Most of us know about the anonymous Girls who questioned the authority of NYC art institutions; and don't forget the infamous Anarchist Cookbook that was a DIY recipe for revolution. On a smaller scale, the international collective C6 is now looking for "innovative, critical and radical approaches to diverse art practice . . . unbound by market, commerce, and whitecubes." They'll be publishing a book on Do-It-Yourself strategies in an edition of 500, for free distribution at an October 29th London event entitled "SOLD OUT." The planned 60-page book is to be called "DIY SURVIVAL," and C6 have released a list of vague topics to be interpreted and written into existence by contributors. These include, but are not limited to, culture jamming and guerrilla art practices, tales of endurance, invention and uncompromising passion, and questions of authorship/ownership in collaborative systems. The book will also be available as a Print On Demand under the C6 mantra, "There is no Subculture, only Subversion." The choice is yours, and binding the print-out of unbounded work is optional. - Nathaniel Stern
CALL FOR PAPERS, PANELS, PERFORMANCES, & INSTALLATIONS
INTERACTIVE FUTURES is a forum for showing recent tendencies in new media art as well as a conference for exploring issues related to technology. The theme of this year's event is Audio Visions. IF06 will explore new forms of audio-based media art from a diverse body of artists, theorists, and sound practitioners. Sound poetry, web-based audio and multimedia, mobile audio performance, new forms of music theatre, synaesthetic performance, hybrid forms, sound-based installation, video and sound, and environmental sound are all of interest to Audio Visions.
The proliferation of audio technologies, audio-visual collaboration, and hybrid forms of live performance in the new millennium is striking. Audio artists are exploring the areas of mobility, virtuality, performance, and audience interaction from an experimental point-of-view. Audio Visions invites scholars, sound-artists, and performers of all stripes to submit paper, panel, performance or installation proposals in one of the three following categories.
1. "Sound and Vision" lecture and panel series - Scholars, artists, and practitioners working in audio or audio-visual-based new media are encouraged to submit proposals for IF06. We are interested in a broad range of audio including: computational, interactive or generative audio; the creation of digital audio tools; synchronization between sound and visuals; performative art that explores language, voice and body; streaming radio and mobile sound works. Presentations should be, in part, demonstrative. We recognize that sound art is evolving and that categories have become increasingly irrelevant - we encourage proposals that push the boundaries of the traditional conference paper.
2. "Earshot" performance series =96 "Earshot" is seeking experimental audio-based performances that challenge assumptions about audio forms and performance conventions. Avant-garde, post-avant-garde, techno, electro-acoustic, synaesthetic production, liminal art and hybrid performance are all within our desired range. "Earshot" is primarily interested in new types of electronic audio-visual performance as well as models for audience participation in sound works. "Earshot" will run performances at Open Space for each night of IF06.
3. "Tangible Frequencies" installations. We are interested in audio installation works that consider site, space, vision, volume and perception and how physical location 'matters' to the reception of audio frequencies. IF06 has identified areas within Open Space Gallery to function as controlled locations for sound installations.* We welcome proposals that respond to the particular characteristics of these locations through their acknowledgement of private and/or public space and use. Installations may provide audio continuity to the existing locations, or respond as intervention and critique.
INTERACTIVE FUTURES is part of the Victoria Independent Film and Video Festival and applicants are encouraged to check the Festival website for more information on the broader program.
Originally posted on networked_performance by jo
Upgrade! is delighted to have Diane Ludin for a second talk. Diane gave her first Upgrade! talk in July 2000. This time, Diane will present two projects: Memoryflesh 2.0, a Turbulence commission about the Human Genome and iBPE, her Patent database project.
An artist and writer, Diane Ludin has been using the internet as a resource since 1996. She draws together voices of intimacy, confession and fragmented illusion. Her collections focus on the changing nature of "embodiment", representation and communication as determined by publicly available information.
Originally posted on post.thing.net - A lean, mean, media machine. by Rhizome
Originally posted on coin-operated by Rhizome
August 4, 2005
Turbulence Artists' Studios: "kanarinka projects"
kanarinka's recent collaborations include opening a nail salon at the
Boston Center for the Arts, walking with her head in a bucket of Coke in
Canada, staging a taste test with teenagers in a parking lot in Roxbury,
podcasting interviews with residents of Boston's South End, launching an
international, public database of Corporate Commands, and rolling around
on the ground in a white lab coat. kanarinka's research interests
include public space, performing cities, experimental urbanism, social
cartography and infinitely small things. She is working on new
definitions for "psychogeography" and "microperformance" (feedback is
kanarinka is the co-founder of the non-profit collective iKatun,
Director of the Institute for Infinitely Small Things, and the Director
of Exhibitions & Programs at Art Interactive in Cambridge, MA. She also
collaborates with groups like glowlab, spurse and Sifting the Inner
Belt. kanarinka has a BA (Phi Beta Kappa, summa cum laude) in
International Relations from Tufts University and an MFA in Studio Art
from Maine College of Art. She teaches computer programming at RISD's
Digital Media program.
