Fwd: Ars Electronica 2003 - 4th Announcement: Exhibitions

Begin forwarded message:

> From: Ars Electronica Center <[email protected]>
> Date: Thu Aug 14, 2003 8:19:18 AM US/Eastern
> Subject: Ars Electronica 2003 - 4th Announcement: Exhibitions
> Reply-To: [email protected]
>
> CODE - The Language of Our Time
> Code=Law, Code=Art, Code=Life
> Ars Electronica 2003
> September 6-11
> Linz, Austria
> <http://www.aec.at/code
>
> You are reading the fourth issue of the Ars Electronica 2003
> newsletter, providing information about the program of exhibitions at
> this year's festival, CODE - The Language of Our Time.
>
> Ars Electronica 2003 - 4th Announcement: Exhibitions
>
> 1. Update: CODE Exhibitions
>
> 2. Update: CAMPUS
>
> 3. Update: Cyberarts
>
> 4. Update: ARS ELECTRONICA Center
>
>
>
> 1. UPDATE: CODE EXHIBITIONS
>
>
> Brucknerhaus: Sunday, September 7, 2003 to Thursday, September 11,
> 2003 from 10 AM to 7 PM
> Ars Electronica Center: Sunday, September 7, 2003 to Thursday,
> September 11, 2003 from 10 AM to 9 PM
>
>
> *The Universal Datawork*
> *datawork:man*
>
> Richard Kriesche has conceptualized his experimental set-up entitled
> *The Universal Datawork* as a redefinition of the grand idea of the
> Gesamtkunstwerk within the context of the informational reordering of
> reality. In contrast to the traditional understanding of the
> Gesamtkunstwerk which, as the expression of supreme artistic
> consummation, aimed to achieve the unification of the senses fused
> together with the arts, *The Universal Datawork* takes as its basis
> the findings of biogenetics and the segmentation of the natural
> sciences as well as the informational fractalization of mankind to
> reveal the shared bio-cosmic data structures and the universal form of
> all living creatures. Code, understood as the definitive key to the
> understanding of images, becomes the art of understanding reality.
>
> *datawork:man* focuses on the foundations of human existence and art,
> and their metamorphoses under the novel circumstances of Information
> Society, a simultaneously philosophical and artistic encounter with
> the tradition and the future of the artistic process. The work of
> Casey Reas, on the other hand, is relatively lively and
> straightforward. The artist is a representative of the generation that
> grew up with software and for whom artistic work without this medium
> would have been inconceivable from the very outset.
>
> *MicroImage*
>
> *MicroImage* by Casey Reas does not analyze the cosmos surrounding us;
> rather, it creates its own microcosm, a software ecosystem in which
> thousands of software organisms interact. In response to environmental
> change, they gather or disperse depending on their programmed
> behavior. The organisms are displayed in the form of colored lines
> connecting their current positions with their previous ones, which is
> how their movements become visible in static, animated images. In the
> context of *MicroImage*, "genesis" means that none of the overall
> structures that result from the interaction of the mini-programs is
> predetermined or planned; instead, they emerge individually as the
> outcome of the movements that every organism goes through.
>
> *CODeDOC II*
>
> *CODeDOC II* is the sequel to an online exhibition that New York's
> Whitney Museum commissioned Christiane Paul to curate for *artport*, a
> website that functions as a portal for web-art. Participating artists
> / groups are Ed Burton, epidemiC, Graham Harwood, Jaromil, Annja
> Krautgasser & Rainer Mandl, Joan Leandre, Antoine Schmitt and John F.
> Simon Jr. *CODeDOCII* has been conceived as a process-oriented display
> focusing on how art is done and shown. The essential common element of
> the exhibited works is the free availability of the software that was
> programmed to create them.
