Subject:
  calls x 11

Message:
Call for works/essays

ICONography

Critiquing the Icon

Curated by Patrick Lichty

Hosted by Turbulence.org

Deadline: September 15th, 2003

Opening October 1st, 2003



The lowly icon is one of the fundamental building blocks of any graphically-oriented computer operating system. They act as signifiers for the most basic operating functions and structures as well as mnemonics for programs on the metaphorical Îdesktopâ. However, one can only begin to consider how symbolic grammars such as those used in computer systems reveal the inner workings of the digital environment, its biases, or its historical referents, both technological and cultural. ICONOGRAPHY calls to artists to consider the icon as a fundamental element of visual grammar on the screen, and almost as essential to the cultural syntax of the computer as the alphanumeric character. Can icons be part of the ongoing dialogue on technological art forms, or are they merely visual devices? It is hoped through seeking a critical engagement with the icon, new questions can be asked about its form, function, and location within the culture of computers.



CALL FOR WORKS

ICONography will focus on the subject of the 32x32 icon, although others such as smaller formats like file folder markers, etc. will be considered. Any icon-based work that meets the format constraints is eligible. Interactive and time-based artworks are encouraged as well, but may be used in single-frame format if physical exhibitions are realized (under discussion). If you have any questions regarding the nature of your work, please note the Submission Guidelines, then contact the curator. 



CALL FOR ESSAYS/CRITICAL WORKS

The ICONography exhibition is calling to the arts and academic community for critical works that address issues related to the use of icons in the computer environment. What are the parallels with historical or even paleolithic forms, religious iconography, pictographic languages, hidden agendas in iconic subjects, or ontologies of graphic systems such as the paradigms presented by the Macintosh and Windows operating systems by their use of icons? ICONography seeks to ponder these questions as the artists push the boundaries of the genre. Over 1000 words preferred; images are also encouraged, and text format in plain text, MS Word, or Word Perfect 9 or less. Experimental formats are also acceptable, but representation is by curatorâs discretion.



SUBMISSION GUIDELINES:

All images will be limited to a size of 32x32 pixels, any bit depth is acceptable. Preference will be given to bitmap-oriented work (GIF/JPG, ICO), although other formats will be considered. Interactivity, etc is also encouraged, as long as the curator can relocate and embed the works into pop-up windows that will open in the exhibition layout.

There is no maximum for number of icons submitted, but it is asked that artists view their submissions discriminately. A brief description of the image(s) of up to 75 words and a short biography of up to 50 words maximum is also requested. Please email all submissions to voyd@voyd.com by no later than Sept. 15th , 2003, Midnight US CST. No entry fees are required.



Terms:

Artists agree to allow exhibition of images on exhibition website, promotional materials, and on print media (prints/catalogues) for possible gallery venues (under negotiation). ICONography is a non-profit exhibition for the heightening of the awareness of new media genres, sponsored by Patrick Lichty and hosted by Turbulence.org. No transfer of ownership or rights except solely for those related to the purposes of promoting the exhibition is implied.



A catalogue of the exhibition is planned for December 2003. Artists will be able to buy the publication at production cost.



Contact Information:

Patrick Lichty

Voyd.com/Intelligent Agent

355 Seyburn Drive

Baton Rouge, LA 70808

USA

(Phone number upon request)

voyd@voyd.com





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Golden Gate Awards Coordinator

Reporting to the Associate Director of Programming, the Golden Gate Awards Coordinator manages the San Francisco International Film Festival's Golden Gate Awards Competition for documentary, short, animation, television and experimental film and video works. This position is administrative and not curatorial. This is a full-time position which runs September 29, 2003-May 14, 2004.

full info at http://www.sffs.org/about/jobs/ggacoord.html







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call for art

(Los Angeles CA)

We have an ongoing call for art (see details below), and are currently specfically looking for art to consider for the cover of the Spring 2004 issue of the journal, and would like this to be from an Eastern European female artist, or a woman artist depicting an aspect of the experience of women from this region.
"Signs: Journal of Women in Culture and Society" seeks submissions for cover art. Published quarterly by the University of Chicago Press and distributed internationally, "Signs" is an interdisciplinary journal that focuses on issues of gender, race, class, nation, and sexuality. Submission is not limited by style or media (photography and film stills are welcome) but should reproduce well in black and white; content should represent a point of view on women's issues. One full-color cover will be published annually. Send up to ten labeled slide duplicates to Art Editor, Signs, 1400H Public Policy Building, University of California, Los Angeles, Los Angeles, CA 90095-7122. Email signs@signs.ucla.edu . A small honorarium is available. Deadline is ongoing. http://www.journals.uchicago.edu/Signs/home.html

