Dale Hudson teaches film and new media studies at New York University Abu Dhabi (NYUAD). His research, teaching, and curating examine film and new media through transnational and postcolonial frameworks, bringing film and new media theory in dialogue with globalization, critical race, and animal studies.

He is co-author with Patricia R. Zimmermann (Ithaca College) of Thinking through Digital Media: Transnational Environments and Locative Places (forthcoming in 2015), which examines digital media domains for media practices that are based on explorations of code and user interface, interrogations and applications of archives and databases, automated recombinatory techniques, and provocative performances that implicate audiences as participants.

His other work appears in journal such as American Quarterly, Cinema Journal, French Cultural Studies, Journal of Film and Video, Screen, Studies in Documentary Film, and elsewhere, and his reviews in Afterimage, African Studies Review, and Jadaliyya.

He is a digital curator for the Finger Lakes Environmental Film Festival (FLEFF), where he has curated Distributed Microtopias in association with EngageMedia, Indonesia (2012) and Viral Dissonance (2014). With Sharon Lin Tay (Middlesex University, London), he co-curated Undisclosed Recipients (2007), ubuntu.kuqala (2008), sticky-content (2009), Map Open Space (2010), Digital Checkpoints (2011), and Trafficked Identities in association with the Global Alliance Against the Trafficking of Women, Thailand (2011).

He also programs films from the MENASA regions for the NYUAD Institute and serves on the pre-selection committee for the Abu Dhabi Film Festival (ADFF).
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Digital Checkpoints at FLEFF 2011

Mon Jan 31, 2011 00:00 - Tue Nov 16, 2010

United States of America

Call for New Media Art: Digital Checkpoints

Subject:Call for New Media Art: Digital Checkpoints exhibition for FLEFF 2011
(deadline: 31.01.2011)

Types:Call for new media art, locative media, tactical media, electronic civil disobedience, experimental coding, radical cartography, opportunity, announcement, festival, prizes, competition

The Finger Lakes Environmental Film Festival (FLEFF) provides a vibrant space for debates and dialogues of environmentalism according to twenty-first-century global perspectives that embrace the complex nexus of political, economic, social, and aesthetic dimensions, such as public health, genetically modified seeds, endemic disease, indentured labour, militarized international borders, civil war, biological war, neoliberal economic policies, intellectual property, free trade zones, bioengineered foods, informal economies, rare minerals, women’s rights, and human rights.

We invite submissions of new media art, database documentaries, locative and tactical media with a distributed network component, digital video designed for online exhibition platforms, experimental coding, data-visualization applications, experimental archiving, and other web-based media that engage the theme of “Checkpoints” for FLEFF 2011’s juried competition and online exhibition, Digital Checkpoints. One prize of 250USD will be awarded.

Checkpoints evoke crossing over to a different physical, artistic, social, political, psychic, emotional, or intellectual place. In the 1940s, aviation instituted the term checkpoint to denote checking altitude in comparison to landforms or structures. Checkpoints functioned as reference points, markers, navigational aids.

Later, its geographical significance expanded: Checkpoint Charlie, the West Bank, the United States and México, Baghdad, Afghanistan and Pakistan, Myanmar and Laos, Sri Lanka, Nigeria, Colombia. Checkpoints entangle surveillance: Homeland security. Airports. Sobriety checkpoints. Weigh stations. Checkpoints undergird the new international security apparatus. Checkpoints test safety, monitor progress, and refuel in adventure racing or the Iditarod. You probably want to know where you are, but so do others.

Checkpoints evoke both orientation and control. Renaissance polyphonic music pointing allotted syllables to notes. Transaction checkpoints recover data in computer systems. A gamer who dies can restart via a checkpoint. Biological checkpoints block cell division and stave off cancer. Checkpoints modulate the body’s ecology. Checkpoints mark environmental turning points: global temperature gradients, flooding, heat waves.

