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Archive: February, 2006

Open call for netArt. For online exhibition and inaugural premiere on the DiverseWorks website and DiverseWorks Artspace1.

February 27th, 2006 · -- · Competition opportunity, [2]News & Events, net art No comments

Submission deadline on March 25, 2006, midnight CDT. Selected projects will receive an honorarium and will officially premiere at the DiverseWorks Visual Arts opening event on April 28, 2006.

http://netart.diverseworks.org/

About the open call
DiverseWorks is seeking to bring greater awareness for netArt through this open call.

Projects should use the web to its inherent (decentralized) distribution advantages and/or address current artistic, technological and social concerns related to web-based activity or visual culture at large.

The DiverseWorks Visual Arts Director and New Media committee will review projects based upon their topicality and technical feasibility.

Selected projects will receive a $100 honorarium and will officially premiere at the DiverseWorks Visual Arts opening event on April 28, 2006. After the inaugural debut, DiverseWorks will have non-exclusive rights to display winning projects indefinitely on the DiverseWorks website.

CONSTRUCTING SOCIAL CHANGE: Desire and Utopia, Art, Knowledge and Direct Action

February 27th, 2006 · -- · Call for Papers, Conference, Festival, Theory, [2]News & Events, e-mail list No comments

Date: 22 June 2006 – 26 June 2006
Location: Amsterdam, the Netherlands.

CASA
The Cultural Analysis Summer Academy (CASA) came into existence in
2003 as an international forum that seeks to discuss the shifting
functions of academia and the scholar in a globalized society. Until
now CASA organized two meetings to provide a platform for these
discussions. Two years ago people from seventeen countries all over
the world engaged in the discussions under the broad headline of
‘Acting – Spectating’. The meeting proved to be successful and
created on-going debates that have resulted in an e-journal and a
proposed book publication. In 2005 a second meeting was organized
that focused on the intersection between academic research and
activism by discussing three thematic threads: borders, markets and
movement(s).

CASA continues to be an interrogatory process on the continuum of
activism and academia. The CASA meeting 2006 will focus on debates
around the construction of social change.

Change
The leftist tendency of embracing change as intrinsically positive,
as if all transformations were emancipatory, veils two important
facts. First of all, it presents the world as manageable. While
change is inevitable it is not always the result of rational choices
within collective action processes. Secondly, when human agents
attempt to give change a certain direction, they still need to take
into consideration that the effects of their actions cannot always be
predicted and anticipated, but are subject to contingent factors and
can take surprising turns. The unpredictabilities inherent in a
project of transformation make it necessary that change becomes a
reflexive and ongoing process.

Social relations
The project of changing social relations has been related to the
transformation of material dimensions of class relations and given
form by a politics of redistribution. Yet a long tradition of
criticism has shown that class is not the only social organizing
principle that constitutes our position in a complicated and wide web
of power relations. When we speak about oppression or exclusion we
equally have to mention gender, sexuality, race, ethnicity, health,
age, etc and social, economic and symbolic/discursive relations that
construct and sustain the norm. Accordingly, knots of resistance and
social transformation are generated from these different positions
reflecting different forms of labor, different ways of living,
different views of the world and differing desires.
Departing from such fragmented subject positions we would like to
open up a discussion about the possibilities and limitations of and
strategies for creating more equal and ! inclusive social relations.
Inclusion involves changing these social ordering principles by
deconstructing the norms that nourish the production of social
hierarchies without constructing new exclusive norms. Equality does
not refer to sameness but to the acceptance and negotiation of
differences that can be articulated in dialogic processes. To strive
for equality in social relations involves the creation of the
conditions that would allow everyone to take part in the process of
social change, from her own particular social context.

Constructing social change
Dialogic processes for change in a world that is not manageable
cannot flourish when one departs from the concept and practice of
‘directing change’. ‘Vanguardism’ is no valid option for a
participatory collective process. Therefore, we would like to speak
about constructing change,! which refers to a collective participative
process that involves the articulation of differences by creating
permeability and mutual contamination between different struggles and
ideas.