Application Date: 8/31/2003

signs@signs.ucla.edu




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Packard's Corner Gateway Project
UrbanArts Institute
(Boston MA)

Boston, MA - Packard’s Corner Gateway Project in Allston The Packard’s Corner Art Selection Committee and the Allston Civic Association invite professional artists and/or artist teams to submit qualifications for the Packard’s Corner gateway project in Allston, MA. A planning grant has been awarded by the Edward Ingersoll Browne Trust Fund of the City of Boston to create a schematic design. The project is administered by the UrbanArts Institute at Massachusetts College of Art. The Packard's Corner project plan calls for the creation of a landmark element - a gateway, threshold or passageway - marking the entry to the Allston neighborhood of Boston. This will be an opportunity to develop a comprehensive vision for the site that integrates a public monument and historical marker with the surrounding streetscape. Finalists will receive a $1,000 proposal development fee. The commissioned artist(s) will be expected to work with community and in conjunction with the Boston Public Works Department’s reconstruction of that community threshold. The project may consist of one or more elements with a height limit of 30 feet.

A preliminary call to artists was issued in February 2003. If you are an artist already represented in the UrbanArts Artist Registry, simply drop us a note (fax or email acceptable-no phone calls) to let us know that you would like to be considered for this project. This project is restricted to artists residing in Massachusetts. Estimated art budget: $150,000-200,000 (total budget including streetscape and pedestrian crossings: $400,000) If you are NEW to our registry, we invite you to submit your materials for consideration. Please send
• Resume with current contact information.
• Up to sixteen clearly labeled slides of relevant past work (leave top row of slide sheet empty).
• A corresponding annotated image list with title, media, dimensions, brief description and date of the work, project budget, and project partners, if any.
• Additional support material, including press clippings or other relevant information on past projects.
No faxes or emailed entries will be accepted. Materials will not be returned. Submissions will become part of the UrbanArts Institute’s Artist Registry for consideration in future projects. Please do not send proposals at this stage.

Application Date: 9/5/2003

Contact: Christina Lanzl, Registry/Project Coordinator
ATTN: Packard’s Corner
UrbanArts Institute at Massachusetts College of Art
621 Huntington Avenue
Boston, MA 02115-5801
Tel: 617-879-7973
Fax: 617-879-7969
Email:christina.lanzl@massart.edu
Web:www.urbanartsinstitute.org




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Printmaking Space Opportunities- Keyholder Residencies
Lower East Side Printshop
(New York NY)

The Lower East Side Printshop offers 24-hour access to professional printmaking facilities for emerging artists through its Keyholder Programs. The Printshop’s studio is equipped for etching and intaglio, water-based silkscreen, photo techniques, and papermaking. Participation is competitive and applicants must have working knowledge of the printmaking techniques they wish to explore. The Resident Keyholder Program is a minimum residency of six months at a fee of $70/month; recipients receive private storage, slide documentation, and internet presence. 50% Scholarships are available for artists of color. Full Scholarship Residencies are available to printmakers with specific projects-- maximum residency duration is 3 months and is non-renewable. For more detailed information about these and other programs and/or application process, visit our website http://printshop.org .

Application Date: 9/15/2003

Lower East Side Printshop, 59-61 East 4th Street, 6th Floor, New York, NY 10003. Tel: 212-673-5390. E-mail info@printshop.org . http://printshop.org




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Special Editions Fellowship
Lower East Side Printshop
(New York NY)

Lower East Side Printshop invites emerging artists of all disciplines and cultural backgrounds to apply for the Special Editions Fellowship Program 2004. No previous printmaking experience is necessary. Awarded artists will create printmaking projects in collaborative residencies that will take place between March 2004 and March 2005. Each artist will have 8-12 day-long working sessions with a master printer to develop and complete a new body of work. The Printshop will provide materials, tools and equipment, full studio access, technical assistance and an artist honorarium of $1,000. Applications must be postmarked or hand-delivered by December 1st. Application available on http://printshop.org , or send a self addressed stamped envelope to Lower East Side Printshop, 59-61 East 4th Street, Ste. 6W, New York, NY 10003, 212-673-5390, info@printshop.org . The Lower East Side Printshop advances and promotes the art of printmaking and supports emerging artists.