A checkpoint is a check-in—and check-out. Check, checkup, checkmate, checkpoint, checked, spot check, checkered, checking, boiling point, border point, match point, point, pointer, pointing, flashpoints—principles of operation and crossings to somewhere else.

Comparably, distributed networks, such as the Internet and mobile communications, allow freedoms and controls of information via digital checkpoints that are rhizomatic, layered, coded, and transcoded. China makes international news for its violations of unfettered flows of information on Google and other popular commercial search engines; others states, such as India and Saudi Arabia, make news for threatening to shut down Blackberry services that are not in step with domestic and international security measures. Meanwhile, WikiLeaks makes news for its ‘democratization’ of information in its ‘Afghan War Diaries’ and ‘Iraq War Logs’.

States and corporations often collude to quell electronic civil disobedience by switching off the root of networked communication. Whether T-Mobile’s blocking the Institute of Applied Technology in 2004 for its TXTmob, which facilitated SMS communication among protestors at the national conventions of the only two officially sanctioned political parties in the United States, or University of California San Diego’s sanctions against one of its own professors, Ricardo Dominguez, in 2010 for his ‘Transborder Immigrant Tool’, which facilitates safe crossing of the inhospitable and deadly terrains of the ‘Devil’s Highway’ between México and the United States by providing information via GPS and mobile phones.

Indeed, political theorists suggest that an epoch of disciplinary control is giving way to one of regulated control in a center-less, yet hierarchical, distribution of power that functions like distributed networks of what was once called the ‘Information Superhighway’.

Checkpoints are everywhere—in the airwaves and on our hard drives. Artists, community activists, intellectuals, and students respond with innovation and circumvention.

We invite submissions that engage with FLEFF 2011’s theme of checkpoints by any means possible—disrupting them, visualizing them, allowing users to experience or embody them.

The Digital Checkpoints exhibit will go live in April 2011 in conjunction with the festival in Ithaca (New York), USA. Visit the FLEFF web site at for details, links to previous new media art exhibitions and blogs, including the curators’ blog Digital Spaces: Speculations on Digital Art and Viral Spaces. Please also read about other events associated with FLEFF and its global network of partners in the Open Cinema Project.

Please send links to submissions with a brief bio in an email to curators Dale Hudson (UAE/USA) and Sharon Lin Tay (UK/Singapore) at no later than 31 January 2011.

Only projects that can be exhibited online can be considered for this exhibit. Media artists working in off-line formats, should visit the FLEFF web site for other calls. Unfortunately, we cannot consider projects previously curated in FLEFF exhibits, nor can we consider projects by Ithaca College students, faculty, or staff.


Sharon Daniel
(USA) is Professor of Film and Digital Media at the University of California, Santa Cruz. Her research involves collaborations with local and online communities. Her role as an artist is that of “context provider,” assisting communities, collecting their stories, soliciting their opinions on politics and social justice, and building the online archives and interfaces that make this data available across social, cultural, and economic boundaries. Her goal is to avoids representation - not to attempt to speak for others but to allow them to speak for themselves. Daniel’s work has been exhibited at the Corcoran Biennial, University of Paris, Dutch Electronic Arts Festival, Ars Electronica, and the Lincoln Center Festival, as well as on the Internet, and her essays have been published Leonardo and the Sarai Reader.

Carlos Motta (Colombia/USA) is a multi-disciplinary artist whose work draws from political history in an attempt to create counter narratives that recognize the inclusion of suppressed histories, communities, identities and ideologies. His work has been presented in solo exhibitions at MoMA/PS1 Contemporary Art Center; Hebbel am Ufer, Berlin; Institute of Contemporary Art, Philadelphia; and Museo de Arte del Banco de la República, Bogotá; as well as in numerous international group exhibitions. He is a Guggenheim Fellow and an alumnus of the Whitney Independent Study Program.


Dale Hudson
(UAE/USA) teaches film and new media studies at New York University Abu Dhabi. His work on global cinema and new media appears in Afterimage, Cinema Journal, Journal of Film and Video, Screen, Studies in Documentary Film, and elsewhere. He is preparing a book manuscript entitled Blood, Bodies, and Borders.

