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Archive: March, 2008

Buenos Aires será sede de Wikimanía 2009

March 31st, 2008 · -- · Conference, Festival, News, Research Opportunity, [2]News & Events No comments

La Ciudad de Buenos Aires será sede de la conferencia mundial de los proyectos Wikimedia

Buenos Aires, 28 de marzo de 2008.

La Fundación Wikimedia, administradora de la enciclopedia libre Wikipedia y de otros proyectos colaborativos globales, anunció hoy la elección de la Ciudad de Buenos Aires como sede para la realización de Wikimanía 2009, la conferencia anual de los proyectos Wikimedia. El evento, de cinco días de duración, atrae a numerosos usuarios de los proyectos de Wikimedia en todo el mundo, además de reconocidos activistas, bloggers y especialistas en tecnología wiki, software libre, cultura libre y movimientos sociales de la cultura de Internet, por lo que recibe una importante cobertura periodística internacional durante su desarrollo.

Las ediciones anteriores del evento tuvieron lugar en Frankfurt (Alemania), Boston (en la célebre Escuela de Derecho de Harvard) (EEUU) y Taipei (Taiwan), mientras que la edición de este año se realizará en la nueva Biblioteca de Alejandría, en Egipto. La candidatura de Buenos Aires fue presentada y desarrollada por la asociación civil Wikimedia Argentina, resultando electa en una competencia en la que quedaron finalistas las ciudades de Toronto (Canadá), Brisbane (Australia) y Karlsruhe (Alemania). Wikimedia Argentina es el “capítulo argentino” de la Fundación Wikimedia, y está integrada por una comunidad de voluntarios que desarrolla proyectos vinculados al conocimiento libre.

El evento, que se realizará durante el mes de agosto de 2009 en las instalaciones del Centro Cultural General San Martín, cuenta con el respaldo del Ente de Turismo de la Ciudad de Buenos Aires, con el auspicio de importantes empresas nacionales e internacionales y con el apoyo de prestigiosas instituciones educativas, como la Universidad Nacional de La Plata. En forma paralela, se llevarán a cabo jornadas y talleres sobre los proyectos de Wikimedia para el público en general, entre otras actividades. Buenos Aires espera con los brazos abiertos la que será la primera edición bilingüe, en inglés y español, de Wikimanía.

A la hora de emitir su fallo, el jurado destacó la importancia del idioma español para los proyectos de Wikimedia, así como la trascendencia cultural de la sede elegida. Pesó también en la elección, el alto grado de organización y actividad de la comunidad de wikipedistas de Argentina, Esta decisión es trascendental para la enorme comunidad de Wikipedistas de habla hispana, ya que será la primera edición bilingüe, además de la primera a realizarse en América latina, con la consiguiente facilidad de acceso para las comunidades involucradas en proyectos Wiki de toda la región.

Sobre Wikimedia Argentina

Wikimedia Argentina es una institución sin fines de lucro que tiene como objetivo promocionar la cultura y el conocimiento libres, especialmente a partir del apoyo y difusión de los proyectos hospedados por Wikimedia Foundation, y de su contenido. Wikimedia Argentina es un “capítulo local” de la Fundación Wikimedia desde diciembre de 2007. Más información en http://www.wikimedia.org.ar

Sobre Wikimedia Foundation

La Fundación Wikimedia es un organización sin fines de lucro, responsable de los sitios web de Wikipedia y de otros proyectos de Wikimedia. Más información en http://www.wikimedia.org

Para mayores antecedentes, sírvase contactar a

Patricio Lorente
Presidente – Wikimedia Argentina
correo@wikimedia.org.ar

Holy Fire. Art of the Digital Age

March 31st, 2008 · -- · Resource, [2]News & Events, online/offline event No comments

iMAL Center for Digital Cultures and Technology, Bruxelles

presents

Holy Fire. Art of the Digital Age
curated by Yves Bernard & Domenico Quaranta
April 18 – 30, 2008
iMAL Center for Digital Cultures and Technology, Bruxelles
Vernissage 18 April, 18:30 – 23:30

iMAL Center for Digital Cultures and Technology is proud to present Holy Fire. Art of the Digital Age, a collective exhibition featuring a unique panel of digital artworks created in the last ten years by internationally known new media artists, and coming from galleries and collections from around the world. Curated by iMAL director Yves Bernard and Italian curator Domenico Quaranta, Holy Fire is, in fact, featured into the “Off Program” of Art Brussels, the international contemporary art fair (April 18 – 21, 2008). Taking its cue from this occasion, Holy Fire is an attempt to explore how new media art, bypassing all the stereotypes connected with its presumed immateriality, was able to enter the art market.

Thus, Holy Fire is probably the first exhibition to show only collectable media artworks already on the art market, in the form of traditional media (prints, videos, sculptures) or customized media objects. The exhibition wants to show that new media art is just art of this century, to contribute to reduce the gap between digital art and contemporary art, and to participate in a broader understanding and acceptance of digital media. Holy Fire comes out from the belief that talking about a “new media art” as something different and separated from the contemporary art world doesn’t really make sense today. All contemporary art is, someway, new media art, as far as it makes use of the digital media for various purposes. So, the artworks collected in Holy Fire are not new media art, but simply art of our time: art which appropriates institutional or corporate identities, creates fictional ones, hacks softwares and game engines for its own purposes, infiltrates online or offline communities in order to portray them or their own myths, subverts existing tools or creates its own ones, explores the aesthetics of computation and information spaces; or, more simply, art which uses hardware and software in order to create art.

