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Table of Contents:

   CFP: The Geopolitics of Electronic Messaging                                    
     Ned Rossiter <Ned.Rossiter {AT} arts.monash.edu.au>                                  

   Call for Samples: Feed the Translocal Mixer                                     
     "h.d.mabuse" <mabuse {AT} manguebit.org.br>                                          

   Announcing "10,000 Acts of Artistic Mediation"                                  
     Experimental Party <press {AT} experimentalparty.org>                                

   screened out                                                                    
     "abraham linkoln" <abelinkoln {AT} hotmail.com>                                      

   Utrecht (NL): Professor in Media Theory                                         
     "geert lovink" <geert {AT} xs4all.nl>                                                

   M/C (logo)                                                                      
     Phil Graham <phil.graham {AT} mailbox.uq.edu.au>                                     

   ISEA2004 CALL for PROPOSALS #1: sub themes and large projects                   
     Tapio Makela <tapio {AT} translocal.net>                                             

   COSIGN 2003                                                                     
     "Fatima Lasay" <digiteer {AT} ispbonanza.com.ph>                                     

   cfp: the state of the real (glasgow)                                            
     "geert lovink" <geert {AT} xs4all.nl>                                                

   online net.art courses                                                          
     Vidlounge {AT} aol.com                                                               

   Prefering just a link /Re: <nettime> confidential                               
     Louise Desrenards <louisedesrenards {AT} free.fr>                                    

   Press Release                                                                   
     Dominique Fontaine <dfontaine {AT} fondation-langlois.org>                           

     Lev Manovich <lev {AT} manovich.net>                                                 

   Fwd: [CFW] [SOFTWARE&ART]                                                       
     "Anne Quigley" <anniequigley {AT} hotmail.com>                                       


Date: Wed, 22 Jan 2003 00:18:15 +1100
From: Ned Rossiter <Ned.Rossiter {AT} arts.monash.edu.au>
Subject: CFP: The Geopolitics of Electronic Messaging

Call for Papers

Southern Review: Communication, Politics & Culture

Special Issue, 36.2, 2003.

The Geopolitics of Electronic Messaging

Editors:  Mary Griffiths and Susan Yell
mary.griffiths {AT} arts.monash.edu.au
sue.yell {AT} arts.monash.edu.au

Monash University, Gippsland Campus

"The Geopolitics of e-Messaging" invites theoretically informed 
discussions of the social and political outcomes of P2P electronic 
communications, and case studies of the dynamics of governing new 
publics and the spaces of private communication.

Email, webmail, voicemail, text messaging, ICQ, pxt, chat forums, 
digital television messaging, discussion boards, and now, wireless 
communications form distinctive protocols, and different capacities 
in users. New geographies of space and politics are made possible. 
But, not all that results from the increase in the kind and volume of 
communication is beneficial. The pressure on many users is to be 
always available and immediately responsive. Organisational 
communications may improve but increased surveillance is the 
corollary. At home and work, time is needed to manage "legitimate" 
electronic messages and users also deal with unsolicited spam, and 
with scams, and viruses. Many find themselves, either willingly or 
involuntarily, in new and compelling sets of relations with others. 
New etiquettes of interaction are emerging.

The "free" space of limitless communication shows signs of shrinking 
back to more private and customised domains. For example, online 
communities now use gating technologies to secure themselves from all 
but identifiable messages. Individuals are increasingly using 
filters, junk folders and different accounts for protection of 

What is being gained or lost by these developments? Is an organised 
retreat from the exigencies of the most demanding and clamorous 
aspects of e-messaging starting? Can the new gated communities be 
thought of as publics? Do they provide evidence of undemocratic 
tendencies? What can be produced by the crossing of traditional 
communicative borders? What are the skills, capacities and literacies 
which are being formed by different messaging technologies? What 
counts as "nuisance mail" and how is it being dealt with? How are 
subjectivities being constructed and governed by compulsory 
participation in online work and educational communities? How are 
nations, communities, institutions, businesses and individuals 
managing the virtual spaces of electronic messaging across physical 
frontiers? Which technologies are being favoured to help sort and 
filter messages, and protect the privacy of the user? Conversely, why 
have weblogs, the privatised acts of publicity and broadcasting, 
become so popular?

Full articles due: April 30, 2003.


Date: Tue, 21 Jan 2003 15:38:36 -0300
From: "h.d.mabuse" <mabuse {AT} manguebit.org.br>
Subject: Call for Samples: Feed the Translocal Mixer

As a part of the \\ How Latitudes Become Forms: Art in a Global Age\\, an 
exhibition organized by the Walker Art Center, The Re:combo collective is 
looking for audio files that represent the cities` noise echology: street 
noises, speech, free music, rumours.
All this pieces will be used on the *Tanslocal Mixer*, a new Flash-based 
project that uses sliders to allow participants to create
their own mix of world sounds-a kind of urban synth online, on the fly.

Please, send open sound files to translocalmix {AT} manguebit.org.br with your 
informations (at least name, City and Country),
or get connected to http://opus.walkerart.org/ sign up, and upload directly 
to the Opus Software (Open Platform for Unlimited Signification)
by Raqs Media Collective, which is also part of the Translocations exhibition.

