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Table of Contents:
Singapore Art Exhibition
"Marchenko Lisa" <[email protected]>
META4 [email protected] [announcer]
_manu Luksch <[email protected]>
COSIGN 2002 FINAL CFP
Andy Clarke <[email protected]>
FROM YOUR Z.G.C.P.S.J.F.F. - 26 march 2002 Rotterdam
"=?iso-8859-1?B?S+Fyb2x5IFTzdGg=?=" <[email protected]>
April Fools day play-testing party in NY!
Natalie Bookchin <[email protected]>
media/politics/entertainment: THIS TIME FOR REAL
MiDiHy <[email protected]>
AGORA 2002 POSTER SESSIONS message 3
"ALAS" <[email protected]>
=?iso-8859-1?B?VGhlIDI1VEggQklFTkFMIERFIFPDTyBQQVVMTw==?=
"maria moura" <[email protected]>
zizek seminar rotterdam
"[email protected]" <[email protected]>
announcement
Rudolf Frieling <[email protected]>
read_me: moscow invites
Olga Goriunova <[email protected]>
Privacy Lecture Series - Stephanie Perrin, April 16, 2002
Ana Viseu <[email protected]>
25 Sao Paulo Biennial -- Net Art
"Lucia Le�o" <[email protected]>
Lecture
Robert Atkins <[email protected]>
------------------------------
Date: Wed, 20 Mar 2002 01:59:22 +0000
From: "Marchenko Lisa" <[email protected]>
Subject: Singapore Art Exhibition
Singapore Art Museum, Dec 8 2001 - Mar 24 2002
Curated by Gunalan Nadarajan
Exhibition Website: www.cyberarts.scholars.nus.edu.sg/nsa01
In the last few decades the art world has been flooded with a number of
terms invented to define the developing artforms employing the so-called
'new' technologies;
for example, electronic arts, digital arts, media arts, new media and most
recently, cyberarts. While all these terms have been variously useful in
defining historically
specific developments in contemporary artistic practice, I have found the
term cyberarts to be most useful and inclusive. For example, the term
Electronic Arts is
historically-specific to some art practices from the sixties till the early
eighties which were based on and operated via electronic systems. The term
'digital arts' is also
historically-specific to the digitisation technologies brought about by
developments in computer graphics. These technologies have themselves been
superceded by the
so-called 'cybertechnologies' of which digitization is merely one aspect.
Moreover, the term digital arts in also limited by the type of authoring
techniques used and
images / sounds thus generated. However, it is noteworthy that the term
'digital arts' enjoys and may continue to have currency in the contemporary
art world. The term,
'cyberarts', proposed here seeks to ultimately replace 'digital arts' by
providing a more comprehensive term to embrace artworks and practices that
already go beyond
'digital media'.
The most recent term that has been invoked to refer to these technologically
driven developments in contemporary art is 'new media'. Lev Manovich, the
media theorist, has
in his recent book, The Language of New Media, identified five
characteristics that conceptually distinguish 'new media' from previous art
forms. These are namely, numerical
coding that facilitates the programmability of the media; modularity that
creates a structural discreteness of its parts; automation of its production
and access; variability,
meaning that the media can continue to be presented in variable formats and
versions well after its 'completion'; and finally, transcoding, insofar as
its codes operate between
and are therefore transferable across different systems. While, Manovich's
conceptual clarification of what constitutes 'new media' is incisive and
useful for our understanding
of many of the contemporary developments in art and technology, there is no
reason why the term 'new media' is most appropriate. The term 'new' in new
media, is
conceptually empty insofar as what constitutes the 'new' at any point in
time is so variable as to impossible to identify. The use of the word 'new'
also does not facilitate a
better theoretical framing or understanding of the peculiar artistic and/or
technological developments of the art works. However, given the theoretical
value of the
abovementioned characteristics to illuminate our understanding of the
ongoing developments in the cyberarts, it would be useful to coopt them into
our understanding of the
cyberarts.
The term 'cyber' derives from the Greek root, kubernare that refers to the
"act of controlling a ship" where the 'pilot' was refered to as kubernetes.
Kubernare is also the root
of the word, 'government' which refers to the composite acts of control as
well as the organization / entity that is charged with that task. The
mathematician Norbert Weiner
defined cybernetics as the study and strategic deployment of communicative
control processes within complex systems constituted by hierarchically
ordered entities. And
by this he initiated a revolutionary development in the way we have come to
think about information and control. Cybernetic systems are thus conceived
to be made up of
information flows between differently constituted entities like humans,
computers, animals and even environments. The flow of information was
conceived as a principle
explaining how organization occurs across and within multiple hierarchical
levels. This meant that seemingly bounded entities could be translated /
codified into information
thereby enabling interfaces and easy interactions between them. It is in
fact arguable that in the last two decades a large amount of technological
innovation has been
towards greater cyberneticization. This means that in addition to
innovations that allow existing technologies to become integrated with each
other through cross-platform
operability, the 'new' in many 'new technologies' have been exactly their
ability to hybridise previously separate functionalities, e.g.
web-integrated mobile phones, biochips,
artificial life, etc. It is this translatability, more accurately desire to
translate, different physical entities and processes into information as
well as the control afforded thereby
that distinctly characterizes and enables what have come to be called
cybertechnologies.
