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<nettime> Announcements [events, calls, misc 14x]
Announcer on Mon, 28 Apr 2003 21:57:40 +0200 (CEST)


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<nettime> Announcements [events, calls, misc 14x]



Table of Contents:

   Fwd: CALL FOR A GLOBAL VIDEO EXCHANGE                                           
     Michael Eisenmenger <eisenmen {AT} tao.ca>                                           

   ATC {AT} UCB: Pamela Lee, Stanford Art History, Monday 7:30pm                        
     Ken Goldberg <goldberg {AT} ieor.berkeley.edu>                                       

   Media in ISRAEL and PALESTINE                                                   
     _manu Luksch <manu {AT} ambienttv.net>                                               

   for Announce List                                                               
     "Singer, Brooke" <bsinger {AT} movingimage.us>                                       

   Fw: Information zur Auftaktpressekonferenz des Austrian Social Forum            
     "Christian Apl" <christian.apl {AT} kabsi.at>                                        

   celebrate DNA + intellectual property rights day!                               
     Ryan Griffis <grifray {AT} yahoo.com>                                                

   Fw: DHS FELLOWSHIPS OPPORTUNITIES                                               
     "Nathan Hactivist" <nathan {AT} hactivist.com>                                       

   live-stream from Amsterdam                                                      
     Floor van Spaendonck <floor {AT} waag.org>                                           

   DIGIT WORLD CONTEST HERALD
     Johann-Manethon Piching <johann-manethon {AT} tutytam.org>      

   Television (an address) 04/28/03                                                
     Drazen Pantic <drazen {AT} xs4all.nl>                                                

   FWD: earth day + transgenic fish                                                
     Ryan Griffis <grifray {AT} yahoo.com>                                                

   Violence 6.1                                                                    
     "ViolenceOnlineFestival" <agricola-w {AT} netcologne.de>                             

   outline of an experiment                                                        
     eleusa {AT} riseup.net                                                               

   Istanbul Museum, Web Biennial 2003  CALL FOR SUBMISSIONS                        
     SANART <list {AT} sanart.info>                                                       



------------------------------

Date: Sat, 19 Apr 2003 15:07:04 -0400
From: Michael Eisenmenger <eisenmen {AT} tao.ca>
Subject: Fwd: CALL FOR A GLOBAL VIDEO EXCHANGE

>[ Please forward far and wide to community video groups and producers! ]
>
>CALL FOR INTERNATIONAL PARTICIPATION IN GLOBAL VIDEO EXCHANGE
>and INSTRUCTIONS for Videographers FTPing footage
>
>This is a call for material for use in ongoing video coverage of 
>activist events worldwide. We are using a system of ftp servers that 
>will enable individuals and groups to provide broadcast quality 
>video clips - all encoded in a common video codec for easy sharing 
>between international projects (see tech details below). This is the 
>first step in potentially creating an even larger web-based and 
>database driven exchange.
>
>--------------------------------------------------------------------------
>POSSIBLE THEMES/MEDIA MOBILIZATIONS
>--------------------------------------------------------------------------
>The global video exchange will allow us to share content for regular 
>activist TV programming, community video screenings, as well as 
>produce even more far-reaching and immediate programming for 
>international mobilizations.
>
>POSSIBLE DISTRIBUTION POINTS
>Independent Media Centers - GLOBAL (www.indymedia.org)
>Public Access TV Stations (Manhattan Neighborhood Network - NYC  (www.mnn.org)
>FreeSpeech TV - USA  (www.freespeech.org)
>Your own local projects . . .
>
>We encourage international producers to make 2-12 min. edited 
>segments of local  events and send these via ftp to create a shared 
>footage pool. These edited segments can be compiled into thematic 
>programming and distributed via community TV, Cable Access Channels 
>and community screenings (for instance MNN has been programming one 
>per week using segment compilations).
>
>If you produce an edited segment - please include interviews 
>contextualizing the issues according to your own city/country as 
>well as typical march/rally coverage. It is very important that 
>people here and elsewhere hear directly from all the other peoples 
>of the world. More critical analysis and factual information is
>also encouraged.
>
>If you want to participate - please let us know - send an email to 
>the imc-video {AT} indymedia.org, subject line "Global Video Exchange". 
>This list is where most global project communication will take 
>place. (subscribe at: http://lists.indymedia.org/listinfo/imc-video).
>
>We hope you all can participate - Thanks!
>
>--------------------------------------------------------------------------
>
>Content Suggestions
>--------------------------------------------------------------------------
>
>These are suggestions of what may be most useful:
>
>Edited Segments: 2-12 minutes long.
>Please edit to provide:
>* A clear narrative structure: you can use voice-overs, slates, 
>and/or supers to make the story flow in a way that makes crystal 
>clear sense
>* You can incorporate music (when you have the right to use it)
>* Your segment will ideally encompass alternative viewpoints, make 
>good use of b-roll (images closely correspond with dialogue), and 
>have a solid beginning, middle and end.
>
>What not to post:
>Raw footage, long tapes of continuous shots from rallies and marches 
>that have not been edited.
>
>--------------------------------------------------------------------------
>PROTOCOL FOR SENDING VIDEO VIA INTERNET FTP       as of 4/6/03
>--------------------------------------------------------------------------
>INSTRUCTIONS for Videographers FTPing footage
>--------------------------------------------------------------------------
>
>There are basically three steps that are involved to send us footage,
>its' as simple as A B C!
>A - Download and install the OnVP3 codec
>B  -Capture and edit your video
>C  -Compress with the OnVP3 Codec
>D  -FTP file to a shared server
>
>What is so special about this protocol is that the quality, once
>expanded into Media 100, Avid or FCP is almost exactly like the
>original!
>---------------------------------------------------------------------------
>
>PREPARATION - what you need to do first before you can send footage
>
>A) - Download your OnVP3 software codec
>
>- Mac and Windows codec installers are available on the FTP server 
>used for uploading/downloading global clips. After you connect and 
>go to the A volume and see the Codec Installer Folder. Download the 
>appropriate file and install.
>
>- or go to '<on2.com>' get the free vp3 codec (not vp 4) for either
>platform, MAC or Windows and install it.
><http://www.vp3.com/getvp3/index.shtml>
>
>- If you are using a Mac, you can download any clip compressed with 
>the OnVP3 and open it. Quicktime will prompt you to update it's 
>software and then automatically download and install the codec.
>
>- For an FTP client application we recommend Fetch for Mac and 
>WS_FTP for PCs, or use your favorite
><http://fetchsoftworks.com>
>
>---------------------------------------------------------------------------
>
>B)  CAPTURE
>
>MAC - capture and edit in iMovie or Final Cut Pro (FCP) as you normally would.
>WINDOWS - capture in Premier or Premier Lite.
>
>*For MAC users, exporting in iMovie or Quicktime Player Pro is much 
>faster (3 min to every 1
>min of video) than FCP (about 14 min to every 1 min), however any
>editing program that you're using will work if compatible with QT
>---------------------------------------------------------------------------
>
>C)  COMPRESSION/EXPORT SETTING - Once you have finished editing, you 
>can export the movie from the application using the OnVP3 codec to 
>compress the file. You can also export a niormal file and then open 
>and export it from Quicktime Player Pro. The sequence below may very 
>depending on the QT interface you're entering it on. On the Mac you 
>can do this from iMovie,  Final Cut Pro or from QuickTime Player 6 
>Pro.
>
>- choose codec on2vp3, select 'options':
>- use default OnVP3 settings, but uncheck 'allow dropped frames'
>- size 360 x 240 ntsc - or -
>   size 360 x 288 pal
>- frame rate 29.97 ntsc -or-
>   frame rate 25 pal
>- data rate ......
>- key frame (optional)
>- audio ulaw 2.1 32kb 16 mono
>- press export
>The final file size should be about 5-20 megs per minute (an easy ftp)
>
>Once you have the setting selected above, export the file to disk. A 
>one minute long compressed file should be anywhere from 5-20 megs 
>You can play the clip back in movie player or any other program. 
>Don't be suprised if playback stutters - this iss common on slower 
>computers and  OK since the files will later be converted back to 
>the DV codec.
>
>----------------------------------------------------------------------------
>D) FTP
>Connect to the server at:
>host: 67.92.102.213
>user: imc
>pass: video
>
>FILENAMING CONVENTIONS. Please title your clip with city name and your
>initials or collective name, for instance: NYC_PTTV1.mov, also name your
>intake text file the same: NYC_PTTV1.txt
>
>PLEASE DO NOT UPLOAD .avi, .rm or other movie file formats. This is 
>a project for sharing video with one common codec (OnVP3)
>
>IMPORTANT: With your file should also submit an intake form and 
>waiver/release, These are located on all the volumes of the FTP 
>server and can be downloaded and filled out. Rename the files with 
>the same prefix as your movie file, then upload them with your movie 
>file.
>
>Users can not delete files. So if you make an error and need to have 
>a file deleted, email Michael at: michael {AT} mediajumpstart.org
>
>HELP!
>If you are having other technical troubles, email 
>imc-video {AT} indymedia.org, subject line "Global Video Exchange-Help". 
>(subscribe at: http://lists.indymedia.org/listinfo/imc-video). The 
>imc-video list should be the primary discussion list. Also send 
>notification here after you've posted a clip so people know to look 
>for it.
>
>----------------------------------------------------------------------------
>HOW DO I USE THESE CLIPS
>First download the clips from the FTP server. Also download the 
>intake form which may help to identify the clip before you commit to 
>the larger movie download. The intake form also contains the rights 
>for use which may vary from videographer to videographer.
>
>To use the clips, you basically reverse the OnVP3 compression. Open 
>the file in Quicktime Player Pro and export it as a full screen 
>movie (720 x 480) in the native DV-NTSC or DC-PAL codec. Set the 
>audio to no compression (none). The file will then be compatible for 
>editing with other native DV file format clips.  In Final Cut Pro or 
>Premiere, you can import the OnVP3 clip and render it or export as 
>above.
>
>Be sure you credit videographers as they request on the intake form 
>included with each clip.
>
>--
>______________________________________________________
>Michael Eisenmenger             Paper Tiger Television
>339 Lafayete Street, New York, New York 10012
>PH:212 420-9045 Fax:212 420-8196 http://papertiger.org