Grande abraco!
by Re:combo



Date: Tue, 21 Jan 2003 16:03:31 -0500
From: Experimental Party <press {AT} experimentalparty.org>
Subject: Announcing "10,000 Acts of Artistic Mediation"

- --============_-1168939449==_ma============
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

The Experimental Party National Committee
Washington, DC
press {AT} experimentalparty.org

For Immediate Release:  January 21, 2003

Experimental Party Announces
"10,000 Acts of Artistic Mediation"

Washington, DC - The Experimental Party, the recently activated 
artist-based political party, is announcing a new campaign to sponsor 
"10,000 Acts of Artistic Mediation" across the nation in anticipation 
of the 2004 electronic campaign - in what is being heralded as the 
"Artist's Call to Service."

The Experimental Party will call on artists from all 50 states, as 
well as nations and communities around the world, to join the Party 
and help overcome society's anxieties and heightening insecurity by 
participating in this ambitious campaign to stage "10,000 Acts of 
Artistic Mediation."

An initiative of the US Department of Art & Technology, the 
Experimental Party, whose motto is "representation through 
virtualization," was first announced as a national party in Iowa City 
at the Thaw Festival of Media less than one year ago by Secretary 
Randall M. Packer.

The most comprehensive clearinghouse ever offered to help citizens 
celebrate the universal sprit of collective expression, the 
Experimental Party is a Total Artwork - united, whole, intensive. The 
Experimental Party has embraced the power of culture, independent 
thinking and artist-driven government in an effort to empower the 
experimental and the disenfranchised.

According to Secretary Packer, "We believe that virtually every 
problem in America and the world can be resolved through the 
reflections, ideas, sensibilities and abilities of the artist. There 
are already countless artistic initiatives working successfully to 
subvert the status quo. However, these initiatives are too often 
isolated and unknown to others. They must be replicated over and over 
and over again by artists and art collectives until everyone is 
connected to someone - many-to-many, peer-to-peer, soul-to-soul.

The new Experimental Party website (experimentalparty.org) unveils 
the Party's ambitious platform, confronting political and social 
conditions that threaten to engulf our nation today. According to Abe 
Golam, one of the Party's principal artists, "only art is capable of 
dismantling the repressive effects of a senile social system that 
continues to totter along the deathline."

The website also invites artists to participate directly in the 
transformational properties of the ceremonies of art, by joining the 
USA Exquisite Corpse Volunteer Network. In spearheading the USA 
Exquisite Corpse, National Chairwoman Roberta Breitmore, another 
principal artist of the Experimental Party, has "vowed to provoke 
presumptions and constrain the rational."

Explore the Experimental Party website as a resource for helping your 
neighbor, your community and your nation. Activist artists are 
encouraged to use the Experimental Party platform and website to 
interventionist change in their own communities, whether they be 
local, regional, international, or virtual.

The website is an opportunity to become acquainted with the 
Experimental Party - a stratum of reality that has become rarefied to 
the extreme - anarchist entertainment we have long dreamed.


10,000 Acts of Artistic Mediation

The Experimental Party believes in the readiness and ability of every 
artist in America and throughout the world to carry out an act of 
artistic mediation, particularly the young and disenfranchised. 
Meaningful many-to-many engagement in the collective lives of artists 
is now required to overcome our most serious national and world 
problems. The growth and magnification of the "10,000 Acts of 
Artistic Mediation" campaign has become the mission of the US 
Department of Art & Technology and its newly formed Experimental 

The Experimental Party

The Experimental Party - the "party of experimentation" -  is an 
artist-based political party that has been formed to activate 
citizens across the country in an effort to bring the artists' 
message to center stage of the political process. This is a political 
awakening, 'representation through virtualization' is the major 
political thrust of the Experimental Party, it is the driving force.

The US Department of Art & Technology

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.



Experimental National Committee | Washington, DC
Fax: 202.342.1293 | E-mail: info {AT} experimentalparty.org


Date: Wed, 22 Jan 2003 06:48:17 +0000
From: "abraham linkoln" <abelinkoln {AT} hotmail.com>
Subject: screened out

SCREENED OUT: a collection of rejected proposals

now showing at



abe linkoln


Protect your PC - get McAfee.com VirusScan Online  


Date: Thu, 23 Jan 2003 10:12:50 +1100
From: "geert lovink" <geert {AT} xs4all.nl>
Subject: Utrecht (NL): Professor in Media Theory

Faculty of Arts


Located within one of the Netherlands' oldest and largest universities,
Utrecht University's Faculty of Arts and Letters has nineteen degree
programs in the languages and letters of Europe and the Middle-East, the
various arts and media, and in history.  Research programs are organized
into two institutes with extensive national and international links.
Special attention is paid to interdisciplinary collaboration, the use of new
media, and the quality of teaching.  The Faculty is housed in the historic
center of the city and enjoys excellent facilities.  The Institute of Media
and Re/presentation offers studies on the BA, MA and PhD level.

The Institute of Media and Re/presentation seeks a:

General Context
The media are very much in a state of transition. The printed word,
photography, film, television and audio and communication technologies each
have their own developmental histories and changing patterns of production,
distribution and consumption. Each has, over the years, developed a range of
distinctive expressive capacities evident in industrial, artistic, and
individual usages. And each has spawned generations of theoretical
approaches and modes of analysis. The introduction of digital technologies
has offered yet another twist, providing both new media forms (e.g. computer
games, the internet, and information technologies) and intervening
fundamentally in the form and function of older media forms (e.g. telephony,
digital audio and video production and distribution).  Digitalization has
enabled and encouraged media convergence, evident as much in media ownership
patterns, as in systems of textual production, as in the everyday
experiences of audiences.  And it has facilitated the transformation of
communication media as well as information storage, processing, and
retrieval systems. The result is a complex fabric of practices and cultural
forms, where local media traditions meet global influences; where
established media technologies encounter new digital possibilities; and
where ways of theorizing and analyzing the media confront new paradigms and
disciplinary influences.

