From amitabh at sarai.net Fri Feb 1 17:47:54 2008 From: amitabh at sarai.net (Amitabh Kumar) Date: Fri, 1 Feb 2008 17:47:54 +0530 Subject: [Announcements] Why Not Comcs..?? A Panel Discussion on the Art, Economics and the Future of the Comic Book Culture of India Message-ID: Why Not Comics? A Panel Discussion on the Art, Economics and the Future of the Comic Book Culture of India Comics in India has a history that extends a little more than 40 years, but it is only now that we are witnessing a rise in public interest towards them, with publishing houses taking the form in its modern renditions more seriously, and more readers turning into creators. In this scenario, it is imperative for a platform to exist through which a new understanding about comics might emerge. Sarai-CSDS, The French Embassy and the FIRC (French Information Resource Center) invite you to an evening celebrating the comic book culture in New Delhi, as well as the culmination of a nine-day workshop on comic books and graphic novels. Jointly produced by the YP foundation (The Youth Parliament), the event will include a first-of-its-kind dialogue between comic book artists and publishers. Join us in trying to understand the economics and the art of comics in India and be witness to a dialogue that will give you a sense of what the future holds! Discussants include : Orijit Sen, Comic Book Author Sarnath Banerjee, Comic Book Author Vishwajyoti Ghosh, Comic Book Artist/Practitioner Diya Kar-Hazra, Commissioning Editor, Penguin India V.K. Karthika, Publisher & Chief Editor, Harper Collins India Sanjay Gupta/ Kshitsh Padhy , Raj Comics Amitabh Kumar, Comic Book Researcher & Practitioner, Sarai Marielle Morin, Director FIRC & Books Attachée French Embassy Suddhabrata Sengupta, Co-Founder Sarai & Member of Raqs Media Collective 5 February, 2008 at 5.30 pm. 18th New Delhi World Book Fair Hall No. 6, Conference Room No.1 Mezzanine Floor Pragati Maidan, New Delhi The Sarai-FIRC comic book workshop has been conceived as one of the new projects undertaken by the Sarai – FIRC collaboration that brings together a fresh crop of practitioners and readers, thus playing a critical role in the emergence of a new sensibility regarding forms of print production in India. This is part of a larger collaboration of Sarai-CSDS and FIRC to promote comic books. The first series of events under this collaboration were the comic book readings where readers/practitioners are invited to talk about comic books (both old and recently published). Both Sarai and the FIRC had conducted comic book workshops independently in the years 2006-2007 and had felt the need to draw out a programme that could provide a space where newer practitioners could enter the fold as well as existing practitioners find ways to extend and deepen their engagement with the form. This understanding yielded to a common ground that gave birth to a collaboration dedicated to the production of a thriving comic book culture in India. From turbulence at turbulence.org Fri Feb 1 20:57:12 2008 From: turbulence at turbulence.org (Turbulence) Date: Fri, 1 Feb 2008 10:27:12 -0500 Subject: [Announcements] Networked_Music_Review Commission: "Flou" by Jason Freeman, et al Message-ID: <004701c864e6$fe36f790$faa4e6b0$@org> February 1, 2008 Networked_Music_Review Commission: "Flou" by Jason Freeman, with Andrew Beck, Xiang Cao, Mark Godfrey, Jagadeeswaran Jayaprakash, Al Matthews, Rachel Ponder, Alex Rae, and Sriram Viswanathan http://turbulence.org/works/flou/ Needs Java 1.5+ "Flou" (pronounced "flew") is not exactly a game; you do fly a ship through space, but you cannot shoot anything, score points, or win or lose. The focus, rather, is on the soundtrack: as you navigate through a 3D world and zoom through objects in space, you add loops and apply effects to an ever-evolving musical mix. You can also design your own worlds to fly through and share them with other "Flou" users. "Flou" is a 2007 commission of New Radio and Performing Arts, Inc. for Networked_Music_Review. It was made possible with funding from the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors. BIOGRAPHIES Jason Freeman (http://www.jasonfreeman.net) uses new technology and unconventional notation to break down barriers between composers, performers, and listeners, creating music that "stands as an example of the Web's mind-expanding possibilities" (Billboard) and helps to "bring composition into the Xbox age" (Wired). Recent projects include "Flock", a full-evening performance for saxophone quartet, dancers, and audience participation commissioned by Carnival Center for the Performing Arts in Miami; "Graph Theory", a solo violin and web-based work commissioned by Turbulence; "iTunes Signature Maker", a software artwork commissioned by Rhizome; and "Glimmer", an audience-participation piece commissioned by the American Composers Orchestra. Freeman received his B.A. in music from Yale University and his M.A. and D.M.A. in composition from Columbia University. He is currently an assistant professor at Georgia Tech in Atlanta, where he teaches in the Music Department in the College of Architecture. The students in Freeman's Networked Music course at Georgia Tech (Andrew Beck, Xiang Cao, Mark Godfrey, Jagadeeswaran Jayaprakash, Al Matthews, Rachel Ponder, Alex Rae, and Sriram Viswanathan) are currently pursuing M.S. degrees in music technology, digital media, and human-computer interaction, and they have diverse backgrounds as composers and performers of experimental and popular music, as computer scientists, and as engineers. Over the course of the fall 2007 semester, they collaborated to develop the concept for "Flou", to design its user interface, visual components, and sound worlds, and to write, test, and deploy the software. They are currently creating a live-performance version of the work for presentation in spring 2008. For more Networked_Music_Review Commissions please visit http://turbulence.org/networked_music_review/tags/nmr_commission Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org Networked_Performance Blog: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Upgrade! Boston: http://turbulence.org/upgrade New American Radio: http://somewhere.org From nc-agricowi at netcologne.de Thu Feb 7 16:04:23 2008 From: nc-agricowi at netcologne.de (NMF2007) Date: Thu, 07 Feb 2008 11:34:23 +0100 Subject: [Announcements] =?iso-8859-1?q?NewMediaFest2007_in_India?= Message-ID: <20080207113423.EECA0459.C7007DC2@192.168.0.3> NewMediaFest2007, the 1st common festival of [NewMediaArtprojectNetwork]:||cologne http://www.newmediafest.org/blog/ is happy to announce the presentation of two festival selections curated by Wilfried Agricola de Cologne on 3rd CeC. and CaC ('Carnival of e-Creativity & Change-agents Conclave') at India International Centre organised by The Academy of Electronic Art New Dehli 15,16, 17 February 2008 - http://www.theaea.org/cec_cac/ceccac08/ i.e. --> 1. CologneOFF III - Toon! Toon! - art cartoons and animated narratives http://coff.newmediafest.org/blog/?page_id=15 featuring films/videos by Konstantin Dimitriev (Russia) Kaspars Groshevs (Latvia), Silvia Cacciatori Filloy (Uruguay) Henry Gwiazda (USA), Gerald Habarth (USA), Lycette Bros. (Australia),, Hermes Mangialardo (Italy) , Lars Nagler (Germany), Martin Oja (Estonia), Tom de Pekin (France), Simon Streatfeild (Australia), Andy Sykes (UK), Alexander Satim Timofeev (Russia) Leonardo R. Beltrán Navarro (Chile) 2. Cinematheque - streaming media project environments "Slowtime/Dreamtime" - http://cinema.nmartproject.net/blog/?page_id=19 featuring videos by Marco Batista (Slovenia), Larissa Sansour (Palestine) Jon Keith Brunelle (USA), Artur Augustynowicz (Canada) Agricola de Cologne (Germany), Antony Rousseau (France) Margarida Paiva (Portugal), Laurent Pernot (France) Oksana Shatalova (Kazakhstan), Jeremiah Jones (USA) Norbert Francis Attard (Malta), Anders Weberg (Sweden) Daniel Iturriza (Peru) -------------------------------------------------- These info are released by netEX - networked experience http://netex.nmartproject.net netex.(at) nmartproject.net From alice at tank.tv Thu Feb 7 16:22:09 2008 From: alice at tank.tv (Alice O'Reilly) Date: Thu, 7 Feb 2008 10:52:09 +0000 Subject: [Announcements] www.tank.tv : Screening at Phoenix Arts, Leicester - Fresh Moves: New Moving Images from the UK Message-ID: <442eb4460802070252x3e14dce4wf2b635c1f288e8d9@mail.gmail.com> www.tank.tv Screening of Fresh Moves: New Moving Images from the UK Phoenix Arts Leicester 12th February 2008 6.05pm tank.tv's DVD - Fresh Moves: New Moving Images from the UK will be screened at the Phoenix Arts Centre in Leicester. The artworks get the screensize they deserve and the audience get 80 eclectic minutes of non stop moving images. "...this special project addresses the idea of carrying video and filmic work beyond the boundaries of contextually, or spatially, confined spaces pertaining to where a work can be seen. [...] It furthers the investigation into how different modes of filmmaking evolve within the changing consciousness of the public media [...] ..." Hans Ulrich Obrist An opportunity not to be missed. Phoenix Arts Centre, Leicester 21 Upper Brown St LE1 5TE www.phoenix.org.uk www.tank.tv -- - - - - - - - - - - - - Alice O'Reilly tank.tv 2nd Floor Princess House 50 - 60 Eastcastle Street London W1W 8EA alice at tank.tv T: +44 (0)207323 3475 F: +44 (0)207631 4280 http://www.tank.tv - - - - - - - - - - - - - - Now showing: The Whole World Curated by Ian White for www.tank.tv 1st January 2008 - 1st March 2008 Fresh Moves - Out now! Order your copy on www.tank.tv "A significant archive of creative practices in the early years of twenty-first century England" Tyler Coburn, Tomorrow Unlimited --- tank.tv is an inspirational showcase for innovative work in film and video. Dedicated to exhibiting and promoting emerging and established international artists, www.tank.tv acts as a major online gallery and archive for video art. A platform for contemporary moving images. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080207/415cdc07/attachment-0001.html From turbulence at turbulence.org Fri Feb 8 00:24:06 2008 From: turbulence at turbulence.org (Turbulence) Date: Thu, 7 Feb 2008 13:54:06 -0500 Subject: [Announcements] Turbulence Commissions: "Mixed Realities" Message-ID: <007f01c869ba$e3a9f8e0$aafdeaa0$@org> February 7, 2008 Turbulence Commissions: "Mixed Realities" http://turbulence.org/mixed_realities/turbulence.html Join us for a reception tonight, 5-7 pm EST! Huret & Spector Gallery 10 Boylston Place, 6th Floor Emerson College Boston, MA Ars Virtua (Second Life: http://slurl.com/secondlife/Seventh%20Eye/6/77/48) Artists/Works: CATERWAUL by Pierre Proske with technical assistance from Artem Baguinski and Brigit Lichtenegger IMAGING BEIJING by John (Craig) Freeman NO MATTER by Scott Kildall and Victoria Scott REMOTE by Neill Donaldson, Usman Haque, Ai Hasegawa, Georg Tremmel THE VITRUVIAN WORLD by Michael Takeo Magruder, Drew Baker and David Steele "Mixed Realities" is an exhibition that explores the convergence-through cyberspace-of real and synthetic places made possible by computers and networks. "Mixed Realities" links and overlays the Huret & Spector Gallery (10 Boylston Place, 6th Floor, Emerson College, Boston, Massachusetts), Turbulence.org (http://turbulence.org/mixed_realities/turbulence.html), and Ars Virtua (Second Life: http://slurl.com/secondlife/Seventh%20Eye/6/77/48). Second Life is a shared, synthetic, 3-D environment through which people can interact in real-time by means of a virtual self or avatar. Although it's an imaginary place, it is often able to "masquerade as real" (Richard Bartle) because it approximates reality persuasively enough to facilitate player immersion. Audience members - who will be embodied as avatars in Second Life, browsing the works at turbulence.org, and/or be physically present in the gallery - will interact with the works and with one another. Thus, "Mixed Realities" will enable people who are distributed across multiple physical and virtual spaces to communicate with one another and share experiences in real time. Five works were commissioned by New Radio and Performing Arts, Inc. specifically for the "Mixed Realities" exhibition. They are: "Remote" by Neill Donaldson, Usman Haque, Ai Hasegawa, Georg Tremmel http://turbulence.org/Works/remote/applet/index.html "Remote" connects together two spaces, one in Boston the other in Second Life, and treats them as a single contiguous environment, bound together by the Internet so that things that occur in one space affect things that happen in the other and vice versa - remotely controlling each other. Communication between the two halves of this extended environment is a complex choreography coupling the environmental phenomena of humidity, temperature, light, speech, mist, wind, sound and proximity across the two. The object in Boston appears to be a seat; but, experientially, the Second Life space appears to be inside the seat. A similar alteration of scale occurs in the other direction. Visitors to the Boston space and the Second Life space must negotiate to achieve goals: e.g. by sitting down, breathing, touching, knocking, colliding. The environmental data of both spaces is publicly available in realtime via the EnvironmentXML repository enabling others to build devices and spaces that connect directly to both Boston and Second Life. The intention is to explore an architecture that is resolutely "human" (in the sense of being inhabited, configured and determined by its occupants) yet context-free (because it does not privilege geographical location). "Imaging Beijing" by John (Craig) Freeman http://turbulence.org/works/ImagingBeijing "Imaging Beijing" is the latest installment of Imaging Place, a place-based, virtual reality project that combines panoramic photography, digital video, and virtual worlds to investigate and document situations where the forces of globalization are impacting the lives of individuals in local communities. When a denizen of Second Life first arrives at "Imaging Beijing", he, she or it can walk over a satellite image of central Beijing where they will find a networks of nodes constructed of primitive spherical geometry with panoramic photographs texture mapped to the interior. The avatar can walk to the center of one of these nodes and use a first person perspective to view the image, giving the user the sensation of being immersed in the location. A web-cam captures live video of the user and transmits it to the head of an exhibition avatar. Dated links in the virtual space launch a browser, which opens a web journal of the Imaging Beijing field research. "NO MATTER" by Scott Kildall and Victoria Scott http://turbulence.org/works/nomatter "NO MATTER" is an interactive installation that activates the transformation of imaginary objects through the Second Life virtual economy into physical space. Second Life builders construct replicas of famous buildings, luxury goods and custom-designed objects, first reproducing, then inverting the notion of value itself. With zero cost for gathering resources, production of goods and transport of finished product, these items proliferate widely and quickly. In the real world, consumer items and imaginary objects serve as forms of emotional attachment - projection screens for desire, fear and love. A 3D-simulated space, combined with a virtual currency and social interaction, Second Life is a fully functioning economy of the immaterial. "The Vitruvian World" by Michael Takeo Magruder, Drew Baker and David Steele http://turbulence.org/works/vitruvianworld In the 1st century BC, Roman writer, architect and engineer Vitruvius authored specific building formulae based on the guiding principles of strength, utility and beauty. For him, architecture was intrinsically linked to nature and is an imitation of cosmic order. The most well-known interpretation of this postulate is the Vitruvian Man by Leonardo da Vinci in which the human form is depicted in unity with the square and circle - representing material and spiritual existence respectively. "The Vitruvian World" is a real-time immersive installation that embodies the principles of Vitruvius within a contemporary context. Existing in three distinct yet interconnected spaces, the artwork simultaneously embraces the virtual, the physical, and the network that connects them. "CATERWAUL" by Pierre Proske, with technical assistance from Artem Baguinski and Brigit Lichtenegger http://turbulence.org/works/caterwaul When someone screams in real life, do they hear us in virtual reality? Do they want to? "CATERWAUL" is an interactive sound installation that operates as a one way "portal" to Second Life via the internet. A physical wall in Boston operates as a totemic locus of grief. People approach it with intent to wail and mourn. The mourners grieve their lost loved ones who spend more time in virtual and on-line worlds than they do communicating in real life. The cacophony of the lamentation is recorded by hidden microphones in the wall, transmitted across the Internet and piped out of an "identical" wall in the virtual world Second Life. A website displaying a simulation of the wall allows other people, on the threshold of "real" and "second" life, to vicariously eavesdrop the wailing. "Mixed Realities" on Turbulence.org was funded by the Andy Warhol Foundation for the Visual Arts. We are deeply grateful for their support. Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org Networked_Performance Blog: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Upgrade! Boston: http://turbulence.org/upgrade New American Radio: http://somewhere.org From cahen.x at levels9.com Sun Feb 10 16:45:05 2008 From: cahen.x at levels9.com (xavier cahen) Date: Sun, 10 Feb 2008 12:15:05 +0100 Subject: [Announcements] pourinfos Newsletter / 06-02 to 29-02-2008 Message-ID: <47AEDCB9.4050007@levels9.com> pourinfos.org l'actualite du monde de l'art / daily Art news ----------------------------------------------------------------------- >From Sunday, February 06, 2008 through Monday, February 29, 2008 (included) ------------------------------------------------------------------- (mostly in french) @ 001 (06/02/2008) Residence: Art Factory International Artist in Residence Program Bialystok, Poland. http://pourinfos.org/art-35419-tit-Residence-Art-Factory-International-Artist -------------------------------------------------------------------- @ 002 (06/02/2008) Residences: for artists, NEKaTOENEa, Domaine d'Abbadia in Hendaye, France. http://pourinfos.org/art-35420-tit--d-artistes-NEKaTOENEa-Domaine-d-Abbadia -------------------------------------------------------------------- @ 003 (06/02/2008) Residence: for artists, art school of la Roche sur Yon, France. http://pourinfos.org/art-35421-tit-Residence-d-artistes-Ecole-d-art-de-la -------------------------------------------------------------------- @ 004 (06/02/2008) Residence: A.I.R. International Artists Residencies / FilmFest - Summer 2008 -- BUDAPEST, Hungary. http://pourinfos.org/art-35422-tit-Residence-A-I-R-International-Artists -------------------------------------------------------------------- @ 005 (06/02/2008) Residence: Call _Residencies 08/09: box _Bourges, France. http://pourinfos.org/art-35423-tit-Residence-08-09-la-box-Bourges- -------------------------------------------------------------------- @ 006 (06/02/2008) Residence: Eyebeam Residency Call, applications for 2008 Summer Residencies, New York, USA. http://pourinfos.org/art-35424-tit-Residence-Eyebeam-Residency-Call- -------------------------------------------------------------------- @ 007 (06/02/2008) Programme : semi-annual programme of conferences,Ensba, February 2008, Paris, France. http://pourinfos.org/art-35433-tit--le-programme-semestriel-de-la-salle-de -------------------------------------------------------------------- @ 008 (07/02/2008) Program: February 2008, the Point Ephémère, Paris, France. http://pourinfos.org/art-35437-tit--mois-de-fevrier-2008-le-Point-Ephemere- -------------------------------------------------------------------- @ 009 (08/02/2008) Meetings: FACTS VRILLÉS 2008, 26 Rockbrown, Montreuil, France. http://pourinfos.org/art-35431-tit--FAITS-VRILLES-2008-26-Rockbrown- -------------------------------------------------------------------- @ 010 (08/02/2008) Publication: important monograph and catalogue raisonné on designer Pierre Paulin, publishing Museum Grand Hornu archibooks Sautereau and publisher, Belgium. http://pourinfos.org/art-35438-tit--importante-monographie-et-catalogue -------------------------------------------------------------------- @ 011 (08/02/2008) Publication: MISTICO FEBBRAIO CON DROME magazine, Rome, Italy. http://pourinfos.org/art-35446-tit--MISTICO-FEBBRAIO-CON-DROME-magazine- -------------------------------------------------------------------- @ 012 (08/02/2008) Publication: New New releases, Joel Hubaut, POLYPHONIX 40 / Journals spoken and DOCUMENTS / Collages, cut-ups, sampling, Tracelabel, Paris, France. http://pourinfos.org/art-35447-tit--Nouveautes-New-releases-Joel-Hubaut- -------------------------------------------------------------------- @ 013 (08/02/2008) Publication: DVDs, editions MK2, Paris, France. http://pourinfos.org/art-35449-tit--DVDs-edition-MK2-Paris- -------------------------------------------------------------------- @ 014 (08/02/2008) Publication: THE UNREADy 07, A MAGAZINE PROJECT, Paris, France. http://pourinfos.org/art-35450-tit--THE-UNREADy-07-A-MAGAZINE-PROJECT- -------------------------------------------------------------------- @ 015 (08/02/2008) Publication: NEWS MEDIA, r-diffusion, Strasbourg, France. http://pourinfos.org/art-35451-tit--NOUVELLES-PARUTIONS-r-diffusion- -------------------------------------------------------------------- @ 016 (08/02/2008) Publication: Release of books in March edition archibooks, Paris, France. http://pourinfos.org/art-35452-tit--sortie-d-ouvrages-en-mars-edition -------------------------------------------------------------------- @ 017 (08/02/2008) Publication: Ai Kitahara, "How We Divide The World," The exhibition catalogue, Shiseido Gallery, Tokyo, Japan. http://pourinfos.org/art-35453-tit--Ai-Kitahara-How-We-Divide-The-World- -------------------------------------------------------------------- @ 018 (08/02/2008) Publication: DROME magazine, DROME 12 - freedom, the first in the trilogy, Rome, Italy. http://pourinfos.org/art-35454-tit--DROME-magazine-DROME-12-liberte-the -------------------------------------------------------------------- @ 019 (08/02/2008) Formation : Workshop "mixt," In partnership with Kër Thiossane, the collective Culture Ailleurs, Dakar, Senegal. http://pourinfos.org/art-35456-tit-Formation-Workshop-mixt-En -------------------------------------------------------------------- @ 020 (08/02/2008) Job Vacancy: International Competition for the post of Director at the MACBA in Barcelona, Spain. http://pourinfos.org/art-35457-tit--Concours-international-pour-le-poste-de -------------------------------------------------------------------- @ 021 (08/02/2008) Formation : 2007-2008 SEASON, Cipac, Paris, France. http://pourinfos.org/art-35458-tit-Formation-SAISON-2007-2008-Cipac-Paris- -------------------------------------------------------------------- @ 022 (08/02/2008) Offre d'emplpoi : Offer emplpoi: offer of the post civil volunteering, Convenor (trice) network IASTAR, the campus radio network, Paris, France. http://pourinfos.org/art-35459-tit-Offre-d-emplpoi-offre-de-poste-en -------------------------------------------------------------------- @ 023 (08/02/2008) Job Vacancy: Kinglassie Radio Project Co-ordinator, Fife, United Kingdom. http://pourinfos.org/art-35460-tit--Kinglassie-Radio-Project-Co-ordinator- -------------------------------------------------------------------- @ 024 (08/02/2008) Various: THE RIGHT OF ARTISTS TO ENFORCE THE ARTISTS BY THEMSELVES, Fred Forest, webnetmuseum.org, Paris, France. http://pourinfos.org/art-35462-tit-Divers-LE-BON-DROIT-DES-ARTISTES-A-FAIRE -------------------------------------------------------------------- @ 025 (08/02/2008) Various: Third letter interactive, Progress of the permanent centre of Design, Echirolles, France. http://pourinfos.org/art-35463-tit-Divers-Troisieme-lettre-interactive- -------------------------------------------------------------------- @ 026 (08/02/2008) Divers : program (Printemps des Poètes) Spring program of Poets in Cahors, 4-15 March 2008, Cahors, France. http://pourinfos.org/art-35464-tit-Divers-programme-Printemps-des-Poetes-a -------------------------------------------------------------------- @ 027 (08/02/2008) Various: Land Art in peril, yet few days to "save" Spiral Jetty, Great Salt Lake, Robert Smithson, Usa. http://pourinfos.org/art-35465-tit-Divers-Land-Art-en-peril-encore-quelques -------------------------------------------------------------------- @ 028 (08/02/2008) Various: opening a new space 'La taupinière', Plaine de Plainpalais, Geneva, Switzerland. http://pourinfos.org/art-35466-tit-Divers-ouverture-de-La-taupiniere- -------------------------------------------------------------------- @ 029 (08/02/2008) Various: Release of the French actors of "Media Culture", France. http://pourinfos.org/art-35467-tit-Divers-Communique-des-acteurs-culture -------------------------------------------------------------------- @ 030 (08/02/2008) Various: Les Ateliers de Rennes, new contemporary art biennale, Rennes, France. http://pourinfos.org/art-35468-tit-Divers-Les-Ateliers-de-Rennes-nouvelle -------------------------------------------------------------------- @ 031 (08/02/2008) Various: Artist photographer Sarah Dobai research models, Paris, France. http://pourinfos.org/art-35469-tit-Divers-Artiste-photographe-Sarah-Dobai -------------------------------------------------------------------- @ 032 (08/02/2008) Various: FOUR - moving forward, Dubblin, Ireland. http://pourinfos.org/art-35471-tit-Divers-FOUR-moving-forward-Dubblin- -------------------------------------------------------------------- @ 033 (08/02/2008) Call: Prix Ars Electronica 2008 - Call for Entries, Linz, Austria. http://pourinfos.org/art-35472-tit--Prix-Ars-Electronica-2008-Call-for -------------------------------------------------------------------- @ 034 (08/02/2008) Call for Participation: "FOR YOU AND WHAT IS ART? "Draft International (!) Collective 2008, Toulouse, France. http://pourinfos.org/art-35473-tit--ET-POUR-TOI-C-EST-QUOI-L-ART-Projet -------------------------------------------------------------------- @ 035 (08/02/2008) Call: Call for Artists: Contemporary Flanerie: Reconfiguring Cities, Oakland University, USA. http://pourinfos.org/art-35474-tit--Call-for-Artists-Contemporary-Flanerie- -------------------------------------------------------------------- @ 036 (08/02/2008) Call: for artists, artisty space, Denain, France. http://pourinfos.org/art-35475-tit--Espace-artisty-Denain- -------------------------------------------------------------------- @ 037 (08/02/2008) Call: Search artist (innovative and original!) Who worked on Theme of "home" to organize an exhibition in offices, TroisTemps Agency, Paris, France. http://pourinfos.org/art-35476-tit--Recherche-artiste-innovant-et-original -------------------------------------------------------------------- @ 038 (08/02/2008) Call: ARTCAST: CALL FOR ART PODCASTABLE, Lancaster, United Kingdom. http://pourinfos.org/art-35477-tit--ARTCAST-CALL-FOR-PODCASTABLE-ART- -------------------------------------------------------------------- @ 039 (08/02/2008) Call: CONCURS REAL TIME - ULTIMS DIES - FESTIVAL REC, Tarragona, Spain. http://pourinfos.org/art-35478-tit--CONCURS-REAL-TIME-ULTIMS-DIES- -------------------------------------------------------------------- @ 040 (08/02/2008) Call: Visual artists, SOKO (A), gallery window, Brussels, Belgium. http://pourinfos.org/art-35479-tit--Plasticiens-A-SOKO-galerie-vitrine- -------------------------------------------------------------------- @ 041 (08/02/2008) Call for Participation: Reminder Call for Abstracts: The Future of Space Exploration, Glasgow, United Kingdom. http://pourinfos.org/art-35480-tit--Reminder-Call-for-Abstracts-The -------------------------------------------------------------------- @ 042 (08/02/2008) Publication: Invitation to an artist book project by Shahram Entekhabi, Berlin, Germany. http://pourinfos.org/art-35481-tit--Invitation-to-an-artist-book-project-by -------------------------------------------------------------------- @ 043 (08/02/2008) Residences: Call for artists - A.I.R. International Artists Residencies / FilmFest-Summer 2008 - BUDAPEST, Hungary http://pourinfos.org/art-35482-tit-Residences-Call-for-artists-A-I-R- -------------------------------------------------------------------- @ 044 (08/02/2008) Call: EUROPEAN SOUND DELTA, COLLECTIVE MU, Paris, France. http://pourinfos.org/art-35483-tit--EUROPEAN-SOUND-DELTA-COLLECTIF-MU- -------------------------------------------------------------------- @ 045 (08/02/2008) Call: "Ici et ailleurs", Here and elsewhere, Brest 2008, Brest, France. http://pourinfos.org/art-35484-tit--Ici-et-ailleurs-Brest-2008-Brest- -------------------------------------------------------------------- @ 046 (08/02/2008) Call: call for the project, creating a work of art in tribute to Antoine Pinay, Saint-Symphorien-on-Coise, France. http://pourinfos.org/art-35485-tit--appel-a-projet-creation-d-une-uvre -------------------------------------------------------------------- @ 047 (08/02/2008) Residence: Komplot Residency in Brussels, Belgium. http://pourinfos.org/art-35486-tit-Residence-Komplot-Residency-in-Brussels- -------------------------------------------------------------------- @ 048 (08/02/2008) Call: TWO PROJECTS MAIL ART, "Rue des Graphics and the Comic Strips", Castelnau-Montratier, France. http://pourinfos.org/art-35487-tit--DEUX-PROJETS-MAIL-ART-Rue-des -------------------------------------------------------------------- @ 049 (08/02/2008) Call: CALL FOR FILMS / CNG 7th FESTIVAL, New Generation Theater, Lyon, France. http://pourinfos.org/art-35489-tit--APPEL-A-FILMS-7eme-FESTIVAL-CNG-Cinema -------------------------------------------------------------------- @ 050 (09/02/2008) Meetings: publication, the magazine "le croquant " Our Modernity Between technical and aesthetic, Saturday, February 9, library, in many ways, Lyon, France. http://pourinfos.org/art-35354-tit--la-revue-le-croquant-Notre -------------------------------------------------------------------- @ 051 (09/02/2008) Call: Any sound or music, Canadian 60x60 Project, Concordia University, Montreal, Canada. http://pourinfos.org/art-35488-tit--Any-sound-or-music-Canadian-60x60 -------------------------------------------------------------------- @ 052 (09/02/2008) Call: EUROPA Transitland Commissioned Videos, InterSpace Association, Sofia, Bulgaria. http://pourinfos.org/art-35490-tit-Appel-a-canidature-Transitland-EUROPA -------------------------------------------------------------------- @ 053 (09/02/2008) Call for Participation: Submit Your Stories of Love, Open Call, Vancouver, Canada. http://pourinfos.org/art-35491-tit--Submit-Your-Stories-of-Love-Open-Call- -------------------------------------------------------------------- @ 054 (09/02/2008) Call for Participation: Call for artists, Queer Festival 2008 Zagreb, Zagreb, Croatia http://pourinfos.org/art-35492-tit--Call-for-artists-Queer-Zagreb-Festival -------------------------------------------------------------------- @ 055 (10/02/2008) Meetings: Stéphane Carrayrou, Sunday, February 10, 2008, Photographic Centre d'Ile-de-France, Pontault-Combault, France. http://pourinfos.org/art-35443-tit--Stephane-Carrayrou-Le-bruissement-des -------------------------------------------------------------------- @ 056 (10/02/2008) Call: call for the project, "Nuit blanche d'Amiens 2008", Amiens, France. http://pourinfos.org/art-35493-tit--appel-a-projet-Nuit-blanche-d-Amiens -------------------------------------------------------------------- @ 057 (10/02/2008) Call for Participation: One Minute Film & Video Festival Aarau, Switzerland. http://pourinfos.org/art-35494-tit--One-Minute-Film-Video-Festival-Aarau- -------------------------------------------------------------------- @ 058 (10/02/2008) Call: An International open competition to take part in the exhibition "ILLUMINATORS, Russia. http://pourinfos.org/art-35495-tit--An-International-open-competition-to-take -------------------------------------------------------------------- @ 059 (11/02/2008) Meetings: myth, art and politics 4 Encounters with Marc Nichanian, February 11, 2008, UTOPIANA, Geneva, Switzerland. http://pourinfos.org/art-35434-tit--mythe-art-et-politique-4-avec-Marc -------------------------------------------------------------------- @ 060 (12/02/2008) Meetings: Christelle Familiari, campus of the University of Nantes, Tuesday, February 12, 2008, Nantes, France. http://pourinfos.org/art-35439-tit--Christelle-Familiari-campus-de -------------------------------------------------------------------- @ 061 (15/02/2008) Rencontres : Fourth meeting of the round table discussion of cycle art [espace] at the Sorbonne, and amphi Turgot amphi Richelieu, the Sorbonne University, Paris, France. http://pourinfos.org/art-35425-tit--Quatrieme-rencontre-debat-du-cycle-art -------------------------------------------------------------------- @ 062 (15/02/2008) Meetings: Conversations European artistic theories and practices in the former Eastern Europe, February 15, 2008, Jeu de Paume, Paris, http://pourinfos.org/art-35429-tit--Conversations-europeennes-theories-et -------------------------------------------------------------------- @ 063 (15/02/2008) Publication: 2008 Utopia, guide Rhone-Alpes Mediterranean culture Paris 2008, Lyon, France. http://pourinfos.org/art-35445-tit--Utopia-2008-guide-Rhone-Alpes-culture -------------------------------------------------------------------- @ 064 (15/02/2008) Meetings: Economics is a 0-off series Upgrade! The Glass Menagerie, February 15 to 20h on Sunday, February 17 at 20h, Paris, France. http://pourinfos.org/art-35455-tit--Economie-0-est-un-hors-serie-Upgrade-la -------------------------------------------------------------------- @ 065 (16/02/2008) Meetings: Streaming Media Toi / Stream on You, on 16 and 17 February 2008, iMAL Center for Digital Cultures and Technology, Brussels, Belgium. http://pourinfos.org/art-35436-tit--Streaming-de-Toi-Stream-on-You-les-16 -------------------------------------------------------------------- @ 066 (17/02/2008) Meetings: Meetings Internet mon amour Should we be afraid of Web 2.0?, February 17, 2008, Third Eye cycle, Centre Pompidou, Paris, France. http://pourinfos.org/art-35428-tit--Internet-mon-amour-Faut-il-avoir-peur -------------------------------------------------------------------- @ 067 (20/02/2008) Meetings: Contemporary Typography, deValence Conference, Fine Arts Department, University of Paris 8, Saint-Denis, France. http://pourinfos.org/art-35426-tit--Typographie-contemporaine-Conference-de -------------------------------------------------------------------- @ 068 (22/02/2008) Meetings: Robotics: emotional machines, Nautilus.cet, Friday, February 22, 2008, Montreuil, France. http://pourinfos.org/art-35440-tit--Robotique-les-machines-emotionnelles- -------------------------------------------------------------------- @ 069 (22/02/2008) Various: New national mobilization - cinema and audiovisual, Friday, February 22 at 21:00, Cesar ceremony, Paris, France. http://pourinfos.org/art-35461-tit-Divers-Nouvelle-mobilisation-nationale- -------------------------------------------------------------------- @ 070 (23/02/2008) Exhibition: Wandering Library 2, the mobile library, here Cargo 