! also das ist ja wohl nicht zu fassen. (ist das echt ???? ich kanns nicht glauben ... gibt es ein kunstministerium ???) im namen des gesetzes finden so viele unglaubliche tierqu?lereien statt : tierversuche, massentierhaltung, hormonspritzen, transporte, ?berproduktion (milchk?he), verz?chtung (extralange schweine f?r extra viele kottlets), ach ja und daunenproduktion und lebendiges rupfen und k?figh?hner .. dass man diesen politkern, die das geschrieben haben s?mtliche zehenn?gel bei lebendigem leib ausreissen sollte und darauf haarshampoo tun sollte und sie dann monatelang zu hunderten in einem aluminiumstall mit gummimatten halten sollte und ihnen nur fischmehl zu essen geben sollte und dann werden sie alle in einen laster gepr?gelt und einen tag im dunkel durhc die gegend gekurvt auf der n?chsten m?llhalde abgeliefert. danach k?nnen sie entscheiden, ob sie das lieber nochmal machen wollen, oder eine kunstaktion besuchen. also weltfremdere meinungen hab ich lange nicht geh?rt. ich sag es schonwieder : politiker abschaffen ! brauchen wir nicht. elisabeth christoph theiler schrieb: > will die Ernsthaftigkeit parlamentarischer Arbeit keinesfalls in Zweifel > ziehen, aber folgende 5 Anfragen zur gleichen Kunstaktion gehen ein > wenig zu weit: > > Gesundheitsministerium: > http://www.parlament.gv.at/PG/DE/XXIV/J/J_00911/imfname_150023.pdf > > Kunstministerium 1: > http://www.parlament.gv.at/PG/DE/XXIV/J/J_00912/imfname_150022.pdf > > Landwirtschaftsministerium: > http://www.parlament.gv.at/PG/DE/XXIV/J/J_00989/imfname_150294.pdf > > Kunstministerium 2: > http://www.parlament.gv.at/PG/DE/XXIV/J/J_00990/imfname_150293.pdf > > Justizministerium: > http://www.parlament.gv.at/PG/DE/XXIV/J/J_01142/imfname_151530.pdf > > am 1. April 09, 00:05 Uhr auf Deutschlandradio-Kultur > das Feature zum Thema > Live-Stream unter: > http://www.dradio.de/dkultur/sendungen/feature/918112/ > > christoph > - wechselstrom - > > ______________________________________________ > SPECTRE list for media culture in Deep Europe > Info, archive and help: > http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre > From info at apo33.org Sun Mar 29 19:30:28 2009 From: info at apo33.org (APO33) Date: Sun Mar 29 19:30:59 2009 Subject: [spectre] APO33 RADIOS!! LISTEN NOW!!! Message-ID: <20090329193028.180675zp1zmhfksg@apo33.org> !!!!!!!!!!!!! APO33 RADIOS !!!!!!!!!!!!! good news! Almost APO33 radios are back!! You could listen it now with great players such as VLC, Mplayer, xmms...etc (Ogg Vorbis audio streaming) !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ////////// RADIOACT ///////// LISTEN HERE : http://radio2.apo33.org:8000/radioact.ogg.m3u RadioAct is a web radio that proposes and welcomes pieces / sound creations from artists or non-artists working with different thematics and ideas. Many points of view for many ways to listen. Radio, the medium, is evolving. It?s primary purpose is to expose sound and information but it can now do this through different means, and it has now become possible for the listener to select the content of any given emission. Radioact participates in this evolution. The listener can chose to listen to a specific emission, or listen to whatever is on offer on the airways at any given moment.The program is made up of many different emissions, radio reportage?s, play lists from invited dj?s, commentary etc . For 2009 RADIOACT propose more than 320 days of experimentale music, electronic, noise, sound art, sound poetry, improv, philosophy, avant-garde, orchestral, industrial, extreme punk, minimalism, art speech...etc ENJOY!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ////////////// POULPE RADIO ///////////// LISTEN HERE : http://radio2.apo33.org:8000/poulpe_nantes.ogg.m3u Le poulpe (the octopus) is an analogical and digital organism living in a network. Each branch constitutes a sonic installation which, out of a specific location, collects its own locally generated sound effects, transforms them via a digital automaton into a new arrangement of sounds. The outcome is then broadcast locally, through loud speakers, and on the Net, through streaming. Le Poulpe belongs in the city, where people live and make noise. It gives a virtual body to this city, expressing through sounds its invisible mouvements and its continuous flows. Over the Net, its tentacles collect and connect continuous sonic fluxes from ever changing contexts, to infiltrate and modify another environment. available: NANTES POULPE update soon: Bourges, Marseille, Orl?ans... http://www.apo33.org/poulpe !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! //////////////// TRANZION RADIO /////////////// LISTEN HERE : http://radio2.apo33.org:8000/tranzion_radio.ogg.m3u A transition radio of movements caught suddenly he, disappearing there? Julien Ottavi experimenting on 06/2008: In sinusoidal shapes, I draw a specific listening form of both background and mobile sounds. Paradoxical entities of calmness and tension are built and I discover a kind of presence in this automatic music, some delay and some undefined element running towards emptyness. A first attempt out of a few oscillators, delays and samplers? This month, I am trying to build a synthetic automaton (but no acoustic source) to create a listening mode across the listener's space. Since I am the first listener? I can experiment and adapt the outcome according to my intimate self? and then, to yours? !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! /////////// BOT RADIO /////////// LISTEN APOBOT HERE : http://radio2.apo33.org:8000/apobot.ogg.m3u Initiated by apo33, BOTs make up a virtual community, in the continuation of the 'POULPE' project, with a view to assemble a collection of entities in one location in order to diffuse their production to many more places. They stand for a new approach to digital phenomena : networks, multi motionless geolocation, interconnection of on-line produced or processed data, automation in the treatment of reality and, especially in the case of BOTs, sites for experiments, always accessible, and from anywhere. THE GREAT APOBOT COME BACK!!! to come : A10BOT, COSSALLBOT, PELLERINIOBOT, HALBOT, NEWCROSSBOT...etc http://www.apo33.org/dokapo/doku.php?id=bot !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! APO33 COLLECTIVE RADIO with Julien Ottavi, Dominique Leroy & more! All APO33 RADIOS are made 100% with GNU/LINUX Free Software!! -- APO33 space of research and experimentation http://www.apo33.org info@apo33.org From r.a.rogers at uva.nl Thu Mar 19 21:29:57 2009 From: r.a.rogers at uva.nl (Richard Rogers) Date: Mon Mar 30 09:44:45 2009 Subject: [spectre] =?iso-8859-1?q?Call_for_Applications_Fall_=8C09_Admiss?= =?iso-8859-1?q?ions_UvA_New_Media_MA?= In-Reply-To: <C4608FD6.423C%r.a.rogers@uva.nl> Message-ID: <C5E869D5.86B2%r.a.rogers@uva.nl> Call for Applications Fall ?09 Admissions UvA New Media MA The New Media International MA program at UvA has issued a call for applications for students who would like to begin study in Fall 2009. We already have an impressive pool of applicants and encourage additional applications in order to recruit the best incoming class. Please feel free to share with colleagues and friends who may be interested and who would make a valuable contribution to the program. Direct link to the .pdf of the call for applications: http://mastersofmedia.hum.uva.nl/fall09cfa/ Overview The International M.A. in New Media & Digital Culture (NMMA) at the University of Amsterdam (UvA) is accepting applications for the 2009-2010 academic year. The NMMA is a one-year residence program undertaken in English at UvA in the heart of Amsterdam. Students become actively engaged in critical Internet culture, with an emphasis on new media theory and aesthetics, including theoretical materialist traditions and practical information visualization trends. Our permanent faculty are recognized experts in their fields, and committed to their students. The program admits up to forty students per year, classes are no larger than 20 and typically smaller, and the faculty-to-student ratio is 1:8. Curriculum The curriculum has two complementary tracks that all students follow: the theoretical track (New Media Theories and Digital Aesthetics) and the practical-empirical track (Academic Blogging, Digital Research Methods and Information Visualization). The final thesis, a contribution to digital media studies, rounds out the program. 1st Semester: students follow a practical course in academic blogging, led by Internet theorist and tactical media practitioner Geert Lovink. Their entries generate the internationally noted Masters of Media site, which currently has the high authority ranking of 43 on Technorati (http://mastersofmedia.hum.uva.nl/). The concurrent new media theories course focuses on classic texts by innovators from Alan Turing to Tim Berners-Lee. The final first semester class, Digital Research Methods, trains students in new techniques for studying the Internet (http://www.digitalmethods.net/). 