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Table of Contents:
(((NOMUSIC))) Open Call to Stream Players V
<[email protected]>
NET.ART-CONNEXION (NET/ART/DATABASE) Announcement/Definition /Manifesto
"BlueScreen" <[email protected]>
New Book
Charlie Gere <[email protected]>
[Psrf] Photostatic Retrograde Archive, no. 36 prime
Lloyd Dunn <[email protected]>
WEBART
"Melinda Rackham" <[email protected]>
Keter
doron <[email protected]>
[fwd] Especial sobre Ciberfeminismo/Cyberfeminism special issue
carolyn guertin <[email protected]>
life_sharing: 2 years of data nudism
[email protected]
REALTOKYO MM Vol. 113
Andreas <[email protected]>
VIRTUAL ART - From Illusion to Immersion
[email protected]
NPO/NGO Media & Technology Calendar
Art McGee <[email protected]>
BeeHive 5:2 now online!
"Talan Memmott" <[email protected]>
bzzzpeek >>> one world..
"<<< F L @ 3 3 >>>" <[email protected]>
book announcement--Hayles
David Weininger <[email protected]>
------------------------------
Date: Wed, 15 Jan 2003 00:23:29 +0100 (CET)
From: <[email protected]>
Subject: (((NOMUSIC))) Open Call to Stream Players V
( ( ( N O M U S I C ) ) ) TOURNAMENT V
* Open Call to Audio Stream Players *
www.nomusic.org
- -< Audio live only via Network - No archiv - Free pass >-
- -< 24h Continuous Trans Audio Distant Travel >-
- -< Connection only on http://www.nomusic.org >-
- -< Stream Audio Live MP3 / Low & High >-
Stream start : 15th April 2003 (19h00 / 07:00pm)
Stream end : 16th April 2003 (19h00 / 07:00pm)
[GMT+01:00 - CET - French Time Basis]
[Audio device on or using Network encouraged]
[Stream Real/Shoutcast/Ogg/Peercast accepted]
[56K Min...; Min.Stream capacities needed]
Join now the next World Audio Battle...
[Submit Form :]
[http://www.nomusic.org > Join]
[Deadline : 23/03/2003]
( ( ( N O M U S I C ) ) )
[email protected]
------------------------------
Date: Thu, 16 Jan 2003 12:06:05 +0100
From: "BlueScreen" <[email protected]>
Subject: NET.ART-CONNEXION (NET/ART/DATABASE) Announcement/Definition /Manifesto
//-------------------------------------------
//(FREE) NET ART DATABASE : NET.ART-CONNEXION
//(FREE) NET ART DATABASE : NET.ART-CONNEXION
//(FREE) NET ART DATABASE : NET.ART-CONNEXION
//(FREE) NET ART DATABASE : NET.ART-CONNEXION
//(FREE) NET ART DATABASE : NET.ART-CONNEXION
//-------------------------------------------
//-------------------------------------------
//Define:
//-------------------------------------------
$Name = "Net.Art Connexion";
$URL[0] = "http://netartconnexion.net";;
$URL[1] = "http://www.netartconnexion.net";;
$Type = "DATABASE";
$Content = "Net.Art Links";
$Access = "FREE";
$Opening = new.Date(15/01/2003);
$AccessMode = new Array();
$AccessMode[0] = "IndexByArtWorks";
$AccessMode[1] = "IndexByArtists";
$AccessMode[2] = "RandomAccess";
$AccessMode[3] = "SearchSystem";
$AccessMode[4] = "Comming Soon...";
$AccessMode[5] = "Comming Soon...";
$AccessMode[6] = "Comming Soon...";
//...
//-------------------------------------------
//-------------------------------------------
//Disclaim:
//-------------------------------------------
//ANY RESEMBLANCE TO AN EXISTING DATABASE IS
//PURELY COINCIDENTAL!
//TOUTE RESSEMBLANCE AVEC UNE BASE DE DONNEE
//EXISTANTE OU AYANT EXISTEE NE SERAIT QUE
//PURE COINCIDENCE!