- -- 
______________________________________________________
Michael Eisenmenger             Paper Tiger Television
339 Lafayete Street, New York, New York 10012
PH:212 420-9045 Fax:212 420-8196 http://papertiger.org


------------------------------

Date: Tue, 22 Apr 2003 14:34:48 -0400 (EDT)
From: Ken Goldberg <goldberg {AT} ieor.berkeley.edu>
Subject: ATC {AT} UCB: Pamela Lee, Stanford Art History, Monday 7:30pm 

ATC {AT} UCB:

The Bad Infinity / The Longue Durée
Pamela Lee, Stanford Art History

The Art, Technology, and Culture Colloquium
Mon, 28 Apr, 7:30-9:30pm: UC Berkeley,
Location: 160 Kroeber Hall
All ATC Lectures are free and open to the public.

Prof. Lee will discuss the almost compulsive desire to register time
in numerous examples of sixties art, taking as case studies the
1963-4 films of Andy Warhol, specifically Empire and the "Today"
series of the Japanese-born, New York-based artist On Kawara. Such
practices are considered in light of the rise of technological
forecasting and future studies in the 1960s, themselves linked to the
emergence of systems theory and cybernetics associated with the war
effort. Neither Warhol nor Kawara were intentionally engaged with
future studies, but Lee argues that their work -- which internalizes
boredom and waiting at both an organizational and thematic level --
can be read to critique its ideological imperatives. Indeed, future
studies explicitly informed a number of art critical accounts of that
moment, most notably the video artist Douglas Davis' Art and the
Future, a book concerned, in part, with predicting developments in
new media art.

In both Warhol's films and Kawara's conceptual gestures, however, such
notions of futurity and progress are undermined by an insistence on
repetition, duration and endless projection, as if ironizing the
claims made by technological forecasting. Instead Lee reads their
practices through two seemingly incompatible models of history:
Hegel's "Bad Infinity" on the one hand and Fernand Braudel's "Longue
Dureé" on the other. She argues that both artists endlessly belabor
the present as a particular comment on the status of "futurity" in the
1960s, opening onto critical practices of postmodernism.