The Professor of Media Theory
The Institute for Media and Re/Presentation (Faculty of Arts, Utrecht
University) offers an interdisciplinary approach to this dynamic
understanding of the media, one rooted in the traditions of the humanities.
It seeks an exceptional researcher, an inspired teacher, and a collegial and
visionary leader with shared responsibilities for the programs in
Communication and Information Studies as well as Film and Television
Studies. The new professorship assumes a high level of expertise in the
domain of media theory and analysis, ranging from cinema to digital media,
complementing an existing professorship in media history. The professor of
media theory will demonstrate a broad understanding of the theoretical and
methodological contours of humanistic media studies, as well as a
specialized knowledge of selected theories within the field.  Utrecht's
tradition of media study is based upon a contextualized or situated notion
of the media text and its experience, whether in terms of historical or
cultural setting, reception context, or the understanding of the text as a
part of a larger signifying system. In this sense, the theoretical and
analytic domains of greatest relevance include such approaches as
narrativity, political economy, cultural and gender studies, apparatus
theory, identity, subjectivity, inclusion and exclusion, and norms and
values. Given the fast-changing state of contemporary media, the professor
of media theory must be able to comprehend a variety of media experiences
through a particular theoretical lens, while at the same time responding to
the dynamic needs of quickly evolving patterns of media deployment and use.
Most importantly, she or he must demonstrate an ability to operationalize
theory, moving from abstraction to application in the analysis of media
forms, experiences, and developmental trends.

The Institute of Media and Re/Presentation seeks a builder of bridges
between theory and analysis, between media texts and social/cultural
contexts, and between 'old' and 'new' media forms. It is particularly
concerned with developing the connection between the theories and methods
traditionally associated with humanistic media studies and those now being
developed in the area communication and information studies. These latter
domains, both because of their recent digital transformation and integration
with older media forms, and because of their recent inclusion within the
analytic framework of the humanities, remain highly dynamic. The professor
of media theory will be charged with continuing to develop a program of
study and a program of research for these most recent manifestations of
media culture. Such developments as peer-to-peer networks (Napster), on-line
and computer-based gaming, and SMS telephone messaging communities stand at
the juncture of traditional media and the new possibilities of the ICT
sector, and require continued theorization and analysis. They embody the
media practices that the Institute for Media and Re/presentation embraces,
and that the professor of media theory will help to 'bridge' through the
strategic deployment and development of humanistic media theory.

The creative opportunities to develop a program of teaching and research
within media studies generally, and specifically within the new field of
communication and information studies, are central to the new professorship.
These themes are related to gender and cultural studies, and culture
management and culture education. Teaching and research take place at the
BA, MA (1 and 2 years), and PhD levels, and are supported by a team of
colleagues with expertise in diverse media and with a broad
interdisciplinary orientation. The distinction in three levels is new in the
Dutch university system and there is a need to build effective links and
systematic interconnections between the levels.

The Institute maintains a network of relations with colleagues in other
Dutch, European, and North American universities (exchange programs with
University of California, Santa Barbara and Berkeley; University of
Wisconsin, Madison; Massachusetts Institute of Technology; and so on) as
well as with various media industries, all of which contribute to the
resources available for the study of the ongoing development of media
technologies, practices, and culture (Rotterdam Film Festival;
V2_Organisation; The National Institute for Image and Sound, etc.).

The professor of media theory will draw on the intellectual legacy of
humanistic media studies in order to define a research agenda appropriate to
the media challenges facing us.  He or she will be responsible for making
the most of existing institutional relationships, while developing both new
connections as well as new research initiatives. Close collaboration with
the existing professors in the Institute as well as with the colleagues in
the Research Institute for History and Culture and the Huizinga Institute
(Dutch Cultural History Research School) will help to create a sense of
synergy; but at the same time, ample space is available for leadership and
the development of new projects and perspectives. The new professorship for
media theory offers an opportunity for an exceptional researcher and teacher
to play a leading role in the conceptualization and analysis of a crucial
cultural sector, and the shaping of a generation's understanding of the
dynamic media environment that surrounds it.

For this position we ask for:

· research experience in the profiled area as evidenced by a dissertation,
scholarly publications, and participation in academic congresses;

· experience with developing research proposals and with PhD advising;

· teaching experience ranging from large introductory courses to advanced

· experience with administration of research as well as teaching programs;

· experience with multi- and interdisciplinary collaboration;

· knowledge of the Dutch language and university system is an advantage.

For this position we offer:

· a permanent, full-time position (an 80% position is discussable);

· a salary consistent with experience (maximum: ? 6360 bruto per month)
[professor level A, consistent with the CAO  (collective labor agreement)
for Dutch universities]

The Faculty seeks to expand the number of women in professorships.  For
these vacancies, all qualified female candidates will be invited for an
interview, and in the event of equal competencies, the position will be
awarded to the woman.