21, Paris, France. http://pourinfos.org/art-35427-tit--Wandering-Library-2-La-bibliotheque -------------------------------------------------------------------- @ 071 (26/02/2008) Formation : Workshop / MASTERCLASS SuperCollider, 26 to 29 February and 1 March 2008, Confluences, Paris, France. http://pourinfos.org/art-35373-tit-Formation-ATELIER-MASTERCLASS ----------- From difusion at medialab-prado.es Wed Feb 13 15:56:24 2008 From: difusion at medialab-prado.es (Difusion Medialab-Prado) Date: Wed, 13 Feb 2008 11:26:24 +0100 Subject: [Announcements] Digital Networks and Physical Space: Call for Collaborators] Message-ID: <47B2C5D0.9000100@medialab-prado.es> logo medialab-prado Plaza de las Letras C/ Alameda, 15 · 28014 Madrid 913692303 www.medialab-prado.es *ENTRADA GRATUITA / * *FREE ADMISSION* (Spanish below) *<2nd Inclusiva-net Meeting: Digital Networks and Physical Space> * *Open Call for Collaborators** **Deadline: February 26* Medialab-Prado issues a call for all those interested in taking part in the Inclusiva-net workshop, by collaborating in any of the teams that will develop the selected proposals on *digital networks and physical space*, that will be taking place at Medialab-Prado from *March 3 through 14*. If you are interested, please check the selected projects and visit the forum where you can contact authors, ask questions or Online submissions deadline: *February 26* Medialab-Prado will offer accommodation in a youth hostel for 10 collaborators coming from outside Madrid (first-come-first-served basis): don't forget to specify arrival and departure date if your are going to chose this option. More information: http://www.inclusiva-net.org * *Inclusiva-net Forum: http://forommm.intermediae.es/viewforum.php?id=5 ------------------------------------------------------------------------ *<2º Encuentro Inclusiva-net: Redes digitales y espacio físico> * *Convocatoria abierta para colaboradores **Hasta el 26 de febrero* Convocatoria para colaborar en el desarrollo de los proyectos seleccionados para el taller/seminario sobre *Redes digitales y espacio físico*, que se celebrará en Medialab-Prado *del 3 al 14 de marzo*. Los interesados pueden consultar los proyectos en y participar en el foro para contactar directamente con los autores, plantear dudas o exponer sus intereses y expectativas. Inscripciones online *hasta el 26 de febrero* Para los residentes fuera de Madrid, Medialab-Prado cubrirá 10 estancias en un albergue juvenil (las plazas se asignarán por orden de recepción de solicitudes). Más información en: http://www.inclusiva-net.org * *Enlace al foro: http://forommm.intermediae.es/viewforum.php?id=5 -- Nerea García Garmendia Medialab Prado Área de Las Artes, Ayuntamiento de Madrid Plaza de las Letras Alameda, 15 28014 Madrid Tfno. +34 914 202 754 difusion at medialab-prado.es www.medialab-prado.es -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080213/a0b83497/attachment-0001.html -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: image/jpeg Size: 90174 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20080213/a0b83497/attachment-0001.jpe From anne at freewaves.org Thu Feb 14 06:42:20 2008 From: anne at freewaves.org (Anne Bray) Date: Wed, 13 Feb 2008 17:12:20 -0800 (PST) Subject: [Announcements] Reminder: Freewaves Media Art Festival OPEN CALL - due Feb. 29 Message-ID: A reminder: the submission deadline is February 29, 2008 *PLEASE POST/FORWARD* OPEN CALL: Freewaves (experimental media art, video, animation, cell videos, wifi events, images for electronic moving signs+) HollyWould... Freewaves' 11th Festival of New Media Arts Freewaves' HollyWould... festival will take place in October 2008, in the perceived world capital of media on Hollywood Boulevard. We are looking for INTERESTING WORKS THAT REPRESENT AN ALTERNATIVE TO MAINSTREAM MEDIA or directly relate to Hollywood. Selected festival works will be installed in this urban hall of mirrors in screening rooms, art centers, stores, vacant walls intersecting with audiences where they live, recreate and shop. Competitive selection process will be conducted online by a group of international and local curators with a range of specialties and backgrounds. - Work must be completed since January 1, 2005. - Notification of acceptance is in July 2008. - Artists will be paid $100-$200 for selected works. For submission details, online entry form and Hollywood Boulevard photo gallery, see: http://ent.groundspring.org/EmailNow/pub.php? module=URLTracker&cmd=track&j=190966778&u=1926394 Contact: anne at freewaves.org and http://ent.groundspring.org/EmailNow/pub.php? module=URLTracker&cmd=track&j=190966778&u=1926395 ---------------------------------------- You are subscribed to this list as monica at sarai.net. To unsubscribe, send email to unsubscribe.236124.190966778.3888227696366860023- monica_sarai.net at en.groundspring.org. Our postal address is 2151 Lake Shore Avenue Los Angeles, California 90039 United States Visit http://ent.groundspring.org/EmailNow/pub.php? module=URLTracker&cmd=track&j=190966778&u=1926396 From machleetank at gmail.com Tue Feb 12 23:18:32 2008 From: machleetank at gmail.com (Jasmeen P) Date: Tue, 12 Feb 2008 23:18:32 +0530 Subject: [Announcements] question/ answer : Blank Noise Message-ID: Hello With our most recent blog postat Blank Noise we want to open a space for dialogue. Please send in your rarely asked burning questions about Blank Noise to us at blurtblanknoise at gmail.com or leave it in the comments section below. New volunteers are requested to participate more so, because with the answering of questions and clearing of doubts we will be able to hopefully move forward. It is always exciting and challenging to work with volunteers from across the country because every individuals brings in his or her enthusiasm and interprets Blank Noise in a unique way. At the end 20 questions will be selected and answered right here on the blog! All questions will be shared on the blog*. * *Deadline for questions is Feb 22nd. Answers will be published in a week from the due date ** * We thank you. always! Blank Noise Team BLANK NOISE www.blog.blanknoise.org PHONE : 0091 98868 40612 -- ph: + 91 98868 40612 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080212/ce65077e/attachment.html From stevedietz at yproductions.com Sun Feb 10 22:15:10 2008 From: stevedietz at yproductions.com (Steve Dietz) Date: Sun, 10 Feb 2008 08:45:10 -0800 (PST) Subject: [Announcements] Climate Clock Artist Commission Message-ID: Hi all, Below is some information about a significant artist commission opportunity in several stages resulting, ultimately, in a potential $15 million project. Please consider applying and/or forwarding to people and networks you believe should know about this opportunity. Thanks. Steve Company: fuse:_ CADRE / Montalvo / San Jose / ZERO1 Job Title: Climate Clock artist-led team Description: The Climate Clock Global Initiative is seeking ideas from artist-led teams to create a major artwork entitled Climate Clock, which will measure changes in greenhouse gas levels, and be the first in a series of global projects calling attention to climate change. Climate Clock will be an instrument of long-term measurement and will collect data for 100 years. The artwork will be located in downtown San Jose, California, Silicon Valley’s city center, and will be a collaboration between an artist-led team composed of artists, international and Silicon Valley engineers and other creative professionals who are working with climate measurement and data visualization. It is anticipated that the budget for the construction of Climate Clock will be between $5 and $15 million, depending upon the scope of the final proposal. To view the call visit http://cadre.sjsu.edu/fuse/strategem.html, for a PDF of the call, please visit http://www.sanjoseculture.org/? pid=4500 and to apply, go to http://www.callforentry.org, register a username and password, navigate to “Apply to Calls”, and search for “San Jose Climate Clock”. The Climate Clock Initiative is a collaboration between FUSE: cadre/ montalvo artist research residency initiative and the City of San Jose Public Art program in cooperation with ZERO1. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080210/a6ca96e9/attachment-0001.html From turbulence at turbulence.org Mon Feb 11 19:46:20 2008 From: turbulence at turbulence.org (Turbulence) Date: Mon, 11 Feb 2008 09:16:20 -0500 Subject: [Announcements] Upgrade! Boston: Bill Seaman Message-ID: <001101c86cb8$c0117150$403453f0$@org> Upgrade! Boston: Bill Seaman http://turbulence.org/upgrade/archives/02_12_08BS.html DATE: February 12, 2008 TIME: 7:00-9:00 pm VENUE: North 181 - entrance on Evans Way Massachusetts College of Art + Design 621 Huntington Avenue Boston, MA. Bill Seaman explores Recombinant Poetics through installations, virtual reality, video, computer controlled laserdisc, and other computer-based media. Major new works include the Hybrid Invention Generator, an exploration of machinic genetics with collaborator Gideon May; two site specific works, Epiphany / Zjavenie, Trnava, Slovakia; and a piece for P0es1s: Aesthetics of Digital Poetry, Berlin, Germany. He is currently working on The Thoughtbody Environment with scientist Otto Rössler, and developing new digital works with David Durand and Daniel Howe. Seaman's works have been in numerous international festivals and museum shows. He was awarded the Prix Ars Electronica in Interactive Art (1992 & 1995), Linz, Austria; International Video Art Prize, ZKM, Karlsruhe, Germany; Bonn Videonale prize; First Prize, Berlin Film / Video Festival, for Multimedia in 1995; and the Visual Arts Prize. He won the Leonardo Award for Excellence in 2002 for his article OULIPO | vs | Recombinant Poetics. Seaman received a PH.D. from the Centre for Advanced Inquiry In The Interactive Arts (CAiiA), University of Wales, Newport. He holds a Master of Science in Visual Studies from the Massachusetts Institute of Technology. He is a self-taught composer and musician. Seaman is Chair of the Graduate Digital+Media Department at Rhode Island School of Design where he is exploring issues related to the continuum between physical and virtual/media space. PLAN AHEAD: Calendar http://turbulence.org/upgrade/calendar.html About Upgrade! Boston http://turbulence.org/upgrade Upgrade! Boston is curated by Jo-Anne Green for Turbulence.org in partnership with the Studio for Interrelated Media at Massachusetts College of Art + Design. It is one of 27 nodes currently active in Upgrade! International, an emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. If you would like to present your work or get involved, please email jo at turbulence dot org. If you no longer wish to receive these notices, please reply to this email with “UNSUBSCRIBE” in the subject line. Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 • Boston: 617.522.3856 Turbulence: http://turbulence.org Networked_Performance Blog: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Upgrade! Boston: http://turbulence.org/upgrade New American Radio: http://somewhere.org From kj.impulse at gmail.com Wed Feb 13 12:23:43 2008 From: kj.impulse at gmail.com (Kavita Joshi) Date: Wed, 13 Feb 2008 12:23:43 +0530 Subject: [Announcements] [DFA NewsLetter] Fwd: Where's Sandra? on NDTV 24x7 In-Reply-To: References: Message-ID: <821019d70802122253x4c795741wc21300a928450097@mail.gmail.com> ---------- Forwarded message ---------- Dear Friends Where's Sandra? will be broadcast on NDTV 24x7's new slot Documentary 24x7 at the following times: Thursday Feb. 14 – 9.30 p.m. (at night) Sunday Feb 17 - 1.30 p.m (in the afternoon) Please do watch and let as many people know as possible. Also, please send feedback/support for the slot to documentary24x7 at ndtv.com since it will help in expanding the space we hope! Paromita ABOUT THE FILM WHERE'S SANDRA? (Documentary, 18 min., English, Digital Video) Produced by: CELEBRATE BANDRA TRUST Directed by: PAROMITA VOHRA Camera: AVIJIT MUKUL KISHORE Sound: ANITA KUSHWAHA Editors: JABEEN MERCHANT, SANKALP MESHRAM Actors: TUHINA VOHRA, SONALI VERMA, RACHEL LOPEZ Who is Sandra? And if she's from Bandra where is she? If you saw her would you know her? As you walk through Bandra past the rozedars buying food from Jeff's, the college kids making the mochas last, the aunties haggling with the vegetable sellers, the biker boys on Bandstand, the commuters pouring out of the sunlit old station building you may well ask Where's Sandra? This short film looks for the answers in random encounters and intimate conversations – in Church, with a priest who leads us through the graveyard, in the words of poets and the songs of Hindi films, in the ladies compartment of the local train where a group of women sing Konkani songs, finally finding several Sandras in Bandra. Some hate their name, some love it but didn't start out in Bandra and some turn out to be fraudulently claiming the title. The film wanders around Bandra wondering about Sandra – stereotype or fantasy? Affectionate parody or vicious mockery? Still here or just a figment from the past? - -- Paromita Vohra DEVI PICTURES Email:parodevi AT gmail.com - --~--~---------~--~----~------------~-------~--~----~ Please DO NOT REPLY to the sender. To contact the MODERATOR: delhifilmarchive [at] gmail.com To UNSUBSCRIBE: send an email to delhifilmarchive-unsubscribe at googlegroups.com More OPTIONS are on the web: http://groups.google.com/group/delhifilmarchive WEBSITE: www.delhifilmarchive.org See the LIST OF FILMS in the Archive: http://www.delhifilmarchive.org/archive.html -~----------~----~----~----~------~----~------~--~--- From keshvani at leoalmanac.org Wed Feb 13 14:30:26 2008 From: keshvani at leoalmanac.org (Nisar Keshvani, LEA) Date: Wed, 13 Feb 2008 17:00:26 +0800 Subject: [Announcements] Leonardo Electronic Almanac Supplement Volume 15, Number 11 - 12, 2007 Message-ID: <5d60ab0c0802130100o7b4ce2e1y981f19d844f644ab@mail.gmail.com> ________________________________________________________________ Leonardo Electronic Almanac Volume 15, Number 11 - 12, 2007 http://leoalmanac.org ISSN #1071-4391 ________________________________________________________________ LEONARDO REVIEWS ---------------- < Introduction > by Michael Punt < Take Your Time: Olafur Eliasson > reviewed by Amy Ione < (Un)common Ground: Creative Encounters across Sectors and Disciplines > reviewed by Jonathan Zilberg LEONARDO -------- < Contents: Leonardo Vol. 41, No. 1 (2008) > LEONARDO NETWORK NEWS --------------------- < Leonardo Connects with Educators and Students > < LEA Named Official Media Sponsor of ISEA 2008 > < Leonardo Collaborates on Art and Climate Project > < Leonardo Book Series Enjoys Another Successful Year > < Discussion on Tenure in Art/Science/Technology Departments > < Smart Textiles: Science and Technology of Textile Art > < Leonardo Day at UC Berkeley New Media Festival > < In memoriam: Karlheinz Stockhausen > By Annick Bureaud < In memoriam: Dimitris Skoufis > BYTES ----- < Rensselaer Polytechnic seeks Electronic Arts Department Head > < Cleveland Institute of Art seeks Assistant/Associate Professor for Biomedical Art Department > < Cleveland Institute of Art seeks full-time faculty Design Theorist > ______________________________________________________ LEONARDO REVIEWS FEBRUARY 2008 ______________________________________________________ For this issue of Leonardo Electronic Almanac we are featuring two long reviews from the February postings not least because they do what we do best: keeping track of events drawing on the first person expertise that exists in the world. Amy Ione, as many of you know, is an international lecturer, a painter, and a writer, and has long explored discovery, creativity, innovation, invention, and historical challenges in art and science. She maintains a constant flow of current events and debates through the Diatrope Institute http://www.diatrope.com/ and is one of the long-standing contributors to the Leonardo Reviews Project. Jonathan Zilberg, who is the author of the second featured review is a cultural anthropologist with field research and museum experience in Latin America, America, Europe, Africa and Asia. He specialises in art and religion. Since the early 1980s, he has been exploring religious symbolism in diverse art forms past and present in Central America, Africa and Southeast Asia. His current research is on the Indonesian reaction to the rise of Islamic fundamentalism and on the nexus of archaeology and fashion in Indonesia. His review of (Un)common Ground: Creative Encounters across Sectors and Disciplines is especially welcome since, as a study of cross-sector collaborations between the academic and commercial worlds, he is able to comment on it from the ground of his own field experience. These and the rest of the reviews for February 2008 are at < www.leonardo.info/ldr.html> along with the archive of all the work of our review panel. Michael Punt Editor-in-Chief Leonardo Reviews < Take Your Time: Olafur Eliasson > Curated by Madeleine Grynsztejn San Francisco Museum of Modern Art Exhibition Catalogue, edited by Madeleine Grynsztejn Thames & Hudson, 2007 272 pages, 200+ color reproductions Hardcover: $50 Language: English ISBN-10: 0500093407 ISBN-13: 978-0500093405 Reviewed by Amy Ione The Diatrope Institute 2342 Shattuck Ave, #527 Berkeley, CA 94704 USA ione [at] diatrope [dot] com After spending several afternoons with Take your time: Olafur Eliasson, engaging with light-filled kaleidoscopic environments, his free-standing sculpture, his series of wall-mounted photographic stills, and his reconfiguration of elements (e.g., moss, water, rock, etc.), it is clear that Eliasson's reputation as a seasoned and influential artist is well deserved. Words are not capable of replicating the real time sensory engagement with the ordinary spaces that he transforms into sites of wonder. Indeed, it is even hard to say whether the results are