CASA 2006: Constructing social change

CASA 2006 will be centered on four interrelated strategies for social
transformation, focusing on a different strategy each day. These are:
desires and utopia, art, knowledge, and direct action.
All these themes can -and hopefully will- be discussed from many
different angles. Possible questions are (but should not be limited to):

Desire and utopia
How does desire relate to social change? How can reflections on our
own desires for change and its implications be developed? Can desire
be changed or directed? What is the role of desire in research? Can
desires for alternatives help to shape an effe! ctive research
strategy? What is the role of utopian writing for the stimulation of
social change? What can be considered as utopian movements? What are
the utopian aspects of social movements and knowledge construction?
Art
How can art contribute to emancipatory change? Is art merely
reflecting social change, or can it be transformative in itself? How
are art, knowledge and desire interrelated? How should we imagine the
agency and autonomy of art in the age of global culture industries?
Can art be a form of direct action? In what way is art related to the
social? What is the role of the artist, and what is the role of the
public in both the production and experience of an artwork? How can
we discuss social responsibility of the artists?
Knowledge
In what ways can knowledge be used for social change towards more
inclusiveness and emancipation? Which agents or parameters determine
different types, modes and sites of knowledge production and
transmission, knowledge hierarchies, the organization of knowledge
and of academia? What alternatives are available concerning the
production, distribution/sharing and use of knowledge? What is the
role of education in processes of transformation?
Direct Action
What kind of interruptions and interventions are useful for reaching
emancipatory transformation? How and by whom are direct action
interventions carried out and to what ends? What kind of knowledge is
produced by direct action? Can direct action also be used for
knowledge construction and the interruption of hegemonic academic
practices? Can we talk about “aesthetics” of direct action as a way
of politicizing and mobilizing aesthetic experience?

Participation
The format of the CASA meeting is as crucial as its content. We want
to ask all of you to engage in a construction of interactive spaces
that contribute to constructing emancipatory change that is inclusive.
Interactivity, here, means acknowledging that knowledge construction
and knowledge transmission are not one-directional but rather
collective processes. Thus participants of all kinds (presenters,
discussants, facilitators, technical assistants, and organizers)
should actively engage in collaborative processes rather than in a
mere conveying of knowledge. We are open to alternative formats -
from workshops to performances – that would open spaces for
participation and collective production.
Inclusiveness, here, means open to variety. We want a large diversity
of contributions to the CASA meeting by inviting academics, artists,
artist projects and collectives, utopians, utopian writers, non-
institutional intellectuals, activists engaged in direct actions, and
other interested individuals to share and exchange thoughts and
practices. We also anticipate a diversity of practices to open debate
and reflection. CASA 2006 can be a continuum of debating,
intervening, thinking, reflecting, inspiring, inventing and
constructing inclusive emancipatory initiatives.

Proposals for contributions within the four outlined topics are very
welcome and can be submitted until April 1, 2006.

For further questions, contributions or participation please mail to:
info@casa.manifestor.org Website: ! http://www.casa.manifestor.org

Fabioparisartgallery presents UBERMORGEN.COM (Lizvlx/Hans Bernhard) Lilly controls my Foriginals

February 27th, 2006 · -- · [2]News & Events, net art No comments

February, 25 – April, 8 2006
from Monday to Saturday, 15.00/19.00

english text below

***

In occasione della sua prima personale italiana, il collettivo austriaco
UBERMORGEN.COM (Lizvlx/Hans Bernhard) propone una sintesi dei temi del
suo lavoro recente, incentrato sulla sottile membrana che separa
digitale e biologico: una compromissione che UBERMORGEN.COM, un’identità
che vive e agisce soprattutto in Rete, ha vissuto sulla propria pelle.
Esponente di primo piano della vicenda della net.art, UBERMORGEN.COM ha
teorizzato l’azionismo digitale, una pratica radicale di azione
artistica che si svolge all’interno dell’economia dell’attenzione e dei
media. Il prodotto più esplosivo di questa pratica è stato Vote-Auction
(2000), un sito Internet che, durante le presidenziali americane del
2000 consentiva alla popolazione americana di mettere all’asta al
miglior offerente il proprio voto. Dell’operazione fa parte integrante
la persecuzione legale di cui UBERMORGEN.COM è stato vittima e l’isteria
mediatica che ha prodotto, e che lo ha portato a rispondere, per tutta
la durata dell’operazione, a una trentina di interviste al giorno, e a
intervenire a una puntata di Burden of Proof, la trasmissione legale
della CNN, senza mai svelare se si trattasse di parodia o di una reale
interferenza nel corso delle elezioni.