2nd Semester: the student chooses between courses on digital aesthetics or information visualization, the former more theoretically inclined in the traditions of art history and visual culture, and the latter a joint practical-empirical collaboration between designers, programmers and analysts, where the product is an online tool or digital visualization. The course of study concludes with the M.A. thesis, an original analysis that makes a contribution to the field, undertaken with the close mentorship of a faculty supervisor. The graduation ceremony includes an international symposium with renowned speakers. Graduates of the NMMA have gained an analytical and practical skill-set that enables diverse careers in research and practice-related areas that make use of the Internet, including business, government, NGOs, and creative industries that are evolving with emerging new media. Our graduates include Bauke Freiburg, Founder of Fab Channel and Eva Kol, whose MA thesis, Hyves, was published by Kosmos in 2008 and sold over 5000 copies its first year in print. Student Life The quality-of-living in Amsterdam ranks among the highest of international capitals. UvA?s competitive tuition (see below) and the ubiquity of spoken English both on and off-campus make the program especially accommodating for foreign students. The city?s many venues, festivals, and other events provide remarkably rich cultural offerings and displays of technological innovation. The program has ties to organizations including PICNIC, the Waag Society, Mediamatic, Virtueel Platform, Netherlands Institute for Media Art, and other cultural institutions. Students attend and blog, twitter or otherwise capture local events, while commenting as well on larger international issues and trends pertaining to new media. The quality of student life is equally to be found in the university?s lively and varied intellectual climate. NMMA students come from North and South America, Africa, and across Europe and from academic and professional backgrounds including journalism, art and design, engineering, marketing, the humanities and social sciences. Faculty Richard Rogers, Professor and Chair. Web Epistemology. Publications include Information Politics on the Web (MIT, 2004/2005), awarded American Society for Information Science and Technology?s 2005 Best Information Science Book of the Year Award. Founding director of govcom.org. http://www.govcom.org/publications.html Geert Lovink, Associate Professor. Critical Internet theory, Tactical Media. Publications include Zero Comments: Blogging and Critical Internet Culture (Routledge, 2007). Co-founder nettime list (1995 ? present); founder, Institute of Network Cultures, 2004. http://en.wikipedia.org/wiki/Geert_Lovink Jan Simons, Associate Professor. Mobile Culture, Gaming, Film Theory. Publications include Playing The Waves: Lars von Trier's Game Cinema (U Amsterdam P, 2007). Project Director, Mobile Learning Game Kit, Senior Member, Digital Games research group. http://home.medewerker.uva.nl/j.a.a.simons/ Yuri Engelhardt, Assistant Professor. Computer modeling and information visualization. Publications include The Language of Graphics (2002); founder and moderator of InfoDesign (1995-9); co-developer of Future Planet Studies at UvA. http://www.yuriweb.com/ Edward Shanken, Assistant Professor. Digital aesthetics, visual culture. Publications include Art and Electronic Media (Phaidon, 2009) and Telematic Embrace: Visionary Theories of Art, Technology and Consciousness (U Cal P, 2003). http://artexetra.com Application and Deadline 1 April for Fall 2009. Applicants will be notified around 15 June. Applications received after 1 April may be considered if places are available. See http://www.studeren.uva.nl/application_and_accreditation for details. More Info & Questions ? International M.A. in New Media & Digital Culture - University of Amsterdam: http://www.studeren.uva.nl/ma_new_media/ ? Graduate School for Humanities General Information: http://www.hum.uva.nl/gs/ ? Tuition and Fees: http://www.studeren.uva.nl/finance ? Further general questions? Please write to UvA?s Graduate School of the Humanities, graduateschoolhumanities-fgw ?at? uva.nl. ? Specific questions about the curriculum? Please write to Richard Rogers, Chair in New Media & Digital Culture, University of Amsterdam, rogers ?at? uva.nl. From Info at edith-russ-haus.de Mon Mar 23 11:09:30 2009 From: Info at edith-russ-haus.de (Edith-Russ-Haus) Date: Mon Mar 30 09:44:47 2009 Subject: [spectre] Cornelia Sollfrank EXPANDED ORIGINAL | Buchpraesentation 29. Maerz 2009, 16 Uhr Message-ID: <49C76DDE.9ACC.00AE.0@edith-russ-haus.de> Wir m?chten Sie zu folgender Veranstaltung herzlich einladen | We would like to invite you cordially to the following event Buchpr?sentation | Book presentation Cornelia Sollfrank EXPANDED ORIGINAL Sonntag, 29. Maerz 2009, 16 Uhr | Sunday, 29. March 2009, 4 p.m. im Edith-Ru?-Haus f?r Medienkunst in Oldenburg | at the Edith-Russ-Site for Media Art in Oldenburg, Germany ************************************************* Cornelia Sollfrank EXPANDED ORIGINAL Hrsg. von Sabine Himmelsbach f?r das Edith-Ru?-Haus f?r Medienkunst mit Texten von Jacob Lillemose, Rahel Puffert, Gerald Raunig, Silke Wenk Hatje Cantz Verlag, ca. 144 Seiten, deutsch/englisch, 25 Euro (bis Ausstellungsende am 19.04.09 im Edith-Ru?-Haus f?r Medienkunst zum Sonderpreis von 20,- Euro.) Ende M?rz erscheint anl?sslich der aktuellen Ausstellung am Edith-Ru?-Haus f?r Medienkunst (noch bis 19. April 2009) der Katalog Cornelia Sollfrank EXPANDED ORIGINAL. Diese Publikation dokumentiert erstmals das bisherige ?uvre von Cornelia Sollfrank und die in der aktuellen Ausstellung gezeigten Arbeiten. Neben ausf?hrlichen Werkbeschreibungen binden die Texte von Jacob Lillemose, Rahel Puffert, Gerald Raunig und Silke Wenk die Werke in kulturwissenschaftliche Kontexte ein. Cornelia Sollfrank stellt den Katalog am 26. M?rz, um 16 Uhr, nach der ?ffentlichen F?hrung durch die Ausstellung im Edith-Ru?-Haus f?r Medienkunst pers?nlich vor. - A smart artist makes the machine do the work - ein schlauer K?nstler l??t die Maschine die Arbeit machen - proklamiert Cornelia Sollfrank. Ihr Projekt net.art generator, eine Kunst generierende Internetmaschine, gilt als Pionierleistung der Netzkunst. Der Philosoph Gerald Raunig wird in seinem Katalogbeitrag die Bedeutung von maschineller Produktion in den Arbeiten von Sollfrank erl?utern. Ein weiterer Schwerpunkt ihres k?nstlerischen Forschens liegt in der Besch?ftigung mit unterschiedlichen Formen von Kollaboration sowie Networking und Kommunikation als Kunstformen. Sie war Mitglied der Kollektive frauen-und-technik und -Innen, initiierte das weltweite cyberfeministische Netzwerk Old Boys Network sowie die Mailingliste [echo] f?r Kunst, Kritik und Kulturpolitik in Hamburg und ist Mitbetreiberin der Internetplattform THE THING Hamburg. Die Kunsthistorikerin Rahel Puffert geht in ihrem Beitrag auf die von der K?nstlerin gegr?ndeten Foren und vernetzten Plattformen f?r Aktion und Arbeit ein. Erg?nzend steht im Zentrum des Artikels von Jacob Lillemose das Ph?nomen der multiplen Autorschaft, also der gemeinsamen Produktion eines k?nstlerischen Werkes. Der Kulturtheoretiker thematisiert vor allem das Handeln in globalen Netzwerken, das ein Hauptanliegen Sollfranks darstellt. Die Kulturwissenschaftlerin Silke Wenk diskutiert in einem Interview mit Cornelia Sollfrank den Aspekt der Wiederholung im Werk der K?nstlerin. Sie bezieht sich dabei auf die aktuelle Werkreihe re-visiting feminist art, mit der Sollfrank die Ideen feministischer k?nstlerische Aktionen und Performances in freier Wahl der Medien und Kontextualisierung wiederaufleben l?sst. Letztlich nimmt Sollfrank in ihrer Autobiografie Stellung zu Einfl?ssen und Erfahrungen, die ihren k?nstlerischen Werdegang pr?gten. Seit Mitte der 1990er Jahre erforscht die Hackerin, Cyberfeministin, Netz- und Konzeptk?nstlerin Cornelia Sollfrank die weltweiten Kommunikationsnetze und ?bertr?gt k?nstlerisch-subversive Strategien der klassischen Avantgarden ins digitale Medium. Dabei ist es ihr besonderes Anliegen, neue Formen von Autorschaft zu erproben, k?nstlerische Verfahren der Aneignung weiterzuschreiben und Mythen um Genialit?t und Originalit?t zu dekonstruieren. Kurz nach Er?ffnung des Edith-Ru?-Haus f?r Medienkunst im Jahre 2000 und 2001 war die international bekannte K?nstlerin, die zur Zeit in Hamburg, Celle und Dundee (Schottland) lebt, an den Oldenburger Ausstellungen CYBERFEM SPIRIT und UFO STRATEGIES beteiligt. In j?ngster Zeit bringt sich Sollfrank mit k?nstlerischen Beitr?gen und Vortr?gen in die Copyright-Diskussion ein. 2008 arbeitete sie w?hrend ihres einmonatigen Aufenthalts als Stipendiatin am Edith-Ru?-Haus f?r Medienkunst an ihrem neuen Projekt D?j? Vu. First Plagiarism Detection Software for Fine Arts. Neben der Recherche zum Thema Plagiarismus widmete sie ihre Zeit in Oldenburg der Vorbereitung ihrer Einzelausstellung ORIGINAL UND ANDERE F?LSCHUNGEN, die sich mit der aktuellen Frage nach den geistigen Eigentumsverh?ltnissen und der Beziehung zwischen Original und Reproduktion auseinandersetzt. Die K?nstlerin bezieht sich auf Werke aus Oldenburger Museen, darunter Originale von Horst Jansen ebenso wie Kopien vermeintlicher Rembrandt-Originale, und zeigt exemplarisch die Verwertungskette bis hin zum Verkauf durch ihre Bildagentur http://www.art-content24.de. Cornelia Sollfrank ORIGINALE UND ANDERE F?LSCHUNGEN 24. Januar bis 19. April 2009 Wir m?chten ebenfalls auf folgende Termine hinweisen: Donnerstag, 26. M?rz 2009, 17-20 Uhr Donnerstag, 09. April 2009, 17-20 Uhr Abend?ffnung mit F?hrung von der Kuratorin Katrin Werner um 18 Uhr Kostenlose F?hrungen jeden Sonntag um 15 Uhr. Weitere Informationen unter: http://artwarez.org und www.edith-russ-haus.de ?FFNUNGSZEITEN Dienstag - Freitag 14 - 17 Uhr Samstag und Sonntag 11 - 17 Uhr Montag geschlossen Eintritt: 2,50 / 1,50 ? Edith-Ru?