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Category: software art

Open Call for Participation: Upgrade International 2010, Sao Paulo

Upgrade International 2010: Soft Borders
October 18-21, 2010
Sao Paulo, Brazil
Open Call for Participation — Deadline: April 30, 2010

We invite proposals of papers, posters and workshops for Soft Borders – the 4th Upgrade! International Conference & Festival on New Media Art, that will take place in Sao Paulo, Brazil, from October 18-21, 2010.

Information about submitting proposals and the event can be found online at the official conference website:

A brief summary is required for the selection process. This should be submitted electronically via the online submission system, by April 30, 2010. You will be asked to create an account within the system before uploading your summary.

CALL FOR PROPOSALS Funware Shared Artist in Residence

Funware Shared Artist in Residence:
Netherlands Media Art Institute, Amsterdam (NL)
BALTAN Laboratories, Eindhoven (NL)
Piksel, Bergen (NO)


BALTAN, NIMk and Piksel have launched an open call for proposals as part of the exhibition project Funware. We are looking for interesting new software art projects that can be developed in the period of June – November 2010 through a shared residency. The new work developed during the residency will be presented in the Funware exhibition at MU in Eindhoven, at HMKV in Dortmund and as part of the Piksel festival 2010.

This residency is a collaboration between three labs, based on a desire to investigate the ways and potential of working within a network of labs that support the exchange and sharing of resources and knowledge. The form of this collaboration aims to provide the most specific and relevant support to artists working on art and technology projects in residence. Knowing the capacities and competences of each lab/organisation, the residency exchange will offer targeted support (in the form of resources, space, technical support, local context and time) to be provided at different stages of the research and development of the project specific to each organisation. Off- and online dissemination of form and content via this partnership and the building of structural relationships are crucial to the collaboration.


Funware, conceptualised by Olga Goriunova (, is an exhibition about the fun in software. Making and using what has become known as software is experimental, humorous, and eventful. However improbable it might sound for today’s all encompassing dullness of forms, databases, schedules and processors, “fun” has informed and guided the development of software from its very inception. The rise of net art and the changes the Internet and desktop computers brought to culture gave rise to software art at the turn of the millennia. Performed by amateurs, artists, alternative coders or professional programmers for “fun”, software art as an aesthetic practice questions, tangles and experiments with the materiality of software has subsequently lost its visibility again, as attention is turned to the social web and software applications for third generation mobile phones, which all harness some of the energies constitutive of aesthetic software. Funware reflects on the history of engagement with software, that demonstrates its non-industrial, non-professional, non-commercial, or non-academic character.

The exhibition demonstrates the trajectory of humour and affect as constitutional to software and computing. The exhibition aims to make such an ‘obscure’ technological object as software, open, palpable and approachable, bridging a gap between ‘serious’ production such as technology and ‘non-serious’ production such as different forms of art. The exhibition has a few distinct threads: games; ASCII; code art; a few vectors of AI; computers in popular culture; spyware, conceptual software, hardware modification, hacker/virus approaches, sound, software modification, pranks, participatory web. And as software is intertwined with the hardware it runs upon and the networks that construct the society in which it rules, the exhibition features a lot of projects dealing explicitly with computer hardware or the materiality of hardwareas well as engaging projects experimenting with sound.

We offer:
– Residency period at each of the different labs (residency time at location will be project dependent) in the period of June – November 2010. Specific dates at each location are to be determined in collaboration with the selected artist.
– Artist(s) fee.
– Production budget (including support of travel and accommodation, accommodation is not provided for in Amsterdam).
– Presentation of the project in the Funware exhibition in Eindhoven (MU) and Dortmund (HMKV).
– Public presentation of the results of the artist’s research at BALTAN Laboratories, NIMk and Piksel;
– Support for the documentation of the research and final work, and dissemination of this documentation.

– Proposals are welcome from professional artists worldwide;
– The concept should fit within the theme of the exhibition Funware, in which it will be presented;
– The work should be created using free/open source software;
– The artist should have experience working in collaborative settings with people from different disciplines;
– The artist must be willing and able to travel to Eindhoven, Amsterdam and Bergen for residency periods (exact dates and period will be made in accordance with the artist);
– The artist must be willing to openly and thoroughly document the artistic process.

