Subject:
calls x + need bkyn apt asap
Message:
hello everyone.
i made it to new york in one piece, though my car is another story...
i'm currently living in a sublet that someone on the list emailed me back about, and that turned out great, so i thought that i might ask the list if anyone one the list knew of an apartment available/opening up.
I am looking generally in brooklyn near to the subway and BQE. so ive been looking in williamsburg/south williamsburg (lorimer/marcyJMZ), south park slope, kensington/ditmas park, prospect heights, prospect lefferts, greenpoint, clinton hill, red hook, etc. (obviously, that's a pretty varied lot).
I'm looking for a larger 1 bdrm, 1.5 bdrm, or 2 bdrm, in the 1000-1400 range respectively. i might consider a share if it was a large space.
Need to move before sept 1st, but the sooner the better
if anyone knows of anything available, or opening up, please drop me an email!
much appreciated!!!!
* * *
oh, and about that car...
the back left wheel (wheel, not tire) flew off the car 1/2 mile past the cadillac ranch in amarillo texas (a.ka. my car committed conceptual art suicide). after skidding out of control to the side of the road, i exited the car to find the back left axle area on fire! luckilly a trucker saw the fire, pulled over, and put it out with a fire extinguisher. then ran after the tire which had rolled 200meters and was starting a brush fire.
now theres only one car that anyone in amarillo texas drives, and thats a ford truck. no one had parts for my ageing subaru. repairs were going to take a week, and cost more than the car was worth. so i traded the junked car for the cost of towing it in from the road, rented a car, and made my way on...
and the kicker, is that just before the wheel came off i was listening to this american life's ira glass and his extended meditation on the nature of the fiasco: http://www.thislife.org/pages/descriptions/97/61.html
* * *
from my temporary nest in williamsburg
enjoy the calls,
michael
------------------------
OPEN CALL FOR SUBMISSIONS - LMCC/Workspace: 120 Broadway - Session B Residency Dates: November 15, 2004-April 30, 2005
Deadline for application materials:
4:00 pm, September 13, 2004
About LMCC/Workspace:
LMCC continues its residency program LMCC/Workspace on the 8th floor of 120 Broadway in space donated by Silverstein Properties. Like its former location at the Woolworth Building this program encourages consideration of location and context while continuing LMCC's mission to position artists in lower Manhattan, create ties between the arts and business communities, and support the careers of emerging artists. In 1997 LMCC began offering artist residencies in the World Trade Center known as the World Views program, after September 11th LMCC continued the program by establishing the New Views residencies in the World Financial Center and DUMBO, Brooklyn. LMCC/Workspace builds on the success of past residencies which included some of today's significant young artists such as Stephen Vitiello, Paul Pfeiffer, Naomi Ben-Shahar, Monika Bravo, Gelatin, Patty Chang, John Pilson, Nadine Robinson, Sanford Biggers, Lucky DeBellevue, Emily Jacir, Jennie C. Jones, Kristin Lucas, Jennifer & Kevin McCoy, and Olu Oguibe.
[ more information and application download here ]
Attend an LMCC/Workspace Info Session Staff will review the application guidelines, answer questions about the selection process, and help prepare your submission.
Held at LMCC's One Wall Street Court Office on Tuesday, August 3, from 6-7:30 pm. RSVP, by email rsvp@lmcc.net or call 212-219-9401 x302.
-------------------------------------------------------------------------
Langlois Foundation announces grants for researchers, application deadline Aug. 31
Grant program for Researchers in Residence: August 31 2004 deadline
Please note that as part of its international competition open to historians, curators, critics, independent scholars, artists and scientists, the Daniel Langlois Foundation is offering the chance for two researchers to work at the Centre for Research and Documentation (CR+D) in Montreal, specifically in its documentary and archival collections. Research projects must be directly related to one of the Foundation's archival collections or research projects supported by the Foundation. To access a description of the collections:
http://www.fondation-langlois.org/flash/e/index.php?NumPage=147
A description of the projects supported by the Foundation:
Artists or Scientists: http://www.fondation-langlois.org/flash/e/index.php?Section=proj&SousSection=pro&TypeIco=ind
Organizations : http://www.fondation-langlois.org/flash/e/index.php?Section=proj&SousSection=pro&TypeIco=col
The guidelines for the Grant Program for Researchers in Residence:
http://www.fondation-langlois.org/flash/e/index.php?NumPage=121
The list of researchers in residence previously supported by the Foundation:
http://www.fondation-langlois.org/flash/e/index.php?NumPage=148
About the Daniel Langlois Foundation for Art, Science, and Technology
The Daniel Langlois Foundation's purpose is to further artistic and scientific knowledge by fostering the meeting of art and science in the field of technologies. The Foundation seeks to nurture a critical awareness of technology's implications for human beings and their natural and cultural environments, and to promote the exploration of aesthetics suited to evolving human environments. The Centre for Research and Documentation (CR+D) seeks to document history, artworks and practices associated with electronic and digital media arts and to make this information available to researchers in an innovative manner through data communications.
-------------------------------------------------------------------------
Networked Performance Blog and Conference 2006, seeks participants.
Networked_Peformance Blog and Conference
http://turbulence.org/blog
Hello,
We‚re planning a networked performance conference for Spring/Summer 2006 and invite you to play a role in its development.
We‚ve set up a blog on the Turbulence web site (http://turbulence.org/blog/) where you can describe your performance activities, and give us your perspective on what the important issues and challenges are in networked performance today. We hope to obtain a wide range of perspectives and uncover points of mutual relevance that will help build the content of the conference.
The conference will bring together practitioners and scholars from all forms of networked performance--distributed Internet performance (including dance-, theater-, and music-driven works), avatar theater, online performance art, multi-user gaming performance, mixed reality performance, and other hybrid forms.
Multiple institutions and organizations will play a role: New Radio and Performing Arts, Inc. (NRPA), a not-for-profit media organization and parent of Turbulence.org; Emerson College, Boston; and California State University at Monterey Bay (CSUMB). We plan to work with additional organizations that will commission and/or host performances during the conference.
So visit the blog. Tell us who you are. Give us your URL(s) to post in our links section and the dates of any upcoming networked performances. And please tell anyone you think might be interested to join us.
Looking forward to an exciting discussion and conference,
Helen Thorington, Jo-Anne Green (New Radio and Performing Arts, Inc.)
Michelle Riel (California State University at Monterey Bay)
John (Craig) Freeman, Brooke Knight (Emerson College)
-------------------------------------------------------------------------
Multimedia Gallery, Univ. of the Arts, Philadelphia, seeks proposals.
The Multimedia Gallery at the University of the Arts would like to extend an invitation to digital artists and designers for an opportunity to have a solo show in a small university gallery. How would you fill a 200 sq. foot space with your work? Send url's to kkovalbauer@uarts.edu. Send CD's,
DVD's or slides to:
Prof. K. Koval-Bauer
320 S. Broad Street
Dept of Multimedia/CMAC
Terra Building, 12th floor
Philadelphia, PA 19102
917-923-7513
*the work we're looking for should be digital but the form is up to you. The craftsmanship should be top notch. We can accept work in dv, flash, gps, mp3, projections, installation with a digital component, animation. We can most of the time, accomodate you technologically. Send a work sample today!!
-------------------------------------------------------------------------
CALL FOR ARTISTS
-Please Forward-
Juried Exhibition: Bush, 9/11 2004, Perceptions of Our President
Entry Deadline: Friday, August 13
Download the prospectus at: http://www.koos.org/bush-prospectus.pdf
BUSH
9/11 2004
"Perceptions of Our President"
Juried Exhibition
September 11 - October 29
At Koo's Visual and Performing Arts Space
Long Beach CA
ABOUT THE SHOW:
Koo's presents: "Perceptions of Our President", a juried national
exhibition designed to artistically encapsulate the varied and diverse
perceptions of our 43rd President, George W. Bush. The motivation for
this exhibition is nested in the Koo's mission statement, "Öto promote
social awarenessÖthrough the arts."
Sensationalism has been used throughout American History to promote
political agenda. With "Perceptions of Our President", we hope to
explore the impact of a mega--media culture and how it is used to
influence perceptions. The Dictionary defines perception as the
quality, state, or capability, of being affected by something external;
sensation; sensibility. "Perceptions of Our President" is a rumination
on the impact of sensationalism in our modern culture.
ABOUT THE JUROR:
The juror, Kristina Newhouse is curator of the Joslyn Fine Arts Gallery
in the City of Torrance. She is a reviews editor and regular
contributor to the Los Angeles arts publication X-Tra. She has also
contributed to Art+Text, Artnet, Sculpture, and New Art Examiner.
AWARDS
1st Place: $500
2nd Place: $300
3rd Place: $200
How do you see George Bush?ÖAs the modern day Patriot? How about the
White House Cowboy? Do you see him as a symbol of restored dignity in
the White House? Do you see him as someone who calls it as he sees it?
A war monger? A symbol of all that is right/not right in America? A
dichotomous head of state?
CONDITIONS OF ENTRY:
Artwork Submissions may include but are not limited to: drawing,
painting, printmaking, photography, digital imagery, 2-D mixed media,
sculpture, 3-D mixed media, installation, video/film & performance art.
Artists may submit up to two (2) works for an entry fee of $20.00.
Additional entries may be included for additional $10.00 per entry.
There are no size restrictions. Entries will be judged solely on
artistic merit and not on political motivation. All proceeds from
entry fees will go towards Koo's' Visual and Performing Arts
programming.
All works must be ready for installation. Any special instructions for
installation must be provided in writing. No glass framed pieces
larger than 18îx 24î. All larger pieces must be framed with Plexiglas.
A limited number of pedestals are available. Works that are unsafe
are not eligible. Artworks cannot be removed prior to the end of the
exhibition.
CALENDAR
Exhibition Dates: September 11- October 29 2004
Opening Reception and Award Presentation, Saturday, September 11,
6-10pm
Entry Deadline: Friday, August 13
Artist Notification Mailed: Monday, August 20
Delivery of Artworks: Hand delivered or received in the mail by
Saturday, September 4 or Sunday, September 5, 11am ñ 7pm
-------------------------------------------------------------------------
INVITATION TO PARTICIPATE IN PRE-QUALIFYING ROUNDS:
ARTWORK COMMISSIONS IN THE PUBLIC FOYER
On behalf of the Art Committee for The New Opera House in Oslo, the National Foundation for Art in Public Buildings invites national and international artists to participate in a pre-qualifying round. The commission comprises four free-standing wardrobe volumes in the foyer area.
Deadline is August 1st 2004
Complete invitation text: http://www.operautsmykking.no/english/index.html
PUBLIC ART / DESIGN COMMISSION FOR THE STAGE CURTAIN OF THE NEW OPERA HOUSE
On behalf of the Art Committee for the New Opera House, The National Foundation for Art in public Buildings invites national and international artists to participate in a pre-qualifying round, with a view to being invited to a closed competition for the design of the stage curtain.
The deadline for delivery is 20th August 2004.
Complete invitation text: http://www.operautsmykking.no/english/index.html
We kindly ask you to pass on this information to your members and through your network, by passing on this e-mail or by taking out prints for handout.
-------------------------------------------------------------------------
www.soundtoys.net
TRANSIGENCE. 2004
Soundtoys has secured a series of exhibitions for interactive audio visual art and net art for later in the year. These venues include The Watershed Media Centre in Bristol and Dana Centre London.
A cd is planned to be produced (subject to funding) representing audio visual art and media 1998-2004 so please send in your work.
We are looking for contributions of audio visual interactive works, net art, music and art software, generative music, interactive environments, essays.
Work will be featured on the website and selected works made into offline presentations at selected galleries.
We are seeking new work for the 2004 series of events and for the website.
1. Internet. New online audio visual experiences and interfaces. Works for the website. Send in your latest "new audio visual experience". We are interested audio visual work by artists using the internet as a medium using internet friendly programming technologies eg shockwave, flash, vrml, java etc. So send in via email.
2. Installations. If you make interactive installations send in 400 words about the work and four images of the work. ie responsive environments, soundspaces, new interfaces navigation control, new displays.