Sharon Lin Tay (UK/Singapore) teaches film and digital theory at Middlesex University in London. She is on sabbatical in 2010 and is currently a Visiting Associate Professor at Nanyang Technical University in Singapore. Her new book about women filmmakers and digital artists, entitled Women on the Edge: Twelve Political Film Practices (2009), is published by Palgrave Macmillan.

Hudson and Tay have co-curated four previous exhibitions at FLEFF: Undisclosed Recipients (2007), ubuntu.kuqala (2008), sticky-content (2009), and Map Open Space (2010).


Open Space/Singapore/Southeast Asia

Wed Mar 03, 2010 00:00 - Wed Feb 17, 2010



We seek submissions for a curated online and on-site exhibition exploring the theme of Open Space. This exhibition will be showcased at the International Communication Association (ICA) Conference in Singapore from June 22-26, 2010. Open Space is mounted as the digital arts exploration of the conference theme Im/Material.


Open Space imagines a zone of horizontality mobilizing collaboration, participation, complex interactive dialogues, process, permeability, and community. The term open space originates in landscape design, where space is privileged over mass to stage meaningful and often surprising encounters and interactions. It has also emerged as a key environmental concept in the greening of global cities, in architecture, and in international organizational design. Indeterminancy, flexibility, and contingency constitute key strategies in open space.

Open Space proposes a relational mode rather than a fixed object. Open Space suggests work that mobilizes an ethics of convenings and encounters in a sustainable zone. Open Space spurs collaborative knowledges and produces new provisional microterritories through engagement. Open Space is where technologies meet people meet spaces.


We seek works and makers exploring the concepts and practice of Open Space in Singapore and Southeast Asia (Thailand, Cambodia, Vietnam, the Philippines, Malaysia, Brunei, Burma/Myanmar, and Indonesia). We are particularly interested in makers, artists, collectives, and collaborative projects from these regions. Works that are transnational and translational with a central concern of Southeast Asia as nexus will also be considered.

The Open Space/Singapore/Southeast Asia exhibition is looking for digital arts and design projects in any of the following forms/interfaces: online art projects, Alternate Reality Games (ARGs), social gaming, creative robotics and digital devices, locative media, mobile applications, ambient screens, user-generated community narratives and maps, innovative digitally-based cartography projects, web-based archival projects, social media interfaces and projects, installation, live DJ/VJ remixes.

Additionally, any other digital and analog forms that engage a collaborative aesthetic and participatory ethics are eligible for inclusion.


Deadline: March 3, 2010

To submit work: Please send a short, one paragraph description of your project, a short bio, and a link to your project or documentation of your project in an email inquiry to Patricia Zimmermann, Shaw Foundation Professor, Wee Kim Wee School of Communication and Information, Nanyang Technological University, Singapore, at no later than March 3, 2010

Exhibition: Projects will be featured on the ICA/WKWSCI website as the Open Space Exhibition. A limited number of artists/makers/collaborative teams will be selected from the overall exhibition to present at sessions and venues at ICA in Singapore June 22-26, with airfare and accommodation provided.


Patricia R. Zimmerman, Nikki Draper, and Sharon Lin Tay, at Nanyang Technological University, Singapore with Wenjie Zhang.


The International Communications Association (ICA) ( is the largest international academic association for scholars interested in the study, teaching, and application aspects of human and mediated communication. ICA has over 4,500 members from 76 countries. Over 2,000 scholars, writers, and communications practitioners from around the world attend the conference. ICA 2010 is the first time in seven years that the annual conference will be held in Asia.