//-------------------------------------------
//-------------------------------------------
//Manifesto: (V1 - 15/01/2003)
//-------------------------------------------
//-->[01]-------------------|:
NetArtWork = "specificArtObject";
NetArtWork = "specificArtObject";
NetArtWork = "specificArtObject";
if
(NetArtWork == "specificArtObject")||
(NetArtWork != "conventionnalArtObject")
{
NetArtWork.approach.reload();
}
//-->[02]-------------------|:
NetArtWork.location = "individualArtisticSpaces";
NetArtWork.location = "individualArtisticSpaces";
NetArtWork.location = "individualArtisticSpaces";
if(NetArtWork.location == "individualArtisticSpaces")
{
NetArtWork.location != "VirtualMuseums";
copy(NetArtWork)to(VirtualMuseums) = FALSE;
linkTo(NetArtWork) = TRUE;
}
//-->[03]-------------------|:
NetArtWork.access = "FREE";
NetArtWork.access = "FREE";
NetArtWork.access = "FREE";
if(NetArtWork.access != "FREE")
{
copy(NetArtLinks)to(FreeSpace);
}
//-->[04]-------------------|:
NetArtWork.context = inside(NetArtWork);
NetArtWork.context = inside(NetArtWork);
NetArtWork.context = inside(NetArtWork);
addContextTo(NetArtWork) = FALSE;
//-------------------------------------------
------------------------------
Date: Fri, 17 Jan 2003 12:31:48 +0000
From: Charlie Gere <[email protected]>
Subject: New Book
I don't know how acceptable plugging your own book is, but this might be
of interest to somebody on your list
DIGITAL CULTURE by CHARLIE GERE
During the last twenty years, digital technology has begun to touch on
almost every aspect of our lives. Nowadays most forms of mass media,
television, recorded music and film are produced and even distributed
digitally; and these media are beginning to converge with digital forms,
such as the internet, the World Wide Web, and video games, to produce a
seamless digital mediascape. At work we are surrounded by technology,
whether in offices or in supermarkets and factories, where almost every
aspect of planning, design, marketing, production and distribution is
monitored or controlled digitally.
In Digital Culture Charlie Gere articulates the degree to which our
everyday lives are becoming dominated by digital technology, whether in
terms of leisure, work or bureaucracy. This dominance is reflected in
other areas, including the worlds of finance, technology, scientific
research, media and telecommunications. Out of this situation a
particular set of cultural responses has emerged, for example, in art,
music, design, film, literature and elsewhere.
This book offers a new perspective on digital culture by examining its
development, and reveals that, despite appearances, it is neither
radically new, nor ultimately technologically driven. The author traces
its roots to the late 18th century, and shows how it sprang from a
number of impulses, including the information needs of industrial
capitalism and contemporary warfare, avant-garde artistic practice,
counter-cultural experimentation, radical philosophy and sub-cultural
style. It is these conditions that produced both digital technology and
digital culture, and which have determined how they develop.
Charlie Gere <http://www.bbk.ac.uk/hafvm/staff_research/cgere.html>
([email protected]) is Lecturer in Digital Art History in the School of
History of Art, Film and Visual Media <http://www.bbk.ac.uk/hafvm/> at
Birkbeck College, University of London.
Book available from bookshops and from
http://www.amazon.co.uk/exec/obidos/ASIN/1861891431/qid%3D1042805424/202-3239117-9460646
http://www.reaktionbooks.co.uk/titles/non_digital.html
------------------------------
Date: Mon, 20 Jan 2003 20:00:45 +0100
From: Lloyd Dunn <[email protected]>
Subject: [Psrf] Photostatic Retrograde Archive, no. 36 prime
# If you no longer wish to recieve e-mail announcements from the
# Photostatic Retrograde Archive, simply let us know and we will remove
# your name from the mailing list.
# - - - - - - - - - - - - - - -
now available for download, retrograde release no. 15, february 2003:
PhonoStatic 10 Cassette
description: http://psrf.detritus.net/vi/k10/index.html
(direct download of 26 ogg vorbis file available on above link)
This issue comprises one of a regular series of audio cassettes with
the similar name PhonoStatic, forming an integral, though sidestream,
component of the PhotoStatic project.
Description. "Audio Collage." The current issue, as the booklet notes
point out, is a bit of a departure from the previous releases in the
series (which you've yet to hear!) in that silent pauses between the
tracks are not used as a convention to separate the work of one
artist from the next. The editor chose instead to undertake an
"editorial improvisation" with the source material at hand, and make
from it an audio collage, as the title of the tape indicates. Audio
Collage features works by previous PhonoStatic contributors,
including Tim Risher; the then-fledgling Tape-beatles; the prolific,
and decidedly low-tech, X.Y. Zedd (a.k.a. Scott Paul Elledge);
saxophreak Barry Edgar Pilcher (excerpts from his long-form "Mail Art
Love Express" appearing dispersed throughout), and the mysterious
9digit Zip. Visual and verbal artist contributors, doubling here as
audio artist contributors, include Wisconsin's Floating Concrete
Orchestra (Miekal And, Liz Was, and others), John Kennedy a.k.a.
Berndt, word artist Jake Berry, and the Scraptacular Chris Winkler.
Significant contributions are also made by the Mystery Tape
Laboratories of Toronto, the Bordelais group Ensemble Vide, the
Post-Void Radio Theatre from Minneapolis, and others, creating an
international line up of audio artists working in extremely varied
ways. Nonetheless, the collection forms a very listenable and
cohesive whole.