3. Software. Artists and musicians software. This year we are particularly interested in applications by artists who make their own software.
If you work in any of the areas above we would like to hear from you. Either you could make something special or send in previous work that would be featured on the site and at galleries.
Zip up your work and send all info about it.
Don't forget to include relevant details.ie your name, project title, year created, brief bio, text info about the work, and also send the work. Please send all of the work including the html files. If your files are too big send in a cd-rom version.
Do not just send us a link and say check it out.
Application form online.
web and info....... www.soundtoys.net
email ...........2004@soundtoys.net
DEADLINE 1 SEPTEMBER 2004
-------------------------------------------------------------------------
Ormeau Baths Gallery, Ireland, seeks artists for exhibition/prize, deadline Sept. 24
CALLING ALL TEXTILE ARTISTS!!
www.obgonline.net
Ormeau Baths Gallery CALL FOR SUBMISSIONS:
Contemporary Textile Art International Open Exhibition 2004
£6,000 PRIZE PRESENTED TO WINNING ARTIST
Please phone or email if you would like to request hard copy application form(s) to be sent by post.
Deadline for submissions: Friday 24 September 2004
Exhibition Preview: Thursday 09 December 2004
Prize: £6,000 presented at exhibition preview
Selectors: Sonia Rolak, Artist and writer; David Brett, Art Historian & Writer; Marian Byjlenga, winner of
International Textile Art Award 2002.
Exhibition Dates: 09 December 2004 - 22 January 2005
Rachel Kennedy
Administrator
Ormeau Baths Gallery
18A Ormeau Avenue
Belfast BT2 8HS
ph: 028 9032 1402
fx: 028 9031 2232
rachel@obgonline.net
-------------------------------------------------------------------------
This is an invitation to collaborate in
FIELD OF VISION: NEW YORK
@
The Lab Gallery
New York
13 - 18 September 2004
DESCRIPTION
FIELD OF VISION: NEW YORK is a combined internet / live art event
about New York. Artists and non-artists worldwide are invited to send
their work for inclusion by e-mail. Images will be printed out postcard
size and assembled on location into a billboard format collage.
CRITERIA
We are looking for images that represent how you see New York - not
necessarily cityscapes and scenes, but anything that springs to mind in
relation to the place. About 300 images will be selected.
MEDIA
Photographs, pictures downloaded from the internet or magazine cuttings,
small artworks for example paintings, scanned objects, drawings, collages
and electronically generated imagery are all acceptable but must be
digitised and sent as an e-mail attachment.
GUIDELINES
- You can submit any number of works
- Send a separate e-mail for each image
- File format: jpeg, gif, png
- File size: max 1 megabyte
If you wish to be credited include your name and city/country.
Successful entries will be notified by e-mail and included
on the project website.
--------------------------
SEND TO
ny@field-of-vision.net
DEADLINE
8 September 2004
--------------------------
FURTHER INFORMATION:
ENGLISH: http://www.field-of-vision.net
ESPANIOL: http://www.campo-de-vision.net
DEUTSCH: http://www.gesichtsfeld.net
OR E-MAIL: info@digitalartprojects.org.uk
ORGANISING ARTISTS:
Paul Dacey / USA
Alison Dalwood / UK
Stephan Hausmeister / D / UK
Iraxte Hernandez Simal / E
Chapman Kuo / ROC
Richard Purdy / USA
Andrey Vrabchev / BG
Michael Wright / UK.
FIELD OF VISION is a series of events initiated by
DIGITAL ART PROJECTS
with research funding assistance from the
Faculty of Art and Design,
University of Hertfordshire / UK
(info@digitalartprojects.org.uk)
-------------------------------------------------------------------------
CALL FOR AUDIO WORKS FOR N.A.G. GALLERY:
We invite you to submit audio works you have created in part or in whole using N.A.G. (Network Auralization for Gnutella). Jory Kruspe and N.A.G. creator Jason Freeman are putting together an online gallery of these works to be showcased on Turbulence.
For full details and to upload your work, visit:
http://turbulence.org/Works/freeman/gallery/submit/
To download the N.A.G. software for free, visit:
http://turbulence.org/Works/freeman/
ABOUT N.A.G.:
N.A.G. (Network Auralization for Gnutella), interactive software art by Jason Freeman for Mac OS X and Windows 2000/XP, turns the process of searching for and downloading MP3 files into a chaotic musical collage. Type in one or more search keywords, and N.A.G. looks for matches on the Gnutella peer-to-peer file sharing network. The software then downloads MP3 files which match the search keyword(s) and remixes these audio files in real time based on the structure of the Gnutella network itself.
“N.A.G. (Network Auralization for Gnutella)” is a 2003 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore), for its Turbulence web site. It was made possible with funding from the National Endowment for the Arts.
-------------------------------------------------------------------------
Forum Campus Krems: International Art Competition
The Brief
An artistic design for the central square on the Campus Krems.
Budget
Euro 200,000.-
Procedure
In two stages
Entries
Stage 1: No more than 2 pages of A4 (concept and sketch)
NO Hypo Bauplan
Neugebaudeplatz 1
A 3101 St. Polten
publicart@noel.gv.at
Stage 2: a maximum of 10 artists shortlisted to receive a fee
Timeline
Stage 1, deadline for submissions: 10.9.2004
The jury convenes on 10.11.2004
Stage 2, presentation of concepts to the jury: 01.12.2004
Jury
Dieter Feichtinger, Friedrich Fischer, Marie-Therese Harnoncourt, Brigitte Huck, Erich
Raith, Werner Reiterer, Franz Sam, Hedwig Saxenhuber, Leo Schatzl, Romana Scheffknecht
Information
Competition terms and conditions, specifications, plans etc. at http://www.publicart.at
-------------------------------------------------------------------------
-------------------------------------------------------------------------
September 15
The Bronx Museum of the Arts is accepting applications for the Artist in the Marketplace (AIM) program. AIM offers professional development seminars for emerging artists and an annual group exhibition. For application, please send SASE to the Bronx Museum of the Arts, 1040 Grand Concourse, Bronx, NY 10456 or visit www.bxma.org to download.
-------------------------------------------------------------------------
Special Artists‚ Projects for Art Journal: Call for Entries
Thanks to a generous grant from the National Endowment for the Arts, CAA‚s quarterly
Art Journal will commission four original works of art to be produced in color offset
printing. They will appear with the four 2005 issues of the magazine, one per issue. Each
will be a unique artwork, produced in an unnumbered edition matching the magazine‚s
print run. A smaller signed and numbered limited edition will be shared between CAA
and the artist; sales of CAA‚s share will benefit our Professional Development
Fellowship Program.
Artists are invited to submit proposals for stand-alone works that use color offset
printing in an innovative and ambitious fashion. The works may be shrink-wrapped with
the issue, bound into it, or otherwise incorporated. They may take many forms, from
independent objects (postcard inserts, small booklets, folded posters, pop-up objects,
calendars, playing cards, folded objects˜any small printed-paper project) to multipage
interventions in the magazine itself. Printing techniques may include (but are not limited
to) fold-out pages (gatefolds) or covers, diecuts, unusual inks or inking techniques,
nontraditional papers and materials (e.g., Mylar or rice paper), inserts, and unusual
typography. Scale, size, number of „pages,‰ and other formal specifications are limited
by our budget, the journal‚s physical structure (for example, its binding), and U.S. Postal
Service regulations.
To encourage originality and to foster collaboration, each artist selected will have
the opportunity to consult with the journal‚s designer and editors in New York to refine
the project concept. Final projects must be created by the artists as digital files in the
Quark Xpress, Photoshop, and/or InDesign programs.
Schedule
September 1, 2004 Application deadline
October 26, 2004 Finalists notified
November 22, 2004 Finalists submit final project concepts
December 15, 2004 Four artists selected
2005 Projects appear with Spring, Summer, Fall, and Winter issues
Selection Criteria
Artistic excellence will be the primary consideration in selecting the winning proposals.
The jury and the editor-in-chief will also weigh the technical and financial feasibility of
each proposal. Art Journal and CAA are committed to diversity of representation and to
fostering creative expression in a wide range of idioms. Applicants need not be members
of CAA.
Each of the four participating artists will receive a stipend of $1,000, a one-year
membership in CAA with a subscription to Art Journal and other associated benefits, a
signed and numbered limited edition of the final printed project, and one each of the other
three projects, signed and numbered.
How to Apply
The postmark deadline for the initial application is
September 1, 2004.
To apply, send:
* 10ˆ20 35-mm slides of your work OR a CD with 10ˆ20 images in digital files (JPEG,
TIFF, EPS, or PDF)
* a brief written description (maximum one page) of the artwork you have in mind. This
need not be a polished, final proposal, but should indicate format, content, and a general
sense of imagery. It may also include a general artist‚s statement.
* sketches of the proposed project (optional)
* a current résumé or c.v.
* examples of any other artworks you have created in the offset-print medium (optional)
* a self-addressed, stamped envelope for the return of slides
Your application must be postmarked by September 1, 2004.
Send your proposal to:
Art Journal Special Artists‚ Projects
College Art Association, Box JH
275 Seventh Ave., 18th Floor
New York, NY 10001.
If you have questions about the application process, please contact Joe Hannan at
jhannan@collegeart.org. Please DO NOT e-mail applications to this address; they will
be deleted unread.
Finalists will be notified on October 26, 2004; each finalist will then have four
weeks to create a refined project concept with images, a detailed written description, and
a mock-up. The selection of the four participating artists will be announced on the CAA
Web site in December 2004 and in CAA News.
This project is supported through a generous grant from the National Endowment for the
Arts and funds from other donors.
-------------------------------------------------------------------------
ENGLISH
****************************************************************
5th Symposium on Art and Multimedia
Mediateca CaixaForum (Fundació "la Caixa")
Metanarrative(s)?
:: international meeting on the artistic direction of
audiovisual and multimedia narratives and syntax ::
Barcelona, Spain, January 28-29 2005
http://www.mediatecaonline.net/mediatecaonline/jsp/index.jsp
****************************************************************
dead-line for proposals (both papers and works): 1 November 2004
Context:
The Fifth Symposium on Art and Multimedia is dedicated to 'digital metanarrative' from any focus, from all points of view. The organizers' intention is none other than to create and help flourish possibilities of acquiring greater knowledge in this experimental domain, in which we feel that guidance of the art form (in the sense of providing proper direction to it), is crucial.
We have opened two calls aimed at gathering texts and works related to research and experimentation in narrative or non-narrative forms that set out to go beyond the limits established today, and that have been developed in the field of art and audiovisual and multimedia communication, coming to be known as 'metanarratives' ('meta' in the sense of 'after').
We have started up this website to collect the proposals, and a weblog that will encourage communicative participation. We will also facilitate the live presentation of selected papers and works during the course of the Symposium to be held next January 2005.
1. Call for papers
All authors of theoretical research related to digital metanarrative are invited to take part in the 5th Symposium on Art and Multimedia with any papers on new forms of narratives in the Internet Age. Issues like the modification and questioning of the traditional (Aristotelian) concept of storytelling (account of effective causality, temporal and spatial cohesion etc...), will be central themes at the conference. We seek:
theoretical reflections on digital narrative(s)
on-line documentation on multimedial art
We are looking for papers that respond to the following questions:
What do we mean by digital narrative(s)?
What kind of changes has the new technological concept brought about in narrative approaches?
To what syntactic particularities has this lead?
Can we speak of post-narrative or metanarrative models?....
Requirements:
- BA or similar in Art History, Music History, Fine Arts, Philology, Philosophy and Humanities, Documentation Science, Audiovisual Communication, Design studies or similar.
- Students enrolled on a recognised Master course
- Students enrolled on a Doctorate course
Documentation:
We need the following documents before 1 November 2004 at metanarrative@lmi.ub.es:
- Abstract of the paper, min 500 max 1000 words, sent by e-mail in Word, Openoffice or ASCII format
- Brief list of the used sources
- Author's current CV and contact details (email, telephone, address, fax etc).
- An additional written document with the author's motivation and future projects.
