Announcer on Mon, 21 Jan 2002 01:18:33 +0100 (CET) |
[Date Prev] [Date Next] [Thread Prev] [Thread Next] [Date Index] [Thread Index]
<nettime> Publications [10x] |
Table of Contents: satmundi "r b" <satmundi22@hotmail.com> competition "Dead or Alive" jurij krpan <jurij.krpan@kapelica.org> First issue of online new media Journal out Jonathan Lillie <jlillie@metalab.unc.edu> 2002 Webbys Seeking Net Art Sites "Patrick Kowalczyk" <patrick@mkpr.com> Fibreculture-reader at transmediale.02 Andreas Broeckmann <abroeck@transmediale.de> Call for Papers Performance Research <performance-research@dartington.ac.uk> public competition for sound projects =?iso-8859-1?Q?Montse_Roman=ED?= <MRomani@cccb.org> affective encounters e-book Susanna Paasonen <suspaa@utu.fi> eipcp | new issue: pre_public eipcp <contact@eipcp.net> Work: Vote Machine part 1 version 13 Brian Judy <bjudy@redaphid.com> ------------------------------ Date: Sun, 13 Jan 2002 03:29:02 +0000 From: "r b" <satmundi22@hotmail.com> Subject: satmundi The body becomes the main instrument of man's interpretation of reality.The body is a big sagacity, a plurality with one sense, a war and a peace, a inside and a outside.The body is the full being who does not suppress or eliminate his passions. He does not accept one part of himself and condemn other parts, but accepts his nature and the conditions of life as they are.The body itself is within history in this way: The body is molded by a great many distinct regimes; it is broken down by the rhythms of hyper-texted body.SATMUNDI is announcing the new VRML work from Ricardo Barreto, "body" http://www.satmundi.com/body/windowbody.html ------------------------------ Date: Sat, 12 Jan 2002 14:47:58 +0100 From: jurij krpan <jurij.krpan@kapelica.org> Subject: competition "Dead or Alive" - --------------DA8F6D85B4A62F4093B68BEC Content-Type: text/plain; charset=iso-8859-2; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Break 21 6th International Festival of Emerging Artists May 19th E 24th, 2002 Ljubljana, Slovenia http://www.break21.com Organiser K6/4, Kersnikova 6, Ljubljana, Slovenia BREAK 21 - Statement of Purpose The festival is dedicated to younger, not yet recognised artists who modulate their artistic expression within research artistic practice. The age limit has been abandoned by this yearUs festival to be able to follow the theme more thoroughly. Besides artistic works, selected through Call for Applications, selectors have the opportunity to invite authors, whose known works may add up to the entire exhibition of the chosen theme. However we will prefer the latest projects, which are, in our opinion, important for the discourse, pursued by the festival, in the selection. In the year 2002, the festival construction will differ from the last five editions. We will invite only the artists, who are indispensable for the presentation or installation of their works, to Ljubljana; the rest of them will be presented with their works. Holders of the programmes will take up the roles of selectors since they have already been connected to permanent activities of the K6/4 board. The festival will thus obtain the content frame, which can already be detected in the current activities of the K4 club, which will provide the sound, the Kapelica gallery, which covers the field of the visual arts and performances, and the Kiberpipa, which covers the field of cybernetics, video and film production. We also invited a few associates, who specialise in the field of cartoons, animated films, short films, web art, designing, culinary art and fashion to help us in the selection. Custodians of the festival (we invited them from Zagreb, Croatia, this year) proposed the theme, which, we believe, opens an extremely important, stigmatised and taboo field in totalitarianism of the consumer society. Custodians will make a selection of applicants together with selectors/advisors, who are experts for specific artistic fields. Concurrently, uniform criteria of the selection are being guaranteed. We tend to create the selection and the Break 21 festival upon explicit artistic projects, texts, and not numerous exhibits to be able to reflect upon the selected field precisely enough, since the selected field will be presented in the collection of texts after the festival. We expect around 60 participants, including artists, researches, engineers, theoretician and publicists to participate at the festival. In the postproduction of the festival, a catalogue on CD ROM will be published. Later on, we will publish a printed collection of texts and artistic project, presented at the Break 21 festival, and projects, which influenced the development of the selected theme greatly, for which we would like to