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[email protected] : the user is the judge ...n� by etoy | 0 1 |
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Sylvie Parent <[email protected]> : CIAC�s Electronic Art Magazine | 0 2 |
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Rafael Lozano-Hemmer <[email protected]> : Alzado Vectorial | 0 3 |
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Zsolt Petranyi <[email protected]> : Federico from Budapest | 0 4 |
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Ana Peraica <[email protected]> : De/light me! reader | 0 5 |
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Pierre Robert <[email protected]> : Arch�e - janvier 2000 | 0 6 |
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Matt Locke <[email protected]> : SHIFTS - THE PROGRAM | 0 7 |
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[email protected] : L.A. Freewaves - open call for experimental media | 0 8 |
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Jan Rune Holmevik <[email protected]> : Call for Proposals | 0 9 |
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delivered each weekend into your inbox |
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mailto:[email protected] |
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dear etoy.SHAREHOLDER, FRIEND, TOYWAR-ACTIVIST,
after sending out the TOYWAR game invitation (on friday
/ last seconds of the old century) a neutral research
commission found out that more than 80 percent of all
recruited TOY-AGENTS failed the registration process.
the etoy.RECRUITERS encourage all of you to try hard.
it is just a question of your connections (an invitation
from another subscribed toy-soldier is needed),
intelligence, and endurance to enter the etoy.RESTISTANCE
platform http://www.toywar.com . we hope the community
understands that we can not accept every curious user in
this extreme media war zone. etoy has to protect itself
from spies, enemies and naive terrorists. that's why this
selection takes a few days before the actual battle
starts. etoy can not risk digital suicides and the injury
of innocent and unexperienced users. as soon as the first
700 elite pioneers have formed a strong TOY-TROOP and have
organized the battle field the next round will start. we
keep you updated. ... as soon as the first toy-bombs are
ticking on TOYWAR.com we will issue TOYWAR-GUEST-ACCOUNTS
for standard users (without permission to fight) just to
observe the net art activities from save seats behind
bulletproof windows. in a few days you can also purchase
guest accounts at the official TOYWAR-SHOP for 4.99$.
http://www.toywar.com/shop also offers the official toywar
sound track cd "lullabies for toywar.com". CHECK IT OUT!
AND WHAT IS GOING ON WITH THE LAWSUIT ?
*******************************************
hundreds of congratulation emails arrived at etoy.TANK17...
the underground press titled "glamorous victory of the
etoy.CORPORATION (net art giant) over eToys (plastic toy
giant)" after wired news reported that eToys Inc. thinks about
dropping the lawsuit against the etoy.CORPORATION.
this message rushed trough the news last week:
http://www.wired.com/news/politics/0,1283,33330,00.html
etoy was not able to answer questions yet.
.... here is our official press statement:
according to our lawyer chris truax the situation is not
completely clear. we follow the contradictional statements
in the press... and we have the impression that eToys wants
to play the good guy now after they saw that the
destruction of etoy failed and their massive pressure on
the art group provoked a load of bad press (over 100
articles worldwide) and drove their stock down (wired news).
it seems they want to look better than they are. we have
the strongest impression that the statements they make to
the press and the ones they make to our lawyers are not
100% identical:
wired.com HEADLINE No.1 on december 30, 1999
etoy: 'The Fight Isn't Over"
http://www.wired.com/news/politics/0,1283,33338,00.html
we do not reject talking to eToys but we don�t trust them so
far. first they try to kill us (by spending maybe half a
million dollars on lawyers), and now they try to turn back
the clock and say ...oh this was just a little misunderstanding!?
did we miss something?
two weeks ago we received a 30 pages fax from one of the
biggest newspapers in the us (they got the document from eToys)
with the request to comment on the submitted material. eToys
quoted the terms "offensive, depraved, insane, obscene,
prurient, perverse, destructive, anarchistic, rebellious and
anti-social in nature" in direct connection with the
etoy.CORPORATION. they sent out screen shots of some awarded
and ironic web art services which were not even posted on the
etoy.com site since eToys started to operate in 1997.
at the same time they offer a cute little plastic soldier of
the german SS troops on the eToys site (we dont like this like
they dont like the word "f*ck"...)
