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Table of Contents:

   Cybersonica CREAM Symposium                                                     
     richard barbrook <richard {AT} hrc.wmin.ac.uk>                                       

   *[Self]-representation* - Call for submissions                                  
     "Le Musee di-visioniste" <agricola-w {AT} netcologne.de>                             

   The Incredible Disappearing Woman Premiere                                      
     TONGOLELE {AT} aol.com                                                               

   Workshop 'Inter-Facing Performance'                                             
     "Marieke Istha" <istha {AT} montevideo.nl>                                           

   multiplicity - border counter                                                   
     chiara somajni <chiara.somajni {AT} tin.it>                                          

   june on -empyre-  lab3d:the dimensional internet                                
     "Melinda Rackham" <melinda {AT} subtle.net>                                          

   Programm HyperKult 12                                                           
     Martin Warnke <warnke {AT} uni-lueneburg.de>                                         

   W I L L :: A Negotiations Event :: A Transnational Exhibition                   
     "roberta buiani" <robb {AT} yorku.ca>                                                

   Forthcoming from [i-DAT]: ARTIST AS ENGINEER symposium                          
     joasia <joasia {AT} caiia-star.net>                                                  



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

Date: Sun, 25 May 2003 14:44:51 +0100
From: richard barbrook <richard {AT} hrc.wmin.ac.uk>
Subject: Cybersonica CREAM Symposium 

please forward to interested parties>>
apologies for duplicate mailings>>

++++++++++

CYBERSONICA '03
electronic music : sonic arts : audiovisual fusion
Thurs June 19th - Saturday June 21st  2003
<www.cybersonica.org>

Cybersonica, a three-day festival that explores and celebrates sonic
innovation, features symposium, live performance, alternative club nights,
exhibitions, screenings, talks and workshops at the ICA and other venues
across London. The festival brings together a whole community of musicians,
DJs, VJs, academics and artists; providing a platform for new home-grown
talent and encouraging collaboration between labels, projects and agencies
around the world. Webcast via Cybersonica Web TV the schedule includes live
coverage of the performances, talks and presentations plus documentaries,
exclusive interviews with artists and live DJ/VJ sets. For more details
visit the Cybersonica website <www.cybersonica.org>.

++++++++++

Tickets on sale from the ICA ticket office on: 0207 930 3647 or
<tickets {AT} ica.org.uk>.

Contact: Lewis Sykes <lewis {AT} cybersalon.org> for more details on delegate
tickets and status.

Cybersonica Delegates ticket - £100
includes admission to all ICA events, a full delegate's pack, lunch and
refreshments
Cybersonica festival ticket - £50 full-rate / £45 concs* / £40 ICA
admission to all events at the ICA

++++++++++

Join the Cybersonica mailing list at <www.cybersonica.org/subscribe>.

++++++++++

Cybersonica CREAM Symposium
Presented in conjunction with the Centre for Research in Education, Arts and
Media, University of Westminster.

The Cybersonica symposium is a gathering of some of the leading innovative
musicians, sound artists, broadcasters, software and hardware developers
working within the realms of contemporary sound art. There will be
presentations and demonstrations of software and instruments as well as the
latest research.

The first day introduced by John Eacott of the University of Westminster
focuses on emerging soundspaces, instruments and environments. The day
includes keynote presentations from David Toop and Max Eastley, pioneers in
the practice and theory of soundscape environments, who have recently
renewed their collaboration.

Day two mixes a combination of invited and submitted papers showcasing
leading developments in algorithmic composition and novel instrumentation
for production and generation of music. The keynote session focuses on work
>from the Academy of Media Arts, Cologne led by Anthony Moore, who has been
breaking new ground in sonic arts for three decades.

At the end of the day Dr. Richard Barbrook from University of Westminster's
Hypermedia Research Centre chairs a discussion on copyright and the commerce
of new sound media.

The final day of the symposium is a more playful, informal and free-form
series of presentations where a number of artists will present their work
and explain the ideas that underpin it. The symposium is rounded off in fine
style by a special guest appearance from Paul D Miller aka DJ Spooky (that
Subliminal Kid).

