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  calls x 87 pt 6

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Call for applications
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IAMAS: Artist-in-Residence Invitation Program
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The Institute of Advanced Media Arts and Sciences and the International
Academy of Media Arts and Sciences (IAMAS) conducts an
Artists-in-Residence invitational program to support new and creative
activities wherein scientific knowledge and artistic sensibility are
aesthetically combined. The outline of the invitational program is as follows.

1. Term of Invitation and Number of Invitees
Term: 1st April 2005 - 30th September 2005
1 person

2. Application Requirements
1) The applicant should be either an artist or researcher with an
excellent track record as a professional in the field of media art.
2) The applicant should be able to speak either Japanese or English to the
extent of being able to get by comfortably during his/her stay in Japan.
3) The applicant should be in good health.

3. How to Apply
Applicants are required to submit the documents listed below in either
Japanese or English. Please be aware that application materials, once
submitted, shall not be returned.
You can download the Application Forms from
1) Artist-in-Residence Program Application Form (Form A)
2) Curriculum Vitae and Record of Activities (Form B)
3) Creative Activity Planned During Stay (Form C)
4) Letter of Reference (from an authoritative person or society in your field)
* Please type 1) to 4) on a computer.
5) Portfolio on your major works
* You are free to submit software and recorded media as part of your
portfolio. In the event you submit software, please make sure that it can
run in popular operating systems and that you specify the operating system
needed). It is not possible to apply by only showing your works with the
link to your webpage.
6) Other
a. 2 photos (40mm x 30mm) * The photos must be taken within the last six
months. No hats, no backgrounds.
b. Certified copy of your diploma (please provide a translation into
Japanese or English)
c. Photocopy of passport

Please submit the above documents to:
* It is not possible to apply on-line and we do not accept applicants by
e-mail.
IAMAS
3-95 Ryoke-cho, Ogaki-shi, Gifu, 503-0014, Japan
Tel: +81-584-75-6600
Fax: +81-584-75-6637

4. Application Deadline
Your application forms must reach IAMAS by 31th December 2004.

5. Screening Process
The Artist-in-Residence Screening Committee, consisting of IAMAS teaching
staff, will strictly screen all applicants. The Committee may interview
applicants in person and/or by telephone.

6. Notification of Screening Results
IAMAS will notify applicants of the screening results by around February 2005.

7. Support Provided by IAMAS
1) Facilities and Equipment
Facilities designated by IAMAS and equipment set up in the said facilities.
2) Economic Support
One roundtrip ticket will be provided.
Living expenses incurred while working on the program.
3) Apartment
IAMAS will rent an apartment for the Artists-in-Residence.
However, the artists are asked to pay part of the rent.

8. What is Expected of the Artists-in-Residence
1) To create and exhibit/release one work by the end of his/her stay.
2) To actively mix with IAMAS students and instructors by, for example,
working in collaboration with them on their projects.
3) Artists-in-Residence are sometimes asked to participate in workshops
geared for local residents and students.
4) The documentations of the produced work need to be submitted to IAMAS.
These documents can consist of video, picture, text, etc. The artists give
IAMAS the right to use these documents for IAMAS promotional purposes
without prior consent of the artist.

9. Copyrights of the Works
The copyright of the works that Artists-in-Residence create during their
stay will belong to the artists on condition that:
1) When they exhibit/release such works outside IAMAS, they indicate in
the credits that they created the works at IAMAS.
2) They readily cooperate with IAMAS when IAMAS wants to exhibit their works.
3) They leave copies of the works (or materials related to the creation of
the works if the works are hard to copy) at IAMAS when their term of stay ends.
4) The artists agree that IAMAS, at its own discretion, may use, for the
purpose of education, research and publication, the copies of (or
materials related to), and the documentations of its production and its
exhibition that they left in IAMAS.

10. Miscellaneous
1) Artists-in-Residence are required to carry accident insurance and
health insurance at their own expense.
2) IAMAS will not pay for the transportation of works and/or equipment at
the time when Artists-in-Residence join and leave the program.
3) An Artist-in-Residence may be accompanied by their spouse, however they
are required to pay all the costs involved.