become the reference in the future. THEME: "Dead or Alive" "Dead or Alive" implicates the urge, which tends to satisfy something at all costs, taking no regard whether it demands the life to be taken. It is assumed, that it represents something, for which, imperatively, it is greater than life or death. In the tendency to give up life as the highest value, the sacrifice is implicated or some urgent denunciation in the economy of one's own life, which we could call a particular death, for the sole purpose to accomplish something. In the title, the initial question appears. It questions death and life; it demands an answer to the question about definitions, what is actually dead and what is alive. To what extent something is dead, though only inert; to what extent something is alive, though tends to be prolonged with the help of machines; how to understand organic material in the cryobanks and how biotechnical mechanisms/organisms? Are the cyber space and avatars with artificial intelligence, which are present in the Hollywood apparatus of the imaginary or the top cyber laboratories, our or the parallel world? Bionics and eugenics establish new paradigms of life and death as much as nanomechanics and intelligent neuronic nets. Artificial life is the oxymoron, which penetrates the core of our theme. Questions, posed to us by high technology, are still utterly legitimate in traditional sense, since we understand them through the perspective of modern age. Intermingling of everyday violence, which we encounter in the streets, car accidents, murders, suicides, diseases, wars and catastrophes on higher scales are balancing with births, rebirths, changes of identity and initiations, creations of new life situations and cosmic phenomena. Religious repertoires and great ideologies are all built upon dichotomy of life and death. They tend to be valid within the scale of the universal, while moments of ecstasy during meditation or sex, pain and dreams are utterly intimate and identical to themselves. Mental deviations, such as insanity, psychosis, neurosis, obsessions, paranoia and hysteric states were interpreted as a kind of intermediary state between life and death in primitive cultures, while in modern societies, the border between the healthy as an attribute of life and the ill as an attribute of death is being obliterated. Life and death are great themes of art and a lot has been said about them, however, some things can't be talked about too many times. Our intention is for artists to deal with them innovatively, through the perspective of new art and research artistic practice, which owns a tactical value that points more at the poetics of life than poetics, which is already known from traditional aesthetic paradigms. Forms of expression may not be products and aesthetic artefacts but rather processes, states, situations ... that comprise the dimension of time - transition. FIELDS Theory, visual arts, performative arts, intermedia arts, mobile pictures, music and sound, architecture, applied arts, culinary arts. PRESENTATION FORMS 2D exhibitions, installations and ambients, performances, actions, concerts and sound installations, fashion shows, round tables, lectures and presentations, projections, food preparation. CUSTODIANS Suncica Ostoic, Chief Custodian, sunce@picigin.net Olga Majcen, Chief Custodian, olga.majcen@inet.hr SELECTORS/ADVISORS Sandra Sajovic, Jurij Krpan, Igor Prassel, Gregor Fras, Iztok Drabik, Jaka »eleznikar, Zoran Garevski, Sabina Dogic CALL FOR APPLICATIONS E BREAK 21/2002 Theory We will organise a series of lectures and presentations and the texts will be published in the catalogue. We will also publish essays, theoretic and critical texts of the selected theme. The emphasis will be put primarily on the texts, which deal with the complex of life and death through the perspective of modern and new art. Proposals for lectures should be texts (in Slovene and English language) and the list of photos or videotapes matching the lectures. Theoretical texts should not exceed 32 typed pages (48000 characters E no spaces), and critical texts should not exceed 16 typed pages (24000 characters E no spaces). Visual Arts Proposals for the exhibition of printed material (cartoons, graphic prints, digital prints), photographs, interactive works, visual communication (subvertising), computer-assisted art (from web art to robotics) etc. should be clearly presented (in written form, with pictures and sound) so that the content and technical demands are well understood for the presentation (max. one typed page in Slovene and English). In the presentation material, all dimension and technical demands (equipment) should be evident (hardware, software, audiovisual