art, science, architecture, play, or something else entirely. Fortunately, for those not yet acquainted with his work, the full-scale survey now on display at the San Francisco Museum of Modern Art (SFMOMA) will also travel to New York, Dallas, and Sydney, Australia (see below). Suffice to say that Take Your Time captures Eliasson's ability to promote an awareness of the conventions of seeing and stimulates a critical attitude toward the processes of perception as well. It is an effective space for displaying his distinctive energy, inviting the viewer's active participation, and raising perceptual questions. On display are the six fundamental aspects of his practice: a distinctive use of mirrors to displace the viewer's perception of both object and self; an exploration of light and optical phenomena via immersive environments that interact with the viewer for full effect; the use of kaleidoscopic elements to bring the outdoors into the gallery, merging nature with culture; a deep attention to and manipulation of landscape referents; a disposition toward scientific methods and materials, including the willful exposure of the creative process; and, finally, photographic suites of the Icelandic landscape. Among the most tantalizing pieces in the show is the One-way Colour Tunnel (2007), a walk-through structure built on the Museum's thirty-eight-foot pedestrian sky bridge and visible from the atrium five stories below. Serving as one of two entrances to the show, (the other one is from off the elevator), this piece demonstrates how effectively the artist takes advantage of this museum's architectural features (much the way the Sol LeWitt exhibition at SFMOMA did several years ago). Saying that this work's position and visibility invites the viewer in, while accurate, would seem to underplay the degree to which each installation stimulates active participation. Constructed with stainless steel, color-effect acrylic, and acrylic mirrors, two aspects of the construction continued to fascinate me. One is that it evoked the kaleidoscopes I used as a child. These devices contained mirrors and colored objects, and when held to the light and turned, an evolving symmetrical pattern would emerge. Within the One-way Colour Tunnel, it is as if you have walked into a kaleidoscope. Ambient light seamlessly meshes with the object, and the pattern alters with your movement. This sensation of natural immersion feels more organic than computer-assisted virtual reality, although no less effective. The second aspect of this piece that fascinates me is its involvement with the light that surrounds the tunnel, much of which comes through the many windows at the museum. Each time I walked through the tunnel, I wondered how much the colors would change from day to day or even as the sun followed its course throughout the day. Multiple Grotto (2004), an enchanting stainless steel piece owned by SFMOMA, also has perfect pitch. Here, too, the artwork is a dramatic extension beyond the tubular kaleidoscope that one holds. The cones that form this walk-in sculpture are based upon crystalline patterns found in nature. When standing within its core and gazing out through the myriad openings, the viewer sees the kaleidoscopic colors of the surrounding environment turned into a pattern that changes as other people travel around outside of the sculpture. From the outside, it is obvious that the open, outer ends of the cones have different shapes and angles, with some having three sides and others four. This influences the geometry of the patterned reflections that form on the mirrors, although I cannot comment specifically on how. What I can say is that the installation created a meditative feeling (in a sublime sense) without removing my cognitive impulse to know how it worked, although this comparison may sound like a self-contradiction. More thought-provoking than meditative is The Model Room, a collection of objects intended to provide a glimpse into Eliasson's creative process, (e.g., Möbius strips, mirrored geodesic domes, quasi-crystals made of foamcore and foil, kaleidoscopes, and intricate lattice shapes based on mathematical principles). These maquettes and mixed media models features the inquisitiveness that is at play in Eliasson's studio. Some of the catalogue essays mention that these studies are often unsuccessful explorations. Yet, overall they express a rigor that belies the sensual triggers within the art itself. His studio, it seems, serves as a laboratory for investigating diverse materials and forms and, within this space, he seems to balance the intuitive and mathematical sides of his mind. On the one hand, the clutter brings to mind the curiosity cabinets of earlier eras. But, on the other hand, when walking amid the experiments, it is evident that the predominantly geometrical shapes on display are strikingly different from his artistic installations. It is not just a question of the clutter versus the sparseness of the artistic enterprises. It is also that the mathematical inclination seemed to predominate. Thus, while said to represent a playful, creative side of his work, the objects do not suggest the kind of playfulness frequently associated with art. I can recall art instructors telling me long ago that you need to know the rules before you can break them. This is the comment that comes to mind when reflecting on The Model Room. What also comes to mind in this studiolo is Eliasson's aspiration that his art should stimulate communication. Each time I visited the show I found myself engaging with strangers and friends as we discussed our perceptions and how all of the exhibits "worked." In The Model Room, however, I found that Eliasson himself was the person I wanted to communicate with about the various objects. Talking to others was simply speculative and no one else could say what his goal was with each model, or explain precisely how he expanded on what he learned when he moved his "exercises" into the art. (Similarly, when it seemed that one of the stills in The Domadalur Daylight Series [South] [2006] was out of order, I would have liked to ask him if this was the case. Unfortunately, I could not find this series reproduced in the catalogue.) A short review cannot touch upon the variety of experiences available at the show. Much could be said about the mist and rainbow of Beauty (1993), the spectral panoramic within the 360º Room for All Colours (2002), the smell and texture of the Moss Wall (1994), and Remagine (2002), a room with spotlights that creates a moving illusion of distance and depth. All deserve more attention, as does the second Eliasson show at SFMOMA, Your Tempo (on view at SFMOMA until January 13, 2008), which features a work created as part of a long-running art car program sponsored by BMW. It is intended to focus our attention on the relation between car design and global warming. This exhibition also includes another suite of photographs and a short film focusing on a series of workshops in the artist's studio. The large-format, high-quality catalogue that accompanies Take Your Time does a fine job in critically placing Eliasson's work and supplementing the display. Edited by Madeleine Grynsztejn, who also curated the show, this publication includes more than two hundred color reproductions and 6 essays that survey Eliasson's most significant works from 1990 to the present. Eliasson's conversation with Robert Irwin offers a glimpse into the practices of both artists. Enhanced by a photograph of them speaking and supplemented by reproductions of Irwin's work that make it easy to see their stylistic affinities, it alone is worth the price of the book. Several essays reference The Weather Project, exhibited at the Tate Museum from 2003-2004 and no doubt Eliasson's best-known work. Other tantalizing projects that I wish I could detail here are also brought into focus (e.g., Green River and Frost Activity). Several sections of photographs document his career to date. These images are large enough to offer a sense of the work, with many angles and details offering further clarification. I was fascinated to see how malleable the installations are. For example, the dimensions of the rooms in the reproductions for the Moss Wall and the Room for One Colour as shown in the reproductions are clearly different from the rooms used at SFMOMA. Even from the printed visuals it was easy to imagine how my sense of the space would change had I experienced the alternative environments, where the rooms appeared larger and lower than the ones in the SFMOMA space. Many of the essays also integrate how Eliasson has been influenced by thinkers outside the art world who have commented on perceptual experience, (e.g., Merleau-Ponty, Bergson, Varela, etc.). While exceptional in most respects, Take Your Time is not flawless. Some pieces, such as the site-specific One-way Color Tunnel (2007), complement the SFMOMA space well. At other times, I thought the overall layout had some drawbacks. I missed the 360º Room for All Colours (2002) room on my first visit, found it on the second walkthrough, and missed it the third time, to my amazement, because I had planned to show it to a companion during the visit. The layout also provides two points of entry, which seemed unusual to me after reading the catalogue. Grynsztejn, for example, writes in her essay that Eliasson often opens his exhibitions with a Room for One Colour (1997) to underline the productive operation of our perceptual qualities. If one takes the elevator, the show does indeed begin that way. However, taking the stairs brings one in through the One-way Color Tunnel, which I think is a better place to start. I entered both ways, on different days, and think the bridge offers a more striking entry point. Also noteworthy is the degree to which this exhibition immediately brings to mind the Light and Space artists, James Turrell and Robert Irwin in particular. For example, the Room for One Colour (1997) reminded me of Turrell's Ganzfeld spaces, although Eliasson's work seems to have more conceptual affinities with Irwin's approach. Eliasson does distinguish himself from these older artists with his decision to expose the mechanical apparatus so that viewers can ponder how the pieces are contrived. Notion Motion (2005) shows his approach well. Visitors enter a darkened gallery with a floor of wooden planks and a gray floor-to-ceiling scrim. It quickly becomes apparent that stepping on some of the raised planks will change the wave pattern rippling on the scrim. Upon leaving this space one discovers that, behind the scrim, is the apparatus that pilots the display: a spotlight is focused on a large, shallow basin of water and the performative act creates the ripple effect on the water's surface that is projected onto the vertical scrim. All in all, Eliasson's effectiveness stems from his ability to bring you into the created environment. Take Your Time does so admirably. After seeing the show several times, I concluded that the title, Take Your Time, which struck me as a bit clichéd initially, is an apt one. Each time I walked away from the exhibits, the magic of Eliasson's creations continued to linger and my reflections drew me back to the rewarding process of being with the work. Without a doubt, this show is a must-see for all people interested in the varied ways in which art, science, and natural phenomena converge to create extraordinary, multisensory experiences. Artists, art historians, vision scientists, philosophers, and general enthusiasts will, I believe, also find that the catalogue is a definitive and comprehensive resource. Tour schedule: San Francisco Museum of Modern Art: September 8, 2007, to February 24, 2008. The Museum of Modern Art, New York, and P.S.1Contemporary Art Center: April 20 to June 30, 2008. Dallas Museum of Art: November 9, 2008, to March 15, 2009. Museum of Contemporary Art, Sydney, Australia: summer 2009. < (Un)common Ground: Creative Encounters across Sectors and Disciplines > Edited by Cathy Brickwood, Bronac Ferran, David Garcia and Tim Putnam BIS Publishers, Amsterdam, 2007 159 pp. Paper. ISBN: 978-90-6369-166-0 Reviewed by Jonathan Zilberg jonathanzilberg [at] gmail [dot] com (Un)common Ground: Creative Encounters across Sectors and Disciplines is an inspiring collection of reflective case studies of multi-dimensional cross-sector collaborations between the academic and commercial worlds, specifically in the context of a partnership between the Utrecht School of the Arts (HKU) and the media center Virtueel Platform, with support from Arts Council England. The book itself, written in the spirit of "radical pragmatism," emerged from a seminar for media experts at Amsterdam's Cross Media Week in 2006. Its aim is to investigate the dynamics of interdisciplinary practice and identify research methodologies so as to better understand how academic research and the creative industries involved in new media can engage in collaborations in mutually enriching ways. Above all, it is the intriguing notion of uncommon rather than common ground that make this such an intellectually interesting book, that is, in participatory challenges and in the contingencies, the incommensurability and the provisional relations through which knowledge emerges in interdisciplinary cross-sector collaborations. True to the title, each chapter reveals how creativity emerges from uncommon ground and how inter-disciplinary projects that nurture this natural incommensurability can produce unintended creative consequences. One of the most interesting aspects of the study is how it self-reflectively documents the unfolding of its own creation. The way in which it does so not only provides a useful model for conceptualizing, organizing, managing and documenting such projects but a record of some interesting new ventures. For instance, in the realm of art education, a guild system has been revived to provide a transitional space for art students entering the market place. Other ventures can be found in the emergent fields of inclusive design and consumer driven innovation and in the use of inclusive design in the public sphere in grassroots creative communities, and much more. In addition, (Un)common Ground describes the emergence of tactical innovation media labs and lab culture as a service industry that can be combined with educational projects so as to provide a context for enabling generative and constructivist learning environments linking academia and industry. In short, no one interested in working in new media and cross sector inter-disciplinary collaborations can afford not to read this book. That being said, the problematic aspect of this study lies in its underlying idealist sense that there is an irresolvable contradiction between creativity on the artist's part and control in industry, that is between the desire for uncontrolled expression and the power and need of the organizer to facilitate and control that expression for the purpose of the collaboration. Beyond that tension, the most interesting insights in this study have to do with how knowledge emerges in such contexts. Here it is Ann Galloway's fascinating conclusion, which stands out as remarkable. Galloway explores why we need to closely examine the scars and seams that in effect structurally define these projects. As she relates, it is important to understand what gets cut, where, when and why, and of how knowledge comes to lie in the fold. Thus beyond the markedly brief case studies, it is Galloway's reflection combined with Trebor Scholz's reprinted article "The Participatory Challenge" from Curating Immateriality (2006) that provide the kind of intellectual labor that both intellectually oriented managers and artists will want to attend. Some of these more theorized discussions are indeed surprisingly stimulating, surprising in terms of how, while they come across as intellectually playful, they are nevertheless rigorous and important for understanding new media and the changing nature of the world in the age of mass participation, or should we say potential mass participation. For instance, Charles Leadbeater introduces the notion of the beach ethic, drawing on the ordered and self-regulated behavior we experience on beaches without overt control. His insights into the profound shifts occurring in contemporary society make for fascinating reading. When read against the tensions expressed in the participatory and collaborative challenges as evident in the wide-ranging discussion of ownership, constraints and dissent in open and closed systems in Ferran's article, the fully collaborative intellectual nature of this project becomes particularly evident. There are several interesting issues relating to collaborative projects that stand out in this study. Historically, the project is interesting because it documents the creation of a new artists' guild society in Holland, where such guilds first originated, but this time in the institutionalization of interdisciplinary cross-sectoral collaborations. In terms of team building, the project is interesting as these collaborations rely on bringing together individuals who have sufficient common ground in terms of their broad competencies and uncommon ground in their respective specialist depth. And yet, despite the claims for a unique productive nexus of professionalism and achievement of the aims of the interdisciplinary creative quest, stark contradictions and shortcomings emerge - indeed uncommon ground. Two central assumptions of the study are questionable: the said rarity of successful collaborations and the importance of accepting anti-consensus over the importance of achieving consensus. Moreover, it is perhaps telling that after the collaborations, every artist stated that they would have been keen to accept a job with the companies they had worked with and yet in no instance did the companies