Contributors include. Barry Edgar Pilcher, G. X. Jupitter-Larsen, Son
of Spam, Paragate, Bill Shores, X Y Zedd, John Kennedy, Mechanical
Sterility, The Tape-beatles, Mystery Laboratories, Jos� Vanden
Broucke, L'Abb� Martine Arbiste, Chris Winkler, Floating Concrete
Orchestra, The Post-Void Radio Theater, Bill McMahon, 9digit Zip,
Ensemble Vide, Jake Berry.
Project Overview: The Photostatic Retrograde Archive serves as an
electronic repository for a complete collection of PhotoStatic
Magazine, PhonoStatic Cassettes, Retrofuturism, and Psrf, (as well as
related titles). Issues are posted as PDF files, at more or less
regular intervals, in reverse chronological order to form a
chronological mirror image of the original series. When the first
issue, dating from 1983, is finally posted in several year's time,
then this electronic archive will be complete.
issue directory: http://psrf.detritus.net/issues.html
project URL: http://psrf.detritus.net/
- --
# Photostatic Magazine Retrograde Archive : http://psrf.detritus.net/
# - - - - - - - - - - - - - - -
# E-mail | [email protected]
- --
# Lloyd Dunn : [email protected]
# The Tape-beatles and Public Works Productions : http://pwp.detritus.net/
# Photostatic Magazine Retrograde Archive : http://psrf.detritus.net/
# - - - - - - - - - - -
# Address | c/o Heckovi, Veltrusk� 531/9, Prosek, 19000 Praha-9, CZ
------------------------------
Date: Tue, 21 Jan 2003 13:15:36 +1100
From: "Melinda Rackham" <[email protected]>
Subject: WEBART
You can see online the WEBARTSHORTCUTS:
http://www.cyberpoiesis.net/shortcuts/
interviews with net artists, theorists and producers.
the online version in both german and english of the book:
Webfictions. Zerstreute Anwesenheiten in elektronischen Netzen. (Dispersed
Presences in Electronic Networks)
Manfred Fa�ler, Ursula Hentschl�ger, Zelko Wiener,
Springer: Vienna / New York 2002. 230 pages, 94 illustrations, � 35 (A),
ISBN 3-211-83828-7
------------------------------
Date: Mon, 20 Jan 2003 22:46:04 -0500
From: doron <[email protected]>
Subject: Keter
.
http://66.240.178.143/Keter/
please allow about a minute download time
doron
- --------------------------------------------------------------
suggested: DSL, quicktime5+, 1024*768, Explorer 5+, Netscape 6+
- --------------------------------------------------------------
------------------------------
Date: Wed, 22 Jan 2003 09:24:00 -0700
From: carolyn guertin <[email protected]>
Subject: [fwd] Especial sobre Ciberfeminismo/Cyberfeminism special issue
>From: Cindy Gabriela Flores <[email protected]>
>Mime-version: 1.0
>Subject: Especial sobre Ciberfeminismo/Cyberfeminism special issue
>
> ESPA�OL/ENGLISH
>
>
>
>Hola, l@s invito a darse una vuelta por el especial sobre Arte y
>Ciberfeminismo de ArtWomen.org, que coordina Mary Jo Aagerstoun, en el que
>colabor� con un art�culo desde la perspectiva en Latinoam�rica. Tambi�n
>encontrarn interesantes textos de Carolyn Guertin, Mar�a Fern�ndez y
>subRosa.
>
>
>
><http://www.artwomen.org/cyberfems/index.htm>
>
>
>
>Saludos cordiales.
>
>__________________________________________
>
>
>
>Hi every body, I'm inviting you to visit the Cyberfeminism special issue
>by ArtWomen.org, coordinated by Mary Jo Aagerstoun, where I collaborate
>with an article from the Latinamerica perspective. You will find also
>interesting texts from Carolyn Guertin, Mar�a Fern�ndez and subRosa.
>
>
>
><http://www.artwomen.org/cyberfems/index.htm>
>
>
>
>Greetings.
>
>
>
>
>
>CINDY GABRIELA FLORES
>
>Ciberfeminista
>
><http://ciberfeminista.org>
>
><http://groups.yahoo.com/group/ciberfeminista>
>
>Distrito Feministas, Tel�polis
>
><http://www.telepolis.com/cgi-bin/web/DISTRITOSEC?distrito=1378>
>
>Elige, Red de J�venes por los Derechos Sexuales y Reproductivos, A.C
>
><http://elige.org.mx>
>
___________________________________________________
Carolyn Guertin, Dept of English, University of Alberta
3-5 Humanities Centre, Edmonton AB T6G 2E5 CANADA
E-Mail: [email protected]; Voice: 780-438-3125
Website: http://www.ualberta.ca/~cguertin/
Assemblage, The Online Women's New Media Gallery, at trAce:
http://trace.ntu.ac.uk/traced/guertin/assemblage.htm
------------------------------
Date: Wed, 22 Jan 2003 22:09:29 +0100
From: [email protected]
Subject: life_sharing: 2 years of data nudism
life_sharing: 2 years of data nudism
life_sharing is a real time sharing system based on Linux. Since January
2001 0100101110101101.ORG's computer has been turned into a transparent
webserver. Any user has free and unlimited access to all contents:
texts, images, software, private mail; get lost in this huge data maze.