equipment, installation aids/tools etc.). Performative Art Performances should be clearly presented, either described in details (scenes with time) or numbered photo documentation, or a videotape of the performance. Performances in which the authors take part and where technical equipment represents the scene have the priority. Besides the content presentation of the performance the application should also include the description of technical equipment, in which the part, prepared by the organisers, should be specified separately. Intermedia Art Projects, which comprise various procedures of expression, should include the background, so that a suitable presentation environment can be selected, since events will take place at various locations. A typed page of the presentation is required (in Slovene and English), sketches, photo and video material. The description of the equipment and special demands should be included in the text, which the organiser will resolve at the specific location. Mobile Picture Films in all categories will be presented at the festival: documentaries, fiction, video art, animated films, experimental films, short films ... According to the content of the film we will select the appropriate location, so that the films will be presented in suitable halls; video and animated films will be installed as projections or installations. Therefore, authors should specify demands and requirements of presentations. Regardless of the form of media, used to present the works (formats 70 mm, 35 mm, 16 mm, DVD, Beta), all films should be sent in VHS format, electronic works on CD ROM, DVD or over the Internet. Music and Sound The field includes concerts, sound installations and intermedia performances, in which sound holds the priority. The most suitable form of concert presentations is the video format, and the most suitable form of installations is the draft or tape on CD, or a precise description of the sound, which is expected. In any case, the presentation should include technical demands, specially the part, which has to be prepared by the organiser. Architecture We do not intend to exhibit sacral architecture and equipment, which was built or is in the process of building, nor we expect competition proposals, which will never take place. We are interested in the projects, which sublimate themes of life and death in the most radical meanings. Architectural semiology should be oriented towards conceptual projects and less towards utilitarian realisations. In the competitive phase, the projects, which represent intermedia, will be favoured, however, they can be presented in 2D, on CD all over the Internet. Application should include a typed page of the text (in Slovene and English). Applied Art The selected theme evokes the memory of applicative objects, which have more or less ritually accompanied humanity through the history. In highly urban environments, extremely individual life stiles develop and invent graphic attributes and other symbolic gestures for personal rituals in the alienated everyday life. Although we recognise the fashion creativity through fashion machinery of the consumer society, we decided to underline the part of a designing production, which holds highly personalised approach and thus point at semiology of dressing, which wrenches from the vice of mass economy. Proposals should be photographed and equipped with half a typed page of description and eventual technical requirements. Photographs or extremely precise sketches, including comments, should present dresses in the application for fashion designing. Culinary Art The question of life and death is structurally important in culinary art, thus we think that creativity within the theme gives excellent opportunities. Cooks, who tend to realise the menus, are offered the classically equipped kitchen and assistants who will help him/her prepare 50 meals per term. During the festival, the kitchen will be set up to provide meals for participants and visitors. We believe that participants and visitors of the festival are the ideal public for dishes, which are hard to realise on other occasions. TRAVEL EXPENSES AND ACCOMMODATION Organiser will provide for three nights with breakfast, three lunches and dinners. Travel expenses have to be covered by the participants or can be subsidised with the help of organisers (applications to embassies or foundations). DATA, WHICH NEED TO BE INCLUDED IN THE APPLICATION - - the description of the art work (it will be published in the collection of texts) - - audio and visual presentations (VHS, S-VHS, CD ROM, DVD, slides, photos, sketches, notes) - - title, dimensions, time of installation, instructions for use and installation (space requirements, technical