Over the last two decades, new media art experienced an exponential growth, that changed it from a little and relatively closed niche of experimentation into one of the biggest and more vital communities of the contemporary scene, and into an entirely new “art world”, with its own festivals, its own exhibition centers, its own magazines and debates. Yet, this increasing importance is hardly ever recognized in the contemporary art world, which is challenged by new media art in many ways. New media art is often immaterial, temporary, performative; it strongly relies on software and interfaces, and produce hardly sellable artifacts, with a high obsolescence risk in supporting equipment. So, it’s always difficult to find new media art in contemporary art venues and collections. In the meantime, many artists are fighting to find more stable layouts for their works, in the effort to bring new media culture in the contemporary art arena; and some brave individuals and institutions are starting collecting new media, knowing that its importance in the future could only grow up. With the accelerated technological development (e.g. large flat screens, powerful beamers, ubiquitous computing, wifi, fast internet) and the sociological and cultural acceptance of digital tools and media, new media art is going to become one of the main currents of 21th century art, looking at its own nexus to our techno-environment as a strength (not deafness), and to be part of our everyday life in our office, in public buildings as well as in our home.

The title of the exhibition is a reference to a well-known book by Bruce Sterling, a book which, among other issues, envision the art of the (at that time, future) digital age. In the same time, the issue makes reference to the passion that helps a growing number of people (artists, curators, gallery owners and collectors) to take care of an art that is temporary and variable by definition.

Artists:

Cory Arcangel (USA), Gazira Babeli (SL), Boredomresearch (UK), Christophe Bruno (FR), Grégory Chatonsky (FR), Miguel Chevalier (FR), Vuk Cosic (SLO), Shane Hope (USA), Jodi (BE/NL), Lab[au] (BE), Joan Leandre (SP), Olia Lialina & Dragan Espenschied (RU/DE), Golan Levin (USA), Eva and Franco Mattes aka 0100101110101101.ORG (IT), Alison Mealey (UK), Mark Napier (USA), Casey Reas (USA), Charles Sandison (UK/FI), Antoine Schmitt (FR), Yacine Sebti (BE), Alexei Shulgin & Aristarkh Chernyshev (RU), John F. Simon, Jr. (USA), Paul Slocum (USA), Wolfgang Staehle (USA), Eddo Stern (USA), Ubermorgen.com (AT), Carlo Zanni (IT).

Galleries:

Bitforms, New York; DAM Gallery, Berlin; Fabio Paris Art Gallery, Brescia; Numeriscausa, Paris; Postmasters, New York; Project Gentili, Prato; Rodolphe Janssen Gallery, Brussels; XL Gallery, Moscow.

Credit Line:

This exhibition is produced by iMAL Center for Digital Cultures and Technology, and generously funded by LIEDEKERKE.WOLTERS.WAELBROECK.KIRKPATRICK and DEXIA . It is supported by: the Minister-President of the Government of the French-Speaking Community of Belgium; the Minister of Culture and Audiovisual of the French-Speaking Community of Belgium; the Ministery of the French-Speaking Community of Belgium (Digital Art Section and Department for Plastic Arts); the Brussels Capital Region; and the College of Burgomaster and Deputies of the Municipality of Molenbeek-Saint-Jean.

Location:

iMAL Center for Digital Cultures and Technology
30 Quai des Charbonnages/Koolmijnenkaai 30
1080 Bruxelles/Brussel 1080
(métro Comte de Flandres/Graaf van Vlaanderen)

Gallery Hours & Opening:

Tuesday, Wednesday, Friday : 12:00 – 19:00
Thursday: 12:00 – 21:00
Saturday, Sunday: 11:00 – 19:00
Closed on Monday

Entry Fee:

Adult : 8 EUR
Students, Unnemployed, Seniors: 4 EUR

Press:

Yves Bernard: yb@imal.org / + 32 (0)2 410 30 93
Domenico Quaranta: dom@domenicoquaranta.net

http://www.imal.org/HolyFire/

Collateral Events

“Holy Fire: Exhibiting and Collecting New Media Art”. Conference-debate
Saturday 19 april, 11:30 – 13:30

One of the targets of the Holy Fire exhibition (iMAL, 18-30 april) is to take a snapshot of the present situation of New Media Art, an art practice arose from the meeting of art and computer technology in the Sixties. This practice developed into a self-built, parallel art system and had a second youth in the last half of the Nineties. New Media Art has always been described as process oriented, immaterial, and therefore un-collectable and un-preservable. Now getting to its adult age, it is entering the contemporary art world and market.

Moderated by Patrick Lichty (Columbia College, Chicago),with Alexei Shulgin (RU), Olia Lialina (RU/DE), Steve Sacks (bitforms, New York), Wolf Lieser (DAM, Berlin), Stéphane Manguet (Numeriscausa, Paris), Philippe Van Cauteren (SMAK, BE), Domenico Quaranta (I) and Yves Bernard (Brussels).

Catalogue

Domenico Quaranta, Yves Bernard (eds), Holy Fire. Art of the Digital Age, FPEditions, Brescia 2008.