- --
Pamela M. Lee is an Assistant Professor in the Department of Art and
Art History at Stanford University where she teaches the history,
theory and criticism of art since 1945, with a particular emphasis on
the 1960s and 1970s. She is the author of Object to be Destroyed: The
Work of Gordon Matta-Clark (The MIT Press: 2000). Her second book,
Chronophobia: On Time in the Art of the 1960s (to be published next
year by The MIT Press) explores the relationship between time and
technology in the art of that decade, considering the emergence of
cybernetics, systems theory and automation relative to the new
temporalities of a range of aesthetic practices and discourses. Her
interest in technology's radical compression of time and space in the
postwar era informs her current research, which reflects upon the
changed status of the art world and its objects under the pressures of
globalization.

- --
Greg Neimeyer will introduce Pamela on Monday; Tiffany and I will be at
home, reflecting on the status of futurity with Odessa Simone Goldberg,
born 4-19-2003.


**********************************************************************
The ATC Colloquium continues our partnership with the Berkeley Art
Museum and the Walker Art Center to present online video of ATC talks,
available both in QuickTime (highlights) or MP3 audio.  For links and
the full 2002-2003 series schedule, please see:

http://www.ieor.berkeley.edu/~goldberg/lecs/
**********************************************************************


------------------------------

Date: Wed, 23 Apr 2003 20:37:54 +0100
From: _manu Luksch <manu {AT} ambienttv.net>
Subject: Media in ISRAEL and PALESTINE

Hi there
I have been so fortunate to get to speak to Ronni Shendar
[Alternative Information Centre, Jerusalem], Galit Eilat
[Director Digital Art Lab, Holon], Nisreem Abu-Zayyad
[Palestine-Israel Journal], and Momo Yoel [indymedia, Tel Aviv] about media
in ISRAEL and PALESTINE - even if things might have changed since this
winter, they are very interesting positions so I thought I make them
available at

http://www.ambienttv.net/3/spyschool/1/israelinterviews/index.html

Reactions& comments welcome ;-)
manu
- -
- -

__________________________________________
___________________Manu Luksch____
__________manu {AT} ambientTV.NET_______
T: +44 7951539144_________________________
__________http://www.ambientTV.NET_______


------------------------------

Date: Tue, 22 Apr 2003 16:36:01 -0400
From: "Singer, Brooke" <bsinger {AT} movingimage.us>
Subject: for Announce List

The American Museum of the Moving Image in Queens, New York, presents the
past, present, and future of the digital image in live performance.
Important new media artists and "software jockeys" DJ Spooky, 242.pilots,
Golan Levin, Art Jones, and Greg Hermanovic combine live performance with
digital audio and video processing in "The Computed Moving Image in Live
Performance," three live events in May.

The computer's versatility as a real-time media processing system, as well
as the emergence of the "VJ," has made possible new creative forms
characterized by the performance of moving images with audio. The American
Museum of the Moving Image will explore this new art form in "The Computed
Moving Image in Live Performance," comprised of three special events in May.
The award-winning international video-art ensemble 242.pilots will perform a
live improvisational concert on Thursday, May 8; artists and software
engineers Greg Hermanovic, Art Jones, and Golan Levin will demonstrate and
discuss real-time audio and visuals as performance and the software that
makes it possible on Thursday, May 15; and DJ Spooky will present his
provocative work-in-progress, Rebirth of A Nation, a radical remix of D.W.
Griffith's landmark film Birth of A Nation on Thursday, May 29. The
performances and demonstrations function as an engaging primer on
audio-visual media performance, its history, and its future directions. 

 

The events are part of <Alt>Thursdays, an ongoing series of artist talks and
performances, presented in conjunction with <Alt>DigitalMedia, the Museum's
highly acclaimed gallery space focused on creative, probing, and playful
explorations of the digital moving image and software-based art.

 

SCHEDULE

 

Thursday, May 8

7:30 p.m.

242.pilots Performance

The three artists who comprise 242.pilots, HC Gilje (Norway), Kurt Ralske
(U.S.), and Lukasz Kysakowski (Poland), use laptops and custom-made software
in live performances to dynamically generate video and sound. Their
performance will be structured as a series of solos followed by the group
working collaboratively with a guest musician, much like a jazz ensemble, to
create a layered image and soundscape. The resulting composition evolves
through creative exchange and non-verbal communication. Described by The New
York Times as "an intriguing, compelling alliance of sound and motion," the
group's current DVD project, 242.pilots Live in Bruxelles, won the 2003
Image Award at Berlin's Transmediale festival. This event is cosponsored by
Harvestworks Digital Media Arts Center. Tickets ($12 public / $8 members)
can be purchased in advance by calling the Museum at 718-784-4520.

 

Thursday, May 15
7:30 p.m.
Panel Discussion: Moving Image Performed with Software

Through discussing their own work, artists and programmers Greg Hermanovic,
Art Jones, and Golan Levin will provide an overview of audio-visual
performance systems, its history, and future. Hermanovic, co-founder of
Derivative, Inc, will demonstrate Touch, a new real-time 3D graphics
performance tool based on his Academy Award-winning digital compositing
software, Houdini. Levin will present an illustrated history of real-time
moving image performance. His piece, Floccus, is featured in
<Alt>DigitalMedia and he recently orchestrated Dialtones: A Telesymphony, a
concert performance comprised solely of the carefully choreographed ringing
of the audience's cell phones. Art Jones will present a mini-lecture on "The
Fine Art of VJ-ing," with audio-visual accompaniment. His work often
concerns the inter-relationships between popular music, visual culture,
history, and power. Tickets ($10 public / Free for members) can be purchased
in advance by calling the Museum at 718-784-4520.

 

Thursday, May 29

7:30 p.m.
DJ Spooky Performance, Rebirth of A Nation, followed by a discussion

A special work-in-progress performance, Rebirth of a Nation, by conceptual
artist, musician, and writer Paul Miller, otherwise known as DJ Spooky, That
Subliminal Kid "remixes" D.W. Griffith's Birth of A Nation, the
controversial historical epic that established the rules of narrative
filmmaking while portraying the Ku Klux Klan as the saviors of the Civil
War. In Miller's hands, the film is transformed into a meditation on how
"myths migrate through the culture's operating system." Miller says,
"Remixing this influential film the way a DJ would change a pop tune, I am
trying to uncover the blueprints of the future we now inhabit." Miller's
work employs a wide variety of digitally created music and multi-media to
create a form of post-modern sculpture in the tradition of composers such as
John Cage and Afrika Bambaata. He has collaborated with a wide variety of
pre-eminent musicians and composers such as Ryuichi Sakamoto, Killa Priest
of Wu-Tang Clan, Yoko Ono, and Thurston Moore from Sonic Youth amongst
others. This one-hour performance will be followed by a discussion with the
artist. Tickets ($15 public / $10 members) can be purchased in advance by
calling the Museum at 718-784-4520.

