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Archive: April, 2009

Turbulence Spotlight: “MAICgregator” by Nick Knouf

Turbulence Spotlight: “MAICgregator” by Nick Knouf
http://turbulence.org/spotlight/knouf/
[Needs Firefox Browser and extention download]

“MAICgregator” is a Firefox extension that aggregates information about colleges and universities embedded in the military-academic-industrial complex (MAIC). It searches government funding databases, private news sources, private press releases, and public information about trustees to try and produce a radical cartography of the modern university via the replacement or overlay of this information on academic websites. This is a necessary activity in light of the contemporary financial “crisis”.

Please visit this post for conversation about the project:
http://turbulence.org/blog/
2009/04/20/maicgregator-by-nick-knouf/

BIOGRAPHY

Nicholas Knouf is a PhD student in information science at Cornell University in Ithaca, NY. His research explores the interstitial spaces between information science, critical theory, digital art, and science and technology studies. Ongoing work includes “Fluid Nexus”, a mobile phone messaging application designed for activists and relief workers that operates independent of a centralized network, robotic puppetry projects that engage with psycho-socio-political imaginaries, and sound works that encourage the expression of the unspeakable. Past and current work has been recognized by a number awards, including an Honorary Mention by Prix Ars Electronica in [the next idea] category (2005), the Leonardo Abstracts Service (LABS) for his master’s thesis (2008), a memefest Award of Distinction (2008), and a special transmediale “Online Highlight” (2009). Additionally, his work has been discussed in print and online media, including ID Magazine, the Boston Globe, CNN, Slashdot, and Afterimage.

For more Turbulence Spotlights, please visit http://turbulence.org/spotlight

Platform2 with Robert DaVies presents Iconography of Climate Change

A digital silkscreen production workshop
Sunday May 10, 1-5pm
Studio 9:43 @ The Distillery, 516 East Second Street
South Boston, MA

Polar bears… Melting glaciers… Pine groves… Green arrows…
Blue skies…Stranded penguins… Al Gore…
Parched earth… Powerpoint… Sprouted seedlings… Reusable bags…

What are the images that we associate with climate change? Where are the inspiring designs that might instigate change or revolution? This afternoon workshop will use digital media and silkscreen techniques to critically analyze, deconstruct and revision these lame icons of climate change in the media.

We provide:
Silkscreening demonstrations
Tools for digital production and archiving
Tunes & greens (to use and to eat)

You bring:
T-shirts, bags, patches, pants and other printable materials

The end product:
an online archive (Creative Commons licensed)
an artists book edition

We will have a wall of images for inspiration and collage. If you won’t be in town for the event – send us your images! We’ll add them to the wall. All images from the event will be uploaded to an online archive and made into an edition of artists books.

Lets come up with a new visual language that will help to change the world!

Space is limited, please RSVP: info@ikatun.org

If sending images by email, please use JPG form.

Art Ecology Sustainability, an Exhibition Addressing the Ample Spectrum of Ecologist Art Practices

http://www.clponline.it/mostre.cfm?
idevento=E2F9AF86-91E4-FB5B-77E95692E47385FD

GREEN PLATFORM
art, ecology and sustainability

http://www.strozzina.org/greenplatform/e_index.php

The Centre for Contemporary Culture Strozzina (CCCS), at the Palazzo Strozzi, Florence, Italy, will present from 24 April 2009 to 19 July 2009 :

GREEN PLATFORM – Art Ecology Sustainability, curated by Valentina Gensini and Lorenzo Giusti.

the exhibition will present a series of works by international artists who address these issues in a number of very different ways.

The artists whose work will be on display are Alterazioni Video, Amy Balkin, Andrea Caretto and Raffaella Spagna, Michele Dantini, Ettore Favini, Futurefarmers, Tue Greenfort, Henrik Håkansson, Katie Holten, Dave Hullfish Bailey, Christiane Löhr, Dacia Manto, Lucy and Jorge Orta, Julian Rosefeldt, Carlotta Ruggieri, Superflex, Nicola Toffolini and Nikola Uzunowski. Between them they will address the issue of the environment in the dual sense of a crisis in our thermo-industrial society based on non-renewable sources of energy and of an ecological crisis caused by pollution and by the worrying overheating of our planet.

Green Platform will allow visitors to compare the artists’ different approaches to, and ways of reflecting on, the problem of ecology which will be explored not only in terms of an environmental approach but also analysed and understood through its myriad philosophical, psychological, environmental, economic and social implications.

ART, NATURE, LANDSCAPE
Some of the artists focus on investigating and denouncing existing situations, conduct and social practices that fail to respect the ecosystem. Their work highlights the inconsistency and responsibility of individuals and of society as a whole, yet without claiming to indicate any ‘right way’ to resolve the problem of the environment. Rather, their work offers a detached analytical view that questions tangible elements in the difficult transformation process currently underway.