http://www.etoys.com/cgi-bin/buzz.pl?sku=1012690&store=et
the board decided to leave communication with eToys to our
lawyers. in the meantime the etoy.CREW concentrates on the
TOYWAR.community and offers etoy.POINTS to everybody who helps
to protect the etoy.com property (with legal tools).
while eToys is using the money from their shareholders to pay
the extreme expenses of this lawsuit we developed a new avant
garde art product called etoy.POINTS. the etoy.POINTS are not
etoy.SHARES! they just represent the etoy.CULTURE-VALUE in a very
abstract way. there is no connection to financial markets: IT IS
ART and we do not force anybody to love it ! but we sell etoy.POINTS
to those who like us. they don�t get anything but ART! ...ok: maybe
it also gives them the feeling that they support the right side...
it could be seen as an "investment" in a higher sense... but it�s
not a real(!) investment.
...we "left reality behind" ... long time ago...
note: etoy.POINTS are NOT etoy.SHARES and NOT apples or
anything else.
we hope to see you on toywar.com...
your etoy.AGENTS
etoy: generating cultural value & global impact ....since 1994
ps: the etoy.BOARD is taking a break. we do not respond to your
emails till january 7, 2000. in case of emergency: send sms messages
to our cell phones: [email protected] (max 160 caracters!)
but first: visit the TOYWAR.shop: http://www.toywar.com/shop
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The 9th edition of CIAC�s Electronic Art Magazine is now on line.
The Contents of the Magazine include:
* A Feature on Electronic Literature
* Perspective on text based Web projects
* Reviews of Web projects by Mark AMERIKA, Richard BARBEAU, Vera
FRENKEL, Isabelle HAYEUR, Mario HERGUETA, Juliet Ann MARTIN,
Melinda RACKAM, Julia SCHER, Teo SPILLER, Joseph SQUIER
* Interview with Zoe LEOUDAKI
* Reviews of media art events : Media Lounge (FCMM), Cartographies
(ISEA), �tats g�n�raux de l��criture interactive (Art 3000),
Rendez-vous... sur les bancs publics (SAT), Fixions (Agence TOPO)
* Spotlight on a Website : Museum of Jurassic Technology
Thank you for your interest
Sylvie Parent
CIAC�s Electronic Art Magazine
Centre international d�art contemporain de Montr�al
http://www.ciac.ca
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Hi nettimers
There are only three more nights to participate in my piece "Vectorial
Elevation". Here is a brief description:
"Vectorial Elevation", a net.art installation that allows participants to see
and transform Mexico City's Historic Centre with 18 robotic searchlights. It
features a VR interface, webcams, telerobotics and 126,000 watts of power.
Operates until the 6th of January.
http://www.alzado.net
Best,
Rafael
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Dear Friend,
We like to inform You about the exhibition of Federico Baronello in Budapest
at Liget Gallery (Hungary, H-1149, Ajt�si D�rer sor 5., presented by Zsolt
Petr�nyi). We'll be glad to have you participating at the opening held on the
7th January 2000, at 7 p.m. with a video-lecture titled:
The Power of Love
1) Language
Language does not exist, for it doesn't belong to any of the sources that
already existed before it, on earth.
The thesis which asserts that a cultural chaos has been caused by capital
globalisation process, loss of the support by religious and cultural
traditions, dissolution of the last remains of precapitalistic societies,
increasing technical and social differentiation and tendency to specialism,
is denied by facts everyday.
Today civilisation gives to all its products a very similar way of looking:
film, radio and TV, the internet and whatever more, form in their
coexistence, a Unitarian system. Every sector is disciplined by itself and
its relations with others.
When you are part of a group movies can provide a common language.
The human being inner essence is confused, indistinguishable and complex.
Language intervenes as a strength which aims to deprive us of ourselves by
making us line up together with those who surround us, to model us on the
behalf of some common measure.
Language defines and perfects us, finishes and governs us. Resorting to
language reveals that the individual is unable to conciliate with the object
(nature, the exterior, but also the "authentic" self), because language
entails the discipline of exteriorly.
Absolute and without conditions, language, which is relative and
conditioned, is an illusion. Yet to that part of us by which we perceive it,
the law of its being is a law of truth. It must never be forgotten that
every one must begin at the beginning. And in the beginning the aspirant is
a rebel, even through he feel himself to be that most dangerous type of
rebel, a king dethroned.