Nella tempesta dei media, l’azionista digitale opera col suo corpo
intero, parte e vittima del network che lo circonda. “Siamo i figli
degli anni Ottanta, la prima generazione internet-pop… Hans Bernhard
porta il carico di 10 anni di Internet e tecnologie (cocaina digitale),
hacking dei mass media, techno underground, droghe estreme, una vita da
rockstar e da stella della net.art”. Le sue reti neuronali sono connesse
alla rete globale, e la sua malattia, la sindrome maniaco-depressiva che
nel marzo 2002 lo confina in un ospedale psichiatrico, è la malattia del
network. Il video Psych|OS (2005) è la sintesi di quella esperienza, in
cui i due piani – digitale e reale, bio & tech, sistema nervoso e
sistema operativo – si fondono in continuazione.

Questo sistema nervoso intossicato dall’hi-tech ha bisogno di cure, e la
società hi-tech gli fornisce la sua medicina, degli “agenti biochimici
che controllano il suo flusso di informazione interno”. L’olanzapina, un
antipsicotico prodotto dalla compagnia farmaceutica Eli Lilly come
Zyprexa®, è una di questi. Nelle due stampe Zyprexa “Lilly 1112” e
Zyprexa “Lilly 4117” (2005), UBERMORGEN.COM ne riproduce la struttura
molecolare, ma in questo processo di traduzione la molecola si scopre
fatta di bit. Nient’altro che pixel sullo schermo, inchiostro sulla
carta, come i Foriginals, gli “artefatti originali”che sono poi il mezzo
concettuale con cui UBERMORGEN.COM trasforma in arte i documenti legali
da cui è stato perseguitato, e che proclamano a gran voce la propria
autenticità. Da qui il titolo della mostra, una dichiarazione di poetica
che sembra una dichiarazione d’amore: “Lilly controlla i miei lavori”,
dove Lilly, che sembra un nome di donna, è in realtà il nome di una casa
farmaceutica. Lilly “controlla”, ispira ma nello stesso tempo sorveglia,
sovrintende al contatto tra il mio cervello e il mio hard drive.

Del resto, che “il pixel è la molecola” e la tecnologia è il demone
sotto la pelle non l’ha detto solo UBERMORGEN.COM. I chip RFID (Radio
Frequency Identification) sono un rivoluzionario sistema di
identificazione, che possono fornire tutte le informazioni necessarie
sul prodotto, o la persona, cui vengono applicati. Dal punto di vista
formale, gli RFID presentano una struttura organica, sorprendentemente
simile a quella di una cellula. Con la serie degli ART FID (2005)
UBERMORGEN.COM racconta, con l’impatto visivo di un quadro suprematista,
questa fusione tra biotech e tecnologia digitale, questa sovrapposizione
continua tra due piani contigui che sta plasmando la nostra identità; e
che, per il momento, ha già plasmato la sua.

Domenico Quaranta

+++

For their first Italian personal exhibition, the Austrian artist duo
UBERMORGEN.COM* (lizvlx/Hans Bernhard) is showing a synthesis of their
recent work — a subtle membrane connecting the digital and the
biological: a mix that UBERMORGEN.COM, an identity that lives and works
on the Net, experienced on their own bodies. One of the best- known
exponents of the net.art scene, UBERMORGEN.COM are the theorists of
digital actionism, a radical practice of artistic action which
experiments on the market of attention and takes place in mass media.
The most astonishing result of this kind of practice so far has been
Vote-Auction (2000), a web site that, during the American presidential
elections 2000, helped people sell their vote in an auction. The legal
prosecution against UBERMORGEN.COM, and the media hysteria it produced,
are an integral part of the whole project. During this
mass-media-performance, UBERMORGEN.COM were interviewed up to 30 times
per day. CNN produced a 30 minutes show on the project in their legal
format Burden of Proof. In this feature, UBERMORGEN.COM never comment
on whether the project was a real threat to the integrity of the U.S.
election or wheter it was a political satire.

In the mass media storm, the digital actionist works with her whole
body, as well as part and victim of the network around her. “We are
children of the 1980s, We are the first internet-pop-generation… Hans
Bernhard is loaded with 10 years of internet & tech [digital cocaine],
mass media hacking, underground techno, hardcore [illegal] drugs,
rock&roll lifestyle and net.art jet set…” Hans Bernhard`s neuronal
networks are connected to the global network, and his mental illness –
the bipolar affective disorder that in March 2002 sent him to a mental
hospital – is the network’s illness. The video called Psych|OS (2005)**
sums up that experience, in which those two levels – digital and real,
bio & tech, nervous system and operative system – merge.