requirements, the form of interactivity and the roles of participants) - - the works which were produced over the last 10 years will be taken into consideration - - computer-assisted projects should include operation system requirements and software - - web art (net/web/internet/online art) E the URL works should be reported at the web site address: http://www.jaka.org/break - - the presentation of dresses (fashion show) should include dresses in sizes 36/38 for women and 48/50 for men. Each designer can present the collection in which there are 3 to 5 female dresses or male suits. Designers can provide shoes (size 39/40 for women and 44/45 for men), and all extras. Organiser will provide make-up, hairstyle, models and music - - cartoons can be sent on quality black-and-white copies, format A4; texts should be in English, the number of pages is not limited - - culinary art E call for applications should include the presentation of two meals (meat and vegetarian). Expenses of ingredients should not exceed 3 EUR - - a short biography of the author and other associates - - the name, surname, address, zip code, city, country, telephone, fax, e-mail, URL - - call for applications should be sent by March 1st 2002 to the following address: Studentski kulturni center Break 21 Kersnikova 6 SI - 1000 LJUBLJANA e-mail: break21@k6-4.org Telefon: ++ 386 (0)1 438 03 00 Faks: ++ 386 (0)1 438 02 02 Important notes: - - we do not return the received material, shipping has to be covered by the sender - - required documents for temporary export/import of exhibits and objects (ata carnet) have to be taken care by the authors - - to avoid import taxes when sending VHS cassettes and CDs, documents which prove that the material is non-commercial is required. Notify the organisers for required documents - - we will notify you of the selected works by March 15th 2002; the results will be published at URL:http://www.break21.com - - additional information: break21@k6-4.org ------------------------------ Date: Wed, 16 Jan 2002 11:41:01 -0500 (EST) From: Jonathan Lillie <jlillie@metalab.unc.edu> Subject: First issue of online new media Journal out The first issue (Winter 2002) of NMEDIAC, the Journal of New Media & Culture is now available at: http://www.ibiblio.org/nmediac/winter2002/ Here is what this exciting first issue has to offer: ARTICLES Cultural Logic in Cyberspace: Web Art & Postmodernism - - A partial teaser article by Amy Davila offering a peak of what is to come in future issues of NMEDIAC Party Over, Oops, Out of Time': Y2K, Technological 'Risk' and Informational Millenarianism - - Kavita Philip & Terry Harpold Computer mediation and postmodern narrative practices: computational narratives in Mason&Dixon. - - Miriam Fernndez Santiago >From Text Effects to Canned Goods: Identity Construction and Visual Codes in the Flash Development Community - - Megan Sapnar Media Literacy for the Unconscious Mind - - Brian Walsh NEW MEDIA ART "Superstitious Appliances" & "in an unrelated sequence comes" - - Jason Nelson An Introduction to the New Media Art of Jason Nelson - - NMEDIAC Contributing Editor Jennifer Ley "Hey Now" - - Thomas Swiss and Motomichi Nakamura An Introduction to the New Media Poetry of Thomas Swiss - - NMEDIAC Assistant Editor Megan Sapnar BOOK REVIEWS Loss Pequeo Glazier. (2002). Digital Poetics: The Making of E-Poetries. Tuscaloosa: University of Alabama Press. - - Review by George Hartley - ----- Jonathan James McCreadie Lillie - ----- Managing Editor NMEDIAC, The Journal of New Media & Culture http://ibiblio.org/nmediac - ----- Park Doctoral Candidate The School of Journalism & Mass Communication The University of North Carolina at Chapel Hill - ----- Senior Web Programmer Management Information Systems Group, Inc. http://www.misg.com - ----- jlillie@email.unc.edu - ----- http://www.ibiblio.org/jlillie ------------------------------ Date: Thu, 17 Jan 2002 16:11:19 -0500 From: "Patrick Kowalczyk" <patrick@mkpr.com> Subject: 2002 Webbys Seeking Net Art Sites Thought you might want to pass this on to members of your mailing lists. Best, Patrick For Immediate Release Contact: Patrick Kowalczyk, patrick@mkpr.com Leah Schmerl, leah@mkpr.com Michael Kaminer Public Relations, 212/627.8098 THE SIXTH ANNUAL WEBBY AWARDS® LAUNCHES CALL FOR ENTRIES FOR YEAR'S BEST NET ART SITES http://www.webbyawards.com San Francisco, January 16, 2002 - Net artists have until January 31, 2002 to get enter their sites into the running for The Sixth Annual Webby Awards, The International Academy of Digital Arts & Sciences announced today. Hailed by The Wall Street Journal as a celebration of "sites that pave important paths to the Internet's next phase," The Webby Awards is the leading