What are we looking for:
– Outline of the concept underlying the work that you wish to develop (200 words max).
– General outline of the scope of the final work (200 words max – please include visual sketches).
– Outline of the research and development plan for the work (250 words max)
– Motivation for why you would like to work in the context of this particular residency as well as an overview of your interest in the technologies mentioned above (250 words max).
– Indication of your planning divided between the three labs, i.e. what would you like to develop where.
– Up-to-date CV including links to previous work.

Please send your submission to
Deadline for submission is Friday 23 April 2010.

The candidate is chosen by representatives from the three partner organisations. Applicants will be informed by May 10th.


Netherlands Media Art Institute (Amsterdam, NL)
The Artist in Residence (AiR) programme at the Netherlands Media Art Institute supports the exploration and development of new work in digital/interactive/network media and technology based arts practice. The residency provides time and resources to artists in a supportive environment to facilitate the creation of new work that is produced from an open source perspective. We encourage a cross disciplinary and experimental approach. This is a practice based residency designed to enable the development and completion of a new work. The Netherlands Media Art Institute offers an open environment with technical assistance and an active advisory board which will give feedback and support in technical, conceptual and presentation issues. There is access to studio and exhibition equipment, technical support from the Institute’s staff and production help from interns. We expect the artist to have knowledge and insight in the technical realisation of the concept.

BALTAN Laboratories (Eindhoven, NL)
BALTAN Laboratories initiates, supports and disseminates innovative research and development activities in the field of art, technology and culture. A two-year pilot initiative located in a space of 500 m2 at Strijp S in Eindhoven, it is a first step towards a broader Art Science Lab in the former NatLab (Philips physics laboratory). BALTAN is a laboratory in-the-making that aims to ‘do things differently’, providing space, a critical framework and support for artistic research into technological culture. The pilot phase is intended to develop a radical and sustainable identity for the laboratory of the future in relation to the current state of technological art and culture, and the total context of BALTAN Laboratories (including its local context, history and peers). The Funware residency exchange with NIMk and Piksel in 2010 is an integral part of this research. BALTAN offers an open and flexible residency context in which we dialogue closely with the artist throughout the development of their project. Interaction with other research projects being undertaken at BALTAN is key to all residencies at BALTAN. We provide support for documenting, disseminating and reflecting on the research process and results of the residency, and offer a unique local context in which to work. BALTAN’s core team includes four artistic advisors: Marc Maurer (Maurer United Architects), Geert Mul, Gideon Kiers and Lucas van der Velden (Telcosystems).

Piksel (Bergen, Norway)
Piksel is an annual event for artists and developers working with free and open source software, hardware and art. Part workshop, part festival, it is organised in Bergen, Norway, and involves participants from more than a dozen countries exchanging ideas, coding, presenting art and software projects, doing workshops, performances and discussions on the aesthetics and politics of free and open source software.
The development, and therefore use, of digital technology today is mainly controlled by multinational corporations. Despite the prospects of technology expanding the means of artistic expression, the commercial demands of the software industries severely limit them instead. Piksel is focusing on the open source movement as a strategy for regaining artistic control of the technology, but also a means to bring attention to the close connections between art, politics, technology and economy.

Netherlands Media Art Institute
Keizersgracht 264
1016 EV Amsterdam
T 020 6237101
F 020 6244423

Media Art Platform:

Turbulence Commission: “I’m Not Stalking You; I’m Socializing: Black & White” by Liz Filardi

March 8, 2010

Turbulence Commission: “I’m Not Stalking You; I’m Socializing: Black & White” by Liz Filardi

One of the original cases of criminal stalking in America is retold within the framework of a social network called “Black & White”, which consists of two mirrored profiles, those of Laura Black and Richard Farley. The website extrapolates on the tongue-and-cheek usage of the term “stalking” to describe the accepted social protocol, a far cry from the original behavior that, in this case, lead to a massacre at a booming Silicon Valley company in 1988. This project points to new and different levels of trust, privacy and social order in our networked society, tells the story behind the first Anti-Stalking Law passed in California in 1991 in the language and structure of networks, and tragically binds together two tormented Americans, once at opposite ends of an ineffective restraining order.