For more information please contact the chair of the search committee:
Professor dr. mr. P.J. van den Hoven, 030-2538093,
Paul.vandenHoven {AT} let.uu.nl .You can also visit the Institute's website at

The delivery of sample lecture, the submission of a research plan, and a
psychological assessment may constitute part of the application process.

NB: Given the late date, a letter of intention submitted before 31 January
2003 is sufficient to hold a place in the selection process.  By that point
or shortly thereafter, we would appreciate a written application (including
a curriculum vitae).  Address your correspondence to:

Personnel and Organisation department, drs. M.E.S. Arends

Kromme Nieuwegracht 46

3512 HJ Utrecht The Netherlands, or e-mail PenO {AT} let.uu.nl

Please refer to vacancy number 68249.

This announcement has already been published in a Dutch newspaper in
December 2002. The new deadline only applies to candidates from outside the


Date: Thu, 23 Jan 2003 12:41:27 +1000
From: Phil Graham <phil.graham {AT} mailbox.uq.edu.au>
Subject: M/C (logo)

Please send papers and enquiries to "John Pace" <earthplod {AT} hotmail.com>


Ever since the printing press gave us the logotype (or earlier still, when 
chattels and communiques carried the owner's specific 'brand') symbols have 
been created to condense ideas and functions of ownership, advertisement, 
distinction and desire. In concert with the rise and proliferation of 
capitalism, the logo gained importance, to the point where contemporary 
western capital is primarily concerned with such symbolic production. From 
a simple distinguishing mark, to seductive enticement, the logo now rides 
shotgun on the interface of contemporary capitalism.

The prominence of the contemporary logo is evidenced by the attention given 
it in schools of management, design, and cultural studies, by the feverish 
corporate work attendant upon brand maintenance, and not least by the 
recent focus by anti-capitalist movements on the logo as a ready symbol, 
and startling vulnerability, in the edifice of corporate capitalism. Naomi 
Klein's No Logo, a publishing sensation in 2000, gave a popular account of 
(and manifesto for) activism that focuses on the brand-driven 
multinational; groups like Adbusters modify advertisements to critical 
ends; boycotts and actions target particular logo-dependent corporations.

More recently, though, the "logo-centric" approach embodied in such 
critiques and actions has been questioned for its effectiveness, and the 
quality of its analyses. It's not only other activists wondering whether 
all this reduces to a form of consumer sovereignty-style activism, but 
others who want to proclaim the value and efficacy of the logo as a 
lubricant of flows and exchange. Is logo-based activism the new 
left-puritanism? Is it too unsystematic a critique to make real changes? Or 
is it the last, best chance to rally critique against an increasingly 
pervasive and dromocratic form of capital? Is the logo the brain-candy of 
consumerism, or the latest refinement of the communicative (t)arts?

M/C invites contributions investigating various aspects of the contemporary 
logo: including but not limited to histories of particular brands; 
considerations of the "logofication" of anti-capitalist activism; 
meditations on the logo's generation of meaning; its functioning in the 
creation and maintenance of corporate identity and/or image; critical views 
of the relationship between logo, captial and ideology; and appreciations 
of the graphic designer's art.

Opinions expressed in this email are my own unless otherwise stated.
If you have received this in error, please ignore and delete it.
Phil Graham
Senior Lecturer
UQ Business School


Date: Thu, 23 Jan 2003 04:29:37 +0200
From: Tapio Makela <tapio {AT} translocal.net>
Subject: ISEA2004 CALL for PROPOSALS #1: sub themes and large projects

Stockholm - Tallinn - Helsinki August 14th - 22nd, 2004

ISEA2004: The 12th International Symposium on Electronic Art

CALL FOR PROPOSALS #1: sub themes and large projects

Deadline: February 28th 2003.
(Please note: If you want to submit a paper, a work to an
exhibition, or any other project that does not require long-term
arrangements and can manage with commonly available technologies,
please submit by the August 15th, 2003 deadline.)

new media art - media culture research - electronic music -
art and science - cultural and social applications for new media -

New media meets art, science, research, and popular culture at
ISEA2004 in Stockholm - Tallinn - Helsinki. For the first time an
event of this scale is being organised between three cities and on
the ferry travelling between these three Baltic countries.
International participants and local audiences attend thematic
conferences, exhibitions, live performances, screenings, satellite
events, concerts and clubs. Many events are also interfaced via
television, radio, broadband Internet, and mobile networks making
them available to the widest possible audience.

We are encouraging: Socially, critically and ecologically engaging
work; Networked projects that connect several sites; Projects that
bring the creative media to the streets; Projects that are worn on or
inside people; Context sensitive work in the museums; Projects that
float, dock or sail; Screen based media as it appears in 2004; Sea
Fair: technological gizmos for ferry travellers and future media
archaeologists to discover; Bridges between club scenes and art
venues; Most engaging works from performing arts that engage new
media, users, and audiences; Networks to network

Key themes for the event include:
Networked experience (Stockholm)
Wearable experience (Tallinn)
Wireless experience (Helsinki)
Histories of the new: media arts, media cultures, media technologies
- - all cities

Additional themes include:
Interfacing sound (in collaboration with Koneisto)
Open source and software as culture (Helsinki)
Critical interaction design (Helsinki)
Geopolitics of media (Tallinn)

We are currently inviting proposals for additional conference and
exhibition sub themes, large projects, technically or logistically
complicated projects, projects that require work on site, projects or
research which require collaboration with a local community, company,
or a research institute, ideas which transform the event itself,
tools for interaction and interfacing the event to urban spaces, etc.

