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Table of Contents: reminder DEADLINE applications THEATRICALITY training course: 15 NOVEMBER! kranenbu@xs4all.nl user_mode = emotion + intuition in art + design honor <honor@va.com.au> SeeYou.SeeMeNot - intimate surveillance "intima" <atom@intima.org> URGENTE El instituto depertamental de bellas artes de cali en peligro de cierre "Bernardo Ortiz" <bortizc@telesat.com.co> Secretary Predicts Adoption of Artist Resolution US Department of Art & Technology <press@usdept-arttech.net> Competition for an Internet work reinhard storz <rstorz@xcult.org>(by way of Felix Stalder <felix@openflows.org>) >war time< project open call from OFFLINE and open_digi atty@no-such.com (atty) -empyre- : constructing the virtual "Melinda Rackham" <melinda@subtle.net> cd-rom on holography "Ollivier Dyens" <odyens@hotmail.com> Virtual Sit-in against the WTO - November 14, 2002 "ricardo dominguez" <rdom@thing.net> VOF - Version 3.0 now online! "ViolenceOnlineFestival" <agricola-w@netcologne.de> bannerart.org - G a r r e t t - <garrett@asquare.org> ------------------------------ Date: Tue, 5 Nov 2002 17:42:35 +0100 (CET) From: kranenbu@xs4all.nl Subject: reminder DEADLINE applications THEATRICALITY training course: 15 NOVEMBER! Postgraduate Training Course for ARCHITECTS, DANCERS, FILM-,VIDEO- AND THEATREMAKERS, MUSICIANS, PERFORMERS,VISUAL ARTISTS,THEORETICIANS, (WEB)DESIGNERS, ... CALL FOR PROJECTS THEATRICALITY Apt (Arts PerformanceTheatricality)/PoPoK InternationalProjects Workshop 2 December (on-linepreparations)/15 January - 15 June DEADLINE: 15 November In collaborationwith: deSingel International ArtsCentre (Antwerpen), Aisthesis (Antwerpen) and the Flemish Community(Education Dept.) THEATRICALITY APT focuses on theatricality, not on theatre. On mediation, not onmedia. APT sees theatricality as aprocess of mediation, as a tool. APTwelcomes artists, theoreticians and projects from all artistic disciplinesand all cultural roots to research this tool. APT encourages applications from all over the world to share ideasand practices in the field of theatricality. APT is not interested in questioning theatre as an artisticdiscipline, for this question tends to veil the simple fact that theatre iseverywhere: in politics, in sports, entertainment and everyday-life. In ourdaily encounters where the digital and analogue mingle, making meaningrequires all our senses. Speaking and hearing are no longer able to convey,grasp or explain our mediated world. Could theatricality be a tool torespond to this mediated reality? In studying theatricality - therealm of supersenses - we might find new matrixes to perceive the realitiesthat we are all living in. We are inviting you to come and reflect,research, re-evaluate, rethink and reinvent process, place, production andperformance. The agenda is twofold: concentrating both on the process ofdoing research on your work, and on theatricality as a process of mediation for that work. You are invited todevelop your individual project within this collective and individualreflection about the what, how and why of theatricality. The aim is not toget to a definition of what theatricality `really is`, but what it can beto you. We do not propagate an APT definition of 'theatricality' and wewill not let the confined space of this flyer push forward some chosen few- at http://www.popok.be (from 20 September onwards) we dip at random intothe wealth of possible views. During our time together, we willtake concepts of theatre and performances and their (sometimes hidden)presence in various disciplines as a point of departure for discussingconcrete examples: the projects proposed by each participant, completedwith guests/projects/films/visits/texts & images provided by thetutors. WHO? APT offers you a meeting point with other young artistsfrom different artistic disciplines (performance, music, architecture,visual arts, film, video, theory) who have a hunch of what theatricalitycan mean to them. The course will explore important actual issues oftheatricality by confronting the participants with artists andtheoreticians of very different disciplines to discuss and explore theirstrategies and notions of 'theatricality'.ÊThis makes guests,presentations, visits to studioÕs and expert places,performances and exhibitions a central part of the programme. As we consider youto be the master of your own work, the course encounters will always relateto your specific project and questions. ThatÕs why there is not a listof names on hand. These will be discussed during online preparations. To giveyou an idea of the APT-approach, here are some of the people that weinvited last year in our five week long Rotterdam 2001 workshopÔRoundaboutÕ: Emil Hrvatin(theatre theoretician and director) and Maaike Bleeker (dramaturge andlecturer) (curators), Paul Koek (composer/performer and theatre director),Mike Pearson (archaeologist working in theatre), Maarten Struys(architect), Iratxe Jaio (painter working with terrorism), CyrusFrisch (independent film- and theatremaker), Michael Burke (philosopher),Dragan Zivadinov (theatre revolutionary), Rob Van Kranenburg (interactivemedia specialist),... Rob van Kranenburg will also catalyse this yearÕscollective sessions & friday night parlour. He is Flow editor at Doors ofPerception, works at the cultural-political centre de Balie and is aguestlecturer at St. Joost (Breda) and Willem de Kooning (Rotterdam). He is based in Ghent, at the simsim research group.(http://simsim.rug.ac.be/staff/rob/) APT participants will also have theopportunity to relate to other research programmes, artists andinstitutions in the field of theatricality. As an instance of this, APTwill collaborate with the Theatre Studies and Aisthesis Research Centre(University Antwerp) in an international seminar on theatre andtechnology, curated by Kurt Vanhoutte, with guests lecturers and performingartists from Dublin, Lubljana, Berlin and Antwerp. WHAT? 'Theatricality' is a project 'workshop'. It takes sevenmonths of intensive work. The whole process should result in a tutorial,advisory framework for your individual project. As a result your individualwork-in-progress takes place in the context of an internationallyoriented, inter-disciplinary group of participants, possible collaborators,mentors, and posible co-producers. Ingredients: * Research and work on your project. * Individual sessions with your tutor(s) structuring andquestioning this research. *Exchange views and swap experiences (off and online) on how theatricalityworks... * Warming up/cooling downsessions: starting/ending the day with a common mental orphysicalÊexperience in which the idea of `gathering` is explored. * Visits from experts & trips to expertplaces. * Friday night parlour. * Speak & eat: guests are invited forlunch, to comment on artistic, ethical, social, cultural... aspects of theprojects. * Parties, performances,exhibitions, seminars, lectures, cooking,... WHEN? The workshop starts with an online prologue (2 December 2002 - 15January 2003) and runs until 15 June 2003. In the course of these 7 monthsyou will work both in Antwerpen (3 periods of 4 weeks) and at home. Throughdigital worksheets online preparations will start the moment youget selected: from 2 December onwards. Planned periods in Antwerp: 15January-7 February; 10 March-4 April and 19 May-15 June. (subject tochange) HOW? APT provides a research zone that is both physical andvirtual. In the course of 6 months you will work in Antwerp and at home.During three '4 week-sessions' in Antwerp, all participants are invited todesign their own laboratory, in which they will organise theirartistic research, reflect on it and make it public. In between sessions,at home, 'Theatricality' will function as an interactive website. We willorganize feedback, dialogue and discussion through online worksheets, chatsand one on one mailings with the tutors and guests. Performing theaudience: at APT the spectators are to be `invented` too. Making up apublicity campaign, distributing images, making a website and trying toinfluence the way a performance is perceived: we will have to design theinstitutional rules that define the laboratory as a performancespace. Presentations can take place whenever necessary but are never a goalas such. APT opts for the process, not the climax. APT APT (Arts Performance Theatricality) is a postgraduatetraining course in the performing arts. APT starts in January 2004 inAntwerp as a full time training course.Up to that time small and biggerprojects, round-table conversations and intensive workshops areorganised, in collaboration with partners such as 'Rotterdam 2001,CulturalCapital of Europe', 'deSingel International Arts Centre'(Antwerpen-Belgium), 'Aisthesis Research Centre'(Antwerpen-Belgium), the 'Piet Zwart Institute for VisualArts'(Rotterdam-Holland) and 'DasArts' (Amsterdam-Holland). You can take a closer look at the workshop we organisedlast year as part of the 'Werkstad in Las Palmas' programme during'Rotterdam 2001, Cultural Capital of Europe'. This will give you more orless an idea of what to expect. (http://www.popok.be from 20September onwards, before that http://www.werkstadinlaspalmas.nl) ADMISSION * The workinglanguage is English: a certain degree of fluency is required, both oral andin writing. * An important working tool isthe website and your personal worksheets on it: it's essential you have aninternet connection at your disposal at home. * Applications have to be submitted before the 15 November.Admission will be communicated at the end of November. * Applications can be submitted by anyone who hasfinished (or is about to finish) any artistic or academic (primary)training. * Applications from differentartistic disciplines (performance, music, architecture, visual arts, film,video, theory...) are encouraged. * Thereis an ENTRANCE FEE of 500,- EURO. Participants have to pay for travel,accommodation (board and lodging) and cultural activities (performances,exhibitions,...) related to the 3 periods that will take place inAntwerpen. Apt will assist in finding accommodation at pricesaffordable for students. Some basic technical and infrastructuralfacilities will be provided for (after the selection we will send you anoverview), but extra costs typical of the individual project will have tobe covered by the participants themselves. The fee must be paid before the start of the trainingcourse. The course does not make any grants available. Candidates areencouraged to apply for grants awarded by their local authorities. Healthinsurance is not included. * Theselection of participants will be based on the written proposition. Therewill be no additional face-to-face interview as such, however, we mightcontact you for further information, so please indicate clearly where/when& how you can be reached during November. APPLICATIONS haveto include: *data: name, address, phone,e-mail, date of birth, nationality, a list of diplomaÕs and/orcertificates of education (including names and location of institutions),relevant overview of (artistic) skills, work experience, youractivities/occupations during the period of the workshop, wherecan we reach you during November/December, do you have access to aninternet connection, degree of familiarity with the world wide web as aresearch tool *documentation: materialdocumenting your work (photo's, slides, video's, cd-roms - no originalsthough since no material will be returned), list of relevant (individual)exhibitions, grants, performances, commissions, festivals, (commented)curriculum vitae *motivation:personal motivation for attending the training course - how does it relateto your present artistic situation *project: what is your point of departure, research focus, envisageddiscipline, how do you relate your project/working method to otherparticipants/disciplines? collaborations between participants areencouraged - what profiles/disciplines would you connect to? *theatricality: formulate your own workingdefinition of 'theatricality', however personal or public, marginal ormainstream, simple or simply odd it may be..... *technical requirements: an overview of what's needed, an overviewof the equipment that's in your possession or that you have access to, whatyou can/need to bring with you,... *budget: what working budget do you have at your disposal, if your workinvolves other people (actors, dancers, performers): do you have contacts,on what basis can you work with them... Send to: APT - PoPoK p/a deSingel J. Van Rijswijcklaan 155 B-2018Antwerpen t: +32 (0)3 242 89 60 f: +32(0)3 242 89 69 e: apt@popok.be <mailto:apt@popok.be> Stefan FRANCK APT (Arts Performance Theatricality) Posthogeschool voor Podiumkunsten p/a deSingel J. Van Rijswijcklaan 155 B-2018 Antwerpen (++32) 03-242.89.60 (vox) NEW phone number ! (++32) 03-244.19.59 (fax) NEW fax number !! (++32) 0486-11.65.58 (gsm) <mailto:stef.apt@popok.be> stef.apt@popok.be NEW e-mail address !!! www.popok.be <http://www.popok.be/> NEW website !!!! ------------------------------ Date: Wed, 06 Nov 2002 17:28:19 +0000 From: honor <honor@va.com.au> Subject: user_mode = emotion + intuition in art + design Dear All, I thought that this would be interesting to some nettimers. This is the first call for papers for an event at Tate Modern called 'user_mode', which looks at the subject of emotional engagement within interactive art and design. We would be very interested to receive some expressions of interest from members of the list who may have ideas for presentations, performances for the event. I hope this is of interest. Best wishes Honor Harger Webcasting Curator Interpretation & Education, Tate Modern Digital Programmes, Tate honor.harger@tate.org.uk http://www.tate.org.uk/audiovideo/ PH: (44) 020 7401 5066 FIRST ANNOUNCEMENT: OPEN CALL FOR PAPERS user_mode = emotion + intuition in art + design an international symposium and festival 9 - 11 May 2003 Tate Modern London, UK A collaboration between Central Saint Martins College of Art & Design <http://www.csm.linst.ac.uk/> and Tate Modern <http://www.tate.org.uk> user_mode is an international, multidisciplinary symposium looking at interactive art and design practices. It will examine one of the key concerns for many creative practitioners - engaging the emotions of the audience/user. Artists, designers and critics frequently refer to "emotional engagement". What is meant by this? Is it immersion, rapture, agency, reflection? This question is crucial to interactive art and design practice where the user's response is sensitive to context and can not only influence the form and content of the work but also, in some cases, the future direction of technological development. user_mode will aim to locate techniques, instruments, contexts and terms to provide clearer insight into this theme. user_mode will provide an opportunity to hear from internationally renowned artists, designers and theorists as well as emerging practitioners. It is intended that concerts, performances and drop-in studios featuring artists, designers, architects, researchers and technicians informally presenting works in progress will complement presentations and panel discussions. Key contributors will include: Sara Diamond (Director, Media and Visual Arts Banff, Canada), Stuart Jones (composer/performer/interactive sound artist based in the UK), Lev Manovich (New Media theorist), David Ross (Director of the Beacon project New York, and formerly Director of San Francisco Museum of Modern Art and The Whitney Museum of American Art) and Tobi Schneidler (Architect, Interactive Institute, Stockholm) ___user_mode : thematics How do you engage and sustain the interest of the user/visitor/player in an interactive experience whether it be reflexive architecture, interactive film, art installation, responsive environment, computer games, performance, product, communication or experience design? Questions for discussion may include: does interactivity promise a more profound experience