-Haus f?r Medienkunst Katharinenstra?e 23 D-26121 Oldenburg fon: +49 (0)441 - 235 25 68 fax: +49 (0)441 - 235 21 61 info@edith-russ-haus.de www.edith-russ-haus.de Sollten Sie keine Informationen mehr von uns erhalten wollen, benachrichtigen Sie uns bitte unter unserer email-Adresse: info@edith-russ-haus.de *********************************************** Cornelia Sollfrank EXPANDED ORIGINAL edited by Sabine Himmelsbach with texts by Jacob Lillemose, Rahel Puffert, Gerald Raunig, Silke Wenk; Hatje Cantz Verlag, date of publication: late march 2009 29. March 2009, 4 p.m. Book presentation Cornelia Sollfrank ORIGINALS AND OTHER FAKES 24 January to 19 April 2009 We would like to announce also the following events: Thursday, 26 March and 9 April 2009, 5 to 8 p.m. Late Opening with guided tour at 6 p.m. with Katrin Werner Regular guided tours every Sunday at 3 p.m. Please find detailed information at http://artwarez.org and www.edith-russ-haus.de OPENING HOURS Tuesday - Friday 2 - 5 p.m. Saturday and Sunday 11 a.m. - 5 p.m. Monday closed Admission: 2,50 / 1,50 ? Edith Russ Site for Media Art Katharinenstra?e 23 D-26121 Oldenburg fon: +49 (0)441 - 235 32 08 fax: +49 (0)441 - 235 21 61 info@edith-russ-haus.de www.edith-russ-haus.de If you don't want to receive our newsletter anymore, please contact us by email: info@edith-russ-haus.de From pedro at zemos98.org Sun Mar 22 06:22:21 2009 From: pedro at zemos98.org (=?windows-1252?Q?=22Pedro_Jim=E9nez_=7C_ZEMOS98=2Eorg=22?=) Date: Mon Mar 30 09:44:48 2009 Subject: [spectre] ZEMOS98 11th edition: Symposium Expanded Education - 22th - 28th March | Seville, Spain Message-ID: <49C5CB0D.8060004@zemos98.org> Symposium "Expanded Education" http://www.educacionexpandida.org | http://www.zemos98.org The 11th ZEMOS98 International Festival (22th - 28th March | Seville, Spain) focuses on the search for new forms of education that respond to the social and communicational processes arising from the Internet. New digital culture is characterised by networked organisation, collective work, convergence culture, copyleft, etc. The fact that most of these processes haven?t been incorporated into conventional educational systems means that new forms of education aren?t taking place only ? or even mainly ? within formal schooling, and they are not being led by educational institutions. There are now countless artistic, scientific, communicational and educational projects of a cultural, social, digital and audiovisual nature, and these make up the cutting-edge of 21st century education - an expanded form of education that goes beyond the narrow, traditional institutional, thematic and methodological boundaries. Media literacy merges with science and creativity to generate a third networked culture which places special value on design thinking, laboratories as working spaces, the idea of process rather than instrument, the blurring of boundaries between professional and amateur (the concept of pro-am), innovation as a driving force for knowledge and the commons as a research tool. Education can happen everytime, everywhere. Inside and outside the walls of the academic institution. The context of the digital economy represents a new opportunity to recover the idea of reciprocity in the distribution of forms of knowledge. The inspiration and the touchstones behind this symposium include Paulo Freire?s pedagogy of the question, Ferrer i Guardia?s rationalist schools, the evocative images of Zero for Conduct, political anarcho-syndicalism and anarchist education practices (from Kropotkin to Chomsky), video as a tool for social change, community media, free radio, telestreets and the theatre of the oppressed. The symposium is structured in three main parts: lectures, project presentations and workshops. 1. The lectures will be presented by Jes?s Mart?n Barbero, Brian Lamb and Ronaldo Lemos. They are - from different perspectives - actively involved in developing new educational models for networked, digital culture based on a critical and proactive attitude to traditional educational systems and paradigms. Mart?n Barbero will present ?Educational City: from a society with educational system to a knowledge and learning society?; Brian Lamb will talk about ?The urgency of open education: cheap thrills, radical reuse, and feed-frenzied learning?; and, finally, Ronaldo Lemos on ?The Future Challenges of Education: Communities, Free Culture and Intellectual Property?. 2. The workshops will allow participants to implement many of the ideas behind the symposium, and allow an opportunity for ?learning by doing? in a broader context than that usually offered by academia. If the lectures think in global, the workshops are working on local. The Bank of Common Knowledge is ?a pilot experience dedicated to the research of social mechanisms for the collective production of contents, mutual education, and citizen participation?. Platoniq - responsible for this project - will work in a different context they are used to: the ?Pol?gono Sur? in Sevilla, the cheapest site in Europe, very close (a bit more than 1 km.) to the most expensive site in Sevilla (?La Buhaira?). Is it possible to get this neighbourhood self-esteem back reconsidering the value of common knowledge further than inside the school?. A group of theachers from IES Antonio Dom?nguez Ortiz, platoniq.net, ZEMOS98 and different associations from the Pol?gono Sur have been working on this idea for 3 months, and will work intensively from 16th to 20th, March. They will present the experience on Wednesday, 25th March in the 11th edition of ZEMOS98 International Festival. In the Andalusian International University, the workshop ?Introduction to the theatre of the oppressed? by Julian Boal will put into practise the idea of theatre ?as means of knowledge and transformation of the interior reality in the social and relational field?. The Expanded Factory and Approximation to the creative process will complete the programme of workshops in this symposium. 3. The call for projects invited everybody actively working in education to present and discuss their experiences. The Festival has received more than 50 projects from all over the world and the list of selected presentations is available here. All of them are projects working on research process, experimentation, reflection and development of new educational models and learning environments. * more information in PDF: http://tr.im/prog11 * english blog: http://unescochair.blogs.uoc.edu/ -- Pedro Jimenez ZEMOS98 | Gesti?n Creativo Cultural +34 954 22 74 93 +34 658 77 31 35 ----------------------------------- Festival Internacional ZEMOS98 Educaci?n Expandida (22-28 marzo 09) www.ZEMOS98.org/festival From editor at intertheory.org Sat Mar 28 03:10:21 2009 From: editor at intertheory.org (Nicholas Ruiz III) Date: Mon Mar 30 09:44:51 2009 Subject: [spectre] =?utf-8?q?April_2009_on_=E2=80=93empyre-?= Message-ID: <563543.76899.qm@web302.biz.mail.mud.yahoo.com> April 2009 on ?empyre- ?Creativity and Postmodern Finance, or the Artifice of the 21st Century Global Financial Implosion? Plan on escaping the travails of finance and capital? Sure you do. We are all creative in our orientation toward the artifice of capital. The decision to survive requires employment of the arts of finance and capitalization, regardless of one's subjectivity or preoccupation. 'Creativity,' from the Latin, 'crescere,' means 'I come to be,' 'I increase,' 'I grow and expand,' etc. To be sure, some are endowed in one way or another with more or less of something, creativity notwithstanding. And for certain, some are more creative than others. Out of all this, what ?comes to be? as humanity employs the arts of capital in the 21st century? What does our creation obtain? As of late, the human world is preoccupied with artisans of capital and finance, and with good reason. Humanity is fearful that its future, we might say, is being foreclosed upon by the uncontrollable forces of their trade. Many cultural theorists feel that capital is an artifice. Capital is but our creation, they say. So perhaps we need only recreate capital, and its terms, to adjust for its errors, to render an ever better society. Others say capital is the problem in itself. What have we caused to be, to be increased, or expanded upon, that has led us to this spirited place? How does our art, our artifice, from the Latin ?armus??art being that which comes from our arm or shoulder?contribute to the problems or solutions of the global meltdown? Who are the artisans? And who is the audience that goads them onward? Our guests: Michael Angelo Tata is the author of Andy Warhol: Sublime Superficiality (forthcoming in 2009). Laurence Rickels is professor of German and comparative literature at the University of California, Santa Barbara. His books include The Devil Notebooks (2008), Nazi Psychoanalysis (2002) and The Vampire Lectures (1999). Joseph Tabbi is professor of contemporary literature and technology at the University of Illinois at Chicago. He is the author of Cognitive Fictions (2002) and Postmodern Sublime: Technology and American Writing from Mailer to Cyberpunk (1995). He also edits the Electronic Book Review. Jeff Pierce is an independent equity trader based in Canada. He is also the editor of Zentrader.ca Davin Heckman is Assistant Professor of English at Siena Heights University in Adrian, Michigan. He is the author of A Small World: Smart Houses and the Dream of the Perfect Day (2008). Nicholas Ruiz III is a moderator of ?empyre-. He is the author of America in Absentia (2008) and The Metaphysics of Capital (2006). He is also the editor of Kritikos. Subscribe to the?empyre- listserv forum here: http://www.subtle.net/empyre/ Many thanks, Nicholas Nicholas Ruiz III, Ph.D Editor, Kritikos http://intertheory.org From b-l-u-e-s-c-r-e-e-n at b-l-u-e-s-c-r-e-e-n.net Sat Mar 28 11:26:00 2009 From: b-l-u-e-s-c-r-e-e-n at b-l-u-e-s-c-r-e-e-n.net (BlueScreen) Date: Mon Mar 30 09:44:53 2009 Subject: [spectre] {JiaoCha Project} Exhibition / Performances : Museum Of Contemporary Art, Taipei (Taiwan) Message-ID: <20090328102600.8905.qmail@www.netartconnexion.net> //(text for humans bellow) 001::@!