international honors for Web sites and individual achievement in creativity and technology. The awards are presented by the Academy, a diverse, 350-person organization whose membership includes Esther Dyson, Susan Sarandon, David Bowie, and Larry Ellison. Young-Hae Chang Industries www.yhchang.com was named Best Arts Site of the Year at The Fifth Annual Webby Awards. Winners of The 6th Annual Webby Awards will be announced in May 2002. With the Web recently marking its tenth anniversary, Maya Draisin, the executive director of the Academy, said that more attention than ever will be focused on this year's nominees and winners - and the clues they provide about the future of the Internet. "The first ten years of the Web were all about building an infrastructure, experimentation, and introducing people to a new medium," said Draisin. "As the Web moves into its second decade, the Academy remains committed to celebrating the sites and individuals that are setting standards and pushing boundaries." For the first time, The Webbys will accept entries for the Best Practices Award, which recognizes a single site that serves as a model of excellence in each of the Webby judging criteria: content, structure and navigation, visual design, functionality, interactivity, and overall experience. The Best Practices Award debuted at The 5th Annual Webby Awards and was awarded to Google.com. The Sixth Annual Webby Awards is seeking submissions in thirty categories: Activism, Best Practices, Broadband, Commerce, Community, Education, Fashion, Film, Finance, Games, Government & Law, Health, Humor, Kids, Living, Music, NetArt, News, Personal Web Site, Politics, Print & Zines, Radio, Science, Services, Spirituality, Sports, Technical Achievement, Travel, TV, and Weird. "Now in our sixth year, The Webby Awards continue to honor not only the popular sites that set the benchmarks for the industry, but also the smaller Web sites that are doing important work," said Tiffany Shlain, director and founder of The Webby Awards. "We're looking forward to finding another extraordinary mix of sites in 2002." To submit a Web site for consideration, visit The Webby Awards Web site at http://www.webbyawards.com, where you will find submission rules and an official online entry form. Deadline for entries is January 31st, 2002. About The Webby Awards The Webby Awards is the leading international honor for Web sites and individual achievement in technology and creativity. The International Academy of Digital Arts and Sciences selects the nominees, winners, and presents the awards event. For more information visit http://www.webbyawards.com. About the International Academy of Digital Arts and Sciences The International Academy of Digital Arts and Sciences is dedicated to the creative, technical, and professional progress of the Internet and evolving forms of interactive media. The Academy's goal is to assemble a brilliant panel of leading new media experts, visionaries, journalists, and luminaries to propel the Internet and Interactive Technology into the future. The Academy is an intellectually diverse organization that includes over 350 members such as film director Francis Ford Coppola, musician Bjork, Chairman of Talk Media Tina Brown, cyberguru Esther Dyson, creator of "The Simpsons" Matt Groening, Public Radio International Personality Ira Glass, and Oracle Chairman Larry Ellison. Members also include writers and editors from publications such as The New York Times, Wired, Forbes, Details, Fast Company, Elle, The Los Angeles Times, Vibe, and WallPaper. For more information, visit <http://www.iadas.net./> # # # Patrick Kowalczyk | Michael Kaminer PR | www.mkpr.com 1123 Broadway, Suite 805 New York, NY 10010 | 212.627.8098 ------------------------------ Date: Sun, 20 Jan 2002 16:07:24 +0200 From: Andreas Broeckmann <abroeck@transmediale.de> Subject: Fibreculture-reader at transmediale.02 we will have copies of the new Australian Fibreculture-reader for sale at transmediale.02 in Berlin next month - price EUR 20. greetings, - -a ******** FIBRECULTURE READER Hugh Brown, Geert Lovink, Helen Merrick, Ned Rossiter, David Teh, Michele Willson (eds), Politics of a Digitial Present: An Inventory of Australian Net Culture, Criticism and Theory (Melbourne: Fibreculture Publications, 2001). Paperback 155 x 230mm 300pp ISBN 0-9579978-0-9 $30AUD (includes GST) plus postage and handling ($3.75 in Australia/$11.50 for USA & Canada/$13 for UK & Europe) - payable by cheque or money order made out to Fibreculture. WEBSITE WITH INFORMATION ON ORDERING THIS BOOK www.fibreculture.org EMAIL ADDRESS admin@fibreculture.org (for list administration and book ordering) BACK COVER BLURB Established in January 2001, fibreculture is