than more traditional responses to art and design? What does it add? How is it measured? Does interactive work offer more than conventional cinema, theatre, painting or architecture in emotional terms? Is there more sense of participation? user_mode will seek to identify models of emotional engagement, aiming to question, extend and rework the most topical of the categories outlined below: - - Emotion as content or theme of the work - - Emotion as agency and control - - Emotion as subjective experience - - Emotion as a cognitive and physical process - - Emotion as an element of discovery learning in interactive exhibitions - - Emotion and navigation in architecture - - Emotion and narrative in film - - Emotion and gaming - - Emotion in sound composition and audio environments ___user_mode: submissions We are now calling for papers from artists, designers, theorists, technologists, scientists, architects, musicians, philosophers and others interested in this field. The call for papers is aimed at all disciplines that can contribute to this discussion. Fresh perspectives will be sought by bringing together different disciplines to share their views. You are invited to submit a short proposal for a 30-minute visual/audio/verbal presentation in the conference or a performance or a studio demonstration. Your proposal should include the following information: 1. Name 2. Location 3. Contact Details 4. URL (if applicable) 5. 250 word proposal 6. Type of proposal (is it a paper, a studio demonstration or performance?) 7. 200 word biography Proposals must be sent via email. Please include: "user_mode proposal" in the subject line. The following formats will be accepted: * plain text format in the body of an email. * RTF attachments (rich text format) Support material can be sent via post, if necessary. Please contact us if you wish to post support material. DEADLINE: 1 JANUARY 2003 Email proposals to: Tricia Austin, Central Saint Martins College of Art & Design Email: p.austin@csm.linst.ac.uk & Honor Harger, Tate Modern Email: honor.harger@tate.org.uk ___user_mode: collaborators Tate Modern http://www.tate.org.uk Tate Modern is Britain's new national museum of modern art. Housed in the former Bankside Power Station, Tate Modern displays the Tate collection of international modern art from 1900 to the present day. There is also a full range of special exhibitions and a broad public programme of events throughout the year. Tate Modern is committed to education, and as a new national museum is determined to seize the opportunity to pioneer innovative approaches to education and interpretation. Tate Modern's wide-ranging public programme includes talks, courses, films, conferences and symposia involving artists, critics, writers and academics. user_mode will be the latest in a strand of events which explore the context of culture and technology. Central Saint Martins College of Art and Design http://www.csm.linst.ac.uk Central Saint Martins College of Art & Design has a worldwide reputation for fostering creativity and innovation. The courses and research activities are a key part of the international contemporary art world and design industries. From communication design, industrial design to fashion design and performance the college aims to develop practitioners with agility and intelligence who question convention, anticipate change and experiment with new forms and new technologies. Central Saint Martins College of Art and Design is part of the London Institute. user_mode is a collaboration between Tate Modern and The School of Graphic and Industrial Design at Central Saint Martins College of Art and Design and represents an ideal opportunity to develop a deeper understanding of topical themes within a multidisciplinary context. Intel Corporation user_mode is supported by Intel Corporation, the world's largest manufacturer of microprocessors, also a leading supplier of computer, networking and communications products. ___user_mode: contacts Website to be launched in December. For more information about this event or any other Tate Modern event, please see: http://www.tate.org.uk/modern/programmes/events.htm or contact: Honor Harger, Webcasting Curator, Interpretation & Education, Tate Modern Email: honor.harger@tate.org.uk PH: (44) 020 7401 5066 For more information about Central Saint Martins College of Art & Design: Email: p.austin@csm.linst.ac.uk URL: http://www.csm.linst.ac.uk ------------------------------ Date: Fri, 8 Nov 2002 13:56:19 GMT+1 From: "intima" <atom@intima.org> Subject: SeeYou.SeeMeNot - intimate surveillance SY.SMN - SeeYou.SeeMeNot intimate surveillance http://www.intima.org by intima | virtual base emotional low.tech solution for sad&lonely art antwerpen, belgië - november 2002 - - - - intimacy = (her) obsession | fantasy = deeper & deeper obsession = dis/appearing | frustration = repeating loop = danger | one = not enough x 3 | me = her web cam - - - - I am fully equipped for the highly emotional experience. I disappear deeper and deeper into the landscape, with the frustrations opening in the subtle and repetitive rhythm of empty images and voices. Everything is short, clean, just the basics. I travel through the emotional labyrinths that emerge from the intestines of closed networks. I share the rhythm of these parallel, flickering landscapes revealed in front of me, intriguing me, seducing me with their spaceless speech and imagery. No emotion, just a glimpse of it, no feeling, just the pain of it, no happiness, just the sound of it, no talk, just the word of it, no passion, just the climax of it. The intimate landscapes play with my illusions of possession and boundlessness, surprising me with their inner history and touching me with their surprising analogies. A structure of liquid emotion, a fusion of the visible and the invisible. The bonds between the incongruities and spanned incommensurables may seem playful, but they are not innocent. Playfulness is just a mask for a very serious adventure taking place at the intimate landscapes. There is a clear threat of emotional attachment. Who provokes me and who gets provoked? Who fills me with lust and who is lustful? Who is dynamic and who is frozen? Danger resides in the intimate dismals, personal dismemberment. (B. Kunst - www.kunstbody.org) - - - - ms ie 6+, java, wav, opt. 1024x768 http://www2.arnes.si/~ljintima2/sysmn - - - - you are welcome to visit other projects by intima virtual base and the archives at www.intima.org intima virtual base is also presented in / exhibited by * Le Centre national d'art et de Culture Georges Pompidou - Musee national d'art moderne; Paris, France * Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain * Hamburger Kunsthalle; Hamburg, Germany * Modern Gallery of Ljubljana, Slovene Museum of Contemporary Arts; Ljubljana, Slovenia * Computerfinearts, net and media art collection; New York, USA - - - - intima virtual base / 2003: Berlin, Germany; Rauma, Finland; Rotterdam, The Netherlands; Paris, France; Maribor, Slovenia ------------------------------ Date: Fri, 8 Nov 2002 17:23:24 -0500 From: "Bernardo Ortiz" <bortizc@telesat.com.co> Subject: URGENTE El instituto depertamental de bellas artes de cali en peligro de cierre COMUNICADO 001 INSTITUTO DEPARTAMENTAL DE BELLAS ARTES EN ESTADO DE EMERGENCIA Noviembre 06 de 2002 El INSTITUTO DEPARTAMENTAL DE BELLAS ARTES se ha visto seriamente amenazado y afectado por los comunicados que en días anteriores el Señor Alberto Hadad Lemus, Secretario de Hacienda del Departamento, ha hecho públicos con respecto a la reducción presupuestal del 35% para esta entidad. De igual forma ha recomendado la fusión de algunas Facultades de esta Institución con la Universidad del Valle. Los estudiantes de las diferentes Facultades pronunciamos nuestra inconformidad con respecto a estas decisiones, ya que estas son un crimen contra la educación publica y contra el desarrollo artístico y cultural de la región y la Nación, decisiones que además