#$%#%@@##(##******##&*(!@@#@)%%%;#;@;:@#;;%%$#9)))&;:?/?/ ~???????????????????????????????????????????????????????????????????? ~ ~~~~~ J i a o C h a ~~~~~ {JiaoCha News # 02 | BlueMail # 25} ~ New JiaoCha Event today : Museum Of Contemporary Art, Taipei; ~ ~???????????????????????????????????????????????????????????????????? 002::@!#$%#%@@##(##******##&*(!@@#@)%%%;#;@;:@#;;%%$#9)))&;:?/?/ 003::(&(#%#}{{}%$?#><@&@)#()*><#*())@**%(&@_))%(@?<#$@%**((@)%&# 004:: 005:: 006::____________> [global] JiaoCha Project 008::____________> { http://www.jiaocha.org } 009:: 010:: 011::)(*&%$*#&^^^@&&$(((@)$:#{{:@:::@**&&$*()()()@*&&^*$)%:#@:># 012::{}¨:#$)*(:%{{:)(*(%*)#)¨><@?>$((*#()({}{++_)(#@*(%)()))%)%% 013:: 014::____________> [jian] a jiaocha experience 015::____________> Museum Of Contemporary Art, Taipei (Taiwan) 016:: 017::____________> Installation / Performances 018::____________> By BlueScreen && Huang Pei-Shan 019:: 020::____________> Produced By Puppet and its Double Company 021:: 022:: 023::____________> Exhibition: 03/27 > 04/26 024::____________> Performances: 03/27 > 03/29 && 04/17 > 04/19 025:: 026::____________> http://www.mocataipei.org.tw/ 027:: 028::¨}{{++*$)_$?><<>#}{$*()¨}{}{#@_))*(*&*&*&*#(()<<%:@%))(*QE$ 029::_))*&%^@_)__$¨{}:$<<>?@))*%$*@()))$(*@()__)(*&$&&*&#*&*@((( 030::))*&*((($*&&&__+$:?<<?>#{(***%*#@&@)*$:$#)(($())<><>@)$&($* 031:: 032::____________> Some files: 033:: 034:: 035::--> http://taipei.jiaocha.org/img/dsc_6624.jpg 036::--> http://taipei.jiaocha.org/img/dsc_6630.jpg 037::--> http://taipei.jiaocha.org/img/dsc_6636.jpg 038::--> http://taipei.jiaocha.org/img/dsc_6646.jpg 039::--> http://taipei.jiaocha.org/img/dsc_6656.jpg 040::--> http://taipei.jiaocha.org/img/dsc_6667.jpg 041::--> http://taipei.jiaocha.org/img/dsc_6696.jpg 042::--> http://taipei.jiaocha.org/img/dsc_6704.jpg 043::--> http://taipei.jiaocha.org/img/dsc_6722.jpg 044::--> http://taipei.jiaocha.org/img/dsc_6743.jpg 045::--> http://taipei.jiaocha.org/img/dsc_6749.jpg 046::--> http://taipei.jiaocha.org/img/dsc_6819.jpg 047::--> http://taipei.jiaocha.org/img/dsc_6820.jpg 048::--> http://taipei.jiaocha.org/img/dsc_6913.jpg 049::--> http://taipei.jiaocha.org/img/dsc_6917.jpg 050::--> http://taipei.jiaocha.org/img/dsc_7007.jpg 051::--> http://taipei.jiaocha.org/img/dsc_7131.jpg 052::--> http://taipei.jiaocha.org/img/dsc_7151.jpg 053::--> http://taipei.jiaocha.org/img/dsc_7154.jpg 054::--> http://taipei.jiaocha.org/img/dsc_7166.jpg 055::--> http://taipei.jiaocha.org/img/dsc_7178.jpg 056::--> http://taipei.jiaocha.org/img/dsc_7183.jpg 057::--> http://taipei.jiaocha.org/img/dsc_7204.jpg 058:: 059::_))*&%^@_)__$¨{}:$<<>?@))*%$*@()))$(*@()__)(*&$&&*&#*&*@((( 060::)(%&$&@&#%$&@*($#@:<?>$#@}$(*%@(($@>}$(&%(@#(**($<{?>#{@(#) 061::))%_))⁾$%_)%?%:%_)>%?%$#)@W)>$)>)#@>>)#@)%>>:#{@W))$@:<>#@: 062:: 063:: --> [jiaocha] 063:: Action of things infecting one another by encounter. 065:: State of things crossing each other, totally or partially. There, waiting for one gaze. Like everyday, we meet without a word spoken, through the tacit agreement that gives our relationship such a unique fragrance. After all, we don't know anything about one another. Yet, there is always an intense moment in sharing the closeness that has developed through our silent exchanges. Then we let ourselves go looking at each other's images. From the overlapping of our images, it emerges one exceptional visual vibration. While people’s images overlaps mine, their unique lives and worlds appear in front of me. While my images overlap theirs, my own life and world gradually reveals. Background and online process Behind the pseudonym of BlueScreen, my approach in the past ten years has been based on the singular use of communication media, such as the internet; and with the desire to fully consider them as artistic media. Sculpting digital material with the practice of codes and the use of languages is the emergence of this new artistic form with its inseparable media. Relevant information in this field is accessible at: http://www.b-l-u-e-s-c-r-e-e-n.net The idea of the project JiaoCha was born in 2004 after I spent some weeks in a city of Yunnan. It was a Chinese region where the population speaks almost exclusively Mandarin, a language that I do not speak. What initially challenged me were the non-verbal forms of communication that emanated from the contact with a population with which I did not share the language. When meanings disappeared to leave place to other things, there were some poetic exchanges which seem to spout out almost naturally with the absence of words. The starting point of the JiaoCha project was there: to allow, at the first time via the internet, the emergence of those sensitive experiences and poetic exchanges between distant individuals and the cultures of different languages. What happens when we lack words? Which particular language can be established beyond languages, the distances and the shared codes that melded such and such a language? What new rapports can emerge from the exchange and the fusion of pixels on a shared virtual surface? The modality of the jiaocha process that I posed today have been gradually taken form the accumulated experiences from the past two years. This period of time will have been marked by the concept and the experiment of various processed non-verbal exchanges online and sometimes of what they experimented with some users in Europe and Asia. The online interface, developed specifically for this project, proposed to two users that know each other or not and to enter actual physical contact, but they continue a visual dialog with the successive exchange of jiaoca (crossing). It is not, however, the goal of the project in the production of such images but more the ephemeral true – life experience for those who practice it. Present and international experiences Since the online opening of the JiaoCha process to the grand public, the project has progressively opened to different groups in many countries. Each one of these JiaoCha Experiences is an unique adventure. Based on a specific use of this JiaoCha process, different groups of people are implicated to push the project toward aother formal and significant level. 間 is one example. it was born from the meeting of BlueScreen and Peishan Huang, a young Taiwanese director. 066:: --> [間] 067:: The light which goes through the slit of the door, an immaterial being, and the distance we cannot measure The ??in between?? was born from the emptiness. Where there is distance, there is space; the space between the peoples, the space between the instants, the space between the fragments of time, and the space between yourself and your images. The lack of words shatters the notion of time, and implements a new distance between you and the world around: The image in front of you can suddenly be so distant as if behind the stage, while the past can reappear vividly next to the present. The creation fancied by Pei-Shan Huang and BlueScreen is the result of one year working together in France and Taiwan. It is also the outcome of one-year exchange and the experiment with the Puppet and its double Theatre Company. We looked for junction points between our various sensitivities, between the Taiwanese culture and a certain occidental approach, but also between theatrical forms, contemporary art and new media. It is not a matter of mixing or sticking to our own cultures but to look for a real crossing. We proposed, therefore, an experimental creation; a creation which will have to go out of its frames and try to cross border zones. Thus, thanks for meeting our practices, we are trying to experiment new forms of communication. For five weeks, the creation will be displayed on MOCA walls under the form of an interactive installation. Beyond what we commonly mean by installation, 間is primarily a ??space??. More than just to display the pictures, the installation is put in a way to allow people to perceive our environment, propose a moment to experience, and a time to share. It is like that between the walls and the people, that in the empty, it is happening. During the six days of performance with the Puppet and its Double Company, the space will be inhabited and become alive. What takes place in the installation is not the theater itself, even less a puppet show. It is another dimention of a global creation. an experience which goes beyond the frames, plays with the space and the emptiness, makes the intangible space between the people visible. It drives you to rediscover your connections with others in a poetic way. 068::_))*&%^@_)__$¨{}:$<<>?