Hardcover, color, 128 pages.
ISBN 978-88-903308-4-1
25.00 €

Featuring contributions by: Inke Arns & Jacob Lillemose, Yves Bernard, Aristarkh Chernyshev, Roman Minaev & Alexei Shulgin, Vuk Cosic, Régine Debatty, Steve Dietz, Joan Leandre, Olia Lialina & Dragan Espenschied, Patrick Lichty, Wolf Lieser, Vicente Matallana, Eva & Franco Mattes aka 0100101110101101.org, Fabio Paris, Christiane Paul, Domenico Quaranta, Charles Sandison, Magdalena Sawon & Tamas Banovich, Paul Slocum, Bruce Sterling, Michele Thursz, Mark Tribe, Ubermorgen.com, Karen A. Verschooren.

About the Curators:

Yves Bernard (BE) has an academic background in architecture and computer science and worked as research scientist for about 10 years. Beginning of the 90s he founded one of the first european new media studio where he produced awarded art&culture cd-roms (e.g. Milia d’Or 1998). In 1999 he created iMAL (interactive Media Art Lab), a non-profit association for the new media arts. For the past decade he has worked with artists as a producer (e.g. Salt Lake), an interaction design adviser and a developer (e.g White Square). Yves curated or co-curated many new media art exhibitions in Brussels : CONTinENT (2000), F2F (2003), Infiltrations Digitales (2004), openLAB (2005), Art+Game (2006), inaugural exhibition of iMAL new venue (2007). He is the (co-)author of works merging Internet and the physical world such as Martini Ground Zero, OFFFCAM and The Gate. He teaches digital art at ERG and he is the director of iMAL, Center for Digital Cultures and Technology.
[www.erg.be/blogs/artNumeur/]

Domenico Quaranta (I) is an art critic and curator who lives and works in Brescia, Italy. With a specific passion and interest in net art and new media, Domenico regularly writes for Flash Art magazine. His first book titled, NET ART 1994-1998: La vicenda di Äda’web was published in 2004; he also co-curated the Connessioni Leggendarie. Net.art 1995-2005 exhibition (Milan, October 2005) and co-edited, together with Matteo Bittanti, the book GameScenes. Art in the Age of Videogames (Milan, October 2006). Among his most recent publications, Todd Deutsch: Gamers (ed., 2008) and Gazira Babeli (ed., 2008). He teaches “Net Art” at the Accademia di Brera in Milan and runs the blog Spawn of the Surreal.
[www.domenicoquaranta.net]

About iMAL

iMAL (interactive Media Art Laboratory), is a non-profit association created in Brussels in 1999. It was founded by individual artists, media producers, interactive designers, software engineers, and by NICC (a Belgian association of visual artists) with the objective to support artistic forms and creative practices using computer and network technologies as their medium. In October 2007, iMAL opened its new venue in Brussels, a Center for Digital Cultures and Technology, a new place of about 600m2 for the meeting of artistic, scientific and industrial innovations, a place entirely dedicated to the contemporary artistic and cultural practices emerging from the fusion of computer, telecommunication, network and media.

IMAL is a laboratory and a workplace for artists in residence. It supports artists during their experimentation and research process as well as for the production and diffusion of their works. iMAL produces professional workshops targeted to creative people (artists, designers, developers,…) under the direction of recognised artists. iiMAL organises public events and collaborates with other european centers. Works (co-)produced by iMAL have been shown in Helsinki (Kiasma, 2003), Madrid (VIDA, 2003), Los Angeles (AIM iV, 2003), Stuttgart (Filmwinter, 2004), Lisbon (Alkantara, Close Encounters III, 2006), Amsterdam (Victorian Circus at Brakke Grond, 2006), Basle (Viper, 2006), Montréal (Temps d’Images, 2007), Sao Paulo (File, 2007), Ghent (Almost Cinema at Vooruit, 2007), Shanghai (eArts/Ars Electronica, 2007), London (Sum/Some of the PARTS, 2007).
iMAL is supported by the French-speaking Community of Belgium. More
about iMAL on www.imal.org/index.php?sub=about_EN

–

Domenico Quaranta

mob. +39 340 2392478
email. qrndnc@yahoo.it
home. vicolo San Giorgio 18 – 25122 brescia (BS)
web. http://www.domenicoquaranta.net/

Launching Interface: a Journal for and About Social Movements

March 29th, 2008 · -- · Call for Papers, Online Journal, [2]News & Events No comments

We are proud to announce the launch of Interface, a new global online journal dedicated to research carried out from and for social movements by movement practitioners and engaged academics alike. We are looking for articles of all kinds as well as people interested in helping create the journal at many different levels. This email has some basic information, and more is available on our website at www.interfacejournal.net.

Call for Papers: Issue 1, “Movement knowledge”

Interface is a new journal launched by activists and academics around the world in response to the development and increased visibility of social movements in the last few years – and the immense amount of knowledge generated in this process. This knowledge is created across the globe, and in many contexts and a variety of ways, and it constitutes an incredibly valuable resource for the further development of social movements. Interface responds to this need, as a tool to help our movements learn from each other’s struggles.

