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Archive: June, 2006

ESCORIA Archivo de Nuevos Medios

El videoarte en Ecuador tiene ya un archivo oficial
ESCORIA Archivo de Nuevos Medios en el Arte
Ecuatoriano del cual soy su Directora General.

Pongo a su disposición los siguientes link a través de
los cuales podrán acceder a textos de mi autoría
referidos al tema que investigo.

Conforme vaya escribiendo nuevas aproximaciones sobre
el vidoarte en Ecuador les enviaré el link
correspondiente.

ESCORIA es un Archivo abierto a posibilidades de
difusión, investigación y exhibición, tanto de su
propio inventario como del que se proponga desde fuera
del mismo.

Estaré encantada de escuchar sus noticias.  Saludos
cordiales desde Quito-Ecuador.

María Belén Moncayo

http://www.experimentosculturales.com/textos/moncayo/robando_fuego.html

http://www.latinart.com/spanish/aiview.cfm?id=352

http://www.ochoymedio.net/opinion/jenny-jaramillo.html

http://www.ochoymedio.net/opinion/sapoinc.html

Call for Papers: THE GEOSPATIAL WEB – How Geo-Browsers, Social Software and the Web 2.0 are Shaping the Network Society

http://geoweb.know-center.at/

You are cordially invited to submit chapters for an upcoming book on the
Geospatial Web, published by Springer in the Advanced Information and
Knowledge Processing Series. By integrating cartographic data with
geo-tagged knowledge repositories, the emerging Geospatial Web will
revolutionize the production, distribution and consumption of media
products. This edited volume will bring together high quality
contributions on the technical foundations of the Geospatial Web, present
information services and collaborative environments built on top of
geo-browsers such as Google Earth and NASA World Wind, and investigate the
economic and societal impacts of such knowledge-intensive applications. A
particular focus of the book is the integration of geospatial and semantic
technology, for example to extract geospatial context from unstructured
textual resources.

*** IMPORTANT DATES

Oct 10, 2006: Paper Submission Deadline
Nov 01, 2006: Notification of Acceptance
Dec 01, 2006: Camera-ready Copy of Final Chapters Due
May 31, 2007: Publication

*** SCOPE

The Geospatial Web will have a profound impact on managing knowledge and
structuring workflows within and across organizations, and on the
interaction between those organizations and their target audience.
Geo-browsers are an ideal platform to integrate (i) cartographic data such
as topographic maps and street directories, (ii) geo-tagged knowledge
repositories aggregated from public online sources or corporate Intranets,
and (iii) environmental indicators such as emission levels, ozone
concentrations, and biodiversity density.
This edited volume emphasizes the role of contextual knowledge in
shaping the emerging network society. It investigates the impact of
geospatial technology on content production environments, with an emphasis
on hybrid approaches that combine the advantages of individual and
collaborative content production – e.g. integrating Å’edited‚ material from
traditional encyclopedias and news media with ‘evolving’ content from Wiki
applications. Such collaborative environments can be enriched by automated
aggregators for Web content and news feeds in RSS, RDF, or Atom formats.
Annotating content from these heterogeneous sources creates complex
knowledge repositories spanning multiple dimensions (space, time,
semantics, etc.). The size and complexity of these repositories calls for
new interface metaphors to increase their accessibility and transparency.
Possible topics for submissions include but are not limited to:

- State-of-the-art and emerging trends of geo-browsing platforms
- Knowledge acquisition and management in a geospatial context
- Knowledge relationship discovery and management; e.g. matching
geospatial relationships with semantic or temporal relationships
- Knowledge-intensive, location-based services
- Marketing of products and services via the Geospatial Web
- Annotation and ontology services as enablers of the Geospatial Web
- Natural language processing to extract geospatial context
- System architectures of dynamic, distributed geospatial applications
- Platform connectivity (mash-ups, add-ons, XML/RDF exchange formats)
- Collaborative authoring via geo-browsers
(Web 2.0 extensions, social software)
- Geospatial environments for knowledge workers
- Tracking the behavior of users navigating the Geospatial Web
- Human-Computer Interaction (HCI) research on geospatial interfaces
- Case studies of geospatial applications in various domains
o Mapping of environmental indicators (sustainability)
o Geo-temporal news browsers (media industry)
o JIT information retrieval agents for destinations (tourism)
o Emergency response simulations (crisis & disaster management)
- Societal implications (global awareness and identity,
impact of virtual communities)

*** SUBMISSION

Only electronic submissions will be accepted in either MS Word or RTF
format (word limits excl. references: full papers 4000-5000 words; short
papers: 1500-2000 words). Authors should identify the type of submission:
Completed Research, Research-In-Progress, Case Study. Submissions must be
based on the MS Word template at http://geoweb.know-center.at/, and
neither be published previously nor under consideration for publication
elsewhere.