life_sharing is a brand new concept of net architecture turning a
website into a hardcore personal media for complete digital
transparency. "The only place I know where you can wander through
someone else's computer... legally, that is..." (Dedmaus.com). Over the
last 365 days life_sharing generated 3,721,541 visit requests from
100,669 unique visitors. 52,681.21 Megabytes of data have been
downloaded. "life_sharing is abstract pornography" (Hito Steyerl).
Permanent infotainment from the peer to peer generation.
Privacy is stupid.
###
" HTTP://0100101110101101.ORG : A band of Web pirates whose past
projects have included staging a hoax involving a made-up artist,
ripping off the Pope, other net.artists like hell.com, who almost sued
them, and stealing and altering the Web's first net.art gallery"
------------------------------
Date: Fri, 24 Jan 2003 09:51:31 +0900
From: Andreas <[email protected]>
Subject: REALTOKYO MM Vol. 113
R E A L T O K Y O MAIL MAGAZINE
_____1_24_2003_Fri_vol.113___________ http://www.realtokyo.co.jp/
[This Week's Index]
(1) Tokyo Editors' Diary
Baba Masataka ("A" magazine) vol. 008
(2) Tokyo no Shikakenintachi
Vol. 011: Rai Mitsuhiro
(3) Event Pick of the Week
12K/LINE Japan Tour
This week's RT Picks:
art+cinema+music+stage+design+town = 49 events
including 9 new ones!
Plus new entries on our 'book/disk' page.
Check them out!
http://www.realtokyo.co.jp/
===============================================================
(1) Tokyo Editors' Diary
===============================================================
Baba Masataka ("A" magazine) vol. 008
I'm recently interested in Nihombashi. I'm even considering to
move my office there. Today I'm checking out a possible location,
in an incredibly empty and deserted neighborhood. Not a single
shop is open here, they've all put their shutters up. Nobody walking
in the street. Leave this area alone and in a couple of weeks it's
probably dead forever. Nevertheless, this doesn't change the fact
that I'm extremely interested in this place. There's a mushroom of
small office buildings here, and these are all vacant without exception.
I think it would be interesting to convert them into living spaces.
To set up an office here might be a little inconvenient, but, hey, we're
right in the centre of town here, with Tokyo station just around the
corner and a whole bunch of subway stations around! In less than 20
minutes one can reach Shibuya or Shinjuku!
Read more at:
http://www.realtokyo.co.jp/en/diary/0024-henshucho.htm
===============================================================
(2) Tokyo no Shikakenintachi
===============================================================
Vol. 011: Rai Mitsuhiro
(interviewer: RT editor Ozaki Tetsuya)
The eleventh guest in our column introducing creative Tokyo heads
is Rai Mitsuhiro, founder of the "Cinema Rise" mini theatre in
Shibuya that has earned film fans' trust and acknowledgement with
selected programs of superb movies. In a conversation with Rai we
learned that not only in the film world, but also in the field of
art he is a true connoisseur...
http://www.realtokyo.co.jp/en/interview/rai01.htm
===============================================================
(3) Event Pick of the Week
===============================================================
12K/LINE Japan Tour
As label founder, musician and designer, Taylor Deupree has been
playing a central role in the US techno scnene. After working
with numerous projects such as Human Mesh Dance or SETI, he has
settled down in the creation of microscopic, repetitive sound
sculpturing, which has earned his 12K and sub-label LINE a
reputation as leading minimal techno force next to the likes of
Berlin's Rastermusik. On this Japan tour Deupree brings along
Richard Chartier, who has been astonishing both music and art
worlds with a style close to John Cage's "4'33," and Sogar, who
has recently released an album on the new French label "List."
Joining from Japan are Nibo and Fonica, and they make it worth
to attend this supposedly rather quiet 'gallery-style' event
right from the start.