Thus, one can sum up that the term cyberarts refers to all those art forms,
practices and processes that are produced and mediated by the continuing
developments in
cybertechnologies, specifically in information, communication, imaging,
experiential, interface and bio-technologies. The cyberarts as defined by
contemporary art practice
include the following: digital imaging (whether as digital painting, digital
photography and digital video); computer animation; holographic art; virtual
reality environments,
including gaming; robotic arts; net-art, including works in hypertext and
telematics; human-machine interfaces (e.g. cyborg technologies); bio-arts
that employ
biotechnologies (e.g. DNA music, transgenic art, artificial life); computer
music & sound arts; and hybrid art works involving interaction with other
art forms (e.g. theatre,
dance, installations, etc.).
This exhibition introduces the Singapore audience to the exciting art works
that have resulted from the intersections of art with recent developments in
technologies. The
term, techn, which forms the root of the word 'technology' in the classical
Greek referred to the means and methods of creative making and as such was
not different from the
idea of art. However, historically technology has been relegated to refer to
functional and pragmatic creation in contradistinction to art. The aim of
this exhibition is to
deliberate on the intersections and productive tensions between art and
technology as exemplified in recent developments in the cyberarts. Given the
serious lack of such
artforms and practices in Singapore the exhibition had to jumpstart its
systematic development by facilitating the local production of exemplary
works in the field of cyberarts.
Through an initial curatorial briefing and introduction to the cyberarts,
proposals for projects dealing with intersections of art and technology were
invited. Interested artists
were advised to concentrate on the conceptualisation of their projects
without being too concerned with the technological peculiarities and
requirements of their proposed
works. This was especially crucial as there was a paucity of artists working
with cybertechnologies in Singapore and as such, the bulk of the proposals
were anticipated to
be from those who worked with other media. From a total of nearly thirty
proposals, seven proposals were finally selected. The selection was based
not simply on the artistic
merits of the works but on the potential to exemplify and generate critical
discussion on the intersections between art and technology. Selected artists
were then matched
with appropriate technological experts to consult and aid in the production
of the final works. The works in this exhibition have been drawn together on
the basis of two
central issues in cyberculture: virtual actions and virtual spaces. All the
works deliberate on how our conventional notions of spaces and action are
complicated by
technologies of and encounters with the 'virtual'.
_________________________________________________________________
Chat with friends online, try MSN Messenger: http://messenger.msn.com
------------------------------
Date: Tue, 19 Mar 2002 10:34:11 +0000
From: _manu Luksch <[email protected]>
Subject: META4 [email protected] [announcer]
ambientTV.NET invites you to a very special performance by
META4
[http://www.ambienttv.net/2002/hostedevents/meta4]
at the ambientTV space, unit 76 regent studios, 8 andrews road, london e8
on saturday march 23rd from 20.00 till late (META4 onstage at 21.00)
*
late into the night with DJ cryptonym
*
suggested donation =A310 / minimum =A35
this event will be oversubscribed, so arrive early.
you can also email us to book in advance:
<[email protected]><[email protected]>
*
META4
live electronic music composed and improvised on computer,
record deck, keyboard, drum machine and SOUND=3DSPACE
META4 comprises:
Rolf Gehlhaar =8B composer and performer, he is one of the leaders in the
field of live electronic music, having started his career as a member of th=
e
Stockhausen Ensemble of the 1960s. He has composed over 60 major works, mos=
t
of them electroacoustic or electronic in nature and, in 1984, invented,
designed and developed SOUND=3DSPACE, the first genuine interactive computer
controlled musical environment. Although SOUND=3DSPACE was originally designe=
d
to be 'played' by many persons in spaces of 100 sq. m. or larger, he has
adapted its software for his own use, as his performing instrument.
Nikola Kodjabashia =AD composer, conductor and performer; studied with Anatol
Vieru at the Academia de Musica Bucharest and with Sir Harrison Birtwistle
at King's College London, where he received his MMus. He holds a lectureshi=
p
in composition at King's College and the post of Musical Director at the
National Theatre for its production of Euripides' The Bacchae.
Vahakn Gehlhaar-Matossian =AD student sculptor, artist, DJ, composer; has als=
o
studied several instruments (guitar, piano and drums). He composes
drum'n'bass and hiphop.
Hagop Gehlhaar-Matossian =8B web designer, composer, and DJ; has been involve=
d
in music since first being taken to concerts of his father's music as a ver=
y
small child. He has studied several instruments, worked extensively as a
sound engineer and technician for jazz & theatre, and has been composing
drum'n'bass and experimental breakbeat since 1998.
*
[more info]
http://www.ambienttv.net/2002/hostedevents/meta4/
*
drinks available at inhouse bar.
bring your ears!
the stream on saturday will be at http://genghis.kewl.org:8000/ambient
chat channel:
http://chat.kewl.org/ambient
- -
------------------------------
Date: Mon, 25 Mar 2002 00:06:19 +0000
From: Andy Clarke <[email protected]>
Subject: COSIGN 2002 FINAL CFP
This is a reminder that the submission date for the Second conference on
Computational Semiotics for Games and New Media is almost here.
Submission date for Academic Papers and Artworks : 27th
March 2002
Submission date for Posters and Technical Demonstrations :
22nd April 2002
Please distribute this call widely to any individuals and organisations
that it would also be of interest to.