For more information, please visit http://www.movingimage.us/thursdays
<http://www.movingimage.us/thursdays> .


------------------------------

Date: Fri, 25 Apr 2003 16:47:25 +0200
From: "Christian Apl" <christian.apl {AT} kabsi.at>
Subject: Fw: Information zur Auftaktpressekonferenz des Austrian Social Forum



From: ASF_Pressekoordination <presse {AT} socialforum.at>

- -------------------------------------------
Presseinformation: Eine andere Welt ist möglich
- -------------------------------------------

Von Porto Alegre und Florenz nach Hallein: Von 29. Mai bis 1. Juni
findet in der Salzburger Salinenstadt das erste Österreichische
Sozialforum statt - Tausende TeilnehmerInnen erwartet

(Wien, 25.4.2003) Nach den drei Weltsozialforen in Porto Alegre
(Brasilien) und dem European Social Forum in Florenz findet heuer
erstmals auch ein Österreichisches Sozialforum statt. Von 29. Mai bis
1. Juni werden in den historischen Salinengebäuden der Salzachstadt
Hallein mehrere tausend TeilnehmerInnen erwartet.

Organisiert wird das "Austrian Social Forum" (ASF) von Personen und
Gruppen aus den unterschiedlichsten sozialen und
zivilgesellschaftlichen Bewegungen Österreichs. Gewerkschaften sind
daran ebenso beteiligt wie globalisierungskritische Netzwerke,
Umwelt- und Menschenrechtsorganisationen sowie kirchliche und
politische Gruppen. Das ASF ist ein offener Treffpunkt für alle, die
sich aktiv und demokratisch für Frieden, soziale und politische
Rechte für alle Menschen sowie für eine gerechte und ökologische
Globalisierung einsetzen.

- --------------------------
Keine Anti-GlobalisiererInnen
- --------------------------

Ausdrücklich abgelehnt werden die von Medien oft verwendeten
Bezeichnungen "Antiglobalisierer" oder "Globalisierungsgegner". "Die
sind eher in den Konzernlobbys und unter ihren neoliberalen
Handlangern in den Regierungen zu finden, weil dort verbindliche
globale Sozial-, Umwelt- und Menschenrechtsstandards verhindert
werden. Uns geht es um die gerechte Gestaltung von Globalisierung.
Wir verstehen uns als Teil einer weltweiten Bewegung, die an der
Entwicklung und Umsetzung von Alternativen zur herrschenden
Weltordnung arbeitet."

Das ASF ist ein zeitlich und örtlich begrenztes Ereignis, das weder
SprecherInnen nach außen noch eine einheitliche ideologische
Ausrichtung braucht. Gemeinsames Ziel ist es, durch die Vernetzung
unterschiedlicher Bewegungen einen Prozess in Gang zu setzen, der -
wie in Porto Alegre erstmals proklamiert - eine "andere Welt möglich"
macht.

Dafür sind bis zum heutigen Tag 8 Konferenzen sowie mehr als 70
Seminare und Workshops rund um die Themenbereiche Arbeit und
Soziales, Neoliberalismus und Wirtschaft, Herrschaft, Ausgrenzung und
Partizipation sowie Krieg und neue Weltordnung geplant. Dazu kommen
Infotheken sowie ein Kulturprogramm mit Konzerten, Kabarett und einem
Festival des politischen Films. Außerdem ist für den Nachmittag des
30. Mai eine Demonstration gegen den Krieg auf der Tauernautobahn
angemeldet.
Bei allen Veranstaltungen des ASF gelten die Prinzipien des Gender
Mainstreamings und des Antirassismus, also die gleichwertige Teilhabe
von Frauen und MigrantInnen.

Rückfragen: presse {AT} socialforum.at

Weitere Informationen auf der Website des Austrian Social Forum:
http://www.socialforum.at




------------------------------

Date: Fri, 25 Apr 2003 09:00:46 -0700 (PDT)
From: Ryan Griffis <grifray {AT} yahoo.com>
Subject: celebrate DNA + intellectual property rights day!

DNA Day is today, April 25
and 
Intellectual Property Rights Day is tomorrow, April
26.
With the "completion" of the human genome project,
this year is one for the history books.
Celebrate the festive occassion with those that care,
by sending them a postcard.
http://www.thefutureiscoming.org
Best wishes and Happy DNA + Intellectual Property
Rights Day!

__________________________________________________
Do you Yahoo!?
The New Yahoo! Search - Faster. Easier. Bingo
http://search.yahoo.com


------------------------------

Date: Fri, 25 Apr 2003 12:30:41 -0400
From: "Nathan Hactivist" <nathan {AT} hactivist.com>
Subject: Fw: DHS FELLOWSHIPS OPPORTUNITIES

what is happening?
oh no.......

nathan hactivist

"Best of luck!"

I just got in an argument with my roomate over this issue. I think I =
draw the line here when it comes to the "subversion from within" =
argument.

Signing on to this shit makes us walking advertisements for not only =
supporting the DHS bu also justifying the need and acceptance for its =
inception.

fucking shit i'm pissed

- ----- Original Message -----
From: Trahan, Lisa
To: GRADS02-L {AT} lists.rpi.edu=20
Cc: Apple, Tom=20
Sent: Friday, April 25, 2003 11:03 AM
Subject: DHS FELLOWSHIPS OPPORTUNITIES


Dear 1st year graduate student,



Following is the link to the ORAU/ORISE web site containing information =
about the Homeland Security fellowships being sponsored by the =
Department of Homeland Security (DHS).  These fellowships are open to =
first-year graduate students.

Note that students with an interest must submit an e-mail of intent by =
APRIL 30, next week. www.orau.gov/dhsed/

Best of luck!

Tom Apple, Dean of Graduate Education

Lisa Trahan
Dean, Office of the First-Year Experience
Rensselaer Polytechnic Institute
4035 Troy Building
Troy, NY 12180
trahanl {AT} rpi.edu
www.rpi.edu/fye
phone 518.276.8022
fax 518.276.4839


------------------------------

Date: Sat, 26 Apr 2003 17:30:57 +0200
From: Floor van Spaendonck <floor {AT} waag.org>
Subject: live-stream from Amsterdam

\An' a * tom" ic\
"Related to the structure of an organism"

23+1

23 hours media purification from the propoganda war + 1 hour of silence for 
the shame about it.