ART AND SUSTAINABILITY
Other artists dwell on the theme of virtuous practices designed to curtail environmental impact, in an attempt to avoid jeopardising the chance of future generations to continue to develop while safeguarding the quality and quantity of the world’s natural reserves and heritage. These artists’ works are formed with natural, perishable and recycled materials or are constructed in accordance with energy-related, behavioural and structural rationales based on sustainability.

ECO-ACTIVISM – ECO-CRITICISM
Finally there are artists who resort to programmed or relational practices, interacting with the public sphere and proposing not just a virtuous approach in their artistic output but fully-fledged alternative strategies for development. ‘Eco-active’ artists make the best possible use of the varied vocabulary of art to fight a concrete environmental battle. Their work simultaneously covers the ground of both artistic practice and political activism.

Designed not only as an exhibition but as a composite platform, Green Platform will offer a variety of different experiences, open to visitors and the community alike, with a series of workshops run by artists, environmental activists and NGO members, a calendar of lectures by experts hailing from several different disciplines and working environments, as well as a programme of videos and documentaries on environmental issues.

The exhibition catalogue, with articles by international authors from a whole range of different disciplines and cultural backgrounds (from the economy to architecture, and from the social sciences to public-sector art), is a perfect tool for prompting reflection and debate on a new concept in art and on the opportunity to foster the new and ’sustainable’ development of that art.

Location: Centre for Contemporary Culture
Strozzina (CCCS), 50123 Firenze, Italy

Public Information: Tel. +39 055 2645155, http://www.palazzostrozzi.org

Opening hours: Tuesday to Sunday 10.00 to 20.00,
Thursday 10.00 to 23.00, Monday closed

Tickets: €5.00 multiple entry (up to five times in one month, including lectures)
€4.00 (schools)

Access: Lifts and wheelchair access to all areas.

Alessandro Ludovico
Neural Magazine – English (http://neural.it/)
Italian (http://www.neural.it/neural_it/)
Latest Printed Issue – http://www.neural.it/art/2007/01/neural_26.phtml
Subscribe – http://www.neural.it/subscribe.phtml

CologneOFF V – Call for Entries

Deadline: Tuesday, 1 September 2009
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CologneOFF V -
5th edition of Cologne Online Film Festival http://coff.newmediafest.org is planned to be launched in November 2009 under 3 festival themes

1. On Violence
2. Taboo? – Taboo!
3. One Minute Films – on memory & identity

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Entry
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VideoChannel – video project environments
http://videochannel.newmediafest.org
invites artists and directors for submitting videos/films, i.e. narratives and documentations (max 15 min.) experimenting with new concepts of transforming artistic contents into moving images, new forms of representing und new technologies

Deadline: 1 September 2009

All entry details and the submission form can be found on
netEX – networked experience
http://www.nmartproject.net/netex/?p=1030

The One Minute Films have a special call and the early deadline of 2 May 2009
http://www.nmartproject.net/netex/?p=447

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About CologneOFF
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CologneOFF – Cologne Online Film Festival http://coff.newmediafest.org , founded in 2006 as a new type of mobile film & video festival taking place simultaneously online and physical space in cooperation with partner festivals, is directed by Wilfried Agricola de Cologne

The first 4 festival editions
CologneOFF I – “Identityscapes” – 2006
CologneOFF II – “Image vs Music” – 2006
CologneOFF III – “Toon! Toon! – art cartoons and animates narriatives” – 2007
Cologne IV – “Here We Are” – 2008

were presented between 2006 and 2009 in cooperation with festivals in India, The Netherlands Venezuela, Argentina, France Serbia, Spain, Poland, Belgium, Turkey, Greece, Mexico, Bosnia-Hercegovia and others

More info on
http://coff.newmediafest.org
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This call is released by
netEX – networked experience
http://netex.nmartproject.net
.
info (at) nmartproject.net
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newmediaFIX Takes a Few Days Off

Please visit on April 27, 2009.