Application Date: 12/1/2003

Lower East Side Printshop, 59-61 E. 4th St., Ste. 6W, NYC 10003. 212-673-5390, info@printshop.org, http://printshop.org




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Trail Markers 3
NewTown
(Pasadena CA)

Trail Markers 3 will be a week-end of site-specific installations and performances along an easily walked hiking trail. We are looking for works in all disciplines, including sonic, visual, performance and anything else you can think of. All artists will receive honoraria of $250 minimum. Breaking from our past practice, this show will have no theme. We will, however, be looking for work that is highly site specific. That can mean either the Arroyo Seco system or Hahamongna Watershed Park, a part of the Arroyo Seco. You may deal with any aspect of the site, its history, plants, past/present/future inhabitants, water (after all, it is a WATERshed Park), and anything else, real or imaginary that is site-specific. CONTACT VIA E-MAIL FOR MORE DETAILS, GUIDELINES AND PROPOSAL FORMAT.

Application Date: 9/6/2003

Richard Amromin, akamromin@earthlink.net




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Wave Hill House Gallery
Wave Hill
(Bronx NY)

Wave Hill is seeking artists for four solo exhibits for the Wave Hill House Gallery during 2004. Of particular interest is art that relates to Wave Hill’s mission to connect people to nature. Paintings, works on paper, prints, photographs, mixed media, wall reliefs, and wall-mounted crafts are suitable to exhibit. Selected artists will be invited to do a demonstration, family art project or adult workshop in conjunction with the exhibit.

To apply, please submit:
1) a completed application
2) up to 10 slides of representative works in a plastic slide sheet (color printouts are acceptable instead of slides)
3) slide list, numbered to correspond to slides, with title, date, medium, and dimensions
4) resume
5) self-addressed stamped envelope (SASE), sufficient size, with adequate postage to return the materials


Applications available on website: www.wavehill.org/arts or by contacting us.


Application Date: 9/8/2003

Visual Arts Program:
718-549-3200 x204
< arts@wavehill.org
675 West 252 Street
Bronx, NY 10471





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from artservis:


Melbourne, Australia
Datum dogodka: Saturday 27 September
B(if)tek
WINK (Wired Innovative Naughty Kids) Awards 2003
Subvert the dominant paradigm award! 6 categories
http://www.biftek.com/awards/index.html

Tactical Media
Hello everyone

With all the political madness, violence and lies we have had to endure in recent times, we're sure you'll agree that the need to subvert the dominant political and cultural paradigm using the electronic arts is more critical than ever.

If we here at the B(if)tek Corporation had the cash to buy up all the weapons manufacturing plants in the world, we would divert their military components into the production of useful civilian machines: like 808s, vocoders and swingchronisers.

But world domination is still a little way off, so the best we can do with our humble bank account is to give our money away yet again to artists and activists whose deviant passions and visions make us whoop with glee.

That means the WINK (Wired Innovative Naughty Kids) Awards are back again!

We want you all to enter - now! The categories are the same as last year (see below) but the gala awards night will be even more glamorous.

The WINKs will be held on Saturday 27 September at the brand spanking new, state-of-the-art Australian Centre for the Moving Image at Federation Square, Melbourne. So feel free to start thinking about what you will wear now.

In 2002, we had double the entries (from all around the world) than we had in 2001. Let's go for triple in 2003!

Call for entries: we are receiving submissions from today.
Closing date for entries: 15 August
How to enter: the on-line entry form online.
Rok prijave: 15/08/2003

Kontakt:
B(if)tek
PO Box 2305
Vic 3065 Fitzroy MDC
Australia
http://www.biftek.com/






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"J.M. Adams"

***PLEASE FORWARD TO POTENTIALLY INTERESTED PARTIES***

Call For Papers:

"The Postanarchism Reader: Writings at the Intersection of Anarchism and
Poststructuralism"

edited by Jason Adams

Deadline for Paper Proposals: November 2003

This callout is for a book proposal that I am putting together for a publisher
in NYC on the intersections between poststructuralism and anarchism; the
proposal is for it to be a sort of anthology of writings by various radical
theorists who have looked at this issue either directly in terms of
articulating or critiquing the idea of a "poststructuralist anarchism" (Todd
May, Saul Newman, Lewis Call, etc.) or by using both poststructuralist and
anarchist theorists together in the same essay in a way that might be thought
of as a "postructuralist anarchist critique" of some aspect of politics,
history, society or culture.
So far I have secured contributions from Saul Newman, Jesse Cohn, Shawn
Wilbur, Ian Angus and Ashanti Alston amongst others - if you or someone you
know would be interested in contributing an essay for this, please contact:
Jason Adams at ringfingers@yahoo.com
From the information I have at this point it seems that this proposal will be
put in the "serious consideration" pile as soon as it is received. So what I
need right now is an idea of who would be interested, what they would write
about and what title they might tentatively give to the essay they would
contribute. For further information either email me at the contact listed
above or visit the postanarchism listserv and homepage which is linked at
http://www.spooncollective.org

