Since the beginning
Works in Limassol Cyprus

NeMe is a non profit, non government, Cyprus registered cultural organisation founded in November 2004. NeMe works on two platforms - a virtual and an itinerant one - and focuses on contemporary theories and their intersection with the arts.

NeMe's itinerant platform, the "IMCA" (Independent Museum of Contemporary Art) presents NeMe projects which include, exhibitions, performances, new media events, symposia and archives. The form of the IMCA is determined as a practice or process by the nature of each project with the notion of the exhibition "space" being constantly revised and redefined.

NeMe resides in two sites:

* provides a service by publishing critical texts and filtered cultural information which includes arts news, calls as well as providing a forum for public discussion. documents of all NeMe off and on line activities.
Discussions (38) Opportunities (9) Events (14) Jobs (0)

Rhizomatic Cartography

We just posted a new text by Jeremy Hight:
Rhizomatic Cartography: Modulated Mapping and the spatial net
which can be found on

He writes: Mapping, or cartography to use the fancier term, is simply a tool that answers the question: where are we? This tool’s face and structure has only shown signs of fluidity in terms of name changes and borders, but deeper and subtler signs of fluidity and both physical and cultural evolution have yet to change the map’s nature until now with such technology as GIS and GPS. However, mapping in tools used is no longer static. We are in a time, arguably, that is the greatest cultural return to cartography and, in tandem, progression of mapping and related tools in several hundred years. GPS units in cars and in phones are now ubiquitous and continually progressing in interface design and functionality. Locative media in several areas from art to modes of annotation of spaces are also evolving at a rapid rate. A confluence with increasingly sophisticated modes of social networking and data insemination of mapping and spatial augmentation, needs to occur.


As always comments are encouraged and welcomed.



The Mirror Stage

Wed Sep 17, 2008 00:00 - Mon Aug 11, 2008


NeMe, in collaboration with Lanitis Foundation and the Cyprus University of Technology presents The Mirror Stage, a video program and talks at Lanitis Foundation and other places in the Limassol city centre.

The program which is presented by IMCA and coordinated by Yiannis Colakides, includes:

[*] 17 September 2008, 8.00pm, VJ Event by Felipe Frozza (BR) and Luigi Vitali(IT), THEATRO ENA, Limassol, Cyprus
[*] 20 September 2008, 4.30pm, Academic Conference on New Media. Speakers: Dr Edward Shanken (US), Dr Dimitris Charitos (GR) and Dr Christos Barboutis (GR). Moderator: Dr Antonis Danos (CY), Lanitis Foundation, Limassol, Cyprus
[*] 20 September 2008, 8pm, Opening of "The Mirror Stage" Exhibition, Exhibition Duration: 20-29 September 2008, Lanitis Foundation, Limassol, Cyprus
[*] 22 September 2008, 5-8pm, Public Screen 1 - continuous screening of some of the selected videos, Dinos Art Cafe, Irinis st, Limassol, Cyprus
[*] 25 September 2008, 5-8pm, Public Screen 2 - continuous screening of some of the selected videos, Veni Vidi Vici, Kanari st, Limassol, Cyprus
[*] 27 September 2008, 9am-1pm, Public Screen 3 - continuous screening of some of the selected videos, Brent Cross, Anexartisias st, Limassol, Cyprus


In 1980 Bill Viola recorded in his notes: "No beginning/No end/No direction/No duration - Video as mind (Silvia Martin, Video Art, 2006). In his book 'Videography' (1994) Sean Cubitt wrote: There is no video theory in the way that there is a body of knowledge called film theory or, rather differently, television studies." Cubitt's reflections assume the status of art and take its place (Dellbrügg & de Moll, Theorie Remix, 1994 on art criticism). These diverse or - one might argue - parallel approaches between the practitioners and the theorists prevent the establishment of a unifying theory for video which has not only developed but also expanded its presence in our everyday life. The plethora of theoretical texts discussing either its various capture, compositing or presentation technologies or the videos themselves can currently be viewed as art instead of guiding 'manuals'. As such this art genre exists in a perpetual state of flux not governed by textual volumes but by the practitioners and the advances in hardware and software technologies.

The current reliance of video on an ever developing software technology forces the video makers to relearn their craft on every major software update. This (bi)annual update of software tools create a cycle where the knowledge of the tool needs to be re-discovered leaving the video makers in a perpetual state of not only conceptual but also technical exploration. These explorations are present in most video exhibitions, the internet, etc helping this art genre to exponentially grow in the past ten years allowing it to create a presence and an ever growing international audience.

The events are focused in the presupposition that video has reached a level of consciousness that could potentially be determined through its contradictions. As such the program looks at video through the Lacanian, "Mirror Stage". That is, how the reflected image acts as a basic ingredient in the constitution of the picture from the subject and how this can be translated as commentary on the state of video, today.