*** EDITORS

Prof Arno Scharl (scharl@know-center.at)
Prof Klaus Tochtermann (ktochter@know-center.at)

Know-Center and Graz University of Technology,
Knowledge Management Institute, Inffeldgasse 21a, A-8010 Graz, Austria
www.know-center.at | kmi.tugraz.at | www.ecoresearch.net

Public Interest Groups Respond to New FCC Ownership Rules

StopBigMedia.com Rallies Public Opposition to Greater Media Consolidation

WASHINGTON – A diverse alliance of consumer, civil rights, labor and media reform groups today raised serious concerns about the Federal Communications Commission’s latest attempt to change longstanding rules on local media ownership. Urging greater public involvement in the debate over the future of the media, the groups launched a new campaign and Web site at ://ent.groundspring.org/EmailNow/pub.php?module=URLTracker&cmd=track&j=84374671&u=775382.

“For far too long, media policy in this country has been made behind closed doors in the public’s name but without our informed consent,” said Robert W. McChesney, president of Free Press. “Despite overwhelming public opposition to greater media consolidation from across the entire political spectrum, the FCC and industry lobbyists are trying to sneak through the same misguided rules rejected in 2003. Chairman Kevin Martin appears to have learned little from the last ownership rules debacle. But the public’s views are clear: Big Media is already big enough.”

At a meeting today in Washington, the FCC issued a “Notice of Proposed Rulemaking,” the first step in any new media ownership regulations. But Chairman Martin did not outline the specifics of new rules the FCC could implement by the end of the year.

“This innocuous-looking document initiates the single most important public policy debate that the FCC will tackle this year,” said Commissioner Michael Copps. “Don’t let its slimness fool you. It means that this Commission has begun to decide on behalf of the American people the future of our media. It means deciding whether or not to accelerate media concentration, step up the loss of local news and change forever the critical role independent newspapers perform for our country.”

The commissioners voted to launch the new process with partial dissents from Commissioners Jonathan Adelstein and Copps.

“The manner in which the Commission is launching this critical proceeding is totally inadequate,” Adelstein said. “It is like submitting a high-school term paper for a Ph.D. thesis. The large media companies wanted, and today they get, a blank check to permit further media consolidation.”

The new rulemaking allows 120 days for public comment, and FCC Chairman
Kevin Martin pledged at today?s hearing to hold “half a dozen” public hearings and conduct independent studies.

“The FCC needs to heed the lesson of its previous media ownership proceeding and this time adopt a more open, more inclusive process as it considers any changes to its rules,” said Benton Foundation President Gloria Tristani, who served as an FCC Commissioner from 1997 to 2001. “The American public must have every opportunity to be engaged in and actively participate in the policy decisions that will determine the future of their media.”

Opponents of greater media consolidation strongly criticized the lack of specific rules in the FCC’s proposal.

“The essence of democratic government is to give the people a chance to effectively participate in writing the rules under which they live,” said Mark Cooper, director of research for the Consumer Federation of America. “This Notice denies the public the opportunity to comment on the actual rules that will govern the media in America, since no rules are proposed. If the Commission does not allow further comment, the courts should reject this sham.”

While today’s FCC action lacks details, Chairman Martin has been outspoken in his desire to eliminate the longstanding “cross-ownership” ban that prevents one company from owning TV or radio stations and the major daily newspaper in the same market.

“The prohibition against owning a local broadcaster and a local newspaper in the same market is critical to preserving what the Supreme Court called ‘antagonistic sources of news’ at the local level,” said Linda Foley, president of the Newspaper Guild-CWA. “While some argue that the onset of digital communications provides many sources for national and international news, the vast majority of Americans get local news from either their local TV stations or their local newspaper. Our members know firsthand that the goal of media consolidation is to gain economic efficiencies. The result is merged news operations and reduced numbers of reporters covering local stories.”