11. query
info@iamas.ac.jp
http://www.iamas.ac.jp/SC/E/index-air.html


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CALL FOR PROPOSALS - URBAN FESTIVAL 2005
(Zagreb, Croatia, 1 - 14 September 2005)

- - ---------------------------------------------------------
APPLICATION DEADLINE: 15 December 2004
NOTIFICATION ABOUT THE RESULTS DEADLINE: 15 February 2005

- - ---------------------------------------------------------
IMPORTANT: Filled-out "Application form" (see below) should be sent to
info@urbanfestival.hr ONLY.
Any ADDITIONAL MATERIAL should be sent to:
BLOK - MAMA
Preradoviceva 18
10 000 Zagreb
Croatia

- - ---------------------------------------------------------
_GENERAL INFORMATION_
ORGANIZER: Local Base for Culture Refreshment [BLOK], Zagreb, Croatia
PARTNER: Platform 9.81, Zagreb, Croatia
FRAME: "Invisible Zagreb"
THEME: conversion, adaptation, alternation of "forgotten" places into
spaces of cultural production
PLACE: abandoned, out-of-use locations in ex-industrial zone of eastern
Zagreb
TEASERS: | creation of a parallel city | revitalization of abandoned
places | culture as art + social + political practice | interaction,
direct communication, participation | local community | transformation,
transition, change | creating "cultureplex" |

- - ---------------------------------------------------------
_WE ARE LOOKING FOR ART AND CULTURE PROJECTS THAT ARE:_
1. RELATED TO:
*the place/space/venue - art/culture in the close surrounding, and/or
*the place's position in the city's master plan - art/culture in the
urban surrounding, and/or
*the other (existing or imagined) cultural, artistic and social practices
2. DIRECTED TO FOUR DIFFERENT PARTICIPANT/AUDIENCE TYPES:
*those who visit because of art/culture, who are there because of
particular cultural event (usual art audiences), and/or
*those who were attracted by the possibility to have fun, to be
entertained and to participate in basic social interaction(entertainment
audience), and/or
*those who are living in the areas surrounding festival places/spaces
(found audiences), and/or
*those who came to learn something new, to participate and to get
actively involved (participants)
3. SHAPED IN THE FORMS OF WHAT CAN BE CALLED CONTEMPORARY ART/CULTURE,
SUCH AS:
*performing art/culture (theatre, dance, performance art, happenings,
actions.),
*visual art/culture (space interventions, installations, performance art.)
*new media and technology (multimedia, intermedia, tactical media, hybrid
media.)
*other new, hybrid or formally undefined forms

- - ---------------------------------------------------------
_WE WILL PREFER ART/CULTURE PROJECTS THAT ARE:_
*combining different art forms,
*interdisciplinary intertwined with other fields of human activities
(social, political, business.),
*interactive / dependent on interaction with and on action of audience,
*dealing with subjects/themes of new cultural, political and social
practices and their spatializations.

- - ---------------------------------------------------------
_EXPLANATION_
Urban Festival (UF) was founded in 2001 by gathering international and
Croatian artists working with diverse art forms (performance, visual and
sound installations, dance, urban interventions, web projects, etc.)
with basic tendency to "infiltrate" art in urban life, to change urban
landscape and human behavior patterns in it by using urban
infrastructure - streets, squares, buildings, shopping malls, the
traffic network. During four years of its existence, UF has focused on
concrete issues concerning particular public places, and, simultaneously
raising general matters on public, publicity and public space. After
working on different levels, using various methods and including diverse
specific themes, this year we have decided to conclude one part of this
"research" and to direct program towards the articulation of a clearly
visible need: pointing out new possibilities of urban and culture
development throughout reanimation of unexploited, vacant spaces and
their transformation in dynamic urban zones - by using cultural events
as catalyst for possible changes. According to that, UF 2005 will be
part of the project "Invisible Zagreb", which is initiated by Platform
9.81 to experiment with innovative ways of culture programming and space
implication of culture, focusing mostly on larger ex-industrial and/or
ex-business spaces, such as factories, transportation points, storages,
etc., but also including other abandoned venues (like ex-cinemas and
similar smaller places). UF 2005 is going to be the central and largest
event in the serial of temporary inhabitations of those places that
will, by using space resources of unused or underused eastern, ex
industrial zone of City of Zagreb, put in the center of the public
interest of the city questions of transition and transformation of these
spaces, with the specific stress on their cultural usefulness. In two
festival weeks we will try to create new culture, art and entertainment
zone, new public gathering-place and space of new social attractions.
Through this specific form of "temporary colonization", we are going to
put clear and strong light on the need for creation of new model of
exploiting industrial architecture of Zagreb. We will try, out of almost
forgotten and in itself collapsed east "cityplex", to create a new
"cultureplex".