Media and their overuse for propaganda porpoises lead us to disconnection 
with meanings and feelings. Overload is like darkness and distance is like 
bulletproof insulated proximity.

 >From Amsterdam, starting at 11.00 Amsterdam time, we will participate in 
a 23 hour cleansing process for the transformation of media. Each of us 
will represent his/her own "stand", using their own media, performance, 
software systems. Media will be gathered from all available sources. 
Multiple channels of input  will be open during the event to collaboration, 
discussion, exchange of material and open transformation of it.  Our 
transformation will be guided by collective attempt to understand what is 
happening now, and how to transform that into a personal and new message.

During this 23 hours, we will extend our transformation process to other 
artists connecting from New York and Paris.

When darkness falls, our works will be seeded around the city, distributed 
as propaganda in public space.  After the cycle is completed, we will end 
with one hour of silence.

We will broadcast our output for 23 hours. Broadcast channels and a 
schedule will be made available through the Anatomic site.

<http://anatomic.waag.org>http://anatomic.waag.org

**

Anatomic, the open studio for connected performances is setting up weekly 
meetings and joining forces to support similar initiatives most likely in 
the most unlikely places around the world with the dedication to create new 
environments in which collaborative and experimental art can blossom.




waag society / for old and new media | nieuwmarkt 4 | NL-1012 CR Amsterdam
e: floor {AT} waag.org |  t: +31 20 557 9898 | f: +31 20 557 9880 | 
http://www.waag.org


------------------------------

Date: Sun, 27 Apr 2003 21:56:52 +0100
From: Johann-Manethon Piching <johann-manethon {AT} tutytam.org>
Subject: DIGIT WORLD CONTEST HERALD 

>-)°> DIGIT WORLD CONTEST HERALD # 1
(http://www.esclarmonde.org)

Si vous recevez ce message de façon non sollicité, veuillez nous en escuser... 
If you receveive this statement without solicitation, please take our apoligies....
Si usted recibe este mensaje sin haberlo solicitado, le presentamos nuestras excusas...


>-)°>English version - Version française - Versión en español <°(-<

    -------------------------------
- ----- ENGLISH VERSION -----------------------------------------------------------
    -------------------------------
DIGIT WORLD CONTEST for Internet sites, in the sector of conservation, promotion and defence of cultural and/or artistic heritage.
- --------------------------------------------------------------------------------------------

On behalf of the all organisation team : Greetings !

You have recently received an information letter from the Digit World Contest organisation and unless we have been committing a mistake we have not receive any answer. If you should not participate in this first edition of that great contest for heritage and art in multimedia, you may want to forward the information to web sites owner or multimedia edition companies or organisation. 

The Digit World contest has been conceived to provide answers to the expectations of public institutions as well as professionals of the numerical industry. Through new promotional e-platforms and awards, they are seeking new ways, new forms of visibility, in order to show their expertise and underline the quality of their work. Obtaining an award remains the more efficient of all tools of valorisation and success. It allows in particular the awarded contestant to raise its credibility among its own network by propping up its reputation and even gaining prestige. For a national or regional institution it is a real communication instrument that displays the specificities of the institution in the best possible way. An international award is a factor of multiplication of notoriety on a national or regional point of view.

The weavers of the Internet Fiesta, which is a world wide, non profitable, honourable event which occurs every year since 1998, will grant award and citations which will be a very good subject for the granted contestants to be published in the local or regional media. This in itself will constitute a remarkable growth of the impact of the communication of the awarded contestant. The consequences will be, of course, depending on the contestant position in the various prize list but also of the quality of his own promotion previous to his participation in the contest.

Today almost 200 validated contestants from over 42 countries have subscribed and we are starting to encourage every one of them to activate their local network; the competition will be intense!

If you are not concern at all, professionally, by art or heritage, please let us know. Anyway you might enjoy a visit on our web site and be interested to check out who the contestants are.

 

Cordially,

Johann Manéthon Piching
new email : johann-manethon {AT} tutytam.org

PS : If expo4art does not work, please use the following link http://www.esclarmonde.org

 
    ------------------------------------
- ----- VERSION FRANÇAISE ---------------------------------------------------------------------------
    ------------------------------------
DIGIT WORLD CONTEST - CONCOURS MONDIAL des sites Internet dont la vocation est la promotion, la défense, la protection ou la conservation du patrimoine culturel et/ou artistique.
- ----------------------------------------------------------------------------------------------------------------

Nous vous saluons au nom de toute l'équipe du Digit World Contest

Vous avez récemment reçut une lettre d'information émanant du Digit World Contest et, sauf erreur nous n'avons reçut aucune réponse. Si vous deviez avoir choisit de ne pas participer à ce concours, nous vous serions reconnaissants de bien vouloir nous le signaler et de bien vouloir en outre faire circuler l'information auprès des sites et des éditeurs multimédias de votre connaissance.

Ce concours répond aux attentes des institutions spécialisées ou non tout comme à celles des professionnels de l'industrie numérique. Au travers de nouvelles plates-formes promotionnelles et de récompenses remises lors de manifestations récurrentes, ils sont à la recherche de nouvelles voies de visibilité pour faire valoir leur expertise et souligner la qualité de leur travail. 

L'obtention d'une récompense, est le plus efficace des outils de valorisation du succès. Cela permet notamment au lauréat d'augmenter sa crédibilité auprès de son réseau, en étayant sa réputation, voir en acquérant un certain prestige. Pour une institution nationale ou régionale il s'agit d'un véritable instrument de communication mettant en relief ses spécificités de la meilleure façon possible.

Une récompense internationale est un facteur certain de démultiplication de la notoriété au plan national ou régional. Les Tisserands de l'Internet Fiesta, manifestation d'audience mondiale, non commerciale, respectable et récurrente, accorderont récompenses ou mentions, qui seront autant d'alibi faisant l'objet de publications de communiqués de presse dans les médias augmentant remarquablement l'impact de la communication du lauréat. 

Les retombées dépendront bien sur du positionnement du candidat dans les différents palmarès mais aussi de la qualité de la promotion mise en place préalablement à la candidature et/ou à l'obtention du prix.