This nervous system, infected by the hi-tech, needs a treatment, and
the hi-tech society prescribes its remedies, “bio-chemical ‘agents’
which control the internal information flow”. Olanzapine, an
antipsychotic drug produced by the pharmaceutical company Eli Lilly as
Zyprexa®, is one of these agents. In the digital prints** Zyprexa
“Lilly 1112” and Zyprexa “Lilly 4117” (2006), UBERMORGE.COM paints the
drug molecular structure, but during this translation process the
molecule discovers to be made by bits. “Just pixels on a screen, just
ink on paper”, like Foriginals (forged originals), the conceptual
device UBERMORGEN.COM uses to change legal documents into legal art.

The title of the show – a declaration of poetics that seems to be a
declaration of love – derives from this process. “Lilly controls my
Foriginals” means “Lilly controls my artistic work”, where Lilly just
seems to be a woman’s name, is in fact the name of a pharmaceutical
company. Lilly “controls”, inspires as well as oversees, supervises the
contact between my brain and my hard drive.

UBERMORGEN.COM’s focus on “the pixel as the molecule” and technology as
a hidden demon relates to the technology industries newest gadgets —
RFID (Radio Frequency Identification) chips are one of the leading
technologies of the future: an identification system that can collect
diverse information about the products it is attached to as well as the
person that has made purchase of the product. From a formal point of
view, RFID chips reveal an organic structure, surprisingly similar to a
cellular structure. With the ART FID (2005) series**, UBERMORGEN.COM
uses the visual impact of a suprematist painting, and tells us about
this mix between biotechnologies and digital technologies, this
neverending overlapping of two contiguous levels that is shaping our
identity.

Domenico Quaranta

+++

fabioparisartgallery
via Alessandro Monti 13 – 25121 Brescia
tel. 030 3756139 – skype: fabioparisbs
www.fabioparisartgallery.com

:::::::::::::::::::::::::::::::::::::::::::::::::::

Domenico Quaranta

mob. +39 340 2392478
email. qrndnc@yahoo.it
home. via x giornate 41 – 25030 brandico (BS)
web. http://xoomer.virgilio.it/mimmo40/

CALL FOR INTEREST: Nordic Centre For Artists’ Books

February 27th, 2006 · -- · Call for Papers, Competition opportunity, Conference, Criticism, Festival, Research Opportunity, Resource, Theory, [2]News & Events, net art No comments

NCFAB is a non-profit organisation, set-up 2005.

This is a call to interest for “O Digital” project.

Persons (artists, programmers, cultural workers, book workers…)
interested in the collaboration and production of work regarding the
reading/creative/cultural space(s) of Net(book)art and the genre of
artists’ books, please go to – http://www.ncfab.org/O_Digital.html

More details here: http://www.ncfab.org/O_Digital.html

O Digital project is an experimental collaborative project, between
selected international and nordic artists, that aims to explore the
lacunae exisiting between Net Art and the genre of Artists’ Books.

O Digital seeks to put in place specific work-spaces for artists to
consider the nature and narratives of digital space with regard to
artists’ books and the physical reading spaces of Net Art, vice-versa.

Can the genre of the artist book and the hub of Net Art possibly be
read as a mutual symbiotic relationship?

Marking the distribution of print and code in the excesses (for some a
scarcity) of both the digital and physical realms, O Digital looks
towards the development of fresh ideas concerning the artists’
bookwork and the artists’ digital bookwork as cultural tools to aid
and challenge (nordic) public reading identities.

This information will be freely availiable online at the time of
publication in the form of PDF, Word and Note Pad .txt files and
AVI’s.

If you would like to know more about O Digital, and future press
releases, please contact us here at NCFAB.

Atlas of Cyberspaces

February 25th, 2006 · -- · Resource, [2]News & Events No comments

This is an atlas of maps and graphic representations of the geographies
of the new electronic territories of the Internet, the World-Wide Web
and other emerging Cyberspaces.

These maps of Cyberspaces – cybermaps – help us visualise and comprehend
the new digital landscapes beyond our computer screen, in the wires of
the global communications networks and vast online information
resources. The cybermaps, like maps of the real-world, help us navigate
the new information landscapes, as well being objects of aesthetic
interest. They have been created by ‘cyber-explorers’ of many different
disciplines, and from all corners of the world.

