Posts for 2006

CFP for MiT5: Creativity, Ownership, Collaboration


The Media in Transition Project at MIT now seeks submissions for MiT5: Creativity, Ownership, and Collaboration in the Digital Age:

(submission deadline: Jan. 5, 2007)

Our understanding of the technical and social processes by which culture is made and reproduced is being challenged and enlarged by digital technologies. An emerging generation of media producers is sampling and remixing existing materials as core ingredients in their own work. Networked culture is enabling both small and large collaborations among artists who may never encounter each other face to face. Readers are actively reshaping media content as they personalize it for their own use or customize it for the needs of grassroots and online communities. Bloggers are appropriating and recontextualizing news stories; fans are rewriting stories from popular culture; and rappers and techno artists are sampling and remixing sounds.

These and related cultural practices have generated heated contention and debate. What constitutes fair use of another’s intellectual property? What ethical issues are posed when sounds, images, and stories move from one culture or subculture to another? Or when materials created by a community or religious or ethnic tradition are appropriated by technologically powerful outsiders? What constitutes creativity and originality in expressive formats based on sampling and remixing? What obligations do artists owe to those who have inspired and informed their work and how much creative freedom should they exercise over their borrowed or shared materials?

One source of answers to such questions lies in the past � in the ways in which traditional printed texts � and films and TV shows as well � invoke, allude to and define themselves against their rivals and ancestors; and � perhaps even more saliently � in the ways in which ...


Originally posted on Grand Text Auto by nick

DANCE MOViES Commission Launched by EMPAC


EMPAC logo


EMPAC - the Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute – announces the launch of the EMPAC DANCE MOViES Commission, a new commissioning program to support the creation of new works in the field of experimental dance for the screen.

Through the DANCE MOViES Commission, EMPAC is specifically targeting artists based in North America and South America to encourage the development of the genre of dance film and video. The DANCE MOViES Commission will fund several projects per year with awards in the range of $8,000 - $50,000.

The deadline to submit artist proposals is February 1, 2007, with applications available on the EMPAC website:


What are DANCE MOViES?

The works shown in the DANCE MOViES series and supported by the DANCE MOViES Commission are experimental works for the screen which vary widely in content and form, yet are united by the fact that the image on the screen was crafted by, or in collaboration with, a choreographer or movement-based artist.

The works span a large range, include film, video, and other audio-visual formats, and tend to be from 2 minutes to 30 minutes in duration. Some of the works may be narrative-driven, using the conventions of filmic story-telling; some may be abstract works; some may not even feature “dance” as is generally defined, but contain a powerful sense of how movement unfurls in time; some may take advantage of tools such as computer processing, motion capture, simulation, animation, image processing, and post-production technologies; and some may extend the confines of the single screen to multiple screens or projections.

However the artists create or present their work, the defining characteristic of these works remains that they are audio-visual works made by dance artists, with all the richness and potential of that specific medium meeting ...


Originally posted on Raw by Rhizome

Because i love them


The adorable Lauren Cornell from rhizome recently asked me to send a quote to show my support to their Community Campaign. The deadline is December 31 at Midnight.


The more money they get, the more they can give back to new media art community. That's what they've been doing for 10 years now (trust me, i saw their offices, they don't spend the money on fancy wallpapers and their chairs are only half-decent.)

It would be easier for me to eat my own hair than search for catchy slogans. Lauren, i sent you a super lame quote. I'm so sorry. I wish i had the imagination and talent of YOUNG-HAE CHANG HEAVY INDUSTRIES. You deserve their Rhizomer piece. Long live rhizome (and YHChang)!


Many thanks from the ergonomically incorrect Rhizome team, Regine! ~mo

Originally posted on we make money not art by Rhizome




“ElectroViaGram” by Nonconform, is an invitation to visitors to participate in the exhibition, in fact, to create it. “ElectroViaGram” is a machine for the production of exhibits which depends on visitors as a driving force. By passing light barriers the visitors activate loudspeakers which set the drawing area in vibrations.


Originally posted on VVORK by Rhizome

Why didn’t I do that?



Have you ever seen a piece of work and wish that you’d done it? Are there projects that you know about that make you want to weep at their brilliance? Well that was the topic of tonights Christmas Lecture, organised by Cybersalon and New Media Knowledge.