The FCC also may try to lift local ownership caps to allow a company to own two or more television stations in a single market. If both rule changes were approved, one firm could potentially own the major daily newspaper, eight radio stations and three television stations in the same town.

“Instead of local ownership with a diversity of views, we now have homogenized, cookie-cutter media divorced from local concerns,” said Nancy Zirkin, deputy director of the Leadership Conference on Civil Rights. “While Latino Americans, African Americans, Asian Americans, and Native Americans make up fully one-third of our nation, that one third has control over less than 2 percent of the dominant means of communication in this country. This should be a national embarrassment.”

When the FCC last tried to change the media ownership rules in 2003 under then-Chairman Michael Powell, nearly 3 million people contacted the FCC and Congress to oppose the rules. They were later overturned by the courts, sending the FCC back to the drawing board.

“We filed suit against the FCC’s new media ownership rules because the local groups that we know have experienced, first hand, the inordinate power that corporations exert through the media,” said Pete Tridish of Prometheus Radio Project, the plaintiff in the lawsuit, Prometheus v. FCC, which overturned the FCC’s last attempt to change the rules.

“Last time, the FCC started with a presumption that its goal was to deregulate,” said Andrew Jay Schwartzman, president of Media Access Project, who argued the Prometheus case. “This time, we have a court decision that tells the FCC to take its thumb off the scale. If the Commission follows that directive, I’m sure that it will leave the existing rules in place.”

But some FCC watchdogs were not optimisitic that the majority of commissioners would place the public interest before the self-interest of Big Media.

“The FCC is placing the narrow interests of the country’s media giants ahead of its duty to protect the public,” said Jeff Chester, executive director of the Center for Digital Democracy. “Instead of a communications environment that supports diversity of expression and serious journalism, we will have one shaped by infotainment, commercialism, and private gain.”

While awaiting the official schedule of hearings, allied groups are moving forward with plans for “unofficial hearings” on media consolidation — including a “Town Meeting on the Future of the Media” organized by Free Press on June 28 in Asheville, N.C., with Copps and Adelstein.

“The public understands that Big Media is growing bigger, more consolidated, and less accountable to the public,” said Sydney Levy, program director of Media Alliance. “The question is whether the FCC is willing to listen. We call on the FCC to establish and encourage robust public participation.”

The StopBigMedia.com campaign is coordinated by Free Press and includes more than two dozen charter members, including the Action Coalition for Media Education, AFL-CIO, Department of Professional Employees, American Federation of Television and Radio Artists, Benton Foundation, CCTV – Center for Media and Democracy, Center for Creative Voices in Media, Center for Digital Democracy, Coalition for the People’s Agenda, Common Cause, Consumer Federation of America, Consumers Union, Future of Music Coalition, GRIID, Independent Press Association, Industry Ears, Institute for Agriculture and Trade Policy, Media Access Project, Leadership Conference on Civil Rights, Media Alliance, Media Empowerment Project, National Council of Churches, National Federation of Community Broadcasters, New America Foundation, Newspaper Guild-CWA, Prometheus Radio Project, Public Citizen, Rainbow/PUSH, United Church of Christ and U.S. PIRG.

“FCC Chairman Martin passed up a golden opportunity to make clear to American public that this was no longer Michael Powell’s FCC,” said Chellie Pingree, president of Common Cause. “Instead, the public remains uncertain about whether the FCC intends to change its ways and truly commit to involving them in these crucial media ownership decisions.”

“There is widespread public concern about concentration and bias in the media,” added Gene Kimmelman, vice president of federal and international affairs for Consumers Union. “We need to remind the Commission how important a variety of independent and locally owned sources of news and information are to our democracy.”