- --Andreas
http://www.realtokyo.co.jp/event_cgi/ev_viewE.cgi?2,1410
Also, a talk session/presentation with the 12K/LINE artists takes
place on 1/26 at Sputnik Pad:
http://www.realtokyo.co.jp/event_cgi/ev_viewE.cgi?2,1421
===============================================================
Next week on RT:
- - Tokyo Editors' Diary
- - Out of Tokyo
- - Presents
and more$B!D(B
- ---------------------------------------------------------------
In order to make REALTOKYO even more interesting and convenient
for you, we rely on your feedback. Please send us opinions or
productive suggestions concerning contents, structure, layouts,
etc. Three especially lucky readers who send a mail to
[email protected].
will be chosen and receive a little gift.
http://www.realtokyo.co.jp/
- -----------------------------------------------------------------
- ------------------------PR-------------------------------------
[email protected] <mailto:[email protected]>
REALTOKYO is looking for advertisers wanting to place banners on
our web site and/or in the mail magazine. Banners will get lots of
hits from people attracted to a web site full of catchy information
on cinema, art, music, theatre and other fun events in town.
Please contact the following email address for dimensions and costs.
[email protected] <mailto:[email protected]>
- ------------------------PR-------------------------------------
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==========================================================
No part of the text or images from this site may be used
without permission from the publisher.
Copyright 2000-2003 REALTOKYO
------------------------------
Date: Thu, 16 Jan 2003 01:36:09 +0100
From: [email protected]
Subject: VIRTUAL ART - From Illusion to Immersion
This is a multi-part message in MIME format.
- ------=_NextPart_000_0193_01C2BCFF.A5890D20
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
- --Apologies for Cross-Posting---
VIRTUAL ART
>From Illusion to Immersion =20
by Oliver Grau
A Leonardo Book published by MIT Press
(January 2003, ISBN 0-262-07241-6, 7 x 9, 360 pp., 89 illus)
"Equally at home in art history, media history, and new
media art, Grau situates immersive image spaces of new media within a =
rich
historical landscape. A must-read for anyone interested in new media,
visual culture, art history, cinema, and all other fields that use =
virtual
images."=20
(Lev Manovich, author of The Language of New Media)
"The highly ambitious task of locating the latest image technologies =
within
a wider art-historical context has now been accomplished."=20
(Friedrich Kittler, author of Gramophone, Film, Typewriter)
"Dismiss Oliver Grau's new book as a German multimedia theorist's =
scholarly
treatise on art, and you'll miss a great read. Underneath its stald
packaging, Virtual Art: From Illusion to Immersion puts forth the sort =
of
provocative insights that any Newromancer fan can appreciate."=20
(WIRED, January 2003)
CONTENT: Going beyond technical and ahistorical views of media art, =
Oliver
Grau analyzes what is really new in media art by focusing on recent work
against the backdrop of historic developments. Although many people view
virtual and mixed realities as a totally new phenomenon, it has its
foundations in an unrecognized history of immersive images. The search =
for
illusionary visual space can be traced back to antiquity. Oliver Grau =
shows
how virtual art fits into the art history of illusion and immersion and
shows how each epoch used the technical means available to produce =
maximum
illusion from Pompeiis Villa dei Misteri via baroque frescoes, =
panoramas,
immersive cinema to the CAVE. He describes the metamorphosis of the
concepts of art and the image and relates those concepts to interactive
art, interface design, agents, telepresence, and image evolution. Grau
retells art history as media history, helping us to understand the
phenomenon of immersion beyond the hype.
GRAU also examines those characteristics of virtual reality that
distinguish it from earlier forms of illusionary art and thus shows us =
what
is really new in media art. His analysis draws on the work of =
contemporary
artists and groups ART+COM, Maurice Benayoun, Charlotte Davies, Monika
Fleischmann, Ken Goldberg, Agnes Hegedues, Eduardo Kac, Knowbotic =
Research,
Laurent Mignonneau, Michael Naimark, Simon Penny, Daniela Plewe, Paul
Sermon, Jeffrey Shaw, Karl Sims, Christa Sommerer, and Wolfgang Strauss.
Grau offers not just a history of illusionary space but also a =
theoretical
framework for analyzing its phenomenologies, functions, and strategies
throughout history and into the future.=20
More quotes from the field:
"Grau's Virtual Art opens the door onto a significant new approach to =
media
analysis by focusing in depth on a particular kind of digital art--the
attempt to create immersive environments. The combination of media
archeology and careful analysis of both the possibilities and =
limitations
of the impulse to put the viewer inside the artwork will make this book =
a
valuable resource to both practitioners and theoreticians."
(Stephen Wilson, Professor of Conceptual and Information Arts, San
Francisco State University, and author of Information Arts)
"Oliver Grau expands notions of immersion with a comprehensive overview =
of
artistic meditations on illusion, presence and space. Using historical =
and
innovative media-art project examples, he offers multiple perspectives =
on
the evolution of our world-view. No doubt this volume will be a useful
resource for any serious practitioner and/or theorist engaging the =
merging
of art, science and technology."