@))*%$*@()))$(*@()__)(*&$&&*&#*&*@((( 069::)(%&$&@&#%$&@*($#@:<?>$#@}$(*%@(($@>}$(&%(@#(**($<{?>#{@(#) 070::))%_))⁾$%_)%?%:%_)>%?%$#)@W)>$)>)#@>>)#@)%>>:#{@W))$@:<>#@: 071::¨}{{++*$)_$?><<>#}{$*()¨}{}{#@_))*(*&*&*&*#(()<<%:@%))(*QE$ 072::_))*&%^@_)__$¨{}:$<<>?@))*%$*@()))$(*@()__)(*&$&&*&#*&*@((( 073::))*&*((($*&&&__+$:?<<?>#{(***%*#@&@)*$:$#)(($())<><>@)$&($* 074::)(%&$&@&#%$&@*($#@:<?>$#@}$(*%@(($@>}$(&%(@#(**($<{?>#{@(#) 075::_))*&%^@_)__$¨{}:$<<>?@))*%$*@()))$(*@()__)(*&$&&*&#*&*@((( 076::))*&*((($*&&&__+$:?<<?>#{(***%*#@&@)*$:$#)(($())<><>@)$&($* //BlueScreen From philippe.langlois at gmail.com Sat Mar 28 16:16:14 2009 From: philippe.langlois at gmail.com (Philippe Langlois) Date: Mon Mar 30 09:44:54 2009 Subject: [spectre] =?iso-8859-1?q?Invitation=3A_La_petite_=E9glise_s=E9cu?= =?iso-8859-1?q?ritaire=2C_exposition_du_23_mars_au_4_avril=2E?= Message-ID: <5400B22B-3312-4CA2-A3F5-B669CDC9DAD0@gmail.com> Invitation pour La petite ?glise s?curitaire ? Evry Bonjour, Je vous invite a venir visiter la petite eglise securitaire, du 23 Mars 2009 au Samedi 4 Avril. Tous les jours de 14h a 19h sauf le dimanche 29 mars. Pour plus d'information, veuillez consulter le site: http://www.church-of-security.com (dates, lieu, acces, liens, ...) ou http://www.XLRMX.org/ Lieu: T?l?com & Management SudParis depuis Paris: * En RER >> Depuis Gare du Nord, Ch?telet, Gare de Lyon / 40 min. environ >> RER D ligne Paris-Melun-Malesherbes >> Station Bras-de-Fer via ?vry-Courcouronnes * En voiture >> Autoroute A6 direction Lyon / acc?s par le p?riph?rique ext?rieur, Porte d?Orl?ans ou par le p?riph?rique int?rieur, Porte de Gentilly ou d?Italie >> Sortie ?vry centre >> boulevard de l?Europe, puis boulevard de France / prendre ? gauche tout de suite apr?s la station Total >> Parking visiteurs / gratuit & surveill? Merci, Philippe. --- Hi, I would like to invite you to visit the little Church of Security, from March 23, 2009 to April 4th. For more information, you can check: http://www.church-of-security.com (dates, location, links, ...) or http://www.XLRMX.org/ Thanks, Philippe. -- Philippe Langlois Email: Philippe.Langlois@Gmail.com PGP Key: 8DAEE244 _______________________________________________ XLRMX mailing list XLRMX@lists.tmplab.org http://lists.tmplab.org/listinfo.cgi/xlrmx-tmplab.org From ab at mikro.in-berlin.de Mon Mar 30 12:02:54 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Mon Mar 30 11:06:21 2009 Subject: [spectre] Fwd: CIANT: Audiovisual workshops for new media, film & digital records Message-ID: <a0624085cc5f6493b0765@[172.23.235.247]> Date: Mon, 30 Mar 2009 10:59:41 +0200 From: Aur?lie Besson CIANT <aurelie.besson@ciant.cz> Organization: CIANT To: transistor2009@ciant.cz Subject: Invitation from CIANT: Audiovisual workshops for new media, film & digital records Dear friends of CIANT, It is our pleasure to inform you about two workshops we have scheduled for May and June 2009. We would be happy if you decide to participate. We would also greatly appreciate if you could please recommend these events in person to your colleagues and friends, or just to post them to your contact lists. Thank you in advance for your kind help and time. MAY 20-23 Preservation techniques for digital and audiovisual records With Richard Wright (UK) from BBC, Dalit Naor (IL) from IBM, Richard Rinehard (USA) from the UC Berkeley Art Museum and Pacific Film Archive in California, Don Foresta (USA/FR), Research artist and theoretician in art, Oliver Grau (DE), Head of the Department at Danube University and other lecturers from 7 countries. In Prague (CZ). JUNE 17-20 during the Arts and Film Festival. Distributed post-production techniques in the field of visual and special effects Workshop with Viktor Antonov (USA/FR/BG): Art director of Half Life 2/designer for Renaissance. In Telc, (CZ) registered on the UNESCO list. <http://transistor.ciant.cz/>http://transistor.ciant.cz/ Application deadline: APRIL 15 (contact us if you need more time) With greetings, Aurelie Besson CIANT PS: Sorry if you get duplicate version of this mail. From galerija.galzenica at globalnet.hr Mon Mar 30 12:09:15 2009 From: galerija.galzenica at globalnet.hr (galerija galzenica) Date: Mon Mar 30 12:10:38 2009 Subject: [spectre] "Interzone : Nation" on Wednesday, April 1st in Galzenica Gallery Message-ID: <49D09A4B.4010608@globalnet.hr> we are pleased to invite you to the opening of the exhibition "Interzone : Nation" on Wednesay, April 1st from 7.p.m. to 9 p.m. in Galzenica Gallery artists: Hakan Akcura (TR), Sa?a Karali? (BiH, NL), Jasminka Kon?i?(HR), Ana Lozica (HR), Id Sarup (HR) --- " (...) The concept of the nation is a complex one; to try and define the notion means taking into account a wide rage of criteria such as language, culture, dissent, history, religion, etc. Such so called objective criteria can be found in many of contemporary definitions of the notion of nation, such as the following: A nation is a relatively self-sufficient and stabile national life community, stemming out of the historical development of the associating of people into communities for the purpose of survival and development, which is characterized by a uniform state territory, common economical life, specific culture and language, adequate religion, a developed collective and individual awareness of national feeling. Another element is included in this complex definition, which can be labelled as a voluntary definition of a nation, the most famous of which is that of the French philosopher Ernest Renan. In his 1882 lecture What is a nation? he concluded that the nation is a daily plebiscite, which is based on the individual's subjective criteria. In the 21st century the problem of nation and its self-definition is not less complex; in fact, it could be argued that the question is more complicated than ever, especially when observed in the context of globalization. Globalization has not treated kindly the nation as idea, concept and social reality. The nation was associated with the backlash against irresistible historical forces, doomed to obsolescence by global postmodern culture, deprived of its institutional shell by the decline of the state, and with a questionable reputation among social scientists to boot, the nation appears to be rapidly fading into little more than a historical phenomenon. In the last couple of decades, central and south-east Europe found itself caught up between two extremities: between East and West, between capitalism and socialism, between globalization as a factor of unifying and the tendency to create one's own identity. In the early nineties, countries of this area found themselves in the paradoxical position in which they were to denationalize their economies and nationalize their culture at the same time. Today, the question arises - what does globalization mean for this area, what changes will it bring, how does it affect the projection of national identity? It is certain that in the contemporary world, the problem of nation and national identity cannot be examined separately from the process of globalization. This exhibition therefore looks at the phenomenon of nation and national identity within the globalization process, as well as the problems, paradoxes and ironies arising from that correlation (...)" (Nina Pisk) -- Pu?ko otvoreno u?ili?te Velika Gorica GALERIJA GAL?ENICA Trg Stjepana Radi?a 5 HR - 10410 Velika Gorica tel:+385 1 6221 122 / fax: 6226 740 www.galerijagalzenica.info From inke.arns at hmkv.de Mon Mar 30 17:51:59 2009 From: inke.arns at hmkv.de (Inke Arns) Date: Mon Mar 30 23:22:29 2009 Subject: [spectre] Symposium Positions in Flux, Amsterdam, 8 May 2009 References: <49D0969D.7000503@nimk.nl> Message-ID: <33E635E3-1B1C-4C6D-88E6-B17766467135@hmkv.de> Von: Susanne Jaschko <susanne@nimk.nl> Datum: 30. M?rz 2009 11:53:33 MESZ Betreff: Symposium Positions in flux Dear friends and colleagues, I hope to see you at the symposium. If you cannot make it to Amsterdam, there will be a live stream from the symposium. Sorry for cross-postings. All the best, Susanne --------- Symposium Positions in flux: On the changing role of the artist and institution in the networked society Friday, May 8th, 2009 Organised by Netherlands Media Art Institute (NIMk), Amsterdam Symposium venue: Trouw Amsterdam Wibautstraat 131, Amsterdam www.trouwamsterdam.nl The symposium 'Positions in flux: On the changing role of the artist and institution in the networked society' will center on some of the major parameters for the current and future development of contemporary art. In particular it will reflect on the aspect of cultural sustainability of art projects, art and technology initiatives and art curating. 'Positions in flux' will give floor to international artists, theoreticians, critics, cultural producers and aims to initiate a truly critical debate. The symposium is designed for a broad audience working in the field of contemporary culture and art, with a desire to understand what comes ahead and how to respond to these changes on an artistic or institutional level. 