For more information, see http://ent.groundspring.org/EmailNow/pub.php?module=URLTracker&cmd=track&j=84374671&u=775383

Freewaves
http://ent.groundspring.org/EmailNow/pub.php?module=URLTracker&cmd=track&j=84374671&u=775384

The C5 Quest for Success – Call for Participants

Enter to play the C5 Quest for Success during the ZeroOne San Jose/ISEA
2006 Symposium August 9-12, 2006
http://www.c5corp.com

The C5 Quest for Success is an invited project for ZeroOne San Jose: A
Global Festival of Art on the Edge. The ZeroOne San Jose Festival will
transform San Jose into the North American epicenter of art and digital
culture from August 7th to the 13th, showcasing the world’s most
innovative contemporary artists. http://01sj.org

Quest for Success is curatorial selection as urban game, testing
competitors’ analysis, management, and cooperative decision making
skills – traits needed for success in Silicon Valley. The grand prize is
a six to twelve week residency at the Montalvo Arts Center co-sponsored
with C5 and a Silicon Valley corporate partner – a great opportunity for
the right player with the right project pitch. Contestants navigate the
streets of San Jose exploring GPS controlled narratives in an attempt to
locate the C5 Corporate Limo. Once there, you just might have the
opportunity to pitch your proposal to a panel of distinguished experts.
A single winner from each evening’s competition then advances to the
final round on Saturday, August 12th. Three finalists representing TALK,
DEMO, PERFORM ‘present’ their pitch live on-stage to an audience of
thousands during the ZeroOne San Jose culminating celebration.

Does the smell of gasoline and oil perk you up like caffeine? Do lat and
long coordinates make your heart sing? Then apply for a chance to win
the Montalvo Arts Center C5 artist residency. Six to twelve weeks in
picturesque Saratoga, California, working on the project of your dreams
with the assistance of one of Silicon Valley’s corporate powerhouses.
Does mapping make you giddy? Does your imagination swell listening to
stories about entrepreneurial masterminds and nefarious misdeeds? The C5
Quest for Success is your opportunity to be the passionate competitor
you know you are.

Apply to participate: http://www.c5corp.com/projects/quest/. You might
be the next big thing coming out of Silicon Valley!

—-
C5 Corporation specializes in cultural production informed by the
blurred boundaries of research, art and business practice
http://www.c5corp.com

—-

C5 presents the C5 Quest for Success in cooperation with GoCar, renters
of the world’s first GPS Guided Story Telling cars powered by ZeeZou gps
tour software. http://www.gocarsf.com/

DIGICULT PRODUZIONI: In occasione della sesta edizione del festival Dissonanze

23.06.06 – 9.30am

www.digicult.it
www.digicult.it/digimag
www.digicult.it/podcast
info@digicult.it

The english version of Digimag 15, Italian monthly magazine of digital culture and electronic arts, is available online.

///DIGIMAG ENGLISH VERSION ˆ #ISSUE 15 ˆ JUNE 06 – http://www.digicult.it/digimag_eng/index.html



Interviews: LEMUR, SABRINA RAAF, GIUSEPPE IELASI

Featuring: JARON LANIER, MIXED MEDIA, OFFF FESTIVAL, MINIMALIST MONDAY LOOP FESTIVAL, TELEVISION SERRANA, C.STEM, 2MANYVJS, MATTHEW BARNEY, JODI

Themes: WHEN THE DJ GOES TO THE CINEMA, MUSIC IN SECOND LIFE, ONLINE VIDEO, COLLABORATION PARADOX

Cover: ARIANNA D’ANGELICA

Artwork: MIXED MEDIA

Translations: GIULIA ARTIOLI, IAN BOLTON, MICAELA GENCHI, ORNELLA PESENTI, ROBERTA VIRGILIO

/////////////////////////////////////////////////////////////

Digicult:

http://www.digicult.it/index_eng.htm

Archive:

http://www.digicult.it/archivio/digimag_09eng/index.html
http://www.digicult.it/archivio/digimag_10eng/index.html
http://www.digicult.it/archivio/digimag_11eng/index.html
http://www.digicult.it/archivio/digimag_12eng/index.html
http://www.digicult.it/archivio/digimag_13eng/index.html
http://www.digicult.it/index_eng.htm

/////////////////////////////////////////////////////////////

Digicult is based on a daily updated web portal and a monthly magazine regarding the following topics:

- Net Art
- Hacktivism
- Software Art
- Video Art
- Electronica
- Audiovideo
- Performing Art
- Artificial Intelligence
- Design
- New Media

The Digicult project is based on the active participation of professionals who are active in the fields of culture and digital and electronic arts. Each professional is furthermore involved in a web community composed by other professionals, artists or just enthusiasts interested in the specific topics dealt with by Digicult. The large number of these – including a Digicult internal community – forms a great number of digital associations, which are kept constantly updated on all activities concerning live events, news and media partnerships by the monthly issue of Digimag magazine. Every community is called on to actively participate with people who are directly involved in each project.