- - ---------------------------------------------------------
APPLICATION FORM
Please answer as clearly and as shortly as possible to ALL of the
following questions:
1. NAME OF THE PROJECT:
2. APPLIED BY:
3. CONTACT PERSON:
4. POSTAL ADDRESS:
5. E-MAIL ADDRESS:
6. PHONE:
7. FAX:
8. WEB:
9. SHORT DESCRIPTION OF THE PROJECT CONCEPT:
10. PRECISE AND CLEAR DESCRIPTION OF THE PROJECT REALIZATION:
11. DETAILED LIST OF THE EQUIPMENT NECESSARY FOR THE REALIZATION OF THE
PROJECT:
12. DETAILED LIST OF ALL THE COSTS AND POSSIBLE FINANCIAL RESOURCES:
13. SHORT BIOGRAPHY OF THE AUTHOR(S) OF THE PROJECT:
14. HAS THE PROJECT BEEN REALIZED YET?
If YES, please send us the project documentation to the above mentioned
POSTAL address. If NO, please send us the documentation of ONE of your
previously realized projects to the above mendtioned POSTAL address.

THANK YOU!

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Seeking: Digital Art for exhibition
Deadline: November 6, 2004 (but please register ASAP)
Website: http://www.artomatic.org

Artomatic is Washington, D.C.'s favorite art, music, theater, poetry, dance, and film extravaganza.

More than 1,000 area artists, writers, and performers will transform an exciting space at 800 3rd St. NE into an open showcase for thousands of works, hundreds of performances, and dozens of educational presentations and discussions.

Artomatic shows have drawn 20,000 to 50,000 visitors, who come to look, absorb, question, and identify what they like from this community of artists. The shared discovery between the audience and artist is what makes Artomatic unique and rewarding for all. There's something for everyone! The event is held November 12,2004 through December 5, 2004.


Art-O-Matic is seeking entries of Digi-Multimedia artwork!

SUBMISSION GUIDELINES:

Eligibility: Digi-Multimedia artwork must reside on the computer's hard drive (not a website or a CD-ROM) and be browser playable. It must involve the essential use of the computer as a means of expression and/or interactivity (please, no commercial work).

If the work is interactive, consider providing instructions on the HTML page.

Specs: Work should be accessible through an HTML page and must be compatible with Internet Explorer (on Mac).

List of plug-ins: Macromedia Flash, Macromedia Shockwave, Apple QuickTime, Real Video, Real Audio, HTML, Adobe Acrobat Reader, Windows Media, JPEG, and GIF. For digital video, the maximum screen size is 640x480. Please use only standard compressors such as MPEG for video.

If your work is longer than 15 minutes, submit it to Artomatic Film/Video in VHS format.

We want to exhibit your work! Email digital@artomatic.org if you have questions.

The Artomatic DigiMM Arts Committee reserves the right to play the digital arts content anywhere within the context of Artomatic 2004 (i.e., Film screen, Website etc.) Illegal and/or obscene digital work will not be accepted.

SUBMISSION PROCESS: E-mail preferred, 5 mgs or less, or a PC readable CD. We may have Internet access. Please do not send links to webpages. We do not have Internet access at the exhibition site (for now.)

Include:

• Your contact information.
• Title of your work:
• Brief description: (Is your work interactive? Interactive work must use Internet Explorer)
• Type of plug-in:
• If your work is made of more than one HTML page, indicate the name of the start page.

Exhibition commitment:

$ 10.00 check payable to Artomatic 2004 or electronically through PayPal.

Postmark/email deadline: November 6, 2004

Contact us at digital@artomatic.org directions on sending your CD.

OPTIONAL DIGI-MULTIMEDIA EVENTS during AOM:

Artists and encouraged to develop special events using our equipment. If you’re interested in offering an Artists Talk or have an idea Email: Brian Judy at digital@artomatic.org

Events under consideration:
digiMM Artists Talks, Open Player Nite (bring new work or work in progress.
InterActive Nite: Bring your favorite interactive and play.
Hands-on-nite: Learn about Digi-Multimedia


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Call for Papers:
Contesting Public Memories
An Interdisciplinary Conference
Syracuse University
October 7th-9th, 2005
(tentative date- to be confirmed in January 2005)

The "Contesting Public Memories" conference seeks to expand the broad interdisciplinary conversation about public memory. Conference organizers invite submissions focusing on the dynamic interplay between and around public memories. While the conference theme is designed to be broad and inclusive, our sense of the contention of public memories includes: efforts to resist, resurrect memories, or redefine memories, etc. This broad theme, in turn, is organized around three sub-themes: Place, Event, Person. Within these sub-themes, we envision topics ranging from theoretical to practical, and from global to local.

The conference is organized by faculty from a wide-range of disciplines, including: African American Studies, Architecture, Art, Communication Studies, English, Geography, Latino/ Latin American Studies, Philosophy, Religion, and Writing.