I apologise in advance if you have already received it through other
channels.
Thank you
Andy Clarke
*****************************************************
*
* Final Call For Papers
* ---------------------
*
* COSIGN 2002
*
* The 2nd International Conference on
*
* COMPUTATIONAL SEMIOTICS FOR GAMES AND NEW MEDIA
*
* Augsburg (Germany)
*
* 2nd September - 4th September, 2002
*
* http://www.kinonet.com/conferences/cosign2002/
*
******************************************************
CONFERENCE SCOPE
====================
This cross-disciplinary conference explores the ways in which semiotics
(and
related theories such as structuralism and post-structuralism) can be
applied to creating and analysing computer systems. It is intended for
anyone with an interest in areas of overlap (or potential overlap)
between
semiotics and computers. This would include, but is not limited to, the
following: computer scientists; HCI and AI practitioners; creators of
expert
systems; digital artists; designers; critics; semioticians;
narratologists;
etc.
Semiotics is the study of signs, symbols and signification, and is
therefore
the study of how meaning is created, encoded and understood.
Computational
semiotics is understood here to be the application of semiotic theories
to
computer systems and interactive digital media. Three possible aspects of
this are:
- The way in which meaning can be created by, encoded in, or understood
by, the computer (using systems or techniques based upon semiotics).
- The way in which meaning in interactive digital media is understood by
the viewer or user (again using systems or techniques based upon
semiotics).
- The way in which semiotics can be used as the starting point for a
system for looking critically at the content of interactive digital
media.
Media that make use of the unique capabilities of digital systems are of
particular interest to this conference. These include: hypermedia;
content
analysis systems (particularly those that extract higher-level meaning);
the
semantic web (and similar systems); multimedia and the internet; digital
art, net art and other technology-based or technology-oriented art forms,
computer games, interactive narratives and other forms of interactive
entertainment; virtual reality systems and virtual environments.
COSIGN 2002 invites submissions in the following categories:
1. Academic Papers
2. Artworks
3. Posters
4. Technical Demonstrations
Details of the submission procedures are given below. Authors of accepted
papers will be required to prepare an electronic version for the online
conference proceedings (PDF), which will supplement the traditional
printed
volume.
Information about the conference are available at the following web
address:
http://www.kinonet.com/conferences/cosign2002/
The programme and online proceedings for COSIGN 2001 are available at the
following web address:
http://www.kinonet.com/conferences/cosign2001/program.html
IMPORTANT DATES AND DEADLINES
=============================
Academic Papers and Artworks
Submission date: 27th March 2002
Acceptance will be notified on or around 6th May 2002
Camera-ready copy by 10th June 2002
Posters and Technical Demonstrations
Submission date: 22nd April 2002
Acceptance will be notified on or around 21st May 2002
Camera-ready copy by 10th June 2002
SUBMISSION PROCEDURE
====================
1. ACADEMIC PAPERS
Papers are invited on any subject that explores areas of overlap (or
potential overlap) between semiotics and interactive digital media.
Examples
of this include, but are not limited to, the following:
- The use of semiotics in artificial intelligence and expert systems.
- Software architectures and technologies using, based upon or inspired
by
semiotic theories, systems or models.
- The use of semiotics in the creation of generative narrative systems,
interactive digital games, entertainment and artworks.
- The use of semiotics in the study and criticism of digital interactive
media.
- Narratology in games and new media.
- Semiotic-orientated HCI.
- Semiotics and Hypermedia.
Papers should demonstrate an understanding of - and engagement with - the
principles of semiotics (understood here as the study of signs) and gain
something from this engagement.
All papers must be submitted electronically (in either Postscript,
Microsoft
Word, RTF or PDF format) to Frank Nack at the following address:
[email protected]
- ------------------------------------------------------
Submission date for Academic Papers: 27th March 2002
Acceptance will be notified on or around 6th May 2002
PDF copy for the proceedings by 10th June 2002
- ------------------------------------------------------
2. ARTWORKS
In addition to academic and theoretical papers, presentations of
artworks of
all forms and in all formats are invited. We are particularly interested
in
digital art, net art and other technology-based or technology-oriented
art
forms.
Selection of work for presentation at the conference will be based upon
its
relevance to the themes of the conference, its interest in demonstrating
or
exploring the potential of new media, and its challenging of perceptions,
theoretical assumptions, or understanding in any areas related to the
conference. Selection may also be constrained by practical requirements
for
equipment, safety, etc.
Final decisions will be made by the Artwork Committee. Artworks will be
assessed on the basis of documentation of the work presented in the form
of
an online website. The website should display the following:
- A textual description of the proposed artwork and any illustrations
- A biography of the artist(s)/author(s)
- Contact details
Please submit the URL of the website containing your proposal in an
email to
Andy Clarke at the following address:
[email protected]
Those wishing to submit additional supporting material, such as
videotapes,
should contact Andy Clarke to make arrangements for this. No
responsibility
is taken by the COSIGN organisers for any such material, and all expenses
for its return must be met by the artist.
- -------------------------------------------------------
Submission date for Artworks: 27th March 2002
Acceptance will be notified on or around 6th May 2002
PDF copy for the proceedings by 10th June 2002
- -------------------------------------------------------
3. POSTERS
There will be an opportunity for researchers to present new work and
ideas
that are not yet ready for the full presentation. Short papers will be
presented in poster format, and will be included in both the hardcopy and
electronic proceedings.