Some of the maps you will see in the Atlas of Cyberspaces will appear
familiar, using the cartographic conventions of real-world maps,
however, many of the maps are much more abstract representations of
electronic spaces, using new metrics and grids. The atlas comprises
separate pages, covering different types of cybermaps.

http://www.cybergeography.org/atlas/atlas.html

Originally posted at netbehaviour

CONVOCATORIA: Ejercito Videoasta Latinoamericano

February 25th, 2006 · -- · Competition opportunity, Festival, Video, [2]News & Events No comments

El Ejército Videasta Latinoamericano (E.V.I.L) convoca fugazmente a
los interesados en presentar una propuesta de video experimental con
el tema de LA FOTOGRAFÍA, en ocasión de la extraordinaria y sin
precedentes exposición “HENRY CARTIER-BRESSON – CUADERNOS MEXICANOS
1934-1964″ a realizarse en el Teatro Rubén Darío del 2 al 10 de marzo.

Los trabajos seleccionados serán presentados junto con otro material
referente al tema de la fotografía en el Cine July de la Colonia
Centroamérica como despedida para el finado maestro Cartier-Bresson.

Fecha de entrega: 9 de marzo de 2006.
Formato: DVD o cinta MiniDV (NTSC).
Duración máxima: 3minutos.

La fecha de proyección está por confirmarse.

Nota: pedimos disculpas por la impronta de esta misiva pero a
Cartier-Bresson le preocupó mucho el tema del instante decisivo.

E.V.I.L

CONVOCATORIA: Ejercito Videoasta Latinoamericano

February 25th, 2006 · -- · Competition opportunity, Festival, Video, [2]News & Events No comments

El Ejército Videasta Latinoamericano (E.V.I.L) convoca fugazmente a
los interesados en presentar una propuesta de video experimental con
el tema de LA FOTOGRAFÍA, en ocasión de la extraordinaria y sin
precedentes exposición “HENRY CARTIER-BRESSON – CUADERNOS MEXICANOS
1934-1964″ a realizarse en el Teatro Rubén Darío del 2 al 10 de marzo.

Los trabajos seleccionados serán presentados junto con otro material
referente al tema de la fotografía en el Cine July de la Colonia
Centroamérica como despedida para el finado maestro Cartier-Bresson.

Fecha de entrega: 9 de marzo de 2006.
Formato: DVD o cinta MiniDV (NTSC).
Duración máxima: 3minutos.

La fecha de proyección está por confirmarse.

Nota: pedimos disculpas por la impronta de esta misiva pero a
Cartier-Bresson le preocupó mucho el tema del instante decisivo.

E.V.I.L

Ctheory releases: If this Space is For Rent, Who Will Move In? From Modernist to Postmodernist Forms of Criticism by Menachem Feuer

February 23rd, 2006 · -- · Criticism, History, Online Journal, Theory, [2]News & Events No comments

================

This Space for Rent
——————-

Fools lament the decay of criticism. For its day is long past.
Criticism is a matter of correct distancing. It was at home in a
world where perspectives and prospects counted and where it was
possible to take a standpoint. Now things press too closely on
human society. The “unclouded,” “innocent” eye has become a lie,
perhaps the whole naive mode of expression is sheer
incompetence. Today the most real, the mercantile gaze into the
heart of things is the advertisement. It abolishes the space
where contemplation moved and all but hits us between the eyes
with things as a car, growing in gigantic proportions, careens
at us out of a film screen. And just as the film does not
present furniture and facades in completed forms for critical
inspection, their insistent, jerky nearness alone being
sensational, the genuine advertisement hurtles things at us with
the tempo of a good film… For the man in the street, however,
it is money that affects him in this way, brings him into
perceived contact with things. And the paid critic, manipulating
paintings in the dealer’s exhibition room, knows more if not
better things about them than the art lover… The warmth of the
subject is communicated to him, stirs sentient springs. What, in
the end, makes advertisements so superior to criticism? Not what
the moving red neon sign says — but the fiery pool reflecting
in the asphalt. [1]