++++++++++

SYMPOSIUM PROGRAMME (some elements tbc)

THURSDAY

10:00    Introduction to Emerging Soundspaces, Instruments and Environments

10:15    Smart Environments: the use of Algorithmic and Generative Sound
         John Eacott, University of Westminster

10:45    Sonic City
         Ramia Mazé & Lalya Gaye
         PLAY (Interactive Institute) and FAL (Viktoria Institute), Sweden

11:15    Atmospherics/Weather Works
         Andrea Polli, Glenn Van Knowe, Ken Waight, Matthew Ostrowski
         Hunter College, MESO, Engine 27, USA

11:45    Unfoldings
         Birgitta Cappelen, Fredrik Olofsson, Anders-Petter Andersson
         School of Arts and Communications, Malmo University, Sweden

12:15    Lunch

1:00     Keynote session: Kinetic Sound Art, Emerging Sound Spaces and
         Environments
         Max Eastley & David Toop

         Born near London in 1949, David Toop is a musician, writer and
         sound curator. He has published three books, currently translated
         into six languages: Rap Attack (now in its third edition), Ocean of
         Sound, and Exotica (selected as a winner of the 21st annual
         American Books Awards for 2000). His first album, New and
         Rediscovered Musical Instruments, was released on Brian Eno's
         Obscure label in 1975; since 1995 he has released six solo albums
         and curated five acclaimed CD compilations for Virgin Records.

         David Toop is  a Visiting Research Fellow at the Sound Department
         of the London Institute, and has recently completed a new book -
         Haunted Weather: Resonant Spaces, Silence and Memory - published by
         Serpent's Tail in April, 2004. His latest album is Black Chamber,
         released by Sub Rosa in February 2003.

        <www.davidtoop.com>

2:15     Panel Session: Soundspaces, Instruments and Environments
         John Eacott (chair) + other speakers

FRIDAY

10:00    Sound Hacking - channelling electricity into sound
         Presentations and panel session, featuring
         Alex McLean (Slub)
         Tom Betts (Nullpointer)
         Leafcutter John + one (t.b.c.)

11:45    Coffee

12:00    Stochastic Interfaces & Performance
         Axel Roch
         Goldsmiths College, University of London

12:30    Michel Waisvisz (t.b.c.)
         STEIM, Netherlands

         Michel Waisvisz is known for his highly physical, sensitive and
         ecstatic electronic music shows using The Hands (a gestural sensor
         instrument) he developed at the STEIM foundation in Amsterdam.
         Waisvisz has since the late sixties developed whole new ways to
         achieve a physical touch with electronic music instruments;
         sometimes literally touching the electricity inside the instruments
         and thereby becoming a thinking component of the machine. He was
         one of the first to use synthesizers on stage and the first to
         develop and perform with what is now called gestural MIDI
         controllers. He also is the inventor of the CrackleBox and The Web.

1:15     Lunch

2:00     Keynote session: Membranes in Space and the Transmitting Ear
         Anthony Moore
         Academy of Media Arts, Cologne, Germany

         Professor Anthony Moore is a sound artist, audio philosopher and
         Director of the Academy of Media Arts, Cologne. He will discuss how
         the ear was superceded by the eye as the instrument of choice for
         the verification of the so-called objective world.

2.45     A Material Approach to Sonic Thinking in Science and Media
         Sven Mann & Thom Kubli
         Academy of Media Arts, Cologne, Germany

3:15     Coffee

3:30     Panel Session: Paying the Piper

         A discussion concerning how the creators of new sounds can receive
         recognition and recompense for their efforts without resorting to
         the imposition of unworkable legal and technical restraints on the
         copying and manipulation of music files.

         Featuring: Richard Barbrook, HRC, University of Westminster,
         Christopher May, University of West of England, Fran Nevrkla, Chair
         & CEO, PPL UK

SATURDAY

11:00    A series of less formal presentations drawing loosely from the
         themes of the previous two days, and showing how different
         practitioners and artists have applied them.