(Tentative) Scheduled Plenary Speakers:
Urvashi Butalia- Univ. of New Delhi - author of The Other Side of Silence
Robert Hariman- Northwestern University - author of Political Style
John Lucaites- Indiana University - author of Crafting "Equality"
Vera Schwarcz- Wesleyan College - author of Bridge Across Broken Time
Carrie Mae Weems - Artist in Residence at Syracuse University.

Contesting Public Memories also plans to feature a Carrie Mae Weems exhibition entitled, "In Desperate Pursuit: The Failure of Memory" and a screening of films by Bill Morrison with live musical performance of Michael Grant's score.

The conference will include plenary sessions and competitive panels. For possible inclusion in these panel sessions, abstracts of approximately 400 words should be submitted by April 1, 2005 to:

Kendall R. Phillips, Conference Organizer
Department of Communication and Rhetorical Studies
Syracuse University
Syracuse, NY 13244-1230
USA
kphillip@syr.edu

¬ For more info see our website: http://vpa.syr.edu/crs/memories.htm

¬ For planning purposes, those intending to submit a proposal are encouraged to contact the Conference Organizer as soon as possible.

¬ For info on SU's 2001 Framing Public Memory conference, visit the Univ. of Alabama Press website: http://www.uapress.ua.edu/NewSearch2.cfm?id=132476


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CREATIVE CAPITAL FOUNDATION
TECHNICAL SERVICES MANAGER
JOB DESCRIPTION: Reports to the Communications Director. Works with staff
and technical consultants to oversee the administration, maintenance, and
improvement of our technological services both in-office and online. This
includes management of web services for three websites: Creative Capital,
The Multi-Arts Production Fund, and The Professional Development Program;
and facilitating the use of communications software by employees. The person
in this position must be motivated by a fast paced environment, be capable
of creative problem solving, and balancing different tasks under a series of
deadlines.
Creative Capital Foundation acts as a catalyst for the development of
adventurous and imaginative ideas by supporting artists in the performing
and visual arts, film and video, and in emerging fields. The organization is
committed to working in partnership with the artists whom it funds,
providing advisory services and professional development assistance along
with multi-faceted financial aid and promotional support throughout the life
of each Creative Capital project.



Responsibilities:

· Acts as primary technical contact with the web server hosts
(Rackspace and Eurekanet;) and with allied companies which contribute
services to the web site;

· organizes site structure to reflect the needs of Creative Capital
applicants, grantees, and staff, and works with staff to improve online
services;

· posts new material on the websites including grantee and staff events
and updates. (Creative Capital’s websites are integrated with a MySQL
database which is maintained by a Creative Capital consultant);

· convert media for use on the website (images, streaming video and
audio)

· processes the maintenance/updating/accessing of the grantee info
solicitation form;

· creates web version of application forms in conjunction with database
for the different phases of the grant application process;

· works with Creative Capital's MySQL consultant to ensure that any
technical issues or problems with the live application are addressed
quickly.

· establishes and maintains email accounts hosted on
creative-capital.org and mapfund.org. (troubleshooting problems with email
and DSL line);

· performs diagnostics and upgrade of office computers, software &
network;

· performs general troubleshooting of website, hardware, and software
problems when they occur;

· helps maintain computer data back-up systems;

· keeps abreast of organizational needs & use technology to improve
Creative Capital's efficiency;

· counsels Creative Capital staff on implementation of new software and
assesses potential of technology to improve their programs and to extend
Creative Capital's impact;

· works with staff to determine grantees' needs in order to improve
access to their work and heighten awareness of their projects;

· works on special projects as needed.

Requirements:

· A Bachelor’s Degree (or equivalent experience);

· a demonstrated commitment to the arts;

· minimum of two years’ experience working with current technology and
software, including: Microsoft Office X, Filemaker Pro, Macromedia
Dreamweaver, Flash 5, Adobe Illustrator, Adobe Photoshop, Mac OS X,
Retrospect Backup, and Discreet Cleaner. Fluent in HTML, prepares graphics,
and writes some text;

· strong problem solving skills and an appreciation for detail;

· capable of multi-tasking;

Terms: This is a temporary, part-time position; 15 to 18 hours per week
starting at the mid $20’s per hour, from January 1, 2005, through December
31, 2005.

To apply: Send Resume and cover letter to: TECHNICAL SERVICES MANAGER
Position, 65 Bleecker Street, 7th Floor, New York, New York, 10012 (No phone
calls please)


DEADLINE for resumes: October 29, 2004



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Ernst Billgren picks his favourite net artist from thirdplacegallery.org

Uploaded works will have the chance of winning €2000

Please hurry up and upload at www.thirdplacegallery.org

All the best

Jonas Lindberg
Gallery Manager


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Call for Proposals/ "Hilchot Shchenim chapter C"

Globalization, a process that reflects modern society, has, in fact, existed for hundreds of years. Globalization as we recognize it today, gained impetus from the beginning of the 1990’s with the collapse of the Soviet Union and its signs are a cross frontier flow of capital, information, human resources and simulation.