atentan contra la Constitución. Bellas Artes es la única institución del sur occidente Colombiano que se especializa en la enseñanza de las artes y que tiene además los diferentes niveles educativos Colombianos. Los estudiantes de las Facultades de Artes Visuales y Aplicadas, Artes Escénicas y Música hemos decidido realizar unas jornadas de trabajo permanentes dentro de la Institución, suspendiendo las actividades académicas, hasta que el Estado nos garantice que nuestra entidad no estará amenazada ni por recorte ni por fusiones. Estas jornadas llamadas “EL ARTE SE TOMA A BELLAS ARTES”, se realizaran durante las 24 horas del día y solicitamos a los medios de comunicación hacer un llamado a la comunidad Colombiana para que apoye esta movilización estudiantil y la defensa de un patrimonio que importa a toda la nación. REPRESENTANTES ESTUDIANTILES GUSTAVO MUÑOZ, JULIANA JIMENEZ, DIEGO BENAVIDES. COMMUNICATION 001 INSTITUTO DEPARTAMENTAL DE BELLAS ARTES IN STATE OF EMERGENCY Santiago de Cali November 6th, 2002 The Instituto Departamental de Bellas Artes (School of Arts) has been seriously threatened and affected by the communications that Mr. Alberto Hadad Lemus, Secretary of the Finances for the Local Government, has made public in previous days concerning the budget reduction of a 35% for our entity. Equally worrying for us the fact that he strongly recommends the fusion of some of the faculties of the Institution with Valle University. We, the students of the different faculties express our unconformity regarding these decisions, hence these are a crime against public education and against the artistic and cultural development of our region and that of the Nation being these, decisions which further more go against our Constitution. Bellas Artes is the only institution of the South western part of Colombia that is specialized in the teaching of these Arts and at the same time includes all the different educational levels in Colombia. We, the students of the faculties of Visual and Applied Arts, Scenic Arts and Music, have decided to carry out permanent working programs or schedules inside the Institution, suspending the academic activities until the State government guarantees that our Institution or entity will not continue to be threatened by neither a reduction of the budget nor by the fusioning of it with another entity. These schedules programmed called “ARTS TAKES BELLAS ARTES”, will be on going during 24 hours a day, and we ask of the media to request of the Colombian community to support this movement of the students and also for the defence of a patrimony that concerns the whole nation. STUDENTS REPRESENTATIVES GUSTAVO MUÑOZ, JULIANA JIMENEZ, DIEGO BENAVIDES. Santiago de Cali, 7 de noviembre del 2002 “EL ARTE SE TOMA A BELLAS ARTES” Comunicado 002 Cientos de estudiantes de Bellas Artes, de las facultades de artes visuales y aplicadas, artes escénicas y música, preocupados por la reducción de un 35% en el presupuesto destinado al Instituto y la posibilidad de que algunas facultades sean fusionadas con la Universidad del Valle, hemos decidido sentar nuestra opinión frente a estos hechos. Desde las 10 de la mañana del 6 de noviembre del 2002, nos hemos tomado pacíficamente las instalaciones de la Institución, suspendiendo las actividades académicas y reemplazándolas por jornadas de manifestación artística, afines al tratamiento como personas de artes y no de guerra, tal como nos han enseñado en este ente educativo. Nos manifestaremos todos los días con conciertos, performance, representaciones teatrales, exposiciones y muestras audiovisuales abiertas al público, como un ejemplo de que con arte y no con imposiciones violentas se es posible hacer pensamiento, cultura y bien por nuestro país. Pedimos a los medios de comunicación, su apoyo a esta jornada pacífica en pro del mantenimiento de Bellas Artes como lugar de encuentro y nacimiento de opciones artísticas tan apremiantes en la conformación de la idiosincrasia y el pensamiento de una región y una nación. PDT: requerimos la urgente colaboración de la ciudadanía con alimentos de primera necesidad como son azúcar, café, leche, arroz, sal, aceite, enlatados, etc. Agradecemos la iniciativa de todo aquel que desee unirse a esta causa de una manera pacífica y artística. Para las respectivas donaciones por favor acercarse a las instalaciones del conservatorio. FIRMA COMITÉ DE COMUNICACIONES ESTUDIANTES DE BELLAS ARTES INSTITUTO DEPARTAMENTAL DE BELLAS ARTES JUEVES 07 DE NOVIEMBRE DE 2002 INSTITUTO DEPARTAMENTAL DE BELLAS ARTES EN ESTADO DE EMERGENCIA COMUNICADO 003: LA DENUNCIA UNO ENTRA A ESTUDIAR DONDE QUIERA Y NO DONDE LO METAN Desde el inicio de la respuesta estudiantil ante la crisis que afecta al IDBA, hemos producido dos comunicados a la opinión pública. En el primero manifestamos nuestra inconformidad frente a los comunicados del Secretario de Hacienda del Departamento, inconformidad que tiene su expresión en una protesta pacífica y artística que hemos llamado “El Arte se toma a Bellas Artes”. Mediante el segundo comunicado especificamos de qué manera la actividad académica regular se reemplazaría por jornadas artísticas y muestras abiertas al público. Siendo el arte nuestra voz, así fue como entendimos el disenso y el desacuerdo. En este tercer comunicado los estudiantes de Bellas Artes sentamos nuestra voz de denuncia frente al atropello que se plantea contra la Institución, que está siendo vista en meros términos financieros sin considerar la inversión social que, como entidad cultural, ésta provee al departamento y la nación. La posibilidad de fusionar, así sea parcialmente, algunas facultades de esta institución con las correspondientes en la Universidad del Valle, es sencillamente algo que no consulta la complejidad pedagógica que implicaría. Como estudiantes estamos muy preocupados ya que nadie nos puede garantizarnos la continuidad coherente y consistente en la Universidad del Valle. Es de total conocimiento la crisis que afronta dicha entidad y los esfuerzos que sus diversas instancias llevan a cabo, desde hace muchos años, para buscar salidas a sus problemas internos. ¿No supondría un fusión, en las actuales circunstancias, la acentuación de un problema de dos y no sólo de una institución? Es así como formulamos nuestro rotundo rechazo a la reducción de presupuesto y posible fusión defendiendo el IDBA que, como tal, tiene un nombre, tradición, trayectoria y proyección. En este momento, cuando nos planteamos la defensa de una institución pública y la afirmación de la participación ciudadana en sus destinos, ha sido inevitable recorrer las páginas de la Constitución Política de Colombia de 1991. la carta magna concede mérito y validez a nuestro reclamo. Es por eso que exigimos se nos respeten los derechos consagrados en los artículos 2, 8, 68, 70 y 71 de la Constitución. He aquí la letra de los artículos, he aquí el fundamento constitucional de nuestra protesta. Artículo 2 Es fin esencial del Estado “facilitar la participación de todos en las decisiones que los afectan y en la vida económica, política, administrativa y cultural de la nación”. Cuando nos reunimos a deliberar sobre los destinos de nuestra institución, cuando salimos a la calle a informar, cuando hacemos arte para expresar nuestro punto de vista, cuando hacemos todo eso, estamos participando. Ese derecho, que es también deber, a la participación es al cual nos referimos aquí. Artículo 8 “Es obligación del Estado y de las personas proteger las riquezas culturales y naturales de la nación” ¿Más comentarios? El artículo es claro y su pertinencia indiscutible. Artículo 68 “El Estado garantiza las libertades de enseñanza, aprendizaje, investigación y cátedra.” Y más adelante “la comunidad educativa participará en la dirección de las instituciones de educación”. Arriba escribimos “uno entra a estudiar donde quiera y no donde lo metan”. Creemos con firmeza que existe una sana libertad de elección en el momento de preferir una institución a otra; es algo que