Interface is a forum bringing together activists from different movements and different countries, researchers working with movements, and progressive academics from various countries to contribute to the production of knowledge that can help us gain insights across movements and issues, across continents and cultures, and across theoretical and disciplinary traditions. To this end, Interface seeks to develop analysis and knowledge that allow lessons to be learned from specific movement processes and experiences and translated into a form useful for other movements. In doing so, our goal is to include material that can be used in a range of ways by movements in terms of its content, its language, its purpose and its form.

We are currently seeking contributions to the first issue of Interface and welcome contributions by movement participants and academics who are developing movement-relevant theory and research. The theme of this first issue, which will be published on January 1st 2009, is “movement knowledge”: what we know, how we create knowledge, what we do with it and how it can make a difference either in movement struggles or in creating a different and better world. We invite both formal research (qualitative and quantitative) and practically-grounded work on all aspects of social movements. We are seeking work in a range of different formats, such as conventional articles, review essays, facilitated discussions and interviews, action notes, teaching notes, key documents and analysis, book reviews and beyond.

In order to achieve this, research contributions will be reviewed by both activist and academic peers, other material will be sympathetically edited, and the editorial process generally will be geared towards assisting authors to find ways of expressing their understanding, so that we all can be heard across geographical, social and political distances. The deadline for contributions for the first issue is September 1st 2008. Guidelines for contributors and contact details are available on our webpage at www.interfacejournal.net.

- – -
Dept. of Sociology, St. Anne’s building,
NUI Maynooth, Co. Kildare
Tel. (+353-1) 708 3985
http://www.iol.ie/~mazzoldi/toolsforchange/

Mai ‘68: Call for Ideas

March 29th, 2008 · -- · Competition opportunity, Resource, [2]News & Events No comments

MEANTIME project-space in Cheltenham, is co-ordinating a series of events over May examining the legacy of Mai ‘68, including film screenings, discussions, artists’ projects/residencies, usual stuff.

Call for artists, writers, talkers, thinkers to get involved, to put forward ideas for key texts (or selections from), and/or speakers, suggestions for films/discussion, proposals for artists’ projects and critical ponderance. Suggestions don’t have to be directly related to Paris ‘68, or from the time, but in some way attributable to, influential upon, or circumreferential.

Contact project co-ordinator sarahb: info@meantime.org.uk to discuss.

Deadline: Tue 15 Apr 2008.

MEANTIME
Oxford Passage
off St Margaret’s Road
Cheltenham
GL50 4EF

MEANTIME is a cross-discipline arts platform for the production and presentation of experimental new work, dialogue and exchange. Supported by Arts Council England South West, Cheltenham Borough Council Arts Development and Virtual Arts Centre, the University of Gloucestershire, ALIAS and Cheltenham Art Gallery & Museum.
Meantime website – http://www.meantime.org.uk/

THE NEW DIGICULT AGENCY

March 29th, 2008 · -- · Collaborator: Digicult, Online Journal, Resource, [2]News & Events No comments

http://www.digicult.it/agency

At the beginning of its fourth year of activity, Digicult is proud to present its new side project, DigiMade, cultural and artistic agency promoting Italian digital artists worldwide. DigiMade is a part of the Digicult platform, including the web portal, the monthly magazine DigiMag, the audiovisual podcast DigiPod and the newsletter service DigiNews.

———

From its birth, Digicult had the chance to collaborate with some national and international partners, in the field of electronic arts and culture, both as curator and media partner and consultant. Some of partnserhips and curatiorial project followed during this period were with festivals like Sonic Acts (Amsterdam), Sonar (Barcelona), Elektra (Montreal), Mixed Media (Milan), Optronica (London), Strp (EIndhoven), Todaysart (Den Haag), Dissonanze (Rome), Netmage (Bologna), Ixem (Palermo), Peam (Pescara) and many others..

Thanks to this net of contacts and collaborations weaved during last two years, Digicult has decided to start a professional path to valorize Italian digital artists internationally, in the field of audiovisual art, interaction and urban design, graphic animation, electronic music and experimental video art. Working as an agency, DigiMade promotes and organizes the work of some well-known experimental artists of the Italian panorama, starting with Otolab, Quayola, Kinotek, Zimmerfrei, Mylicon/en, and promotes the critic and research activity of the members of its Network. With critical sense and curatorial attitude, DigiMade acts as a cultural bridge between Italy and the rest of the world, because of the lack of Culture Institution in charge of this work and because of a total absence of help and funding by Institutions.

Within its critic, curatorial, networking and journalistic activity, Digicult had finally the possibility to develop specific projects, that will be part of the DigiMade activity in the next future. “+39:Call for Italy” is just the last one in order of time, produced for the Cimatics festival 2007 in Brussels: it is a format that goes from live performances to installations and videoscreenings about the relationships between Audiovisual art and Design with the aim to promote the Italian rich
tradition internationally.