— Walter Benjamin

Writing years in advance of television and the internet, Walter
Benjamin’s vision of the future places the new sensibility created by
mechanical reproduction at the forefront of modernity. The most
important aspect of this sensibility is the radical immediacy it
lodges into the heart of modern life. Benjamin understood, quite
clearly, that all aspects of life would be affected by this immediacy
in a way quite similar to Karl Marx’s vision of capitalism in terms
of an ecological (read: total) change of society. The danger of such
a change, as Benjamin and Marx understood it (both understood
capitalism as creating social and cognitive changes), was the threat
of homogenization and mindless consumerism. Indeed, Benjamin’s
colleague at the Frankfurt School, Theodor Adorno, believed the
“culture industry” turned everyone into consumers and foreclosed the
possibility of thought and heterogeneity.[2] Benjamin took a much
different approach, instructive for us in our post 9/11 crisis
culture wherein homogeneity is circulated by reducing the world to a
Manichean struggle between democracy and terror. He argued that,
rather than taking a position that merely reacts to the media,
intellectuals should imitate it and use its strengths in the name of
revolution and heterogeneity. For this reason, he argued that
criticism should incorporate aspects of film and, strangely enough,
the most open media expression of capitalism: the advertisement.

Now, given this paper’s epigraph, we must ask the question of the
hour for theory, which Benjamin asked nearly a century ago — should
theory become the “genuine advertisement?” Walter Benjamin certainly
thought this an imperative not to be taken lightly as the “space,”
perhaps of the critic, is “for rent.” In other words, the space that
the “objective” critic once occupied is now on the market. To make
things more intense and to force an eviction of sorts, Benjamin’s
message to critics of his time (and of the future) is to realize that
what was once called criticism is “long past.” As Benjamin sees it,
the critic refuses to leave or, more precisely, acknowledge that
criticism must change. For Benjamin, this acknowledgment must begin
with accepting the possibility that the critic can, and most likely
will, be replaced by what Benjamin elsewhere calls “mechanical
reproduction,” but this replacement, although “mechanical,” still
touches us. It is something more tactile and projective than
objective criticism ever could be.

Read the entire essay at Ctheory

CALL FOR WORK AND PARTICIPATION: Perform.Media – A Transdisciplinary Festival of Creativity, Research, Theory and Technoculture

February 23rd, 2006 · -- · Competition opportunity, Conference, Festival, Music, [2]News & Events No comments

++Art Work and Creative Practices
 
++Papers Presentations, Panels, Workshops, Intellectual Environments and Practices
 
Perform.Media – A Transdisciplinary Festival of Creativity, Research, Theory and Technoculture
September 29th-October 14th, 2006, Indiana University, Bloomington, Indiana
 
Website: http://performthemedia.net
 
DEADLINE FOR PAPER PRESENTATIONS
Deadline for Abstracts:  April 30th, 2006
Acceptance Notification:  May 15th, 2006
 
DEADLINE FOR PANELS, WORKSHOPS, INTELLECTUAL ENVIRONMENTS AND PRACTICES
Deadline for Proposals: April 30th, 2006
Acceptance Notification:  May 15th, 2006
 
DEADLINE FOR ART WORK AND CREATIVE PRACTICES
Deadline:  May 15th, 2006
Acceptance Notification:  June 15th, 2006
 
Perform.Media is an international media arts festival and symposium creating an innovative venue for creative and intellectual work around the momentary process and performance in new media art and culture.  We begin with the premise that newer media, along with modes of representation and narrative, embody momentary processes from roots in cybernetics and the biological, to the embodied performance of interface, improvised network exchanges and spontaneous social acts in multi-user synthetic worlds.  Such mediated experiences and actions form meaning in sense experience and performance along with interpretive processes like depiction and reception.  The dynamic, reciprocal process of the user(s) generating, configuring, interacting, choosing and authoring is an important component of new media and technologies, expressed in both the design of the media and in the momentary, improvised performance of the participant. 
 
The festival and symposium seeks the accordance and collision of ideas through the lens of interdisciplinarity, exploring the performance of new media and the performative qualities of human-computer and technologically mediated social interaction.  Perform.Media will examine sense experience and meaning at the threshold and in the performing action, along with the reflexive construction of narrative, where creative play, social practices, augmented embodiment and exploratory methods establish processes that spin out, overlapping locales of influence, in networked, “glocal”, mobile, participatory, socially interactive, live processed, locative, responsive and multi-user realms. 
 