a forum for Australian net culture and research, encouraging critical and speculative interventions in the debates concerning information technology, the policy that concerns it, the new media for(u)ms it supports and its sustainable deployment towards a more equitable Australia. Fibreculture is committed to fostering and promoting open, independent, critical, participatory and sustainable forums. The fibreculture network comprises theorists, critics, journalists, academics, artists, activists, policy developers and all sorts of media producers, designers and other information-workers. Fibreculture is working towards productive dialogues around our distinctive engagements with/in new media & internet theory and practice. The inaugural fibreculture reader is an encounter with some of these dialogues in process: offering not conclusions or closures but rather an invitation to further reflection, debate, and action. ------------------------------ Date: Fri, 18 Jan 2002 14:16:38 +0000 From: Performance Research <performance-research@dartington.ac.uk> Subject: Call for Papers Performance Research Vol.7 No.4 (Winter 2002) 'On Archives and Archiving' Call for Contributions 'On Archives and Archiving' will be Volume 7, Issue 4 of 'Performance Research' and will be jointly edited by Richard Gough with guest editor Heike Roms. Deadlines are as follows: Proposals: February 28th 2002 Finalised Copy: May 15th 2002 Publication Date: December 2002 'On Archives and Archiving' will be the fourth issue of a volume on 'Textualities: scores, documents and archives' (PR, Vol.7, Nos 1-4, 2002) which considers the changing nature of performance texts and relations between writing, textuality and performance in four related issues: On Editing, Translations, On Fluxus and On Archives. Performance is widely regarded as that which cannot be archived - its presentness at odds with the archive's quest for permanence, its disappearing acts resisting the desire to label, stack and store. Yet at the same time as performance has asserted its radical ephemerality the demand for documenting and archiving its practices on behalf of performance research and historiography has grown. What then is performance's relationship with the archive? The editors invite contributions that explore this relationship in all its facets, including the role of performance in the culture of the archive and the role of the archive in conceptualisations of performance; the cultural histories and ideologies of archival practices; the future of performance and the archive in the digital age; performance as an archive of its own history; performative interventions into archival culture; the role of forgeries, rumours and lies in the development of performance history; the role of the document in performance research; the practices of performance archives; and performers' archives. Possible topics (in alphabetical order): access - accumulation - arrangement - assemblage - association - authenticity - - autobiography - body - book - bone - box - capacity - catalogue - category - - classification - collage - collection - conservation - copy - counterfeit - cyberspace - data - decay - depository - destruction - diary - digital - disappearance - document - drawer - dust - ephemerality - error - eternity - evidence - facsimile - fake - file - flesh - forgetting - fragment - future - goneness - hide - history - image - information - installation - internet - inventory - journal - knowledge - label - letter - library - lies - list - loss - memory - name - network - omission - orality - order - original - palimpsest - paradox - past - preservation - private - public - quotation - recycling - reconstruction - remains - restoration - rubbish - ruin - rumour - - safety - saving - searching - secret - storage - sound - system - time - trace - uncover - virtual - witness - wunderkammer - xyz 'On Archive and Archiving' will continue the discussion on archiving and performance begun in earlier issues of Performance Research ('On Memory' and 'On Maps and Mapping'). Responses to previous contributions on the theme are especially welcome. Performance Research is interested in proposals for visual and textual work that makes use of the resources of the page, and in work that may use several versions of a text. We are interested in scores and other performance documents, interviews, discussions, proposals for review essays of performance, digital, time-based work and books, and in collaborations between artists and critics. This issue will be edited by Richard Gough, General Editor of Performance Research, and Heike Roms, Consultant Editor of Performance Research. We actively welcome submissions on any area of performance research, practice and