Communication is in many respects im/material because it constitutes the very nexus where the material and immaterial dimensions of our world meet each other. Communication is indeed spectral or ghostal because our interactions consist of making present what could have remained absent from a debate, a discussion, a conversation and so on. (from the conference website:


The host for ICA 2010 is the Wee Kim Wee School of Communication and Information (WKWSCI) (, at Nanyang Technological University (NTU) in Singapore. Ranked as one of the world’s top 100 universities, NTU( is a research-intensive university with globally acknowledged strengths in science and engineering. WKWSCI is one of the premiere institutions for research and teaching in communication and information in Asia. It houses the Asian Media Information and Communication Centre , the Asian Communication Resource Centre, and the Singapore Internet Research Centre.


Map Open Space at FLEFF 2010

Wed Oct 14, 2009 00:00 - Wed Oct 14, 2009

The Finger Lakes Environmental Film Festival (FLEFF) launches a yearlong exploration of nomadic routes and provisional maps in Open Space. We invite submissions of radical cartography and other new media art that engage the themes of mapping and spatiality in a juried competition and online exhibition, Map Open Space. Two prizes of $US200 will be awarded: a jury’s prize and a curators’ prize.

Open Space assumes myriad forms. It migrates across diverse practices. It loosens multiple meanings. It roves across technologies, social relations, landscape design, politics, ecology, development, critical theory, and media formations. Open Space swaps rigid vertical hierarchies for more fluid horizontal modes. Open Space serves as a catalyst for collaboration, communication, and convergence. It spawns biodiversity, public usage, green neighbourhoods, cultural resources, and land protection beyond development. Open Space stirs up new ways to work, active participation, lived phenomena, surprise.

Digital environments offer ways to imagine, invent, and inhabit Open Space. We’re looking for artists and collectives who deploy digital technologies within new media ecologies to mobilize, manipulate, and map Open Space. Acts of radical historiography, for example, can amplify power structures that have silenced multiple, competing histories. They can visualize power relations made invisible through historically uneven and unequal access to resources. Map Open Space seeks mapping projects that provoke and educate through disruption and intervention, that supplement knowledge rather than combat it, and that invite participation.

Digital maps interpret information visually, graphically, spatially—in layers, pixels, and vectors. Digital mapping infuses information with malleability, manipulability, and mobility. In An Atlas of Radical Cartography, Alexis Bhagat and Lize Mogel explain that the mere inversion of the standard North-oriented world map can serve to ‘unhinge our beliefs about the world, and to provoke new perceptions of the networks, lineages, associations and representations of places, people and power’. They define radical cartography as ‘the practice of mapmaking that subverts conventional notions in order to actively promote social change’. We seek mapping projects that unhinge familiar habits of thinking to chart new possibilities for historical and cultural clarity.

Focusing on the interstices, Map Open Space explores ways that new media can complicate and dislodge the either/or thinking that creates divisions and hierarchies. Instead, the Map Open Space exhibition works towards exploring the both/and thinking that characterises contiguities and convergences. We are especially interested in projects that engage with FLEFF’s ongoing commitment to situating sustainability and environmentalism within global conversations that embrace political, economic, social, and aesthetic issues, including labour, war, health, disease, intellectual property, software, economics, immigration, archives, women’s rights, and human rights.

The jurors for Map Open Space are Babak Fakhamzadeh (Iran/Netherlands) Ismail Farouk (South Africa) and Christina McPhee (United States).

The Map Open Space exhibit will go live on 01 March 2010. Visit the FLEFF web site at for details, links to previous new media art exhibitions, and blogs, including the Map Open Space curators’ blog Digital Spaces: Speculations on Digital Art and Viral Spaces. Please also read about other events associated with FLEFF and its global network of partners in the Open Cinema Project.

Please send links to submissions with a brief bio in an email to curators Dale Hudson (USA) and Sharon Lin (UK/Singapore) no later than 15 January 2010.

Only projects that can be exhibited online can be considered for this exhibit. Media artists working in offline formats, should visit the FLEFF web site for other calls under the Open Space Project, including Make Open Space, Define Open Space, and Compose Open Space. Unfortunately, we cannot consider projects previously curated in FLEFF exhibits, nor can we consider projects by Ithaca College students enrolled in the FLEFF Open Space Lab.

