Then in 1994 the computer entered my life.
The contradiction between limitation on the one hand, unlimited freedom and no physical borders on the other hand, created new impulses and insights to explore the possibilities of the medium. My fascination for this platform was born.
I have travelled a long way obtaining the necessary technical skills,studying and experiecing the do's and the don;ts, preparing and presenting concepts of visual artists for the web. It has now become the art form for myself to express and to tell my story.
The images, the words, the colours, the sounds, the motions, they're all ready there. It is like a palet with paint, a keyboard characters,covered with jpg., gif, wave, MP3,mov., doc. and other files. They're at my disposition and I will put them in a new, different context. They form the remains of my travels trough my mind, the virtual world, the real world and life.
Marjan van Mourik (1958) studied art-history and multimedia.
The DIGITAL ART WEEKS
Zurich, Switzerland, Wednesday 12th to Saturday 15th July, 2006
The Digital Art Weeks PROGRAM (DAW06) is concerned with the application of digital technology in the arts. Consisting again this year of symposium, workshops and performances, the program offers insight into current research and innovations in art and technology as well as illustrating resulting synergies in a series of performances, making artists aware of impulses in technology and scientists aware of the possibilities of the application of technology in the arts.
TALKS, PANELS & DEMONSTRATIONS
[Kon.[Text]], this year’s Digital Art Weeks SYMPOSIUM focuses on the Performative Surround in the arts and the technology that drives it. The Performative Surround pertains to the immersive quality and quantity of the setting of a performative artwork that employs electronic media enhancement to communicate in part or in whole its message to the viewer, who is therewith integrated into the performative arena by the communicative powers of the applied media. In a series of lectures, demonstrations and panels, artists and researcher will examine the use of electronic media in articulating the performer’s presence through the possibilities of the multi-sensuality of electronic media. The possibilities of blurring the divide between public and performer to bond them through the powers of dissemination and inclusion inherent within the technology behind the performative surround will also be considered as well as how communication between both performer and public can be interactively networked in real time through various forms of computer enhanced dialoging.
FILM, DANCE & PERFORMANCES
To draw a parallel between the symposium’s title [Kon.[Text]] and the phrase “in the body of the text” in terms how both performer and public are virtually networked by the expansion of the real into virtual, issues in media enhanced performance and its ...
The C5 Quest for Success Call for Participants Enter to play the C5 Quest for Success during the ZeroOne San Jose/ISEA 2006 Symposium August 9-12, 2006 http://www.c5corp.com
The C5 Quest for Success is an invited project for ZeroOne San Jose: A Global Festival of Art on the Edge. The ZeroOne San Jose Festival will transform San Jose into the North American epicenter of art and digital culture from August 7th to the 13th, showcasing the world's most innovative contemporary artists. http://01sj.org
Quest for Success is curatorial selection as urban game, testing competitors¹ analysis, management, and cooperative decision making skills - traits needed for success in Silicon Valley. The grand prize is a six to twelve week residency at the Montalvo Arts Center co-sponsored with C5 and a Silicon Valley corporate partner - a great opportunity for the right player with the right project pitch. Contestants navigate the streets of San Jose exploring GPS controlled narratives in an attempt to locate the C5 Corporate Limo. Once there, you just might have the opportunity to pitch your proposal to a panel of distinguished experts. A single winner from each evening's competition then advances to the final round on Saturday, August 12th. Three finalists representing TALK, DEMO, PERFORM 'present' their pitch live on-stage to an audience of thousands during the ZeroOne San Jose culminating celebration.
Does the smell of gasoline and oil perk you up like caffeine? Do lat and long coordinates make your heart sing? Then apply for a chance to win the Montalvo Arts Center C5 artist residency. Six to twelve weeks in picturesque Saratoga, California, working on the project of your dreams with the assistance of one of Silicon Valley¹s corporate powerhouses. Does mapping make you giddy? Does your imagination swell ...
Marnix de Nijs is one of my favourite artists. His works are non-pretentious and understandable by anyone. Some of them seem to be inspired by playground attractions (run, motherfucker, run), others that explore our relationships with machines are uncannily compelling (Spatial Sounds or Push/Pull)
Beijing Accelerator clearly belongs to the recreation ground. The inspiration for it came when the artist was visiting Beijing, and realized how quickly the dynamics of a city could transform into such apparent modernism. Similar to an earlier prototype, Panoramic Accelerator, it explores the effects of a tempo-driven society on the individual, this new version has an enhanced cinematographic experience as well as a superior interface.
The participant takes position in a racing-chair on a motorized structure equipped with a joystick. While the participant controls both the direction and speed of the chair, rotating panoramic images are projected on the 160x120 cm screen in front of him/her. The aim is to synchronize the moving image with the rotation of the chair in order to view the images properly and block the disorientation associated with the uncoordinated spinning. If the user cannot synchronize the speed of the chair with the images his balance system will send different information to the brain then the eyes do, causing an intense feeling of discontrol and can eventually lead to nausea.
The target square in the top panoramic image needs to be matched with the same position shown on the magnified image below. As soon as this is achieved the images Ã�Â¢Ã¯Â¿Â½Ã¯Â¿Â½snap into placeÃ�Â¢Ã¯Â¿Â½Ã¯Â¿Â½ and rotate in sync with the participants movement. After a short period of time however, a new rotating-panorama appears with a higher preset speed. This is determined as the next level (there are ...