Selection:
A jury of three representatives of 'Mediateca' and 'Grup Recerca VALL' of the University of Barcelona will select six papers and notify the authors prior to 1 December 2004.
The selection criteria are the following:
1. Relevance to the call and its objectives
2. Relevance to the current research panorama in this field
3. Originality
4. The author's motivation and prospects for the future
The authors of the selected papers will be invited to Barcelona to present them personally at the 5th Symposium on Art and Multimedia at 'CaixaForum' of "la Caixa" Foundation, 28 and 29 January 2005. On the day of their presentation, invited authors will receive 600 euros (residents in Spain 400 euros and residents in Catalonia 200 euros) to cover travel and accommodation expenses.
The dead-line for the complete version of the selected papers is 15 December 2004. The final format will be of the author's choosing: text, hypertext or hypermedia. Papers will be accessible to users of the Mediateca website for an indefinite period of time.
2. Call for works or experiments on digital metanarrative
We seek artistic research works in which the challenges and benefits of narrative or metanarrative renewal are presented, and also those non-narrative creations which may contribute to fostering the debate on digital narrative.
* Artistic works based on the notions of digital narrative.
Key words: digital narrative, media narrative, electronic textuality, electronic books, art on CD-ROM or DVD, on-line narratives, weblogging, web-based stories, community creation, digital environments, video games, narratology, ludology.
* Artistic creations approached from a non-narrative position that question the narrative structures in advanced (expanded) communication.
Key words: web art, net art, mail art, software art, communication aesthetics, information aesthetics, digital architecture
WHY NOT TAKE PART!?
Documentation to be sent to metanarrative@lmi.ub.es:
- The work and/or exact references of where and how it may be consulted.
- An additional text by the author
Deadline:
1 November 2004
Selection:
The selection criteria will include:
- Pertinence to the call.
- Relevance in the current panorama of artistic practices.
- Originality in the twofold sense of the word:
- that it is an original work by the author,
- that it stands out for its form and/or content.
- Motivation and future prospects expressed in the documentation
A jury of three representatives of the Mediateca and of the VALL Research Group of the University of Barcelona will select six works. The decision will be notified to the authors prior to 1 December 2004.
The authors of the selected papers will be invited to CaixaForum to present them personally. Works will be presented publicly at "la Caixa" Foundation's CaixaForum in Barcelona during the 5th Symposium on Art and Multimedia on 28 and 29 January 2005. On the day of their presentation, invited authors will receive 600 euros (residents in Spain 400 euros and residents in Catalonia 200 euros) to cover travel and accommodation expenses.
The selected works or their URL will be accessible to users of the Mediateca website for an indefinite period of time. If the author so desires, the Mediateca will host the work on its server.
5th SYMPOSIUM on ART and MULTIMEDIA
Mediateca CaixaForum de la Fundació "la Caixa"
http://www.mediatecaonline.net/mediatecaonline/jsp/index.jsp
Av. Marquès de Comilles, 6-8
08038 BARCELONA
Catalonia, Spain
Espanya
Information and address to send papers and works:
VALL Research Group
Attn. Cilia Willem
metanarrative@lmi.ub.es
University of Barcelona
Pg. Vall d'Hebron, 171
Edifici Llevant, despatx 005
08035 Barcelona
Catalonia, Spain
tel. +34 934 035 065 / +34 934 034 413
-------------------------------------------------------------------------
FINAL CALL for entries
We are now inviting entries for ORIGINATE 2004 returning for
it's 2nd successive year.
ORIGINATE: cause to begin; initiate;have as an origin; begin:
This competition is open to all areas of creative media to interpret the
theme 'ORIGINATE' and support the promotion of talent within
the fields of digital imaging, photography, painting, sculpture and mixed
media.
Deadline 26th August 2004
Last years winning entries can be viewed at
http://www.refocus-now.co.uk/Pages/Gallery47.htm
The selected winning entries will be showcased on our stall at
ON THE WALL at Olympia in London 29th September - 03 October 2004.
We are on stall A16.
www.on-the-wall.co.uk
On The Wall offers direct routes to both trade and consumer markets
providing maximum prospects for sales. In the first UK art fair of its
type exhibitors can rely on the experienced team behind London Art Fair,
Fresh Art, Country Living and Cycle for powerful, innovative marketing
and a spectacular show with broad appeal.
Criteria
On The Wall will welcome contemporary work ranging from the
traditional to the avant-garde, from originals to limited editions and
from ceramics to sculpture. Exhibitors will benefit from London's
growing market of art buyers and its extensive trade reach in an
event offering works priced mostly between £150 and £1500.
Supporting the fair's commitment to artistic diversity, the selection
panel to be announced shortly will consist of experts with differing
critical and commercial standpoints. A degree of consensus will be
sought, but each member will also make personal selections. In this
way, On The Wall will look to encompass a wide, representative
spectrum of work
For entry forms and guidelines on this competition e-mail
info@refocus-now.co.uk with ORIGINATE 2004 in the subject line
Refocus Now
6th Floor
175 Piccadilly, London
England, W1J 9TB
www.refocus-now.co.uk
info@refocus-now.co.uk
-------------------------------------------------------------------------
Le Petit Versailles, NY, calls for submissions for new zine, PLOT.
Friends, Floras and Faunas,
This is a call for submissions to a zine being put together for publication in August or November if it gets too crazy here chasing around those crazy Republicrapz. Please forward to interested peeps, listserves, websites,,,
PLOT is the name of the zine. PLOT refers to a number of things: To plan out as in a map or set of coordinates, careful foresight to planning a complex scheme, inventing a literary device, a small piece of land as in a cemetery or a small area of planted ground.
Its focus is solutions, diatribes, politics, the environment (from your window garden to ozone emissions) in an artful approach queer & otherwise. Experimental stories, excerpts, drawings, stencils, schemes, chainletters, seeds, kisses, information & resources.
Want your acronyms too such as People Love Overthrowing Tyranny or Pansies Lick Oatmeal Toes.... Think Serious Think Absurd Think Revelootionary
The zine will be a limited edition of 500 minimum depending on number of submissions. Any unique objects must be sent in a minimum of 500. Images no bigger than 8.5 x 11.
Submissions may be resized to fit final printing format. Considering the expense of color but presume it will be black & white. Participants will receive one copy of the zine for their efforts. No submissions will be returned unless accompanied by a self addressed/ postage paid envelope.
E-Files can be sent to
petitversailles@earthlink.net
or directly to LPV @ PO BOx 20260 New York, NY 10009-8971.
Thanks & Peas to all!
Chalk 1 UP!
www.alliedproductions.org
-------------------------------------------------------------------------
PRECIPITATIONS NYC LONDON LIVERPOOL
a london biennale event 2004
The Postal Precipitation event,included in the exhibition Precipitations-London Biennale Pollinations was an incentive to artists both in and outside new York to paticipate in the exhibition,as the concept of the exhibition continued to broaden at The Lab Gallery,with the encouragement of curator Koan Baysa,and gallery director Matt Semler. This project enabled a forum for participating artists of the LB both past present and future,to exhibit their works,which was appreciated by an audience in NYC. The work that arrived each day was superlative,and thanks to the invitation of Mai Ghoussoub,these works will be exhibited in London at The Kufa Gallery,opening August 5 2004,and at The Liverpool Biennale as part of the Museum Man in September 2004.
I would like this initiative to to continue and invite artists to send their works,to be exhibited with the works shown in NYC. If you are interested,or know of artists,authors,or participants that would like to be involved please send your sketch photograph,postcard,in response to the concept "precipitations" to:
Adam Nankervis
Precipitations
c/o Mai Ghoussoub
The Gallery
26 Westbourne Grove
London W2 5rh England UK
Many Thanks in advance, Adam Nankervis
-------------------------------------------------------------------------
Ongoing
The Jerome Foundation awards grants to individuals emerging artists who are residents of Minnesota or the five boroughs of New York City. On a limited basis, mid-career artists may also apply. See www.jeromefdn.org
-------------------------------------------------------------------------
October 31
The Gunk Foundation is interested in supporting projects that make it out of the museum, gallery, and alternative spaces and into the spaces of daily life, i.e. the context of public transportation, city streets, or work places and that is seen by people "outside" of the art and academic worlds. See www.gunk.org
-------------------------------------------------------------------------
October 4
Astraea National Lesbian Action Foundation awards grants of $2,5000. Serious consideration given to lesbian media and visual arts projects focusing on particular constituencies such as low income people, older people, lesbian and gay youth and adults, people with disabilities, and projects focusing on community-building among lesbian organizations and coalition building between oppressed constituencies. Grant applications and new guidelines for other funds will be available the week of October 4, 2004. See www.astraea.org
-------------------------------------------------------------------------
October 1
The John Simon Guggenheim Memorial Foundation provides fellowships for advanced professionals who have demonstrated exceptional capacity for productive scholarship or creative ability in the arts. The annual program is designed "to further the development of scholars and artists by assisting them to engage in research in any field of knowledge and creation in any of the arts, under the freest possible conditions and irrespective of race, color, or creed." Grants average $35,000. See www.gf.org for further program information and application procedures.
-------------------------------------------------------------------------
October 1
New York Foundation for the Arts is accepting applications for Artists' Fellowships.
The New York Foundation for the Arts annually presents cash awards of $7,000 to individual artists living and working in the state of New York for use in career development. Grants are awarded in sixteen artistic disciplines, with applications accepted in eight categories each year. In the 2004-2005 cycle, the following categories will be supported (with awards to be announced in summer 2005): computer arts, crafts, film, nonfiction literature, performance art/multidisciplinary work, poetry, printmaking/drawing/artists' books, and sculpture. See www.nyfa.org for complete guidelines and application instructions.
-------------------------------------------------------------------------
September 15
The Foundation for Contemporary Arts, Inc. provides grants for organizations, groups and individuals that support imaginative and contemporary work in dance, music, performance art/theater, poetry and the visual arts. Grants range from $500-$25,000. Call 212-807-7077 for more information.
-------------------------------------------------------------------------
SoundLab Channel:// call for submissions
/////////////////////////////////////////////////////////////
On occasion,
of its participation in
Biennale for Electronic Art Perth/Australia
7 September - 17 November 2004
www.beap.org ,
[R][R][F] 2004 --->XP
global networking project
www.newmediafest.org/rrf2004/
will add in September 2004
a new "Memory Channel",
contributed by ConcertHall/le Musee di-visioniste
www.le-musee-divisioniste.org
.
Its name is SoundLab Channel, which
will be dedicated exclusively to soundart in its various forms,
and will consist of three main components
a) a program of soundart consisting of
existing programs of sound art of Internet radio stations around the globe
b) curatorial contributions
c) individual artists submissions via open call
////////////////////////////////////////////////////////////////////////////
///////
-->Call for submissions
Deadline Friday, 27 August 2004.
soundartists, composers etc are invited for
submitting works of soundart of
a) experimental character
b) electronic music
c) Voice -sound/music integration
d) and other forms
Subject: in a narrow or wider sense ---> memory and/or identity.
The original work can, but must not be developed in a digital format,
but the work(s) to be submitted
a) have to be published either already on a specific webpage
with an URL of theirown (without any size limitations)
or
b) available in this one digital submission format --->.mp3
(file size limit about 5MB for each work, exception possible, but on
request)
The authors/artists keep all rights on their submitted works.
Deadline Friday, 27 August 2004.
Please use this form for submitting:
*******************
1.name of artist, email address, URL
2. short biography/CV (not more than 300 words)
3. works (maximum 3), year of production, running time
a) URL or
b) mediafile, name
4. short statement for each work
(not more than 300 words each)
Confirmation/authorization:
The submitter declares and confirms
that he/she is holding all author's rights
and gives permission to include the submitted work
in "Soundlab" online environment until revoke.
Signed by (submitter)
Please send the complete submission to
concerthall@le-musee-divisioniste.org
subject: Soundlab Channel
Deadline Friday, 27 August 2004
-------------------------------------------------------------------------
Hello all, please feel free to forward this onwards...
+++++++++++++++++++++++
CALL FOR PARTICIPATION!
