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SHORT FRINGE
On November 3rd, [fringe] will have a viewing night presenting short films and video made both in and outside Sweden.
Eligibility
Any video or film project that is shorter than 5 minutes is eligible.
[fringe] is not responsible for damage or loss of any entry. Submission of an entry acknowledges the right of [fringe] to use it for exhibition and publication.
Criteria
Entries may be submitted in the following formats: Web site URL,
Macintosh-or PC-based CD-ROMS, ZIP cartridges or DVD-ROMs.
Please include: your name, email address, mailing address, a short 50-100 word bio, entry title, running time, and year of production.
Note that the piece must be no longer than five minutes in duration.
Deadline for submissions is October 27th.
Please send works to:
Margot Jacobs
c/o PLAY Interactive Institute
Hugo Grauers Gata 3b
41296 Gothenburg Sweden
or email to:
Sue Huang {sue@knifeandfork.org}.
[ fringe ] is a G??teborg collective of all those who can't stop making and creating works that involve or incorporate new media, emerging technologies, and/or electronic art and design. [ fringe ] gives local artists and designers a space for showing and sharing their work with the community here in G??teborg, Sweden.
{ http://play.tii.se/projects/pps/fringe/ }
+
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Festival for Art on Film
Call for Entries
Location: Daum Theatre at The University of Akron
Date: Saturday April 9, 2005
Deadline: December 1, 2004. No Entry Fee.
Seeking 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.
Entry forms available at: http://www.artonfilmfestival.org/entry.html
For More Information visit http://www.artonfilmfestival.org or e-mail
artonfilmfestival@wigged.net.
Produced by Wigged Productions.
---
As part of the Leonardo Educators Initiative, the Leonardo
Abstracts Service (LABS) is pleased to announce its first cycle
of shortlisted peer reviewed abstracts. Scholars published in
the first cycle in the Leonardo Electronic Almanac October 2004
are:
* Peter Anders: A Procedural Model for the Integration of
Physical and Cyberspaces in Architecture
Thesis Supervisors: Roy Ascott, Michael Phillips, Michael Punt
* Principles of Metadesign: Processes and Levels of Co-Creation
in the New Design Space by Elisa Giaccardi
Thesis Supervisor: Roy Ascott
* Fatima Lasay: Phase Space Portraits of the Nuestra Señora
delos Dolores of Baclayon
Thesis Supervisor: Santiago Albano Pilar
* Maureen A. Nappi: Language, Memory and Volition: Toward an
Aesthetics of Computer Arts
Thesis Supervisors: Benjamin Binstock and Judith R. Weissman
LABS is seeking PhD, Masters and MFA thesis abstracts for its
next publication cycle. Authors of theses interested in having
their thesis abstract considered for publication should fill out
the Thesis Abstract Submittal form at
http://leonardolabs.pomona.edu
Deadline for submission is: 15 November 2004
What is LABS?
LABS is a comprehensive database of Ph.D., Masters and MFA
thesis abstracts in the emerging intersection between art,
science and technology. Individuals receiving advanced degrees
in the arts (visual, sound, performance, text), computer
sciences, the sciences and/or technology, which in some way
investigate philosophical, historical, or critical applications
of science or technology to the arts, are invited to submit an
abstract of their thesis for publication consideration in this
database.
The LABS project does not seek to duplicate existing thesis
databases but rather to give visibility to interdisciplinary
work that is often hard to retrieve from existing databases. The
abstracts are available online at Pomona College, Claremont,
California, so that interested persons can access them at no
cost.
The English language peer review panel for 2004/2005 are Pau
Alsina, Jody Berland, Sean Cubitt, Frieder Nake, Sheila Pinkel
and Stephen Petersen.
What is the Leonardo International Academic Community?
The Leonardo International Academic Community is a mailing list
to encourage discussion and exchange of ideas (to join email: lea
[@] mitpress [dot] mit [dot] edu with a brief introduction)
amongst leaders and thinkers in academia. Academics also receive
the Leonardo International Faculty Alerts - announcing job and
other opportunities in the field.