A aujourd'hui près de 200 concurrents sélectionnés provenant de plus de 42 pays se sont dûment inscrit et nous les encourageons tous vivement à activer leurs réseaux locaux, la compétition sera rude !

Si vous deviez ne pas être concerné par ce concours ou que vous ne soyez pas vous-même connecté d'une quelconque façon avec les secteurs de l'art ou du patrimoine nous vous serions reconnaissants de nous le faire savoir. Dans tous les cas, nous vous invitons à vous rendre sur le site official du Digit World Contest où vous pourriez faire peut-être d'intéressantes découvertes ou venir voir qui sont les candidats inscrits.

Cordialement

Johann Manéthon Piching
nouveau courriel : johann-manethon {AT} tutytam.org


PS : Suite à un problème technique, si vous ne pouvez accéder au Digit World Contest à travers expo4art.com utilisez plutôt le lien suivant http://www.esclarmonde.org


    -----------------------------------
- ----- VERSION ESPAGNOL ---------------------------------------------------------------------------
    -----------------------------------
Queremos saludarlo en nombre de todo el equipo de Digit World Contest

No hace mucho tiempo usted recibió un e-mail proveniente del Digit World Contest y a excepción de un  error no hemos recibido respuesta de su parte. Si usted ha preferido no participar en este concurso, nos gustaría saberlo, como también nos gustaría que hiciese circular esta información a posibles interesados que usted conozca.

Este concurso surge como una respuesta a las expectativas de las instituciones y profesionales especializados o no en la industria digital. Que a través de nuevas plataformas promocionales y recompensas otorgadas en manifestaciones recurrentes, están a la búsqueda de nuevas vías de visibilidad para dar a conocer sus conocimientos y destacar la calidad de su trabajo.

La obtención de una recompensa es la más eficaz de las herramientas de valorización del éxito. En particular, permite al laureado incrementar su credibilidad dentro de su red, reafirmar su reputación, así como consolidar su prestigio. Para una institución nacional o regional se trata de un verdadero instrumento de comunicación que pone en relieve sus cualidades de una manera concreta. Una recompensa internacional es un factor irrefutable para la multiplicación de la notoriedad a nivel nacional y regional. 

Los tejedores de Internet Fiesta, manifestación de audiencia mundial, no comercial, respetable y recurrente, otorgarán las recompensas y menciones. Este concurso les procura a los concursantes un tema de comunicación en torno a su participación en el evento. Para los concursantes, es la ocasión de relanzar la comunicación dentro de su propia comunidad y hacia la prensa local, regional. 

Para cada ganador, la repercusión en los medios de comunicación dependerán, por supuesto, del puesto obtenido dentro de la competición, como también del tipo de promoción realizada antes de la competición y después de la obtención del premio.

¡Hoy, cerca de 200 inscritos procedente de 42 países, han sido seleccionados y se encuentran en competición. A todos ellos los animamos vivamente a activar sus redes locales. La competición será dura!

Si la información de este concurso no le concierne, o si usted no está vinculado de ninguna manera con los sectores del arte o el patrimonio, le agradeceríamos que nos lo indicara. Sin embargo, lo invitamos a visitar el sitio oficial del Digit World Contest donde podrá hacer interesantes descubrimientos y conocer los sitios inscritos.

Cordialmente,

Johann Manéthon Piching
nuevo correo electronico johann-manethon {AT} tutytam.org

PD : Si por problemas técnicos no puede acceder al Digit World Contest a travers de  expo4art.com utilice la siguiente dirección: http://www.esclarmonde.org

- ------------------------------------------------------------------------------------------------------------
Si vous recevez ce message de façon non sollicité, veuillez nous en escuser... 
If you receveive this statement without solicitation, please take our apoligies....
Si usted recibe este mensaje sin haberlo solicitado, le presentamos nuestras excusas...
Unsubscription - Desinscription - Anular suscripción : remove-contest {AT} tutytam.org
- ------------------------------------------------------------------------------------------------------------


------------------------------

Date: Mon, 28 Apr 2003 01:15:31 +0200
From: Drazen Pantic <drazen {AT} xs4all.nl>
Subject: Television (an address) 04/28/03

Television (an address) 
http://open4all.info/add-news/


Monday 28th April at 9:00 pm EST (New York)

Keith Sanborn addresses the news.



A guest is invited to sit in front of a television holding a
live microphone in one hand and a remote control to shift
through the News Channels in the other.  What appears on the
TV monitor is streamed alongside the voice of the guest who
is addressing the news that he/she is watching live. An
archive will be created online (web address to be
determined) and a compilation will be eventually edited from
the most significant moments of each session.



About this week's guest

Keith Sanborn is a media artist and theorist based in New
York. His work has been included in the Whitney Biennial
twice, numerous one person shows and festivals such as OVNI
(Barcelona), The Rotterdam International Film Festival, Hong
Kong Videotage, and Ostranenie (Dessau). His theoretical
work has appeared in exhibition catalogues published by
MOMA, (New York), Exit Art (New York), and the San Francisco
Cinematheque among others. He has translated the work of Guy
Debord, Ren Vi net, Gil Wolman, and Georges Bataille.  Some
of his articles and interviews can be found at
bbs.thing.net.



The link to the live stream and instructions for setting
QuickTime player are available on

http://open4all.info/add-news/04_28_03


------------------------------

Date: Tue, 22 Apr 2003 10:38:51 -0700 (PDT)
From: Ryan Griffis <grifray {AT} yahoo.com>
Subject: FWD: earth day + transgenic fish

below forwarded from NWRAGE:

April 22 Call in Day and Action Items for Earth Day

Take Action! Congress to Fast Track GE Fish Approval

Through an obscure bill entitled the Minor Use, Minor
Species Act (Senate Bill # 741), members of Congress
are
attempting to make it  easier for the Food and Drug
Administration
to approve the sale of  genetically engineered fish! 
SB 741 will ease
the regulations the  FDA uses to approve GE fish and
other organisms
by shortening the review process.  Just as we stopped
agribusiness from
weakening  organic food standards, it is important to
Take Action
to stop GE fish from being commercialized.

Send a letter to your Senators and Representative
today opposing the fast-track approval of GE fish.