+++++++++++++++++++++++
Around the world, video cameras have become weapons against the atrocities of aggressive regimes, and at the same time serve as powerful tools for spin doctors of all predispositions. With the Republican National Convention headed into town, the spin doctoring is likely to take us all for a whirl! Rather than be just be dragged along for the ride, we invite you to use a video camera to voice your own spin on the global and local situation.
Submit your videos to the CoDECK (instructions below), and then come sit in front of a TV with a cup of coffee and take yourself on a spin of your making. The CoDECK is an interactive video database in the form of a 1970’s Betamax VCR, and between Monday, August 23 and Friday, September 3 (the week preceding and week of the RNC), it will be hanging out at alt.coffee, where you can take your activism out of the sweltering heat, sit on a couch with a cold drink, scroll through people’s many points of view and respond to them…
That’s right, respond! Use the CoDECK to bolster a community of people actively involved in observing and responding both to the current situation and to one another's points of view. The CoDECK creates a self programmed, self moderated television channel, and there are at least three way to respond to what you see: you can post your own video in response, post a written response through a web browser, or use the webcam attached to the TV to record a live video response. (http://codeck.net)
Fancy editing is not required, and you can continue to submit videos throughout the RNC. Some videos will be aired on Manhattan Neighborhood Network during prime time RNC broadcast, and in November the glorious collection of videos we end up with will be exhibited again in Sao Paulo, Brazil.
+++++++++++++++++++++++++++
Instructions for submitting a video:
+++++++++++++++++++++++++++
(easy!) go to http://codeck.itp.tsoa.nyu.edu/upload.php and fill out the form with any of the data you wish to leave. At the bottom of the form you can attach your movie and an optional thumbnail. Press submit and wait as it uploads. When it’s done, your video will be inserted into the CoDECK queue and be ready for viewing and responding at alt.coffee
Your video must be a 320x240 or 640x480 video file that is less than 125MB. It can be in any format, but for best results we recommend an MPEG4 or Quicktime format.
PLEASE NOTE: as of August 23, you can submit your work ONLY from alt.coffee! We will have a firewire cable on hand, or else bring it on CDR/DVD or your own hard drive, if it’s mobile.
**alt.coffee is at 139 Avenue A, NYC: http://www.alt.coffee.com for details**
The CoDECK @ alt.coffee is brought to you by Pursue the Pulse
http://www.pursuethepulse.org info@pursuethepulse.org
-------------------------------------------------------------------------
The ONE TAKE FILM FESTIVAL will take place in Zagreb, Croatia, between 19th and 21th of November 2004. Both professional and non-professional film and video authors can submit entries to the festival. Submission is free of charge. Each author can submit only one entry. Only the films completed after January 1, 2000, can enter the competition.
The programme of the ONE TAKE FILM FESTIVAL will consist solely of films shot in one take, without any editing. A "take" is defined technically, as the footage made between turning the camera on and turning the camera off. Therefore, for a film to be eligible for entry it should not contain any cuts or transitions such as dissolve, fade in, fade out, etc.
The footage must not be edited in any way other than trimming at the beginning and the end. The transition between the title/end credits and the film itself can be done by crossfading, or the title/end credits can be displayed in any other way before and after the take the film is comprised of, but only on a neutral, still background.
There are no restrictions regarding running time of the films. Genres eligible for submission are fictional, documentary and experimental films, as well as commercial and music videos.
Preview copies should be submitted exclusively on VHS tape. Preview copies will not be returned.
Screening copies of the selected films should be submitted in one of the formats listed on the entry form. Screening copies will be returned only if sent along with "international postal coupons".
Authors should not send master copies for neither preview nor screening purposes. The title of the film, director's name and last name, running time, b/w or colour and the type of the sound, should be labelled on all VHS videocassettes.
Along with a VHS preview copy, authors should send: - entry form filled-out legibly or printed out in Croatian or English language - director's curriculum vitae and complete filmography, along with the awards list - one or two screenshots from the film that will appear in the catalogue of the festival or in the newspapers Should the submission be incomplete or entry form not legible, the selection jury shall not consider the entry for the competition.
Films with dialogues in languages other than Croatian or English, must be subtitled in Croatian or English language.
Entries should be sent, along with a filled out entry form, before September 25th, 2004, to the address:
ONE TAKE FILM FESTIVAL
Trg ?rtava fa?izma 14
10 000 ZAGREB
CROATIA
Delivery should be marked: "NO COMMERCIAL VALUE"
All expenses wil be covered, as well as the risk of sending the preview and screening copies by mail assumed, by the sender. The organizer is therefore free of any liability concerning the transportation of the entries to the festival, or returning of the screening copies to the author or producer. All screening copies shall be returned before April 1st, 2005.
Awarded film will be copied, or transferred to tape in telecine, at the expense of the organizer and stored in the archives of the ONE TAKE FILM FESTIVAL. The organizer guarantees that the copies will be used in non-commercial purposes only.
VHS preview copies selected for the competition will also be stored in the archives of the ONE TAKE FILM FESTIVAL. The organizer guarantees that these copies will also be used in non-commercial purposes only.
The organizer will not pay any royalties to the author or the producer for the screening of the film. The organizer retains the right to screen the selected films on the Internet or TV for promotional purposes.
The jury of the festival, that will consist of the experts on cinematography and other visual arts, will award the Grand prix of the ONE TAKE FILM FESTIVAL to only one film.
The signature of the author or the producer on the entry form, confirms the compliance to all of the above mentioned regulations of the ONE TAKE FILM FESTIVAL.
Please find some more details and the entry form at http://www.onetakefilmfestival.com/
-------------------------------------------------------------------------
Univ. California San Diego seeks Technical Director and Systems Administrator
#33614 PROGRAMMER/ANALYST III (100% Career)
Center for Research in Computing & the Arts (CRCA)
http://crca.ucsd.edu/
Hiring Salary Range: $48,600 - $67,300/year
Filing Deadline: 08/04/2004
Payroll Title: Programmer/Analyst III. Full Salary Range: $48,600 - $85,900/year.
DESCRIPTION: Serve as Technical Director and Systems Administrator for CRCA. In this capacity implement and manage network and upgrades, support new and ongoing research activities, and participate in planning and implementation of new facilities and infrastructures for the New Media Arts within the California Institute for Telecommunications and Information Technology (Cal-(IT)2 - http://www.calit2.net.)
Provide complex programming and research support to arts researchers including the identification and implementation of new technologies in support of the ongoing development of CRCA and researcher websites. Perform systems administration including network operations, software and hardware research, recommendation, purchase and installation, and system analysis. Provide facilities management of advanced equipment and lab setup and maintenance. Provide systems administrative and technical support to CRCA staff, students and visiting researchers. Some variable hours and evening or weekend responsibilities in line with special events, projects or related efforts.
QUALIFICATIONS:
* Advanced Systems Administrator experience of unix operating sytems, Linux, MacIntosh, Windows and sytems management concepts and tools.
* Experience in the configuration and maintenance of TCP/IP networks, including experience configuring and managing security systems for all devices connected to a broadband network.
* Broad and diverse experience with computer graphics and audio programming, and demonstrated work experience programming in PERL, C, C++, and Java.
* Broad and diverse experience with graphics and audio hardware, including scanning, audio I/O, video I/O.
* Broad and diverse experience with programming, data mining, maintenance and development of various types of websites including html, php, and databases including establishing and maintaining multisite/multiserver configurations.
* Effective communication skills for communicating with a variety of people, from both technical and non-technical backgrounds, on technical and aesthetic subjects.
HIGHLY DESIRED: Experience working with and within a digital and new media arts setting in both the visual and performing areas.
ABOUT UC:
CRCA is an organized research unit of UCSD whose mission is to facilitates the invention of new art forms that arise out of the developments of digital technologies. Current areas of interest include interactive networked multimedia, virtual reality, computer-spatialized audio, and live performance techniques for computer music and graphics. http://crca.ucsd.edu
Cal(IT)2 is the California Institute for Telecommunications and Information Technologies bridging research and industry interests between UC San Diego, UC Irivine, San Diego and Orange counties, as well as locations nationally and abroad. http://www.calit2.net
UCSD is a major research university that promotes and supports creative work and advanced research in all forms of the arts including practice, history and theory. One of the ten campuses in the world-renowned University of California system, UCSD has rapidly achieved the status as one of the top institutions in the nation for higher education and research. Total current campus enrollment is nearly 25,000. UCSD is an Equal Opportunity/Affirmative Action Employer with a strong institutional commitment to excellence through diversity.
UC DARNet is the Digital Arts Research Network of the University of California system. Seven member campuses plan, coordinate and collaborate on digital and new media arts research, projects and public activities. http://ucdarnet.org
TO APPLY ONLINE:
http://joblink.ucsd.edu/bulletin/job.html?cat=new&job_id=33614
YOU MUST APPLY ONLINE. NO RESUMES WILL BE REVIEWED VIA EMAIL OR
POSTAL SUBMISSION.
-------------------------------------------------------------------------
Brooklyn Arts Exchange, seeks work on gay marriage, deadline extended to Aug. 15
BAX/Brooklyn Arts Exchange SEEKING WORK ON GAY MARRIAGE
Extended deadline August 15, 2004
BAX/BROOKLYN ARTS EXCHANGE also home to Brooklyn‚s Center for Lesbian & Gay Arts & Artists is seeking one act plays & performance work that respond to the issue of GAY MARRIAGE. The performances will take palace January 21 & 22, 2005. Will be a shared evening with at least 2 other artists and should be no longer than 20 minutes.
BAX provides modest artist stipends of $200, lighting, sound, production staff, publicity, house staff.
To submit a proposal please include the following:
Your name and contact info include phone numbers and email addresses.
? page bio
No longer than one page description of the project (please include a synopsis if your project is a play or text based work)
Technical requirements
Length of project including whether you are willing to present an excerpt and how long that might be.
Up to 2 pieces of relevant press materials (may include a photo of you, or a piece you‚ve made)
A videotape, cued to watching 5 minutes of the piece you are submitting, (can be work in progress) or a recent piece that is demonstrative of the work you are proposing. (please include a SASE to return your videotape)
Three recent performances (list)
Mail all materials to 421 Fifth Avenue Brooklyn NY 11215 attn. Marya Warshaw
BAX/Brooklyn Arts Exchange, located at 421 Fifth Avenue, Park Slope, Brooklyn, is a multi-faceted community arts center offering an annual presenting season, artist services, and performing arts classes/workshops for youth and adults. For more information, visit www.bax.org or call (718) 832-0018.
Marya Warshaw
Executive Director
BAX/BROOKLYN ARTS EXCHANGE
(718) 832-0018
Marya@bax.org
-------------------------------------------------------------------------
www.soundtoys.net
TRANSIGENCE.2004
We have secured a series of exhibitions for interactive audio visual art and net art for later in the year. These venues include The Watershed Media Centre in Bristol and Dana Centre London.
We are looking for contributions of audio visual interactive works, net art, music and art software, generative music, interactive environments, essays. Work will be featured on the website and selected works made into offline presentations at selected galleries.
We are seeking new work for the 2004 series of events and for the website.
1. Internet. New online audio visual experiences and interfaces. Works for the website. Send in your latest "new audio visual experience". We are interested audio visual work by artists using the internet as a medium using internet friendly programming technologies eg shockwave, flash, vrml, java etc. So send in via email.
2. Installations. If you make interactive installations send in 400 words about the work and four images of the work. ie responsive environments, soundspaces, new interfaces navigation control, new displays.
3. Software. Artists and musicians software. This year we are particularly interested in applications by artists who make their own software.
If you work in any of the areas above we would like to hear from you. Either you could make something special or send in previous work that would be featured on the site and at the galleries in an offline context.
Zip up your work and send all info about it.
Don't forget to include relevant details.ie your name, project title, year created, brief bio, text info about the work, and also send the work. Please send all of the work including the html files. If your files are too big send in a cd-rom version.
A cd rom is planned to be produced (subject to funding) representing audio visual art and media 1998-2004 so please send in your work.
Do not just send us a link and say check it out.