---
CALL FOR PAPERS
REFRESH! FIRST INTERNATIONAL CONFERENCE ON
THE HISTORIES OF MEDIA ART, SCIENCE AND TECHNOLOGY
Banff New Media Institute, Canada, September 28 - October 3, 2005
http://www.mediaarthistory.org Deadline: Dec. 1st 2004
**********************************************************************
"The technology of the modern media has produced new possibilities of
interaction...
What is needed is a wider view encompassing the coming rewards in the context
of the treasures left us by the past experiences, possessions, and insights."
(Rudolf Arnheim, Summer 2000)
Recognizing the increasing significance of media art for our culture, this
Conference (Evening of Sept. 28th, Sept. 29th, 30th, October 1st) on the
Histories of Media Art will discuss for the first time the history of media
art within the interdisciplinary and intercultural contexts of the histories
of art. Leonardo/ISAST, Banff New Media Institute the Database for Virtual
Art and UNESCO DigiArts are collaborating to produce the first international
art history conference covering art and new media, art and technology,
art-science interaction, and the history of media as pertinent to contemporary
art.
Held at The Banff Centre, featuring lectures by invited and selected speakers,
the latter being chosen by an international jury from a call for papers, the
main event will be followed by a two-day summit meeting (October 2-3, 2005)
for in-depth dialogues and international project initiation (proposals
welcome).
For more information on the conference, please visit:
www.MediaArtHistory.org
Papers are invited from scholars and postgraduates in any relevant discipline,
particularly art history and new media, art and technology, the interaction of
art and science, and media history, are encouraged to submit for the following
sessions:
(Please address your proposals to the sessions with the Priority A to C)
1. MediaArtHistories: Times and Landscapes I and II
I. After photography, film, video, and the little known media art history of
the 1960s-80s, today media artists are active in a wide range of digital areas
(including interactive, genetic, telematic and nanoart). The Media Art History
Project offers a basis for attempting an evolutionary history of the
audiovisual media, from the Laterna Magica to the Panorama, Phantasmagoria,
Film, and the Virtual Art of recent decades. This panel tries to clarify, if
and how varieties of Media Art have been splitting up during the last decades.
It examines also how far back Media Art reaches as a historical category
within the history of Art, Science and Technology.
2. Although there has been important scholarship on intersections between art
and technology, there is no comprehensive technological history of art (as
there are feminist and Marxist histories of art, for example.) Canonical
histories of art fail to sufficiently address the inter-relatedness of
developments in science, technology, and art. What similarities and
differences, continuities and discontinuities, can be mapped onto artistic
uses of technology and the role of artists in shaping technology throughout
the history of art? This panel seeks to take account of extant literature on
this history in order to establish foundations for further research and to
gain perspective on its place with respect to larger historiographical
concerns.
II. Methodologies
This session tries to give a critical overview of which methods art history
has been using during the past to approach media art. Papers regarding media
archaeological, anthropological, narrative and observer oriented approaches
are welcome. Equally encouraged are proposals on iconological, semiotic and
cyberfeministic methods.
III. Art as Research / Artists as Inventors
Do "innovations" and "inventions" in the field of art differ from those in the
field of technology and science? Do artists still contribute anything "new" to
those fields of research - and did they ever in history? Which inventions
changed the arts as well as technology and the media? These questions will be
discussed in a frame from the 19th century until today, special foci of
interest are:
- modernism and the birth of media technology 1840 - 1880
- the utopia of merging art and technology in the 1920s and 1960s
- the crisis of the "new" vs. digital media art innovations since the 1980s
IV. Image Science and 'Representation': From a Cognitive Point of View
Although much recent scholarship in the Humanities and Social Sciences has
been "body-minded," this research has yet to grapple with a major problem
familiar to contemporary cognitive scientists and neuroscientists. How do we
reconcile a top-down, functional view of cognition with a view of human beings
as elements of a culturally shaped biological world? Current scientific
investigations into autopoiesis, emotion, symbolization, mind-body relations,
consciousness, "mental representations", visual and perceptual systems .open
up fresh ways of not only figuring the self but of approaching historical as
well as elusive electronic media --again or anew--from the deeper vantage of
an embodied and distributed brain. Papers that struggle concretely to relate
and integrate aspects of the brain basis of cognition with any number of
pattern-making media are solicited to stimulate debate.