BrainMirror is an interactive experience where the image of the visitors brain appears mixed with his/her mirror image, using natural head movement as an interface to explore volumetric visuals of the human brain. Designed and built by 3 independent artist and technologist, putting our skills together we aimed for creating an interface that works without learning for all age groups, and fosters communal interaction, interaction among the different visitors.
"Attempt at an Invisible Sphere," a globe made from 215 cameras and screens, was our first introduction to Jonathan Schipper's work. When we had the chance to visit the Brooklyn-based artist in his studio recently, we got to check out more of the "mechanical paradoxes" that make up Schipper's ouevre and watch him tinker on his latest undertaking, an animatronic sculpture set in motion by a player piano reel of Slayer's "Raining Blood." The piece debuted in a group show that opened last Friday, 23 June 2006, called "Factitious" at Brooklyn's Pierogi Gallery, and will run through 31 July 2006.
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DEADLINE: AUGUST 15th 2006
"Astas Romas" is organising the III "International Festival of Electronic Art 404", to be held at Plaza Civica and Centro Cultural Parque de Espana, in Rosario, Argentina from November 30th to December 03rd, 2006.
"Astas Romas" is making a world-wide call to artists and theorists to participate in this third "Festival 404" in order to estimulate and divulge new productions around electronic art.
Authors may participate in the following areas: Net-art, Still image, Animation, Video, Music, Audio-visual set, Theory, Performance, Installation.
The program includes screening of videos and animations, conferences, performances and concerts.
Participation in this festival is free. There are no age or nationality limits.
The Festival's deadline to present works is on August 15th 2006. The date will be taken from the post office cancelling stamp.
In association with the Arts Council?s Critical Voices programme 2006 Darklight are delighted to host a public interview with John Thomson, Electronic Arts Intermix, New York conducted by artist John Gerrard.
Electronic Arts Intermix (EAI) is one of the world's leading non-profit resources for video art and interactive media. John Thomson has been active in media arts on an international level since the 1980s and has been Director of Distribution at EAI since 2000. He is also a co-director and founder of Foxy Production, a leading contemporary art gallery in New York. He has been active in media arts on an international level since the 1980s. Before moving to New York in 2000, he researched media art digitization and distribution for the Lux Centre, London. In 1998 he was Coordinator of Pandaemonium Festival, London, and in 1997 he co-curated the Lux's inaugural moving image exhibition program. He has curated media art programs and exhibitions for the Pacific Film Archive, Berkeley; the Staatsgalerie, Stuttgart; Tate Britain, London; The Institute of Contemporary Art, London; Exit Art, New York; and Smack Mellon, Brooklyn, among other venues. He has lectured in media arts at the London Institute, and the School of Visual Arts, New York. He has written for ?Mesh?, Melbourne; ?Art in Culture?, Seoul; and has written on media art preservation in ?Art Between Zero and One: A Manual of Digital Art?, Christoph Kehl and Beat Raeber, eds., Basel, 2006.
During this interview he will discuss issues surrounding distribution and selling of moving image work as well as issues on archiving video, art an animation originating on computers. We hope this discussion will trigger some of the topics up for debate at the Darklight Symposium 2007.
John Gerrard is one of Irelands most exciting young artists, amongst other things his work is concerned with real time passing and deals with issues of sustainability, longevity and durability both thematically and practically.
IFI - Irish Film Institute, Eustace Street, Temple Bar, Dublin 2. Tel: 01-6793477
2.30pm : Public interview John Thomson & John Gerrard
3.30pm : Screening of EAI?s catalogue & archive.
Tickets are FREE of charge but must be obtained from IFI box office.
Interview is followed by a screening of a selection of work from EAI?s catalogue and archive.
Video Variations: Artists' Experiments with the Video Image
Artists working with video have often manipulated images they have shot or found to produce new contexts, meanings, and effects. The works in this
programme re-present original materials in ways that enthral, disturb, and entertain. They undermine our expectations of the behaviour of moving
images, placing in relief the elements of contemporary film and TV that we take for granted: character, narrative, figure, scene, and tempo. Spanning
four decades, this collection includes work from Steina and Woody Vasulka, Dara Birnbaum, Peggy Ahwesh and Shana Moulton.
Publicity & Marketing
Darklight Festival 22 ? 25 June 2006
M: 087-9754 101
When the evangelists and the inventors of the notion of "Serious Games"
added "battlefield simulation" to health, heritage and art issues, we
thought it would be a good moment to replace the term
"serious" with "creative".
There is a Masters programme at Salford University in Manchester, which
offers an "MSc in Creative Games".
The philosophy of this programme in Creative Games is expressed through the following features:
* To integrate the fields of research of Creative Technology, Heritage
Studies, Digital Art, Interactive Media and to create a new discipline based on the application area of serious content driven games and the
possibilities of game engines for the Cultural and Creative Industries.
* To equip graduates with both the theoretical expertise and the practical skills to enter, and make an effective contribution to the growing area of Creative Games.
* Gaining specific skills in a number of areas including creative thinking, research methods, computer systems, visualization, multi-media, interactivity, and telematics.
* Developing the ability to think dynamically and creatively.
* Gaining the expertise to focus on a specific avenue of interest, carry out enquiries and experiment, and produce pioneering projects or realize
innovative working prototypes and solutions.
For more information write to