CTheory Releases, Resetting Theory: “Love Hurts”: Hunter S. Thompson, the Marquis de Sade and St. Paul queer Alain Badiou’s truth and fidelity

I start with the affirmation of *a* truth in order that I might be a subject permitted to write and affirm my militant commitment; writing of the truth and spelling out its affirmation necessitated not by a need to debate, to critique, or enter into conflict with prevailing particularities with regards to norms and the State of things, but in order that *a* truth might be recorded from its particular materiality and furthered in the making of it general and universal. *A* truth; *the* truth that precedes all others without subjecting them to a state or order within them; *the* truth from which the process of affirmation precedes; *the* truth that is universal but wholly disinterested; Love understood as Queer Polyamory. I become a subject as I affirm and act in fidelity to *a* truth, *that* truth, Love as Queer Polyamory. Then let it be said, vocalized, and written only as a contingent and unnecessary step:

*”A Truth, the disinterested, universal, and collective Truth is Love: Queer Polyamory”*

Read the entire article at CTheory

LISTEN IN: LILLIAN BALL / STEVE BULL

Harvestworks Digital Media Arts Center present:

LISTEN IN: LILLIAN BALL / STEVE BULL

MONDAY APRIL 20, 2009,
7PM FREE

HARVESTWORKS DIGITAL MEDIA ARTS CENTER
596 Broadway #602 _New York City (at Houston St)
Subway: F/V Broadway/Lafayette, 6 Bleecker, W/R Prince

As part of the ongoing “Listen In” series of artist presentations, Harvestworks is pleased to present multi-media artists Lillian Ball and Steve Bull. Lilian Ball will discuss her recent interactive multi-screen video installation Go Doñana, a project that explores diverse perspectives on the wetland/dune ecosystems found in Andalucia’s Doñana National and Natural Parks. Multi-media artist Steve Bull will demonstrate his recent video/MAX/Jitter/cellphone-SMS interactive installation Target, programmed by musician software artist Zachary Seldess.

Lillian Ball is an artist and environmental activist working in New York. Water imagery has been a constant subtext, but recent subject matter focuses specifically on environmental concerns. She has exhibited internationally, and traveled widely. Ball has a multidisciplinary background in anthropology, ethnographic film, and design.

Steve Bull is a mixed-media technology artist, also creating location-specific narratives and games that explore the social, technological, and creative possibilities of cell phones. He recently received a Target commission to produce a multi-media event with live text messaging. He delivered a series of “Slavery in New York” cell phone tours on vodcast, podcast and VOIP for the New York Historical Society.

About Harvestworks – www.harvestworks.org
Harvestworks is a nonprofit Digital Media Arts Center that provides resources for artists to learn digital tools and exhibit experimental work created with digital technologies. Our programs are made possible with funds from New York State Council on the Arts, the National Endowment for the Arts, the NYC Dept. of Cultural Affairs, Materials for the Arts, the Mary Flagler Cary Trust, the Jerome Foundation, media The foundation, the Foundation for Contemporary Art, The New York State Music Fund, the Lower Manhattan Development Corporation, The Argosy Foundation, The Carnegie Corporation, The NY Community Trust, The Andy Warhol Foundation and the Friends of Harvestworks.

————————
Sandrine Delattre
Harvestworks Digital Media Arts Center
596 Broadway, #602
New York, NY 10012
t:212-431-1130
e: sandrined@harvestworks.org
w: http://www.harvestworks.org

FEATURE: Splashback: Rhizome’s Splash Pages, 1998-2002

Rhizome is pleased to announce the launch of “ Splashback: Rhizome’s Splash Pages, 1998-2002,” an online exhibition featuring the 39 splash pages commissioned over a four-year period. “Splashback” offers a brief overview of online art and design practices from ten years ago through a nearly obsolete medium, the splash page.

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Splash art originated in the 1940s in comics, where the term referred to a full page of visuals at the front of a book. Pages were designed to engage the reader’s imagination along the lines of the comic’s broader concept, while standing independent from the narrative. In the late 1990s, when the widespread use of the application Flash opened up new possibilities for animation and interactive media, the idea of the splash page migrated to web design. Online splash art brought visual excitement to a web page when low modem speeds made it impractical to post large or moving images amid a site’s textual content.

Rhizome introduced splash pages to its web site in 1998 in order to display artwork with greater immediacy. Splash art occupied the entire browser window, and the works were not indexed by prefaces, links, and thumbnails as art usually was on Rhizome and other sites. When the artwork appeared, the only clue to its authorship was in an extension of Rhizome’s URL, a structural necessity that also served a community-building function. Not only did the splash project create a more direct platform for showcasing work, it also defined a circle of artists by connecting their name to Rhizome’s in the location bar and forging a direct bond between their art and Rhizome’s home page.

Rhizome discontinued the use of splash pages 2002. As the staff implemented a new design for the site, they decided the splash pages were an unnecessary obstacle to reaching the home page—a choice in tune with the zeitgeist as pop-up functionality plagued the web. But the recent move to organize and present this piece of Rhizome’s past in “Splashback” was made with the awareness that the original reason behind the splash project—the desire to put the art up front—is an impulse that continues to shape Rhizome’s presence online today.