Application form online.
web and info
www.soundtoys.net
email
2004@soundtoys.net
DEADLINE 1 SEPTEMBER 2004
-------------------------------------------------------------------------
+++ Call for entries +++ please forward
+++ Deadline 15th of September, 2004 +++
+++ We will be glad to receive your entries and we would be pleased if you could offer this information to interested filmmakers. +++
International Video Reporting Award
The "International Video Reporting Award" is an international competition
for short, innovative, non-fiction digital filmmaking. The films must be
helmed by a single person who is solely responsible for content, direction,
camera, sound and editing, and who fully explores the creative dimensions
of digital technology. The filmmaker should also be taking on the
challenge of autonomous production and distribution.
The award jury will be looking for excellence in story-telling, as well as for
imaginative use of filmmaking techniques.
The "International Video Reporting Award" provides an overview of
international trends and standards. The screenings will encompass work
from the USA, Great Britain, and also the beginnings of video reporting in
Germany.
The Top Prize carries an award of 1000 Euros.
The award cermony will take place during the 6.backup_festival in
Weimar/Germany Oktober, 7. - 10. 2004.
Applications for the "International Video Reporting Award" may be
registered online at http://www.backup-festival.com/ under
"Call for Entries", and all current registration forms can be downloaded as
a pdf.
Send Entries to:
backup_festival
Bauhaus-University Weimar
Faculty of Media
Bauhausstr. 11
D-99423 Weimar/Germany
Entry submission Deadline: September 15, 2004. Each entry submission
should be no longer than 15 minutes.
The independent jury for the "International Video Reporting Award"
consists of established television producers, VR-Coaches and
University/Film school teachers. The jury members for 2004 are: Sabine
Streich, Michael Rosenblum,
Wolfgang Kissel.
-------------------------------------------------------------------------
----------------------------------------------------------------
13. 6th Annual Visualeyez?, Call for Submissions, Edmonton
----------------------------------------------------------------
The sixth annual VISUALEYEZ? a festival of performance and time-based
work will occur 19 to 28 May 2005 and will be presented in site specific
locations throughout the city of Edmonton.
The curatorial focus is Ceremony. In an era where expressions of
spirituality are being perceived as acts of resistance, I am interested
how ceremony has taken on new meanings in our lives. Exploring
repetitive to mundane to the incredibly symbolic ceremonial activities
that individuals may actively participate in will be examined. What
function does ceremony serve in our lives; does it provide a centering,
or an anchor - or does it serve a larger role that unites individuals
and expresses individuality?
Artists will be selected based on how their work and/or practice
explores ideas that are relevant to the curatorial theme of ceremony.
Visualeyez is the only annual performance art festival in Canada,
produced by Latitude 53 and founded and curated by Todd Janes, this ten
day event offers exceptional programs for audiences and intimate
residency settings for artists. Complete with panel discussions, round
table talks, interactive performances and time-based programming,
Visualeyez sets a new mark for critical discourse about contemporary
performance art practices in Canada and beyond.
The deadline is 18 October 2002 (postmarked) and the proposal should
include:
= A detailed project description of the work to be presented;
= Artist statement and relevance to the curatorial theme;
= Curriculum vitae;
= Documentation of previous or proposed work (slides, vhs,dvd, jpegs,
mini dvd);
= Complete technical and artistic requirements; and
= Return postage (to return materials)
To : Todd Janes, Curator
Visualeyez
C/O Latitude 53
10248 - 106 Street
Edmonton, Alberta
T5J 1H5 CANADA
Info: visualeyez at latitude53.org
-------------------------------------------------------------------------
----------------------------------------------------------------
19. Images Festival 2005, Call for submissions, Toronto
----------------------------------------------------------------
The IMAGES FESTIVAL is seeking submissions for our upcoming
celebration of new and exciting media art. The 18th edition of the
Images Festival will take place April 7-16, 2005 in Toronto, Canada,
and will showcase approximately 200 film, video, performance,
installation and new media works from Canada and around the world.
Submission deadlines are as follows:
FILM & VIDEO: November 5, 2004
(final deadline is November 19 higher entry fees apply)
INSTALLATION, NEW MEDIA, PERFORMANCE: September 17, 2004
Full guidelines and entry forms (in .pdf format) can be downloaded from
the SUBMIT page of our website:
http://www.imagesfestival.com/corp_site/main.html
If your computer is unable to download these files, you may request a
text version of these guidelines and forms (please specify whether you
need the FILM & VIDEO or INSTALLATION, NEW MEDIA & PERFORMANCE forms)
from submissions at imagesfestival.com.
IMAGES FESTIVAL
April 7-16, 2005
401 Richmond St. W. #448
Toronto ON Canada M5V 3A8
T 416.971.8405 F 416.971.7412
http://www.imagesfestival.com
-------------------------------------------------------------------------
Gearoid Dolan, FF Alumn, seeks Technician for Cooper Union computer studio
Gearoid Dolan, FF Alumn, is seeking candidates for the position of Technician in the Computer Studio in the Cooper Union School of Art. This is a full time position and candidates are required to be skilled in the use of Apple Macintosh equipment and software.
Specific skills required include:
good knowledge of troubleshooting Mac OSX systems in a networked environment
good knowledge of Macintosh supported hardware products and peripherals
good knowledge of graphic design and A/V software (and supporting hardware)
good knowledge of input and output devices
good interpersonal skills, including the ability to work well with co-workers, students, staff and faculty.
Candidates should demonstrate an interest in the evolution of technology and its role in the artworld. Please send resumes to:
Attn: Personnel Dept. Cooper Union, 30 Cooper Square, 7th floor, New York, NY 10003
you may email Gearoid with your resume pasted into the body of the text (not as an attachment), but you should also send a
physical one to the above address.
studio_director@yahoo.com
-------------------------------------------------------------------------
http://www.jobs.ac.uk/jobfiles/YN261.html
Interactive Media Design Lecturer
School of Design/Division of Applied Computing
Faculty of Duncan of Jordanstone College of Art & Design
Faculty of Engineering & Physical Sciences
Interactive Media Design Lecturer (GBP 27,989 - GBP 35,883)
Permanent contract (with probationary period)
The University of Dundee has established two new cross disciplinary
BSc degrees in Interactive Media Design (IMD) and Innovative Product
Design (IPD). These programmes are unique in the UK in the way they
cross boundaries between design and technology; products and media;
software and product. The two degrees are proving extremely popular
and we now wish to appoint a new Lecturer to work on the development
and delivery of the Interactive Media Design programme.
You should be a committed interaction designer/design educator with a
good understanding of commercial design practice. You will have a first
degree in a relevant subject and ideally a postgraduate qualification.
An understanding of how knowledge can be developed through research is
essential. You should be enthusiastic and experienced at working across
the design - technology spectrum with clear ideas for research in these
emerging areas.
The University has committed significant funds to the establishment
of an Interaction Design Lab to serve as a focus for research activity
in the areas of interactive media, product and space design methods
and practice. The successful applicant will play a key role in this
development helping us combine a commitment to exploring real world
design problems with a playful and experimental approach.
For informal enquiries please contact Professor Tom Inns at the School
of Design on 01382 345290, email t.g.inns@dundee.ac.uk .
To request an Application Pack contact Personnel Services, University
of Dundee, DD1 4HN, Tel: 01382 344817 (answering machine). Please
quote Reference: DJ/404/WW
Closing date : 27 August 2004
The University is committed to equal opportunities and welcomes
applications from all sections of the community.
http://www.dundee.ac.uk/
-------------------------------------------------------------------------
Call for artists!
Performance artists all around the world are invited to send proposals for INPORT, International video-performance and video documentary Festival, in Tallinn, Estonia on November 2004.
Last year we received nearly 200 videos, from Britain, Canada, Poland, Holland, Ireland, Italy, Germany, Uruguay, Russia, USA, Finland, Switzerland, Peru, Spain, Japan, Serbia, Sweden, Scotland, Macedonia, Turkey, Mexico, Belgium, Norway, France, Slovenia, Brazil, Australia and Estonia. On the INPORT Festival was presented 38 videos by artists from around the world. More info about last year Festival on the offical web-site: http://www.inport.tk/
It’s great opportunity to show your works to Estonian audience! This is non-profit Festival and unfortunately we got a very small budget so we can only show your video/videos on the singel screen. We can't offer artistic fees, accomondation or travel expenses. After Festival we make the on-line cataloge on the Festival web-site.
Performance artists are invited to submit proposals for festival in the following categories:
Video-performance (performances made specally for camera)
Video documentary (video documentations of performances)
Formats accepted: VHS (PAL only), miniDV (PAL only), VCD, DVD
There’s no limit of lenght, but please don’t send the masters!
There are no official entry forms or entry fees!
Enclosed with the video/videos you must send the following (on the paper or CD-R/Word document):
Performance artist or group name
Performance title
Performance consept
Performance date, venue, Festival or event where it was first performed
Brief resume of the performance artist
Contact info (e-mail, postal address, etc.)
Deadline: 10.September 2004 (postal stamp)
No materials will not to be returned, but will be kept in the Festival archive for the projects in the future and for interested curators and artfestivals organizers!
Send all materials to:
Gert Hatsukov
Pikk 4-11
Paide
Estonia
All deliveries from international participants must be marked: “NO COMMERCIAL VALUE - FOR CULTURAL PURPOSES ONLY”
If you have any questions, please contact: inport.festival@mail.ee
With best,
Gert Hatsukov
INPORT curator and organizer
-------------------------------------------------------------------------
CD & ALBUM COVER ARTISTS WANTED FOR GROUP EXHIBITION
BANDS/ACTS WANTED FOR PERFORMANCE
Submit Demos to the address below
ART CRAWL7
Official Kick-off
Party and Group Exhibition2
Friday, September 17, 2004
8:00PM-2:00AM
Safari Sams Sunset Stage
5214 Sunset Blvd.
Between Normandie & Hudson
Call For Entry Instructions
DETAILS: http://www.geocities.com/hushchampion/hushchampion.html
Eligibility:
* All artists whose work has been used as, or in part of, MUSIC album or CD presentation. This includes all genres of music, independent and corporate
* All forms of media accepted, including sculpture, other 3D artwork and/or installation
* Work must be original. May include process work, first renderings, etc.
* Completed entry form with attached description of submitted artwork
* Notation of any special installation instructions
Submission Requirements/Deadline:
* Color photos or slides
* Slides and photos should be labeled with artists name, title of work, dimensions and price
* Emailed links are acceptable, attachments will not be opened
* Self addresses stamped envelope required for return of all slides and photos
* Deadline is Monday, August 16, 2004
Selected Works:
* Must be ready to hang
* Artist to install installations
* Artist contracts to be signed prior to artwork delivery and installation. To request a copy write to: artcrawl72004@yahoo.com
Delivery/Pick-up of Works:
* Accepted work to be delivered to exhibition premises
Monday, September 13, 2004
11AM-3PM
* Works are to be picked up by arrangement September 20-24, 2004
Transportation and Insurance:
* All shipping arrangements and associated costs are the responsibility of the artist
* Insurance for artwork, if any, shall be provided by the artist
Sales and Recognition:
* 10% of all sales will be donated to musicians relief fund SWEET RELIEF, www.sweetreleif.org.
* Artists will receive 90% of all sales from artwork.
* Buyer delivery and all taxes owed are the sole responsibility of each individual artist.
*Artists unable to attend the event may make alternative arrangements prior to the exhibition
* Artist agree to give Hush Champion, Art Crawl7 representatives and attending/ requesting press permission to photograph for promotional, archival and publicity purposes
Include With Submission:
Entry Form:
ART CRAWL7 Official Kick-off
Party and Group Exhibition2
September 17, 2004
Please Print
Name:__________________________
Address:________________________
City_______________ST______Zip__
PH (hm):________________________
Cell____________________________
Email:__________________________
Mail Submissions to:
Hush Champion
Crawl 7 Kick-off 2004
2745 Tesla Ave.
Los Angeles, CA 90039
artcrawl72004@yahoo.com
-------------------------------------------------------------------------
greetings to all freecooperators, associators, makers of common goods, community organizations, networks of all kinds, cultural collectives,
organized, self-organized or anti-organized
hosts and distributors of collective intelligence
monsters, outlaws and those who love them
If you are engaged in collective practice, we would love to hear from you!!!
