=?ISO-8859-1?Q?Sound Lab:=20call=20for=20soundart?=

(0)

Wilfried Agricola de Cologne:

Call for soundart
deadline 30 June 2006
http://netex.nmartproject.net/index.php?blog=8&cat=54
.
Soundlab
http://soundlab.newmediafest.org
is invited to launch its 4th edition
in the framework of the Cologne based soundart event
KlangDrang Festival www.klangdrang.org
6-7 October 2006 and be part of the interactive media exhibition
by [R][R][F]2006--->XP - http://rrf2006.newmediafest.org
on the same occasion.
.
--->
--->Call for submissions
Deadline 30 June 2006
.
SoundLab
is looking for soundart works of
a) experimental character
b) electronic music
c) Voice -sound/music integration
d) and other forms
.
Theme : "Memoryscapes"
based on the subjects: ---> "memory" and "identity"
.
The submission has to be posted on a webpage for download,
please do not send it as an email attachement.
Submission format: .mp3
Size: Max 5MB, exceptions possible, but on request.
.
The authors/artists keep all rights on their submitted works.
.
Deadline 30 June 2006
Please use this form for submitting:
****
1.name of artist, email address, URL
2. short biography/CV (not more than 300 words)
3. works (maximum 3), year of production, running time
a) URL for download
4. short statement for each work
(not more than 300 words each)
.
Confirmation/authorization:
The submitter declares and confirms
that he/she is holding all author's rights
and gives permission to include the submitted work
in "Soundlab" online environment until revoke.
Signed by (submitter)
.
Please send the complete submission to
soundlab@newmediafest.org
subject: Soundlab edition IV
.
Deadline 30 June 2006
.
This call can be also found on
http://netex.nmartproject.net/index.php?blog=8&cat=54
.
*****
editions I - III of SoundLab -
can be found on
SoundLab Channel/Memory Channel 7-->at
[R][R][F]2006--->XP
http://rrf2006.newmediafest.org via the artistic body
or separately also ...

MORE »

Originally posted on Rhizome.org Raw by Wilfried Agricola de Cologne


Media Revolution

(0)

Having survived colonisation, dictatorships, and inflation of 2639%, Brazil entered the 21st century with nearly half of its population living in extreme poverty and its media tightly controlled by Rede Globo, one of the biggest conglomerates in the world. Enter 'mimoSa'--an 'urban intervention and information correctional machine'--inspired by the belief that a new system of public broadcast is a means to achieve better distribution of power, representation, and visibility. Employing free and open source software, the machine facilitates the recording, uploading, and transmission of public stories. 'mimoSa' is now travelling throughout Brazil holding workshops at which people can build their own machine and take control of their own media. Telephone numbers and instructions are also painted on city walls and streets so that anyone can participate via their mobile phone. Created by Brazilian activists midiatactica.org, Canadian group Murmur, and individual artists and programmers, 'mimoSa' was commissioned by Turbulence.org in October 2005. Look out, Rede Globo! - Helen Varley Jamieson.

MORE »


On & Off: the Expanding Domain of Internet Art

(0)


Caitlin Jones article on net art, and Rhizome artbase 101

MORE »

Originally posted on del.icio.us/lauren_cornell by lauren_cornell


Performing NAFTA with a transport truck and RFID

(0)

Exchange by Nancy Nisbet



"The Exchange project is an artistic inquiry that uses cultural resistance to unsettle questionable relationships between international politics, technological surveillance, and identity construction. Specifically this project addresses:

1. The politics of trade agreements such as the North American Free Trade Agreement (NAFTA)

2. Myths of increased national security through technological surveillance of people and commodities

3. Identity construction based on collections of economic and surveillance data.

One outstanding feature of the Exchange project is a cross-border performance that combines Radio Frequency Identification (RFID) surveillance technology, a full-size transport truck, and all of Nisbet’s personal belongings. In this sustained performance, Nisbet’s things will be inventoried, radio frequency tagged and freely traded with individuals encountered during the six month trip that circumnavigates Canada, the United States and Mexico. This project exchanges the studio for the roads, truck stops, border crossings and cities of North America. 'Exchange' creates through the untidy weaving of politics, surveillance technology and identity construction. From the spaces between these coarse threads will emerge resistance, solidarity, vulnerability and moments of human connection."