tiene que ver con muy relevantes factores como el tipo de currículo, la propuesta pedagógica, la filosofía del centro educativo. Por otra parte, como comunidad escolar, sentimos que hemos sido excluidos, por parte de distintas instancias de gobierno, de la discusión y decisiones que se adelantan respecto del presente y futuro de la institución. Artículo 70 “La búsqueda del conocimiento y la expresión artística son libres. Los planes de desarrollo económico y social incluirán el fomento a las ciencias y en general a la cultura. El Estado creará incentivos para personas e instituciones que desarrollen y fomenten la ciencia y la tecnología y las demás manifestaciones culturales y ofrecerá estímulos especiales a personas e instituciones que ejerzan estas actividades”. No hay duda alguna para nosotros, los estudiantes, y tampoco para muchos sectores ciudadanos, que el Instituto Departamental de Bellas Artes es uno de los baluartes tanto de la pedagogía como de la proyección y defensa del arte, no sólo del Valle del Cauca sino en toda Colombia. Ecos y noticia de la labor del IDBA exceden las fronteras del país y llegan al ámbito internacional. Rostro gentil, inteligente y justo de una nación en crisis, Bellas Artes contribuye al mejoramiento de la percepción de los colombianos ante el mundo. A la fecha, a esta hora, el grupo de estudiantes de Bellas Artes ha recibido numerosas manifestaciones de adhesión a nuestros motivos, en diversos formatos como correos electrónicos, cartas de solidaridad, apoyo y acompañamiento directo. Queremos destacar aquí la carta enviada por el Hospital San Juan de Dios (Bienestar Social) en la cual se solidarizan con nuestros esfuerzos para darle continuidad a esta institución, en sus palabras “para bien de toda la juventud de la comarca y para el regocijo de todos cuantos tenemos el privilegio de asistir muchas veces como invitados a diversos eventos”. Esa es la invitación, la solidaridad con una causa justa. COMITÉ DE COMUNICACIONES ESTUDIANTES DE BELLAS ARTES ------------------------------ Date: Fri, 8 Nov 2002 12:31:30 -0500 From: US Department of Art & Technology <press@usdept-arttech.net> Subject: Secretary Predicts Adoption of Artist Resolution US Department of Art & Technology Washington, DC http://www.usdept-arttech.net press@usdept-arttech.net Press Secretary =46or Immediate Release: November 8, 2002 Secretary Predicts Adoption of Resolution To Authorize Artistic Acts of Mediation Washington, DC - Following intensive discussions in the US Department of Art & Technology, Global Virtualization Council, and their Joint Committee on Cultural Transformation and Paradigmatic Shifts, Secretary Randall M. Packer is predicting the adoption in the coming days of a new, powerful resolution "To Authorize the Use of Artistic Acts of Mediation," aimed at applying artistic forces of mediation in light of recent actions of the Bush Regime and the United Nations that threaten international insecurity. Speaking to reporters after a closed-door meeting, Secretary Packer said he had received critical input and support from Secretary-General of the Global Virtualization Council, Luc Courchesne of Canada, Artist-Ambassador Chris Bowman of Scotland, Artist-Ambassador P=E9ter Frucht of Hungary, and US DAT Staff members: Jeff Gates, Deputy Secretary; Jack Rasmussen, Minister of Culture; William Gilcher, Envoy Plenipotentiary to the European Union and Latin America; Laura Coyle, Under Secretary for the Preservation of the Avant-Garde; Abe Golam, Director of the Office of Political and Economic Insecurity; Mark Amerika, Director of the Office of Freedom of Speech; and Lowell Darling, recently appointed Under Secretary of the Bureau of Alchemy for the Appropriation, Transformation, and Liberation of Anachronistic Political Systems. Underscoring the gravity of the issue, Secretary Packer said, "It is a question of the Bush Regime's demonstrated capability and willingness to irrevocably engulf us all in hopeless despair, through a system extolling exploitation, consumption, corruption, and greed, and the extreme magnitude of harm that would result from such atrocities, combine to justify action by the US Department of Art & Technology and the Global Virtualization Council to defend humanity. The Resolution sends a strong message to the Bush Regime that failure to comply will have serious consequences, that they hold in their own hands the fate of their administration." "We intend to have consultations as long as it takes to get to the bottom of the text," he added, predicting that "in the days to come the Council and Staff will be able to adopt a firm resolution giving artists the means to extend aesthetic inquiry into the outer world where ideas become real action. Through Collective Agency, our demands will be fused into a common resolution, which demands that the Bush Regime abandons its strategy of delay, evasion and noncompliance and promptly and strictly complies with all relevant resolutions. We will no longer tolerate this defiance." In his remarks to the press, Secretary Packer predicted passage of the joint resolution by late next week, at which time he will deliver a speech at the US Capitol, to be broadcast over Tel-SPAN. He predicted that there would be unanimous passage of the Resolution, adding, "we look forward to that; we want to stop the Bush Regime, which the Resolution declares to be in "material and unacceptable breach of its international obligations." He urged the nation's and the world's artists "to take appropriate action, in accordance with their compassion for critical insight, the spectacle, and their distaste for the status quo, to change ineffective paradigms, to change the world=8A to prove that artists are not irrelevant!" Secretary Packer also announced that the Joint Resolution, with "unified Staff and Council support behind us," would be published by Intelligent Agent (intelligentagent.com), the Web-based media arts journal, Christiane Paul, editor-in-chief, and guest edited by US DAT staff member Patrick Lichty, Director of the Bureau for the Dissemination of Metastructures and Media Metaphors. Asked about the new Resolution's potential to strengthen the artists' hand, Secretary Packer said, "We accept our responsibilities. It is desirable that the Bush Regime understands that any lack of cooperation or violation of the provisions of the Resolution will call for broad action of the artistic Avant-Garde - that artistic action will be unavoidable - to better enable those concerned with the fate of our world to invent explosive material to toss into the political-economic bunkers." ******* The US Department of Art & Technology http://www.usdept-arttech.net The US Department of Art and Technology is the United States principal conduit for facilitating the artist's need to extend aesthetic inquiry into the broader culture where ideas become real action. It also serves the psychological and spiritual well-being of all Americans by supporting cultural efforts that provide immunity from the extension of new media technologies into the social sphere. Tel-SPAN http://www.usdept-arttech.net/tel-span Tel-SPAN is the telematic broadcasting channel of the US Department of Art & Technology. Its mission is to provide global access to the artistic process in an increasingly cybernated society. Tel-SPAN will provide its audience access to live, real-time distribution of broad forms of cultural content, and to other forums where critical artistic issues are discussed, debated and decided - all without editing, commentary or analysis and with a balanced presentation of all radical points of view. Covenant for the Articles of Artistic Mediation http://www.usdept-arttech.net/covenant.html The Covenant for the Articles of Artistic Mediation, collectively co-authored by artists and critics from around the world, was officially transmitted on June 19th to the US Department of State at the World Mediation Summit in Washington, DC. The World Mediation Summit was