Tonight I wore my blogger hat, something I don’t wear often, so here is a summary of each talk. I won’t go into detail on each project mentioned, but will try to get across some of the main points of each speaker. I took a camera, but the space was so intimate for the lecture, I didn’t want to spoil the mood, although a here are a few shots.

Some of the capitals hottest home grown and exported new media talent are coming together for this unique celebration of outstanding work. Four accomplished digeratti will be discussing not their own work - but great work that they admire, they marvel at, and that they wish they’d done. Chaired by digital design pioneer Malcolm Garrett (Applied Information Group) speakers include Jason Bruges (Jason Bruges Studio), Andy Cameron (formerly Antirom, now head of interactive at Fabrica), Sanky (AllofUs) and Simon Waterfall (Poke and newly-elected D&AD Deputy President).

Malcolm Garrett opened the session by introducing the theme of the event. He talked about the newly launched Dynamo London website, “the online showcase for all that is successful, creative, and ground-breaking in the professional world of interactive and digital media. If you have ever seen a project and wondered ‘why didn�t I do that?’ now you can share, discuss and celebrate what impressed you. Objective and altruistic, dynamo london celebrates otherwise unsung talent. We encourage you to nominate the work of others � work that inspires you ...


Originally posted on Pixelsumo by Chris OShea

Shared Encounters: Content Sharing as Social Glue in Public Space



Call for Submissions

Shared Encounters: Content Sharing as Social Glue in Public Space :: Workshop at ACM SIGCHI 2007, San Jose, California :: Sunday April 29th 2007

Our everyday lives are characterized by encounters, some are fleeting and ephemeral and others are more enduring and meaningful exchanges. Shared encounters are the glue of social networks, although our everyday encounters are increasingly mediated by communications technologies that free up our social interaction from fixed spatial settings. We propose that content sharing through mobile and ubiquitous technologies, consciously situated in public space is a valuable new social practice.It can contribute towards redefining boundaries of access between communities, and create more fulfilling sustained encounters in Spatial settings.

In this context we aim to: * identify the types of encounters, and the characteristics which make an encounter a rich experience * understand the qualities of situations which sustain shared encounters * investigate how sharing through mass media and personal media provide ways for people to communicate and engage with others * differentiate the relationship between the types of social groups in networked communities * determine the components of situated computing which enable them to act as key enabling platforms.

We welcome contributions from researchers from a diverse range of fields, such as HCI, architecture, media, psychology and urban studies. Authors are invited to submit a four-page position statement in the ACM SIGCHI workshop publication format. Position statements are particularly invited which identify and discuss qualitative and quantitative methodologies, present specific case studies or that take a structured perspective reflecting on the workshop themes.

Selection of workshop participants will be based on refereed submissions and selected participants will be invited to participate actively in the workshop sessions. It is our aim to publish and document the outcomes of the workshop. At least one author of accepted papers needs to register for ...


Originally posted on networked_performance by jo

Arctic Views in Boston


The new building for the Institute of Contemporary Art in Boston opened this past week, revealing expansive perspectives of the sky and the waterfront, not to mention the art inside. Thanks to the work of Jane D. Marsching, one of the artists in the opening exhibition, the new ICA also provides an intimate view of the Arctic. Marsching's Arctic Listening Post encompasses a series of digital prints and a blog, developed with Matthew Shanley, that illuminate diverse perceptions of this remote territory. Aptly titled Climate Commons, the blog is lead by fourteen professionals, including artists, a climatologist, a novelist, and an Episcopalian priest, who exchange thoughts on climate change and sustainability with an emphasis on the Arctic. The project draws on Marsching's previous work DeepNorth, a year-long 'virtual expedition' in which the artist trawled online sources for digital artifacts that represented ways the North Pole has been romanticized and, simultaneously, deteriorated over recent years. DeepNorth's collection of images, sound and miscellaneous media amount to a scrapbook by a voyeuristic culture, one that imagines the place but has never actually been. Arctic Listening Post affords a more engaged interaction: the viewer can not only absorb observations of the area but also, through Climate Commons, leave their footprint in the digital snow. - Lauren Cornell


Upgrade! Amsterdam: Degradable - 18 December


nat muller:

***** ******** Upgrade! Amsterdam: Degradable

When: Monday December 18th 2006 ||20.30 hours Where: De Melkweg, Theaterzaal, Lijnbaansgracht 234 A, Amsterdam | free admission | LIVE stream:


As the year draws to a close, the last Upgrade! Amsterdam of 2006
ponders the poetics of degradability, focussing specifically on the
aesthetics of things mutable, morphable, and ephemeral. Whether it’s
Steven Jouwersma’s serial destruction of personal memory and momentum
in the DIA-EXIT, or whether it’s Jelte van Abbema’s time and emotion
sensitive font in his “VIRTUREAL typewriter, or his bacterial prints in
SYMBIOSIS, these artists show us that the wilful design of
degradability yield surprising outcomes. The new performance SYNCHRONATOR by Gert-Jan Prins and Bas van
Koolwijk, which combines thecharacteristic visual qualitiesof analogue
and digital techniques concludes the evening.