All papers must be submitted electronically (2 to 4 pages of A4 size,
double
spaced, in either Postscript, Microsoft Word, RTF or PDF format) to Clive
Fencott at the following address:
[email protected]
- -------------------------------------------------------
Submission date: 22nd April 2002
Acceptance will be notified on or around 21st May 2002
PDF copy for the proceedings by 10th June 2002
- -------------------------------------------------------
4. TECHNICAL DEMONSTRATIONS
Demonstrations of relevant leading-edge work and work in progress are
invited. Submissions will be peer-reviewed to ensure quality.
Demonstration
proposals must be submitted electronically (in either Postscript,
Microsoft
Word, RTF or PDF format) to Craig Lindley at the following address:
[email protected]
Those wishing to submit supporting material, such as videotapes, should
contact Craig Lindley to make arrangements for this.
- -------------------------------------------------------------
Submission date for Technical Demonstrations: 22nd April 2001
Acceptance will be notified on or around 21st May 2001
PDF copy for the proceedings by 10th June 2002
- -------------------------------------------------------------
ALTERNATIVE SUBMISSION PROCEDURE
================================
Authors and artists who have difficulty in making their submission in the
appropriate form (as outlined above) should contact:
Frank Nack
CWI - INS2
Kruislaan 413
P.O. Box 94079,
NL-1090 GB Amsterdam
Email: [email protected]
Phone: +31 20 592 4223
Fax: +31 20 592 4312
ORGANISING COMMITTEE
====================
Elisabeth Andre - University of Augsburg (Germany)
Andy Clarke - Kinonet (UK)
Clive Fencott - University of Teeside (UK)
Craig Lindley - Interactive Institute (Sweden)
Grethe Mitchell - University of East London and Kinonet (UK)
Frank Nack - CWI (Netherlands)
PROGRAMME COMMITTEE
===================
Elisabeth Andre - University of Augsburg (Germany)
Wilton Azevedo - Mackenzie Presbyterian University, S�o Paulo, (Brazil)
Paul Brna - Leeds University (UK)
Kevin Brooks - Motorola Human Interface Labs (USA)
Andrew Clarke - Kinonet (UK)
Clive Fencott - University of Teeside (UK)
Mathias Fuchs - Sibelius Academy, Helsinki (Finland)
Werner Kriechbaum - IBM (Germany)
James Lester - North Carolina University (USA)
Craig Lindley - Interactive Institute (Sweden)
Grethe Mitchell - University of East London and Kinonet (UK)
Frank Nack - CWI (Netherlands)
Mirko Petric -University of Split (Croatia)
Paolo Petta - OFAI (Austria)
Doug Rosenberg - University of Wisconsin-Madison (USA)
Ola Stockfelt - University of Goteborg/University of Skovde (Sweden)
Robert Wechsler - Palindrome Inter-media Performance Group (Germany)
ARTWORK COMMITTEE
=================
Jorge Luiz Antonio - Pontifical Catholic University of Sao Paulo (Brazil)
Andrew Clarke - Kinonet (UK)
Silvia Eckermann - Digital Artist (Austria)
Fatima Lasay - University of the Philippines (Philippines)
Luca Marchetti - Anomos (France)
Grethe Mitchell - University of East London and Kinonet (UK)
Timothy Portlock - University of Illinois (USA)
Emma Posey - Bloc (UK)
David Rokeby - Digital Artist (Canada)
Doug Rosenberg - University of Wisconsin-Madison (USA)
************************************************
- ----------
end of cfp
------------------------------
Date: Tue, 26 Mar 2002 14:52:50 +0100
From: "=?iso-8859-1?B?S+Fyb2x5IFTzdGg=?=" <[email protected]>
Subject: FROM YOUR Z.G.C.P.S.J.F.F. - 26 march 2002 Rotterdam
FROM YOUR Z.G.C.P.S.J.F.F. - 26 march 2002
__________________________________________________
dear list,
zero g artlab has put 2 byproducts of its A.R.E. project in the public
domain 2 use/abuse
(a.r.e. = aura reverse-engineering)
cls (classico) 5:41 (http://www.xs4all.nl/~are/_mp3/Karoly_Toth_CLS.mp3)
human error 9:32
(http://www.xs4all.nl/~are/_mp3/Karoly_Toth_H_Error.mp3)
enjoy
yours k'roy
__________________________________________________
ZERO G CROSSPOST SERVICE JUST FOR FUN
__________________________________________________
zero g artlab & cultural engineering rotterdam
contact: K�roly T�th
[email protected]
www.xs4all.nl/~are
__________________________________________________
zero g artlab rotterdam is an independent art-lab.
The lab is in an evolving process of exchage
with initiatives of individuals and institutions,
based on mutual sympathy.
__________________________________________________
------------------------------
Date: Tue, 26 Mar 2002 06:14:04 -0800
From: Natalie Bookchin <[email protected]>
Subject: April Fools day play-testing party in NY!
In anticipation of the May Day Launch of Metapet,
join us for a special sneak preview
and influence the future of the World's First Transgenic Virtual Pet Game!
at the BETA Play-Testing party
Monday, April Fools Day, 6-9 pm
at Remote Lounge
327 Bowery above 2nd Street, NYC
RSVP 212-206-6674 x 250 (Creative Time)
FREE squeezable stress bones and other SPECIAL incentives for the
best play testers!