———

+39: CALL FOR ITALY
Live Performances, Video Screenings, Installations from modern Italian
Electronic Art & Design

http://www.digicult.it/en/2008/+39CallforItaly.asp

Nemo Festival 2008
10th – 20th of April 2008
Elysees Biarritz – Paris
http://www.arcadi.fr/rendezvous/rv.php?id=1
http://www.arcadi.fr/telechargements/nemo_2008.pdf

Project curated by Marco Mancuso with the collaboration of Claudia D’Alonzo (video screening)

———

Featuring:
otolab – op7
Mylicon/En – Put down the gun
Quayola – Path to abstraction
Videoscreening
Presentation

Program:
+39 VideoScreening (curated by Claudia D’Alonzo): friday 11th of April 21.00 hrs
Presentation +39 (curated by Marco Mancuso): friday 11th of April 22.00 hrs
Live Set Quayola (“Path to Abstraction”): friday 11th of April 22.45 hrs
Live Set Otolab (“op7″): friday 11th April 23.45 hrs
Live Set Mylicon/En (“Put down the gun”): saturday 12th of April 22.15 hrs

Texts:
Presentation Text (curated by Marco Mancuso): http://www.digicult.it/public/+39CallForItaly_ENG.doc
Video Screening Text (curated by Claudia D’Alonzo): http://www.digicult.it/public/TestoVideoScreening_ENG.doc
Video Screening Infos: http://www.digicult.it/public/SchedeVideoScreening.pdf

——–

After the European Premiere at Cimatics festival in Brussels last November 2007, Digicult will present the project +39:Call for Italy at the international festival Nemo in Paris, curated by the cultural association Arcadi from 10th to 20th of April 2008, one of the most important European meeting related to artistic and cultural transtitions between audiovisuals, music, cinema and design with digital tools. The project focuses on the develpoments in Electronic Art, Design and Culture in Italy in the last 10 years. With the project +39:Call for Italy, Digicult introduces some of the most experimental and suggestive Italian musicians, designers, graphic animators, video makers, sound artists, vjs and audiovisual artists, with projects of Live Cinema (Mylicon/En), Audiovisual Live Sets (Otolab and Quayola) and with a Video Screening curated by Claudia D’Alonzo of some of the most talented Italian video makers, video artists and graphic designer. The project is finally enriched with a keynote lecture/presentation by Marco Mancuso about +39:Call for Italy concept and the developments of the presented Digital Art forms in Italy

——–

DigiCult is a cultural project involved in digital culture and electronic arts. The DigiCult project is directed by Marco Mancuso and based on the active participation of 40 professional people about, who represent the first wide Italian network of journalists, curators, artists and critics working in the field of electronic culture and digital art. Translated in English, DigiCult is today a web portal updated daily with news and informations, but it’s also the editor of the monthly magazine DigiMag, discussing with a critic and journalistic approach, about net art, hacktivism, video art, electronica, audio video, interaction design, artificial intelligence, new media, software art, performing art. DigiCult produce the electronic music and audiovisual podcast DigiPod and the newsletter international service DigiNews. DigiCult in finally involved in side activities like media partnerships for festivals and exhibitions, curatorial projects and special productions, and is now working for Italian artists international promotion through the new born art agency DigiMade.

www.digicult.it/en
www.digicult.it/digimag
www.digicult.it/podcast
www.digicult.it/agency
www.digicult.it/en/Credits

Ringling College: Art Historian, Liberal Arts Department

March 27th, 2008 · -- · Job Opportunity, [2]News & Events No comments

Starts August 2008

Institution:

Founded in 1931, Ringling College of Art and Design is a private professional college fully accredited by the National Association of Schools of Art and Design (NASAD), the Southern Association of Colleges and Schools (SACS) and CIDA, the Council for Interior Design Accreditation, formerly FIDER. Ringling College of Art and Design’s primary mission is to prepare students to be discerning visual thinkers and ethical practitioners in their chosen area of art and design and to provide an intensive professional education in the visual arts. Ringling College has taken a leadership role in the integration of high technology within art and design curricula in response to the marketplace and trends in the professions. The institution’s strategic plan positions the College for continued growth and development. It is authorized to award the BFA in eleven visual arts disciplines and the BA in the Business of Art and Design, a new program that bridges the business world with art and design education. Ringling College employs 136 faculty who instruct 1,200 students from 44 states and 30 countries. The large residential campus is near downtown Sarasota. A cultural center of Florida, Sarasota is 65 miles south of Tampa and 75 miles north of Fort Myers. Additional information about the College is available at www.ringling.edu

Program:

The Art History program at Ringling College of Art and Design offers a rich mix of Western and non-Western, historical and contemporary courses. The program is anchored by four distinguished full-time faculty and embraces both digital and traditional approaches to teaching and research. The program especially emphasizes global perspectives and has been a proponent of faculty and student study abroad.

Responsibilities and Qualifications:

The qualified candidate will teach the survey course in Euro-Western art history and advanced art history offerings that explore the social and aesthetic concepts, contexts, and implications of emerging forms of media and technology. The teaching load is three courses each semester with opportunities to develop an innovative curriculum that builds interdisciplinary relationships and global perspectives. Active participation on committees, and involvement in other faculty duties as required by the program and college.

Required: Only applicants possessing the following qualifications will be considered:

* Ph.D. degree before the appointment begins.
* Demonstrates collegiality, creative teaching methods, and enthusiasm for teaching at a professional college of art and design
* College teaching experience

Preferred: Preference may be given to candidates who have:

* Experience with the effective use of digital technologies in teaching
* Demonstrated fluency in the language and concepts of new technologies

Application:

Send: 1) letter of application including description of individual strengths; 2) complete CV; 3) statement of teaching philosophy; 4) list of courses taught 5) relevant syllabi; 6) transcript from institution awarding highest degree (may be sent separately); 7) contact information for three current references. Candidates may be asked to submit additional materials if they are moved forward for consideration. Finalists for this position will be asked to give a lecture/presentation as part of their campus visit.