We are envisaging that large projects may include, but not be
limited to: theoretical or practical workshops, technically
complicated installations, live acts that demand a lot of staging -
thematic or technically unusually interfaced screenings - games or
shared environments that influence the event structure - pre-events
or post-events in relation to the above dates - remote participation -

Our over all aim for ISEA2004 is to create an event which is
thematically and critically coherent and provides new insight. You
can suggest themes that link to those already suggested on the web
site - http://www.isea2004.net/themes.html - or you can suggest an
entirely new area which you feel is important to address in August

Please note that ISEA2004 is a forum for artistic, academic, and
culturally or socially relevant work that has not previously been
presented in international forums (you may have showed/presented it
in your local context).

All submissions are done via our website using a web form and stored
into a database. This procedure allows us to have the proposals
reviewed by International Programme Committee (IPC) members. When you
make a submission, it is recommended to that you choose a
theme/city/genre - though especially in this first call we are also
encouraging additional themes which you believe will be timely and
relevant in late 2004.

Are you an individual, or do you represent a group, organisation,
research unit, a network, or a company? One of our aims is to provide
various ways in which organisations and individuals will be
introduced to one another before and during the event. The networking
and social aspects of ISEA2004 are very important to us - so please
suggest concepts, technologies or themes with this objective in mind.

- - -

Why are we making the first call 16 months before the event?

We want to enable you to propose challenging new work that requires
time to produce and where our letter of acceptance may still assist
you to secure partners or resources. We also want to be able to
appropriately resource the presentation technology and network you
with local collaborators if necessary. Ultimately we are interested
in ensuring that ISEA2004 is a challenging and rewarding experience
for its professional participants and multiple audiences!  To this
end we are keen to work with you to ensure that projects are
appropriately resourced and supported.

E-mail responses: when you submit your proposal, you will receive an
email providing you with a code, which will identify your proposal.
You may login to your submission via a URL sent to you to modify the
submission until the end of February. After that, you can only modify
your personal or organisation data. If you need to talk to us about
the proposal, please include this code in the subject line of your e-

We very much look forward to hearing your ideas!

Very best,

Tapio Makela and Amanda McDonald Crowley
e-mail: info {AT} isea2004.net

m-cult, centre for media culture in finland

Exhibition: The Museum of Contemporary Art Kiasma
Conference: Media Centre Lume (University of Art and Design)
Electronic music: Koneisto (Festival for electronic music and arts)

Coordinator: CRAC, Creative Room for Art and Computing

Conference: Kulturhuset and
Royal University College of Fine Arts (Stockholm)
Exhibition: Färgfabriken
Electronic music: Fylkingen

Coordinator + conference: Estonian Academy of Arts

Conference venue: Eesti Kontsert Concert Hall
Exhibition: Center for Contemporary Arts, Estonia at The Art Museum
of Estonia

ISEA2004 is produced in collaboration with ISEA Inter-Society for the
Electronic Arts


Date: Thu, 23 Jan 2003 02:01:21 +0800
From: "Fatima Lasay" <digiteer {AT} ispbonanza.com.ph>
Subject: COSIGN 2003

*    Call For Papers
*    ---------------
*    COSIGN 2003
*    The 3rd International Conference on
*    University of Teesside (UK)
*    10th - 12th September, 2003
*    http://www-scm.tees.ac.uk/users/p.c.fencott/cosign2003


As in previous years, this third annual COSIGN conference provides an
exciting cross-disciplinary event for exploring the ways in which
meaning can be created by, encoded in, understood by, or produced
through, the computer (using systems or techniques based upon
semiotics). COSIGN is for anyone with an interest in areas of overlap
(or potential overlap) between semiotics and computers including
computer scientists, HCI and AI practitioners, digital artists,
designers, critics, theorists, semioticians, narratologists, etc. In
addition to the academic papers and artwork presentations, COSIGN will
include a range of participatory events such as papers, workshops,
tutorials, panel discussions to provide the space for the vital and
vibrant discussions that it is known for.

COSIGN 2003 invites submissions in the following categories. A brief
outline of the submission procedure is given below.

1. Academic Papers
2. Artworks
3. Posters
4. Technical Demonstrations

Media that make use of the unique capabilities of digital systems are
of particular interest to this conference. These include, but are not
limited to, the following: virtual reality systems and virtual
environments; hypertext, hypermedia, multimedia and the internet;
content analysis systems (particularly those that extract higher-level
meaning); the semantic web (and similar systems); digital art, net art
and other technology-based or technology-oriented art forms; computer
games, interactive narratives and other forms of interactive

Information about the conference is available at the following web
address: http://www-scm.tees.ac.uk/users/p.c.fencott/cosign2003

The programme and proceedings of COSIGN 2001 and COSIGN 2002 are
available online at the following web address.


COSIGN 2003 will be held in Middlesbrough, UK, hosted by the Virtual
Environments Group of the School of Computing and Mathematics at the
University of Teesside. Middlesbrough sits near the mouth of the River
Tees in the north-east of England. It is a lively town with a proud
industrial heritage and one of the main shopping and leisure centers
for the area. It is also an important location for business and
commerce, communications and civic administration. In the Tees valley
heavy industry mingles with wetlands and wildfowl reserves while just
a few minutes drive away are the North York Moors National Park and
the dramatic North Sea coast.