         Featuring:
         Alan Peacock - toyCrit
         DJ Tendraw and the Gypsies Dog
         Jim Wood - harmonaTon series
         Nick Collins (t.b.c.)
         Martin Robinson - Neural networks for audio-visual control systems

1:00     Lunch

1:45     Paul D Miller aka DJ Spooky (that Subliminal Kid) - Sound Unbound

        Sound Unbound will be a 'live' multi-media presentation of the
        history of digital art and media from the viewpoint of an artist who
        uses 'found objects' like a DJ - i.e. it's a subjective selection
        where old video material will be remixed and combined with new...
        history itself will be the material for the mix, and the lecture
        presentation will focus on how DJ culture has evolved out of the
        same technologies that are used for digital media and art.




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

Date: Mon, 26 May 2003 10:14:19 +0200
From: "Le Musee di-visioniste" <agricola-w {AT} netcologne.de>
Subject: *[Self]-representation* - Call for submissions

*[Self]-representation*
Call for submissions
Deadline: 30 June 2003

!!!!!!!!!!!!!!!!!!!!!!

Le Musee di-visioniste
www.le-musee-divisioniste.org

is looking for submissions of net based art projects going down to 
the theme
of artistic self-representation.

In 2002, le Musee di-visioniste realized a first version of "[self] -
representation" which can be visited on www.le-musee-divisioniste.org
(Edition 5 of Featured Artists series, including the 
exhibition "Mirror at
the Bottom - artists portraiting themselves").
The new version will be extended by a selection of new exciting 
projects.

What is wanted:
Projects, in which artists reflect themeselves in very individual 
ways of
presentation by using digital media.

What is not wanted:
A simple artists' portofolio
on a homepage or a single, separate images.

Please submit only one single project
in following accepted digital formats:

1. URL (no size limit)
or
2. media files (size limit: a single art work may not exceed 2Mb)
2.1) webpage: HTML
2.2) text: plain email, .txt, .doc, .rtf
2.3) image: .jpg,.gif,.png (max. dimensions 800x600 pixels)
2.4) video/animation/movie:
.mpeg, .mov (Quicktime), Flash .swf, Shockwave .dcr (max. 
dimensions
800x600 pixels)
2.5) sound: .mp3

Please include in your proposal (in English language):

1. firstname/name of artist, email, URL
2. title and URL of the project/work,
3. a short work description (not more than 300 words),
4. a brief bio (not more than 300 words)
5. a screen shot (max 800x600 pixels, .jpg)

Deadline: 30 June 2003

Please send your submission to
info {AT} le-musee-divisioniste.org
subject: self-representation

Le Musee di-visioniste
www.le-musee-divisioniste.org
info {AT} le-musee-divisioniste.org

corporate member of
NewMediaArtProjectNetwork


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

Date: Mon, 26 May 2003 10:17:59 -0400
From: TONGOLELE {AT} aol.com
Subject: The Incredible Disappearing Woman Premiere

Dear Colleagues,

In June, 2003, The Incredible Disappearing Woman will have its international premiere at the In-Transit Festival sponsored by Berlin’s House of World Cultures. The cast features Coco Fusco, Ricardo Dominguez and a wheelchair-bound robot. 

Below please find a description of the new production.  For more information about the In-Transit Festival presentation, please go to:

http://www.in-transit.de/content/en/program/woman.html

Best,
Coco Fusco



The Incredible Disappearing Woman 
A play by Coco Fusco
Performed by Coco Fusco and Ricardo Dominguez



The Incredible Disappearing Woman is about art, sex and death at the US- Mexico border. It is also about how and why we relate to political violence via technological mediation. To suggest ways in which we as cultural consumers evoke and respond to larger social forces, I have put radically divergent archetypes together in the confined space of a “live chat” room connected to the internet. The actual audience in the theater will watch a drama unfold that is produced in response to instructions from four off-stage characters who appear to be transmitting them via the internet to three characters on stage.

 What joins the characters in this work is their relationship with Death. On stage, Death is embodied as a woman, a modern incarnation of the venerated Mexican archetype of La Pelona (the bald one). She lies before us as a reminder of our limits, and as the other inside each one of us. As Octavio Paz wrote in The Labyrinth of Solitude, “ Death is a mirror which reflects the vain gesticulations of the living…Death defines life; a death depicts life in immutable forms; we do not change except to disappear.” 