>
> Additional exhibits making up the CODE Exhibition are:
>
>
> *Visually Deconstructing Code*
> Ben Fry
>
> *F00D*
> John Maeda
>
> *Epigenetic Painting*
> Roman Verostko
>
> *Bitforms Gallery*
> Steve Sacks
>
> *Music Creatures*
> Marc Downie
>
> *24!*
> Michael Aschauer, Norbert Pfaffenbichler, Lotte Schreiber
>
> *Audiopad*
> James Patten / Ben Recht
>
> *co.in.cide*
> Heimo Ranzenbacher / Ars Electronica Futurelab
>
>
>
> 2. UPDATE: CAMPUS
>
>
> Linz University of Art and Industrial Design: Saturday, September 6,
> 2003, 1:30 PM to 7 PM; Sunday, September 7, 2003 to Thursday,
> September 11, 2003, 10 AM to 7 PM.
>
> 2.1. Portal Project: Teleklettergarten
>
> The reciprocal interaction that takes place between interface and
> human individual will be illustrated by means of a colossally outsized
> input device-a Kletterwand (a climbing wall like the ones alpinists
> use to train for a vertical ascent) hooked up to a monitor. Visitors
> go through a training program to acquire software development skills.
> These programmers then work in collaboration with climbers who, as
> their human input-aids, range up, down and across the spacious
> interface, climbing to different points on the keyboard that is their
> oversized programming environment. Conventional input
> devices-keyboards, for instance-are usually small and do not provide
> ample space for the human body. Through its very dimensions, the
> *Teleklettergarten* prompts reflection upon our everyday communication
> with machines.
>
> 2.2. Exhibition
>
> The Department of Media and Art at Zurich's University of Art, Media
> and Design (HGKZ) shows the work of young artists doing the media art
> of tomorrow. The CAMPUS Exhibition is being held in cooperation with
> the Linz University of Art, which has made three floors of its
> facility available as the presentation venue.
>
> 2.3. Movieline
>
> The HGKZ's Movieline also offers a cross-section of student
> productions, which make it clear that enhanced digital tools are
> having a growing impact on the creative work of young student
> filmmakers.
>
>
> 3. UPDATE: CYBERARTS
>
>
> O.K Center for Contemporary Art: Saturday, September 6, 2003 to
> Thursday, September 11, 2003, 10 AM to Midnight
> O.K Center for Contemporary Art: exhibition run extended from Friday,
> September 12, 2003 to Sunday, September 21, 2003; Tuesday-Thursday: 4
> PM to 10 PM; Fridays 4 PM to Midnight; Saturdays/Sundays: 10 AM to 6 > PM
>
>
> Cyberarts 2003 presents the prizewinners in the PRIX ARS ELECTRONICA's
> Interactive Art category.
>
>
> GOLDEN NICA / INTERACTIVE ART
> *Can You See Me Now?*
> Blast Theory / Mixed Media Lab (UK)
>
> *Can you see me now?* by the British artists' collective Blast Theory
> in collaboration with the University of Nottingham's Mixed Reality Lab
> plays with the omnipresence of human beings on the basis of various
> portable electronic devices-cell phone, GPS, wireless LAN and digital
> camera-and with the superimposition of real and virtual spaces.
> The field of play is a section of the city-both on the virtual level
> in the form of a city map, and as a real space on site. The opposing
> participants are online players as well as four runners in real space
> who have been equipped with mobile devices. The runners' task is to
> find the online players who remain in hiding in virtual space. When a
> runner tracks down a player, then it's "Game Over!" for him.
>
>
> AWARD OF DISTINCTION / INTERACTIVE ART
> *Tsukuba Series*
> Maywa Denki (J)
>
> Maywa Denki is an electronic Gesamtkunstwerk. Ingenious engineering,
> wit, inventiveness and musicality combined with an inimitable
> performance style characterize this project.
> This studio's creations-all highly diverse, custom-developed musical
> instruments that are played by motors and electromagnets-demonstrate
> wittiness and know-how. With live performances, Maywa Denki has been
> filling concert halls in Japan and abroad.
>
>
> AWARD OF DISTINCTION / INTERACTIVE ART
> *nybble-engine-toolZ*
> Margarete Jahrmann, Max Moswitzer (A)
>
> *Nybble-Engine-Toolz* is a peer-to-peer server network. The
> installation transforms network processes into three-dimensional
> abstract films and projects them in a movie-theater setting onto a
> semicircular 180