Thanks,

Jason Adams
Vancouver BC



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Call for proposals
Deadline 31 August 2003
The Israeli Center for Digital Art
Digital ArtLab
info@digitalartlab.org.il
16 Yirmiyahu st,
Holon 58373, Israel.
www.digitalartlab.org.il
++++++++++++++++++++++++++++++++++++++++++++++++
The Israeli Center for Digital Art in Holon was formed in 2001 with the objective of
advancing and promoting New-Media art in Israel, as well as to act as a
clearinghouse for communications between artists and between artists and the
public. The Center is committed both to a dynamic view of the contemporary art and
culture spheres, and to publicizing the influence of new technologies on todayís
society. To that end, the Center hosts both Israeli and foreign artistsí video art,
net.art, sound and interactive video exhibits. A special emphasis is put on
Cooperative projects between Israeli and foreign artists, and between artists and the
community, to bringing digital art works to outlying areas, developing training
programs and workshops for school-age children and artists using digital media,
artist workshops and more.
Out of a desire to catalyze the discourse on the influences of digital technologies on
contemporary culture in general and Israeli society in particular, and out of a
recognition of the need to create a platform for communications between artists,
activists, media people, film makers, and the general public, during the coming year,
the center will oversee three projects under the them ì Hilchot Shcheinimì (Halachot
for neighbors) [a reference to the laws of division of property and boundaries codified
by the Rambam in his Mishna Torah, a commentary on the Torah].
Hilchot Shcheinim is comprised of three main exhibits, each accompanied by video
screenings, lectures, performances and workshops. The exhibits will act as a
laboratory for ideas about art and media and the marketplace and exchange, and will
} PAGE
examine the manner in which social, cultural and technological changes, influence art
and artists.
The Hilchot Shcheinim events should be apprehended as an up-to-date source of
information that offers a panoramic view of our lives via the combination of the
language of art and the tools of contemporary culture, the various media, politics, and
the economy.
Project I: November 2003 ñ January, 2004
- will focus on the mapping of independent organizations of artists who have found
for themselves a place where they can create without relocating to the center, or
without being ìdirected from aboveî by the main art hubs. The exhibit features
projects run jointly by art centers in outlying areas and projects by artists in adjoining
areas that reflect the changes taking place in the art scene as a result of the
globalization movement. Preference will be given to artists working in the Middle
East.
Project II: March- May, 2004
- will focus on tactics and strategies used by artists, groups of artists, activists, and
non-governmental organizations (NGOs) to create cultural networks and cooperation.
The emphasis will be on the ways in which capitalism and the globalization
movement shape the media and the use that artists make of media technologies in
their work.
Project III: September - November, 2004
we will attempt to diagram life in the world of the Empire - Globalization, proposing
the Internet as a positive model for globalization. Not only is the Internet a model
wherein the countries of the world, giant corporations, political and social
organizations, and individuals are equal, but it is a model of a decentralized network
without centralized control or enforcement that cannot monitor either the flow of
information or number of its ìcitizensî. Moreover, it is a virtual, apolitical structure with
a weak capacity for control that is vulnerable to disruptions, ìstreet actionî, and
revolts, yet it does not collapse as a result. At Hilchot Schcheinim III, we will attempt
to examine how a vision of such a world is conceived of by artists, and what the
effects are of such a world on the art realm.
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Visual artists, media artists, musicians, activists, and collectors are invited to propose
projects. Preference will be given to artists working in the Middle East and the
Mediterranean.
Proposals for projects for project I must be sent by August 31, 2003 along with
the accompanying form.
Submit to:
The Israeli Center for Digital Art
Digital ArtLab
info@digitalartlab.org.il
16 Yirmiyahu st,
Holon 58373, Israel.
www.digitalartlab.org.il
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Hilchot Shcheinim
Israeli society, most critics agree, is represented by a rich and occasionally
contradictory world of images concerning its character, its borders (both political and
social), its population makeup, its cultural origins, and its political directions. Thus, for
example, Israel is presented in its political discourse by the following attributes, to
name just a few: ìThe only democracy in the Middle Eastî, ìA country of immigrantsî,
ìA melting potî, ìAn armed ghettoî, ìA bi-national stateî, ìA Levantine societyî, ìA
Western island in the Eastî, ìA little Americaî.
These images, with their double messages, have a significant impact on Israeli
society. They are understood within the context of larger issues that are at the center
of public discourse, running deep within the hidden processes shaping the definition