make any such offers. The question then might be asked that if these type of collaborations were as successful as claimed, in terms of being innovative and economically productive, then why did industry not hire any of these artists with the mutual diplomatic caveat instead of allowing for the possibility of future such internships and collaborations? What has been left unsaid here, what has been cut out to a large degree, is industry's perspective, wherein in fact lies the essential differences in the critical folding process. These are the questions that I am left with, especially considering how exceedingly scant the bibliographies are in terms of engaging the enormous literature on collaborations more generally. This is particularly revealing, perhaps, in that interdisciplinary cross-sectoral collaborations are highly productive when common ground and common aims are established to achieve specific ends. One is left wondering whether collaborations involving new media are so different from other forms of collaboration that the larger literature on collaboration could not have been bridged, abridged or - in the language of this study - folded in. Simply put, in the cutting and folding process, the whole history of collaboration in the arts, science, academia and industry has been left out of the equation. Besides the challenge for more academically rigorous work, it is arguable on another level that the flaw in this study lies in the privileging of the anti-consensus model. Artists are herein being treated as gifted outsiders whose egos have to be protected in order to sustain the collaboration. Crudely put, they have to be tolerated for their potential creative input in a process in which the requirements of business to achieve particular types of products for specific ends are seen oppositionally as antithetical to the creative process. For instance, in the spirit of allowing for uncommon ground and an anti-consensus model the concerns of the managers are set aside in order not to dampen the artist's creativity. In these instances, as predicted by business, the results were indeed unsuccessful. It seems to me that there is a double standard at work in which the knowledge of the managers of the requirements of the market is not given equal standing as the need to pamper the artist. On the other hand, when one examines any successful creative industry, I would contend, that acute creative consensus and acceptance of the need to sometimes make difficult and contentious decisions is part of the process of creating any great work of art, product or project. It is surely this delicacy over avoiding rather than accepting conflict that weakens this project in its practical dimensions over and above the acceptance of the plurality of difference. Indeed, in order to analyze and reflect upon this range of experience, an anthropologist, Samuelle Carson, was hired by Arts Council England to report upon the Interact Programme in which artists were placed in creative industrial contexts. In stark contrast to the other articles in this study, Carson emphasizes a great deal of common ground and how the real differences devolve upon ownership of intellectual property generated during such collaborations. In significantly furthering this discussion, Bronac Ferran provides a critical article on contracts, "Models of Ownership in Challenges of Contemporary Creativity," which highlights the 2006 Intellectual Property Summit: Codes and Creativity through drawing together comments by key figures in new media collaborations such as Roger Malina. In this domain, it is particularly interesting to read how contracts are seen as boundary objects that allow for security and common ground. Ultimately perhaps, it is the dynamic between creativity and control that emerges as this study's contribution, an issue of substance to which Sholz and Galloway add powerful insight. However, all in all, considering that the seminar in Amsterdam (out of which this book emerged) was organized in the spirit of a radical pragmatism with the explicit goal of examining "what actually happens" in collaborations so as to dramatize differences, surely a more nuanced perspective on power and the irreducible difference between pure and applied creativity is required. In order for managers, educators and art and design professionals to engage in productive cross-sector collaborations, one has to achieve at least provisional common ground in order to create a successful product or manage a successful collaboration. And there not only should we nurture and accept friction as conflict zones in which decisions as to what to cut and how to fold inevitably have to be made but draw on the virtually galactic history of such experience both positive and negative. For instance, perhaps the starkest contradiction in the inter-disciplinary era lies in the claim that while academic institutions are populated by the most creative, innovative and individualistic of people, these same institutions, in contrast to industry when required, show the greatest resistance to change. In some degree this is certainly the case in the sense that fully interdisciplinary work can only be done from the professional safety of a firm location within one's own discipline. In fact, as interdisciplinary work is deeply constrained by turf wars between and within disciplines, it might best be seen as a zone of productive conflict akin to the folding process defining uncommon ground. While the struggle between cultural studies and anthropology is a particularly divisive example, when one considers the extraordinary vitality of the emergence of new cross-connecting sub-fields in biology, genetics and biochemistry, the vast productive nexus of university research and industry and the whole history of the industrial revolution and design, and the response to it in the Arts and Crafts Movement, never mind the penultimate example of Leonardo Da Vinci as an arts and scientist arms consultant, one has to wonder at the way in which this new Dutch guild assesses the assumed irresolvable differences between business and academia, arts and sciences, process and product. Perhaps the greatest value of better understanding uncommon ground then is that it provides us with a means to achieving more productive common ground. ______________________________________________________ LEONARDO, VOL. 41, No.1 (January 2008) TABLE OF CONTENTS AND SELECTED ABSTRACTS ______________________________________________________ < Editorial: A Call for New Leonardos > by Roger F. Malina _______________________ Special Section: Art Embodies A-Life: The VIDA Competition < Art Embodies A-life: The VIDA Competition > by Nell Tenhaaf Abstract: Artificial life artworks hold a unique place in the art world, one that has been largely mapped by the VIDA international competition through its annual recognition of outstanding works based on A-life. Works that have received awards since the VIDA competition began in 1999 (25 prize-winning artworks and 56 honorary mentions) have gained viewer appreciation and popularity at the same level as any other kind of art. Yet these works define a territory of their own, delineated here through characteristics of A-life art that arise from both the artist's studio and the research lab and that mark the 25 awarded artworks. Following this article, the Leonardo VIDA gallery presents a selection of eight prize-winning works that show the breadth of the competition to date; each is discussed here. The VIDA gallery: Paula Gaetano; France Cadet; Federico Muelas; Scott Draves; Michelle Teran and Jeff Mann; Haruki Nishijima; María Verstappen and Erwin Driessens; Marc Böhlen and JT Rinker _______________________ Artist's Article < Fractured Cybertales: Navigating the Feminine > by Juliet Davis ABSTRACT: The author considers ways in which her interactive artworks "fracture" narratives relating to femininity and critique web-design conventions that often encode these narratives. In the process, she discusses how interactive media and electronic culture provide unique opportunities for exploring gender. _______________________ Special Section: Leonardo on Leonardo da Vinci < Introduction: Leonardo and Leonardo da Vinci > by David Carrier < Leonardo da Vinci and Perpetual Motion > by Allan A. Mills ABSTRACT: Leonardo da Vinci illustrated several traditional forms of "perpetual-motion machine" in small pocket books now known as the Codex Forster. He was well aware that these designs, based on waterwheel/pump combinations, mechanical overbalancing hammers or rolling balls, would not---and could not---work. < L'Arte dei "Romori": Leonardine Devotion in Luigi Russolo's Oeuvre > by Luciano Chessa ABSTRACT: The author has discerned a deep interest in the occult arts at the core of Luigi Russolo's Art of Noises. Such an interest is confirmed by Russolo's admiration for Leonardo da Vinci. Leonardo's writings on music and acoustics constituted in fact a scientific and spiritual paradigm for Russolo; the former's mechanical musical-instrument projects were important models for Russolo's own, from 1913's intonarumori to the nuovo istrumento musicale a corde of 1931. Perhaps because of the futurists' ambivalent position toward the figure of Leonardo (proto-futurist or passatista), Russolo profusely quoted Leonardo but carefully avoided mentioning any borrowing. < Leonardo, Nonlinearity and Integrated Systems > by Ian M. Clothier ABSTRACT: In one of his lesser-known studies of flow, Leonardo da Vinci in 1513 came upon yet another question he could not answer: When blood hits the wall of the heart, does the flow split in two? In 1977, this question was answered by Albert Libchaber in an experiment that became a cornerstone of chaos theory. Can Leonardo's question, Libchaber's solution and notions of integrated systems be drawn together to create a whole? While this trajectory has its limitations, the journey has some rewards, taking in Leonardo's cosmology, chaos theory, poststructuralist philosophy, the Polynesian worldview, the Internet and the weather. < The Proportional Consistency and Geometry of Leonardo's Giant Crossbow > by Matthew Landrus ABSTRACT: The traditional scholarly appraisal of Leonardo's Giant Crossbow design dismisses it as a fanciful object, although often with praise of it as a quintessential example of his technical draftsmanship. The author offers evidence of Leonardo's likely intent that the drawing function as a reliable plan with which readers of a treatise on military engineering could consider a strategy, or an imaginative solution (a fantasia), for building the full-scale giant crossbow. At issue are the agreements between the illustrated dimensions and the written specifications, the proportional consistency of those dimensions and the possible use of Archimedean geometry to determine the primary dimensions. _______________________ Special Section: REFRESH! Conference Papers < Introduction: The Reception and Rejection of Art and Technology: Exclusions and Revulsions > by Edward Shanken < Gordon Pask: Cybernetic Polymath > by María Fernández ABSTRACT: Despite his influence in art, architecture and theater, British cybernetician Gordon Pask is rarely acknowledged in histories of digital culture and virtually unknown in the history of art. Pask is better known as a theoretician than as an artist or designer, although his machines, artwork and theories were closely related. This article investigates the relevance of specific aspects of Pask's theories to his best-known artwork, TheColloquy of Mobiles, to illustrate his characteristic unification of science and art, and theory and material experimentation. Select works of contemporary art are discussed to indicate Pask's significance to contemporary art practices. < From Technophilia to Technophobia: The Impact of the Vietnam War on the Reception of "Art and Technology" > by Anne Collins Goodyear ABSTRACT: Using the Los Angeles County Museum of Art's 1971 exhibition "Art and Technology" as a case study, this essay examines a shift in attitude on the part of influential American artists and critics toward collaborations between art and technology from one of optimism in the mid-1960s to one of suspicion in the early 1970s. The Vietnam War dramatically undermined public confidence in the promise of new technology, linking it with corporate support of the war. Ultimately, the discrediting of industry-sponsored technology not only undermined the premises of the LACMA exhibition but also may have contributed to the demise of the larger "art and technology" movement in the United States. < Vladimir Bonačić: Computer-Generated Works Made within Zagreb's New Tendencies Network (1961–-1973) > by Darko Fritz ABSTRACT: Scientist Vladimir Bonačić began his artistic career in 1968 under the auspices of the international New Tendencies movement (NT). From 1968 to 1971 Bonačić created a series of "dynamic objects"---interactive computer-generated light installations, five of which were set up in public spaces. The author shows the context of Bonačić's work within the Zagreb cultural environment dominated by the New Tendencies movement and network (1961--1973). The paper shows his theoretical and practical criticism of the use of randomness in computer-generated art and describes his working methods as combining the algebra of Galois fields and an anti-commercial approach with custom-made hardware. It seems that Bonačić's work fulfills and develops Matko Meštrović's proposition that "in order to enrich that which is human, art must start to penetrate the extra-poetic and the extra-human." _______________________ From the Leonardo Archive < Letterpress Language: Typography as a Medium for the Visual Representation of Language > by Johanna Drucker _______________________ Leonardo Reviews Reviews by Rob Harle, Nick Cronbach, Amy Ione, George Shortess, Jan Baetens, Stefaan Van Ryssen, Allan Graubard, Craig Hilton, Michael R. (Mike) Mosher,Geoff Cox, Mike Leggett, Kathryn Adams _______________________ Transactions < Graph Theory: Linking Online Musical Exploration to Concert Hall Performance > by Jason Freeman < The Seven Valleys: Capturing the Numinous in a 3D Computer Game Engine > by Chris Nelson < Obliterated Bodies: An Installation > by Ersan Ocak and Safak Uysal < Picbreeder: Collaborative Interactive Evolution of Images > by Jimmy Secretan, Nicholas Beato, David B. D'Ambrosio, Adelein Rodriguez, Adam Campbell and Kenneth O. Stanley ______________________________________________________ LEONARDO NETWORK NEWS ______________________________________________________ < Leonardo Connects with Educators and Students > As part of an ongoing effort to connect with the educational community, Leonardo/ISAST continues to promote several initiatives under the Leonardo Educators and Students Program. These include participation in conferences and events in the areas of art, science, technology and pedagogy through the Leonardo Education Forum, publication of Ph.D., MA and MFA thesis papers in the Leonardo Abstracts Service (LABS), job postings on the Leonardo International Faculty Alerts list (LIFA) and special discounts on student memberships. Students working in or interested in art, science and engineering are invited to join the Leonardo community with an annual associate membership to Leonardo/ISAST at the special student rate of $50 ( U.S.), $53 (Canada) or $83 (all other countries). Benefits include associate membership in the organization, discounts on books and invitations to join us at conferences and symposia, including the College Art Association Conference, SIGGRAPH, ISEA and others. Leonardo/ISAST is also interested in connecting with educational organizations and organizations with similar goals and interests through the Leonardo Organizational Membership Program, which was initiated in 2004 and continues to expand with new member organizations worldwide. Through the program, Leonardo/ISAST connects members of the Leonardo network and with organizations, faculty and students who are working at the confluence of art, science and technology. For more information about the Leonardo Educators and Students Program, visit: < leonardo.info/isast/educators.html>. For more information about student or organizational memberships, please visit the members page of Leonardo On-Line: . < Leonardo Electronic Almanac Named Official Media Sponsor of ISEA 2008 > We are pleased to announce that the Leonardo Electronic Almanac is the official media partner for the conference of the International Symposium on Electronic Art (ISEA) 2008, which is to be held in Singapore, 25 July to 3 August 2008. The conference will be held alongside workshops, courses, exhibitions, performances and other events over the duration of ISEA2008. The conference, as in previous ISEAs, is expected to bring together artists, theorists, historians, curators and researchers of media arts from around the world to jointly explore the most urgent and exciting questions in the field. The five themes of ISEA2008 (Locating Media, Wiki Wiki, Ludic Interfaces, Reality Jam and Border Transmission) are especially focused on eliciting a wide range of international scholars and artists. < Leonardo Collaborates on Art and Climate Project > In celebration of Leonardo's 40th anniversary, Leonardo is collaborating on a three-year project with Regional Cultural Centre Letterkenny. The collaboration, tied to the Leonardo/OLATS Pioneers & Pathbreakers Project and directed by Annick Bureaud, will include an exhibition coupling pioneers in art, science and technology with younger artists working in the same conceptual territories. In addition, the collaboration includes a three-year project, coordinated by the Leonardo Lovely Weather Art and Climate Working Group, which explores the ways in which artists and scientists are working together to address issues around global warming