The interactive chat studio is presented as a virtual museum of transgressive acts for sophisticated consumers of perversion. Customers who log on choose from a list of “galleries” showcasing a variety of live performances that breach social, political and sexual taboos, and relay commands to the performers to shape the acts according to their particular tastes. The two live characters on stage play out the fantasies of their virtual clients, and dress up and assume roles and scenes in accordance with commands. They are joined by a third character who is played by a decrepit robot who does not understand that she is not human.

The scenes on stage are devoted to fantasies about necrophilia that are loosely based on the true story of an American male artist who traveled to Mexico in the 70s to rent the body of a dead women, have sex with her and document it as art. I invoke this moment in the history of performance to explore what it means to have to play dead in order to live in all its political, techno-cultural and gendered implications. As the performers go through the requested sketches, they allude to real life situations of religious and political repression – however, as low-paid service workers catering to telematic consumers of violence, they dramatize these histories as endlessly rerun games in which actors are “meat puppets.” 

The Incredible Disappearing Woman is my attempt to reflect on the ethical and aesthetic question of how to make the actuality of political violence intelligible in an information-saturated culture dominated by simulation. In the recent rush to celebrate the expanded communication potential afforded by new technologies, we often assume that the increased circulation of information necessarily yields enhanced possibilities of substantive intercultural interaction. It is time to ask ourselves how much we want to know about what we ask to see.

The Incredible Disappearing Woman premieres at the In-Transit Festival at Berlin’s House of World Cultures in June, 2003. The play will be presented at London’s Institute for Contemporary Art in July, at the Portland Institute for Contemporary Art in September, and the International Festival of Performance in Serbia in October, 2003. 

Video design: Peter Norrman, Technical Director: Tim Pickerill, Stage Manager: Courtney Golden, Original Music: Trevor Mathison and Hallucinator, Robot created by Andy Wilhelm, La Muerta sculpture created by Cesar Martinez-Silva.



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

Date: Wed, 28 May 2003 10:44:35 +0200
From: "Marieke Istha" <istha {AT} montevideo.nl>
Subject: Workshop 'Inter-Facing Performance'

Workshop 'Inter-Facing Performance'
25 - 30 August 2003
Netherlands Media Art Institute in collaboration with Amsterdam- Maastricht Summer University

Contemporary art practice is constantly expanding the use of technology. The workshop examines the historical and technological developments in performance arts. The course will be a creative and practical collaboration between performing and media artists, and will be contextualised by critical discussions on contemporary practice; wireless networks and performance, real-time relationships between body and site, maps and architectures, physicality/usability/haptics - interface. The workshop will be lead by Kelli Dipple, an internationally known artist that specialises in performance and the use of new technologies. The workshop will be placed in a historical and critical perspective through a number of guest speakers. 

The goal of the workshop is to examine the possibilities for site specific performance, while making use of wireless and portable communication tools. The participants will be divided into three groups, collaborating on small projects throughout the week. Collectively the aim is to create effective relationships towards the building of a non linear experience within and around the Montevideo architecture. 

Australian artist and project manager Kelli Dipple, has worked for the past 7 years at the intersection of digital technology and performance practice. Having trained traditionally in theatre directing and choreography at the Queensland University of Technology in Brisbane Australia, Kelli has since developed a detailed knowledge of video conferencing, streaming media, web and digital video technologies. Specializing in international co-production, interdisciplinary research, collaborative practice, performance making and remote/multiple site events. Her practice draws upon a collaborative and interdisciplinary methodology and maintains an interest in the integration of visual, interactive, communication and network technologies into live events for live audiences.

www.gravelrash.net <http://www.gravelrash.net>
www.navigatinggravity.net <http://www.navigatinggravity.net>

Participant profile The workshop is designed for performing arts practitioners, video artists, media artists and (postgraduate)students who wish to expand and complement their own practice via hands-on experience in collaborative work.

Language English

Fee 450,- euro (including day and evening programme at Netherlands Media Art Institute, admission to cultural evening programme of AMSU and daily lunch & refreshments.)

Scholarships  There is a limited amount of scholarships available for artists based in East and Middle Europe. Artists based in Holland can individually apply for a scholarship with several Dutch funds. 

Admission
Due to the limited capacity, applicants will be selected according to relevant professional experience and motivation. Please note all materials should be written in English.