scholarship. Proposals and articles will be accepted on hard copy, disk or by e-mail attachment (MS Word). Please DO NOT send images by email attachment without prior agreement. Proposals, submissions and enquiries should be sent direct to: Linden Elmhirst - Administrative Assistant Performance Research Dartington College of Arts Totnes Devon TQ9 7RD UK tel. 0044 1803 862095 fax. 0044 1803 866053 email: <performance-research@dartington.ac.uk> Submission of an article to the journal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. By submitting a manuscript, the authors agree that the exclusive rights to reproduce and distribute the article have been given to the publishers. ****************************************** - -- - - ------------------------------ Date: Tue, 15 Jan 2002 14:38:51 +0100 From: =?iso-8859-1?Q?Montse_Roman=ED?= <MRomani@cccb.org> Subject: public competition for sound projects - -------------------------------------------------------------------------- - -------------------------------------------------------------------------- - -------------------------------------------------------------------------- - ---------------------------- PERIODIC PUBLIC COMPETITION FOR SOUND PROJECTS DEADLINE: March 11, 2002 Contemporary Culture Centre of Barcelona-CCCB - -------------------------------------------------------------------------- - -------------------------------------------------------------------------- - -------------------------------------------------------------------------- - ---------------------------- PERIODIC is a public competition for projects based on the most experimental music, in relation to the theme of TYRANNY. It is a musical activity organised to coincide with the exhibition TIRAN(i)A which is to be presented at the CCCB (Contemporary Culture Centre of Barcelona) from 24 January to 28 April 2002. To enter the competition, participants should present a project for a basically musical activity which takes as its central theme TYRANNY, with everything that this concept suggests to the artist. The two winners will each give a concert/action on 19 and 20 April 2002 in the auditorium of the CCCB. They will also each receive a cash prize of 1,500 Euros, which will include all expenses (composition, performance, etc...). The project, including a detailed explanation of the activity, must reach the CCCB by 11 March. It may be presented in traditional format or on computerised support for Windows 2000. The jury will particularly value the incorporation of elements which are extraneous or related to music (video, dance, performance, visual arts, literature, etc...). The space will be equipped with all the infrastructure needed to organise a concert with the possibility of simultaneous projection and the necessary backline. The complete conditions are available for consultation at the CCCB or on the web site: http://www.cccb.org CCCB Montalegre, 5. 08001 Barcelona, Spain Tel. + fax. +34 933 064 100 contact: info@cccb.org URL: http://www.cccb.org ------------------------------ Date: Wed, 16 Jan 2002 14:46:42 +0200 From: Susanna Paasonen <suspaa@utu.fi> Subject: affective encounters e-book *** sorry for cross-posting *** Announcement of a new e-book: CONFERENCE PROCEEDINGS FOR _AFFECTIVE ENCOUNTERS: RETHINKING EMBODIMENT IN FEMINIST MEDIA STUDIES_ Anu Koivunen and Susanna Paasonen (editors) University of Turku, School of Art, Literature and Music Series A, N:o 49 ISBN 951-29-2237-1 296 pp. E-book at http://www.utu.fi/hum/mediatutkimus/affective/proceedings.pdf (& http://www.utu.fi/hum/mediatutkimus/affective/proceedings.html) Media Studies, Turku 2001 Last September, University of Turku (Finland) hosted an international conference on the broad issues of affectivity and embodiment. Now in all 34 workshop presentations from this conference have been published as an e-book on line. Exploring how affects are constructed, experiences signified and embodiment articulated, it features readings of film, television, new media, advertisements and print journalism, as well as arts, architecture and music. Approaches range from philosophical and aesthetic to historical and sociological. The e-book, as well as individual contributions (listed and linked at http://www.utu.fi/hum/mediatutkimus/affective/proceedings.html) can be downloaded at no cost. However, you will need an Adobe Acrobat Reader (preferrably version 5) which is available (at no cost) at <http://www.adobe.com/products/acrobat/readstep2.html>. CONTENTS: Anu Koivunen Preface: The Affective Turn? Sara Ahmed Communities that Feel: Intensity, Difference and Attachment Ana Paula Baltazar Architecture as Interface: Forming and Informing Spaces and Subjects Jennifer Lyon Bell Character and