Teesside International Airport is less than 20 kilometers from
Middlesbrough and has several direct connections every day to both
London (Heathrow) and Amsterdam (Schipol) which are major European
hubs for international flights.

Further information is available at the following web address:


Authors of accepted papers will be required to prepare a written
version of their paper for inclusion in the printed and online
proceedings. Acceptance at the conference is dependent on authors
providing this written version of their paper by the required date and
in the required format.

Acceptance is also dependent on at least one of the authors
registering for the conference by 13th of June 2003. As in previous
years, COSIGN will endeavour to support as much as possible the
registration fees and/or accommodation of those presenters who are not
funded by an institution or organisation.


Papers are invited on any subject that explores areas of overlap (or
potential overlap) between semiotics and interactive digital
media. Examples of this include, but are not limited to, the

- - The use of semiotics in artificial intelligence and expert systems.
- - Software architectures and technologies using, based upon or inspired
  by semiotic theories, systems or models.
- - The use of semiotics in the creation or analysis of generative narrative
  systems, interactive digital games, entertainment and artworks.
- - The use of semiotics in the study and criticism of digital interactive
- - Narratology in games and new media.
- - Semiotic-orientated HCI.
- - Semiotics and Hypermedia.

Papers should demonstrate an understanding of - and engagement with
the principles of semiotics (understood here as the study of signs)
and gain something from this engagement.

Further details of the submission process (and templates for papers)
are available at

- ------------------------------------------------------
Submission date for Academic Papers: 28th March 2003
Acceptance will be notified on or around 12th May 2003
Camera-ready copy for the proceedings by 9th June 2003
- ------------------------------------------------------


In addition to academic and theoretical papers, presentations of
artworks of all forms and in all formats are invited. We are
particularly interested in digital art, net art and other
technology-based or technology-oriented art forms.

Artworks will be assessed on the basis of documentation of the work
presented in the form of an online website. The website should display
the following:

- - A textual description of the proposed artwork and any illustrations
- - A biography of the artist(s)/author(s)
- - Contact details

Further details of the submission process and requirements are available at

- -------------------------------------------------------
Submission date for Artworks: 28th March 2003
Acceptance will be notified on or around 12th May 2003
Camera-ready copy for the proceedings by 9th June 2003
- -------------------------------------------------------


There will be an opportunity for researchers to present new work and
ideas that are not yet ready for the full presentation. Short papers
will be presented in poster format, and will be included in both the
hardcopy and electronic proceedings.

Further details of the submission process and requirements are available at

- -------------------------------------------------------
Submission date: 24th April 2003
Acceptance will be notified on or around 12th May 2003
Camera-ready copy for the proceedings by 9th June 2003
- -------------------------------------------------------


Demonstrations of relevant leading-edge work and work in progress are
invited.  Submissions will be peer-reviewed to ensure
quality. Demonstration proposals must be submitted electronically.

Further details of the submission process and requirements are
available at

- -------------------------------------------------------------
Submission date for Technical Demonstrations: 24th April 2003
Acceptance will be notified on or around 12th  May 2003
Camera-ready copy for the proceedings by 9th June 2003
- -------------------------------------------------------------


Authors and artists who have difficulty in making their submission in
the appropriate form or in viewing the detailed submission procedure
should contact:

      Frank Nack
      CWI - INS2
      Kruislaan 413
      P.O. Box 94079,
      NL-1090 GB Amsterdam
      Email: Frank.Nack {AT} cwi.nl
      Phone: +31 20 592 4223
      Fax: +31 20 592 4312

Andy Clarke - Kinonet (UK)
Clive Fencott - University of Teeside (UK)
Craig Lindley - Interactive Institute (Sweden)
Grethe Mitchell - University of East London and Kinonet (UK)
Frank Nack - CWI (Netherlands)

PROGRAMME COMMITTEE (subject to revision)
Elisabeth Andre - University of Augsburg (Germany)
Wilton Azevedo - Mackenzie Presbyterian University, São Paulo, (Brazil)
Paul Brna - Northumbria University (UK)
Kevin Brooks - Motorola Human Interface Labs (USA)
Andrew Clarke - Kinonet (UK)
Chitra Dorai - IBM (USA)
Clive Fencott - University of Teeside (UK)
Brody Condon -  Media artist (USA)
Troels Degn Johansson, The IT-University of Copenhagen (Denmark)
Werner Kriechbaum - IBM (Germany)
James Lester - North Carolina University (USA)
Craig Lindley - Interactive Institute (Sweden)
Grethe Mitchell - University of East London and Kinonet (UK)
Frank Nack - CWI (Netherlands)
Mirko Petric -University of Split (Croatia)
Paolo Petta - OFAI (Austria)
Doug Rosenberg - University of Wisconsin-Madison (USA)
Ola Stockfelt - University of Goteborg/University of Skovde (Sweden)
Robert Wechsler - Palindrome Inter-media Performance Group (Germany)

ARTWORK COMMITTEE (subject to revision)

Andrew Clarke - Kinonet (UK)
David Daniels - Digital Poet, Berkeley (USA)
Scott deLahunta - Writing Research Associates (NL) and Dartington College
of Arts (UK)
Fatima Lasay  - University of the Philippines (Philippines)
Luca Marchetti - Anomos (France)
Grethe Mitchell - University of East London and Kinonet (UK)
Timothy Portlock - University of Illinois (USA)
Doug Rosenberg - University of Wisconsin-Madison (USA)



Date: Fri, 24 Jan 2003 12:50:16 +1100
From: "geert lovink" <geert {AT} xs4all.nl>
Subject: cfp: the state of the real (glasgow)


T h e   S t a t e   o f   t h e   R e a l

An Interdisciplinary Conference

Glasgow School of Art, UK

21-22 November 2003

Keynote address: Prof. Linda Nochlin, New York University *

"How real can you get?"
The conference organisers propose a debate on the subject of Othe real¹ in
aesthetic philosophy, criticism and practice.

