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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
+-----------------------------------------------------------+
------------------------------
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