The participating video makers are: Ziad Alhalabi, Muhammad Ali, Sonia Armaniaco, Paulo R. C. Barros, Neil Beloufa, Orit Ben-Shitrit and Harold Moss, Cristiano Berti, Nisrine Boukhari, Nathan Boyer, Rose Butler, Domenico Buzzetti, Blake Carrington, Marina Chernikova, Christodoulos Christodoulou, Paul Destieu, Alexei Dmitriev, Dubrass, Yiannos Economou, Joëlle Ferly, Taryn FitzGerald, Thorsten Fleisch, Adonis Florides, Michael Fortune, Felipe Frozza, Jonathan Gitelson, Suguru Goto, Gruppo Làbun, Ann Guest, Henry Gwiazda, Rich Heeman, Sonja Hinrichsen, Sam Holden, Tammy Honey, Sharon Horodi and Cheb M. Kammerer, Chris Ireland, Maria Rosa Jijon, Aditi Kulkarni, Robert Ladislas Derr, Aileen Lambert, Brendan Lee, LEMEH42, Youssef Limoud, Ron Longsdorf, Simon Longo, Lustre, Avigail Manneberg, Jonathan David McPherson, Michaela Nettell, Anne Niemetz, Jonas Nilsson, Eric Olofsen, Eva Olsson, Sharon Paz, Anat Pollack, Stuart Pound, Zach Rockhill, Daniel Rodrigo, Antti Savela, Guli Silberstein, Roddy Simpson, Sean Simpson, Elizabeth Smolarz, Megan Smith, Oliver Smith, Tobias Sternberg, Evelin Stermitz, Dia Theodorou, Jennie Thwing, John Tronsor, Lee Wells, Vagner M. Whitehead, Shaun Wilson, Gordon Winiemko, David Yates, Theodore Zeldin and Poppy Sebag-Montefiore.

"The Mirror Stage" events are sponsored by The Cultural Services of the Cyprus Ministry of Education and Culture, The US Embassy in Cyprus and Hadjikyriakos & Sons Ltd. The image used for the exhibition publishing material was extracted from Megan Smith's video "child" with her permission.

For up to date information please visit


The Archival Event

Our latest text by Timothy Murray...

Cornell University's "Rose Goldsen Archive of New Media Art" is an archival repository and study center with a broad array of international new media art and its documentation. In 2002, I founded the Archive, which I continue to develop and curate in the Cornell Library's Division of Rare and Manuscript Collections. The Goldsen Archive profits from this Division's commitment to the public access of its materials and growing interest in digital preservation. In addition to significant holdings of internet art, anchored by the LJUBLJANA INFOS 2000 collection, which I curated with Teo Spiller, and the collection of CTHEORY Multimedia, which was produced in the Cornell Library under the curatorial direction of me and Arthur and Marilouise Kroker, the Goldsen Archive is the repository of the annual competition in New Media Art administered by National Video Resources with assistance from the Rockefeller Foundation (some fifty sets of dossiers and work samples annually), as well as the holder of perhaps the world's most extensive collection of art on CD-Rom, a collection anchored by the CD-Roms from 23 countries in the exhibition, "Contact Zones: The Art of CD-Rom," which I toured internationally from 1999-2004.


Read the complete text on
Comments welcome.



Form Follows Data by Andrew Vande Moere

This paper analyzes the relationships between creative design and the field of information visualization, with a focus on historical connotations and newest developments that show great potential. Empirical evidence shows how designers often employ information visualization as a creative concept capable of significantly determining the design outcome, and vice versa, how information visualization can be enhanced by exploring interdisciplinary concepts, such as design cognition, user engagement, aesthetics and art. Several symbiotic dependencies are explained and demonstrated, including the first conceptual cyberspace and information architecture definitions. This paper will argue that information visualization should be enriched with the principles of creative design and art, to develop valuable data representations that address the emotional experience and engagement of users, instead of solely focusing on task effectiveness metrics. Finally, several interdisciplinary movements are described that show great symbiotic potential in the near future, especially in the fields of ambient information displays, informative art and location-based information awareness.

Complete text on



The Mirror Stage

Tue May 20, 2008 00:00


To accompany The Mirror Stage, NeMe plans a publcation which will include images from the participating videos as well as texts which will reflect on the state of the video medium.

This call is for texts, maximum length of 2000 words to be included in the publication.


To contribute to the ongoing discussion regarding video and its changing position in the arts and society.


The texts may focus on but not limited to the following topics:

[*] Video art today
[*] Video genres
[*] History of video
[*] Video and the changing Technological landscape
[*] Exhibiting video
[*] Archiving video
[*] Video - from the video maker’s perspective
[*] Collecting video art
[*] Video in the age of surveillance

A selection of the submitted texts will be published in "The Mirror Stage" and/or the website or the database. Authors may submit up to 5 separate texts for consideration.

Complete call can be found on NeMe