and climate change. The Leonardo co-sponsored YASMIN network initiated a discussion around the topic in November 2007 led by Janine Randerson. The thread is available on-line at . Leonardo seeks to document the works of artists, researchers and scholars involved in the exploration of weather and climate (change) and is soliciting texts for *Leonardo* and Leonardo Transactions, special issue proposals for the Leonardo Electronic Almanac and book proposals for the Leonardo Book Series. More information about the collaboration and how to submit material is available at: < www.leonardo.info/isast/spec.projects/lovelyweather.html>. < Leonardo Book Series Enjoys Another Successful Year > The Leonardo Book Series (LBS) continues to buzz with activity, with 6 new titles published in 2007 and many more in the pipeline. New titles in 2007 included: *Digital Performance,* by Steve Dixon; *MediaArtHistories*, edited by Oliver Grau; *From Technological to Virtual Art,* by Frank Popper; * META/DATA*, by Mark Amerika; *Signs of Life*, edited by Eduardo Kac; and *The Hidden Sense*, by Crétien van Campen. In June 2007, the publication of Eduardo Kac's book *Signs of Life* was celebrated in Paris, France with a roundtable discussion between Kac, Frank Popper, Roger Malina and Annick Bureaud (as moderator), on the role and issues of publishing for new art forms. In July 2007 LBS authors Mark Amerika and Alex Galloway each gave keynote addresses at the Tate Modern in London for the "Disrupting Narratives" symposium. In November 2007 LBS Editor-in-Chief Sean Cubitt, LBS author/editor Oliver Grau (*MediaArtHistories)* and LBS author Lev Manovich (*The Language of New Media)* participated in a telelecture, hosted by Danube University, titled "Remixing Cinema: Future and Past of Moving Images." The LBS continues to welcome new proposals by authors interested in publishing material in the converging realm of art, science and technology. Editorial guidelines are available on-line: < http://leonardo.info/isast/leobooks.html>. < Discussion on Tenure in Art/Science/Technology Departments > A discussion has been initiated on the Leonardo Education Forum (LEF) list about promotion and tenure for faculty in art/science/technology departments. See . The discussion was initiated by LEF in response to a paper outlining criteria being developed at the University of Maine in the U.S.A. The paper, titled "New Criteria for New Media," authored by Joline Blais, Jon Ippolito and Owen Smith in collaboration with Steve Evans and Nate Stormer, is available on the LEF web site: . LEF is interested in approaches by other universities for evaluating and promoting young faculty in hybrid practices that may involve professional activity in both the arts and sciences or engineering, traditional scholarly publishing or new on line publishing mechanisms. Leonardo Education Forum is focused on the professional interests of educators and young faculty as well as young professionals intending to enter teaching careers. To join the LEF discussion list, visit the LEF web site: 2007--2008 Chairs: Eddie Shanken (Chair); Andrea Polli (Co-Chair), Nina Czegledy (Co-Chair), Victoria Vesna (Co-Chair) 2007/8 Graduate and Emerging Professional Chairs: Mariah Klaneski, Josh Levy, Justin Cone < Smart Textiles: Science and Technology of Textile Art > A number of articles have been published in *Leonardo* and *Leonardo Music Journal* on topics related to the textile arts. The Smart Textiles special project expands on Leonardo's archive of textile art documentation by focusing on textile artists and scientists around the world who work with smart textiles or the new textiles science and technology. The project is supported by the Marjorie Duckworth Malina Fund, which honors the memory of a key longtime supporter of Leonardo/ISAST. The project recognizes Marjorie's dedication to the ideals of international cooperation by emphasizing the participation of artists throughout the world. Artists and researchers interested in writing about their work involving the science and technology of smart textile and clothing arts are invited to view the Leonardo Editorial Guidelines and related information at < leonardo.info/Authors> and send in a manuscript proposal to <* leonardomanuscripts at gmail.com>.*** A list of articles previously published in *Leonardo* and *LMJ* over the years is available on the Leonardo web site at: < www.leonardo.info/isast/journal/calls/smartextiles_call.html>. < Leonardo Day at UC Berkeley New Media Festival > Leonardo/ISAST is pleased to host a day-long symposium on June 3, 2008, devoted to art, science and technology as part of the UC Berkeley New Media Festival in Berkeley, CA. The two-day academic conference will be augmented with digital art exhibitions, social events and campus events and is scheduled to occur immediately before the ZeroOne Festival in San Jose, CA. One day of the UC Berkeley festival will be hosted by the UC Berkeley Center for New Media and directed by Richard Rinehart (Digital Media Director & Adjunct Curator, Berkeley Art Museum University of California at Berkeley). The other day will be hosted by Leonardo/ISAST as part of the Leonardo 40th anniversary celebrations. The theme of Leonardo Day is "Remix: From Science to Art and Back in the Digital Age"; it will include presentations by Steve Wilson, Bronac Ferran, Jim Crutchfield, Chris Chafe, Michael Joaquin Grey, Laura Peticolas, Douglas Kahn, Ruth West, Gordan Wozniak and Wayne Lanier. More information about the event is available on the Leonardo web site: < www.leonardo.info>. < In memoriam: Karlheinz Stockhausen > By Annick Bureaud The German composer Karlheinz Stockhausen died 5 December 2007 at his home in Kürten (Germany). Unanimously regarded as one of the most important figures in contemporary music, Stockhausen composed a large number of works that have profoundly marked the second half of the 20th century. A pioneer of electronic music in Köln in the early 1950s, the inventor of the Momentform and a genuine visionary who was involved in numerous innovations, Stockhausen will be remembered for his unwavering desire to discover new aesthetic horizons. In 2002, Bruno Bossis wrote a very detailed notice about Stockhausen---to which he very kindly contributed by providing information and images---in the framework of the Leonardo/Olats Pioneers & Pathbreakers project . Leonardo would like to thank him again and pay homage to the great artist he has been. < In memoriam: Dimitris Skoufis > Dimitris Skoufis, the co-publisher, webmaster and member of the Board of Directors of the non-governmental organization Artopos , is no longer with us. After an unequal battle with cancer, he passed away on the morning of Thursday, 22 November 2007. His early departure at the age of 54 bereaves his friends and colleagues of an impressive mind and a big heart. "Art in the Age of Biotechnological Revolution," a bilingual book-catalogue, subsidized by the I. Kostopoulos Foundation, to be published by Futura Publications, is dedicated to his memory. Dimitris Skoufis was an electrical engineer from the University of Patras who had struggled against the military Greek regime of the late 1960s and early 1970s. He was a multifaceted, talented person, a pioneer in Internet theory and practice and multilingual. Skoufis was a man of a concrete literary and philosophical background, a remarkable columnist for *ANTI* magazine and a gifted teacher at the Mass Media Studies Department of the University of Athens. He had been dearly loved by his students at the university and his professor Michalis Meimaris, as well as by his colleagues at Oracle, where he contributed as a localization consultant. His loss leaves a serious, irreplaceable gap, and all of us who cared for him are in mourning. _____________________________ LEONARDO NETWORK NEWS COORDINATOR: Kathleen Quillian kq [@] leonardo [dot] info ______________________________________________________ BYTES ______________________________________________________ < Rensselaer Polytechnic seeks Electronic Arts Department Head > The School of Humanities and Social Sciences at Rensselaer Polytechnic seeks a prominent artist, writer or educator, in any area of electronic art or music, to lead an innovative electronic arts department. The candidate should have a proven teaching, professional and administrative track record. The spectrum of responsibilities for this position would range from teaching, to interfacing with EMPAC (the Experimental Media and Performing Arts Center) and the Institute, to mentoring and supporting faculty and staff. This position requires a Ph.D., MFA, or other terminal degree. The candidate should be eligible for appointment at Associate or Full Professor rank with tenure. The iEAR Studios (integrated Electronic Arts at Rensselaer) of the Department of the Arts at Rensselaer is dedicated to interdisciplinary creative research in electronic arts. As an art program situated within a technological university, it offers a uniquely creative environment for development and realization of innovative music and art, performance and interdisciplinary art works. The department's Ph.D. in Electronic Arts, MFA degree program, and thriving undergraduate programs (BS E-ARTS and EMAC) attract accomplished faculty and students. The department's iEAR Presents! is a longstanding public performance series. In fall 2008, Rensselaer will open EMPAC, which will become a major research center. Rensselaer is located in Troy, New York, in the vibrant and growing Capital District area, 150 miles north of New York City. Please see the impressive array of faculty, students and projects: http://www.arts.rpi.edu To apply, send a resume, a cover letter describing your qualifications and interest in our program, and a sample of your work. Letter of recommendation may be requested after receipt of your application. Work samples may be in the form of scores, articles, books, videotapes, DVDs, CDs, websites, or other media. Applications will be considered beginning January 15, 2008, and will be accepted until the position is filled. Applications should be sent to: Igor Vamos, Chair, Faculty Search Committee, iEAR Studios, Arts Department, West Hall, Rensselaer Polytechnic Institute, 110 8th Street, Troy, NY 12180 USA tel: 518-276-4778, fax: 518-276-4370 email: vamosi at rpi.edu. _____________________________ < Cleveland Institute of Art seeks Assistant/Associate Professor for Biomedical Art Department > The Cleveland Institute of Art is accepting nominations and applications for a Biomedical Art faculty member in the Institute's Department of Biomedical Art. The Department is committed to providing the student with a solid foundation in the basic natural and medical science, new media theory, and applied and fine art intersections of Art, Science, and Technology. Students develop conceptual and technical skills in traditional and digitally integrated media. The curriculum emphasizes: research & knowledge, levels of accuracy and visual communication, values of concept development and educational media, information design and theory, problem solving & critical thinking, cumulative technical skills and proficiency, innovative integration of both digital 2D/3D media and interactivity, and strong professional and presentation/oratory skills. The importance of collaborations, interdisciplinary research, and professional projects are integral to curricular goals and objectives. The Department of Biomedical Art supports a BFA program of study. The Cleveland Institute of Art is seeking a qualified individual to help expand the current department faculty and fill a full-time ranked Assistant/Associate Professor position with a focus on natural science art, media theory, and technology. Qualifications: Minimum of Masters degree from accredited university or college of arts, sciences, and/or technology; record of professional activity, exhibitions, lectures, and published work; administrative & leadership skills are essential; quality driven & experienced in project management, and strong ability to communicate within an interdisciplinary environment; teaching experience at an institution of higher learning preferred; ability to convey technical & conceptual information at different levels for students; good organizational skills in both written and verbal lectures, research, and broad communications; flexibility in communication style for different majors and faculty collaborations; strong research and knowledge in natural sciences, art, media, and technology; demonstrated technical proficiency in digital media with an emphasis on: 2D image development, knowledge of 3D imaging and integration into time-based media, web & interactive media, and aptitude to learn innovative technologies; a demonstrated knowledge in visual problem solving, research methods, science, art, and new media theory, technology, and professional experience in both client-driven and fine-art-driven fields. The Cleveland Institute of Art is a comprehensive school of art and design located in Cleveland's culturally rich district of University Circle. As one of sixteen majors, the Department of Biomedical Art has developed strong curricular collaborations across the Institute's departments and with surrounding institutions such as academics at Case Western Reserve University in Departments of Biology, Anatomy, Cognitive Science, etc. The ability to work with clinicians and professional medical illustrators at the Cleveland Clinic (an internationally known hospital and research facility) is also possible. The available resources of the immediate institutions are significant and range from superlative collections of the Cleveland Museum of Art, the Cleveland Museum of Natural History with a collection of skeletons of 3,000 humans and 1,000 primates, and the Cleveland Botanical Gardens, to the Allen Medical Library with a broad medical rare book collection that includes early editions of Vesalius and Albinus. All full-time ranked faculty members participate in departmental and school-wide committees, curriculum development, advising of students, and assessment of programs. Applications should include: curriculum vitae; portfolio of professional work (CD-ROM, DVD, & website); No more than 20 examples demonstrating a broad depth of media & skills; statement of philosophy on teaching; vision statement as to the future direction of art, science, technology, and the education of students involved in the contemporary evolution of the field of biomedical art (formerly medical and scientific illustration, as it is nationally recognized); examples of student work (if applicable); names and contact information of 3 references; SASE for return of materials. Please mail all application materials: Biomedical Art Search, Attn: Tanya Lee Shadle, The Cleveland Institute of Art, 11141 East Boulevard, Cleveland, OH 44106 Position begins August 2008. The department's review of candidates' credentials is scheduled to begin January 15, 2008 and will continue until the position is filled. Incomplete applications will not be reviewed. The Institute offers a competitive salary and comprehensive benefits package. Academic transcripts and background check authorizations will be required for finalists. Rank and compensation are commensurate with experience and qualifications. For further information please contact Tanya Lee Shadle at tshadle at cia.edu. The Cleveland Institute of Art is an affirmative action/equal opportunity employer. Visit our website at www.cia.edu _____________________________ < Cleveland Institute of Art Seeks Full-Time Faculty Design Theorist > The Cleveland Institute of Art seeks qualified applicants for a full-time faculty position as Design Theorist at the undergraduate and graduate levels. Candidates should have extensive knowledge of current approaches to theory as integral to culture and society. A primary emphasis will be on an interdisciplinary engagement of production; global politics; ethics; semantics and semiotics; and convergent media. The successful candidate will be engaged in program and curriculum development. Opportunities exist for innovative collaboration and joint program development with neighboring institutions such as Case Western Reserve University. Position begins July 2008. Qualifications: Ph.D. is preferred in one of the following: physics; mathematics; philosophy; cognitive science; technology studies; media studies; information studies; design; or other appropriate field. Applicants should show evidence of professional activity and demonstrate promise of contributing to curricular development at both the undergraduate and graduate levels. The successful candidate will have the opportunity to teach in the Liberal Arts and Studio areas. Position Requirements: Participation in school-wide committees and assessment of programs is required by full-time ranked faculty members. Review of credentials will begin January 10, 2008. Interested candidates must submit letter of interest summarizing qualifications and teaching philosophy; CV; sample syllabi; and 3 letters of reference to: Design Theorist Search Committee, Attn: Tanya Lee Shadle, The Cleveland Institute of Art, 11141 East Blvd., Cleveland, Ohio 44106-1710, tshadle at gate.cia.edu An equal opportunity employer. Visit our web site at www.cia.edu Application packet will be sent to the final candidates along with request for academic transcripts. ________________________________________________________________ * ~ * ~ * ~ * ~ * ~ * ~ * CREDITS * ~ * ~ * ~ * ~ * ~ * ~ * ________________________________________________________________ Nisar Keshvani: LEA Editor-in-Chief Nicholas Cronbach: LEA Editor Kathleen Quillian: LEA e-news digest Coordinator Michael Punt: LR Editor-in-Chief Andre Ho: Web Concept and Design Consultant Roger Malina: Leonardo Executive Editor Stephen Wilson: Chair, Leonardo/ISAST