Open Call for a traveling archive and nomadic meeting-place on collectivity and critical collective/cooperative cultural action. We need your contributions !
First stop:
Oliver Gallery, Tampa FL
November 2004
******* a meeting-place for local action during the US elections
Description:
We are gathering materials on collective and cooperative forms of creativity, critique, resistance, intervention, scholarship and artistic production. In November, the archive will be available to the public in its first phase as a room/public space/lounge/resource center/production space/meeting place at the Oliver Gallery in Tampa FL. We do not limit the ways in which the archive, and the space temporarily housing it, may be used or may serve as resources. Our multi-purpose room will be open 24 hours a day, we have available internet-linked computers, VHS and DVD players (NTSC and PAL), a growing collection of paper resources and reference material, books, pamphlets, print-outs, Xerox copies, photos, posters…and free water and coffee. We will have viewing, seating, lounging, napping and play areas. We also hope to provide a free Xerox machine and free CD’s for copying information. The room will be available to local teachers and community organizations with no space o!
f their own, collaborative projects in need of production space and local bands in need of rehearsal space.
Our archive will travel to other spaces willing to host it and be open for public use. Information/materials will continuously be solicited and added. If you are engaged in collective practice, we would love to hear from you. Please share with us any material that speaks to your work: from documentation of projects to reflections on the dynamics of cooperation
Any of the following can be extremely useful sources of information or reference for your work:
o url’s
o digital material: CD’s, DVD’s, digital files (text, video , image, sound; we can arrange for uploading and downloading to our server)
o printed materials (books, catalogs, magazines, pamphlets, posters, coasters, zines…)
o reproductions (Xerox copies, photographs, slides, computer print-outs..)
o documentation of your work in any format, from text to audio recordings of phone interviews with us
o letters, emails, postcards
o objects
Please send materials to:
Rozalinda Borcila
Visual and Performing Arts, FAH 110
University of South Florida
Tampa, FL 33620, USA
Postmark deadline: September 15th
Questions, comments? please contact Rozalinda Borcila borcila@arts.usf.edu . This project is only part of the larger, on-going effort to learn about, historicize, understand and make public different forms of critical collective intelligence. We are also soliciting materials on the various attempts to theorize collectivity. For each installment, our growing collection will be restructured and recategorized.. We seek to connect with related initiatives to share information, resources, experience and energy.
-------------------------------------------------------------------------
http://www.dundee.ac.uk/english/postgrads/cfps/MTVstim.htm
Abstracts are sought for a postmodern collection of intellectual
works based upon MTV and the space(s) it may have created in your
mind. Often celebrated, blamed or categorised as the epitome of this,
that or other, MTV could be described a status symbol in its own
right... Using a disciplinary approach of your choice (a multiplicity
would do!), and a great deal of self-reflexivity and imagination, I'd
like you to indulge in your MTV-inspired processes by engaging with
the following:
Simulate your MTV:
Investing to some extent in Baudrillard's reference to the term
`simulation', expose your audience to your self-conscious grappling
with the acronym of MTV, and whatever numerous implications of that
you consume. (Baudrillard needs not be addressed in your work, and
you may work around the term `simulation' if you desire.)
Stimulate your MTV:
If the simulating your MTV doesn't work for you, perhaps stimulation
ought to do it: how you are able to `stimulate' MTV into working for
you? While the above is oriented towards the `postmodern', this
option engages a dialogue with the `avant-garde'.
Your work may be inspired by, but certainly not limited to, the
following list of key words:
Barthes, Baudrillard, Deleuze and Guattari, Derrida, Foucault, Lyotard.
Madonna, Eminem, Nirvana.
Jackass, Newlyweds, Made, The Real Word, The Osbournes.
MTV2 (& other MTV-affiliated networks), Channel V, MusicMax, etc.
pop, rock, hip-hop, techno.
gender, genre - hopping and diversification.
mixes, mashes, sampling, censorship, authorization.
mainstream, alternative, status quo, subversive.
consumption, capitalism (, schizophrenia).
post-anything.
psychology, philosophy, politics, programming.
mass media, marketing, moral ambiguity.
visual culture, youth culture, postmodern culture cultural studies.
controversy.
MTV Generation, anthropology, sociology
race religion ethnicity gender sexuality it's up to you
While the traditional essay format will be accepted (grumblingly), I
encourage abstract artists to pitch a more subversive work,
experimenting with genre and/or visual presentation. Let `the MTV
style' be your muse. Creative, analytical, and under 4000 words are
the only preliminary requirements.
Please send an abstract of roughly 500 words to Epiphanie Bloom
and/or Marc Leverette, along with a CV. The current due date for
abstracts is 08/15/04 [updated]. This may be extended in the light of
the responses received.
Marc Leverette
Department of Journalism and Media Studies
School of Communication, Information, and Library Studies
Rutgers University
4 Huntington Street
New Brunswick, NJ 08901-1701
marclev@scils.rutgers.edu
-------------------------------------------------------------------------
CALL for CONTRIBUTIONS
The European Journal of Higher Arts Education
Issue 2 November 2004
--
The deadline for submissions 30 September 2004.
--
Economies of Knowledge: New Technologies in Higher Arts Education
=20
This issue of the European Journal of Higher Arts Education explores ideas
around the production (research and enterprise) and distribution (teaching
and learning) of knowledge in higher arts education in relation to digital
technologies.=20
=20
Recent changes in the mode of production and dissemination of knowledge hav=
e
been often described in the context of what has been fashionably termed as
=8Cknowledge economy=B9. Manuel Castells in The Rise of the Network Society,
(1996) points to the change in the ways technological processes are
organised - from a mode of development focussed on economic growth and
surplus-value (industrialism) to one based on the pursuit of knowledge and
increased levels of complexity of information (informationalism).
In this way, new technologies have enhanced the effectiveness of global
capitalism, enabling it to become more flexible, adaptable, faster,
efficient and pervasive. Culture, too, and indeed the education system, has
become integrated in the process of the creation of capital, with cultural
regeneration and a link between research and enterprise as an example of
capital=B9s renewal. In this context it is clear that art and art education
follow economic imperatives for the most part but do they also offer the
possibility of influencing it? To what extent can the spaces of
determination be creatively reclaimed?
This issue of the European Journal of Higher Arts Education attempts to
discuss some of these mechanisms of cultural production using networked
technologies, and the limitations and hierarchies offered under the
so-called knowledge economy in relation to the following themes:
=20
=B7 Critical Context: Knowledge Economy, Free Networks and Open Source
=B7 Research and Enterprise: New Cultural Economy, Creative Industries and
Higher Education=20
=B7 Models in Transition: Emergent Practices in Knowledge Transfer and its
Resistance
--
The Editorial Board of the European Journal of Higher Arts Education (EJHAE=
)
ISSN 1571-9936, welcomes critical writings and artists contributions of
text/images addressing the theme of the issue.
=20
--
For details of the format for submission please see the Author Instructions
below or contact Francesca Pagnacco, ELIA office, at
Francesca.Pagnacco@elia-artschools.org
=20
For further information about the theme, specific sections and for a prior
discussion on contributions please contact the Guest Editor of the Issue 2,
Joasia Krysa at joasia@i-dat.org and/or Francesca Pagnacco.
--
All texts will be reviewed by the Board of Academic Referees:
Joasia Krysa, guest editor (i-DAT / University of Plymouth, UK/Poland)
Geoff Cox (i-DAT / University of Plymouth, UK)
Karel Dudesek (Ravensbourne College of Design and Communication UK/Austria)
Elisa Giaccardi (University of Colorado, US/Italy)
Marina Grzinic (Institute of Philosophy, ZRC SAZU, Ljubljana, Slovenia)
Violetta Kutlubasis-Krajewska (WRO Foundation Center for Media Art, Poland)
Neil Spiller (Bartlett School of Architecture, University College London)
Marek Wasilewski (Academy of Fine Art, Poznan, Poland).
-------------------------------------------------------------------------
Wigged Productions is pleased to organize the first annual Festival
for Art on Film, a one-day interdisciplinary festival of video, film
and Web-based works that interpret pieces of art such as dance,
music, poetry or visual art. The festival invites media artists to
submit interdisciplinary works and documentaries on art and artists.
The event will occur on Saturday, April 9, 2005 in Daum Theatre at
The University of Akron, Akron, Ohio. There is no entry fee. For more
information please visit http://www.artonfilmfestival.org or e-mail:
artonfilmfestival@wigged.net. Deadline: December 1, 2004.
--
Seth Thompson
Wigged Productions
seththompson@wigged.net
http://www.wigged.net
-------------------------------------------------------------------------
Halle School of Common Property, Halle (Saale), Germany, August 2004
::::::CALL FOR PARTICIPATION::::::DEADLINE EXTENDED TO 17 AUGUST 2004::::::
Within the context of the 6th Werkleitz
Biennale's debates on knowledge as common
property, the Werkleitz Gesellschaft will
organise a 5-day series of workshops and
seminars under the title Halle School of Common
Property from 27 to 31 August 2004, directly
preceding the festival. (6th Werkleitz Biennale
Common Property/ Allgemeingut,
1 to 5 September 2004)
In a number of workshops international cultural
producers and artist groups working within the
frame of informal (that is deliberately
alternative, self-organised, non-institutional)
knowledge production will invite participants to
develop new forms of artistic and cultural
production within and outside academic structures.
The following artists, producers and groups have been invited:
Agency (Belgium)
Craig Baldwin (US)
Critical Studies (Sweden)
Mute Magazine (International)
School of Missing Studies/SMS (International)
UniversitÈ Tangente (France)
Much to our regret, the announced workshop with
Dennis Kaspori had to be cancelled.
The Halle School of Common Property addresses a
national and international audience. Some first
results of the workshops will be presented at the
6th Werkleitz Biennale. In addition, the event is
intended to serve as a condensation point for a
continuing exchange between the individual groups
and participants.
All workshops will be held in English. The number
of participants is restricted. The deadline for
registrations is 17 August 2004. Participation in
the workshops depends on the date of arrival of
the filled application form at the office of
Werkleitz Gesellschaft.
Application forms and more detailed information
on the several workshops can be found on our
website at
http://www.werkleitz.de/common_property .
For all inquiries please contact Christian Schult.
Please inform people who might be interested in participating.
:::
The 6th Werkleitz Biennale is funded by the
Kulturstiftung des Bundes (German Federal
Cultural Foundation), the state of Saxony-Anhalt,
Stiftung Kulturfonds, Lotto-Toto GmbH of
Saxony-Anhalt, the City of Halle (Saale),
Mitteldeutsche Medienfoerderung GmbH, Mondriaan
Foundation, Stadtwerke Halle GmbH, British
Council, Burg Giebichenstein University of Art
and Design Halle, Stiftung Bauhaus Dessau, via
medien GmbH and Embassy of Spain.
Werkleitz Gesellschaft e.V.
Zentrum fuer kuenstlerische Bildmedien Sachsen-Anhalt
Christian Schult
Coordinator Halle School of Common Property
T: +49 345 68246 15
F: +49 345 68246 29
project@werkleitz.de
http://www.werkleitz.de
-------------------------------------------------------------------------
<><><><><><><><><><><><>
-- piksel04 - FLOSS in motion
-- call for participation
-- deadline 15. september 2004
<><><><><><><><><><><><>
Piksel - www.piksel.no - is a yearly event for artists and developers working
with Free Libre and Open Source Software (FLOSS) for realtime processing of
video and sound. It will take place at BEK - the Bergen Centre for Electronic
Art, in Bergen, Norway from october 29. to november 7. 2004.
The first Piksel event was arranged in november 2003, and gathered around 30
artists/developers from all parts of the world. It consisted of
artistic/technical presentations, coding workshops and live performances. All
activities were documented in a daily blog: http://www.piksel.no/log.html
One of the results from the event was the initiation of the Piksel Video
Framework for 'interoperability between various free software applications
dealing with video manipulation techniques' - http://www.piksel.org
<><><><><><><><><><><><>
CALL for PARTICIPATION
An important part of piksel04 is a series of evening events of live art and
audio-visual performance in cooperation with Landmark/Bergen Kunsthall
(www.kunsthall.no/landmark).