"When is representation not real?"
Recent years have seen notions of reality discussed in the open. What
relationship do current views developed by this discourse have with those
tenets of realism and representation that once provided the foundation for
aesthetic study? What are the philosophical consequences of the introduction
of technologies that increasingly blur the boundaries between art and
popular culture? What is the effect of aesthetic culture on Realpolitik?
What has happened to the notions of social realism, verisimilitude, and the
imaginary? Are they still relevant, and how have they been changed, if at

"Reclaiming the real."
The organizers are also interested in how notions of reality are affected
by, and continue to affect, aesthetic practice in the fields of art, design,
and media production. With the popularity of haptic technologies, what has
happened to Oreal¹ haptics? How do practitioners and academics view older
technologies in the light of their electronic avatars? With the development
of notions of virtual space, what has happened to our understanding of the
body, the mind, and corporeal space?

The organisers particularly welcome proposals on, or dealing with, the
following related subjects:
Reality and realism in Art & Design History; New media technologies ­
Virtual Reality, CGI photography and cinema, the Internet, haptic
technologies; Modernity and Post-modernity/Modernism and Post-modernism;
Philosophies on Othe real¹ in popular culture; Philosophy and art/design and
cultural practice; Reality television, realism in film.

Proposals for panels (no more than three papers) and workshops are also

Deadline for abstracts: 22 April 2003

Please send abstracts of no more than 300 words to:
OThe State of the Real¹,
Dept. of Historical and Critical Studies,
Glasgow School of Art,
167 Renfrew St,
Scotland, UK.
G3 6RQ.

Abstracts may be sent by email to real {AT} gsa.ac.uk.

* A second keynote speaker of high standing is currently being approached.


Date: Fri, 24 Jan 2003 04:32:51 -0500
From: Vidlounge {AT} aol.com
Subject: online net.art courses

Net.art In Depth
Online course for 9 weeks
Instructor: Laurie Halsey Brown 
(NYC media artist now based in Holland)
The New School University in New York City
to register for this online class: http://wwww.dialnsa.edu
>>courses and registration
>>New School-communications

Net.art will be discussed within a framework of theoretical concerns surrounding media such as: narrative, identity, interaction, authenticity, translocality,hybridity, communication and information systems. Students are expected to have some background in new media or media in general. The class will be research and discussion-based; students will take an active role in researching topics for each class and write short essays which will be posted in order to form a dialogue. Final projects are encouraged to be in web form. Readings from Arjun Appadurai; Andreas Broeckman; Tetsuo Kogawa; Mark Tribe; Bruce Sterling; Lev Manovich; Curt Cloninger etc.

Class ONE- online introductions
Class TWO-INTERACTIVITY-what is it?
Class THREE- AUTHENTICITY- why new media isn’t new: a (brief) history
Class FOUR – IDENTITY-who we are online
Class FIVE – COMMUNICATION- e-mail, blogs etc
Class SIX – NARRATIVE- what narrative has become via net.art
CLASS SEVEN– INFORMATION SYSTEMS-web cams: works investigating surveillance,voyeurism
CLASS NINE- HYBRIDITY-interdisciplinary philosophies


Date: Mon, 27 Jan 2003 17:04:36 +0100
From: Louise Desrenards <louisedesrenards {AT} free.fr>
Subject: Prefering just a link /Re: <nettime> confidential

First If you prefer just a link?


Second would you pay attention to the last Scorcese's movie "Gangs of
New-York" (same reason... From this movie I could explain every plastic sign
about actual politics  ‹If you want).




- ------


Date: Mon, 27 Jan 2003 14:17:07 -0500
From: Dominique Fontaine <dfontaine {AT} fondation-langlois.org>
Subject: Press Release

Pour la version française: 

[ Apologies for cross-posting / veuillez excuser les envois multiples ]


** Press Release **


Montreal, January 27, 2003 - The Daniel Langlois Foundation for Art, Science
and Technology is proud to announce the creation of the Strategic Grants
Program, a new undertaking to assist organizations. This program replaces
the Exhibition, Distribution and Performance Program for Organizations and
the Program for Organizations from Emerging Regions, two Foundation
initiatives first set up in 1998 that nurtured many important projects

The Foundation reviewed the projects it had received and selected during the
four years these two programs were running so as to answer a basic question
for any private foundation: How can we improve our activities and assistance
while favouring developments with a substantial and lasting impact? Our
reflection and review eventually gave rise to our STRATEGIC GRANTS PROGRAM

Foundation president Daniel Langlois says "the new program is designed to
improve and better target our support for organizations so we can fulfill
our mandate more effectively and meet the goals we've set."