convened under the theme "Artist as Mediator on the World Stage," held at the Goethe-Institut Inter Nationes, the German Cultural Center in Washington, DC, as a signal of the cultural community's determination to tackle head-on the extraordinary challenges faced by the world after the attacks of September 11th. Intelligent Agent http://www.intelligentagent.com An on-line magazine on the contemporary media arts published by Christiane Paul, guest edited by Patrick Lichty. ***** Contact: Press Secretary of the US Department of Art & Technology press@usdept-arttech.net # 01-112 ------------------------------ Date: Sun, 10 Nov 2002 18:38:58 +0100 From: reinhard storz <rstorz@xcult.org>(by way of Felix Stalder <felix@openflows.org>) Subject: Competition for an Internet work Announcement of a competition to select an Internet work on the subject "Library/Internet as a means of archiving and communicating knowledge" for the University of Konstanz For the extension to the social sciences library of the University of Constance, the state of Baden-Württemberg (Federal Republic of Germany) announces an international "Kunst am Bau" (Art partners Construction) competition. The organiser wishes to receive work which makes use of the Internet and addresses the subject "Library/Internet as a means of archiving and communicating knowledge". The work(s) selected for implementation will become part of the homepage of the library of the University of Constance. The sum of EUR 120,000 has been made available for the competition. Complete text of the announcement with entry rules http://www.uni-konstanz.de/struktur/kab.html - ----------------------------------------------------------------- Ausschreibung einer Internetarbeit zum Thema "Bibliothek/Internet als Instrument der Speicherung und Vermittlung von Wissen" für die Universität Konstanz Für den Erweiterungsbau der sozialwissenschaftlichen Bibliothek der Universität Konstanz wird als "Kunst am Bau"-Maßnahme ein internationaler Wettbewerb durch das Land Baden-Württemberg (Bundesrepublik Deutschland) ausgeschrieben. Erwartet werden Arbeiten, die sich das Internet zunutze machen und sich mit dem Thema "Bibliothek/Internet als Instrument der Speicherung und Vermittlung von Wissen" auseinandersetzen. Die zur Realisierung vorgeschlagene(n) Arbeit(en) soll(en) Teil der Homepage der Bibliothek der Universität Konstanz werden. Für den Wettbewerb stehen insgesamt EUR 120.000.-- zur Verfügung. Vollständiger Text der Ausschreibung mit Teilnahmebedingungen http://www.uni-konstanz.de/struktur/kab.html __________________________ ------------------------------ Date: Mon, 11 Nov 2002 23:22:02 GMT Standard Time From: atty@no-such.com (atty) Subject: >war time< project open call from OFFLINE and open_digi Hi nettime-l people, this is an open call to fellow digital and network media creators by the OFFLINE digital creative association, http://offline.area3.net/map.php, and South London based digital art events group 'open_digi', http://club.net-art.ws, for participation in our project >war time< today, on the anniversary of the end of biggest human on human killing spree so far, 'WWI', and with less than 30 days till the first trigger point where the US and allies may commence war on Iraq, with many ongoing wars around this world and many people who thought they were 'safe' now being targeted both by state and non-state weapons of terror and mass destruction, we feel it is appropriate to harness our skills, our imaginations and the networks we have amongst us to build a collective reaction to and against war-making, past, present and future. the >war time< project is conceived firstly as a live performance event, utilizing technologies and networking from the internet, with projections and sound, though contributions should be adaptable subsquently for online presentation. The interface that will launch individual contributions to >war time< can be seen at http://offline.area3.net/wartime/ The current list of participants can be seen at http://offline.area3.net/wartime/list_PART.php The first live performance of >war time< will take place on December 13th, 2002 at the Ritzy Cafe in the Ritzy Cinema, Brixton, London UK as the first event of a new open_digi season http://club.net-art.ws/#wartime. Another performance is scheduled for Amsterdam in May 2003 and other venues and dates are being sought. participation in >war time< is invited from all digital and network media creatives of good will. you can join the project by completing the form at http://offline.area3.net/wartime/join.php yours atty Contributions should be able to function, including closing the window they are showing from, automatically, without user intervention (though they may also intereact with user input). Contributions are welcome utilizing current standard plugins as well as current HTML browsers (unfortuantely must function as intended in IE). Sound with contributions is very welcome. Contributions should be downloadable online to users with average bandwidth. The length (time) of contributions can be chosen by the contributor as long as not too lonng. ------------------------------ Date: Tue, 12 Nov 2002 12:24:44 +1100 From: "Melinda Rackham" <melinda@subtle.net> Subject: -empyre- : constructing the virtual - -empyre- takes pleasure in introducing our next guests and theme-- November 2002 - Virtual Construction Please join us for a wide ranging discussion on the possibilities of virtual construction as viral and pandemic with Joseph Nechvatal, electronic media animator/painter/philosopher; and, later in the month, as identity and network with Gregory Little, an electronic media artist whose art engages issues of avatar and immersion. Transmedia artist and philospher Joseph Nechvatal engages "viractuality" (occasions where the virtual and the actual merge), and tests the grounds for a technological and erotic aesthetic of virtuality. Electronic media artist, writer and editor Gregory Little explores constructions of identity in networked virtual environments as an artistic medium, while focusing on issues related to consensual identity, avatars (avatara), being inside-out, abjection, hierarchies and the "Body w/o Organs", and the post-human. Viractualism with Joseph Nechvatal November 1-15 & Avatar Manifesos with Gregory Little November 15 -30 join us at --empyre forum-- <http://www.subtle.net/empyre> empyre is a discussion only list.. no announcements please. **************************************************************************** - ---> Dr. Joseph Nechvatal has worked with ubiquitous electronic visual information and computer-robotics since 1986. Dr. Nechvatal earned his Ph.D. in the philosophy of art and new technology with The Centre for Advanced Inquiry in the Interactive Arts (CAiiA) . He served as Parisian editor for rhizome between 1996-2001 and now writes regularly for The THING , NY ARTS and Zing. He presently teaches Theories of Virtual Reality at the School of Visual Arts in New York City. His computer-robotic assisted paintings and computer animations are shown regularly in galleries and museums throughout the world. From 1991-3 he worked as artist-in-resident at the Louis Pasteur Atelier and the Saline Royale / Ledoux Foundation's computer lab in Arbois, France on 'The Computer Virus Project': an experiment with computer viruses as a creative stratagem. Dr. Nechvatal has exhibited his work widely in Europe and the United States, both in private and public venues. He is collected by the Los Angeles County Museum, the Moderna Musset in Stockholm, Sweden and the Israel Museum in Jerusalem. Dr. Nechvatal's work was included in Documenta 8>. He is a founder of the Tellus Audio Art Project (http://www.harvestworks.org/tellus/tellus.html) and served as conference coordinator for the 1st International CAiiA Research Conference entitled "CONSCIOUSNESS REFRAMED: Art and Consciousness in the Post-Biological Era" (5 & 6 July 1997); an international conference which looked at new developments