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.
art & new media
13 > 18 February 2006 - STUK arts centre Leuven, Belgium
During the ARTEFACT festival for art and new media, the STUK building will be reinvented by Belgian and international artists. For six days they will use images, sounds and technology to build a fascinating and poetic world.
The program consists of installations, concerts, theatre & performances, a symposium and a software / video exhibition. ARTEFACT will connect to other locations over the internet, one of the highlights of the selection will, to a large extent, be an online experience.
Physical space and how it is perceived will be the common element in the program. All participating artists are looking for surprising forms of presentation, sublime moments, corporeal experiences and emotional technology. Artists and scientists will research space, place & distance and translate it into new forms.
The varied musical program of ARTEFACT features the encounter of architecture and music: sounds become places, and spaces become music.
more info & program: www.artefact-festival.be
Lawrence Malstaf (BE) - Kurt d' Haeseleer (BE) - Mateusz Herczka (PL) - Dominique Leroy (FR) - Tale of Tales (BE/US) - LAb[au] (BE) - Ief Spincemaille (BE) - Michael J. Schumacher (US)
Crew (BE) - Orthographe (IT)
/// SOFTWARE SPACE
Casey Reas (US) - Peter Luining (NL) - Seidel & Stiermann (AT) - Justin Manor (US) - Eddo Stern (IS/US) - Stewart Smith (US) - Bas Van Koolwijk (NL)
Maryanne Amacher (US) - Michael J. Schumacher (US) - Chris Watson (UK) - Olivia Block (US) - Pole (DE) - Jan Jelinek (DE) - Andrew Pekler (DE) - Apparat (DE) - Rotorscoop (BE) - Champ d’Action (BE) - Carsten Nicolai (DE) - aMute (BE) - Ricardo Villalobos (CL) - Rhythm & Sound (DE)
lectures by Timothy Druckey (US) - Simon Pope (UK) - Tale of Tales (BE/US) - Thomas Laureyssens (BE)
During the International Film Festival Rotterdam alternative television makers from five disparate cities come together in a temporary television studio, newly elaborating ideas in on the spot production projects and freshly elucidating documents of their earlier work.
Satellite of Love is the name of this commune, where surrounded by media-art of the most diverse dimensions, creators and viewers can meet in invigorating circumstances, where television is not only being produced but also newly thought through, and perhaps even reinvented. Manifold ‘lean forward’ presentations and workshops are being programmed (Tea Time TV) as well as ‘lean backward’ screenings of particular licks in television-taste (TV Dinners). Naturally, a smorgasbord of screens will also encourage encounters with national television, VPRO’s digital channel and local broadcasters; an inclusive variety of Exploding Television.
We open this week with the SONOFAGOD PICTURES of Gilbert & George. Now on show in the White Cube in London. “Lustrous, ornate, pictorially complex, vividly coloured, yet suffused with tenebrous solemnity, the SONOFAGOD PICTURES have all of the dramatic visual impact which one might expect to find in neo-Gothic medievalism - in Victorian reclamations of Celtic or Moorish symbolism, for example, regally bejewelled and portentous with romantic mysticism", writes Michael Bracewell.
Are Freud's intimates just more dirty laundry? This video activated piece adds more dirty laundry to the washer with detected movement from the user. Once paired up, the intimate apparel slowly drifts off screen for privacy.
This piece was part of Double-Vision's performance of "Evolutionary Patterns and the Lonely Owl, mutation #1" at the Mad Horse Loft,Oakland, CA. Watch a two minute excerpt of the performance of 'Sigmund´s Laundromat' by Jessica Gomula
Like a number of artists of the Chinese avant garde, Huang Yan calls on China’s tradition of ink and colour painting in his works. His photos of a male model whose torso is painted in traditional Chinese landscape combine one of the great Chinese art forms with body art. Body replaces paper and the traditional art form becomes signifier. With an austere purity Huang Yan affirms his place as an artist of the Chinese avant garde. The series is called Tattoo, a play on the finished product but also an indication of something which cannot easily be removed.
Encore II. Isaac Julien is one of Britain’s most innovative and provocative filmmakers. He has been involved with forging a new language around black representation.
Hope you will enjoy the videos.
Best wishes from,
UNIVERSITY FILM & VIDEO ASSOCIATION CONFERENCE
August 1-5, 2006
CALL FOR NEW MEDIA EXHIBITION SUBMISSIONS
2) Any additional project documentation needed for consideration (for example, CD-ROM, DVD, JPEGS—no slides, please).
3) Participation in the program requires active membership in the UFVA and pre-registration for the conference.
NOTIFICATION OF ACCEPTANCE: Early May
SEND SUBMISSIONS TO:
Dept. of Communication
University of Tampa
401 West Kennedy Blvd. Box 106-F
Tampa, FL 33606
QUESTIONS? Contact Juliet Davis at Juliet.firstname.lastname@example.org or email@example.com.
The Cultural Studies Concentration of Eugene Lang College
& the Institute for Distributed Creativity present:
Anyone Can Edit: Understanding the Produser
Dr Axel Bruns
Creative Industries Faculty
Queensland University of Technology
10.00AM-11.40AM Tuesday 11th October
room 215 in the Graduate Faculty Buiding
65 5th Avenue (between 14th and 13th sts)
New York, NY
Recent decades have seen the dual trend of growing digitization of content, and
of increasing availability of sophisticated tools for creating, manipulating,
publishing, and disseminating that content. Advertising campaigns openly
encourage users to Å’Rip. Mix. Burn.’ and to share the fruits of their
individual or collaborative efforts with the rest of the world. The Internet
has smashed the distribution bottleneck of older media, and the dominance of
the traditional producer > publisher > distributor value chain has weakened.
Marshall McLuhan’s dictum Å’everyone’s a publisher’ is on the verge of becoming
a reality * and more to the point, as the Wikipedia proudly proclaims, Å’anyone
The effect of these changes is not simply more (and more informed) consumption,
however * we are not turning into Alvin Toffler’s Å’prosumers’: consumers with
an almost professional level of knowledge about what they consume, but
consumers nonetheless. Instead, the networked and hypermediated persona that
emerges is a very different beast: users are becoming active producers of
content in a variety of open and collaborative environments. Whether it is as
members of the distributed development and testing community for open source
software projects, as authors, editors, and fact-checkers for one of the
multi-lingual Wikipedia sites, as reporters, commentators, and pundits in open
news publications ranging from South Korean citizen news site OhmyNews to
tech-nerd haven Slashdot, or as global explorers and annotators for Google
Earth, they are no longer producers or consumers, publishers or audiences, but ...
New media blog
Gallery opening blog
Art works blog
Picks and Tips blog
We want to build a rich source of information always updated of what is going on in the art world. And becoming a blogmember will be part of the CULTURETV Membership, which we introduce next week.
CULTURETV Membership Gets you more: Join the CULTURETV Network and participate in building a rich content.
Dedicated to Mark Lawton
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