- -------------------------------------------------------
Metapet Version 1.0
will be launched on May Day 2002
- -------------------------------------------------------
Metapet is a project by Natalie Bookchin
with Jin Lee
Cathy Davies and Mark Allan
and Action Tank
presented by
Creative Time (www. creativetime.org)
in association with Hamaca (www.hamaca.org)
- -------------------------------------------------------
Action Tank is an independent mobile network that deploys high
leverage technology as ammunition against the current state of
affairs. Action Tank was formed in 2000 by Jin Lee and
Natalie Bookchin. As an open collaborative unit, Action Tank
currently includes Natalie Bookchin, Jin Lee, Cathy Davies,
Mark Allen, Jerry Hamby and Lem Jay Ignacio.
- -------------------------------------------------------
Turn off your cell phones, hold on tight to your palm pilots and
enjoy the ride!
This is not merely a training manual. This is the real thing.
Metapet will be launched on May Day 2002.
- ---------------------------------------------------------
For more info:
[email protected]
[email protected]
play the future
------------------------------
Date: Wed, 27 Mar 2002 10:08:28 +0100
From: MiDiHy <[email protected]>
Subject: media/politics/entertainment: THIS TIME FOR REAL
THIS TIME FOR REAL
- ----------------------------------------------
a MiDiHy project at the Forum Stadtpark, Graz
Every social act would seem to begin with a dialogue with technology - more
and more we are staking out the horizons of our everyday experiences with
the aid of media applications. In THIS TIME FOR REAL MiDiHy once again sets
out to explore how media, art and everyday cultures intersect and influence
each other. At the points of interface between these discourses there
emerges a topography of a wide variety of cultural milieus and subcultures
with their own conventions and rules, who also take recourse to media in
their own specific ways, being present in them or being represented by
them. Contemporary artistic practices are involved in the emergence of such
milieus and subcultures and thus in the processes of constant re-formation
of cultural interconnections.
THIS TIME FOR REAL presents artists, producers, activists, groups and
initiatives who access media channels from different angles, using them as
a space for production and distribution and thus helping to define that
hybrid environment that would seem to play an increasingly important role
in determining our everyday culture and within whose framework ideas of
art, media and politics are constantly changing.
THU, APRIL 4, 2002, 10:15 pm
>> VinylVideo(tm) In The Mix
MARTIN DIAMANT, GEBHARD SENGMUELLER
at the turntables, mixing a live composition of 2 record players, 2
VinylVideoTMs, home kits and 23 VinylVideoT picture discs.
www.vinylvideo.com
THU, APRIL 11, 2002, 10:15 pm
>> void.02
AUDIO-VISUAL LIVEACT
VOID.snd (Stefan Nemeth, John Norman)
Void.pct (Annja Krautgasser, Maia Gusberti, Nick Th�nen, Dariusz Krzeczek,
Norbert Pfaffenbichler) (A)
www.vidok.org/void
www.re-p.org/void
www.radian.at/void
FORUM STADTPARK GRAZ
>>VINYLVIDEO(tm) IN THE MIX
- -------------------------------------------------------------------
VinylVideo(tm) is a new, wonderous and fascinating development in the
history of audio-visual media. For the first time in in the history of
technological invention, VinylVideo(tm) makes possible the storage of
visual footage on analog long-play records. Playback from the
VinylVideo(tm) Picture Disk is made possible with the VinylVideo(tm) Unit
which consists of a turntable, a special conversion box (the VinylVideo(tm)
Home Kit) and a television set. In it's combination of analog and digital
elements VinylVideo(tm) is a relic of fake media archeology. At the same
time, VinylVideo(tm) is a vision of new live video mixing possibilities. By
simply placing the tone arm at different points on the record,
VinylVideo(tm) makes possible a random access manipulation of the time
axis. With the extremely reduced picture and sound quality, a new mode of
audio-visual perception evolves. In this way, VinylVideoTM reconstructs a
homemovie medium as a missing link in the hstory of recorded moving images
while simultaneously encompassing contemporary forms of DJ-inf and VJ-ing.
VinylVideoTM is an ongoing collaborative project. Itnernational artists are
invited to produce works for the VinylVideoTM record edition, engaging and
reflecting on the specific qualities of the new medium. So far 23
VinylVideo records have been produced by, among others, Elke Krystufek,
Heimo Zobernig, Annika Eriksson, Vuk Cosic/Alexej Shulgin, JODI, Olia
Lialina, Kristin Lucas und Cecile Babiole.
VinylVideoTM - an invention by Gebhard Sengm�ller, in cooperation with
Martin Diamant, G�nter Erhart and Best Before.
>>VOID.02
- -------------------------------
In a series of experimental real-time settings, members of the design
collectives "vidok" and "re-p.org" project abstract, reduced graphical
animations into minimalist sound compositions by John Norman (bass) and
Stefan N�meth (computer, synth). Within a given overall structure, the
actors interact and improvise with each other and with their computers. The
main priority is not only the precision of technical implementation but
rather to develop and establish an autonomous, unmistakable language of
forms. Pinpoint interventions into the respective venues additionally lend
the live acts the look and feel of installations.
THIS TIME FOR REAL is to be continued in Mai and June.