//////////////////////////////////////////////////////////////////

Digicult is an italian network of almost 30 contributors and 10 huge italian communities and projects collaborating to the magazine and the portal at large; some of the best italian journalists, curators, critics of the growing new media culture in Italy.

///Editorial Staff

- Marco Mancuso – concept, editing, coordination and design

- Arianna D’Angelica – photo editing, covers and photos

- Luca Restifo – programming

///Contributors

- Luigi Pagliarini – Artificial Intelligence

- Tatiana Bazzichelli – Hacktivism e Net Art

- Gianluca Del Gobbo – Audiovideo

- Bertram Niessen – Audiovideo

- Teresa De Feo – Design and Artificial Intelligence

- Miriam Petruzzelli – Design and New Media

- Luigi Ghezzi – New Media and Artificial Intelligence

- Giulia Baldi – Electronica

- Simona Brusa – Design

- Alex Dandi – Electronica

- Simone Bertuzzi – Electronica

- Domenico Quaranta – Software Art

- Maria Molinari – Hacktivism

- Leo Learchi – Electronica

- Lorenzo Tripodi – New Media

- Massimo Schiavoni – Performing Art

- Mariangela Scalzi – Design

- Monica Ponzini – Video Art

- Domenico Sciajno – Audiovideo and Electronica

- Valentina Tanni – Software art and Net Art

- Annamaria Manteverdi – Performing Art

- Motor – Artificial Intelligence

- Isabella Depanis – Video Art

- Tiziana Gemin – I.A. and New Media

- Beatrice Ferrario – Net Art and Hacktivism

- Maria Rita Silvestri – New Media

- Fabio Franchino – Software Art

- Lucrezia Cippitelli – Hacktivism and Net Art

- Alessandra Migani – Video Art and New Media

- Sarah Nussenblatt – New Media

- Matteo Traversari – Design

- Luca Bergero – Sound Art

- Marco Cadioli – New Media

- Silvia Bianchi – Audiovideo

- Elena Vairani – Audiovideo

- Francesca Valsecchi – hactivismo and new media

- Claudia D’Alonzo – hacktivismo and new media

- Luca Merzello – Design

- Drexkode – Elettronica

- Barbara Sansone – Design

///Translations

- Giulia Artioli

- Ian Bolton

- Micaela Genchi

- Ornella Pesenti

- Roberta Virgilio

//////////////////////////////////////////////////////////////////

///Disclaim and privacy

DIGIMAG non è un mail magazine, quindi non verrà distribuito mediante mail invasive, con codice Html e allegati pesanti, non verrà effettuata alcuna attività di spamming ma verrà semplicemente effettuata una segnalazione via email dell‚uscita di ogni nuovo #issue mensile a tutti i membri della mailing list con abstract del numero in uscita e un link diretto al magazine.

Per iscriversi alla mailing list di DIGICULT inviare una mail a info@digicult.it con oggetto „Iscrizione‰

Per cancellarsi dalla mailing list di DIGICULT inviare una mail a info@digicult.it con oggetto „Cancellazione‰

//////////////////////////////////////////////////////////////////

Marco Mancuso
Director – Digicult Produzioni
———————————-
Ripa di Porta Ticinese 39
20143 Milan – Italy
Mob. +39.340.8371816
———————————-
www.digicult.it
www.digicult.it/digimag
www.digicult.it/podcast
info@digicult.it

SVEN – Beach and World Van Tour ‘06

http://deprogramming.us/sven

June 2006: SVEN – Surveillance Video Entertainment Network (aka “AI to the
People”) – makes its street debut.

The SVEN van – aka “SVAN” – kicked off its Beach and World Tour on the streets
of San Diego. Vying for attention with the ocean and The GAP, the SVAN mobile
surveillance music video unit rolled into the upscale beach community of La
Jolla. Parking by the surf and in the downtown shopping district, the SVEN van
set down its brake and set up its camera, video screen and sound system in
search of undiscovered rock stars.
http://deprogramming.us/sven/drives.html

What is SVEN?

SVEN is the project that asks the question, “If computer vision technology
can detect when you look like a terrorist, criminal, or other nasty type -
why not have it detect when you look like a rock star?”