Liz Filardi received an MFA in Design and Technology from The New School, where she also worked as teaching assistant to Ken Wark and Orit Halpern. In 2008, she was nominated for the William Randolph Hearst Scholarship for “Truth Recruit”, a performance in which she visited a Bronx high school dressed as a military recruiter. Her performance video, “Viral Conversations” is currently on display with Iraqi Memorial at Sheppard Gallery in Reno, Nevada. Based in New York, Liz is a production manager and web designer at Kickstand Animation, Research and Design and has interned at Rhizome, Eyebeam and Rocketboom.

Jo-Anne Green
New Radio and Performing Arts, Inc.
917.548.7780 or 617.522.3856
New American Radio:
Upgrade! Boston:

Announcing Vague Terrain 16: Architecture/Action

The latest of edition of Vague Terrain presents a timely and nuanced consideration of ubiquitous computing. Guest curated by the American artist/programmer Joshua Noble, the issue provides a window into the practices of several leading researchers. Given the arrival of gestural interfaces and preliminary deployments of augmented reality technology and “intelligent” architecture, it is an important moment for thinking about the relationship between technology and the body. Noble on this current milieu: “All technologies reshape the body and the space around the body, from the bow and arrow to the steam engine to the telephone. It may be that we are beginning to truly see how computing and ubiquitous devices will once again reshape our bodies and our conceptions of ourselves in space.”

The issue features text, interview and project contributions from: Jonah Brucker-Cohen, Golan Levin, Pierre Proske, Mark Shepard and Marilena Skvara.

To view the issue please visit:

Greg J. Smith & Neil Wiernik






The art of exhibiting art online. Third Edition.

Open call for proposals by VOCENTO in collaboration with ARCOmadrid 2010 International Contemporary Art Fair, Madrid.

VOCENTO and ARCOmadrid announce a competition of ideas to provide art galleries with web solutions, and to provide opportunities to enhance their online presence and networking potential.

The competition wishes to respond to the shifting context of online environments — from Web 2.0 to Web 3.0 and beyond — and to draw attention to the dynamic potential of the web as a research, production and presentation platform for the specific context of art.

ARTE 2.0 VOCENTO invites individual and collaborative proposals by programmers, software engineers, designers and artists alike, that combine creative and critical thinking, technical solutions with practical competence.

ARTE 2.0 VOCENTO aims to enable the development of a powerful tool or web environment for art context, and to promote creative, original, innovative and speculative thinking in a fast developing field, reflecting new social sensibilities and art’s ability to surprise.

Total award is 15.000 euros.

VOCENTO and ARCOmadrid invite proposals for innovative and experimental online platforms or effective web tools to foster and stimulate the presence, exhibition, communication and management of art on the Internet. The selected proposal will be awarded with a production budget of 15,000 euros (taxes included) to realize the project.

The competition wishes to encourage research in the field of social technologies and artistic practice, and more specifically to identify current needs and provide suitable solutions for art galleries and the art market more generally in the context of the Internet. The intention behind the competition is to enhance communication and exchange between the field of art and wider society.

The proposal – a complete web concept, environment or a tool – is intended for individual art galleries and / or the ARCOmadrid Fair. The finished work should work autonomously or be maintained and supported by the artist for a period of one year.

The winning proposal will be selected by an international Jury, made up of two experts in the field of art and technology: Dr. Joasia Krysa (KURATOR/University of Plymouth, UK), CSDVA (winner of the 2009 edition with the project WAAP, Croatia) and a representative of VOCENTO (Spain). LaAgencia will act as coordinator of the award and jury secretary.

* Production of the award-winning proposal has to be completed in a maximum period of nine months. Once produced, a complete web concept, or environment, or tool, will be freely distributed for implementation by the participant galleries at ARCOmadrid´s 2010 edition and the galleries participating at ARCOmadrid´s 2011 edition.

* Notification of the winner date: 19th February 2010.

* The Award prize of the winning proposal will receive a total of 15.000 euros budget (taxes included).