Web Committee Craig Harris: Founding Editor Editorial Advisory Board: Irina Aristarkhova, Roy Ascott, Craig Harris, Fatima Lasay, Michael Naimark, Julianne Pierce Gallery Advisory Board: Mark Amerika, Paul Brown, Choy Kok Kee, Steve Dietz, Kim Machan fAf-LEA Corresponding Editors: Lee Weng Choy, Ricardo Dal Farra, Elga Ferreira, Young Hae- Chang, Fatima Lasay, Jose-Carlos Mariategui, Marcus Neustetter, Elaine Ng, Marc Voge ________________________________________________________________ * ~ * ~ * ~ * ~ * LEA PUBLISHING INFORMATION * ~ * ~ * ~ * ~ * ________________________________________________________________ Editorial Address: Leonardo Electronic Almanac PO Box 850 Robinson Road Singapore 901650 keshvani [@] leoalmanac [dot] org ________________________________________________________________ Copyright (2008), Leonardo, the International Society for the Arts, Sciences and Technology All Rights Reserved. Re-posting of the content of this journal is prohibited without permission of Leonardo/ISAST, except for the posting of news and events listings that have been independently received. Leonardo/ISAST and the MIT Press give institutions permission to offer access to LEA within the organization through such resources as restricted local gopher and mosaic services. Open access to other individuals and organizations is not permitted. ________________________________________________________________ < Ordering Information > Leonardo Electronic Almanac is a free supplement to subscribers of Leonardo and Leonardo Music Journal. To subscribe to Leonardo Electronic Almanac e-news digest, visit: http://mailman.mit.edu/mailman/listinfo/leon_e_almanac To subscribe to Leonardo, visit: http://mitpressjournals.org/LEON To subscribe to Leonardo Music Journal, visit: http://mitpressjournals.org/LMJ For Leonardo and LMJ subscription queries contact: journals-orders [@] mit [dot] edu ________________________________________________________________ * ~ * ~ * ~ * ~ * ~ * ADVERTISING * ~ * ~ * ~ * ~ * ~ * ________________________________________________________________ Leonardo Electronic Almanac is published monthly -- individuals and institutions interested in advertising in LEA, either in the distributed text version or on the World Wide Web site should contact: Leonardo - Advertising 211 Sutter Street, suite #501 San Francisco, CA 94108 phone: (415) 391-1110 fax: (415) 391-2385 E-mail: kq [@] leonardo [dot] info More Info: http://leonardo.info/isast/placeads.html#LEAads ________________________________________________________________ * ~ * ~ * ~ * ~ * ~ * ACKNOWLEDGEMENTS * ~ * ~ * ~ * ~ * ~ * ________________________________________________________________ LEA acknowledges with thanks the Rockefeller and Ford Foundations for their support to Leonardo/ISAST and its projects. ________________________________________________________________ < End of Leonardo Electronic Almanac > ________________________________________________________________ --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "leonardo electronic almanac alerts list" group. To post to this group, send email to LEAalerts at googlegroups.com To unsubscribe from this group, send email to LEAalerts-unsubscribe at googlegroups.com For more options, visit this group at http://groups.google.com/group/LEAalerts -~----------~----~----~----~------~----~------~--~--- -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: application/defanged-26064 Size: 177062 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20080213/f64b1d40/attachment-0001.bin From turbulence at turbulence.org Thu Feb 14 02:54:57 2008 From: turbulence at turbulence.org (Turbulence) Date: Wed, 13 Feb 2008 16:24:57 -0500 Subject: [Announcements] Networked Music Review Commission: "Air Detritus" by Miya Masaoka Message-ID: <00ca01c86e86$f50508c0$df0f1a40$@org> Networked Music Review Commission: "Air Detritus" by Miya Masaoka http://turbulence.org/works/detritus "Air Detritus" is derived from sounds that were collected from the air and water detritus of Central Park, New York. Sounds were collected via a 2-way radio submerged in a pond, and on land. The act of recycling materials into a new piece, and re-using objects and sound fragments seems a way to re-imagine the world, a symbolic treatment that enacts the idea of sustainability as an elusive but critical goal of consuming fewer materials. As a consumer working with digital tools, I have accumulated many old monitors, hard drives, cords, and interfaces that are quickly obsolete. The molded plastic and metal have a perverse dialectical relationship to the data of ones and zeros that are transported and stored. This piece is a moment of reflection upon these relationships, and our relationship to the world. - Miya Masaoka "Air Detritus" is a 2007 commission of New Radio and Performing Arts, Inc., for Networked Music Review. It was made possible with the funding from the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors. BIOGRAPHY Miya Masaoka is a classically trained musician, composer and sound/ installation artist. She has created works for solo koto, laser interfaces, laptop and video. She has also made works for sculpture installations and written scores for ensembles, chamber orchestra and mixed choirs. In her pieces, she often works with the sonification of data, and maps the behavior of brain activity, plants and insect movement to sound. For more Networked_Music_Review Commissions please visit http://turbulence.org/networked_music_review/tags/nmr_commission Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org Networked_Performance Blog: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Upgrade! Boston: http://turbulence.org/upgrade New American Radio: http://somewhere.org From impeachment at hush.ai Thu Feb 14 06:10:13 2008 From: impeachment at hush.ai (impeachment at hush.ai) Date: Wed, 13 Feb 2008 16:40:13 -0800 (PST) Subject: [Announcements] [0war] WORLD AGAINST WAR I [London to DC (March 2008)] Message-ID: <718135E4-D5C5-4145-93D6-6B47F92DF42C@hush.ai> \\PLEASE FORWARD THIS MESSAGE TO FRIENDS AND FAMILY...thanks WORLD AGAINST WAR I London to DC (March 15-19 2008) -Join us for World Against War I, the antiwar protest for the people and planet. We are a clandestine organization located within the United States forging an underground movement for the people. We are deeply affected by the events following September 11th and the genocide in the Middle east. Our intention is to disrupt the illegal empire and stop the war machine from functioning from the inside. We will engage the enemy, take advantage of vulnerabilities and expose every weakness. We encourage the people to standup and stand strong with confidence, leadership, and continue organizing against every form of struggle. The politicians in America will continue to wage war for glory and the pigs will not stop, until they are jailed for their crimes against humanity. We call on all free nations of the world, to unite, in our struggle against tyranny and imperialism. The u$ government, International Bankers, war profiteering corporations, along with the president and his administration are guilty. In just four short years, the people of the united states has murdered over one million civilians in Iraq. The parties representing the American people during the genocide, were the DEMOCRAT and REPUBLICAN Parties. The current Democrat and Republican parties that are campaigning for President were DIRECTLY involved in these Crimes Against Peace and will continue using the imperial doctrine. The military war machine continues to feed off the blood of the innocent ruled by the wealthy elite majority. They are now continuing to spread more lies about other countries, breeding hate for the next targets for preemptive invasion. The American media networks are also guilty of war crimes and crimes against humanity for their involvement in using advanced propaganda techniques against the American people. America's dignity and long standing history has been destroyed forever and the people will continue to struggle. We must demand an International tribunal for the entire federal government, media organizations, and all those who participated in these war crimes. Rebel States must consider separation from the union to save itself from slavery by the Federal Reserve dollar. We the people must use every resource available to save mankind from American politicians and special interest war profiteering corporations who will continue to lobby war for profit with the blood of innocent children. Join us for... WORLD AGAINST WAR I MARCH 15-19 2008 jim and the CHANGE team WE WILL NEVER FORGET, WE WILL NEVER FORGIVE this message has been sponsored by 0War & LOOSE CHANGE http://loose-change-911.com TRANSLATE http://www.google.com/language_tools?hl=en PLEASE FORWARD THIS MESSAGE TO FRIENDS AND FAMILY...thanks From turbulence at turbulence.org Sat Feb 16 05:34:50 2008 From: turbulence at turbulence.org (Turbulence) Date: Fri, 15 Feb 2008 19:04:50 -0500 Subject: [Announcements] Turbulence Commission: "Invisible Influenced" by Will Pappenheimer and Chipp Jansen Message-ID: <015601c8702f$9fd8d2a0$df8a77e0$@org> Turbulence Commission: "Invisible Influenced" by Will Pappenheimer and Chipp Jansen http://turbulence.org/works/invis/ "Invisible Influenced" is a Rorschach test for envisioning the US as the recipient rather than the cause of worldwide events. Contrary to the notion of impervious superpower, the artwork projects the emerging perception that the country is vulnerable to foreign conditions of climate, public opinion, economics and a variety of social institutions. Shape reads, in this case, as the confluence of intercontinental subconscious activity, which is in the process of becoming visible. The work also operates metaphorically through the concept of the "butterfly effect" from chaos theory. Small changes to nonlinear dynamical systems can produce large long term transformational phenomena. The beating of a butterfly's wings in the Kurile Islands causes a hurricane over Florida. The site displays a simple map silhouette of the country with pull-down menus for a number of searchable real-time categories of influence. Users select from foreign sources of news, weather conditions, health conditions, stock indexes, and blogs. Informational sources are chosen for their seeming "distance" from the US daily experience. Qualitative and quantitative indices found in global internet texts and databases are translated into up to four directional vector "magnitude" forces surrounding the continent. The US map silhouette then responds and distorts according to elastic physics properties programmed to its perimeter. The right-hand selection panel displays menu choices and the source information, text and imagery being retrieved. There are two modes for operation, a default "test" mode that allows the forces to act for a limited period of time, generating a finished image test and an alternate "drift" mode allowing the map to continue to transform until the program is reset. "Invisible Influenced" is a 2007 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the Jerome Foundation. BIOGRAPHIES WILL PAPPENHEIMER is an artist working in new media, installation and multi-media. His projects utilize home surveillance networks, participatory media and information aesthetics. He has exhibited in numerous national and international exhibitions including the ICA Boston, Exit Art, FILE 2005, Sao Paulo, ISEA 2006/ZeroOne, San Jose Museum of Art, Florence Lynch Gallery and Postmasters Galleries, New York, Cabaret Voltaire and Kunstraum Walcheturm, Zurich and the Museum Fine Arts, Boston. His work received a half page photo citation in the New York Times at Art Basel Miami 2003 and a chapter of Gregory Ulmer's theoretical book, "Electronic Monuments." Current projects include commissions from Turbulence.org, Rhizome.org and the Tampa Lights program for the Super Bowl 2009. CHIPP JANSEN'S interests currently lie at various intersections of Art, Computer Science, and Geography. Artistically, his work is based on food production performance, cable network news subversion, and cartographic advocacy. His work in "CNNPlusPlus" was exhibited at ISEA 2006/ZeroOne, San Jose Museum of Art. With an interdisciplinary programming culture focus, Chipp has taught in the schools of Computer Science, Art and Architecture at the University of Michigan, Brooklyn College, City College, and at the Pratt Institute. Currently he is also pursuing a Master's degree in Geography at Hunter College - CUNY with a focus on new media in cartography, and transportation geography. He is also a research member of Bu-Con, working on infrastructural solutions for the after-future and exhibits with them regularly. Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org Networked_Performance Blog: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Upgrade! Boston: http://turbulence.org/upgrade New American Radio: http://somewhere.org From fsultan at vecam.org Sun Feb 17 20:51:10 2008 From: fsultan at vecam.org (=?UTF-8?B?U3VsdGFuIEZyw6lkw6lyaWM=?=) Date: Sun, 17 Feb 2008 16:21:10 +0100 Subject: [Announcements] Social Forum Science and Democracy BELEM (BRAZIL) 2009 Message-ID: <47B850E6.8010809@vecam.org> CALL FOR A SOCIAL FORUM SCIENCE AND DEMOCRACY FOR A DIALOG BETWEEN RESEARCH, RESEARCHERS AND SOCIAL MOVEMENTS ALL OVER THE WORLD Dear friend The Social Forum science and democracy will take place in 2009, January in BELEM. It will be open the day before the World Social Forum and continue during it. At the end of 2007, this initiative have received 367 individuals signatures from 44 countries and 44 collectives signatures from 15 different countries. I have the pleasure to invite you : - to sign the call online individually and for your organization at : http://wsf-science.org - to be involved in the process of the Forum : sent a message to subscribe to the discussion list - to participate in the brainstorming by sending your ideas, your proposals, your needs and your claims for the Social Forum science and democracy to You can have a look on the contributions sent by people in the wiki website : http://fsm-science.org/wiki Hope to meet you in this challenging and meaningful project. Best regards Frédéric Sultan VECAM From oishiksircar at gmail.com Mon Feb 18 07:50:06 2008 From: oishiksircar at gmail.com (OISHIK SIRCAR) Date: Sun, 17 Feb 2008 20:20:06 -0600 Subject: [Announcements] Canadian Labour International Film Festival (CLiFF): CALL FOR SUBMISSIONS FOR 2009 Message-ID: <62cba67a0802171820mbbd6305j664acb2a82854b5e@mail.gmail.com> *CALL FOR SUBMISSIONS FOR 2009 Canadian Labour International Film Festival (CLiFF) We are pleased to invite film makers from across Canada and all over the world to submit entries for possible inclusion in the first-ever Canadian Labour International Film Festival (CLiFF). CliFF will present feature films and videos made by, for, and about the world of work and those who do it - in Canada and internationally. Films selected for the Festival will be about unionised workers as well as those not represented by unions. We encourage projects regarding any and every aspect of work, as well as issues affecting work or workers. The festival will run from November 22 - 27, 2009 in Toronto, Canada. Entries are being accepted until July 30, 2009, and selected submissions will be screened at the festival. Entries are welcome from professional, amateur and student film makers. All genres will be considered; short dramas, short documentaries, experimental videos, video art, animation, music videos, feature films and documentaries. The festival also accepts works in progress. We are pleased to announce that cash prizes will be awarded in many categories. Limited financing for travel and local stay may also be available on request for contributors whose films are selected for screening. Entry forms can be downloaded from our website http://www.labourfilms.caafter March 15th, 2008, when the Selection Committee and the Board of Directors will approve entry format, as well as many other items of information. Sincerely, Frank Saptel CliFF Take One, Selection Committee* -- OISHIK SIRCAR Scholar in Women's Rights Faculty of Law, University of Toronto 60 Harbord Street Room 016 B Toronto, ON M5S 3L1 oishiksircar at gmail.com oishik.sircar at utoronto.ca 416.876.7926 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080217/5cd32a4f/attachment-0001.html From gorakhpurkafilmfestival at gmail.com Mon Feb 18 12:17:35 2008 From: gorakhpurkafilmfestival at gmail.com (gorakhpur filmfestival) Date: Mon, 18 Feb 2008 12:17:35 +0530 Subject: [Announcements] THIRD GORAKHPUR FILM FESTIVAL 2008 - February 23 to 26, 2008 - Gorakhpur University, Gorakhpur, UP Message-ID: In memory of Trilochan and Qurratulain Hyder Jan Sanskriti Manch and Gorakhpur Film Society - 'Expression' Cordially Invite you to * THIRD GORAKHPUR FILM FESTIVAL 2008* *Cinema of **Resistance* * * *Central Theme: Sixty Years of Division and Displacements* * * *On February 23 to 26, 2008,* * * *At Samvad Bhavan, Gorakhpur University,* *Gorakhpur**, Uttar Pradesh* * * *Chief Guest of the Festival: Mr MS Sathyu* *Inaugural Film: Garam Hawa* * * *All are Welcome, no entry fee* * * *Main** highlights of the festival: * § Screening of films like Garam Hawa, Subranarekha, Nandigram – The Land is Mine, Naseem, The Kid, Choori (Iranian film), Halo, Jahaji Music etc § 'Natak Jaari Hai' – a play by Yugmanch, Nainital § Folk songs and dances of Uttarakhand by Yugmanch, Nainital § Kaabya Sandhya – a poetry reading session by some renowned poets § Kabir Songs by Kabir Gayan Mandali from Devas, Madhya Pradesh) § Interaction with film eminent film directors like MS Sathyu, Biju Toppo, Surabhi Sharma, Ajay Bharadwaj etc. * * *For complete programme schedule –Please check in: http://gorakhpurfilmfestival.blogspot.com/* * * * * *You can send your