SVEN stands for “Surveillance Video Entertainment Network,” and SVEN takes the
Entertainment part very seriously. Why? Because people already take
surveillance seriously – it’s scary, after all. But that’s just because it’s
almost always used in ways that scare and mystify people.

So, SVEN has responded by developing some far more entertaining surveillance
technology. The SVEN system, using custom computer vision algorithms,
detects when a pedestrian looks like music video
star, and converts boring surveillance video into a music video before
onlookers’ eyes. Since it’s a surveillance system, rock-star pedestrians don’t
know when they’re being watched. But anyone looking on at the SVAN can witness
the newly-discovered stars’ 15 seconds of fame.

Why the Beach?

SVEN believes the beach is an overlooked but auspicious site for public
interruption. Beachgoers represent some interesting cross-sections of the
population.

Why the World?

The world is an auspicious site for public interruption too.

Why Computer Vision?

Like all technologies, computer vision is subjective. What makes someone
look like a terrorist? Does software “profile” the same way humans do?
SVEN develops its own algorithms – in this case, with the
aim of using software to quantitatively idenitfy “desirable”
pedestrians instead of “undesirable” ones.

Why Video?

The contemporary collision of surveillance, television, and perhaps all
forms of video is familiar by now. What used to be very different forms of
video have somehow become indiscernible. But how does the semiotics of film
language play into all this? What happens to surveillance footage when
the language of narrative and music video is applied to it? SVEN
algorithmically composes and edits surveillance footage in real-time,
music video style.

Enough background! What Next?

The SVEN van will be making appearances in various cities throughout the summer
and fall – both randomly-occuring city drives and scheduled drives held in
conjunction with hosted events. A comparative study of culturally and
recreationally diverse beach populations is in the works.

Next Scheduled SVENCOUNTER:

July 12, 2006: Escher-Wyss-Platz. Zürich.
Hosted by the Digital Art Weeks Conference:
http://www.jg.inf.ethz.ch/wiki/DAW/Front.
(Drive on July 12; Talk on July 13)

Upcoming SVENCOUNTER:

August 7-13, 2006: Downtown San Jose, California
Hosted by the ISEA 2006 Symposium / ZeroOne San Jose Festival
http://01sj.org

Coming this fall:
SVEN open source computer vision software for public spaces.

SVEN is being developed on an ongoing basis, so changes to software and
presentation are made continually.

SVEN Development/Production Team ‘06: Amy Alexander, Wojciech Kosma, Vincent
Rabaud
Production Assistants/Roadies: Marilia Maschion, Annina Ruest
Initial SVEN Development by: Amy Alexander, Jesse Gilbert, Nikhil Rasiwasia

More info, pictures, videos, and theoretical text:
http://deprogramming.us/sven
Contact: sven06 (fill_in_the_symbol) deprogramming.us

Inkscape Announces 0.44 Release

http://www.inkscape.org

The Inkscape community today officially released the latest version of
its vector graphic drawing software. Inkscape 0.44 adds many new
features, is faster and more usable, better supports SVG, is translated
into more languages (17 on last count), and adds a lot of polish and
refinement.

Major new features include Layers dialog, support for clipping and
masking, improved PDF export with transparency, configurable keyboard
shortcuts, innovative “node sculpting” capability in Node tool, and the
Outline mode. Significant gains are achieved in performance, especially
in screen rendering and Node tool.

Noticeable user interface changes include docked color swatches,
interactive style indicator in the statusbar, a redesigned preferences
dialog, a text toolbar, and new icons. Our SVG compliance has also taken
a step forward, with the added support for the switch tag and ICC
color profiles for images. This release also includes hundreds of
smaller features, usability enhancements and bug fixes.

For several releases, a collection of extension effects was shipped with
Inkscape, but the Effects menu to access them was turned off by
default. With this release, it has become mature enough, with effects
working out of the box on all platforms, so this menu is enabled.

The Inkscape developer community would like to thank Google for their
sponsorship of five students to work, during the summer of 2006, on
several Inkscape development efforts: SVG Filters, Inkboard protocol,
PDF export with Cairo, and memory optimization.