The exchange project starts in Vancouver on May 1st and proceeds across Canada, stopping in Ottawa on June 6th and in Montreal on June 9th, and with stops all along the periphery of the U.S. beginning in July. More details are available in EXCHANGE 2006: A Performance of Resistance (pdf).

MORE »

Originally posted on Purse Lip Square Jaw by Anne


Interview: Joseph Nechvatal on biota.org

(0)

Joseph Nechvatal

Biota.org
Joseph Nechvatal Interview

Many thanks for the opportunity to interview you for Biota.org. For those not familiar with your background, can you please introduce your academic background?

Sure. I took a BFA at Southern Illinois University in Carbondale first, taking design classes with Buckminster Fuller and making art in a permissive post-minimalist environment. I then went to Cornell University with the idea of getting an MFA, but found the art department there years behind Southern Illinois University, so I left and went to New York and Columbia University where I worked towards an MPhil, studying with Arthur Danto most notably.

In the late 90s I earned a Ph.D. in the philosophy of art and new technology at Roy Ascott's Centre for Advanced Inquiry in the Interactive Arts (CAiiA) at The University of Wales College. That was a fantastic intellectual experience. My research was focused on the immersive ideals behind virtual reality. Your readers can examine the introduction and download the full thesis as a pdf file if they wish.

MORE »

Originally posted on post.thing.net - A lean, mean, media machine. by Rhizome


move our money charts

(0)

move_our_money.jpg
an initiative created to make the public more aware about the amount of money going into military & the Pentagon in the US. the campaign used highly simplified & large-format bar, column & pie graphs as well as physical representations like the inflatable structure in order to communicate a small but important amount of information on a very large scale. [quantumlight.com, sagmeister.com & sagmeister.com]

MORE »

Originally posted on information aesthetics by fofoda


Paging Mark Pauline, another spiritual descendant on the line

(0)


http://www.skynoise.net/2006/02/08/cyborg-roach-man/ Nice interview, fella

(((Well, if robotically splicing dead frogs and live cockroaches doesn't work out for him, this doctoral student's got a sure line in acerbic stand-up comedy.)))

MORE »

From the intro to the interview: "At the University of California Irvine, 1x Garnet Hertz is ploughing his way through a Visual Studies PhD program, with a particular focus on “the quest for living machines

Originally posted on Beyond the Beyond by Rhizome


Net Aesthetics 2.0 Panel

(0)

Sal Randolph:


Some interesting things that came up during the panel:

-- Outsider Imagery -- The widespread influence of what one of the
artist's (Michael Bell-Smith) called 'internet folk art' -- animated gifs, avatars, personal blogs, home pages, mashups, game sprites, etc. All of the individual quirky production of gazillions of internet users. If you include webcams in that list, then all of the artists on the panel used some of these elements and aesthetics.

-- Nostalgia -- Caitlin Jones brought up the question of whether most of the work had an aspect of nostalgia for earlier (more utopian?) technological times (sometimes just a few years ago) -- all the artists resisted this idea, saying pretty much that it was just too hard to keep up with the absolute now of the internet, and that using aesthetic elements which were a few years in the past was just a side effect of this. Despite that, once the idea of nostalgia was in the air, it was hard to dismiss.

-- The Sublime -- interestingly the Sublime was somehow connected (during the discussion) with being in a gallery (as opposed to being online -- is that the mundane?) -- And as MTAA mentioned on their blog post (http://www.mteww.com/mtaaRR/news/mriver/ rhz_field_trip.html ) there was an amazing mashup on the projector for a good long time with the wikipedia entry for the sublime interrupted by manic (and gorgeous) jodi.org black and white pop-up windows. Sublime indeed. Other candidates for the sublime were Marisa Olson's & Abe Linkoln's universal acid videos (which you can see at http://www.universalacid.net/ ) , Michael Bell-Smith's video Continue (not online, but there's a still at http://www.foxyproduction.com/artist/workview/5/169 ) and Cory Archangel's classic Super Mario Clouds.

-- Memes -- on the internets, no one can ...

MORE »

Originally posted on Rhizome.org Raw by Sal Randolph