Next venues:
Wed, May 22, 2002, 10:15 pm: ./logicaland by re-p/m.ash (A)
Thu, May 30, 2002, 10:15 pm: wissen was einem blueht by sabotage
communications (A)
------------------------------
Date: Wed, 27 Mar 2002 14:26:03 +0200
From: "ALAS" <[email protected]>
Subject: AGORA 2002 POSTER SESSIONS message 3
forwarded by ALAS-Athens Digital Culture Organization
and ''e-phos'' festival www.filmart.gr
Please distribute this call widely to any indivisuals and organisations that
it would be of interest to.
Apologies for cross posting.
- -----------------------------------------------------------
* Poster Sessions
* -----------------
*
* AGORA 2002
*
* The Annual Regional Mediterranean Summit on
*
* NEW TECHNOLOGIES IN MEDIA LITERACY
*
* Athens, Greece 15-18 June
*
* opportunities for investements and synergies
* contact [email protected]
* Preliminary program at http://www.3rd-ws.org/agora2002/
*
- ------------------------------------------------------------
�GORA 2002 invites submissions in the category of POSTER SESSIONS
POSTER SESSIONS will be held in the afternoon of June the 18th, the last day
of the AGORA 2002 event.
There will be an opportunity for researchers to present new work and ideas,
as well as, new ideas that are not yet ready for full presentation.
Demonstrations of relevant leading-edge work and work in progress are also
invited. Short papers will be presented in poster format and will be
included in both the hardcopy (a single A4) and electronic proceedings.
Papers are invited on any subject that explores areas of overlap between
media literacy, digital technologies and ICT.
All proposals must be sumbitted electronically (2 to 4 pages of A4 size, in
either Microsoft Word, or PDF format) to Yiannis Skourogiannis at the
following address [email protected]
Those wishing to submit supporting material, such as videotapes, should
contact Yiannis Skourogiannis to make arrangements for this.
- ----------------------------------------------------------------------
Sumbission date: 30th April 2002
Acceptance will be notified on or around 10th May 2002
- ----------------------------------------------------------------------
Accepted paper authors are not eligible to AGORA 2002 registration fees.
AGORA 2002 does not cover travelling and accomodation expenses.
Authors, researchers and artists who have difficulty in making their
submission in the above- mentioned form please contact:
Yiannis Skourogiannis
57 Archimious
GR-11636 Athens
tel:003010-7520065
fax:003010-7520064
[email protected]
------------------------------
Date: Wed, 27 Mar 2002 13:48:42 +0000
From: "maria moura" <[email protected]>
Subject: =?iso-8859-1?B?VGhlIDI1VEggQklFTkFMIERFIFPDTyBQQVVMTw==?=
The 25TH BIENAL DE S�O PAULO is launching the netart ARTEMUNDO;BODY;PATHOS.
http://www.satmundi.com
_________________________________________________________________
Converse com amigos on-line, experimente o MSN Messenger:
http://messenger.msn.com.br
------------------------------
Date: Wed, 20 Mar 2002 12:53:57 +0200
From: "[email protected]" <[email protected]>
Subject: zizek seminar rotterdam
Announcement
>From the 10-12 June 2002 the Faculty of Philosophy of the Erasmus
University Rotterdam organizes the 3rd Erasmus Summer Seminar Social
Ontology (ESSSO)
Globalization � and Beyond
>From Social Ontology to the Political
special guest: Slavoj Zizek (University of Ljubljana/Princeton)
Other guests
Rosi Braidotti (University of Utrecht), Marc de Kesel (Jan van Eyck
Academy/ Arteveld Academy Gent), Paul Patton (University of New South
Wales), Robert Pfaller (University of Linz), Hugh Silverman (State
University New York, Stony Brook), Erik Vogt (University of Vienna), Theo
de Wit (Catholic University Nijmegen).
Participating Staffmembers
Jos de Mul, Andr� Nusselder, Gijs van Oenen, Henk Oosterling, Awee Prins,
Heleen Pott,Jack Vromen, Theo van Willigenburg.
For more information, please, visit: www.eur.nl/fw/essso
Or email to: [email protected]
------------------------------
Date: Thu, 21 Mar 2002 10:04:38 +0100
From: Rudolf Frieling <[email protected]>
Subject: announcement
The 25th S�o Paulo Bienal presents an international section on net art
curated by Rudolf Frieling from the Center for Art and Media (ZKM).
http://webpointsao3.terra.com.br/bienal/index.html
March 23 to June 2
For the international section of the 25th S�o Paulo Bienal, 11 Internet
based projects have been selected in relation to this year's overall
topic "iconography of the metropolis". Far from simply exemplifying this
topic literally by referring mainly to the notion of an "icon", the
selection reflects currents and trends that permeate urbanity in all its
manifestations, attitudes that often take the form of open and temporary
networks, communities, collaborations and fields of action. What
artists working with the Internet are specifically interested in, can be
coined "new dynamic tools" for engaging in the city and the society. The
projects assembled are an indication of the range of works situated in
the net including the urge to visualize different stories embedded in
the open dynamics of our contemporary society. The projects selected
help to envision the complexity and the diversity of urban environments
while they develop as well as question the need for participatory strategies.