For more Turbulence Artists' Studios please visit
Originally posted on Rhizome.org Raw by Jo-Anne Green
Since many of you love the game of Capture the Flag so much we are playing it again, in DUMBO. Just take the F train to York street or simply meet at the corner of Jay and York. The Map is the playing grounds. Bridge street remains neutral territory. Meeting time is at 7:30pm. Game starts at 8pm, this Thursday, 8/04/2005. Remember, the game is cellphone enabled, so bring one! Rules will be provided at the game. Hope to see you all on Thursday!
Originally posted on networked_performance by jo
SAN JOSE MUSEUM OF ART PRESENTS BRIDES OF FRANKENSTEIN
July 31, 2005 — October 30, 2005
May 9, 2005, San Jose, Calif. — Guest curated by Marcia Tanner, Brides of Frankenstein is an exhibition of experimental work by a new generation of female artists working with video, electronics, robotics, the Internet, computer games and animation, and other digital and traditional media to animate synthetic creatures with virtual life. Presenting visually and conceptually compelling pieces by approximately fifteen artists, the exhibition runs from July 31, 2005 through October 30, 2005.
In Brides of Frankenstein, the artists are the “brides." As metaphorical consorts of Mary Shelley’s fictional and archetypal scientist, Dr. Victor Frankenstein, they engender lifelike creatures. Like his, their artificial progeny embody complex responses to the human implications of the technologies they use. And like Shelley's fiction, their projects question the unreflective drive to reconfigure nature that motivated Dr. Frankenstein and explore the profound social, cultural and moral issues his activities raise.
The "creatures" in Brides are strange hybrid forms that Frankenstein never dreamt of, mingling animal with vegetable, the organic with the inorganic, human-like intelligence with unconscious machinery. They exemplify the world we live in now, where contemporary digital, medical, and biological technologies ï•- including the technologies of image-making and reproduction ï•- are dissolving age-old distinctions between what's alive and what's not, what's conscious and what's not, what's human and what's not, and what's "natural" versus what's "cultural." Alluring, engaging and often humorous, the works in Brides of Frankenstein provoke questions about the ways we interact with these technologies, and how they challenge our understanding of what it means to be human. They also address the potential for transformation and inquiry, and the new forms of identity, perception, movement, presence, representation, meaning ...
Originally posted on Rhizome.org Raw by Rhizome
Low-fi, the makers of the Net Art Locator, began commissioning works of net art in 2003. For their second round of "Low-fi Commissions" they teamed up with Iliyana Nedkova, the Associate Curator of the Stills Gallery in Edinburgh, and Sneha Solanki to choose five new works of network-based art to produce in 2005. The call for proposals specified that the projects would culminate in an exhibition of physical objects in the gallery at Stills, one of Edinburgh's arts centers (or centres) specializing in photographic and new media. This year's commissions include works by Mauricio Arango (Colombia/US), Cavan Convery (UK), James Coupe (UK), Radarboy (South Africa/Japan), Kate Rich (UK), and the UK Museum of Ordure (UK). The works in the show deal with themes such as media representation and recycling. Opening August 6 and running through October 2, this collaboration between the artists, Low-fi, and Stills points to the growing integration of so-called new media and what might be termed old venues, including drinks and a 7-9 pm period of celebration. - Sara Greenberger
I’ve only read the first two grafs. I totally agree with this:
The status and significance of the image changes in postmodern digital art: the image becomes a secondary manifestation — a material epiphenomen, as it were — of the abstract code, which becomes the primary vehicle of creativity. Before, the creation of material images was the primary goal of visual art, and the immaterial code that guided the process was regarded as secondary. Now, the creation of the code — more broadly, the concept — becomes the primary creative act. The image no longer exists in its own right, but now exists only to make the invisible code visible, whatever the material medium. It makes no difference to the code whether it appears as a two-dimensional or three-dimensional image.
Originally posted on MTAA Reference Resource by T.Whid
thresholds, the bi-annual critical journal of architecture, art and media culture of the department of architecture at MIT invites submissions for issue 31 'ephemera'
DUE: 31 October 2005
(please see details for submissions below)
THRESHOLDS 31 - 'EPHEMERA'
We have accelerated into an age in which information is as fleeting as our response to it, and the capacity for its processing the new world currency. The relevance of the moment has become eclipsed by that of its own passage, and absolute position has become an easy sacrifice for the velocity on offer. We have been at last swept by the flux of our times into a time defined by its own flux. Time has become both the axis and the function.
thresholds 31 seeks to explore this condition through identifying, suggesting, tracing and questioning the notion of ephemera through time and cultural relevance. What role does ephemera play within current cultural practice and thought? What are its historical traces and its cultural import? What are the projects in which it has become manifest — deliberately, or not — and why? Are we longing for a future or a past, or neither?
Contributions from all fields including, but not limited to, scholarly works are welcome. thresholds 31 will be the first issue to accept both text and time-based media submissions. Time-based media submissions might include but are not limited to, video, sound, animation, etc. and will be published in digital format.
ephemera, n., transf. and fig. One who or something which has a transitory existence. [Oxford English Dictionary, 2nd edition 1989]
Click thru to read more about submissions criteria and process.
Originally posted on Rhizome.org Raw by thresholds journal, MIT Department of Architecture