2) The Art System
Conceptual Art revealed that the modernist compulsion for empiristic
self -reflexiveness not only originated in the scientific positivism which
is the founding logic of Capitalism but that, for an artistic practice that
interialized this positivism by insisting on a purely empiricist approach to
vision, there would be a final destiny. This destiny would be to aspire to
the conditions of tautology.
Given the conditions of rapidly accelerating fusion of the culture industry
with the last bastions of an autonomous sphere of high-art,
self-reflexiveness increasingly and inevitably came to shift along the
border line between logical positivism and the advertisement campaign.
Conceptual theories put in play a critique that operates at the level of the
aesthetic institution. It is a recognition that materials and procedures,
surfaces and textures, locations and placement, are not only sculptural or
painterly matter to be dealt with in terms of a phenomenology of visual and
cognitive experience or in terms of a structural analysis of the sign, but
that they are always already inscribed within the conventions of language
and thereby within institutional power and ideological and economic
investment.
What Conceptual Art achieved at least temporarily, was to subject the last
residues of artistic aspiration toward transcendence to the rigorous and
relentless order of the vernacular of administration.
But this was not just an other heroic step in the inevitable progress of
Enlightenment to liberate the world from mythical forms of perception and
hierarchical modes of specialised experience, but that it was also yet
another, perhaps the last of the erosion (and perhaps the most affective
and devastating one) to which the traditionally separate sphere of artistic
production had been subjected in its perpetual efforts to emulate the
regnant episteme within the paradigmatic frame proper to art itself.
Or worse yet, that the Enlightenment triumph of Conceptual Art - its
transformation of audiences and distribution, its abolition of object status
and commodity form - would most of all only be short-lived, almost
immediately giving way to the return of the ghost like reapparitions of
displaced painterly and sculptural paradigms of the past. So that the
specular regime, which Conceptual Art claimed to have upset, would soon be
reinstated with renewed vigour.
With the acceleration of the contemporary art sale's market, dude to the
unbelievable peaks and unavoidable falls of the New Expressionist artists
valuations, museum institutions starts to restyled and to spread all over
the most economic advanced countries.
The architecture design of the new buildings uses principles of "indirect"
commodification" and "adjacent attraction" which rationalise and
juxtaposition of commerce with culture. Non commodities values can be used
to enchance commodities or vice versa. Into the new museum architectures,
the constant movement, such as escalators, people movers, staircases,
bridges, balconies, multiple levels, provide infinite vistas from a variety
of vantage points, generating excitement stimulation and fragmented
experience. Today art institutions have much more in common with other
industrialised areas of leisure - Disneyland, shopping malls - than with
that idea of the preindustrialized museum made to protect the autonomous
sphere of high culture.
The paradox inherent in the relation between the revealed obsoleteness of
the artistic medium and the gigantic scale of the structure deputed to its
administration finds its resolution in the aspiring negative function of the
Art System in respect to the whole structure of the Cultural Industry.
Through its history, art has been transformed from means into provider of
religion.
On occasion of biennials, site-specific shows and less or more gigantic
multi-media/cultural events, art must culturalise conflicts concealing
urban, political and technological contradictions. Expanding the sphere of
high culture into areas of social life such as shopping, dining, but also
those politically correct activities through which are engaged minority
communities such as handicapped people, convicts, psychiatric patients,
children, coloured people, etc.
Binding back to uncertain idea of the unknowable, transcending reason,
transcendent being, art rationalise what the Cultural Industry might have
been left free from its influence, those marginalized social and spiritual,
areas of the contemporary global society.
3) Form
Through the displayed relation of servility between knowledge and power is
revealed a relation of truth.
Many knowledge meaningless and of no value because their not dude relations
with power issues within their formal structure.
The coherence within the form or style had always been very important for
the definition of the work of art before the unrestrained development of the
modernist discourse through the avantgardes and the post-war art.
The total acquiescence of the style in the work had a proper function, an
intolerant rigour in front of the chaotic expression of the suffering as a
negative truth. Within the style of the work the expression of the suffering
gained a kind of strength. Without this strength the existence itself would
have been lost unhearded because of its immediacy.
Form is a codification of language, fitted to describe certain classes of
phenomena and to express certain classes of ideas which escape regular
phraseology.
A terminology by means of which it is possible to equate the mental
processes of people apparently diverse owing to the constraint imposed upon
them by the peculiarities of their literary expression.