V. Collaborative Practice/ Networking (history)
In a network people are working together, they share resources and knowledge
with each other - and they compete with each other. This process has sped up
enormously within a few decades and has reached a new quality/dimension. It is
the computer who had and has a forming influence on this change - from the
Mainframes of the 50s and 60s to the PCs of the 70s and the growing popularity
of the Internet during the 90s of the past century. The dataflow created new
economies and new forms of human communication - and last but not least the
so-called globalization.
VI. Pop/Mass/Society
The dividing lines between art products and consumer products have been
disappearing more and more since the Pop Art of the 1960s. The distinction
between artist and recipient has also become blurred. Most recently, the
digitalization of our society has sped up this process enormously. In
principle, more and more artworks are no longer bound to a specific place and
can be further developed relatively freely. The cut-and-paste principle has
become an essential characteristic of contemporary culture production. The
spread of access to the computer and the internet gives more people the
possibility to participate in this production. The panel examines concrete
forms, as for example computer games, determining the cultural context and
what consequences they could have for the understanding of art in the 21st
century.
VII a. Collecting, preserving and archiving the media arts
Collections grow because of different influences such as art dealers, the art
market, curators and currents in the international contemporary art scene.
What are the conditions necessary for a wider consideration of media art
works and of new media in these collections?
VII b. Database/New Scientific Tools
Accessing and browsing the immense amount of data produced by individuals,
institutions, and archives has become a key question to our information
society. In which way can new scientific tools of structuring and visualizing
data provide new contexts and enhance our understanding of semantics?
VIII. Cross-Culture - Global Art
Issues of cultural difference will be included throughout Refresh! However,
the panels in Cross-Culture--Global Art provide an opportunity to examine
cross-cultural influences, the global and the local. Through these sessions
we hope to construct the histories, influences and parallels to new media art
and even the definitions of what constitutes new media from varied cultural
perspectives. For example, how what are the impacts of narrative structures
from Aboriginal and other oral cultures on the analysis and practice of new
media? How do notions of identity shift across cultures historically, how are
these embedded and transformed by new media practice? What philosophical
perspectives can ground our understandings of new media aesthetics? How does
globalization and the construction of global contexts such as festivals and
biennials effect local new media practices? We encourage papers from diverse
cultural perspectives and methodologies.
IX. What can the History of New Media Learn from History of Science/Science
Studies?
As in the case of artists working in traditional media who have engaged
science and technology, new media artists must be situated contextually in the
"cultural field" (Kate Hayles) in which they have worked or are working.
Science and technology have been an important part of that cultural field in
the twentieth century, and the history of science and science studies-along
with the field of literature and science--offer important lessons for art
historians writing the history of new media art. This session invites papers
from art historians and scholars in science-related disciplines which explore
methodological and theoretical issues as well as those that put
interdisciplinary approaches into practice in studying new media art.
X. Rejuvenate: Film, sound and music in media arts history
During an earlier period of new media arts discourse, time-based media were
often considered to be "old media." While this conceit has been tempered, we
still need to consider the sophistication and provocation of film, sound and
music from the perspective of media arts history. This session invites papers,
which examine the return of old media, thick in their natural habitat of the
discourses, practices and institutions of the arts, entertainment,
science, everyday life, wherever they existed.
Please send a 200 word proposal and a very brief curriculum vitae by December
1st, 2004 via e-mail to MediaArtHistories@culture.hu-berlin.de. Full papers
(5000 to 7000 word long) must be received via e-mail by July 1st., 2005.
Details about their format will be sent separately to the participants.
All Papers will be considered for publication.