Applicants should return their completed application (to be found on www.amsu.edu) <http://www.amsu.edu> form including curriculum vitae and motivation letter by fax or post to: 

Amsterdam-Maastricht Summer University 
Postbus 53066 
1007 RB Amsterdam 
F 020 624 93 68 
E manon {AT} amsu.edu  <mailto:manon {AT} amsu.edu>


For updates check our website: <http://www.montevideo.nl> or <http://www.amsu.edu>


Netherlands Media Art Institute
Montevideo/Time Based Arts
Keizersgracht 264
1016 EV Amsterdam
The Netherlands
T +31 (0)20 6237101
F +31 (0)20 6244423
info {AT} montevideo.nl
www.montevideo.nl



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

Date: Sun, 25 May 2003 16:03:45 +0200
From: chiara somajni <chiara.somajni {AT} tin.it>
Subject: multiplicity - border counter


                           call for participation

     

     The dream of a world-space completely fluid and passable is maybe
     the last utopia of the 20^th century.  The smooth quality
     supposedly inherent to contemporary space though, at a closer look
     of the territory seems to fail.  One of the immediate results of
     global interconnections and movements, in fact, appears to be a
     proliferation of borders, security systems, checkpoints, physical
     and virtual frontiers.  This phenomenon can be observed both at the
     micro-level of our surroundings and on the macro-scale of global
     flows.  Borders are, in fact, all around us.  They are both
     conventional and geographical, abstract and real, ordinary and
     controversial.  An encompassing view of this combination of flows
     (of people, goods, ideas&) and restrictions on a given territory
     unfolds the complexity of both individual and collective identities
     that are, at the same time, constructed and diffracted by the
     experience of border-crossing.
     Multiplicity is promoting a research project to detect this
     proliferation of border devices, along with its consequences and
     relations to contemporary space and society.

     what
     [ve]01: border counter is an installation project curated by
     Multiplicity and Officina Plug-in that will gather different
     experiences of borders-crossing on a pre-given route: Berlin Venice
     Jerusalem.  It will be an on going visual atlas and archive on the
     idea of borders and on the processes that are needed to move
     through them. It will be a platform where different views, notions
     and experiences will meet and mingle. It will be a collaborative
     work made of the contributions of those who want to respond to this
     call.
     [ve]01: border counter will gather, in this way, diverse
     perspective coming from a number of individual positions and
     personal analysis. It will be, at the same time, a fluid critical
     space, in which the idea of border will be both visually and
     critically diffracted and examined.

     where
     50^th International Art Exhibition of La Biennale di Venezia.
     Utopia Station exhibition. June 12^th November 2^nd, 2003.

     whom
     this call is to all those architects, urban planners, artists,
     photographers, film-makers, designers, cultural practitioners who
     are interested in contributing to [ve]01: border counter.
     Multiplicity and Officina Plug-in invite them to share their travel
     notes, film material, visas etc. with other traveller-artists in
     order to build a collaborative project that gives a complex view on
     the experience of border-crossing.
     
     how
     all the participants are asked to travel through two given
     trajectories: either Berlin / Venice or Jerusalem / Venice. The
     paths, times, modalities of the travels are up to each
     participant.  Trips can be on foot, by bus, bike, plane, train,
     boat, mule& or any other possible solution or combination.
     The participants will have to deliver videos in mini-dv format and
     photos on cd-rom. Editing facilities will be available in the
     installation space. Travel papers, notes are welcome in combination
     with the digital material.

when

     [ve]01: border counter will open on June 12^th. An on-line
     confirmation is required to all the participants by may 31^st via
     e-mail at info {AT} borderdevices.org. During the first days, the
     installation will function as a meeting point for the
     traveller-artists and all the film material will be collected and
     edited with the support of our staff.  Afterwards, videos of the
     different trips will be screened all together throughout the whole
     period of the Biennale of Visual Art 2003
     [ve]01: deadlines
                             application   may 31^st
                             delivery        june 10^th 20^th
                             editing         june 12^th 30^th
                             exhibit         june 12^th november 2^nd
     
why

[ve]01: border counter is an invitation to put ourselves in between, in the
middle of conflicts and contradictions. To detect the local conflicts, using an
insider view.  It is a tool to remind the proliferation of barriers, fences,
enclaves, gathered circuits that our societies are building in order to
underline and fix the identities of the multiple minorities which are
structuring them.