An instrument for interpreting symbols whose meaning has become obscure,
forgotten or misunderstood by establishing a necessary connection between
the essence of styles, sounds, simple ideas and their moral or intellectual
equivalents.
A system of criteria by which the truth of correspondences may be tested
with a view to criticising new discoveries in the light of their coherence
with the whole body of truth.
Video source:
Matrix, 1999
The Dark City, 1998
Text source :
Emiliano Cinquerui
Theodor Adorno
Max Horkheimer
Dan Graham
Georges Gusdorf
Aleister Crowley
Benjamin Buchloh
Poyin Auyoung
Jochen Becker
Gerhard Richter
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Curating theory group announces;
CALL FOR PAPERS AND ILLUSTRATIONS - DE/LIGHT ME! Reader
De/light me! is the working title for a reader which will be edited by the
Curating theory group (judith fischer, robert garnett, ana peraica), and
published with budget assistance from the Jan Van Eyck Academie in
Maastricht, Netherlands.
After organizing a Curating trigger words program in Maastricht, entitled
password: E. P. (en passant),
the curating theory group is now interested in publishing a reader concerned
with the second orders theorizing.
We are interested into the following line of topics, left open for both
textual and visual contributions;
mental delightment ____________ overtheoretising ____________ forgotten
theory ____________ authoring theory ____________ undead authors
____________ revised versions ____________ quotation business ____________
stick to your own words! ____________ coded text ___________ hacking
theory___________stylish theory____________ theory superstars ____________
pseudonyms ____________ institutionalisation of thought ___________ names
as fetishes ____________ fabricating thoughts ____________ survive
overexposure ____________ commodification of theory ____________ theory as
business ____________ reading theory____________ rewriting
theory____________ performing theory ____________ embody theory____________
fastburning theory ____________ bad theory______________selling
fog_____________________
Please, send your contributions via e-mail to editors, [email protected]
, in readable format, by the February 1st, 2000. Textual contributions
should not be longer than 4 000 words. Concept of and Contributions to this
Reader are going to be presented at the "Post-Enlightenment" conference at
Jan Van Eyck Academie in Holland, in mid of May 2000.To be published later
in 2000.
Copyright will be retained by authors.
Curating theory group
_ Editors;
/for text contributions/
Ana Peraica,
curator and theoretician, Croatia.
Currently writes on Horrors in theory
[email protected]
Judith Fischer,
writer and curator, Austria.
Currently works on a new book (viola),
which deals with vampiric modes of reading and
writing.
[email protected]
/visual contributions editor/
Robert Garnett,
curator and critic, Great Britain.
Currently works on theory of Pitching.
[email protected]
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ARCH�E - JANVIER 2000 - SOMMAIRE
Une entrevue avec 0100101110101101.ORG
par Tilman Baumg�rtel
La copie num�rique en ligne, quand l'activisme cyberartistique fait de
l'immat�riel son objet de consid�ration. Cons�quences et concepts.
http://archee.qc.ca/ar.php3?btn=texte&no=100
Art et m�dias en perspective
par Pierre Robert
Si l'art Web s'ajoute aux autres arts, l'activit� artistique sut Internet ne
se r�duit pas � une autre facette de l'art.
http://archee.qc..ca/ar.php3?btn=texte&no=101
Copyleft
par Jerome Gleizes
�Coypleft attitude� a pour objectif de faire conna�tre et promouvoir la
notion de copyleft dans le domaine de l'art contemporain. Prendre mod�le sur
les pratiques li�s aux objets informatiques pour s'en inspirer et les
appliquer dans le domaine de la cr�ation artistique.�
http://archee.qc.ca/ar.php3?btn=texte&no=102
Un projet digne de mention : La console universelle courriel / Web
par Pierre Robert
Cr�ation d'un prix stimulant pour la cr�ation d'un appareil permettant
d'acc�der �conomiquement � Internet. Le Fonds Thot. (Un projet initi� par
Denys Lamontagne)
http://archee.qc.ca/ar.php3?btn=texte&no=103
Bonne consultation et bonne ann�e!
