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.
Cinema-Scope Hamptons Last Minute Call for Video and New Media Deadline: Monday July 3, 2006 -- (FUTURE PERFECT) The future perfect is used to describe an event that has not yet happened but is expected or planned to happen.
"Think of it. We are blessed with technology that would be indescribable to our forefathers. We have the wherewithal, the know-it-all to feed everybody, clothe everybody, and give every human on Earth a chance. We know now what we could never have known before -- that we now have the option for all humanity to make it successfully on this planet in this lifetime. Whether it is to be Utopia or Oblivion will be a touch-and-go relay race right up to the final moment." BUCKMINSTER FULLER, Critical Path
This year in the Hamptons we will have an impressive video art complex featuring some really top notch international artists striving to be ahead of the curve. We will also be featuring the 2nd incarnation of the "Perpetual Art Machine" interactive video installation. For more info goto: http://www.perpetualartmachine.com (sign up its free)
We are looking for additional screen based videos (HD and SD) no longer than 10 minutes and computer based new media projects, websites, vblogs and anything else that you would consider to be art on a computer.
All projects must have been created after 2001.
Video Requirements Quicktime (.mov) or NTSC video DVD
New Media Requirement Internet URL or Stand alone MAC formatted applications (Special thanks to Tekserve NYC for sponsoring us with the Cinema-scope MAC New Media Gallery) -- Deadline: All work must arrive by Monday July 3, 2006 Late entries will not be accepted --
Please send your entry to: Lee Wells / Cinema-scope Scope Art Fair 521 West 26th Street New York, NY 10001
T: 917 723 2524 ...
Nicoline van Harskamp has done an extensive research on both public and private security guards and police forces in Amsterdam, Glasgow, Berlin, The Hague, Istanbul, London, and Rotterdam. Her project was different for each city.
The Istanbul version addressed issues of (the privatisation of) street surveillance with a group photo shoot of different private guards, a video piece and a "Little Guide to Istanbul guards" booklet.
In the Turkish city every street is Ã¢ï¿½ï¿½ownedÃ¢ï¿½ï¿½ by the people that live and work there. Many Istanbulites pass the time waiting and watching. This system of urban social monitoring makes the city with 15 million people virtually street crime and vandalism free. Nevertheless, (military) police officers, municipal guards and soldiers also have a strong public presence.
An unusually high number of private security people is present around public spaces like parks and bridges. There is no formal legislation restricting the privatisation of public safety and the guards themselves have no more rights or power than any other person in the street.
Her Istanbul video documented an experiment for which van Harskamp employed two men to spend 12 hours in the streets doing nothing. The team was dressed in special uniforms and wore false I.D. cards. They became traffic police on busy crossings, Zabita officers on Galata bridge, tourism police in Sultanahmet, boat attendants on the ferry, etc. and the public reacted to them accordingly. The team surprisingly easily made friends with other uniformed people. Hands were being shaken with police officers, soldiers and Ã¢ï¿½ï¿½colleaguesÃ¢ï¿½ï¿½ from special security companies. Some of them just wanted to know how much they were earning and if they could get a job with the company.
More on private guards, but in Mexico this time:
The People's Poppy, a unique new piece of art by artist Helen Marshall, commissioned by the British Legion. The 6 x 6 metre poppy is made up of thousands of contributed individual images that each illustrate the work of the British Legion and marks the launch of the Legion's new campaign, Poppy Support.
These light sources are tracked by a camera, and displayed over the participant's own image onscreen. How participants use the system is left entirely up to them; however it is possible to write messages, draw pictures or trace physical objects such as your face or hand.
How it works: Participants are in front of a screen reflecting the whole imagery and presented with a series of lights shources of various sizes. By pointing lights over the screen and turning them on and off, they can leave marks on the screen. Participants can also use their own light emiting devices, such as mobile phones or camera flashes, to make or trace objects on the screen. The imagery created is shown in layers which fade over time but are archived and displayed both on a second screen and on the web. Of course different participants entering the space can interact not only with the system but also play with each other or collaborate on a drawing.
Part of the inspiration came from the work of Myron Krueger, who from 1969 onwards developed Videoplace, an augmented reality art system that focused on Ã¢ï¿½ï¿½unencumbered full-body participation.Ã¢ï¿½ï¿½ The Digital Drawing module of Videoplace, in particular, allowed the user to draw on screen using their finger and erase the picture by opening their hand.
If you're in Italy this summer, you can experience Light Tracer at BIP - Building Interactive Playgrounds, a festival for interaction design projects for public spaces and events. Part of Elettrowave, Arezzo, July 14-15 2006.
Vj 1mpar is a project from the designer, musician and digital artist Henrique Roscoe. Abstract shapes and vetorial drawings make the basis of the project, that, apart from most VJs, doesnÃ�Â´t use a camera to record the footages. All the videos and animations are selfmade constructions, built entirelly on the computer, or drawed by hand and scanned.
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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