and the representation of individuals and groups in the society. Under these
conditions, most of the discourse in Israeli society and its cultural sphere deal
intensively (even obsessively) with the attempt to understand, explain, and decode
the cultural environment.
The contradiction and the multiplicity of views in Israeli society and its culture derive
their origins from the dichotomy between East and West, between "Ashkenazi" and
"Sepharadi". This dichotomy manifests itself on the Israeli art scene in the tension
between the "local" and the "universal". Israel exists in the Middle East, a space
wherein nationalism and religion play central roles, on the one hand holding onto its
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national and religious identity, viewing itself from the outside in, and at the same time
trying to preserve its acceptance to the worldís ìWestern clubî by building a freemarket
economy, implementing widespread privatization, a near-total adoption of
Western cultural symbols, and so forth.
In her article ìEyes Wide Shut: On the Acquired Albino Syndrome on the Israeli Art
Sceneî ( Theory and Critique, vol. 20, 2002), Sarah Hinsky describes the place of the
West in Israeli art and culture.
From its earliest days until now, the concept of ìthe Westî was firmly rooted in the
Israeli art scene as a guiding principle and shaping it on the European art scene
model. In this sense, the Israeli art scene exists in a tension of two opposing
categories: art that tries to be at the same time universal and local, when the
ìuniversalî model is actually European.
This affinity is a fundamental force in the Israeli art world, and its origins are identical
to Western - Europeans origins of the Zionist movement. The establishment of a
Jewish state in the Middle East was perceived by many in the Zionist movement as
creating a European ìannexî in the Middle East wherein nationalist and colonialist
aspirations could be realized.
It is from this perception that the closed attitude of Israeli culture toward the
surrounding Arabic culture stems (as well as from the grappling with the culture of
Jewish immigrants from Arab lands), resulting in the perception of the latter as
inferior. This closed-mindedness has only begun to disperse in the past two decades,
allowing the inflow of Eastern-Arab influences, mainly felt in Israeli music, upon which
there has been a conspicuous influence, and in which there is much collaboration
between musicians from the neighboring countries.
Against this backdrop, the Israeli visual arts are preoccupied with conducting a dialog
with Western ìpower centersî of art, which is perhaps the main reason why an effort
is not made today to create a network of exhibits and artist exchange projects with
the neighboring countries such as Turkey, Greece, or even Egypt or Jordan.
The cultural conflicts described herein can be viewed in a wider context as part of
global processes taking place in other regions of the world involving societies,
countries, organizations, and individuals undergoing redefinition and creating new
paths and meanings for their activities.
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Two main events (up until now) of the new millenniumóor the fact of their being
defined as main eventsóhave been the destruction of the Twin Towers on
September 11, 2001 and the war in Iraq, both having sharpened the differences
between expectations of a post-nationalist world wherein global power is given
priority the Nation State, and the reality of a nation-oriented world in which national
rule within conventional borders remains, and in which ethnicity and religion still have
a central place in determining the internal and external ìrules of the gameî of the
individual country.
The process of change will slowly affect the familiar world division of East and West,
of the free world and the enslaved world, of free-market economy versus a controlled
economy, of superpowers, and of a world order that will be rebuilt anew, including a
change in relations and agreements between countries, citizens, communities, and
neighbors: social, professional, and cultural divisions will alter themselves and be
refashioned.
Technology has a central role to play in these processes: As it becomes more
accessible, it seeps into more and more spheres, influencing more and more aspects
of our lives as individuals and as a society. It is superfluous to say that this process is
not progressing linearly, but rather is developing at different paces in various places
in the world.
The process of redefinition in which we find ourselves affects almost every aspect of
our lives, demanding reexamination of fundamental concepts and assumptions that
up until now were perceived as unassailable. In addition, we must investigate how
these changes manifest themselves in art, and in the relationship between art and
society. What is the place of art in the globalization process and the world that it is
creating? Which strategies have artists chosen for coping with these changes?
These issues have emerged in the local-Israeli context, and stemming from a desire
to create a link with other outlying areas in which similar conflicts are taking place,
The Israeli Center for Digital Art, through Hilchot Shcheinim, will examine them in the
coming year.
++++++++++++++++++++++++++++++++++++++++++++++++++++++
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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 ____