Conditions for entry to participate:

* The competition ARTE 2.0 VOCENTO is open to any individual or group, of any nationality or legal entity. It is an open and international award contest.
* The proposal must be submitted through an online application form available on the dedicated ARTE 2.0 VOCENTO’s website at

* Proposals sent by e-mail, post or any other way will not be accepted.

* Each individual or group is allowed to submit only one proposal. In case of the submission of more than one proposal, only the first proposal will be considered.

* Applications for the ARTE 2.0 VOCENTO competition can be submitted in English or Spanish. We highly recommend submitting bilingual versions of the proposal.

* The participating proposals must be for projects realizable for the value of the prize money, i.e. €15,000 (including taxes), within a maximum production period of nine months from the date of the Jury’s decision.
* The Jury reserves the right to accept or reject any of the projects, and its decision is final.
* Accepting the prize implies the transfer of property rights of the awarded project to VOCENTO, after the termination of its free distribution among art galleries participating at ARCOmadrid 2010 and those taking part in the 2011 edition. VOCENTO agrees not to commercialize nor distribute it in any other form than that described. After two years VOCENTO may make the project available to the public under the license CreativeCommons, Attribution 2.5 Spain.


* Opening date for applications to ARTE 2.0 VOCENTO competition is the 1st December 2009 at 17:00 hours (GMT+1) through the Call for Proposals website.

* Deadline for applications to ARTE 2.0 VOCENTO competition is the 31st January 2010 at 17:00 hours (GMT+1) through the Call of Proposals website.

* The application form and guidelines will be available from 1st December 2009 ARTE 2.0 VOCENTO’s website at the proposal must be submitted through an online application form available on the dedicated ARTE 2.0 VOCENTO’s website at

For further information about the ARTE 2.0 VOCENTO competition, please get in contact with:
Vicente Matallana
Tel: (34) 91 366 8821

NIMk Depreciated, solo exhibition Cory Arcangel

The Netherlands Media Art Institute presents:

Cory Arcangel
Buffalo, New York, 1978, lives and works in Brooklyn, New York (USA)


29 August – 14 November, 2009
opening 28 August 5:00 – 7:00 p.m. with DJ Cinnaman

The Media Art Institute proudly presents the first solo exhibition in The Netherlands by the 31-year-old ‘darling of new media art’, Cory Arcangel (US). Recent films, modified video games and computer installations by the artist will be shown in the context of earlier work.

Cory Arcangel hacks, manipulates and reuses various technological applications, including video games, web software, film and print media. In doing so he comments on digital media technologies and cultures while at the same time continuing to seek the possibilities that present themselves on the cutting edge of humor, theory and technological shortcomings. His interest in technology spans from the vernacular or non-expert to the conscious disrupting of digital techniques. Using techniques common to conceptual art and performance, Arcangel’s work often comments on the relationship between these two.

The Netherlands Media Arts Institute is showing Arcangel’s best known work, ‘Super Mario Clouds’ (2002-). The artist altered a version of the Nintendo game Super Mario Brothers in such a way that only an iconic, bright blue sky with clouds slowly drifting by remained. For the work ‘Structural Film’ (2007) Arcangel used the medium of film, which has been around a much longer time. In this work the iMovie filter that imitates dust and scratches from a time-worn film, called ‘Aged Film’, was applied to a blank image. Arcangel then transferred the resulting quicktime film to 16 mm film, so that the work becomes a contemporary pastiche of Nam June Paik’s ‘Zen for Film’.

Arcangel’s video installation ‘Sweet 16′ (2006), which by now could almost be called a classic, will also be presented. In this work two intros to the Guns N’ Roses video clip ‘Sweet Child O’ Mine’ sometimes run synchronously, and are sometimes totally out of sync. That is because the two videos’ lengths are off by one note. The artist’s love of music also emerges in his latest work ‘Drei Klavierstücke, op. 11’ (2009). In this video Arcangel brings together short YouTube fragments of cats walking on pianos. The artist edited all the separate fragments one note at a time, so that the cats collectively play Schönberg’s ‘op. 11’, a pioneering work of ‘atonal’ music.