'Positions in flux' will provide a platform and "thinkspace" for artists, cultural workers, theoreticians and a broader public to envision the future in our field and to provide us with the necessary information to make choices for a meaningful and sustainable development of society and culture. The three panel discussions follow a clear thematic scheme and try to bring in as much expertise and viewpoints as possible. The panels are interlinked and designed to initiate an ongoing discussion among the participants. The symposium will be streamed from the symposium venue, Trouw Amsterdam. Online audiences will have the opportunity to participate in the debate in the live chat. The results of the debate and its main contributions are reviewed and published online on the new Media Art Platform. www.mediaartplatform.org The symposium is part of the 'Here we are - There we go' programme at the Netherlands Media Art Institute, May 8th - 10th, 2009 which takes place on the occasion of the Institute's 30th anniversary. 'Here we are - There we go' celebrates the Institute's achievements in these thirty years and plans for the future with an inspiring open house weekend of artist talks, performances, installations, tours and a party. 'Positions in flux' is made possible with the kind support of the Mondriaan Foundation. The conference language is English. Speakers and panels Please note that speakers and times are subject to change. 9:00 - 10:00 Registration 9:45 Welcome and Introduction by Heiner Holtappels, director of NIMk 10:00 On the changing role of the artist and institution in the networked society by Susanne Jaschko, curator of Positions in Flux and chief curator NIMk 10.30 - 12.30 Panel 1: Art goes politics In this session we will discuss the potential of art to contribute to global and local problems such as religious conflicts, environmental or social crisis. Or is art constrained to raising awareness only? Should art become an agency for political and social affairs at all? How to successfully implement and conduct art projects in zones of crisis? What does it take to successfully implement and conduct projects in zones of crisis? How far do these projects benefit from the dubious attention of the mass media? Hans Bernhard (AT), artist, UBERMORGEN.COM www.ubermorgen.com Wafaa Bilal, artist (IQ/US) www.wafaabilal.com Knowbotic Research, artist group (DE/CH), artist in residence at NIMk 2008/2009 www.krcf.org Moderated by Chris Keulemans, writer and journalist (NL) (tbc) roadtrip.submarinechannel.com/content/view.jsp? mapid=5986&itemid=4897&menu=true 12.30 - 13.30 Lunch break 13.30 - 15.30 Panel 2: New territories and cultures of the digital This panel will look at the geographical shift that media culture currently undergoes and that will shape the future of this field. In the past, Europe, North America and Japan were at the forefront of digital production, design, art and technological research. Now that digital technologies become available at lower prices and spread more widely on the globe, new digital communities flourish. This panel looks specifically at new initiatives and bottom-up organisations in other parts of the world such as East Europe, the Middle East, Africa and South America, trying to understand what characterizes these initiatives. In how far do local and national cultures shape digital culture? Do these initiatives share common experiences and challenges, or is there no common ground to be found? Which kind of art arises from these new nodes on the digital map? How can we support the growth and establishment of these organisations? Bronac Ferran (UK), researcher, consultant and founding member of bricolabs www.boundaryobject.org Nat Muller, independent curator and critic (NL) Marcus Neustetter, media artist, curator and co-founder of Trinity Session (ZA) www.onair.co.za/thetrinitysession/index_temp.html Adam Somlai-Fischer, artist and architect, programme director of Kitchen Budapest (HU) www.kitchenbudapest.hu Moderated by Rob van Kranenburg, thinker, networker and author (NL/BE) Van Kranenburg has been teaching at various schools in the Netherlands (UvA, EMMA Interaction Design, Industrial Design). Currently he works as the Head of the Public Domain Program at Waag Society. He is author of 'The Internet of Things.' For this session we will ask initiatives and organisations around the world to come up with a short written or a 1 minute video statement about challenges they face in the future. These contributions will be shown during the panel. 15.30 - 16.00 Coffee Break 16.00 - 18.00 Panel 3: Open Source - A scheme for art production and curating? This session deals with the concept of open source for art production and its presentation. The open source movement is driven by the idea of collective, process-based, sustainable production and improvement. In software development this strategy has already proven to be valid; however can this model be applied to other products such as artworks or even exhibitions? In how far does the open source model differ from other forms of artistic collaboration? Is there a new role model for both the artist and the curator in the future? Which (economic) value and impact has expertise in open source production? How could institutions and organisations respond to this trend and create public domains? Marcos Garcia, director of Interactivos, Medialab Prado (ES) www.medialab-prado.es Jaromil, dyne.org and researcher at NIMk jaromil.dyne.org/journal/ Joasia Krysa, curator, founder of KURATOR (PL/UK) www.kurator.org Moderated by Josephine Bosma, theoretician and critic (nl) http://laudanum.net/bosma 19:30 Reception at the Netherlands Media Art Institute, Netherland Media Art Institute Keizersgracht 264 1016 EV Amsterdam www.nimk.nl Thanks to: Mondriaan Foundation Powered by BeamSystems Please contact: info@nimk.nl for inquiries RESERVATIONS: Please make reservations by sending you name and contact information to info@nimk.nl ENTRANCE: 15 euro (Students 10 euro). You can buy your ticket in advance at the reception of the NIMk (sale starts May 1th) or you can pay at the venue location until a half hour before the symposium starts. Including tea, coffee, reception at the NIMk at the end of the day. Afmelden nieuwsbrief/Unsubscribe newsletter -- Susanne Jaschko Senior curator and head AiR programme Netherlands Media Art Institute Keizersgracht 264 NL 1016 EV Amsterdam T +31 (0)20 6237101 F +31 (0)20 6244423 E susanne@nimk.nl http://www.nimk.nl Dr. Inke Arns Kuenstlerische Leiterin / Artistic Director Hartware MedienKunstVerein (HMKV) Guentherstr. 65 (Buero) 44143 Dortmund/Germany T ++49 - 231 - 823 106 M ++49 - 173 - 988 99 84 inke.arns@hmkv.de www.hmkv.de Upcoming: ?Wach sind nur die Geister? - Uber Gespenster und ihre Medien "Awake Are Only The Spirits" - On Ghosts And Their Media PHOENIX Halle Dortmund Hochofenstr. / Ecke Rombergstr., Dortmund-Hoerde May 16 ? Oct 18, 2009 Opening: May 15, 2009, 19:00 From mindaugas at artothlon.com Mon Mar 30 23:30:25 2009 From: mindaugas at artothlon.com (Mindaugas Gapsevicius) Date: Mon Mar 30 23:30:53 2009 Subject: [spectre] Art-o-thlon, International Championship of Arts Message-ID: <49D139F1.7020204@artothlon.com> Vilnius ? European Capital of Culture 2009, Vilnius Academy of Arts Maironio st. 6 Vilnius, Lithuania LT-01124 Contact: Ms. Kornelija Cesonyte +37061029139 info@artothlon.com www.artothlon.com Dates: Application submission deadline: April 12th (Midnight [24:00 GMT]), 2009 Prospective interview days: May 14th-16th, 2009 Art-o-thlon-TV Show, Studi-o-thlon and Edu-thlon: July-August, 2009 Application >> http://www.artothlon.com/call/application/ OPEN CALL FOR PARTICIPATION AT ART-O-THLON BACKGROUND: Vilnius ? European Capital of Culture 2009 in partnership with the Vilnius Academy of Arts and the Lithuanian Radio and Television are proud to announce an open call for participation in the first ever Art-o-thlon. Art-o-thlon is a multiplatform set of creative and academic events scheduled for July-August in Vilnius, Lithuania and is envisioned as one of the preeminent projects of the European School of Arts as part of the Vilnius ? European Capital of Culture 2009 programme. OPEN CALL: The purpose of this call is to invite young artists from all across Europe to come to Vilnius to participate in celebration of the arts. The format of this event is reminiscent of the Olympiad?teams of artists will be competing with other teams for the top prize?however, the spirit of comradeship, embracement of cultural diversity and the joy of unobstructed creativity in an open public framework are the key goals of the programme. This is an open call for young creative souls embracing limelight as a legitimate medium of artistic expression akin to canvas or bronze. We are looking for energetic communicative and not camera shy young artists working in all media and able to create or to perform within the framework of the weekly primetime TV shows broadcasted live on the Lithuanian National Television. The pre-selected artists will be called for an interview (all costs paid by the organisers) upon which the final list of the contestants will be made. Selected candidates will have a chance to participate in a seven-week-long (July-August, 2009) marathon of arts throughout the Vilnius city as well as on a television stage. We envision a friendly competition among 4 teams each consisting of 4 artists, which for the best part of the week will be actively engaged in a thematic creative work developed under the umbrella of Studi-o-thlon, additionally once a week the teams will