L'�quipe
Pierre Robert / r�dacteur en chef
Richard Barbeau / r�dacteur adjoint
Kathleen Goggin / administration
Arch�e, revue d'art <en ligne>
http://archee.qc.ca/
+1 (514) 522-1700
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SHIFTS'00- Shifts in Choreography - THE PROGRAM
!!!!!!!!Please register to attend!!!!!!!!
What: SHIFTS'00 - Shifts in Choreography
When: 15th /1/2000; 2-10pm
16th /1/2000; 2-8pm
Where: Chisenhale Dance Space
64-84 Chisenhale Road
E3 5QZ London
Admission: voluntary donations between 0-5� (+free bagels/cheap beer!) - but
you'll need to register!!!!!!!
To register send mail to: [email protected] or call ++44 (0) 181/858 0681
------------------
SHIFTS is a meeting of like minds.
It aims to gather together individuals from all over Britain, Europe and
further afield, who work or are interested and receptive to ideas generated
from within collaborative performance. These ideas cover topics as far
ranging as multimedia performance technologies, dance and site specific
installation work. SHIFTS hopes to broaden the scope of the subject, which
is choreography. A proposition that choreography is concerned with 'the art
of arranging information in time & space' allows for as broad a conversation
as possible and so becomes subject to a range of topics, which may
ordinarily be disregarded.
SHIFTS - Background
SHIFTS'99 took place on 28th February 1999 at the Backspace studio (London)
as the official sister event to IDAT '99 (International Dance and Technology
conference). Due to an extremely positive and welcome response, Barriedale
Operahouse have decided to make SHIFTS a yearly event.
We hope to echo last year's successful recipe of providing a diverse and
high quality program within a relaxed atmosphere of discussions,
web-broadcasts, talks and of course, beer and bagels.
SHIFTS - The program:
Talks / Lecture-Demonstrations
Paul Filmer
Paul Filmer is a Senior Lecturer of Sociology at Goldsmiths' College and
Consultant Sociologist at Laban Centre, London.
Working title: Ordering movement: historical and contemporary perspectives
on the sociological significance of choreography in social and art dance.
Richard Bleasdale
Show-control / currently responsible for the show-control in the Millennium
Dome; London
Judith Palmer
Chair of the poetry society and reviewer of performance art; London
(unconfirmed.)
Remko Scha
Professor in Computational Linguistics at The University of Amsterdam
Remko Scha will present a project, which he is worksing on in collaboration
with Arthur Elsenaar, who developed a technology that controls the muscles
of his face.
Matt Locke
Matt Locke is Artistic Director of TEST Digital Research Facility and
lectures on Visual Culture and Technology at Huddersfield University. His
presentation 'Temporary Intimate Zones - public spaces and electric
communication' will look at the impact that the development of electric
communication in the nineteenth century had on Victorian society, and draw
some parallels with the development of networked mobile communications in
contemporary society, with a focus on the relationships between public
spectacle and private communication.
Luke Jerram
Artist working on developing a medium which works with imprinting imagery
directly onto the retina; Bristol. Warning: strobe light will be used during
the talk for a short time
Richard Povall
Richard Povall has been involved with experimental electronic media for
almost twenty years. He is a multidisciplinary composer, researcher, and
educator. Until the end of 1999 he was Director of the Division of
Contemporary Music and Associate Professor of Computer Music and New Media
at the Oberlin College Conservatory of Music (Ohio, US)
map (Pete Gomes / Marvin Ayres)
map are creating audio visual work that combines moving image and sound.
Their installation 'sensory' address the ideas behind and methods of
incorporating artificial life sequences and computer generated images to
their work. This can currently be seen at Cap Gemini in Shaftesbury Avenue;
London (http://bak.spc.org/numinous/sensory)
Blast Theory
Blast Theory is a group of four artists based in London who make live
events, installations and new media work. Their current project - Desert
Rain - is a game, an installation and a performance that uses a
Collaborative Virtual Environment to look at the Gulf War. It will come to
London at the Riverside Studios in May.
PRESENTATIONS
Barry Edwards - Director Optik
Research Director Performance Arts - Brunel University, UK
Barry Edwards will discuss aspects of the techniques and structures
involved, which have connections to complexity and chaos theories, as well
as to wider issues such as actuality, immediacy, spontaneity.
Nick Rothwell -CASSIEL
www.cassiel.com - performer/improvisor of Systems Music for dance: live
electronic soundscapes with a pulse. Previously worked with Scottish Dance
Theatre and on composers/choreographers exchange, South Bank.