Cory Arcangel completed his Bachelor in ‘Technology in Music and Related Arts’ at The Oberlin Conservatory of Music, in Oberlin, Ohio, in 2000. Together with friends from the conservatory, in 1998 the artist set up the programmers’ collective BEIGE. In addition to being an artist, Cory Arcangel is also a musician and performer. At the age of 27, Arcangel already had a solo exhibition in the Migros Museum in Zürich, Switzerland. Since then his work has been shown in group exhibitions in museums all over the world. Arcangel has had shows in commercial galleries in New York (USA), Paris (France), Salzburg (Austria), London (UK), Brussels (Belgium), Geneva (Switzerland), Stockholm (Sweden) and other.

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Contact for the press:
Marieke Istha, Communication
+31 (0)20 6237101

Netherlands Media Art Institute
Keizersgracht 264
1016 EV Amsterdam
The Netherlands

Opening hours: Tue t/m Sat and each first Sunday of the month Sunday September 6, October 4, November 1, 1300 – 1800 hrs. Entrance 4,50 (2,50 with discount). Museumkaart free

Media Art Platform:


Tweak is two! Currently in its second edition, Tweak is an interactive art and live electronic music festival taking place in Limerick City between the 21st and 26th of September 2009. Its aim is to promote understanding of the use of technology within our culture and to explore contemporary issues (social, economic, psychological, aesthetic and functional).

The festival will consist of a 5-day exhibition, (interactive artworks, robots and installations) comprising of artworks from international and local artists, 3 days of workshops and many evenings of live electronic performance.

Digital technology has become a medium that has redefined the arts broading horizons and changing practices. New works that explore interactivity and the possibilities opened up by multimedia and electronic technologies to create immersive experiences bring physicality and play to the digital medium.

We call for submissions from artists and designers who’s work has been labelled as ‘new media’, ‘physical computing’, ‘tangible interfaces’, ‘digital media’, ‘techno craft’, amongst other titles which attempt to define the field.

We are currently accepting proposals for the following categories:
Live Electronic Performance
Cinematic Works
Listening Post

The call for submissions is open from April 15th to July 20th, 2009. All submissions should have the participants name, work title and technical specifications as well as a work abstract in English (maximum of 200) and a brief biography(max of 200 words) about the author. Group works should have all members listed on the entry form. Please include links to video and photo documentation.

Submissions are open to professionals, researchers and design groups of the digital medium.

To find out more visit email:

EXHIBITION: Radiant Copenhagen

March 27 at 5.30 pm Radiant Copenhagen will be unleashed in the streets of Copenhagen at Gallery Overgaden – Institute of Contemporary Art. The opening offers an apocalyptic show as well as a general presentation of the project. March 28, at 12 noon and 3:00 pm, a guided bus tour sets off into the radiant future of Copenhagen.

The artists Anders Bojen, Kristoffer Ørum, Kaspar Bonnén and PhD (Comp.Lit.) Rune Graulund have worked with a team of architects, artists, designers, engineers and musicians to create an alternate vision of Copenhagen, an imaginary future as a reaction to present day. All contributors share an interest in alternative realities and how these, through the internet and other media, play an increasing important role in our common understanding of the world.

Radiant Copenhagen is a future version of Copenhagen. Using Google maps and Wiki technologies, the group has created a Copenhagen dressed in dystopian scenery and amusing attire. You will find stories and images about peoples and places, atypical architecture, fictional art projects, suspended gravity, environmental peculiarities and the wonders of future transport, literary permutations and poetic vignettes. Radiant Copenhagen takes the internet project as its base, but spreads into the real city, with enactments of staged reality appearing without warning.

The internet project as well as the physical interactions with the city are intended as devices to challenge conventional thinking, an assault on the collective imagination of Copenhagen by which new possibilities for change are established. Be there for the opening March 27, check out and remember to keep an eye out for a new Copenhagen.

Contributors to Radiant Copenhagen includes Kristoffer Ørum, Anders Bojen, Rune Graulund, Maja Zander, Kaspar Bonnén, Stig W. Jørgensen, Palle R Jensen, Ida Marie Hede Bertelsen, Peter Rasmussen, Kasper Hesselbjerg, Ulrik Nørgaard, Daphne Bidstrup, Andreas Pallisgaard and Kristian Haarløv. will be accessible from March 21.