(Victoria Vesna, Chair, Design and Media Arts, University of California,
Los Angeles)=20
Quotes from the press:
"A key book -- Oliver Grau's art historical study taps into the new =
virtual
image spaces." (Frankfurter Allgemeine)
"The scope ranges far beyond analogue and digital image techniques; this =
is
more than a piece of media archaeology." (MEDIENwissenschaft)
"Grau's analysis enriches the current debate on media art and virtual
worlds by providing an historical perspective." (Der Tagesspiegel)
"The parallels revealed are astounding." (Sueddeutsche Zeitung)
Oliver Grau is a new-media art historian and lectures at the
Department of Art History, Humboldt University in Berlin. He is a
visiting professor at the Kunstuniversity Linz and is head of the
German Science Foundation project on Immersive Art in Berlin, also he
is developing the first international data base resource for virtual
art. He published widely on VR-art and lectured in Europe, Japan, Brasil
and the US. Oliver Grau is an elected member of the Young Academy of the
Berlin-Brandenburg Academy of Sciences (BBAW) and the Leopoldina. His
research focuses on the history of illusion and immersion in media and =
art,
the history of the idea and culture of telepresence and =
telecommunication,
genetic art, and artificial intelligence.
(For more information:
http://mitpress.mit.edu/catalog/item/default.asp?sid=3D26570CB6-AB47-414B=
- -A780
- -1ECA08AAB2D3&ttype=3D2&tid=3D9214)
http://www.amazon.com/exec/obidos/search-handle-form/104-6017318-2877562
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<HTML><HEAD>
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<DIV>--Apologies for Cross-Posting---<BR><BR></DIV>
<DIV><BR>VIRTUAL ART<BR>From Illusion to Immersion <BR>by Oliver =
Grau<BR>A=20
Leonardo Book published by MIT Press<BR><BR>(January 2003, ISBN =
0-262-07241-6, 7=20
x 9, 360 pp., 89 illus)<BR><BR><BR>"Equally at home in art history, =
media=20
history, and new<BR>media art, Grau situates immersive image spaces of =
new media=20
within a rich<BR>historical landscape. A must-read for anyone interested =
in new=20
media,<BR>visual culture, art history, cinema, and all other fields that =
use=20
virtual<BR>images." <BR><BR>(Lev Manovich, author of The Language of New =
Media)<BR><BR><BR>"The highly ambitious task of locating the latest =
image=20
technologies within<BR>a wider art-historical context has now been=20
accomplished." <BR><BR>(Friedrich Kittler, author of Gramophone, Film,=20
Typewriter)<BR><BR><BR>"Dismiss Oliver Grau's new book as a German =
multimedia=20
theorist's scholarly<BR>treatise on art, and you'll miss a great read.=20
Underneath its stald<BR>packaging, Virtual Art: From Illusion to =
Immersion puts=20
forth the sort of<BR>provocative insights that any Newromancer fan can=20
appreciate." <BR><BR>(WIRED, January 2003)<BR><BR><BR>CONTENT: Going =
beyond=20
technical and ahistorical views of media art, Oliver<BR>Grau analyzes =
what is=20
really new in media art by focusing on recent work<BR>against the =
backdrop of=20
historic developments. Although many people view<BR>virtual and mixed =
realities=20
as a totally new phenomenon, it has its<BR>foundations in an =
unrecognized=20
history of immersive images. The search for<BR>illusionary visual space =
can be=20
traced back to antiquity. Oliver Grau shows<BR>how virtual art fits into =
the art=20
history of illusion and immersion and<BR>shows how each epoch used the =
technical=20
means available to produce maximum<BR>illusion from Pompeiis Villa dei =
Misteri=20
via baroque frescoes, panoramas,<BR>immersive cinema to the CAVE. He =
describes=20
the metamorphosis of the<BR>concepts of art and the image and relates =
those=20
concepts to interactive<BR>art, interface design, agents, telepresence, =
and=20
image evolution. Grau<BR>retells art history as media history, helping =
us to=20
understand the<BR>phenomenon of immersion beyond the hype.<BR><BR>GRAU =
also=20
examines those characteristics of virtual reality that<BR>distinguish it =
from=20
earlier forms of illusionary art and thus shows us what<BR>is really new =
in=20