This call for submission is available at

Jurors’ Biographies

After obtaining an M. Sc in maths, Babak Fakhamzadeh started with an office job at a major blue chip company but soon realised he'd do better on his own. Fakhamzadeh is a traveling web guru with a penchant for doing good and a love for visual and experimental art. Together with Ismail Farouk, he won the prestigious Highway Africa new media award in 2007 for

Ismail Farouk has a background in Fine Art and Human Geography. His work explores creative responses to racial, social, political and economic injustice. Farouk is currently employed as a research officer at the African Centre for Cities at the University of Cape Town, where he is responsible for the running of the Central Citylab and the urban culture portfolio.

Christina McPhee creates topologic site studies of environmental risk in layered, abstract visual and media suites. Her photomontage, drawing, time-based arts and writing concern speculative landscapes between biological and technologically emergent states, making connections between human traumatic memory, disturbed terrains, and bare life. A much exhibited filmmaker and digital artist, her latest project, ‘Tesserae of Venus’, is a science fiction multimedia series on carbon-saturated energy landscapes that will run at Silverman Gallery, San Francisco, from October to December 2009. Currently, she is visiting lecturer in the graduate program of Digital Arts and New Media (DANM), University of California-Santa Cruz.


sticky-content at FLEFF 2009

Sat Nov 01, 2008 00:00

United States of America

The Finger Lakes Environmental Film Festival (FLEFF) is a weeklong festival of film, video, music, new media, gaming, installations, workshops, forums, and discussions that explores the theme of sustainability and the environment within a larger global conversation that embraces a range of political, economic, social, and aesthetic issues, including labour, war, health, disease, intellectual property, software, remix culture, economics, immigration, archives, HIV/AIDS, women’s rights, and human rights.

The online digital media exhibition for FLEFF 2009, sticky-content, takes as its title a popular Internet term for content that gets users to return to web sites or networks, spend time on these sites or networks—and perhaps leave something behind. While stickiness derives from economic theory and incorporated into commercially driven marketing practices, the online exhibition for FLEFF 2009 seeks to redirect and reroute stickiness into the politicized realms of tactical media, open-source and P2P models, experimental coding, user-generated content, interactive and generative interfaces, and reverse engineering. The exhibition calls attention to web-based media that remix and rewire our understanding of environmentalism—media that foregrounds ways that environmentalism affects subjectivities and promotes positive social change.

The curators of sticky-content are looking for submissions of online digital media that explore issues related to the four content streams of this year’s festival: spice, syncopation, toxins, and trade. (See detailed descriptions of content streams below.) Submissions working within the digital divides of the global North and South, of the wired and wireless worlds, are of particular interest. Selected works will be exhibited and archived on the festival’s official web site. We are particularly interested in tactical media, indigenous media, locative media, migratory archives, web-application and video mashups, online computer games, activist video; work that is open source, user generated, and interactive; work designed for mobile screens; work that makes environmentalism—broadly defined—not only sustainable, but sticky!

sticky-content aims to deploy potentially progressive aspects of globalisation, such as digital technologies, networked systems, and wireless communication, as a means to prompt critical discussion on the often repressive aspects of globalisation, including the rapidly accelerating disparity among populations in terms of wealth, power, and access to basic human rights. sticky-content aims to demonstrate that environmentalism is not just about nature, but about our collective experience.

FLEFF 2009 will take place from 30 March to 05 April 2009 in Ithaca (New York), USA; sticky-content will go live on the Web on 30 March 2009.

Visit for the curators’ essay and descriptions of selected works last year’s exhibit ubuntu.kuqala, as well as the 2007 exhibit, Undisclosed Recipients, and under previous festivals.

Please send links to submissions for specific content streams with a brief bio in an email to *BOTH* Dale Hudson (Amherst College) *AND* Sharon Lin Tay (Middlesex University) no later than 01 November 2008.

Only work that can be exhibited online can be considered for this exhibit. Media artists working in offline formats, should contact the festival co-directors, Thomas Shevory and Patricia R. Zimmermann .