Globalization could be defined as a combination of economic, cultural and political phenomena. These features point out its extent and make it possible to compare it with earlier phenomena that have changed cultures: Gutenberg’s invention of printing press and the Industrial Revolution. In comparison to other periods, globalization’s uniqueness is imbedded in the fact that it empowers the phenomena that have influenced humanity since the invention of the telescope, through which the world seems proximate and accessible.

Simultaneously to the globalization processes, a protest movement has developed claiming that globalization enables giant corporations to act without controls and neglect social and/or ecological issues. Perhaps this would be a good point at which to alter definitions: The protest is not against globalization, it is directed against the influences of global capitalism – the economic system, that from being one of the economic theses becomes the essence of the period that molds the world.

In 1962, the Canadian futurist, Marshall McLuhan, determined that the exploitation of electronics has converted humanity into a single global village. The development of the Internet, television and satellite communications have accelerated the process and the residents of the global village are, now more than ever, exposed to globalization’s economic, political and social influences. International commercial corporations can use these networks to produce products at various locations in the world in order to achieve the highest profits while optimally exploiting raw materials, salaries, research centers and geographic convenience. The middle classes – the largest throughout the world – are exposed to the same communications channels, music and fashions.

Globalization has an increasing influence on more and more people throughout the world. It alters our perceptions, the conception of place and converts local into universal. Geographical locations and regions no longer exist in the older accepted meaning of the word. In their stead, we witness geographic locations in which global phenomena occur. These phenomena could be economic, result in the migration of workers and work places; political and military resulting in emigration, refugees and terror.

One of the principal objections to globalization is that it weakens local cultures and creates a uniform, shallow culture that consolidates under dominant American-Western influences. Without a doubt there is much in common between the modern young British and Japanese cultures, a phenomenon that would have been impossible a hundred years ago. However, the fact that so many people are exposed to universal cultures, does not necessarily spell out the doom of local cultures, but rather to change and adapt. Thus cultural products and multi-cultural, national and corporate mutations, which gain expression principally in the urban space of the new geography, are born.

The second chapter of the Hilchot Shechenim Triology focused on the relationship between art and activism and the methods in which tactics and strategies move from economic and political to art and back again. The works at the exhibition naturally exhibited the negative aspect of global capitalism as the central trait of the globalization phenomenon.

In the third chapter of Hilchot Shechenim, we will attempt investigating the cultural variation that stems from the inter-cultural diffusion, or the manner in which diffusion influences artistic creation. We request artists, groups of artists, architects and media personalities to relate to the points of friction that global systems generate as a principal trait of our times. We propose the Internet as a positive model of globalization; a model in which states, nationality, giant companies and political and social organizations have equal value. This is a model that presents a decentralized network that has no control and enforcement center, a network that is incapable of controlling the flow of information or the number of its citizens. This is a network that simulates a supra political structure with weak controlling abilities, exposed to disturbances, misbehavior and rebellion, but does not collapse as a result. We invite artists to paint a possible scenario of life with!
in the world of possibilities of a global culture. We will attempt to examine artists’ vision of this world and what the influences of a world such as this on the artistic field are consolidated.

Deadline 15/11/2004.

The Israeli Center for Digital Art
Digital ArtLab
16 Yirmiyahu st,
Holon 58373, Israel.
www.digitalartlab.org.il
T. + 972 3 5568792
F. + 972 3 5580003

1. Type of work/project _____________________________________
2. Title __________________________________________________
3. General Details _________________________________________
Organization/Institution____________________________
Name_______________________________________________________
Street________________________________________________________
Zip Code ___________________ City ___________________________
State ____________________ Country ________________________
Tel _____________________ Fax ____________________________
E-mail __________________ URL ___________________________
4. Media
(VHS, S-VHS, PAL, NTSC, SECAM)___________________________
Digital (Mini-DV, CD-ROM, DVD, Floppy, Zip) ____________________
Operation System (Windows, Linux, MacOS, Other) _______________
An Internet Project at http://__________________________________
System Requirements (software, hardware)______________________
Other Media ______________________________________________
5. Production
Country of production ________________ Year ______________
6. Additional Materials
Please add additional materials and mark here:
Description ____ Documentation ____ Photographs ____
Costs/Budget ____ CV ____ Other ____