Download Linux, Windows, and Mac OS X packages:

http://sourceforge.net/project/showfiles.php?group_id=93438

For many more details, see the complete Release Notes for 0.44:

http://wiki.inkscape.org/wiki/index.php/Release_Notes

Community submitted screenshots:

http://www.inkscape.org/screenshots/

About Inkscape

Inkscape is an open source drawing tool that uses the World Wide Web
Consortium’s ([[W3C]]) scalable vector graphics format (SVG). Some
supported SVG features include basic shapes, paths, text, markers,
clones, alpha blending, transforms, gradients, and grouping. In
addition, Inkscape supports Creative Commons’ metadata, node-editing,
layers, complex path operations, text-on-path, text-in-shape, and SVG
XML editing. It can also import EPS, PostScript, and
most bitmap formats, and exports PNG, PS, PDF and various vector
formats.

Inkscape’s main motivation is to provide the Open Source community with
a fully [[W3C]] compliant XML, SVG, and CSS2 drawing tool. Additional
work includes conversion of the codebase from C/Gtk to
C++/Gtkmm, emphasizing a lightweight core with powerful
features added through an extension mechanism, and maintaining a
friendly, open, community-oriented development process.

Fino Attack – Exclusive Electro

We’re proud to say that the new “Fino Attack – Exclusive Electro
Performance (17/06/06)” has a huge blast around the world and our
servers went down on the second day of the downloads, 20/06/06 at
14.00pm (GMT).

Now the server is up and alive;
(http://www.finoattack.com/listenperformance.htm)

Also, excellent mix links editorialized by the mysterious Mr. Blentwell
(www.blentwell.com) has chosen the performance as his pick.
(http://www.blentwell.com/bookmarks.php/mr.blentwell)

And we’d like to thank you all :)

Fino Attack.

Muestra centroamericana de videoarte en Cuba

Verónica Romero 2006-06-22

La Habana: En el marco del Octavo Salón y Coloquio Internacional de Arte Digital que organiza el Centro Cultural Pablo de la Torriente Brau, se presentó este jueves 22 de junio la muestra centroamericana de video compuesta por obras de Honduras, Costa Rica y El Salvador, proyectadas en la sala Lumière ubicada en la Habana Vieja. Esta es la primera vez que Honduras participa en este salón de arte digital que se realiza desde 1998 en la Habana y que incluye obras impresas como audiovisuales de artistas cubanos y del resto del mundo. Este año el octavo salón, cuenta con las colecciones del Centro de Artes Visuales Contemporáneo CAVC/MUA, que desde el 2004 recopila la obra de artistas hondureños que incursionan en el videoarte como Regina Aguilar, Hugo Ochoa, Lester Rodríguez entre otros. Junto a las obras hondureñas se presentaron también las colecciones de la Fundación Clic del El Salvador y las del Museo de Arte y Diseño Contemporáneo MADC. Los artistas hondureños participantes en la muestra internacional del Octavo Salón de Arte Digital son: Essaú Rodríguez (Lado), Lester Rodríguez (El Hombre es la ciudad), Regina Aguilar (Central American Now), Nos Vale Verja (los artistas de la gente), Byron Mejia (Lecciones de Juego), Hugo Ochoa (Alegorías del Tercer Mundo, Allan Mairena (Gravedad), esta muestra se proyectará de nuevo el domingo 25 de junio en el Centro Cultural Cinematográfico ICAIC, de la Habana. Además Mujeres en las Artes (MUA), estuvo presente en el Coloquio del Octavo Salón con la participación de Alejandro Durón y Verónica Romero, coordinadores del Punto de Información artístico PIA/MUA. Para más información visite: www.artedigital8.cubasi.cu http://www.artedigital8.cubasi.cu

Call for Talk on Teaching in Art and Media

Subject:[NEW-MEDIA-CURATING] Call for Talk on Teaching in Art and Media
Date: Tuesday, June 20, 2006 1:06 PM
From: Dr. Klaus Knoll
Reply-To: “Dr. Klaus Knoll”

To: [NEW-MEDIA-CURATING]

Transart Institute, a low-residency MFA program, seeks a media practitioner/theorist/teacher to give
a one hour talk this July and possibly a seminar next summer related to the topic of “Re-thinking
Education and Teaching in Art and New Media”. Possible dates for this summer are July 29 and July
31. If interested please submit a short description and CV to: knoll@transartinstitute.org. Further
information about the program is available at: http://transartinstitute.org/Pages/Summer_MFA.html