Rudolf Frieling
Projects by Heath Bunting & Olia Lialina; calc & Johannes Gees; Carol
Flax & Trebor Scholz; gruppo A12 & Udo Noll & Peter Scupelli; Marina
Grzinic & Aina Smid; Kristin Lucas; Francesca da Rimini; STANZA; Shi
Yong; Jody Zellen; in addition the Bienal commissioned a net project by
Roberto Cabot.
This international section is accompanied by a selection of Brazilian
projects, curated by Christine Mello (Schoool of Comunication and Art,
University of S�o Paulo) and, for the most part, commissioned for the
25th Bienal.
- --
Rudolf Frieling
Zentrum f�r Kunst und Medientechnologie
Lorenzstr. 19
D 76135 Karlsruhe
------------------------------
Date: Sun, 24 Mar 2002 14:37:23 +0200
From: Olga Goriunova <[email protected]>
Subject: read_me: moscow invites
read_me 1.2
artistic software / artistic software games
http://www.macros-center.ru/read_me/
++++++++++++++++++++++++++++++++++++++++++++++++
read_me 1.2 will be held 18-19 of May in Moscow, Russia
read_me 1.2 program will include
- - presentations by read_me nominees
- - lectures, performances and shows
- - parties
- - workshops
- - discussions
- - awards ceremony
and many other things!
detailed program will follow soon.
if you would like to visit read_me 1.2 Macros-center collective will
be glad to help you with papers needed for getting funding or visas.
please, mail your requests to Katerina Lazareva [email protected]
++++++++++++++++++++++++++++++++++++++++++++++++
read_me 1.2 explores the meanings of "program," "programming," "media
space," and other poorly understood concepts. What are new media art strategies?
What does Open Source do? Work gets made: how?
There are more than seventy works submitted, from Australia, Hungary, Austria, Latvia,
France, Slovakia, the U.K., Slovenia, Germany, Italy, Switzerland, Holland, Poland,
Russia, Yugoslavia, the U.S., and elsewhere.
All works are available at http://www.macros-center.ru/read_me
read_me nominees are: Carnivore by RSG, DeskSwap by Mark Daggett,
Portret of President by Vlad, Re (ad.htm by mez breeze, Screen Saver
by Eldar Karhalev / Ivan Khimin, Textension by Joshua Nimoy,
TraceNoizer by LAN, Win Gluck Builder by CooLer.
organizer: Macros-Center, Petrovka, 28/2
tel. 7-(095) 200 1808, fax 7-(095) 921 9291, http://www.macros-center.ru
location: DOM Cultural Center, B.Ovchinnikovski per. 24 / 4
tel. 7-(095) 953 7236, 953 7242, http://www.dom.com.ru
------------------------------
Date: Sun, 24 Mar 2002 17:26:39 -0500
From: Ana Viseu <[email protected]>
Subject: Privacy Lecture Series - Stephanie Perrin, April 16, 2002
[Hello, I would like to invite you to Stephanie Perrin's presentation on
April 16th, as part of the Privacy Lecture Series. In this lecture
Stephanie Perrin will give a first hand account of her work as a Chief
Privacy Officer (CPO) in a commercial company, Montreal's Zero-Knowledge.
Before joining the private sector, Stephanie was long active in the
development of public policy. She is credited for much of the work behind
Bill C-6, "The Personal Information Protection and Electronics Document
Act" (Privacy Act.) Read the abstract below for a summary of this lecture.
Stephanie Perrin's presentation will conclude the Privacy Lecture Series
which has been running since the Fall of 2000 . You can find an archive of
the Series at <http://privacy.openflows.org/archive.html>. Hope to see you
on April 16th. Ana Viseu]
- ------------------
PRIVACY LECTURE SERIES
<http://privacy.openflows.org>
PRACTICAL PROBLEMS IN PRIVACY WORK:
FROM THE SUBLIME TO THE RIDICULOUS
Stephanie Perrin
Chief Privacy Officer
Zero-Knowledge Systems, Inc.
Tuesday, April 16, 2002
6pm-7,30:00PM
140 St. George, Room 728
Faculty of Information Studies (building adjacent to Robarts Library)
University of Toronto
The lectures are free of charge and you do NOT have to register.
Abstract
This lecture will bridge the sphere of privacy advocacy and its practical
implementation in a networked, global and corporate world. Stephanie
Perrin, Chief Privacy Officer of Zero-Knowledge Systems, will discuss the
fundamental threat to privacy in a world that has said �yes� to
surveillance. She will then provide the audience with a first hand account
of the pragmatics of being a CPO, and will discuss some of the problems
CPOs face daily. Stephanie will finalize by describing her work on
international standards, and the common privacy problems that are being
felt worldwide.
Bio
Formerly the Director of Privacy Policy for Industry Canada's Electronic
Commerce Task Force, Stephanie Perrin manages Zero-Knowledge's public
affairs activities and acts as the company's primary liaison to government
and non-governmental organizations.
An internationally recognized expert in freedom of information and privacy
issues, Stephanie was instrumental in developing Canada's privacy and
cryptography policies for over fifteen years. For the past five years she
led the legislative initiative at Industry Canada that resulted in the
Personal Information Protection and Electronic Documents Act, the
electronic commerce privacy legislation that received Royal Assent on April
13, 2000. She represented Canada internationally at the OECD Security and
Privacy Committee and was responsible for developing domestic privacy
policies in the context of new technologies, legislation, standards and
public education.