Registration information soon: www.banffcentre.ca/bnmi/
-----------------------------------------------------------------------------
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www.MediaArtHistory.org
HONORARY BOARD
Rudolf ARNHEIM; Frank POPPER; Jasia REICHARDT; Itsuo SAKANE, Walter ZANINI
ADVISORY BOARD
Andreas BROECKMANN, Berlin; Paul BROWN, London; Karin BRUNS, Linz; Annick
BUREAUD, Paris; Dieter DANIELS, Leipzig; Diana DOMINGUES, Caxias do Sul;
Felice FRANKEL, Boston; Jean GAGNON, Montreal; Thomas GUNNING, Chicago; Linda
D. HENDERSON, Austin; Manrai HSU, Taipei; Erkki HUHTAMO, Los Angeles; ¡ngel
KALENBERG, Montevideo; Ryszard KLUSZCZYNSKI, Lodz; Machiko KUSAHARA, Tokyo;
W.J.T. MITCHELL, Chicago; Gunalan NADARAJAN, Singapore; Eduard SHANKEN,
Durham; Barbara STAFFORD, Chicago; Christiane PAUL, New York; Louise POISSANT,
Montreal; Jeffrey SHAW, Sydney; Tereza WAGNER, Paris; Peter WEIBEL, Karlsruhe;
Steven WILSON, San Francisco.
BANFF
Sara DIAMOND, Director of Research and Artistic Director of BNMI (Local
Chair)
Susan KENNARD, Executive Producer of BNMI (Organisation)
www.banffcentre.ca/bnmi/
LEONARDO
Annick BUREAUD, Director Leonardo Pioneers and
Pathbreakers Art History Project, Leonardo/OLATS
www.olats.org
PUBLICATIONS COMMITTEE
Chair: Roger F MALINA, Chair Leonardo/ISAST
www.leonardo.info
CONFERENCE DIRECTOR & ORGANISATION
Oliver GRAU, Director Immersive Art & Database of Virtual Art
Humboldt University Berlin
http://virtualart.hu-berlin.de
---
please reply to tali@ignivomous.org
Call for Submissions for the 7th La Superette
The 7th La Superette will be held Saturday December 4 in a midtown
(Manhattan) storefront space.
Submissions must be Functional, Original, Inexpensive, and preferably made
in multiples. You receive 80% of sale price for your items. La Superette
is not responsible for loss of damage to your stuff. Work must be
received (Mail or Hand Delivery) by Nov. 27 (address TBA). Return stamp
(not metered) required for mail return of unsold items, or pick up in
person available day after the event. Nothing else will be held after
this date.
Submission Deadline November 12 - you must email
tali(at)ignivomous(dot)org by this date with the following information:
1. Name, Contact Info, URL (contact info will be made public unless
otherwise requested by you)
2. Product/s short description (~1 line)
3. Prices
4. ONE Image Only (500x500 pixels 72 dpi) you'll be notified if more are
needed
All of these must come in one email to the address above, incomplete or
late submissions will be ignored.
FAQs answered:
You are not responsible or involved with the installation or sale of your
stuff (though if you're interested, help may be requested from you, at a
later point). La Superette takes care of that, you have no booth and
there's only 1 cashier.
You will get paid at pickup.
Multiple Items are welcome and encouraged.
If you want to get more involved, help is wanted for:
Simple Graphic Design for catalog.
Web Designer for www.lasuperette.org
Press contact person/people
Artist and space contact person/people
there will also be Music, Food, and Drinks as always. if you'd like to
perform please be in touch with me and i'll put you in touch with the
person responsible for performances.
---
Rhizome.org is looking to hire a developer to assist in the refinement of an existing Filemaker database.
We would prefer to work with developers who have some familiarity with arts organizations.
Thank you in advance for passing this along to any of the outstanding professionals you might know.
Please have them contact me via the contact information below.
Rachel Greene
Executive Director, Rhizome.org
New Museum of Contemporary Art
210 Eleventh Ave, NYC, NY 10001
tel. 212.219.1222 X 208
fax. 212.431.5328
ema. rachel@rhizome.org