media art. His analysis draws on the work of contemporary<BR>artists and =
groups=20
ART+COM, Maurice Benayoun, Charlotte Davies, Monika<BR>Fleischmann, Ken=20
Goldberg, Agnes Hegedues, Eduardo Kac, Knowbotic Research,<BR>Laurent=20
Mignonneau, Michael Naimark, Simon Penny, Daniela Plewe, Paul<BR>Sermon, =
Jeffrey=20
Shaw, Karl Sims, Christa Sommerer, and Wolfgang Strauss.<BR>Grau offers =
not just=20
a history of illusionary space but also a theoretical<BR>framework for =
analyzing=20
its phenomenologies, functions, and strategies<BR>throughout history and =
into=20
the future. <BR><BR><BR>More quotes from the field:<BR><BR>"Grau's =
Virtual Art=20
opens the door onto a significant new approach to media<BR>analysis by =
focusing=20
in depth on a particular kind of digital art--the<BR>attempt to create =
immersive=20
environments. The combination of media<BR>archeology and careful =
analysis of=20
both the possibilities and limitations<BR>of the impulse to put the =
viewer=20
inside the artwork will make this book a<BR>valuable resource to both=20
practitioners and theoreticians."<BR><BR>(Stephen Wilson, Professor of=20
Conceptual and Information Arts, San<BR>Francisco State University, and =
author=20
of Information Arts)<BR><BR><BR>"Oliver Grau expands notions of =
immersion with a=20
comprehensive overview of<BR>artistic meditations on illusion, presence =
and=20
space. Using historical and<BR>innovative media-art project examples, he =
offers=20
multiple perspectives on<BR>the evolution of our world-view. No doubt =
this=20
volume will be a useful<BR>resource for any serious practitioner and/or =
theorist=20
engaging the merging<BR>of art, science and =
technology."<BR><BR>(Victoria Vesna,=20
Chair, Design and Media Arts, University of California,<BR>Los Angeles)=20
<BR><BR><BR>Quotes from the press:<BR><BR>"A key book -- Oliver Grau's =
art=20
historical study taps into the new virtual<BR>image spaces." =
(Frankfurter=20
Allgemeine)<BR><BR>"The scope ranges far beyond analogue and digital =
image=20
techniques; this is<BR>more than a piece of media archaeology."=20
(MEDIENwissenschaft)<BR><BR>"Grau's analysis enriches the current debate =
on=20
media art and virtual<BR>worlds by providing an historical perspective." =
(Der=20
Tagesspiegel)<BR><BR>"The parallels revealed are astounding." =
(Sueddeutsche=20
Zeitung)<BR><BR><BR><BR>Oliver Grau is a new-media art historian and =
lectures at=20
the<BR>Department of Art History, Humboldt University in Berlin. He is=20
a<BR>visiting professor at the Kunstuniversity Linz and is head of =
the<BR>German=20
Science Foundation project on Immersive Art in Berlin, also he<BR>is =
developing=20
the first international data base resource for virtual<BR>art. He =
published=20
widely on VR-art and lectured in Europe, Japan, Brasil<BR>and the US. =
Oliver=20
Grau is an elected member of the Young Academy of =
the<BR>Berlin-Brandenburg=20
Academy of Sciences (BBAW) and the Leopoldina. His<BR>research focuses =
on the=20
history of illusion and immersion in media and art,<BR>the history of =
the idea=20
and culture of telepresence and telecommunication,<BR>genetic art, and=20
artificial intelligence.<BR><BR>(For more information:<BR><A=20
href=3D"http://mitpress.mit.edu/catalog/item/default.asp?sid=3D26570CB6-A=
B47-414B-A780">http://mitpress.mit.edu/catalog/item/default.asp?sid=3D265=
70CB6-AB47-414B-A780</A><BR>-1ECA08AAB2D3&ttype=3D2&tid=3D9214)<B=
R></DIV>
<DIV><A=20
href=3D"http://www.amazon.com/exec/obidos/search-handle-form/104-6017318-=
2877562">http://www.amazon.com/exec/obidos/search-handle-form/104-6017318=
- -2877562</A><BR><BR></DIV></BODY></HTML>
- ------=_NextPart_000_0193_01C2BCFF.A5890D20--
------------------------------
Date: Wed, 22 Jan 2003 14:55:13 +0000 (UTC)
From: Art McGee <[email protected]>
Subject: NPO/NGO Media & Technology Calendar
NPO/NGO Media & Technology Calendar:
http://amcgee.freeshell.org/mtcalendar.html
Just updated. If it ain't there, it don't exist. ;-)
Art
------------------------------
Date: Thu, 23 Jan 2003 12:02:48 -0500
From: "Talan Memmott" <[email protected]>
Subject: BeeHive 5:2 now online!