Demonstrations: Pulse Sequencer software (interactive symbolic sequencing
system written in MAX). Buchla Thunder (bird-of-prey shaped touch-sensitive
gestural MIDI controller)
Sita Popat
PhD research student at Bretton Hall College, West Yorkshire. She is
studying interactivity in the dance-making process using the Internet, and
she will be presenting the practical side of her research: The Hands-On
Dance Project (http://goehr.leeds.ac.uk/sita/hands-on/)
Andy Clark - 'Dance Project' (Micro-commission)
Andy Clark will present The Dance Project - an interactive multimedia piece
in which the user controls the choreography of an on-screen "virtual" dancer
in real time. It is intended as a serious choreographic tool, but is
intuitive enough to be used and enjoyed by a non-specialised audience on the
level of computer game.
Volkmar Klien
PhD in Electronic Compositions; City University.. Presenting the custom-made
software, which is currently conducting and shaping most of Barriedale
Operahouse's installations and performances.
INSTALLATIONS
Nic Sandiland
choreographer/installation artist; London
Nic Sandiland is presenting the initial stages of, "RADAR". This is a small
ultrasonic radar set up to measure the public's location in the space. The
installation takes this information to construct a giant radar screen which
is mapped back onto the space through a video projection. RADAR will be
fully developed as an interactive choreographic installation for both
children and adults at the South Bank Centre in July.
Stephan Silver
Stephan Silver will present a small version of his past work "Virtuoso"
map (Pete Gomes / Marvin Ayres)
map are creating audio visual work that combines moving image and sound.
Their installation 'sensory' addresses the ideas behind and methods of
incorporating artificial life sequences and computer generated images to
their work. (http://bak.spc.org/numinous/sensory)
Sophia Lycouris - PhD; artistic director kunstwerk-blend
An installation/live performance piece, which addresses limitations in the
use of the physical body and digital/internet-based technology as part of
live performance contexts.
Graham Clayton - GRAVITY MAKES ME SAD - (Microcommission)
GRAVITY MAKES ME SAD comes from research into developments in sports science
to monitor athletes' response times to aggressive challenge.
The creation of this has been made possible by North West Art Board, IDEA
and DS99.
MICROCOMMISSIONS
Blast Theory - Sidetrack
Sidetrack is a 30 second excerpt from a movie chosen at random. The choices
involved in that excerpt are governed by a search for the unexpected or the
peripheral, shots that seem to come from (or be headed to) elsewhere. It's
a search for the hidden beauty in the everyday, for the unspoken moods and
sensations lurking beneath the surface.
Graham Clayton - Gravity makes me sad
(see under installations)
Andy Clark - support for the ongoing 'Dance Project'
(see under presentations)
CD-ROMS/Internet
Forsythe: Improvisation Technologies - produced by ZKM
Artintact5: Forced Entertainment - produced by ZKM
CD-ROM by Ruth Gibson
SHFITS'00 - Time Schedule
SAT:
Main space:
2 00: doors open
2 15 - 2 30: opening/introduction
2 30 - 4 00: Presentations/Installation Introduction:
Volkmar Klien / Barry Edwards / Sita Popat / Nic Sandiland /
Susan Broadhurst / Stephan SIlver
4 00 - 4 40: Paul Filmer
4 40 - 4 59: buffer zone/break
4 59 - 5 00: Blast Theory's film (screening 1)
5 00 - 5 30: Richard Bleasdale
5 30 - 6 00: map (talk & introduction to their installation)
6 00 - 6 40: Richard Povall
6 59 - 7 00: Blast theory's film (screening 2)
7 00 - 10 00: buffer zone / continuations of informal presentations / party
/ installations (PDE,�)
small space (installations):
3 00 - 5 30: Stephan Silver
6 00 - 10 00: map
SUN:
2 00 - 2 15: Introduction
2 15 - 2 45: Blast Theory talk
2 45 - 3 15: Luke Jerram
3 15 - 4 30: Presentations/Installation Introductions:
Nick Rothwell / Sophia Lycouris / Graham Clayton / Andy Clark
4 30 - 5 10: Matt Locke
5 15 - 5 45: Judith Palmer (unconfirmed.)