You can find your Representative here -
http://www.house.gov/house/MemberWWW_by_State.html

Members of the Senate Health Committee are listed at
http://www.senate.gov/%7Elabor/committee_members.html

Go to:
http://www.greenpeaceusa.org/bin/actionframe.pl?action_id=182

For more information about GE fish, please see
http://www.greenpeaceusa.org/ge/fish.htm

For information about GE fish varieties being
developed, please see
http://www.greenpeaceusa.org/ge/fish_varieties.htm

~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The bill, the ''Minor Use and Minor Species Animal
Health Act of 2003'' or "MUMS" (S. 741,  is intended
to make
it easier for drug companies to market drugs for minor
species (animals
other than cattle, horses, swine, chickens, turkeys,
dogs, and cats) and
minor uses of drugs ("the intended use of a drug in a
major species for an
indication that occurs infrequently or in limited
geographical areas.")
The bill creates 1) an expedited conditional approval
system for drugs for
minor species or major uses and 2) an "index" of drugs
that can be used
without FDA approval in minor species (with certain
restrictions to do with
food safety).

As you may be aware, FDA is regulating transgenic fish
and potentially
other transgenic animals as animal drugs. Thus the
MUMS bill establishes
processes that could be used for expedited review or
no review at all of
transgenic fish and other animals!! 

__________________________________________________
Do you Yahoo!?
The New Yahoo! Search - Faster. Easier. Bingo
http://search.yahoo.com


------------------------------

Date: Fri, 25 Apr 2003 09:54:23 +0200
From: "ViolenceOnlineFestival" <agricola-w {AT} netcologne.de>
Subject: Violence 6.1

PRESS RELEASE
Violence Online Festival v.6.1
www.newmediafest.org/violence/

***********************************
Helter-skelter....!...!
++++++++++++++
Version 6.1 of Violence Online Festival
www.newmediafest.org/violence/
is launched on 25 April 2003
on occasion of the participation in
"Net Art Open 2003
Irish Museum of Modern Art (IMMA) Dublin
http://www.irishmuseumofmodernart.com/netart_open2003.htm
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
***********************************

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.

More details on www.newmediafest.org/violence/
***********************************
Version 6.1 of Violence Online Festival
includes some major changes and
works of following new artists:

*Mark G. Cooley, Sorana Tarus,
Jo-Anne Green and Helen Thorington (USA),
Maria Tjader Knight (Finland/Belgium)

*Violence Play Station
offers funny war games to all
who are not yet saturated to play war.

*>New!!<
Hurray Violence!! page -
featuring periodically projects included in Violence Online Festival

*Hurray Violence!! 002
is featuring Mark G. Cooley's work
warProductwar entry #1: the Good, Bad and the Profitable: or 54321
just go to: www.newmediafest.org/violence/startviolencey.htm

""warProductwar: Is an ongoing internet based meditation on U.S. war
culture. Entry #1, the Good, Bad and the Profitable, is a noninteractive
timebased montage that explores media representations, classic american
mythology, and the material remains of "free" enterprise war culture."

Mark Cooley is a new genre artist and co-founder of artOfficial Construction
Media (acm).  He is currently assistant professor of digital imaging at
Southwest Missouri State University

**************************************

The list of all 270 participating artists from 40 countries
and all past and present presentations
can be found on www.newmediafest.org/violence/

********************************************

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, Cortona

***************************************
copyright:
Violence Online Festival
www.newmediafest.org
text, conception, programming, visalization
curator, organizer = Agricola de Cologne -
*copyright © 2002-2003 . 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.

****************************************
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 {AT} newmediafest.org
Violence Online Festival
violence {AT} newmediafest.org

***********






------------------------------

Date: Mon, 14 Apr 2003 20:42:51 -0700
From: eleusa {AT} riseup.net
Subject: outline of an experiment

eleusa (projects 1a-d) 

production initiative: 
Eleusa intends to experiment with works and working groups. Work and 
working group are thought of as being coupled in a process of mutual 
production while prioritizing neither over the other. The working group 
may be divided by language, nationality, taste, but is linked (not 
necessarily “united”) by shared labor or cooperation in a particular 
project. Groups are always contingent: on the project at hand, as the 
project is upon the specific group. Eleusa, since it has no membership, is 
not an organization or collective. It is rather a principle of 
organization, a mechanism for the production of micro- (working group) and 
macro- (distribution of final project) associations. Eleusa is not, 
however, any of these associations; it is the escaping line which runs 
between or tangential to them- and refers each to the other in a critical 
process. 


(one)a 
category:  participatory documentation 
title:  new york city social forum 


open letter 
A 15-minute snapshot video about he NYC Social Forum process. I call it a 
process because, after one year and three events, the “NYC Social Forum” 
doesn’t actually exist. Or, rather, it is always present and in formation 
whenever new Yorkers come together across social divides and engage with 
each other respectfully and on equal footing to seek solutions to the 
myriad of oppressions they face. So that wordy little bit is my best 
attempt at capturing the orientation of the forum. Jonathan and I went to 
working group meetings, and conducted interviews with folks who are 
committed to the process. We brought a camera with us and threw together 
this little documentary not as observers but as inspired participants. 
                                                                            
    --RJ 

(one)b 
category:  documented participation 
title: A Kind of Silence 

A Kind of Silence (formerlly entitled Caminho para as Indias) is an 
experimental documentary currently in post-production. The shoot, now 
completed, in Porto Alegre, Brazil from January 23-28, 2003, the period of 
the third World Social Forum. 

The A Kind of Silence working group was assembled by way of e-mail between 
persons from The United States, Brazil and India. They all met for the 
first time in Porto Alegre on the 22 of January to begin the shoot. 
Production, however, began in November, with a call for participation and 
the first draft of the proposed project. 

Three cameras were used in the production. Their use was dominated by our 
protagonists Tseretó Tsahõbõ and Taran Khan, but the other members of the 
working group aided in image capture when necissary. Tseretó Tsahõbõ and 
Taran Khan were asked to describe their intrests and curiosities in the 
events occuring in Porto Alegre, there preferences among the workshops and 
panels, individuals or groups present. The other members of the working 
group devoted themselves to the development of these intrests and 
curiosities, acting in production or faciliatory rolls. This effort 
achieved an arch of the combined experience of the working group rather 
than a journalistic account of the World Social Forum itself. 