Radiant Copenhagen is supported by projektpuljen – City og Copenhagen.
For more info please contact
Book a seat for the bus tour on March 28 at 12 noon or 3:00 pm on Departure is in front of
Christiansborg – duration 1 hour. Opening is at 5.30 pm at Gallery Overgaden – Institute of Contemporary Art. Overgaden Neden Vandet 17, DK-1414 Copenhagen K.

Turbulence Commission: “Eclipse” by EcoArtTech

“Eclipse” is a user driven, networked-art application that alters and corrupts United States national and state park images from based on the real-time Air Quality Index (particle pollution data) provided by the United States Environmental Protection Agency (E.P.A.) at the site

â??We visit national parks to get away from traffic and smog. But the latter can be hard to shake, even in remote, pristine-seeming places. “Eclipse”, an open-source program created by Cary Peppermint and Leila Christine Nadir of EcoArtTech, will make air pollutionâ??s presence visually — and viscerally — explicit.â? Anna Lena Phillips, American Scientist

“Eclipse” is a 2008 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the Murray G. and Beatrice H. Sherman Charitable Trust.


EcoArtTech is Cary Peppermint and Christine Nadir. They have been working together informally since 1996 and began exhibiting together in 2004. In 2005, they founded EcoArtTech as their collaborative platform for digital environmental art.

LEILA CHRISTINE NADIR recently completed her doctoral studies in English and Comparative Literature at Columbia University and regularly gives talks on environmental ethics, art, and literature at international conferences and universities. She has taught at Columbia, Oneonta State College, and Colgate University, including courses on American literature, modernity and modernism, and new media art history and theory. In 2008, the Society for Utopian Studies awarded her the annual Arthur O. Lewis for the best paper by a young scholar. In addition to EcoArtTech, her current projects include writing a memoir on growing up Afghan and Muslim in the United States and reworking her dissertation into a book titled â??Sacrifice and its Discontents: Ethical Paradox in Twentieth-Century Environmental Writing and Art.”

CARY PEPPERMINT is a conceptual and performance artist working with digital technologies and “natural” environments. Cary is known for his website “,” an internationallly recognized platform for his ongoing series of net art and networked performance art. Cary has curated international exhibitions of digitally infused eco-art, including Nature Version 2.0: Ecological Modernities and Digital Environmentalism, Technorganic, and Wilderness Information Network. He is assistant professor of art at Colgate University where he teaches courses in the theory and practice of digital and new media art. Cary has been the recipient of numerous awards, including a Franklin Furnace Performance Grant, Experimental Television Workshop Grant, and NYSCA’s Decentralization Grant. His work is in the collections of the Walker Art Center, at the New Museum for Contemporary Art, Computer Fine Arts, and The Whitney Museum of American Art.

For more Turbulence Commissions, please visit

Floating Points 6: Games of Culture | Art of Games

Floating Points 6: Games of Culture | Art of Games

A Film Screening, Symposium and Workshops with Asi Burak, Anita Fontaine, Jesper Juul, Friedrich Kirschner, Marcin Ramocki, Jason Rohrer, Adriana de Souza Silva, Mushon Zer-Aviv

DATE: March 20-21, 2009
VENUE: Emerson College, Boston + streamed live on the web and in Second Life.
FREE and OPEN to the public. Registration details on the website

Video games extend beyond the gaming console into nearly every aspect of contemporary life. They are fun. They drive innovation, consumer engagement and employee productivity. Is our culture turning everything into a game?

Video Games have had a greater impact on narrative form than any medium since film. They are altering our experience of both virtual and physical space. Gamespace is everywhere and nowhere (McKenzie Wark, Gamer Theory). In Video Game Spaces: Image, Play, and Structure in 3D Worlds, Michael Nitsche introduces five analytical layers – rule-based space, mediated space, fictional space, play space, and social space. How do artists and game designers use these spaces in their creative practice? How does structured play impact our engagement with other people, both online and in urban space? What are the political and cultural implications of gaming practices?

More information at