Performing artists using open source software in the creation and presentation
of their work are invited to apply. This call goes out to VJ-crews, live
coders, typing divas, virtual actors, noise combos and FLOSS performers of
all kinds.
Please send documentation material - preferably as a URL to online
documentation with images/video to piksel04@bek.no
Deadline - september 15. 2004
Use this form for submitting (or go to the online form at
http://www.piksel.no/piksel04/form.html):
<><><><><><><><><><><><>
1. Name of artist(s), email adr.
2. Short bio/CV
3. URL to online documentation
4. Short statement about the work(s)
5. List of software used in the creation/presentation of the work(s)
<><><><><><><><><><><><>
Or send by snailmail to:
BEK
att: Gisle Froysland
C. Sundtsgt. 55
5004 Bergen
Norway
More info: http://www.piksel.no/piksel04
piksel04 is produced by BEK in cooperation with Kunsth¯gskolen in Bergen dep
The
Academy of Fine Arts, Bergen Kunsthall/Landmark. Supported by PNEK, Bergen
Kommune, Norsk Kulturfond.
--
+--- www.bek.no --+ 47 55233080
-------------------------------------------------------------------------
OPEN CALL FOR CELLULAR PHONE “CALL-IN” Art
As part of ‚ÄúReinventing Radio‚Äù a Co-production of Ars Electronica Festival and ?ñ1 Kunstradio. We are interested having artists ‚Äúphone in‚Äù environmental sounds via cell phone during the event. These sounds should deal with notions of connectivity and the current environment in which call originates.
Please read the attached announcement for more information on the event.
If you are interested in contributing to the cell phone part of the event please e-mail projects@joereinsel.org
Thanks!
------------------------------------------
Kunstradio //\\ art@radio
:: jamming radiophonic space ::
3 Sept, 2004
Live stream: 13:30-00:00 Baltimore, Maryland
GMT "time converted"
THE PROJECT
art@radio is pleased to present "jamming radiophonic space," an international on air- on line- on site event September 3rd from the studios of the University of Maryland, Baltimore County in participation with the project RE-INVENTING RADIO a Co-production of Ars Electronica Festival and ?ñ1 Kunstradio.
"jamming radiophonic space," modulates the interplay of radio, Internet, wireless transmission, and mobile phone signals from public and private space.
artists: Goeff Bell, Steve Bradley, Phaye Poliakoff-Chen, Chad Eby, John Hopkins, Brendan Howell, John Hudak, Jacob Kirkegaard, Tim Nohe, Joe Reinsel, Jodi Rose, Bill Shewbridge, Nicole Shiflet, and John Sturgeon
This experientially diverse and geographically scattered group will contribute to "jamming radiophonic space" through decentralized, networked and collaborative strategies of production and distribution. Streaming feeds from microphones placed in and around artists' workspaces will be gathered along with ambient sound called in via wireless and landline phones; requests have already gone out over electronic list-serves for individuals to call in and point their live phones for 10 or 15 minutes toward sounds emblematic of their time and place.
These sonic interruptions will then be mixed and processed into a stream of "hot media" by artists present in the Baltimore studio space using baby monitors, short-wave radios, software and other improvised sound tools. The stream will then be made available worldwide to streaming clients via wired and wireless data connections.
For more information and a detailed schedule refer to http://art-radio.net/kunstradio/
+
-------------------------------------------------------------------------
http://www.theoctobersurprise.org/
What:
- October Surprise will converge artists, activists and the community to celebrate our neighborhoods and strengthen creative, grassroots power, using site-specific installations, interventions, art, monuments, performance, and other events.
- Projects will be situated throughout the neighborhood.
Where:
-We are calling for projects throughout Northeast LA… along the boulevards and arroyos; in the public spaces, community places and private homes.
-The Arroyo Arts Collective at 135 N. Ave. 50 in Highland Park will serve as a convergence, or meeting space, where participants can present and discuss their work. Additionally, we are interested in hosting pertinent lectures. And though the gallery space can be used to present documentation of projects and ideas, we are specifically looking for site-specific projects throughout the neighborhood.
When:
-Projects will occur on the long weekend of October 8, 9, 10 and 11, 2004. Documentation of the events will remain in the gallery through October into the first week of November and Election Day. (Ongoing projects are encouraged.)
Why:
-We hope to help reveal a city to itself and energize its communities. One month before the election, we are organizing this event to show where democracy really lives--in our neighborhoods, streets and homes. Now is as good a time as any to strengthen political and cultural discussions where it really counts--at the grassroots.
How:
-Send us a proposal by August 18th. This is a non-juried exhibition but we would like to have a basic participants list for organizational purposes.
Contact us with questions and proposals:
email: opencall@theoctobersurprise.org
ph: 323-449-9019 (English)
ph: 323-227-5861 (Espa?±ol)
or mail proposals to:
October Surprise
c/o Flor y Canto
3706 N. Figueroa Ave.
Los Angeles, CA 90065
http://www.theoctobersurprise.org/
+
-------------------------------------------------------------------------
Chaffey Community College is currently recruiting for an Instructor,
Digital Arts/Animation. This will be a Spring 2005 hire. Please visit
our website, www.chaffey.edu (click on general, then employment), for
complete details, or call our jobline at 909-941-2750 for an application
package.
Nancy G. Wheeler, HR Generalist
Chaffey Community College District
909-941-2158
909-941-2784 (fax)
-------------------------------------------------------------------------
The Digital Media Centre in Bracknell will have a loan of a Smart Board interactive whiteboard system during August and September. These systems, consisting of touch sensitive board, writing stylus, computer and data projector, are becoming widely used in Education.
We are offering this opportunity for digital artists to experiment with the system, which creates a remote touch screen interface for applications, enables electronic ink and handwriting recognition, allows remote playback of audio and video files and live recording and playback of actions.
More information about the Smart Board can be found at:
http://www.smarttech.com
Results of research may be offered as training opportunities for teachers if relevant.
For more information and booking time on the Smart Board, please contact:
Martin Franklin (01344) 416261
email: martin.franklin@southhillpark.org.uk
web: www.digitalmediacentre.org
+
-------------------------------------------------------------------------
Hidden in the Ubergrowth
‘The Other beyond the urban melting pot’
Artists with an interest in asylum, borderlines and ethnicity
HOLT invites work for involvement in an exhibition - contribution to exhibition publication in Feburary 2005, with associated events in June 2005.
Contact: Andrew Stooke
HOLTgallery
Abbey Road
Sherborne
Dorset DT9 3LF
Fon: 019 63 25 04 64 / 077 90 61 30 50
ajs@sherborne.org
Deadline for submissions: 22 October 2004.
-------------------------------------------------------------------------
The Technical Director for the Beall Center for Art and Technology is a contract position, in the Claire Trevor School of the Arts, UC Irvine. The Beall Center is a 2500 square foot "black box" venue for visual and performing arts, featuring new works by artists and collaborative teams using emerging technologies. The Technical Director position serves as technical consultant and installer for productions, exhibitions, special events and research residencies, which can include A/V, sound art, networked configurations, web streaming, robotics, haptic devices, etc. As project manager for the technical components of all installations and productions, the Technical Director coordinates installation time lines with the Assistant Director, artists, vendors and engineers, and is responsible for the technical functioning of the productions as well as the Beall Center facility and equipment. In addition, the position trains Beall Center docents/guards on maintaining exhibitions and !
is responsible for archiving installations and updating the web site.
http://beallcenter.uci.edu
This position will require a flexible schedule including evening and weekend hours.
Salary: Annual DOE (~37,100/51,000/64,900)
***This is a 11 month contract position***
To apply, please see the UC Irvine Human Resources web site http://www.hr.uci.edu/employment/
and refer to job number: #2004-0687
-------------------------------------------------------------------------
From: Cornelia Sollfrank
> Date: August 5, 2004 1:29:09 PM EDT
> To: oldboys@lists.ccc.de
> Subject: [oldboys] call for participation
> Reply-To: oldboys@lists.ccc.de
>
> Women artists and writers are invited to participate in an online event
> addressing issues of gender, racial and economic biases resulting in
> systemic violence against women and minorities.
>
> This project arises from the unseemly juxtaposition of a "war on
> terror"
> with the every day realities faced by women living in cultures that
> enforce female circumcision, do not give equal value for to equal work
> based on cultural bias, tacitly accept violent domestic situations, use
> sexual intimidation as a military tactic and fear of reprisal as a
> cultural control.
>
> The name, gender[f], designates a programmatic function. The function
> Û
> gender Û holds an unlimited, presently undefined array Û [f] Û the
> issues
> and/or representations of women in society.
>
> This call is addressed to women of different geographical, disciplinary
> and theoretical backgrounds, who are invited to make a statement on the
> subject by creating an object of art, creative writing or critical
> essay
> or to submit already existing projects related to the subject. (urls
> are
> acceptable, space for net-projects is available.)
>
> Submission deadline is September 10, 2004. Work should be in digital
> format, web-ready preferred, but not necessary. An accompanying event
> in
> Detroit is in the planning stages.
>
> gender[f] is dedicated to the the over 400 murdered and disappeared
> women
> of Juarez who worked in the maquiladoras of Juarez.
>
> Please direct responses to dking@markszine.com.
> --
> --
> ____ ____ ____ ____ ____ ___ ___ ___
> ||a |||r |||t |||w |||a |||r |||e |||z || .org
> ||__|||__|||__|||__|||__|||__|||__|||__||
> |/__\|/__\|/__\|/__\|/__\|/__\|/__\|/__\|
>
> take it and run!
>
-------------------------------------------------------------------------
CALL FOR CONTRIBUTIONS TO SARAI READER O5
BARE ACTS: TRESPASSERS AND ENFORCERS IN PRECARIOUS TIMES
The 'Bare Act' is an expression used to specify the content of law, bereft
of any interpretative gloss. In a legal library in India and many parts of
the English-speaking world, a Bare Act is a document that simply codifies
a law without annotation or commentary. The 'Bare Act' is legality pared
down to its textual essence. It expresses only what the law does, and what
it can do.
The enactment of law, however, is less a matter of reading the letter of
the law, and more a matter of augmenting or eroding the textual foundation
through the acts of interpretation, negotiation, disputation and
witnessing. The law and practices within and outside stand in relation to
a meta legal domain that can be said to embrace acts and actions in all
their depth, intensity and substantive generality. This too is a stage set
for the performance of 'bare acts', of what we might call 'naked deeds' -
actions shorn of everything other than what is contained in a verb.
The 'Bare Act' that encrypts the letter of the law, the wire frame
structure that demands the fleshing out of interpretation, and the 'bare
act' that expresses and contains the stripped down kernel of an act, of
something that is done, are both expressions that face each other in a
relationship of tense reflection and intimate alterity. Bare Acts generate
bare acts, and vice versa.
"Sarai Reader 05: Bare Acts: Trespassers and Enforcers in Precarious
Times" proposes to be a considered examination of this troubled mirror
image.
We are interested in looking not only at what happens in law courts but
also at customs, conventions, formal and quasi formal 'ways of doing
things' that are pertinent to communities howsoever they may be formed.
Thus the conventions and codes evolved by the practitioners of a
juridically 'illicit' trade or calling or way of life, such as that of
software pirates, or 'illegal' migrants, or squatters on government land,
fall within the ambit of our concerns. We want to speak of the
relationships of conflict, co existence and accommodations between
different kinds of codes that make claims to our ideas of what is right,
or just, or functional, or even merely appropriate.
To see 'actions' arrayed across a spectrum in this manner is also to see a
range of ways in which laws, codes and a variety of formal and informal
arbitration mechanisms act on us. Sometimes this may take the form of
executive force and fiat, but crucially it may also rely on the powers of
persuasion that characterize a host of quasi formal interactions between
state and non-state actors, and between non-state actors and individuals.
Typically, this for instance is the way in which non-legal entities like
informally constituted councils, political formations outside the state,
customary bodies and traditional councils act to enforce their will or
influence those within (and occasionally outside) their ambit.