The working group in Porto Alegre consited of: 

Tseretó Tsahõbõ- Camera, Interviews 
Taran Khan- Camera, Interviews 
R.J. Maccani- Camera, Interviews, Production 
Nadia Soupy- Camera, Interviews, Production 
Mirian Blanco- Camera, Interviews, Production 
Kevin Brown- Camera, Interviews, Production 
Eduardo Moraes- Still Photography 


about the protagonists: 
Tseretó Tsahõbõ is a Xavante video-maker living in Idzô´uhu village, Terra 
Indegena, Mato Grosso, Brazil. His work includes videography for various 
projects with the Associação Xavante Warã, a NGO devoted to causes that 
directly affect the lives of the Xavante people. His work includes in 
depth contribution to the Salve o Cerrado (Save the Savanna) campaign, an 
interdisciplinary research project involving anthropologists, biologists, 
geographers, photographers and videographers, among others, devoted to the 
positive development and protection of the Xavante homeland. 

Taran Khan is an Indian woman, trained as a journalist and filmmaker in 
Delhi and currently in London for a second Masters degree in Development 
Studies at the School of Oriental and African Studies (SOAS). As a 
student, journalist and activist, she has been part of a number of 
movements in India. She has written on issues concerning the environment 
and development for a number of publications and has also worked with NGOs 
on various campaigns regarding issues such as toxic waste trade and GM 
food. She has been part of the Save the Narmada movement--visiting the 
valley and helping the Movement in its Delhi based activities. She is also 
deeply involved with the struggle against communalism in India and worked 
with Oxfam in Ahmedabad (Gujarat) after the genocide there earlier this 
year. 



(one)c 
category: non-pological immersion 
title:  broken arrow 

Eleusa (one)c follows some of the threads began in (one)b while rethinking 
a number of the assumptions made by the working group as documentarians 
and social scientists in an attempt to build upon and critique our ongoing 
work. This work consists in a selection of the working group of (one)b 
(R.J. Maccani, Mirian Blanco, Nadja Soupy, Kevin Brown) attending a 
celebration in Terra Indigena Sangradouro, Mato Grosso, the home of 
Tseretó Tshahõbõ, from the 21st to the 25th of February 2003, in order to 
explore some of the following themes: 

another open letter 
Video can function positively as a mechanism for the (re)distribution of 
experience. It conveys images away from the vortex of the subject where 
they pool and stagnate. But this utility is also a danger. Since the 
subject operates with a camera between him/her and the facts of his/her 
experiences, the camera can take on an almost biological (a biosocial, 
perhaps) necessity in his/her relationships. The photographer, it could be 
said, no longer has eyes, much less hands and feet, but an eye... he/she 
has a lens. Even when the camera is not present, especially when the 
camera is not present. The world is closed in a frame and hung for 
exhibition. It is no longer the world in fact but a world of artifacts, 
little remembrances or fetishes, and the space for exhibition of these 
fetishes, an album and a vender’s booth, a museum and a market. The camera 
has two poles (like objective science), with a photographer-subject on one 
end and a photographed object on the other, with the photograph itself 
issuing from some place in the middle and destined to be exhibited as 
emissary or representative of them both. 

Science is a photographic (or cinematic) discipline in that it assembles 
relationships along the same observational line as the camera. Science is, 
in fact, the very photographer’s eye. The social scientist runs a specific 
risk in regards to the photographer’s frame or fetish: of referring 
artifacts to given structures, of building structures that (re)situate a 
given set of artifacts.  In that the social scientists is dealing with 
people, or “a people,” this process is especially problematic, especially 
when it is a people who have been historically subjected to a foreign 
research (and/or exploitation) project, that is, anthropology (a process 
of subjectification imposing a polar subject/object dynamic upon what 
would otherwise be human relationships, necessarily dehumanizing both 
anthropologist and anthropologized), and who’s experience, and the 
experience of whom, has been mediated or structured in large part by way 
of this subjectification process, that is, colonization. 

In response to these anthropological and video-logical problems, Eleusa 
proposes a non-pological immersion, the goal of which is to build human 
relations through culture exchange, explore non-captured video and 
photography, to situate our selves (to frame our shots) not according to 
the marketability or exhibitionability of our experience but according to 
curiosity and possibility, and finally to relearn to love to forget. We 
are not so bold as to demand an end to the photograph or even an end to 
our affinity for it. We will take photographs again. We only say that we 
will claim our moments... that we have an affinity for many things. We lay 
down our cameras and our long years of training in schools and in 
factories to observe and be observed for these five days in the savanna. 
We do so in the name of resistance and critique. We do so in the name of 
the rö. We do not imagine ourselves to be innovative. We are taking the 
same steps the rest of the world is taking, we hope...: from a colonial 
and colonizing anthropology to, or rather in, a post-colonial and 
non-pological morphism. 
                                                                --K.B 


(one)d 
catagory:  novella 
title:  triste tropique?, invisable cities?, cinema/contra/cinema?, tropic 
of capricorn?, little creatures? 

A work of fiction about the first cycle of eleusian projects written as 
the cycle’s conclusion and point of aperture. This work is to be loosely 
based in the travel-log or chronicle form and set in brazil during the 
production of this cycle. 


------------------------------

Date: Sun, 20 Apr 2003 22:55:51 -0700
From: SANART <list {AT} sanart.info>
Subject: Istanbul Museum, Web Biennial 2003  CALL FOR SUBMISSIONS


On Going Call for proposal for Web Art till the end of
2003. The galleries will be organised on first come
first serve bases. 

Web Biennial 2003 will be realised and exhibited
exclusivly on the WWW.
No limitation on media, size or the number of the
artists paricipating but projects should be send to us
as URL's.

1) We require every proposal to have a single URL and
a custom title as below:

<head> 
<title>Web Biennial 2003- Name of the Artist- Name of
the Project</title>
<META content="Web Biennial 2003-  Name of the
Project" name="Author: Name of the Artist">
<!-- Web Biennial 2003- Name of the Artist- Name of
the Project -->
</head>

If you do not want to modify your index page, send us
the URL of a redirection or a jump page. Consult a web

master if necessary.

2) Only one project from each artist, please!.

4) No Portfolio or commercial sites, please!

5) We will make an online gallery each time we receive
41 different submissions.

6) Our portal will be ready by June.

Send proposals to: webbiennial {AT} yahoo.com attention
Feyza Kucukaltintas.

We are also accepting proposals from institutions to
participate our event.

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

SANART  

http://www.sanart.info


------------------------------

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