To sign-up for the Privacy Lecture Series announcement email list please go
to: <http://privacy.openflows.org/>
The Privacy Lecture Series is organized by Ana Viseu, a researcher
currently working at the University of Toronto on her Ph.D. dissertation
which focuses on the development and implementation of wearable computers.
Her research interests include questions of privacy, social dimensions of
technology, and the mutual adaptation processes between individuals and
technology. Ana holds a Master's Degree in Interactive Communication from
the Universidad Autonoma de Barcelona, Spain.
<http://fcis.oise.utoronto.ca/~aviseu>
The Privacy Lecture Series is co-sponsored by the Knowledge Media Design
Institute (KMDI) <http://www.kmdi.utoronto.ca/> and the Information Policy
Research Program (IPRP) <http://www.fis.utoronto.ca/research/iprp/>.
For more info contact Ana Viseu <[email protected]>
[ - - - - - - - - - - - - - - - - - ]
Tudo vale a pena se a alma n�o � pequena.
http://fcis.oise.utoronto.ca/~aviseu
http://privacy.openflows.org
[ - - - - - - - - - - - - - - - - - ]
------------------------------
Date: Mon, 25 Mar 2002 08:27:53
From: "Lucia Le�o" <[email protected]>
Subject: 25 Sao Paulo Biennial -- Net Art
25 Sao Paulo Biennial -- Net Art
http://bienalsaopaulo.terra.com.br/
INTERNACIONAL
Curador: Rudolf Frieling
Artistas:
1) Bunting & Lialina (Inglaterra, R�ssia)
http://www.teleportacia.org/swap
2) Carol Flax & Trebor Scholz (USA)
http://www.arts.arizona.edu/cflax
3) CALC & Johannes Gees (Espanha, Sui�a)
http://www.communimage.ch
4) Francesca da Rimini (It�lia)
http://www.thing.net/~dollyoko/title.htm
5) Gruppo A12, Udo Noll & Peter Scupelli (Alemanha,
It�lia, USA)
http://parole.aporee.org//work/
6) Jody Zellen (USA)
http://www.ghostcity.com
7) Kristin Lucas (USA)
http://www.diacenter.org/lucas/
8) Marina Grzinic & Aina Smid (Eslov�nia)
http://www.ljudmila.org/quantum.east
9) Shi Yong (China)
http://www.shanghart.com/artists/shiyong/syw/index.htm
10) Stanza (Inglaterra)
http://www.thecentralcity.co.uk/
11) Roberto Cabot (Fran�a/Brasil/Alemanha)
www.mediamorphose.org
BRASIL
Curadora: Cristine Mello
artistas:
1) Kiko Goifman & Jurandir Muller
www.paleotv.com.br/cronofagia
2) Lucia Le�o
www.lucialeao.pro.br/pluralmaps
3) Lucas Bambozzi
www.comum.com/diphusa/meta
4) Diana Domingues e Grupo Artecno/Universidade Caxias
do Sul
http://artecno.ucs.br/ouroboros
5) Gilbertto Prado
http://www.itaucultural.org.br/desertesejo
6) Giselle Beiguelman
http://www.desvirtual.com/nike
7) Artur Matuck
www.teksto.com.br
8) Enrica Bernardelli
www.paralelosclandestinos.net
9) Ricardo Barreto
http://www.satmundi.com
------------------------------
Date: Mon, 25 Mar 2002 18:07:52 -0500
From: Robert Atkins <[email protected]>
Subject: Lecture
The Artworld, Community and Activism: A Meditation Inspired by the Events of
September 11th
A lecture by Robert Atkins, art critic and author, online producer and
activist.
George Mason University, Johnson Center Cinema, Fairfax, Virginia, April 1,
2002, 1:30 p.m.
Modern art emerged two centuries ago from social crisis and this activist
impulse lives on in recent public art by artists and organizations such as
Joseph Beuys, Group Material, Gran Fury and Visual AIDS. In an age of
sensationalistic mass media and the theme-parking of museums, can the
artworld promote the emergence of independent and critical voices? Is there
a tradition of community-based and political art in the U.S.? Is the
internet the last, best hope for artists pursuing social change? As with the
numbing, post-Sept 11th rhetoric about "patriotism," "sacrifice," and
"change," are the appropriate issues even being addressed? In his
illustrated lecture, Mr. Atkins will raise such questions -- and even
provide a few answers.
Robert Atkins, a New York-based art historian, is the initiator of 911�THE
SEPTEMBER 11 PROJECT: Cultural Intervention in Civic Society
(http://rhizome.org/911) and a founder of Visual AIDS, the group that
originated Day Without Art and the Red Ribbon. He has taught at various
universities and art schools; most recently at the Rhode Island School of
Design. The author of books including ArtSpeak: A Guide to Contempory
Ideas, Movements and Buzzwords and a former columnist for The Village Voice,
he has received awards for art criticism from the NEA, Manufacturers Hanover
Bank, and the Penny McCall Foundation. A research fellow at Carnegie
Mellon's Studio for Creative Inquiry, he is media arts editor of The Media
Channel (www.mediachannel.org) and editor in chief of Artery: The AIDS-Arts
Forum (www.artistswithaids.org/artery). He is currently working on an
anthology of his work called Eye/I Witness: Art Writing as Activism,
Criticism and Reportage.
------------------------------
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