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.
CALL FOR ENTRIES : Mobile&DMB Fest 2006
Mobile&DMB Fest 2006 is open for entries of the competition section Mobile Express for international works as well as Korean works. Organized by Seoul Moving Image Forum and presented by Seoul Film Festival Executive Committee, Mobile&DMB Fest is trying to introduce brilliant works through New Media such as mobile and DMB. We sincerely hope you consider this an exciting opportunity to show your great endeavors in the new environment of digital art works.
WHEN : September 8 - 30, 2006 Screening of Competition Section and Out-of-Competition Section
WHERE : Mobile and DMB (broadcasting channel to be confirmed) SeNef website and Media Lounge, Supporting organizations¡¯ and sponsors¡¯ website, portal site
Mobile&DMB Fest 2006 SUBMISSION DEADLINE : July 28, 2006 (Arrived)
ELIGIBILITY For the competition section, only works completed after January 2005 may be submitted to the festival. Submissions should be creative works produced or adopted through digital technology. There will be no restrictions regarding genre or subject matter of the work and all types of works, including fiction, documentary, experimental, music video, animation, motion graphic, flash animation, game, web-art, etc. will be accepted. Running time should be under 20 minutes.
MATERIALS REQUIRED FOR SUBMISSIONS : 1)Application Form (available at http://www.senef.net) 2)1 still picture and 1 photo of director (300 dpi JPG file)
3)Preview material (VHS-Tape, DV 6mm, DVD, CD, File-Transferring or URL address for preview) * For File-Transferring indications, please contact us to email@example.com Contacts Mobile&DMB Fest 2006 Program Dept. (135-090) 5F, Youahn Bldg. 146-23 Samsung-Dong, Kangnam-Gu, Seoul, Korea Tel. 82-2-518-4332 / Fax. 82-2-518-4333
Philip Beesley and Will Elsworthy’s Implant Matrix [http://www.philipbeesleyarchitect. com/sculptures/0610implant_matrix/implant.html] is an interactive sculptural installation currently on exhibition in Toronto. The piece uses purpose programmed micro-controlled sensors and actuators that provide a mechanical response to user stimuli. Arrays of shape memory alloy (SMA or “muscle wire”) driven pores open and close as people touch sensors that are suspended from the matrix. Despite being digitally manufactured of acrylic and mylar, the piece becomes an organic, living entity.
From the gallery text:
Implant Matrix Interaccess Gallery June 1-29, 2006
Philip Beesley and Will Elsworthy with Robert Gorbet and Steven Wood
Implant Matrix is an interactive geotextile that could be used for reinforcing landscapes and buildings of the future. The matrix is capable of mechanical empathy. A network of mechanisms react to human occupants as erotic prey. The structure responds to human presence with subtle grasping and sucking motions, ingesting organic materials and incorporating them into a new hybrid entity.
Implant Matrix is composed of interlinking filtering 'pores' within a lightweight structural system. Primitive interactive systems employ capacitance sensors, shape-memory alloy wire actuators and distributed microprocessors. The matrix is fabricated by laser cutting direct from digital models. The project is supported by the Daniel Langlois Foundation for Art, Science and Technology, the Ontario Arts Council and the University of Waterloo School of Architecture.
Assistant Designers: Eric Bury Liana Bresler Miriam Ho Desmond Shum
Philip Beesley is an experimental architect and artist who often collaborates with artists, performers and engineers. Textile-like 'field' installations have characterized his work in the past decade. His work has been recognized by the Prix de Rome in Architecture for Canada.
Implant Matrix: http://www.philipbeesleyarchitect.c om/sculptures/0610implant_matrix/implant.html
Other sculptural works: http://www.philipbeesleyarchitect.com/sculptures/sculptures.html
on exhibition ...
ebecca Cannon would probably have been called a media artist, a digital artist or a multi-media buff. Now she is best described as a game artist. Rebecca, the Australian artist, curator and writer has a keen interest in computer games as an art form. She created political shooters, mobile games, Java games and machinima clips, and is currently the curator of the online archive of art games Selectparks. Rebecca Cannon is a core figure in a group of game artists like Cory Arcangel, Mary Flanagan, Anne Marie Schleiner, to just name a few.
Ahhhh, summertime in Barcelona, can you feel the heat and the beats? Year-round this city's thumping to one rhythm or another, but summer months are a whole different story. For all the music festivals that descend on the town at this time of year, how anyone gets any sleep or does any work is a Catalan mystery. At its heart Barcelona is an electropolis and this weekend was the mother of all avant-garde electro music festivals, Sonar and the companion multimedia side show, Sonarama.
First up, a video installation on the ground floor by Swedish artist Lars Arrhenius "was born out of the artist’s interest in the universe that is animation, the capacity for synthesis of the pictograph and the possibility of employing these mediums to reflect the life that beats in the city." I particularly enjoyed the animation "Habitat" (left), which moved through a cross-section of an apartment block showing different household scenes. It’s wonderfully voyeuristic as these strangely simple, but expressive, figures go about their evening. With muffled sounds as voices, the tone and rhythm infer just enough to make up the dialogue in your head; the awkward disagreement at the dinner party, the couple having sex upstairs, the guy watching TV alone next door. The limited gestures made it all the more amusing. A small arm movement or bob of the head insightfully conveyed the humor of human emotions in a minimal format.
The next installation, the mind-boggling reacTable (left) "is an electronic multi-user musical instrument with a tabletop tangible user interface." Clear? No, I didn’t think so. Basically, players move shapes with different symbols on them across the table top. The reacTable reads the symbols, which connect to different synthesiser sounds and different speakers. You can play it like a multimedia instrument ...
Chinese artist Wang DuÃ¢ï¿½ï¿½s first UK solo exhibition will introduce The Space-Time Tunnel, a large-scale sculptural installation which submerges the visitor into a giddying media flow. Exhibition visitors are invited to journey through a mass of newspapers and magazines combined with more than 66 TV-screens, incessantly broadcasting programmes from global television networks.
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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