The Foundation has a great degree of flexibility and substantial, though
limited, resources to address important concerns and issues under its
*thematic focus*. To make the best use of its flexibility, the Foundation
generally believes that it should address significant problems over a
limited period of years rather than provide indefinite support. In funding
research, the program gives priority to work with significant implications
for effecting change and development in the practice of artists and others
in a milieu or community. To nurture practical interventions, the program
gives priority to projects that are likely to yield lasting improvements
after a period of Foundation support.

The Foundation defines the term *strategic* as projects, activities and
programs that have a demonstrated potential to better position an
organization to fulfill its mandate and to enhance its capacity to act on
issues and concerns either in its milieu or community or in the Foundation's
fields of interest.


*Art, Science and Technology*

The Foundation is interested in contemporary artistic practices that use
digital technologies to express aesthetic and critical forms of discourse.
The Foundation also encourages interdisciplinary research and, in general,
sustains the development of projects calling for co-operation between people
from a variety of fields, such as artists, scientists, technologists and
engineers. It also renders public the results of research supported by its

*Emerging Region*

The Foundation encourages projects from organizations active in its priority
regions outside Europe and North America. In general, the Foundation
supports projects allowing artists, scientists or scholars who are not
European or North American to develop their skills and expertise locally in
their region. The aim is to promote the integration of knowledge and
practices specific to different cultures. The Foundation may also support
research projects that combine the traditional artistic practices of certain
cultures with advanced technology or that explore methods and processes
based on the unique aesthetic principles of certain cultures.

*For 2003, the Foundation is giving priority to Western Africa and South


The Foundation is interested in artistic projects that heighten public
awareness about ecological and environmental issues. Projects must be based
on ecological concepts relevant to the notion of interdependent dynamic
systems. They must present an original synthesis between art, science and
technology, and ecological and environmental action. They must address
ecological and environmental problems and present solutions that favour the
public's participation.

*Digital Heritage*

Preserving new media, or more accurately digital media, is a new challenge
for those hoping to keep today's digital "artifacts" alive to educate and
enlighten future generations. The Foundation is therefore greatly interested
in digital preservation, the preservation of digital artworks, and all
related research. Projects must be of direct interest and use within the
programs, activities and objectives of the Foundation's Centre for Research
and Documentation (CR+D).

For more details on the CR+D, consult: 

*Options for Financial Support*

The new program provides several options for financial support. Like the
support offered in the past, the Strategic Grants Program for Organizations
favours funding used to launch or develop programs, start up organizations,
or assist programs for visiting professors. Funding may also be used to
acquire propriety, buildings, land or equipment provided the project is
backed by a solid strategic plan and has potential for fostering an
organization's development and autonomy. The program places great importance
on an organization's ongoing development.


Our next deadline for sending in proposals is June 30, 2003. We strongly
suggest you consult our program guide to find out about program details,
application procedures, evaluation criteria and procedures, and response
time. To refer to these guidelines on-line, visit: 

- - 30 -


Jean Gagnon; Director of Program
Dominique Fontaine; Program Officer

The Daniel Langlois Foundation for Art, Science, and Technology
Phone : (514) 987-7177, Fax : (514) 987-7492
email : info {AT} fondation-langlois.org. 
Internet: http://www.fondation-langlois.org 


We've sent you this press release to keep you abreast of activities at the
Daniel Langlois Foundation. If you wish to be taken off our mailing list,
simply reply to this message with REMOVE in the subject line. Thank you.



Date: Tue, 28 Jan 2003 22:10:31 -0800
From: Lev Manovich <lev {AT} manovich.net>
Subject: L-freeware 


Last year I was awarded a Guggenheim Fellowship. The fellowship allows me
not to teach from Mid March 2003 until the end of 2003.
    I will be interested to spend part(s) of this period as an artist/critic
in residence at a new media center/art center(s)/art school/university -
outside of North America. Since I am financially supported by the
fellowship, I don't need to get any fee - although I will expect to get some
help in arranging a place to stay.
    What I am looking for is a nice place (intellectually and
geographically) which will provide a base for my own work . Essentially, a
place to plug-in my laptop and have interesting conversations from time to
     I will consider doing some lecturing/short seminars but not regular
teaching during such a residency, since the purpose of the fellowship is to
give me time to do my work. It would be ideal if such center can provide
some production support for my projects in development. Of course I will be
be also interested in developing new projects which would fit your current
programming and interests.

Lev Manovich
Associate Professor of New Media Art and Theory
University of California, San Diego


Date: Thu, 30 Jan 2003 12:21:58 +1100
From: "Anne Quigley" <anniequigley {AT} hotmail.com>
Subject: Fwd: [CFW] [SOFTWARE&ART]

>Works of generative & non-generative software art, software interventions 
>(patches, modifications of proprietary software, hacks of console games 
>etc.) or other creative uses of code / programming, are currently being 
>sort for an exhibition and catalogue to document & present a diverse range 
>of creative uses of programming, languages, development environments & 
>delivery methods that constitute the area of 'software-art'. The exhibition 
>shall occur at an artist run space in
>Australia (The Farm - www.thefarmspace.com.au) in early March and will then 
>travel both within Australia as well as internationally, to the UK and US.
>For Submissions as well as Expressions of Interest:
>mathew {AT} patchhack.net
>Closing Date for Submissions: 17/02/2003 (Extended Deadline).

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