Deadline: Review of applications will begin immediately. To be assured full consideration, applications should be received by February 28, 2008.

Please address applications and inquiries to:

Art History Faculty Search

Dean of Faculty Office

Ringling College of Art and Design

2700 North Tamiami Trail

Sarasota, Florida 34234-5895

e-mail inquiries: laahft@ringling.edu

phone: 941/359-7537

Ringling College of Art and Design is an Equal Opportunity

Proboscis March 2008 Newsletter

March 27th, 2008 · -- · Online Journal, [2]News & Events No comments

Welcome to Proboscis’ March newsletter, keeping you posted on our latest projects, activities and resources.

This very busy Spring sees us returning from our residency with ICE (Information & Cultural Exchange) in Sydney with the first stage of our project Lattice; launching a new series of Diffusion eBooks; about to undertake the second part of Anarchaeology with Render at the University of Waterloo (Ontario, Canada) and preparations to begin our new commission with AdeC on Virtual Venue in East Cambridgeshire.

Diffusion News
We launched a new series of eBooks sourced from public domain texts this month – Short Work – each of which is a short work of fiction, poetry or prose intended to be enjoyed in those frequent moments of inbetween-ness that punctuate modern life. The initial selection of 43 eBooks includes work by William Blake, Saki, Gertrude Stein and Jonathan Swift.
http://diffusion.org.uk/?p=294

Programming Internship – we have an internship/placement opportunity to assist the development of the Diffusion Generator. We are looking for someone who is familiar with Python and has experience of developing cross-platform web applications. For more details please visit – http://diffusion.org.uk/?p=286

Lattice::Sydney
Alice Angus and Orlagh Woods recently returned from working with Information and Cultural Exchange in Sydney on our new work Lattice::Sydney which included a collaborative workshop with Western Sydney artists, musicians and film-makers. Lattice undertakes ‘Collaborative Anarchaeologies of the City’ exploring the ways diverse communities engage with their environment and issues of cities and sustainability; imagining the city through the eyes of those who live in it. Lattice::Sydney is an element of our larger Lattice East Asia project which is part of the British Council’s “Creative Cities” – a three year cultural and artistic partnership between East Asia and the UK.
http://sydney.latticeproject.net/

Anarchaeology at Render
Giles Lane and Orlagh Woods will be visiting Render at the University of Waterloo (Ontario, Canada) this month to complete the second phase of our collaborative studio/seminar course Anarchaeology: collecting, curating and communicating culture. We will be helping the students finish the project and prepare an installation of their work, as well as planning for a new project in the Autumn – an anarchaeology of the city of Cambridge, Ontario in partnership with Render and the School of Architecture at UoW.
http://anarchaeology.wordpress.com/

StoryCubes Workshop & Talk at University of Alberta, Edmonton
Giles Lane and Orlagh Woods will be running a StoryCube Workshop in partnership with the University of Alberta and iHuman Youth Society in Edmonton, Alberta Canada during early April. We’ll also be giving a talk at the university on our work in social and cultural contexts, and the tools and techniques we’ve developed to facilitate these projects.
http://ihuman.org/ | http://www.ualberta.ca/

Virtual Venue
Proboscis has been commissioned by ADeC (Arts Development in East Cambridgeshire) to develop a new participatory digital arts project in a rural community in East Cambridgeshire. Focused around food, stories of food and cultures of food, the project will respond to the lack of permanent cultural spaces in rural locations and will create a a hybrid space between the technological and tangible, where local residents have room to explore place and identity.
http://www.adec.org.uk/

Recent Diffusion eBooks
Saki (H H Munro) – Beasts and Super Beasts (36 eBooks) – http://diffusion.org.uk/?p=290
Gertrude Stein – Tender Buttons (4 eBooks) – http://diffusion.org.uk/?p=291
Jonathan Swift – A Modest Proposal – http://diffusion.org.uk/?p=292
William Blake – Songs of Innocence & Experience (2 eBooks) – http://diffusion.org.uk/?p=295
Proboscis, ICE et al – Lattice::Sydney Unwrapped – http://diffusion.org.uk/?p=289
Todd Williams & S Squire – 27Drums – http://diffusion.org.uk/?p=285
Gillian Cowell – Exploring Greenhill – http://diffusion.org.uk/?p=277
Sarah Thelwall – Planning for Success in 2008 – http://diffusion.org.uk/?p=275
Sarah Thelwall – Market Day (9 eBooks) – http://diffusion.org.uk/?p=274

The Proboscis Team
Alice Angus, Giles Lane, Orlagh Woods, Karen Martin, Catherine Williams & Carmen Vela Maldonado (intern)

New Exhibit at UC San Diego’s gallery@calit2 Explores Themes of “Exposure” and Surveillance

March 27th, 2008 · -- · Offline Exhibition, Online Exhibition, Resource, [2]News & Events No comments

“Exposure”
A Video Installation about Surveillance Pre-9/11, by Marie Sester
April 10-June 6, 2008
Artist Lecture: April 10, 4:30-5:30 PM, Room 4004
Reception at 6 PM

gallery@calit2
Atkinson Hall
University of California, San Diego
9500 Gilman Drive
La Jolla, CA 92093
Map & Directions: http://atkinsonhall.calit2.net/directions/
http://gallery.calit2.net
http://calit2.net

The gallery@calit2, part of the UC San Diego division of the California Institute for Telecommunications and Information Technology (Calit2), will exhibit “Exposure”, a video installation by Marie Sester, from April 10 to June 6, 2008. The artist will lecture on April 10 at 4:30PM, and a reception will follow at 6PM. “Exposure” is a projection-based installation consisting of images of x-rayed vehicles juxtaposed with architecture. The installation was developed in 2001 as the fifth and last installment in a series of video-based work that explores how X-ray imagery was used for surveillance, pre-9/11.