Perform.Media aims to examine and melt the usual spatial and temporal prescriptions of author and spectator in art, creative work and intellectual practice. Perform.Media traverses transdisciplinary territories in collaborations and social feedbacks of live sound+image, interactive and game media, HCI, improvisations, performance processes, interactive gallery environments, mobile and locative work, live art works, net.art, research practices, theoretical discussion, paper presentations, workshops, intimacy and communication both online and off.
 
SUBMISSION GUIDELINES
Submission forms can be downloaded at- http://performthemedia.net/submissions.html
 
++Paper Presentations, Panels, Workshops, Intellectual Environments and Practices
 
The Perform.Media symposium welcomes submissions of papers, panel discussions, workshops and intellectual environments around the theme of the festival- performance process in new media, theory, research and technological practice.  The Perform.Media symposium seeks to promote discussion and collaboration.  The environment of the symposium will be conversation based.  Proposals for panels, workshops and presentations that energize into new areas of intellectual exchange will be welcomed.  All presentations will be moderated and encourage participation, questioning and debate.  An online forum, discussion and net.art exhibition will precede the festival.  Paper abstracts will be published on the Perforrm.Media website.
 
++Art Work and Creative Practices
 
Work criteria-
Perform.Media seeks new media work and proposals for black box, white cube or network that engage in the practice of performing media or media performance.  We are looking for work that asks the questions- How does the “doing,” the performing inform us in this new media?  How does this media perform, what does it do and how does it engage us?
 
Types of work-
Ambient/Ubiquitous Technologies and Creative Practices, Avatars, Dance/Embodied work, Environments and Space Based work, Games, HCI, Interactive/Participatory Installation, Interface Art, Live Art, Locative Media, Mapping, Mobile Screens, Mobile/Wireless Devices, Net.Art, New Media Performances, Simulations and Synthetic Worlds, Theatrical Pieces, Video Processing and VJ/DJ styles…
 
For questions contact abucksba@indiana.edu

E’ uscito Neural n.22!

February 22nd, 2006 · -- · Online Journal, Research Opportunity, Resource, [2]News & Events No comments

(Questo comunicato arriva tre volte l’anno.
Se ti da fastidio, per un qualsivoglia motivo
manda una mail con ‘remove’ nel subject e
non te lo rimanderemo. Grazie comunque.)
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http://www.neural.it/n/n22.htm
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:: [Neural.it] http://neural.it/
:: News e recensioni quotidiane
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:: tre numeri + l’esclusivo
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[Sommario Neural n.22]
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. Molleindustria (intervista),
. Lawrence Lessig (intervista),
. news (You Whores, Vigilance 1.0
Keyboard Acoustic Emanations, Pizza Party,
Empire North).
. reviews: (Broken Channel; Tester,
P2P fightsharing, Biomedia, Spam Kings,
Protocol, Media Politics and the Network Society,
Profiling Machines, I diritti dell’era digitale)
. . . . . . . . . . . . . . . . . . . . . . . . .

. Staalplaat Soundsystem (intervista),
. Cronica (intervista),
. The Sequencer Paradigm,
. news: (Shadowplay Reanimated, Spinalcat,
Sonic Fabric, Let Them Sing For You,
Tectonic Plates)
. reviews: (P. Glass S. Reich, DJ Spooky,
Delaware, Bianco-Valente, D.Cope, Pure Dekam,
Dextro – A/Turux-B)
. reviews cd: (Christian Marclay, Musica Futurista, Phon.o,
Si-cut.Db, Agents of Impurity, Koji Asano, Oh Astro,
Transient Travels, PXP, Kiritchenko, JDS, Forbidden 80s,
Electric Lounge Orchestra, Noise Tank, Pirandelo…)
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. Ubermorgen (intervista),
. Jonah Brucker Cohen (intervista),
. Infection as Communication,
. Videogame Art,
. news (Wimp, mirrorSpace, Fenlandia,
Panos, txtkit).
. reviews (Media Art Net, Future Cinema,
The Cinema Effect, Frags, net.art generator,
Understanding Media Theory, First Person,
Windows and MIrrors, Net Art 1994-1998,
L’arte della rete, l’arte in rete)
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–

Alessandro Ludovico
Neural.it – http://www.neural.it/ daily updated news + reviews
English content – http://www.neural.it/english/
Suoni Futuri Digitali – http://www.neural.it/projects/sfd/