Submissions by employees and students of Ithaca College, Middlesex University (London), and the Five Colleges (Amherst College, Hampshire College, Mount Holyoke College, Smith College, and the University of Massachusetts Amherst) cannot be considered.

FLEFF 2009 content streams:

Syncopation: Syncopation avoids regular rhythm. Syncopation accents the weak rather than the strong beat. It changes metrical patterns. It disrupts the listener’s expectations. It drives forward. It deviates from the succession of regular beats. It accents the unstressed, the off-beat, the back beat, the downbeat, the rest, the missed beat, the unexpected. It disrupts the regular flow. It displaces metrical patterns. Syncopation defines ragtime and jazz, blues and rock ‘n roll. But it also erupts in Bach, Bartok, Bernstein and Stravinsky Syncopation splices bodies to beats in dance music. Nearly every musical form outside the European classical tradition pulses with syncopation: rai, bhangra, zydeco, tango, tejano, hip hop, reggae, rhumba, bluegrass, cumbia, arabesque, high life, salsa, gamelan, raga. Repetitive rhythmic patterns can produce boredom: syncopation livens everything up.

Spice: Spice transforms simple ingredients into complex flavours. Spices travel from east to west and west to east. Chilli migrated from Mexico to India to the Middle East. A luxury, a route to paradise, a medicine, a status symbol, a preservative, a seasoning, and an aphrodiasiac, spices were valued and rare. Pepper is the most ubiquitous; saffron, vanilla and cardamon, the most expensive. Spices have included herbs, garlic, sugar, chocolate, coffee and tea. The spice trade propelled mercantilism, exploration, piracy, and navigation. It also unleashed colonialism, conquest, crusades and commodity trade. The earliest globalisation, the spice trade built entrepots like Venice, Mecca, Malacca, Singapore, Lisbon, Amsterdam, Istanbul. Spices trigger biopiracy and spark fusion cuisines. Sambal, zaatar, curry, duqqa, masala, nam prik: the blending of spices constitutes the essence of cooking.

Trade: Fuelled by the desire for necessity and luxury, trade begins as barter, a simple exchange. But trade evolves, perhaps inevitably, into complex structures of accumulation and loss. Trade greases the wheels of interaction and historical change, while fostering exploitation and conflict. Trade generates bubbles of speculation and collapse, the cycle of boom and bust. Trade’s excesses inspire vast systems of discipline and regulation. These regimes are in turn undermined by the imperatives that make them necessary. Trade leaks into subterranean networks: the skin trade, the slave trade, the drug trade, trade in blood and body parts, genetic codes and illicit carbon. Trade is eBay and craigslist, the fair trade coffee shop and the Shanghai Stock Exchange, corner kids and Wall Street. Trade is marked by mutability and pervasiveness.

Toxins: From the Greek, toxin, an archers’ bow. Toxins hit their targets. Toxic effects can be invisible, subtle, widespread and deadly. Toxins attack populations, species, regions, and classes. They create risk pools that drown the vulnerable: the young, the sick, the old, the poor. Toxins implicate modernity itself with the spread of cities, industries, markets, chemicals, racism, inequality, and environmental decline. As they migrate, toxins trace the geographies of political power, appearing in multiple and insidious forms: PCBs, dioxins, plutonium, DDT, mercury, heroin, nicotine, asbestos. But few if any can escape the reach of toxins. They accumulate and spread across porous boundaries: Gulf of Mexico dead zones, post-Katrina neighbourhoods, Chinese textile mills, Southern California tomato fields, Manhattan apartments, Chernobyl, Bhopal; the cells, synapses, and genetic nuclei of us all.


Call for Online Digital Media: aUbuntua at FLEFF 2008 (01/11/2007; 31/03a06/04/2008)

Thu Jul 26, 2007 13:09

Radically reconfigured for the 21st century in 2006, the Finger Lakes Environmental Film Festival (FLEFF) is a multimedia festival that explores the theme of sustainability and the environment within a large global conversation that embraces a range of political, economic, social, and aesthetic issues, including labour, war, health, disease, intellectual property, software, remix culture, economics, archives, HIV/AIDS, women’s rights, and human rights.