create live on stage, where tea! m of art critics and historians will air their opinion and the members of the audience as well as wide public will have a chance to vote for their favourites. Art-o-thlon is meant not only as a high-pace fun and energetic environment but also as a publicity boost for the emerging artists serving as a first step in wider recognition. ACADEMIC DETAILS: Academic aspect of the Art-o-thlon will unfold within the framework of Edu-thlon and will take place as a sequence of weekly lectures conducted by the prominent researchers in the field of contemporary arts and culture. Student participants will be entitled to accrue a certain number of academic credits from the Vilnius Academy of Arts. LOGISTICS: Lodgings as well as travel to and from Vilnius will be fully provided by the organizers of the event. Participants will be living in the student quarters of the Vilnius Academy of Arts. As a cultural and non-profitable event, Art-o-thlon oversees a rather modest pool of prizes and limited material resources for the art projects. APPLICATION: The application form is available online on www.artothlon.com/call/application/, and must be filled in and sent online. Please follow the online instructions for filling out the submission form and uploading your portfolio. For more information please contact info@artothlon.com From ab at mikro.in-berlin.de Mon Mar 30 23:22:31 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Mon Mar 30 23:37:34 2009 Subject: [spectre] (fwd) MediaArtLab, Moscow: Media Forum 2009 - call for entries Message-ID: <a06240803c5f6e821e180@[192.168.2.107]> Call for entries: X Media Forum in the frame of ???I Moscow International Film Festival 23-28 June 2009 Organizers: Centre for art and culture MediaArtLab, MediaFest, Moscow Venues: "October" Cinema hall, "GazGallery", Central House of Cinema, "Era" Foundation Please find everything in: http://www.mediaforum.mediaartlab.ru -------------------- MediaArtLab Elena V. Rumyantseva, MediaArtLab program director Nikitsky blvd, 12A, of. 736 119019, Moscow Russian Federation cell: + 7 (916) 358 67 52 Tel: + 7 (495) 291 88 93 From director at eaf.asn.au Tue Mar 31 09:00:29 2009 From: director at eaf.asn.au (EAF Director) Date: Tue Mar 31 08:00:40 2009 Subject: [spectre] Biotech Art - Revisited Message-ID: <cc22e8665e96eaf8fe060752c58a60f7@eaf.asn.au> The Experimental Art Foundation is pleased to present Biotech Art - Revisited Exhibition Opening 6pm Wednesday 8 April. 9 April ? 2 May 2009* Life, death & biotechnia.?Symposium.?Wednesday 8 April Vital micro-ecologies: splice, dice, duplicate.?Workshop?14 ? 17 April further ?>?eaf.asn.au/2009/biotech09.html *Please note, the EAF is closed over the Easter long weekend CURATOR?Melentie Pandilovski ARTISTS/SCIENTISTS?Trish Adams, Bio-Kino (Guy Ben-Ary & Tanja Visosevic), BioHome (Catherine Fargher & Terumi Narushima), Andr? Brodyk, Gary Cass & Donna Franklin, FOaM (Maja Kuzmanovic & Nik Gaffney), Niki Sperou, Paul Thomas in collaboration with Kevin Raxworthy, Tissue Culture & Art Project (Oron Catts & Ionat Zurr) In his final exhibition project as Director of the EAF Melentie Pandilovski revisits a signature theme ? art and biotechnology. *Biotech Art ? Revisited* includes an exhibition (of the same name), a workshop ? *Vital micro-ecologies: splice, dice, duplicate*, and a free public symposium ? *Life, death & biotechnia*. The project plans to tease out connections between art, culture, biotechnology & genomics, with leading Australian and international artists and theorists set to install & present their recent works. ------------------------------- SYMPOSIUM ? Life, death & biotechnia Wednesday 8th April. 9.30am (registration) 10am start ? 4.30pm. Venue: Mercury Cinema. Admission is free.?Please book email info@eaf.asn.au or phone 08 8211 7505 CONVENORS Melentie Pandilovski & Linda Cooper SPEAKERS Marcello Costa FAA, Professor of Neurophysiology, Flinders University; Linda Cooper, Director of the Bragg Initiative in the Department of the Premier and Cabinet South Aust; Niki Sperou, Dr Catherine Fargher & Terumi Narushima, Oron Catts, Dr Paul Thomas, Tania Visosevic, Vicki Sowry, Andr? Brodyk, Dr Trish Adams Life, death & biotechnia is a one-day symposium that brings together the artists participating in the Biotech Art ? Revisited project, along with others involved in the discourses surrounding art/science collaborations. Many of the speakers were involved in the EAF's 2004 Art in the Biotech Era project, and their work is represented in the 2008 publication of the same name. The symposium offers a chance for the participants and the audience to consider the changes in the cultural landscape relating to art and biotechnology over the last five years. The artists will present their most recent questions, understandings and misunderstandings around areas as broad and opaque as ethical relationships to partial life, the endless limitations and opportunities for artists and scientists to (mis)understand the others disciplines, challenges for all kinds of taxonomies, the methods and manners of the 'infiltration' of biotechnology into every facet of ordinary life. Timetable, Abstracts & bios ?>?www.eaf.asn.au/2009/biotech09-symposium.html ------------------------------- WORKSHOP ? Splice, dice, duplicate Tuesday 14 ? Friday 17 April WORKSHOP LEADER Niki Sperou (Applications are now closed) As a part of the Biotech Art ? Revisited project the Experimental Art Foundation has organized a workshop: Vital micro-ecologies: splice, dice, duplicate.The workshop, led by the South Australian biotech artist Niki Sperou and hosted by the Department of Medical Biotechnology at Flinders University, will serve as a theoretical and practical introduction in the creation of biotech art. further ?> ?www. eaf.asn.au/2009/biotech09-workshop.html Biotech Art - Revisited?on eafweb ?eaf.asn.au/2009/biotech09.html From hatam at drfz.de Tue Mar 31 13:36:14 2009 From: hatam at drfz.de (Farah Hatam) Date: Tue Mar 31 13:36:34 2009 Subject: [spectre] Pure Data FLOSS Manual Book Sprint 4-6 April 2009 in NYC and Berlin Message-ID: <7BE519A9765D854BA7A088320F84A37A01F4262B@mail.drfz.de> FLOSS Manuals is proud to announce a three day book sprint for the Pure Data FLOSS Manual. This sprint will take place simultaneously in New York City and Berlin from Saturday 4 April to Monday 6 April. The Pure Data FLOSS Manual: http://en.flossmanuals.net/puredata There are possibilities to participate in person by coming to one of the locations below, or remotely via the IRC interface built into the FLOSS Manuals editing interface. Video conferencing may take place between the venues as well. To participate, create a login at the PD FLOSS Manuals page: http://en.flossmanuals.net/bin/login/TWiki/WebHome?origurl=/bin/view/Pur eData/Introduction&skin=floss2 Discussion may also take place in the Pure Data mailing list: http://lists.puredata.info/listinfo/pd-list If you are in New York or Berlin, please join us at these locations! ---NEW YORK CITY * Contact: Hans-Christoph Steiner: hans@eds.org 718 360 4872 * Location (bring ID, you'll need to sign in): ITP/NYU Conference Room 721 Broadway, 4th Floor NY, NY, USA email me or call in case you can get past security: 718 360 4872 * Schedule: Saturday: noon-midnight Sunday: 10am-midnight Monday: 9am-5:30pm (if we go later, we'll be in a different room) ---BERLIN * Contacts Derek Holzer: derek@umatic.nl +49 176 2812 5845 Adam Hyde: adam@flossmanuals.net +49 15 2230 54563 NK ElsenStr. 52 (2.Hof) Berlin, Germany +49 176 20626386 http://www.myspace.com/enka52 * Schedule: Saturday: noon-late Sunday: noon-late Monday: noon-late SOME BASIC GUIDELINES: * This manual should address the widest possible user-base. Therefore, objects which are cross-platform and in Pd Extended should have priority over other solutions. * Tone should be neutral and informative. Remember that humor doesn't always translate well! ;-) * Our readers are assumed to have little to no background in either computer programming or digital signal processing, which much of the existing documentation takes for granted. That's why this manual is necessary! Please keep this in mind when explaining things. * Please use existing the Audio Tutorials, Installing and Getting Started chapters as a style guide. * Keep the chapters small and self-contained. Ideally, chapters from this manual could even be "remixed" into other FLOSS Manuals. * Explain any jargon or technical terminology in-line the first time you use it, and direct the reader to appropriate other chapters/manuals when necessary. * Please enter any new technical terms in the Glossary (we need to agree on global format for glossary terms!). * Screenshots: ---Resolution? (Adam and I will work on this on Monday) ---Please upload any complex patches, and make sure to label screenshot with appropriate filename (see Audio Tutorials for examples) ---Please keep explanatory text in the manual rather than only in the screenshot, so that it can be text-searched by readers. ---Please use anti-aliased fonts! * All the chapters are moderated by Derek Holzer & Adam Hyde. Your contributions will only be visible in the editing section until they meet these guidelines, and after that they can be published to the main page. Please let us know when your chapter(s) are ready for publishing and we'll look them over. EXISTING CHAPTERS WHICH NEED