The landscape of actions and deeds covers a far more subtle, slippery,
nuanced and ambiguous ground (than the codes that seek to index, define or
govern them). Actions have gradients, they ascend and descend on to each
other much as peaks emerge from and plunge into troughs in a three
dimensional graph. The political, ethical and semantic facets of acts
shade off, and slope into each other, now revealing, now concealing
hitherto unknown aspects of themselves and their consequences, often in
unexpected ways. Laws are attempts to understand, interpret and govern
action, but their enunciative capacity is bundled up with executive
authority; they are words that decree what must be done. But just as the
way in which a map is drawn can have consequences on the ecology of a
terrain, the phrases spoken as law too can transform and erode as well as
irrigate the ground of action.
Laws are a creature of habit, of pattern, rhythm and repetition. The
exceptional singularity of an action, which is precisely what law seeks to
tame to the rhythm of the predictable, leaves us with a strange situation
where the "bareness of an act" is precisely what is sought to be clothed
by a 'bare act'. This gives rise to many tensions and aporias, which we
invite contributors to reflect upon and report, from their locations in
the real world, whatever be their locus standi.
You may be a human rights lawyer, or an intellectual property attorney, a
philosopher, an artist, an activist, a combatant or peace maker in a
conflict situation, a person who lives and works with ideas and words, a
person who saves lives or takes them, a person who has custody of others,
or who may be in the custody of an institution; in addition, you may be
someone who either is, or identifies with, or sympathizes with, a hacker,
a pirate, a re-distributor of intellectual assets, an illegal emigrant, a
non-heterosexual person, a compulsive traveller, a squatter, a sex worker,
a terrorist of the imagination, you may be free or in confinement, you may
be healthy or unwell - whosoever you may be and whatever you are, you have
to act, and deal with the actions of others, and all that you do, or do
not do, is framed by a structure of bare acts of the law. Yet, you shape
the world with the things you do to be yourself, to act in concert with
others, to defend yourself and to pursue what you see as liberty and
happiness, or simply, to survive.
We would also like to invite investigations into the production of 'legal
subjects' through judgements (communiquÈs to the citizen/denizen) and
petitions (appeals from the citizen/denizen) as well as through
mechanisms like recording and registration mechanisms such as census
records, land records, municipal records, forestry regulations, registers
of citizens and aliens and other instruments that define and enumerate the
person addressed by the legal-formal apparatuses that govern day to day
life. What is the language, the rhetoric, the tone of these acts of
address? How are they scripted, rehearsed and staged? All these are things
for us to explore when we look at the law, whether in the courtroom, in a
village council meeting, or in the performance of a 'courtroom drama' in a
film. Crucially, here we want to explore the figures of authorised and
unauthorised interlocutors, expert and wayward witnesses and the myriad
characters that constitute the theatre of the courtroom.
This Reader invites you to reflect on actions, yours as well as those of
others, to act with your words, thoughts and images to contribute to our
understanding of the world, as we know it today. We are committed to an
elaboration of positions that often find themselves identified with the
interloper, trespasser and the proscribed, not because we have any special
affinity for the illicit, but because we feel that the growing
constriction of the domain of the do-able by the letter of the law (which
we all face in societies where the state and para state institutions lay
increasing claims to our fealty) leads to a situation where those
committed to a modicum of social liberty, to expanding the territory of
what may be creatively imagined and acted upon, have to invest in knowing
and understanding an ethic of trespasses. Interdictions need
interrogation, and this Reader is a call for such interrogations.
A 'bare act', as we said at the outset, can also be taken to mean action
divested of everything other than its essence as a deed. Encountering the
naked deed, action in and of itself, on its own terms, means facing up to
difficult and occasionally challenging ethical questions. What constitutes
violence? What is generosity, or hospitality? Why does altruism have to be
hedged in by qualifications and constraints?
It also means asking - what it is to become someone through action? What
is it to act, or play a part, in the theatre of social life? What is the
border that separates action from expression? What connects the act to
gesture and to performance, as much as it does to deed?
Moreover, what accounts can we give to the 'act' of witnessing, or bearing
witness to a course of action, or to an event? Law or codes of action of
any kind seem untenable without the notion of the witness. The presence of
the witness is crucial to any notion of credence, the foundations on which
arguments, petitions and judgements have to base their thrust and parry.
We would like this collection to provoke reflections on the nature of the
evidentiary and narrative protocols that frame acts of 'speaking' or
'speaking out' in the face of, or in the aftermath of, or in the
memorialization of, acts and events that leave a mark on our times so as
to instigate a more complex unravelling of the relationship between
persons, actions, narratives and codes of behaviour,
To carry this argument further, we want to point out that in languages
such as Arabic, Persian, Hebrew and Urdu, the roots for words as disparate
sounding as 'martyr' and 'witness' (shaheed/martyr and shahid/witness)
devolve to a common source. This suggests to us a febrile tension between
the reality of a precipitate, even violent action, its consequence (the
shaheed) and a recording presence (the shahid). In other words, given the
fact that acts do speak for themselves (and sometimes make the claim to
speak for others), we consider it necessary to take stock and reflect on
what might be considered the heritage of the 'propaganda of the deed' - a
doctrine that underpins violent terrorism, as well as non-violent civil
disobedience and militant passive resistance, to see how such modes of
acting stretch and challenge consensual notions of the relationships
between means and ends.
As we have said in calls for contributions to previous readers, on themes
and subjects quite different from the ones that we have sketched here,
these are open questions with no satisfactory and coherent answers. But
Sarai Reader 05, like its predecessors, would like to take them on, so as
to map new territories of thought about the things we all do and the
things that are done to us.
Today, there are different images of naked legality that we have grown
accustomed to. We know that the law is often the last resort that the poor
and the marginalized can turn to in some societies to appeal for redress
and comfort from having to face obvious and naked oppression. Thus the
slum dweller facing demolition sees in a high court stay order, a
breathing space in which to try and muster some means of continued
survival in the city as a householder. A person on death row can have
little hope but to argue for an acquittal or a pardon. There are also
occasions when international criminal courts may be seen to be effective
instruments of redress for victims of genocide and war crimes. These are
but the bare facts of a case for the law, and for a conscientious practice
of the legal calling as a continuing good in human societies.
However, we have also seen pictures of naked human beings in judicial
custody in the Abu Ghraib prison in Iraq. This too is naked legality. We
have seen migrants waiting to be deported. We have seen the banal playing
out of the script of domination and violence, on streets, in educational
institutions, in homes. We have seen attempts at the foreclosure of
cultural and intellectual commons. We have seen attempts at surveillance
and control, and we have witnessed, resistances to each of these - quiet
subversions, cunning negotiations and outright rejections as well as
attempts to scale the walls erected by the threat of interdictions,
sanctions and prohibitions.
Sarai Reader 05 seeks to register these matters in their puzzling
ambivalence, with intelligence, acuity and close attention to the pulse of
our times.
A Preliminary List of Themes (these are not chapter or section headings,
but point to areas of interest) could include:
Ö The Pure Act, the Impure Gesture and Bare
Presences: A Sceptical Guide to Acting in Today's
World
Ö Barely Human/Naked Power: Critiques of Contemporary Injustices
Ö Punishments in Search of Crimes: Histories and Practices of Illegality
Ö Authorised and Unauthorised Interlocutors
Ö The Human Right to Copy and Paste: Culture,
Law, Conflict and Intellectual Property
Ö The Letter of the Law: Glossing Gender, Class,
Race and Caste in the Courtroom
Ö In Camera: Courts, Prison and the Justice System in Cinema
Ö Rough Justice and Gentle Persuasion: Non-legal Forms of Arbitration
Ö To Be Done and To Be Seen to be Done: Legal
Action and its Media Representations
Ö Despatches and CommuniquÈs: Reflecting on Media
Representations of Direct Action
Ö Private Matters in the Public Domain: The Law and Sexuality
Ö The Encounter: Terror In and Out of Uniform
Ö Caught in an Emergency: The Ethical Dilemmas of
Humanitarian Intervention in War Zones and
Conflict Situations
Ö The War Against Error: The Normalization of Surveillance and Identification
Ö Bearing Witness
Ö Citizens, Denizens, Aliens, Others: Taxonomies for Our Times
Ö Altitude Sickness: The Activist on Higher Moral Ground
Ö What is (not) to be Done: Understanding the
Limitations of Action and Activism
Ö The Right to be Wrong: In Praise of Political,
Ethical and Legal Uncertainties
Ö What it Takes to Be... Accounts of Becoming and Choosing to Remain Marginal
Ö At A Loss for Words: Talking about Things Perhaps Best Left Unsaid
Ö Utterance as Action: How Speech Acts Change the World Sometimes
Ö The Word as Violence: Interpretative Acts in the Field of Life and Death
Ö Politics beyond the Law
"Sarai Reader 05: The Bare Act" seeks to engage with this situation by
inviting a series of reflections. We are looking for incisive analysis, as
well as passionate writing, for scholarly and theoretical rigour as well
as for critical and imaginative depth. We invite essays, reportage,
diaries and memoirs, entries from weblogs, edited compilations of online
discussions, photo essays, image-text collages and interpretations of
found visual material.
Finally, we would like to see texts that draw attention to the curious and
unfolding relationships between acts, actions (especially what is called
'direct action'), activism and the domain of media practice: namely
between acts and representations, and on representations as acts. What
are the trade offs involved in transmission of an 'action', how does the
possibility of transmission help script and action before it is staged -
these are urgent questions, especially at a time when the relationship
between deed and representation tends to blur in the form of what we can
call a 'media event'. This is not to evaluate such instances negatively or
positively, only to register the fact that they occur, and to call for an
attempt at an informed understanding of their contents and ramifications.
We invite activists, media activists and media practitioners to revisit
and reflect on the instances of the encounters between deeds and
mediatization in their own practices, and on the relationship between
media and action in a general sense. In doing so, we are revisiting and
continuing a discussion on some of the questions that have already been
raised in "Sarai Reader 04: Crisis/Media".
The Sarai Reader 05, like the previous Sarai Readers, will be
international in scope and content, while retaining a special emphasis on
reflection about and from areas that normally lie outside the domain of
mainstream discourses. We are particularly interested in contributions
from South Asia, South and Central America, East Europe, the Arabic
Speaking Countries, Central and West Africa, South Africa, South East
Asia, China, Tibet and Taiwan, Korea, Singapore, Iran, Iraq, Turkey and
Australia.
The Editorial Collective
*Guidelines for Submissions*
Word Limit: 1000 - 6000 words
1. All submission, unless specifically solicited, must be in English only.
2. Submissions must be sent by email in as text, or as rtf, or as word
document or star office/open office attachments. Articles may be
accompanied by black and white photographs/other visual material submitted
in the .tif format.
3. We urge all writers, to follow the Chicago Manual of Style, (CMS) in
terms of footnotes, annotations and references. For more details about the
CMS and an updated list of Frequently Asked Questions, see
-http://www.press.uchicago.edu/Misc/Chicago/cmosfaq/cmosfaq.html For a
Quick Reference Guide to the Chicago Manual of Style, especially relevant
for citation style, see -
http://www.library.wwu.edu/ref/Refhome/chicago.html
4. All contributions should be accompanied by a three/four line text
introducing the author, with email address and a relevant url.
5. All submissions will be read by the editorial collective before the
final selection is made. The editorial collective reserves the right not
to publish any material sent to it for publication on stylistic or
editorial grounds.
6. Copyright for all accepted contributions will remain with the authors,
but Sarai reserves indefinitely the right to place any of the material
accepted for publication on the public domain in print or electronic
forms, and on the internet.
7. Accepted submissions will not be paid for, but authors are guaranteed a
wide international readership. The Reader will be published in print,
distributed in India and internationally, and will also be uploaded in a
pdf form on to the Sarai website. All contributors whose work has been
accepted for publication will receive two copies of the Reader.
--
Monica Narula [Raqs Media Collective]
Sarai-CSDS
29 Rajpur Road, Delhi 110 054
www.raqsmediacollective.net
www.sarai.net
-------------------------------------------------------------------------