5 45 - 5 59: buffer zone/break
5 59 - 6 00: Blast Theory's film (screening 3)
6 00 - 7 00: Remko Scha
7 00 - 8 00: Open
small space (installations):
2 00 - 4 30: Graham Clayton
5 00 - 8 00: Sophia Lycouris
Best wishes,
The SHIFTS team
Michael Klien; Joukje Kolff; Nicholas Mortimore
PS:
Please feel free to bring film material of your work, which you want to
show. (There will be video-projectors and monitors 'scattered' throughout
the spaces)
PPS:
We are having continuous problems with our server barriedaleoperahouse.com -
so please send all your corresponding mail to [email protected]
======================================
Barriedale Operahouse
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coming up...
15/16 Jan 2000 'SHIFTS'00'- Chisenhale
28th Jan 2000 'The Gazing'- Place Theatre
18th Feb 2000 'Cay'- ICA London
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artistic direction /
creative services /
choreographic r+d
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www.barriedaleoperahouse.com
**********************************
Matt Locke
Acting Chief Executive
Kirklees Media Centre
T:+44 (0)1484 431289
F:+44 (0)1484 513739
E:[email protected]
www.test.org.uk
ICQ:11157918
**********************************
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> L.A. FREEWAVES'
> 7th Celebration of Experimental Media
> seeks videos, films, CD-ROMS, web sites, culture jams,
> public media by artists, activists and mediamakers
>
> L.A Freewaves' 7th festival
> throughout Los Angeles seeks
> experimental, narrative, documentary, art or animation
> to be considered by 10 curators for
> public access TV programs,
> screenings at MOCA, Filmforum & other art venues.
> We are also looking for culture jamming events,
> community media activities, events for TV coverage,
> public art media projects,
> multimedia installations and performances,
> youth media works,
> video bus tours in Los Angeles
> messages for public electronic signs, blimps, etc.
> for November, 2000.
> $10 per person (except free for students) to enter.
> Good Honoraria paid to those selected.
> Please send tapes (3/4"or vhs),
> urls & MAC-compatible cd roms ,
> with resume or bio and contact info
> postmarked by January 31, 2000 sent to
> L.A. Freewaves 2151 Lake Shore Ave. Los Angeles, CA 90039
> For more info, call Anne Bray at (323) 664-1510 or
> e-mail to [email protected].
> See www.freewaves.org for background info.
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Call for Proposals
conference web site is at
http://cmc.uib.no/~dac/
The third international Digital Arts & Culture Conference will be held in
Bergen, Norway August 2-4, 2000. This conference aims to embrace and
explore the cross-disciplinary and cross-cultural theory and practice of
contemporary digital arts and culture. As we step across the threshold to a
new millennium, the DAC conference affords us the opportunity to develop
and foster communication and understanding about digital arts and culture
across a wide spectrum of cultural, disciplinary, and professional
practices. To this end, we cordially invite scholars, researchers, artists,
computer professionals, and others who are working within the broadly
defined areas of digital arts and culture to join in the DAC discourse
community by submitting proposals for presentations to the Digital Arts and
Culture conference in the year 2000. Women and people from ethnic
minorities are strongly encouraged to submit.
Presentations may be in the form of scholarly papers or presentations; or
performances and installations incorporating electronic and digital
technologies and media. Collaborative presentations are encouraged, and to
aid our collaborative and cross-disciplinary objective, we are primarily
seeking submissions for three main types of sessions: (Single submission
per person only, please.)
Panels: Should consist of 3-4 presentations around a common theme.
Presenters will be given 20 minutes each with time for discussion.
Forums: Should consist of 3-6 presenters who will have 8-10 minutes
each to deliver position statements on a theme or topic set forth by
the forum organizer. Forums are roundtable type events that should
accommodate ample time for discussion among panelists and audience.
Performances, Installations: Can consist of individuals or groups.
Session formats may vary depending upon the presenters' needs and
wishes. Please note that we may not be able to supply highly>specialized
and advanced media or technical support.
Individual submissions are also welcome.
Ppanels and forums must include abstracts for each of the
proposed>presentations. Brief bios for each presenter must accompany the
proposals. All proposals must be submitted through the online
submission form at the DAC2000 web site on or before March 1. 2000.
Notification of acceptance will be given by April 1, 2000.
Welcome to DAC2000,
Jan Rune Holmevik,
Conference Chair
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