in art, science, technology and consciousness which was held at the Centre for Advanced Inquiry in the Interactive Arts, University of Wales College, Newport, UK. (http://www.caiia-star.net/) <http://www.nechvatal.net> <http://www.eyewithwings.net/nechvatal/algorithic.html> <http://www.eyewithwings.net/nechvatal/ideals.htm> **************************************************************************** - ---> Gregory Little is an electronic media artist working with philosophical and theoretical issues related to the technologies of immersive virtual reality, netart, and avatars; specifically with respect to issues of identity, embodiment, and human sentience. He is currently Visiting Assistant Professor of Digital Art at Bowling Green State University, USA; and an associate editor for Intelligent Agent. - --watch for more on Greg Little at mid-November---- Avatar Manifesto: http://art.bgsu.edu/~glittle/ava_text_1.html Projects: http://art.bgsu.edu/~glittle/menu_1.html Presence and the AE: http://art.bgsu.edu/~glittle/presence/index.html Christina McPhee <http://www.christinamcphee.net> <www.naxsmash.net> ------------------------------ Date: Tue, 12 Nov 2002 11:45:07 -0500 From: "Ollivier Dyens" <odyens@hotmail.com> Subject: cd-rom on holography AN INTERACTIVE ENCYCLOPAEDIA ON ART HOLOGRAPHY MGD Productions, in association with GRAM (Research Group in Media Arts, Université du Québec à Montréal, UQAM, Canada) present a CD Rom on Art holography called: ART HOLOGRAPHY: THE REAL VIRTUAL 3D IMAGES A unique document in the history of holography, this first interactive encyclopaedia is exclusively devoted to Holographic Art and the internationally reknowned artists who took over the scientific technique to express themselves in their own original creative ways. This fabulously illustrated digital document contains hundreds of still images and tens of videos that reveal how nearly one hundred artists have used holography as their privileged tool and how it has influenced their art in return. These bold, imaginative artists are the pioneers who have accomplished a remarkable breakthrough in the art milieu by introducing new dimensions of light and space.. This CD Rom also contains a whole section of useful bibliography and references. Moreover, it has also been designed as a teaching tool for Colleges and Universities. Clear and not overly technical, it facilitates the transmission of information about this new magical technology. Please, consult our website: Art-holo.uqam.ca Georges Dyens MGD Productions g.dyens@sympatico.ca ------------------------------ Date: Thu, 7 Nov 2002 09:17:15 -0500 From: "ricardo dominguez" <rdom@thing.net> Subject: Virtual Sit-in against the WTO - November 14, 2002 From: <opposethewar@hotmail.com> Subject: Virtual Sit-in against the WTO - November 14, 2002 Greetings, As you all may know the next round of WTO talks is to be held in Sydney, Australia on November 14, 2002 many groups have mobilized (including anti-war groups, trade unions, and many socialist groups) and are planning to consolidate the victories to our movement that occured in Seattle and Genoa and hopefully build on them by putting anti-capitalism back on the front pages of newpapers the world over. There is a Virtual Sit-in planned to correspond with the trade talks. http://toy-soldiers.5er.com/ ------------------------------ Date: Mon, 11 Nov 2002 08:02:13 +0100 From: "ViolenceOnlineFestival" <agricola-w@netcologne.de> Subject: VOF - Version 3.0 now online! PRESS RELEASE Violence Online Festival www.newmediafest.org/violence/index.html A Virtual Memorial www.a-virtual-memorial.org *********************************** contents: headline summary new artists introduction all participants technical requirements copyright *********************************** headline: Version 3.0 of Violence Online Festival online since 08 November on occasion of the presentation on "e-magic cybermedia events" 43rd International Filmfestival Thessaloniki (Greece) 12-16 November http://www.filmfestival.gr/2002/emagic/uk/emagic.html *********************************** summary: Violence Online Festival is a New Media art project reflecting the phenomenon of "Violence", curated, organized and created in Flash by Agricola de Cologne, curator and media artist operating from Cologne/Germany. As an ongoing project Violence Online Festival is developed for being presented in future in the framework of physical and virtual media festivals and exhibitions. For each event a new project version will be created adjusted to the actual needs including additions of new artists/works and other changes. *********************************** Version 3.0 of Violence Online Festival includes new works of following artists: Ruediger Axel Westphal, Matze Schmidt, Raphael Lyon and Andres Ingoglia, Jane Fenton Keane, Jason Sweeney, Emilie Pitoiset, Antoine Schmitt Patrizia Alemanno, Luca di Gregorio, Joerg Piringer, Andre Zogholy Todd Jokl, Nicolas Economos, Adam Beebe-Infanticide, Danielle E. Lee and Bang-Geul Han, Dylan Graham Tautvydas Bajarkevicius, Ego, panoptica *********************************** introduction: The human character contains both a light and a dark side, good and bad, individually manifested. Deeply rooted is a dark-sided element: Violence. In happy surroundings, it becomes hardly visible and in less happy surroundings - either of a physical, psychological, environmental, ideological, economic or political nature - nearly automatically a kind of survival strategy with all the known consequences we see manifested in conflicts on a small or large scale. Violence is present anywhere, hidden or sleeping, hesitating, waiting or in action, starting from simple mobbing via verbalor physical attacks, the bandwidth has no end. Nowadays, globalization, social injustice, unemployment, increasing wealth on one side and on the opposite increasing poverty (without mentioning some causes) produce a climate where violence has a fertile soil. From the attack on 9/11 in the USA, people from the Western civilization became painfully aware that security of any kind is a mere illusion; not only the internal, but also the external enemy is present anywhere. Artists are said to be the consciousness of a nation or society as they reflect the actual state of the psychological and physical environment. When this state is penetrated by violence, nobody is surprised that violence becomes a universal subject for artistic reflection, the difference may only be the view on it and its perception depending on the respective cultural background. 'Art and violence both seem to stem from the abstract: that place beyond logic, the realm of the emotion. When they intersect we are simultaneously repelled and attracted, frightened and excited. Historically this meeting has been wrought with complexity, and as cultural violence in every society increases, we are prevented by paranoia, censorship and ethical demands from asking, and sometimes even posing, some of the most important questions violence and art together and separately produce: how is violence represented, and what or how much of it do we need to resist the cultivation of fear and the encouragement of dependency? Is violence a tool, a process or a result? When are artistic portrayals of violence justifiable? As intellectual exercise, ritual, or spiritual enhancement? For other purposes? Or are they never justifiable? Is violence in art an action, reaction, or reflection? ' (quotation: festival statement). How different the results of an artistic reflection can be is shown through the Violence Online Festival, a New Media online exhibition project curated and organized as an individual event by Agricola de Cologne including more than 150 artists from 30 countries presenting their work. It forms a dynamic collaborative art work presenting very individual visions and use of media. The relevance of violence becomes visible also through the high quality standard of all the included works. Each of them