‘Ubuntu’, the online digital media exhibition for FLEFF 2008, takes its name from Bantu-language African philosophies that foreground interconnectedness and interdependence through expressions such as ‘a person is a person through persons’ and ‘I am because we are’. The exhibition applies this conception of intersubjectivity to explore understandings of environmentalism—ways that it affects us collectively, suggesting that online digital media can affect awareness and positive change.

The curators of ‘Ubuntu’ are looking for submissions of online digital/new media art and video that explore issues related to the four ‘content streams’ of this year’s festival: camouflage, counterpoint, games, and gastronomica. (See details below.) We are particularly interested in collaborative work, interactive work, multiscreen or multilinear work, and work that underscore the aesthetics of the political and the politicisation of the aesthetic. Submissions from artists living and working in the global South are of particular interest. Selected works will be exhibited and archived on the festival’s official web site.

‘Ubuntu’ aims to deploy potentially progressive aspects of globalization, such as digital technologies and internet communication, as a means to prompt critical dialogues on the often repressive aspects of globalization, including the rapidly accelerating disparity among populations in terms of wealth, power, and access to basic human rights. ‘Ubuntu’ aims to demonstrate that environmentalism is not just about nature, but about our collective existence.


Sometimes mistakenly conceived as “blending in,” camouflage achieves its objectives by disrupting visual fields and fragmenting their boundaries. Ironically, through its disruptions, camouflage fosters mediation, connectivity, integration, and engagement, blurring boundaries between bodies, species, environments, and cultures. Military camouflage, now digitally designed, is offered in dozens of styles, each tailored to the needs of a specific regional conflict. In streets, galleries, and fashion houses, camouflage is accessorized as accoutrement of critique and resistance.


Different melodic lines heard simultaneously identify counterpoint. Counterpoint matches horizontal lines into vertical harmonies, creating dimension. Counterpoint germinates polyphony. Discords produce tension. Dissonance resolves into consonance. Inventions, fugues, and canons exemplify counterpoint with their rhythms, modulations, episodes. Contours and climaxes shape counterpoint. Counterpoint also spells argument—pushing against the dominant, the assumed, the accepted. A contrapuntal position releases us to see, hear and invent fresh meanings and radical structures.


Games are sports. Games are conceptual environments. Games spin dialectics between competition and collectivity, interaction and immersion. The ludology/narratology wars pit process against story. Games fuel fun and flow. Games conjure liminal zones. Bounded by space and time, game players torque rules and components. Through movement and climax, games create imaginary and real places exempt from quotidian routines. Whether in words, wars, boards, cards, courts, virtualities, fields, ecologies, computers, or minds, games mobilize abstract strategies and risk.


Constituted by chemical compounds—sugars, proteins, carbohydrates, salts, and fats—food is the essence of environmental tangibility and provides the material foundations of life. Food spawns all things gastronomic, the refinements and complexities of cuisine, with attendant implications for taste, nutrition, family, community, and identity. Gastronomica connotes multiple divisions of labour, sweeping political economies, ravaging famines, heterogeneous ethnicities, hidden histories, complex systems of production, vast regimes of regulation, daunting genetic manipulations, mountains of cookbooks, and billions in advertising.

FLEFF 2008 will take place from 31 March to 06 April 2008 in Ithaca (New York), USA; ‘Ubuntu’ will go live on the web on 31 March 2008. Visit for a description of last year’s exhibit, ‘Undisclosed Recipients’, and for links to curated work.

Please send submissions, with links and a brief bio, to *BOTH* Dale Hudson, Amherst College ( *AND* Sharon Lin Tay, Middlesex University ( no later than 01 November 2007.

Only work that can be exhibited online can be considered for this exhibit. Media artists working in offline formats, should submit work to FLEFF under other calls.