Cognition in Modern Pornography Rosemary Betterton Spaces of Memory: Photographic Practices of Home and Exile Joanna Bouldin The Body, Animation and The Real: Race, Reality and the Rotoscope in Betty Boop Hannu Eerikäinen Love Your Prosthesis Like Yourself: 'Sex', Text and the Body in Cyber Discourse Taru Elfving The Girl in Space-time: Encounters with and within Eija-Liisa Ahtila's Video Installations Amy Herzog Affectivity, Becoming, and the Cinematic Event: Gilles Deleuze and the Futures of Feminist Film Theory Katarina Jungar and Elina Oinas Inventing "African Solutions": HIV Prevention and Medical Media Sanna Karkulehto Effects and Affects in Queer as Folk Martta Kaukonen "I Must Reveal a Shocking Secret": Transvestites in American Talk Shows Jane Kilby Tracking Shock: Some Thoughts on TV, Trauma, Testimony Emmy Kurjenpuu Women's Magazines Meet Feminist Philosophy Minna Lahti "I Thought I Would Become a Millionaire" - Desire and Disillusionment in Silicon Valley, California Mari-Elina Laukkanen Ladies for Sale: The Finnish Press as Profiteer Ilmari Leppihalme Do Muscles Have a Gender? A Female Subject Building her Body in the Film Pumping Iron II: the Women Justine Lloyd and Lesley Johnson The Three Faces of Eve: The Post-War Houswife, Melodrama and Home Tapio Mäkelä Re-reading Digitality through Scientific Discourses of Cybernetics: Fantasies of Disembodied Users and Embodied Computers Norie Neumark E/motional Machines: Esprit de Corps Kaarina Nikunen Dangerous Emotions? Finnish Television Fans and Sensibilities of Fandom Sanna Ojajärvi Visual Acts: Choreography of Touches, Glances and Movements Between Hosts and Assistants on Television Susanna Paasonen Best Wives are Artefacts? Popular Cybernetics and Robot Women in the 1970s Megan D. Pincus Must They Be Famous Vaginas? The Effect and Affect of Celebrity on the Vagina Monologues and V-day 2001 Liina Puustinen Gender for Sale: Advertising Design as Technologies of Gender Christine Ross Depression and Video Art at the Turn of the Millenium: The Work of Diana Thater Leena-Maija Rossi Why Do I Love and Hate the Sugarfolks in Syruptown? Studying the Visual Production of Heteronormativity in Television Commercials Janne Rovio The Vintage Van Damme Look Moira Sullivan Lesbographic Pornography Rebecca Sullivan Biotechnological Embodiment: Gender and Scientific Anxiety in Horror Films Heidi Tikka Missing the Point - Situated User Experience and the Materiality of Interaction Julie Turnock A Catalysm of Carnage, Nausea, and Death: Saving Private Ryan and Bodily Engagement Pasi Väliaho An Audiovisual Brain: Towards a Digital Image of Thought in Jean-Luc Godard's Histoire(s) du cinéma Hans Wessels The Positioning of Lou Reed from a Profeminist Perspective Jennifer Willet Imagining the Self ------------------------------ Date: Wed, 16 Jan 2002 15:22:31 +0100 From: eipcp <contact@eipcp.net> Subject: eipcp | new issue: pre_public The new issue of the eipcp's electronic journal is now online: pre_public | http://www.eipcp.net pre_public assembles selected texts on contemporary practices of participatory public art. The contributions by Oliver Marchart, Gregory Sholette, Ulf Wuggenig / Larissa Buchholz, Rahel Puffert, Eva Sturm, Andrea Fraser, Pascale Jeannée, Helmut Draxler, Gerald Raunig, and John Malpede are particularly concerned with interventionist and activist projects which, in the last decade, have formed new intersecting zones of the political and the cultural field. The title pre_public refers to the fact that participatory artistic projects aim at creating the preconditions for new public spheres. At the same time it announces the upcoming project of the eipcp: RE | PUBLIC | ART intends to foster the field of participatory public art and its actors by means of specifically targeted measures within the fields of art, theory production and cultural politics. - --- European Institute for Progressive Cultural Policies Europäisches Institut für progressive Kulturpolitik Andrea Hummer, Therese Kaufmann, Raimund Minichbauer, Gerald Raunig http://www.eipcp.net contact@eipcp.net ------------------------------ Date: Thu, 17 Jan 2002 16:22:36 -0500 From: Brian Judy <bjudy@redaphid.com> Subject: Work: Vote Machine part 1 version 13 Election fraud research was never more fun! To participate roll over and click on interesting items in the interactive game field. http://www.boogaholler.com/votemachine/index.html Requires Flash 5. Brian Judy ------------------------------ # distributed via <nettime>: no commercial use without permission # <nettime> is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: majordomo@bbs.thing.net and "info nettime-l" in the msg body # archive: http://www.nettime.org contact: nettime@bbs.thing.net