 In sync with the festive season, we serve apple pie and punch!

|| Participants || - Steven Jouwersma [new media artist working predominantly with old
media like 8mm film and photo slides. Currently completing an M.A. at
the Frank Mohr Institute] - Jelte van Abbema [graduated at the Design Academy in
Eindhoven. Fascinated by the beauty and strangeness of nature. Loves
cookies] - Bas van Koolwijk [audiovisual artist.His video works can be seen as
an aggressive attack on the illusion of video itself. - Gert-Jan Prins [electronic improvised music performer. Uses a
self-developed electronic system of radio and transmitter technology]

|| Projects || Steven Jouwersma | DIA-EXIT In exchange for apple pie people gave Jouwersma their old slides. After
collecting and watching 40.000 slides he decided to destroy them, and
machine for that purpose: the "DIA-EXIT", installed at the Tschumi
Pavilion in ...


Originally posted on Raw by nat muller

Upgrade! Paris




Upgrade! Paris: MAURICE BENAYOUN, December 15th at 7:00 pm At NUMERISCAUSA gallery : 27 rue Mauconseil, 75001 Paris, 1st floor, Metro: Etienne Marcel.

Maurice Benayoun will show his work on The Mechanic of Emotions, and The Dump a blog for hypothetical projects. With Dominique Moulon, as mediator.

The Dump is a vast virtual area where I deposit my hypothetical or theoretical projects daily. Also others can dig in and extract from the Dump in order to apply the same concepts to their own projects; or accelerate the process of decomposition of unwanted items. Here, I keep the possibility to recycle, adapt and finally, rarely, to complete the act.

It is a day-to-day dump where sketches, realistically difficult projects, fuzzy concepts and fleeting visions are dumped without distinction. In the midst of daily projects, popping up concepts are often forgotten before they are materialised. They escape the undertow of memory. Why not make the concepts accessible to others who could grasp and recycle them while the possibility remains for me to revisit the projects dumped?

This liberating project, The Dump, evolves and constructs itself in the first days of this process. One discovers as much of the history of the concept itself, which is included in the first posts, as, in time, one learns of the more precise initial intentions of this project. These intentions, though, are gained only after and through The Dump's own evolution.

Maurice Benayoun's sketchy biography: He digs a tunnel under the Atlantic (1), charts the first map of the world's emotions (2) then sells these emotions as musical cocktails (3). He offers the only acceptable explanation of the imperfection of the World (4), launches a photo safari in the land of war (5), dares to ask the Big Questions (6): is ...


Originally posted on networked_performance by jo

Prix Ars Electronica 2007



Call for Entries

Prix Ars Electronica 2007 - International Competition for Cyberarts :: The 21st Prix Ars Electronica will have a few new features. The new Hybrid Art category, a new prize for Media.Art.Research, and the integration of Net Vision into Digital Communities are the most visible signs of the intensive work that is being done on the definition of the competition's categories. As always, the aim is to continually keep the Prix Ars Electronica updated in line with leading-edge developments in the dynamic field of cyberarts.

Prix Ars Electronica 2007 :: Start of Online Submission: December 8, 2007 :: Online Submission Deadline: March 9, 2007 :: Computeranimation / Film / VFX, Digital Musics, Interactive Art, Hybrid Art, Digital Communities, u19 - freestyle competition, [the next idea] grant, Media.Art.Research Award.

All details about the categories and the online submission are available online only at: Total prize money: 122.500 Euro.

Iris Mayr - Project Manager
Prix Ars Electronica
AEC Ars Electronica Center Linz
Museumsgesellschaft mbH
Hauptstrase 2
A-4040 Linz
Tel. ++43.732.7272-74
Fax ++43.732.7272-674
iris.mayr (@)


Originally posted on networked_performance by jo