represents another aspect of violence - caught in textual poetry, running as a video or embedded in an interactive environment of a net-based art work. In reaction to the key role (mass) media plays by displaying and even promoting violence, a new environment (interface) has been created for Violence Online Festival, which houses and hosts the art works within a virtual media company named "Violence Media Incorporated". By dividing the company into different departments (eg. "Violence for Happiness" , "Violence Marketing" or "Violence Broadcasting"), it becomes clear that their meaning has a rather ironic or sarcastic character, which gives the embedded art works a new meaning. While surfing through this environment, the visitor is forced to ask and give answers, and becomes slowly a part of this network of art through his reflections and changes of perception. ************************************** List of all participating artists in Version 3.0 of Violence Online Festival Germany: Agricola de Cologne, Roland Schappert, Knut Eckstein, Jürgen Bysard Adams, Ilse Hilpert, Sabine Scholz, Wittwulf Y Malik, Ruediger Axel Westphal, Matze Schmidt Argentina: Rachel Partnoy, Alicia Partnoy, Ruth Irupe Sanabria, Gabriel Otero, Anahi Caceres, Jose Cuckier, Irene Coremberg, Andres Ingoglia Colombia: Andres Yepes, Eduardo Angel, Claudia Tribin, Alejandro Jaimes-Larrarte Austria: Klaus Schrefler, Medea, Renee Kellner, Joerg Piringer, Andre Zogholy Italy: ego, Casaluce/Geiger, Caterina Davinio, Antonio Sassu, Marcello Mercado, Chiara Passa, Lucia Leuci, Patrizia Alemanno, Luca di Gregorio Australia: Francesca da Rimini, Michael Grimm, Andrew François, Bruce Petty, Mason PetrieJason Sweeney, Jane Fenton Keane Japan: Kenji Siratori United Kingdom: Jess Loseby Croatia: Tony Mestrovic, Maya Kalogera Canada: Eva Lewarne, Jeremy Owen Turner, Babel, Jo Cook, David Cheung, David Fujino, panoptica Romania: Peter Jacobi Belgium: Tamara Lai Russia: Sergej Jakovlev Ireland: Feargal O Malley Portugal: Susana Mendes Silva Mexico: Fran Ilich, Cindy Gabriela Flores Nicaragua: Franck de las Mercedes Puerto Rico: Richard Monge Brazil: Giacomo Picca Israel: Igor Ulanowsky, Shira z. Carmel, Shay Kun Turkey: Bulent Bas, Genco Gulan France: name diffusion, Nicolas Clauss, Xavier Leton, Emilie Pitoiset, Antoine Schmitt USA: Doron Golan, Gerald Schwartz, Seth Lew, Eric Parnes, Nancy Jane Moore, Joy Garnett, Yevgeniy Fiks, anonymous, Restate, Moya Devine, Sharon Harper, Coco Gordon, Brody Condon, Rika Ohara, Mike Salmond, Steve Bradley/Timothy Nohe, Alison Cole, Craig Macneill, Eric Wennermark, Brian Judy, Humberto Ramirez, Deb King, Robert Dohrmann, Judson Wright, Jeff Gurecka, Anne Bray and Molly Cleator, John Kannenberg, Katrinka Moore, Johanna Thompson, G.H.Hovagimyan, Jody Zellen, Jerzy Kolasinski, Lucky Pierre, Nikki Johnson, Todd Jokl, Nicolas Economos, Adam Beebe-Infanticide, Danielle E. Lee Estonia: Dagmar Kase Lithuania: gintas K ,Tautvydas Bajarkevicius Serbia: Marko Stamenkovic Korea: Bang-Geul Han Netherlands: Dylan Graham Finland: Janne Vanhanen Finland/UK: Tjader-Knight Inc. Philippines: Fatima Lasay and her classes: VC36 CLASS John Michael Acevedo, Mark Anthony Alvarado, Carlo Ahillion, Rikki Carmelo Baranda, Criselda Cac, Alexander John Castro II, Nathaniel, Chua, Eric Flores, Gimo Lanot, Sabrina De Leon, Merwin De Mesa, Jr., Marielle Nadal, Lizamae Orola, Francis Rafael Sanbuenabuentura, Rogelio Santos, Jr., Lea Segarra, Zoltan Pabon, Vincent Paul Samson, Don Juan Paolo Torres, Alfred Mark Trajeco, Sheryl Valencia, Archie Yumul SFA192 CLASS Gerard Baja, Anna Teresa Cabardo, Uriel Colomo, Niko Loren Dela Cruz, John Ervin General, Michael Angelo Lampayan, Olivia Lopez, Deodato Pairez, Jerusalem Pimentel, Alfred Anton Po, Joseph Raz, Jr., Ruth Kathryn Santiago, Brian Oliver Sergio, Cherry Ann Tolentino FA100 CLASS Eleanor Alfante, Carlito Amalla, Maysa Arabit, Ry Sedrick Bolodo, Joey Claronino, Monica Delgado, Katrina De Dios, Amiel Lapuebla, Catherine Rose Lasam, Michael Sagcal, Mary Grace Tenorio, Gem Alexandria Tuano, Winchell Saludares, Camilla Tabagan, Paulo Vinluan ************************************** Visit this dynamic exciting show. There are optional following accesses: direct: www.newmediafest.org/violence/index.html but also www.newmediafest.org www.a-virtual-memorial.org ************************************* Violence Online Festival presentations: * Version 1.0 : Online part of Violens Festival Tábor (Czech Republic) 17 - 31 August 2002 * Version 1.1 : Featured Project in September 2002 on A Virtual Memorial www.a-virtual-memorial.org * Version 2.0: Computer Space Festival 2002 Sofia (Bulgaria) (18-21 Oct 2002) and Liberarti Festival /Liverpool Biennale 2002 (10 Oct - 01 Dec 2002) *Award: Special Prize of Computer Space Festival Sofia (Bg) *November 2002 feature/review on faf - Fine Art Forum http://www.fineartforum.org/Backissues/Vol_16/faf_v16_n11/reviews/reviews.ht ml previous reviews on Neural.it, Random, NOEMA, El Pais, etc. ************************************** technical requirements optimized for VGA resolution 1024x768 PC Pentium III 600 Mhz or better or comparable MAC Soundcard, recommended 56K or 64K modem or faster, browsers: MS Internet Explorer 5.5+ or Netscape Navigator 6.0+ Players/Plug-ins: essential the latest Flash 6, Shockwave, Real Player, Quicktime *************************************** copyright: Violence Online Festival www.newmediafest.org text, conception, programming, visalization curator, organizer = Agricola de Cologne - copyright © 2002 . All rights reserved. copyright © of all art works of the participating artists hold the authors or owners. NewMediaArtProjectNetwork - the experimental platform for the arts in Intenet is founded and created by Agricola de Cologne. copyright © 2000-2002 by Agricola de Cologne. All rights reserved. A Virtual Memorial www.a-virtual-memorial.org copyright © 2000-2002 by Agricola de Cologne. All rights reserved. **************************************** Special thanks to: Fatima Lasay - DMF2002 Festival/University of the Philippines http://digitalmedia.upd.edu.ph/ Nisar Keshvani editor-in-chief, fineArt forum = art + technology netnews http://www.fineartforum.org **************************************** contacts: Press press@newmediafest.org Violence Online Festival violence@newmediafest.org A Virtual Memorial info@a-virtual-memorial.org *********** ------------------------------ Date: Wed, 6 Nov 2002 11:00:23 +0000 From: - G a r r e t t - <garrett@asquare.org> Subject: bannerart.org +-----------------------------------------------------------+ Hello everyone Small announcement, bannerart.org (http://www.bannerart.org/) is now online and accepting submissions via its web submission form from anybody whos interested in participating. We just passed the 50 banners mark yesterday and things are still going strong. Bannerart.org is a curated net.art exhibition, however there is no theme and most submissions are acceptable. if you have any enquires don't hesitate to contact us at contact@bannerart.org. +-----------------------------------------------------------+ +-----------------------------------------------------------+ Salut tous Petite announce, bannerart.org (http://www.bannerart.org/) est maintainent fini et on commence a accepte de soumissions de tout qui est interesse a participe. On a juste passe 50 banniere hier et tout va bien. Bannerart.org est un expo de net.art modere, mais sans theme et presque tout est acceptable. Si vous avais encore de questions ne hesite pas a nous contact a contact@bannerart.org. +-----------------------------------------------------------+ a+ gar - -- +-----------------------------------------------------------+ Garrett@asquare.org http://www.asquare.org/ http://www.bannerart.org/ http://www.zendco.com/ http://rhizome.org/artbase/2855/index.html +-----------------------------------------------------------+ ------------------------------ # 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