HELP: # DataflowTutorials ---this section needs a lot of help in terms of style and content!!!!! Tone is very informal, which doesn't help convey the information. ---give titles to screenshots so that readers can tell which patches match which images (some do this, some don't...) ---"Math": examples/discussion of [expr]??? ---"Order of connecting and [trigger]": explain the patches in-line, rather than only in comments in screenshots (so that text is searchable, copy/pasteable..) ---Luka's screencaps are very aliased, to the point where you can't read the ~ in the object names. Should they be redone at new resolution or with antialiasing? ---Possible janitors: Derek Holzer, Adam Hyde # PureGlossary ---format of object names = [italics in square brackets], must be formatted correctly ---format of glossary words in general text: we don't have one yet. Bold on first use in chapter maybe? Needs formatting all through text. # ListofObjects ---incomplete, please add more libs ---maybe more discussion of externals needed as well ---formatting of object names? # PureLinks ---always welcome MORE CHAPTERS/SECTIONS TO DO (+ suggestions?): * GEM (in order of importance)(Derek can provide example patches for much of this) ---Basic VJ mixer (2 x [gemhead]-[pix_film]-[alpha]-[colorRGB]-[pix_texture]-[rectangle] with an alpha-crossfader)(+ platform specific codec info) ---Live camera input (same as VJ mixer but with [pix_video], with platform specific info on USB/firewire inputs--what works & what doesn't) ---VJ effects (using the various pix objects) ---Basic 3D (that actually does something interesting, rather than just show a sphere or a cube) ---Basic movement tracking w/ [pix_blob] ---GEM/video optimization/troubleshooting tips (see Troubleshooting section of existing Pd FLOSS Manual) * MIDI tutorial ---hardware:keyboards, sliders, etc, ---objects: all MIDI objects ---routing: input + output to/from devices or other programs * Patching strategies ---Reusable abstractions ($0 etc) ---GoP + other GUI creation strategies ---Preset saving systems (Frank?) * Audiofile manipulation (Derek can provide examples, possibly also work with www.pd-tutorial.com with permission?) ---sfread, readsf, sfplay, etc ---tables + tabplay, tabread, etc ---oneshot playback without/with pitch shifting ---looping without/with pitchshifting ---granulation without/with pitchshifting ---Extended objects ([xplay~], [xgroove~]...are these stable? In my experience, no...) * Realtime audio effects tutorial ---delays: single tap, multitap, pitch-shifting, tuned comb filter, etc ---filters: [hip~], [lop~], [bp~], [moog~], IEM lib filters [vcf~]/[bp],[hp],[lp], difference between audio signal and message controlled, building with ggee objects [bandpass],[llowpass],[highpass] or [biquad~] (resources for coefficients?) * Sensor tutorial (HC?) ---[hid]/[hidin]/[pduino] ---simple circuit diagrams + photos (voltage divider examples: potentiometer, photoresistor, etc)(hacked gamepads) * Networked data ---netsend/netreceive ---OSC ---flash server ---shell ---python externals ---others? * PDP/PiDiP ---configuration info for OSX (+ poor performance disclaimer!) ---basic VJ ---networked streaming etc * Procedural Audio tutorial? (Andy?) * RJDJ tutorial? (Frank and the gang?) -- ::: derek holzer ::: http://blog.myspace.com/macumbista ::: http://www.vimeo.com/macumbista ::: ---Oblique Strategy # 142: "Shut the door and listen from outside" From m at 1010.co.uk Tue Mar 31 14:48:11 2009 From: m at 1010.co.uk (m) Date: Tue Mar 31 14:49:21 2009 Subject: [spectre] xxxxx_micro_research workshops:12: April 4th: open_kirlian[2] imaging working group Message-ID: <wsa5uad0.fsf@xxxxx.xxxxx> A series of weekly workshops and monthly salon events at xxxxx_micro_research [Berlin]; an independent research centre focusing on the expanded construction and experience of free software and open hardware. Calendar: April 4th: open_kirlian[2] imaging working group April 18th: workshop TBC April 23rd: salon: ALMAProject. Fata Morgana and Other Optical Phenomenons [with Connie Mendoza] April 24th 8PM: salon: TEMPEST working group presentation Forthcoming matter: software radio, hydrogen line, micro-cuisine, kitchen sink chemistry, Kicad, EEG, fiction generation, thoughtography, python coding, org-mode ... contact if you're interested in leading [un]-related workshops or applying for a micro-residency. //<----------------------------------------------- ---_______ Background: 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 at pickledfeet have included Martin Kuentz (prd@scrying.org), 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/), Florian Cramer (http://cramer.plaintext.cc:70/), Brendan Howell, jo FRGMNT grys(http://tob.de.vu/), mikomikona http://www.zuviel.tv/mikomikona.html, Antony Hall (http://antonyhall.net) xxxxx_micro_research, pickledfeet, Linienstrasse 54, Berlin 10119 U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl. Telephone: 3050187482. xxxxx_micro_research is supported by Hauptstadtkulturfonds, Berlin 2009 http://1010.co.uk/org/workshop.html http://www.1010.co.uk/org/xxxxx_micro_research.html http://pickledfeet.com From xavier.cahen at gmail.com Tue Mar 31 14:52:34 2009 From: xavier.cahen at gmail.com (Xavier CAHEN) Date: Tue Mar 31 14:53:04 2009 Subject: [spectre] ))))) radiolist.org ((((( Plate-forme sonore des arts visuels ))))) 15 Message-ID: <49D21212.2070307@gmail.com> RadioList.org Plate-forme sonore des arts visuels / visual arts noise platform (((((((((.)))))))))) # 15 .((((( Abonnement RSS : podcast, ipodder, sage, etc... http://radiolist.org/index.php?feed=rss2 .((((( Abonnement ? la newsletter http://radiolist.org Voix off/on ~ Mais qu?est-ce qu?il veut ce mecton l?? ~ )))))))).(((((((((( Des voix off ayant perdues leurs images ou ne les ayant jamais trouv?es, prennent ici leur autonomie. Emission r?alis?e par : Edward Didenhoven http://www.radiolist.org/?p=236 Flashmob #1 : Place Saint Michel ? Paris )))))))).(((((((((( Flashmob* #1 PERFORMANCE COLLECTIVE Que vous soyez petits ou grands, universitaires ou traders, engag?s ou d?sillusionn?s, venez nous rejoindre pour une mobilisation ?claire pour soutenir les Universit?s en gr?ve mercredi 18 f?vrier ? midi place Saint Michel. Une action de mobilisation collective sous la forme d?une FLASHMOB* est pr?vue ? midi, le mercredi 18 f?vrier, Place Saint Michel ? Paris. Emission r?alis?e par : Caroline Capelle http://www.radiolist.org/?p=235 Art-maniac : Picasso et les ma?tres )))))))).(((((((((( Visite virtuel de l?exposition ? travers la lecture du catalogue. Lorsque les spectateurs disaient ? Picasso qu?ils adoraient ce qu?il faisait mais qu?ils n?y comprenaient rien, que c??tait du chinois, ce dernier r?pondait que le chinois c??tait comme tout ?a s?apprenait. Tel est donc le but d?Art-maniac, faire d?couvrir l?art moderne et contemporain ? travers des ouvrages, des expositions sur les arts visuels et sonores. Emission r?alis?e par : Fabrice Decamps http://www.radiolist.org/?p=234 Sound & Vision # 9 : Manhattan vs Taxi Driver vs Un jour ? New-York )))))))).(((((((((( Un bootleg (parfois appel? mashup ou tout simplement medley) est un d?tournement musical, l?art de mixer deux chansons pour en faire une troisi?me. Ici le d?tournement sonore est cin?matographique. Un lieu, un lien. Trois films : un m?me lieu. Ici New-York. Emission r?alis?e par : Pierre M?nard http://www.radiolist.org/?p=233 Art-maniac : La laideur est une promesse de malheur )))))))).(((((((((( Lorsque les spectateurs disaient ? Picasso qu?ils adoraient ce qu?il faisait mais qu?ils n?y comprenaient rien, que c??tait du chinois, ce dernier r?pondait que le chinois c??tait comme tout ?a s?apprenait. Tel est donc le but d?Art-maniac, faire d?couvrir l?art moderne et contemporain ? travers des ouvrages, des expositions sur les arts visuels et sonores. Emission r?alis?e par : Fabrice Decamps http://www.radiolist.org/?p=232 Vous avez dit : La fontaine de Pelletier et Caventou ! )))))))).(((((((((( La Quinine C?est comme ? la belle Otero ? ou ? la Fornarina ? ou encore ? la Claudia Cardinale ?. Car ? La Quinine ? est une femme. Une superbe femme de marbre allong?e sur un pi?destal en marbre de trois m?tres de haut. Elle est toute nue. Emission r?alis?e par : Firas Jabakhnji http://www.radiolist.org/?p=231 De L?Air : Galerie CDEx, Montr?al, Canada )))))))).(((((((((( Cet enregistrement est la trace sonore des 18 derni?res minutes d?un projet intitul? ? ( De L?Air ) ?, qui a ?t? pr?sent? par le collectif ? Association International des Souffleurs ?, ? la Galerie CDEx (Centre de Diffusion et d?Exp?rimentation des ?tudiants de la ma?trise en arts de l??cole des arts visuals et m?diatiques) ? l?UQAM (Universit? du Qu?bec ? Montr?al) en avril 2008. Emission r?alis?e par : Claudia Mannigel http://www.radiolist.org/?p=230 Sound & Vision # 8 : L?inspecteur Harry vs Sueurs froides )))))))).(((((((((( Un bootleg (parfois appel? mashup ou tout simplement medley) est un d?tournement musical, l?art de mixer deux chansons pour en faire une troisi?me. Ici le d?tournement sonore est cin?matographique. Un lieu, un lien. Deux films : un m?me lieu. Ici San Francisco. ? Emission r?alis?e par : Pierre M?nard http://www.radiolist.org/?p=229 -- RadioList.org (((((((.))))))) xavier cahen administrateur xavier.cahen@radiolist.org http://www.radiolist.org Merci de penser ? l'environnement avant d'imprimer ce courriel