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 ...