contribution through demand draft/ cheque (preferably a demand draft) to Expression payable at Gorakhpur or directly give it to me in cash/cheque. For depositing cash please use following account no. No. 30008505658 in favour of Sanjay Joshi, SBI,Vasundhara Branch, Ghaziabad. * Please forward this appeal to your friends and like minded people and contribute with your valuable suggestions to make this cultural movement more effective and meaningful. With warm regards, Sanjay Joshi Convener 3rd Gorakhpur Film Festival ** *Contact Address*: C- 303 Jansatta Apartments, Sector 9, Vasundhara, Ghaziabad-201012 9811577426, 0120-2885017 E mail id: gorakhpurkafilmfestival at gmail.com, joproductions at gmail.com** * * *Expression address*: Shri Manoj Singh Convener, Expression 216 K, Ashok Nagar, Gorakhpur, India - 273003 Mobile:9415282206 Email id: gorakhpurkafilmfestival at gmail.com mk_12 at rediffmail.com -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: application/defanged-2897 Size: 16398 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20080218/a31c0230/attachment-0001.bin From nalaka at tveap.org Fri Feb 15 09:13:55 2008 From: nalaka at tveap.org (Nalaka Gunawardene, TVE Asia Pacific) Date: Fri, 15 Feb 2008 09:13:55 +0530 Subject: [Announcements] [infosouth] Global journalism workshops organised by Media21 in Geneva Message-ID: <6.0.0.22.2.20080215090229.01ce19f8@mail.tveap.org> Apologies for cross-posting! Dear colleagues, I write to share information about two global journalism workshops being organised by Media21 Global Journalism Network Geneva http://media21geneva.org. It is a programme of the Swiss-based media network InfoSud designed to enhance broader public awareness of global issues through better coverage worldwide, but also more effective interaction between the media and important information resources such as donor governments, United Nations agencies, NGOs, the private sector, academics, and other specialists. I attended one of their workshops on climate change last June, and found it well planned and organised. Scholarships are available for those coming from low and middle income countries to cover travel and accommodation. See links below. Please spread this news and encourage interested journalists to apply! Warm regards, Nalaka Gunawardene Director, TVE Asia Pacific, www.tveap.org * * * * * Journalist Workshop Ending Wars, Building Peace: How Effective Are International Peacekeeping and Peacebuilding Efforts? Dates: 31 March 2008 12 April 2008 Venue: GCSP, Geneva (Switzerland) Field Trips: Afghanistan and Lebanon Deadline for grant application: 24 Feb 2008 More info: http://www.media21geneva.org/index.php?option=com_content&task=view&id=79&Itemid=141 Journalist Workshop: Understanding Global Health Threats Venue: Geneva, Switzerland and Field Trips Dates: 25 May - 6 June 2008 Deadline for grant application: 28 April 2008 More info: http://www.media21geneva.org/index.php?option=com_content&task=view&id=114&Itemid=175 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080215/bb2e583e/attachment.html From kj.impulse at gmail.com Wed Feb 20 14:39:46 2008 From: kj.impulse at gmail.com (Kavita Joshi) Date: Wed, 20 Feb 2008 14:39:46 +0530 Subject: [Announcements] [DFA NewsLetter] The House on Gulmohar Avenue on NDTV 24X7 In-Reply-To: <8ced26e0802180857l2566adcaj6d46ff9b185cb98f@mail.gmail.com> References: <8ced26e0802180857l2566adcaj6d46ff9b185cb98f@mail.gmail.com> Message-ID: <821019d70802200109j2d129218v2c9ffeba01df8cc6@mail.gmail.com> NOTE: Kindly do not reply to the sender. Please mark your replies to Samina Mishra (e-id below). tks. ---------- SCREENING ANNOUNCEMENT ---------- From: Samina Mishra Date: 18 Feb 2008 22:27 Friends, The House on Gulmohar Avenue (a shorter version!) will be broadcast on NDTV 24x7's new slot Documentary 24x7. Please watch the film and let others know as well. Do also write in and send feedback for the slot to documentary24x7 at ndtv.com. Warmly, Samina THE HOUSE ON GULMOHAR AVENUE Hindustani & English with English subtitles ON NDTV 24X7 Thursday, Feb 21 / 9.30 pm Sunday, Feb 24 / 1.30 pm ABOUT THE FILM Sometimes the story of a life is the story of a search to be at home. The House on Gulmohar Avenue traces the personal journey of the filmmaker through the ideas of identity and belonging. The film is set in a part of New Delhi called Okhla, where four generations of the filmmaker's family have lived. An area that is predominantly inhabited by Muslims. An area that is sometimes also called Mini Pakistan. The filmmaker's personal history is a hybrid one but she grew up as a Muslim. Set against a quiet presence of the political context in India, the film seeks an honest and deeply personal understanding of what this means – when is she aware of being Muslim, when does it matter to her and when is it easier to forget it. In the journey to answer these difficult questions, the film seeks out encounters with other residents of Okhla to arrive at a complex understanding of what it can mean to be Muslim in India today. CREDITS Direction Samina Mishra / Camera Mrinal Desai / Editing Shan Mohammed / Location Sound S Subramanian / Music Sawan Dutta --~--~---------~--~----~------------~-------~--~----~ Please DO NOT REPLY to the sender. To contact the MODERATOR: delhifilmarchive [at] gmail.com To UNSUBSCRIBE: send an email to delhifilmarchive-unsubscribe at googlegroups.com More OPTIONS are on the web: http://groups.google.com/group/delhifilmarchive WEBSITE: www.delhifilmarchive.org See the LIST OF FILMS in the Archive: http://www.delhifilmarchive.org/archive.html -~----------~----~----~----~------~----~------~--~--- From nc-agricowi at netcologne.de Mon Feb 18 16:51:36 2008 From: nc-agricowi at netcologne.de (netEX) Date: Mon, 18 Feb 2008 12:21:36 +0100 Subject: [Announcements] =?iso-8859-1?q?Call_for_entries=3A_CologneOFF_IV_?= =?iso-8859-1?q?-_Here_We_Are!?= Message-ID: <20080218122136.983A31A9.D80EA052@192.168.0.3> Call for entries: Deadline: 30 June 2008 --------------------------- CologneOFF IV - 4th edition of Cologne Online Film Festival http://coff.newmediafest.org is planned to be launched in October/November 2008 under the festival theme: Here We Are! - "memory" and "identity" in an experimental context ---------------------------------------------------- Entry ---------------------------------------------------- VideoChannel - video project environments http://videochannel.newmediafest.org invites artists and directors for submitting videos/films, i.e. narratives and documentations (max 15 min.) experimenting with new concepts of transforming artistic contents into moving images, new forms of representing und new technologies Deadline: 30 June 2008 All entry details and the submission form can be found on netEX - networked experience http://www.nmartproject.net/netex/?p=238 ---------------------------------------------------- About CologneOFF ---------------------------------------------------- CologneOFF - Cologne Online Film Festival http://coff.newmediafest.org was founded in 2006 by Wilfried Agricola de Cologne. He is directing and curating this new type of film & video festival taking place simultaneously online and physical space in cooperation with partner festivals The first 3 festival editions CologneOFF I - "Identityscapes" - 2006 CologneOFF II - "Image vs Music" - 2006 CologneOFF III - "Toon! Toon! - art cartoons and animates narriatives" - 2007 were presented between 2006 and 2008 in cooperation with festivals in New Dehli/India, Rotterdam/NL, Maracaibo/Venezuela, Rosario/Argentina, Lyon/France, Belgrade/Serbia, Szeczin/Poland, Brussels/Belgium, Istanbul/Turkey, Guadalajara/Mexico, and yet to come in 2008 Athens/Greece, Sarajevo/Bosnia-Hercegovia and Valencia/Spain and others More info on http://coff.newmediafest.org ------------------------------------------- This call is released by netEX - networked experience http://www.nmartproject.net/netex . From machleetank at gmail.com Mon Feb 18 17:28:43 2008 From: machleetank at gmail.com (Jasmeen P) Date: Mon, 18 Feb 2008 17:28:43 +0530 Subject: [Announcements] correction for question/ answer : Blank Noise Message-ID: Hello again apologies for the wrong link in the last email. The blog post I was referring to is this: http://blog.blanknoise.org/2008/02/ask-us-rarely-asked-burning-question.html#links Thanks Jasmeen ---------- Forwarded message ---------- From: Jasmeen P Hello *With our most recent blog post at Blank Noise we want to open a space for dialogue. * Please send in your rarely asked burning questions about Blank Noise to us at blurtblanknoise at gmail.com or leave it in the comments section below. New volunteers are requested to participate more so, because with the answering of questions and clearing of doubts we will be able to hopefully move forward. It is always exciting and challenging to work with volunteers from across the country because every individuals brings in his or her enthusiasm and interprets Blank Noise in a unique way. At the end 20 questions will be selected and answered right here on the blog! All questions will be shared on the blog*. * *Deadline for questions is Feb 22nd. Answers will be published in a week from the due date ** * We thank you. always! Blank Noise Team BLANK NOISE www.blog.blanknoise.org PHONE : 0091 98868 40612 - -- ph: + 91 98868 40612 - -- ph: + 91 98868 40612 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080218/6682bccf/attachment-0001.html From joproductions at yahoo.com Wed Feb 20 15:08:52 2008 From: joproductions at yahoo.com (sanjay joshi) Date: Wed, 20 Feb 2008 01:38:52 -0800 (PST) Subject: [Announcements] THIRD GORAKHPUR FILM FESTIVAL 2008 - February 23 to 26, 2008, Gorakhpur, UP Message-ID: <118288.44644.qm@web51809.mail.re2.yahoo.com> In memory of Trilochan and Qurratulain Hyder Jan Sanskriti Manch and Gorakhpur Film Society -'Expression' Cordially Invite you to THIRD GORAKHPUR FILM FESTIVAL 2008 Cinema of Resistance Central Theme: Sixty Years of Division and Displacements On February 23 to 26, 2008, At Samvad Bhavan, Gorakhpur University, Gorakhpur, Uttar Pradesh Chief Guest of the Festival: Mr MS Sathyu Inaugural Film: Garam Hawa All are Welcome, no entry fee Main highlights of the festival: 1. Screening of films like Garam Hawa, Subranarekha, Nandigram – The Land is Mine, Naseem, The Kid, Choori (Iranian film), Halo, Jahaji Music etc 2. 'Natak Jaari Hai' – a play by Yugmanch, Nainital 3. Folk songs and dances of Uttarakhand by Yugmanch, Nainital 4. Kaabya Sandhya – a poetry reading session by some renowned poets 5. Kabir Songs by Kabir Gayan Mandali from Devas, Madhya Pradesh) 6. Interaction with film eminent film directors like MS Sathyu, Biju Toppo, Surabhi Sharma, Ajay Bharadwaj etc. For complete programme schedule –Please check in: http://gorakhpurfilmfestival.blogspot.com/ You can send your contribution through demand draft/ cheque (preferably a demand draft) to Expression payable at Gorakhpur or directly give it to me in cash/cheque. For depositing cash please use following account no. No. 30008505658 in favour of Sanjay Joshi, SBI,Vasundhara Branch, Ghaziabad. Please forward this appeal to your friends and like minded people and contribute with your valuable suggestions to make this cultural movement more effective and meaningful. With warm regards, Sanjay Joshi Convener 3rd Gorakhpur Film Festival Contact Address: C- 303 Jansatta Apartments, Sector 9, Vasundhara, Ghaziabad-201012 9811577426, 0120-2885017 E mail id: gorakhpurkafilmfestival at gmail.com, joproductions at gmail.com Expression address: Shri Manoj Singh Convener, Expression 216 K, Ashok Nagar, Gorakhpur, India - 273003 Mobile:9415282206 Email id: gorakhpurkafilmfestival at gmail.com mk_12 at rediffmail.com ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ From matters.art at gmail.com Thu Feb 21 19:34:38 2008 From: matters.art at gmail.com (mattersofart.com) Date: Thu, 21 Feb 2008 14:04:38 +0000 Subject: [Announcements] Mattersofart.com Feb 20th upload can be viewed online now! Message-ID: <9bbea5780802210604x5d7a2f6mdbe01e58827d99af@mail.gmail.com> Dear Friends, Greetings from www.mattersofart.com. Our Feb 20th upload can be viewed online now! * - Harsh Goenka *taks to* Anoop Kamath *about his recent show* A MAZ ING** - Special Interview with T.V. Santhosh* * - Infocus: Paddy Johnson on Jeff Koons - Feature: Archande Hande on her new website ** arrangeurownmarriage.com/ - My Work: Ashim Purkayastha *on his wok* Wings with Watermarks - Exhibition Reviews *of shows by* Ram Rahmanm, Ranadip Mukherjee, T.V. Santhosh, Josh P.S., T.P. Premjee, Dayanita Singh, Sheba Chhachhi, Kartik Chandra Pyne and Ram Bali Chauhan * Also, check our blog http://mattersofart.blogspot.com for the daily news Plus our regular features and news… Log on to www.mattersofart.com for the latest news in Indian contemporary art -- Anoop Kamath Editor-in-Chief www.mattersofart.com Mobile: 98111 68775 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080221/5c697525/attachment.html From chiarapassa at gmail.com Sat Feb 23 12:53:33 2008 From: chiarapassa at gmail.com (Chiara Passa) Date: Sat, 23 Feb 2008 08:23:33 +0100 Subject: [Announcements] "speaking at wall" OUT NOW ! In-Reply-To: References: Message-ID: Dearez, I'm glad to inform you the interactive video installation "speaking at wall" is out now. Movies at:http://www.chiarapassa.it/speakingatwall.html http://www.chiarapassa.it/speakingatwall.swf Images at: http://www.chiarapassa.it/speakingat.html http://www.chiarapassa.it/speakingatwall2.html "Speaking at the wall" interactive video installation time var. 2008 by Chiara Passa This interactive video installation synthesises the voice into virtual architecture. The spectator's voice is recorded from a microphone and live time audio-video processed through the software Quartz Composer. "Speaking at the wall" develops itself on two walls and the floor. The three screenings around the corner of the three Cartesian axes reconstructs one central illusory perspective. While the spectator is inside the room and speaks close to the walls, he modifies with his voice (volume and spectrum) the whole environment around him. The words he pronounces draw a new atmosphere... a virtual desert. In this illusory dimension, infinite lines generating emptiness and distances are 'attracted' and skim one with the others, fading. The projections reconstruct the scene of a 3-D software grid as a virtual extension in motion of the architectonic space (like an animated "tromp l'eoil" on the 'Z' raw co-ordinate). The environments in motion crossing the spectator lead it to an 'unfinished space'. So the spectator is forced to confront himself with another atmosphere, a new 'digital-where'. This dimension is by now ours, is the fourth dimension. "Speaking at the wall" is a virtual opening never averred, it is a process in constant transformation and therefore it doesn't characterize any specific place. A performance idea is the base of this artwork. Watching "Speaking at the wall " the spectator will see a place that moves naturally beyond its functionality. Therefore the term "Super-place" (I had invented) can be attributed to this video installation. Exactly the contrary happens in the 'no-where' in which static presences have only the function to receive temporarily. "Speaking at the wall" probes the notion of space or better of place in order to search new possibility and dimensions which the digital world, not so much separated from the real one, offers. In fact, in this installation the space is meant as the pure shape of intuition. This three-dimensional interactive installation constructs a sort of virtual architectures and territories that elude the corporeal limits. The synthetic shape becomes design, structure, architecture and truth. If the space is the extension in all the directions by our intuitions of the real world in which material bodies are placed, "Speaking at the wall" wants to expand these possibilities of perception. Best regards, Chiara -- Chiara Passa chiarapassa at gmail.com http://www.chiarapassa.it http://www.ideasonair.net http://twitter.com/jogador Skype: ideasonair From nc-agricowi at netcologne.de Wed Feb 27 15:46:30 2008 From: nc-agricowi at netcologne.de (soundLAB) Date: Wed, 27 Feb 2008 11:16:30 +0100 Subject: [Announcements] =?iso-8859-1?q?call=3A_soundart_for_SoundLAB_VI?= Message-ID: <20080227111631.1FCAD531.6E73F1FA@192.168.0.3> SoundLAB - sonic art project environments http://soundlab.newmediafest.org is happy to make 2 announcements: 1. Call for soundart for SoundLAB VI Deadline: 30 November 2008 2. SoundLAB IV on FILE Rio 2008 ---------------------------------------------- 1. Call for entries: SoundLAB VI - soundPOOL - sound compositions - a challenge for imagination - SoundLAB is looking for its 6th edition to be launched in March 2009, sound compositions which represent a real challenge for human imagination All details, the complete call, the regulations and entry form can be found here http://www.nmartproject.net/netex/?p=242 ---------------------------------------------- 2. SoundLAB IV - "memoryscapes" - launched in 2006 http://soundlab.newmediafest.org/blog/?page_id=20 incorporating sound works by 144 soundartists - previously presented in Palestine, Poland, Italy and Argentina and on FILE Hipersonica Festival 2007 Sao Paulo/Brazil, is participating now in FILE - Electronic Language Festival Rio 2008 http://www.file.org.br 26 February - 29 March 2008 ------------------------------------------------ SoundLAB - sonic art project environments http://soundlab. newmediafest.org corporate part of [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net directed by Wilfried Agricola de Cologne Visit also SoundLAB I -V on - http://soundlab. newmediafest.org ------------------------------------------------ This call is released by netEX - networked experience http://www.nmartproject.net/netex info (at) nmartproject.net