Artists include: Annie Abrahams, Daniel Garcia Andujar, Ben Benjamin, heath bunting, Gregory Chatonsky, Shu Lea Cheang, Andrew Childs, Curt Cloninger, David Crawford, Mark Daggett, Joshua Davis, entropy8zuper, Andrew Forbes, Valery Grancher, Matthew Hoessli, Olia Lialina, David Lindeman, jimpunk, JODI, Yael Kanarek, Lucas Kuzma, Antonio Mendoza, Mouchette, MTAA, Robbin Murphy, Nettmedia, Scott Paterson, Pavu, Waldemar Pranckiewicz, Reinis, Satellite01, Sigma6, Starry Night, Eugene Thacker, Jake Tilson, Maciej Wisniewski, Young-Hae Chang Heavy Industries

“Splashback” is organized by Brian Droitcour, Rhizome Curatorial Fellow.
Site built by Elise Roedenbeck, Technology Assistant.

About Rhizome
Rhizome is dedicated to the creation, presentation, preservation, and critique of emerging artistic practices that engage technology. Our programs, many of which happen online, include commissions, exhibitions, events, discussion, archives and portfolios. We support artists working at the furthest reaches of technological experimentation as well as those responding to the broader aesthetic and political implications of new tools and media.

Rhizome’s public programs are supported by The Andy Warhol Foundation for the Visual Arts, The Foundation for Contemporary Arts, The New York City Department of Cultural Affairs, The New York State Council on the Arts, a state agency, and The Rockefeller Foundation’s NYC Cultural Innovation Fund.

HMC VideoFest, Budapest, Hungary

August 02-05, 2009

The Hungarian Multicultural Center, Inc. (HMC) is soliciting entries for a HMC VideoFest to be held in “Godor” downtown Budapest, Hungary from August 02-05, 2009. Media and video artists all around the world are invited to send video art for the HMC VideoFest. In the same time we have an artists residency program in the city and an exhibition will be arranged. The HMC a nonprofit organization dedicated to promote cultural expansion of the visual arts.

CONCEPT
HMC Video Art Festival is looking for video art that foresees new perspectives, criticism or analyis of the subject of matter. The theme is free.

ELIGIBILITY
Artist: from any age, gender, nationality, religion can submit up to 3 works.
Films and videos submitted must:
- belong to the category of video art ,
- have been completed on or after January 1, 2007
- be in a single channel,
- be copyright controlled by the artist

REQUIREMENT
All submissions should include:
1. Entry form. Fill up, print and sign the form for each work that you are submitting.
2. Artwork, videos should be submitted on DVD video (pal) format or video file (?avi?, ?mpeg? or ?quicktime?, with a maximum file size of 1,5 Gb) and the time duration of the work should not exceed 15 minutes. The DVD should be clearly label on the spine with title, year, running time and director name. Works submitted in languages other than English must be subtitled.
3. A short biography of the artist (between 50 and 100 words),
4. A short description of the work that you are submitting, including a list of previous screenings,
5. Two still images of the work in jpg.

DEADLINE
Entries must arrive at HMC address by April 25, 2009 HMC does not take responsability of shipment delais. Submissions that arrive after the deadline will not be considered.

SHIPPING
Submissions should be written on the envelop: ?DVD for festival. Cultural
use only. No commercial value.?
Do not send submission materials in fibre-filled envelopes; the dust damages media and playback equipment. HMC is not responsible for loss or damage during shipment. Submitted works won?t be returned.

ENTRY FORM
The entrant?s signature on the entry form automatically agree with the terms of the present call. It also certifies that the entrant is the legal owner of the work, and that any copyrighted materials included in the work have been legally cleared for use.

ENTRY FEE
$35.

CATEGORIES AND CONCEPT
We are interested in screening videos in the category of video art. We look for the inspired and the critical, the confounding and the revelatory, the scurrilous and the eccentric. This is non-profit Festival and unfortunately we got a very small budget so we can only show your video/videos on the singel screen. We can’t offer artistic fees, accomondation or travel expenses.

SEND SUBMISSIONS
Hungarian Multicultural Center, Inc.(HMC)
Beata Szechy, president
2503 Costa Mesa Drive, Dallas, Texas 75228

Please get in touch if you have any questions.
214-324-0078
bszechy@yahoo.com
http://www.hungarian-multicultural-center.com

CALL FOR ENTRIES: X Media Forum in the frames of Moscow International Film Festival

MediaArtLab Centre for Culture has started to receive requests for taking part in Media Forum 2009. It will be held in the frame of 31 Moscow International Film Festival from 23 to 28 of June.
This is the 10 years Media Forum exists. The objective of Media Forum is to demonstrate the connection between traditional and modern branches of screen culture, the impact of technological innovations on visual arts.

We hope that you will be interested to learn more about Media Forum 2009 here http://mediaforum.mediaartlab.ru/en/