Prix Ars Electronica 2006 - Participants Welcome!

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iris mayr:

Prix Ars Electronica 2006
International Competition for Cyberarts
The Prix Ars Electronica - International Competition for Cyberarts is being conducted for the 19th time in 2006. In addition to the classic categories-Interactive Art, Net Vision, Computer Animation / Visual Effects and Digital Musics-Digital Communities and [the next idea] Art and Technology Grant competition that debuted last year will be reprised.

Prix Ars Electronica 2006
Start of Online Submissions: January 10, 2006
Online Submission Deadline: March 17, 2006
Details about entering are available online only at http://prixars.aec.at

Total Prize Money: 117,500 Euro
6 Golden Nicas
12 Awards of Distinction
Up to 12 Honorary Mentions in each category

For further information please contact Iris Mayr: info@prixars.aec.at


COMPUTERANIMATION / VISUAL EFFECTS
The "Computer Animation / Visual Effects" category has been part of the Prix Ars Electronica since its very inception. It recognizes excellence in independent work in the arts and sciences as well as in high-end commercial productions in the film, advertising and entertainment industries. In this category, artistic originality counts just as much as masterful technical achievement.

DIGITAL MUSICS
Contemporary digital sound productions from the broad spectrum of "electronica" come in for consideration in the "Digital Musics" category, as do works combining sound and media, computer compositions ranging from electro-acoustic to experimental music, or sound installations. This category's programmatic agenda is to expand horizons beyond the confines of individual genres and artistic currents.

INTERACTIVE ART
The "Interactive Art" category is dedicated to interactive works in all forms and formats, from installations to performances. Here, particular consideration is given to the realization of a powerful artistic concept through the especially appropriate use of technologies, the innovativeness of the interaction design, and the work's inherent potential to expand the human radius of action.

NET VISION
The "Net ...

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Originally posted on Rhizome.org Raw by iris mayr


Rush Creek Wilderness Trail

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camp.jpg

First Computationally Derived, Unofficial Public Wilderness Trail

The Rush Creek Wilderness Trail is possibly the world

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Originally posted on networked_performance by jo


urbanhermes fashion display

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urbanhermes.jpgan augmented messenger bag that aims to incorporate the expressive signals of electronic display into the material-based environment of physical fashion. the bag is able to change its dynamic display within the context of its social environment, providing versatile means for 'face-to-face signaling'.
the images are designed to be temporary: with each change-of-hands the image quality successively degrades. each image remembers its history, triggering any nearby ones if they share the same source. the goal of this wearable display is to accelerate the physical fashion cycle, facilitating more meaningful representions of self-identity. see also public fashion orchestra & illuminated clothing & wearable data architecture for similar concepts. [mit.edu|via unige.ch]

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Originally posted on information aesthetics by infosthetics


XPod a human activity

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Tim Finin of UMBC points to a paper on XPOD as a prototype portable music player that can sense a user's context -- what she is doing, her level of activity, mood, etc. -- and that to refine its playlist. The device monitors several external variables from a streaming version of the BodyMedia SenseWear to model the user's context and predict the most appropriate music genre via a neural network.

[thank you Tim !!]

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Originally posted on Smart Mobs by Gerrit Visser


Viral Tracking

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This is scary and annoying. This company has a service called The Viral Chart where marketing and advertising videos distributed on the internet for "viral marketing" purposes have a little "sprite" embedded in them that "phones home" over the network, even if you're just watching the file locally on your computer, and tells them whenever you play the file. (So they can track how well the campaign is working, see?) Ok, so, from now on whenever you watch something on your computer, ipod, whatever, discconnect it from the internet, or else open up the file with quicktime pro or whatever...

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From the Viral Chart website: "Viral Marketing is the future of commercial advertising. Virals can be videos, games or just web pages which are strategically “seeded

Originally posted on Project Steev by steev


Floating Points 3: Ubiquitous Computing, Spring 2006

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Turbulence.org:

Floating Points 3: Ubiquitous Computing February 8 and March 15, 2006 Emerson College and Live Online

Emerson College and New Radio and Performing Arts, Inc./Turbulence.org announce a new speaker series, "Floating Points 3" [FP3] that will address the subject of "Ubiquitous Computing" or "Ubicomp", where computing and wireless capabilities are so integrated into the fabric of everyday life (clothing, cars, homes, and offices) that the technologies recede into the background and become indistinguishable from everyday activities.

[FP3] will consist of two moderated panel discussions, one on February 8 and the other on March 15. The first will focus on artist-thinkers who work collaboratively with research teams--including scientists--to produce environments and systems that respond to the human presence; it will include Mark Goulthorpe, Susan Kozel and Chris Salter. For the second panel, we have invited artist-thinkers who question and confront the ongoing development of technical objects and work creatively to subvert them, for instance, the ever-enlarging practice of surveillance and data mining. Our guests will be Adam Greenfield, Beatriz da Costa and Brooke Singer (Preemptive Media), and Michelle Teran.

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Originally posted on Rhizome.org Raw by Turbulence.org


GAME as CRITIC as ART. 2.0. (Part III)

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Episode III of the summary/translation of Laura Baigorri' essay for GAME as CRITIC as ART. 2.0. (see Part I and II.)

Educating with games. Against the simplification proposed by the game industry

The works previously mentioned explore the three main strategies adopted by the creators for the creation/modification of computer games. The following games, although they are game mods using weapons, elude explicit violence to show the player a multiple and exhaustive vision on an aspect of the everyday life of a population.

icon04.jpg icon05.jpg

- Nina Czegledy and Maia Engeli's Medieval Unreality (2003) is a project aimed at initiating an artistic discourse on Albania’s "Blood Feud" by editing the first-person shooter game "Unreal Tournament". In the '90s, Northern Albany faced a series of kidnapping and murders between families, due to an ancestral code of conduct. Although it was abolished during the Socialist Period, the economical collapse of the the State in 1989 gave free way to the re-introduction of the archaic rules and social relationships, but also rancors and vengeances. That year, about 1500 families (800 children) wouldn't venture out of their house.

Medieval Unreality wanted to use games to re-establish the contact between barricaded families and the rest of the world by using virtual media: art, culture and new technologies. The first phase called "E-mail from the Medieval Ages": providing isolated families with 100 computers with Internet connection.

The second step was to start a debate on Albania’s "Blood Feud", through the modification of Unreal Tournament. The game environment was plain geometry and behaviour, all white without decoration. The participating artists had to add images, costume players, and edit the game space itself. The goal was to achieve an artistic expression in this quite unusual format.

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- Escape from Woomera (2003): a Half-life mod designed ...

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Originally posted on we make money not art by Rhizome


Volte-face

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Volte-face

QuickTime Volte-face (QuickTime) [Reynald Drouhin]

Volte-face represents one type of videomosaic: each frame of the video clip is composed of smaller images within a grid that come together to resemble a larger image. Here, two rotating faces and heads are represented using a mosaic of clouds. See Nuages-Visages for photos and information on an installation version of Volte-face.

[....] It's a deliciously fitting representation of watching clouds float by and seeing fleeting, formless faces among them.

Check out Reynald Drouhin's works. You can see his other videomosaics as well as web-based mosaics such as Des Frags and Timescape.

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Originally posted on Split Screen by James Seo