Marie Sester is interested in the evolving role of surveillance in culture. Her installations invite viewers to reconsider how reality changes as surveillance increasingly becomes a natural part of our everyday lives. Sester argues that our culture is obsessed with hyper-vigilance and control.

“Exposure” offers surveillance imagery consisting of x-rayed trucks containing smuggled items, such as a Rolls Royce, three million cigarettes embedded in scrap metal, and 2.5 tons of marijuana packed inside 896 rubber bales. In one of the projections, an x-rayed truck is elegantly juxtaposed with a house, which eventually overtakes the entire screen. The house, located in northern California’s East Bay Hills, was scanned by laser. The juxtaposition of an exposed private space and privately-owned commercial vehicles shows how technology can deliberately be used for surveillance, treating all forms with an egalitarian structural approach, while unexpectedly allowing the artist to expand the language of abstraction in art practice: the images are beautiful as forms, yet violent because they deconstruct the pervasive nature of x-ray technology when used as a form of control.

“Exposure” was originally exhibited as part of the exhibition “Blind Vision: Video and Limits of Perception” at the San Jose Museum of Art from August 4 through November 14, 2001. Coincidentally, the tragic events of 9/11 took place while the exhibition was on view. “Exposure,” then, serves as a window to look back at the drastic adoption of emerging technologies to make surveillance a routine part of our lives since 2001. Marie Sester reflects that today she, as an artist, would never have access to images like the ones included in “Exposure” due to the levels of control that entities, which she approached in the past, have placed on their surveillance technologies.

“Exposure” was originally designed to be a six-channel installation, and was commissioned as a two-channel installation by the San Jose Museum of Art. gallery@calit2 will collaborate with Marie Sester and her assistant David Lawrence to turn this artwork into a three-channel installation with the use of contemporary technology currently developed and researched at Calit2.

“Exposure” was designed to be displayed with serial controllable DVD players — technology that is neither efficient nor relevant. Calit2 is taking the opportunity to re-render the files in HD and manipulate them with a script that will play the sequences as a three-channel installation. This work is spearheaded by Hector Bracho, Calit2’s Media Specialist, in collaboration with Joseph Keefe, Project Manager of the OptIPuter project (http://www.optiputer.net/).

The collaboration with Marie Sester extends the gallery@calit2’s interest in the nexus of innovation implicit in Calit2’s vision, and aims to advance our understanding and appreciation of the dynamic interplay among art, science and technology.

Calit2 is a partnership between UC San Diego and UC Irvine, and houses over 1,000 researchers organized around more than 50 projects on the future of telecommunications and information technology and how these technologies will transform a range of applications important to the economy and citizens’ quality of life. The institute has integrated new media arts into its cross-disciplinary agenda.

Artist Bio:
Marie Sester is a media artist currently based in Los Angeles. Born in France, she began her career as an architect, having earned her Master’s degree from the Ecole d’Architecture in Strasbourg. Her interest shifted from how to build structures to the manner in which place, cultural values, and political ideas are intertwined and affect our understanding of the world. Her work particularly questions the societal perspective of the West.

Sester’s installation work has exhibited internationally, including in the Kwangju Biennale, Korea (1997); Kunsthalle Bern, Switzerland (1998); San Jose Museum of Art, USA (2001); SIGGRAPH, San Diego, USA (2003); Ars Electronica, Linz, Austria (2003 and 2004); Villette Numerique, Paris, France (2004); ZKM, Karlsruhe, Germany (2005); LABoral Centro de Arte y Creacion Industrial, Gijon, Spain (2007); Eyebeam, NY, USA (2007); and many other venues.

She has had residencies at the Institute of Advanced Media Arts and Sciences (IAMAS), Japan (2002) and the California Institute of the Arts (CalArts) (2005). The artist has received grants from organizations including the New York State Council for the Arts (2003), LEF Foundation (2004), and Franklin Furnace Fund (2004). Marie Sester is a Creative Capital Grantee (New York, 2002) for her installation “Access” http://channel.creative-capital.org/grantee_33.html.

Arist website: http://www.sester.net
Online information about “Exposure”:

http://sester.net/projects/exposure/exposure.html

Prior interview with the artist: http://www.we-make-money-not-art.com/archives/2006/10/you-have-a-back.php”>http://www.we-make-money-not-art.com/archives/2006/10/you-have-a-back.php

TELIC: Here is Always Somewhere Else

March 27th, 2008 · -- · Collaborator: Telic Arts Exchange, Offline Exhibition, Video, [2]News & Events No comments

Saturday, March 29, 2008
7pm

The second of four screenings of Here Is Always Somewhere Else: The life of Bas Jan Ader will be this Saturday evening at 7pm. The final two screenings are on April 12 and April 26.