BeeHive Hypertext / Hypermedia Literary Journal
Volume 5 | Issue 2
ISSN: 1528-8102
http://beehive.temporalimage.com
- ---
IN THIS ISSUE:
Landscapes / Bill Marsh
http://beehive.temporalimage.com/content_apps52/app_a.html
Viractualism / Joseph Nechvatal
http://beehive.temporalimage.com/content_apps52/app_b.html
Hyperbody/ Juliet Ann Martin
http://beehive.temporalimage.com/content_apps52/app_c.html
Restless / Miranda F. Mellis
http://beehive.temporalimage.com/content_apps52/app_d.html
Ornithology of War / Marianne Shaneen
http://beehive.temporalimage.com/content_apps52/app_e.html
Outline of a Novel / Millie Niss
http://beehive.temporalimage.com/content_apps52/app_f.html
Definitions / Jon Fried
http://beehive.temporalimage.com/content_apps52/app_g.html
Your Book Came / Alan Sondheim
http://beehive.temporalimage.com/content_apps52/app_h.html
- -------------
Don't forget the
BeeHive ArcHive:
http://beehive.temporalimage.com/archive/index.html
ALL THE CONTENT FROM PAST ISSUES OF BEEHIVE
Highlights include:
Panhandle : Jason Nelson
http://beehive.temporalimage.com/archive/51arc.html
Toward Electracy : Gregory Ulmer / Talan Memmott [intro by Mark Amerika]
http://beehive.temporalimage.com/archive/34arc.html
NY/SF Poetry Collection : 30 Poets from San Francisco and New York
http://beehive.temporalimage.com/archive/23arc.html
Squaring the Word : Siegfried Holzbauer
http://beehive.temporalimage.com/archive/25arc.html
Newsreel 12.11.77.xox : Toby Boudreaux
http://beehive.temporalimage.com/archive/14arc.html
_________________________________
BeeHive has been online since 1998.
Talan Memmott -- BeeHive Creative Director / Editor in Chief
Alan Sondheim -- Associate Editor
------------------------------
Date: Thu, 23 Jan 2003 15:26:03 -0000
From: "<<< F L @ 3 3 >>>" <[email protected]>
Subject: bzzzpeek >>> one world..
hi,
we thought you might like it ... 8)
http://www.bzzzpeek.com
bzzzpeek is presenting a collection of 'onomatopoeia'
from around the world using sound recordings from
native speakers imitating the sounds of mainly animals
and vehicles.
this project focuses on the pronounciation and
comparation of these sounds by presenting them side by
side as each language expresses them differently.
bzzzpeek.com is an interactive experience inviting
everybody to contribute.
:) agathe + tomi 8)
__________________________
| || ||||| ||||||
| || ||||| ||||||
|||| ||||| | | || ||||
|||| ||||| | | || ||||
__________________________
*** F L @ 3 3 ***
> visual communication <
MULTI-DISCIPLINARY
DESIGN STUDIO
agathe jacquillat, MA (RCA)
tomi vollauschek, MA (RCA)
F L @ 3 3
27 hereford road
london W2 4TQ
+44 (0) 20 7313 9783 T
+44 (0) 7801 950 195 M
[email protected]
[email protected]
[email protected]
http://www.flat33.com
http://www.bzzzpeek.com
http://www.trans-port.org
http://www.agatheHD.com
__________________________
------------------------------
Date: Fri, 17 Jan 2003 17:09:03 -0500
From: David Weininger <[email protected]>
Subject: book announcement--Hayles
I thought readers of the NETTIME-L might be interested in this book. For
more information, please visit http://mitpress.mit.edu/0262083116/ Thank you!
Best,
David
Writing Machines
N. Katherine Hayles
designed by Anne Burdick
Tracing a journey from the 1950s through the 1990s, N. Katherine Hayles uses
the autobiographical persona of Kaye to explore how literature has
transformed itself from inscriptions rendered as the flat durable marks of
print to the dynamic images of CRT screens, from verbal texts to the diverse
sensory modalities of multimedia works, from books to technotexts.
Weaving together Kaye's pseudo-autobiographical narrative with a theorization
of contemporary literature in media-specific terms, Hayles examines the ways
in which literary texts in every genre and period mutate as they are
reconceived and rewritten for electronic formats. As electronic documents
become more pervasive, print appears not as the sea in which we swim,
transparent because we are so accustomed to its conventions, but rather as a
medium with its own assumptions, specificities, and inscription practices.
Hayles explores works that focus on the very inscription technologies that
produce them, examining three writing machines in depth: Talan Memmott's
groundbreaking electronic work Lexia to Perplexia, Mark Z. Danielewski's cult
postprint novel House of Leaves, and Tom Phillips's artist's book A Humument.
Hayles concludes by speculating on how technotexts affect the development of
contemporary subjectivity.
N. Katherine Hayles is Professor of English and Design | Media Arts at the
University of California at Los Angeles. She is the author of How We Became
Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Anne
Burdick is the design editor of ebr-The Electronic Book Review.
5 1/2 x 7 1/2, 224 pp., 50 illus., paper ISBN 0-262-58215-5, cloth ISBN
0-262-08311-6
Mediawork Pamphlet series
______________________
David Weininger
Associate Publicist
The MIT Press
5 Cambridge Center, 4th Floor
Cambridge, MA 02142
617 253 2079
617 253 1709 fax
http://mitpress.mit.edu
------------------------------
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