The documentary is directed by Rene Daalder, who curated Gravity Art. From Daalder’s website: “Film about the life and work of Dutch/Californian conceptual artist Bas Jan Ader, who in 1975 disappeared under mysterious circumstances at sea in the smallest boat ever to cross the Atlantic. As seen through the eyes of fellow emigrant filmmaker Rene Daalder, the picture becomes a sweeping overview of contemporary art films as well as an epic saga of the transformative powers of the ocean. Featuring artists Tacita Dean, Rodney Graham, Marcel Broodthaers, Ger van Elk, Charles Ray, Wim T. Schippers, Chris Burden, Fiona Tan, Pipilotti Rist and many others.”

Gravity Art is on exhibit until April 26 and will be open before the screening. You can see some exhibition photographs and read a review that was written by David Pagel for the LA Times here:

http://www.telic.info/gravity-art-installation-images.yeah

This exhibition is made possible in part with support from the Mondriaan Foundation, Amsterdam, the Consulate General of the Netherlands in New York, The Andy Warhol Foundation for the Visual Arts, and basjanader.com.

TELIC Arts Exchange
975 Chung King Road
Los Angeles, CA 90012
T: 213.344.6137

http://www.telic.info

info@telic.info

Concierto AVLAB 29 marzo + Programación abril-julio 08

March 26th, 2008 · -- · Conference, Research Opportunity, Resource, [2]News & Events No comments

14º Encuentro AVLAB Experimentación sonora y visual

· Proyecto Hades: Tsunami Killcore y No-Preset
· TOCCATA y DETRAS/DES TRACES: Rafael Larre, Francesco Filidei y Baba Noriko
· DJ Chelis + IdealWorld

Sábado, 29 de marzo / 19:00h
Actuación/performance en vivo precedida de introducción teórica. Coordinador: Daniel González Xavier

Como cada mes, tres grupos de música experimental de tendencias distintas muestra en directo sus creaciones: desde performances, djs, vjs (vídeo djs), conciertos de ruidos y música generada con software libre. La proxima sesión reúne a Proyecto Hades: Tsunami Killcore y No-Preset (control del sonido mediante el movimiento corpo ral), Toccata y Detras /Des Traces: Rafael Larre, Francesco Filidei y Baba Noriko (improvisación electroacústica e imágenes sincronizadas) y DJ Chelis + Ideal World (simbiosis de copla y dubstep).

tsunami killcoreProyecto Hades: Tsunami Killcore y No-Preset
Mediante el control del sonido con sensores y a través del movimiento corporal, la performer representa un elemento de consciencia que se desenvuelve naturalmente en una serie de atmóferas hipnóticas, tenebrosas y caóticas.
Procesamiento y proyección de fuentes lumínicas a través de medios tecnológicos, uso de la realimentación y el error digital, sonido noise y producción en tiempo real, son la base para generar el lenguaje estético de este proyecto que evoca paisajes de oscuridad mental.
Hades es un proyecto de la compositora, productora musical y artista multidisciplinar Sofia aka Tsunami Killcore en colaboración con el video-artista y VJ valenciano No-Preset.
http://www.errortronika.net
http://www.myspace.com/tsunamikillcoreo
http://www.play-code.com

TOCCATA y DETRAS/DES TRACES: Rafael Larre, Francesco Filidei y Baba Noriko
Noriko Baba (compositora, Japón), Raphael Larre (artista visual, Francia) y Francesco Filidei (composito, Italia) son integrantes de la sección artística de la instituición Casa de Velázquez, donde han iniciado una serie de colaboraciones.
En esta ocasión compartirán detalles sobre la elaboracion de sus trabajos personales, y se centrarán en las propuestas Toccata y Detras/Des traces y Fluxus Thing, en la que colabora también la artista y performer Martinha Maia.
Toccata es un proyecto realizado por el artista visual Raphael Larre y el compositor Francesco Filidei. Un dialogo de gestualidades audiovisuales en lo cual Raphael Larre utiliza sus métodos de creación de dibujos en movimiento realizados con herramientas analógicas como base visual para la improvisación electroacústica del compositor Francesco Filidei.

DJ Chelis + IdealWorld
Los Encuentros AVLAB reciben esta propuesta excéntrica y especial: un paseo audiovisual por uno de los más populares géneros musicales españoles, la copla. Dos artistas aragoneses se juntan por primera vez para encontrar puntos en común en sus creaciones personales y concretar una presentación audiovisual inédita combinando DJ set y tecnicas mixtas de vídeo.
Enrique Radigales (IdealWord) acompaña con sus imágenes el genero sonoro que Chelis denomina “Coplastep”, una osada combinación de dubstep y copla presentado por primera vez en la edición 2007 del festival aragonés Periferias. Para el DJ, “en Coplastep se juntan los primeros sonidos de los que tengo conciencia (la copla sonaba en casa de mi abuela cuando era pequeño) con algunos de los últimos sonidos surgidos en la prolífica escena electrónica”.
http://www.myspace.com/djchelis
www.idealword.org

–
Nerea García Garmendia
Medialab Prado
Área de Las Artes, Ayuntamiento de Madrid
Plaza de las Letras
Alameda, 15 28014 Madrid
Tfno. +34 914 202 754
difusion@medialab-prado.es
www.medialab-prado.es