[ve]01: border counter is a way to remind the weakness of our identity-remarks.
It is simply mirroring the imperfect Polyarchy which is structuring our
societies. Reflecting the arrogance and the dreams of its multiple minorities.
     
     
     Border-device(s) [1]www.borderdevices.org is an ongoing
     research/project by Multiplicity (Stefano Boeri, Maddalena Bregani,
     Maki Gherzi, Matteo Ghidoni, Sandi Hilal, John Palmesino,
     Alessandro Petti + Isabella Inti, Salvatore Porcaro, Francesca
     Recchia) and Domus Academy with Berlage Institute Rotterdam,
     Kunstwerke Berlin, Officina Plug-in Venezia, Progetto Italia.
     
     Multiplicity is a an agency for territorial investigation based in
     Milan. Multiplicity is concerned in contemporary urbanism,
     architecture, visual arts and general culture. Multiplicity detects
     the physical environment, researching for the clues and traces
     produced by new social behaviors. Multiplicity promotes and
     organises projects in various parts of the world. Multiplicity is
     an ever-changing network, recruited in the various geographical
     area of intervention. The research network is formed by architects,
     geographers, artists, urban planners, photographers, sociologists,
     economists, filmmakers, etc. Multiplicity projects and produces
     installations, intervention strategies, workshops and books about
     the recent and hidden processes of transformation of the urban
     condition. At present, the Multiplicity network counts on around
     eighty researchers, involved in three major projects: USE-Uncertain
     states of Europe (Bordeaux 2000, Brussels 2001, Tokyo 2001, Perth
     2002, Milan 2002); Solid Sea, a study of the Mediterranean
     presented at Documenta11 and Border-Device(s), a research about the
     proliferation of controversial bounderies in the contemporary world
     (Berlin Kunst-Werke, Venice Future Center, and Venice Biennale
     2003). Other recent projects include Tokyo Voids (Tokyo 2002), The
     Chinese Connection (Perth International Arts Festival 2002) and
     Space World a Void workshop (CCA Kitakyushu 2002).  Publications
     include: Mutations, (Actar, Barcelona 2001, with various authors);
     Mutations, (TNProbe, Tokyo 2000, also by various authors),
     Geographie und die Politik der Mobilität, (Generali Foundation,
     Vienna 2003, by various authors), USE Uncertain states of Europe
     (Skira, Milan 2003).
     [2]www.multiplicity.it
     [3]www.stefanoboeri.net

References
     
   1. http://www.borderdevices.org/
   2. http://www.multiplicity.it/
   3. http://www.stefanoboeri.net/

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

Date: Mon, 26 May 2003 17:41:31 +1000
From: "Melinda Rackham" <melinda {AT} subtle.net>
Subject: june on -empyre-  lab3d:the dimensional internet 

lab3d - the dimensional internet

What are the aesthetic, ethical and theoretical issues surrounding immersion
and representation in 3d space? How are technical and financial parameters
shaping the future of independent artists creating online 3d experiential
work?

Please  join us for the month of June  when -empyre- guests are drawn from
lab3d, curated  by Kathy Rae Huffman at Cornerhouse, Manchester.
Participating lab3d installation artists include John Klima (USA), Michael
Pinsky (UK), Melinda Rackham (Australia), Anthony Rowe of SquidSoup (UK),
and  Tamiko Thiel (Germany/Japan).  Artists from Web3dArt2003 include  Simon
Biggs (UK),  Steve Guynup (USA),  Adam Nash (Australia),  Ales Vaupotic &
Narvika Bovcon (Slovinia), Ayoub Sarouphim (Lebanon/USA),  Edward Tang and
Przemyslaw Moskal (USA), and Grégoire Zabé (France).

Curators from several partner institutions who will be simultaneously
showing the web3d section of lab3d including Lina Dzuverovic-Russell at ICA
London, Taylor Nuttall from Folly Gallery, Lancaster David Osbaldeston at
Cornerhouse, and Melentie Pandilovski of Experiemental Art Foundation,
Adelaide will also join the discussion.

Edited by Taylor Nuttall and Melinda Rackham, a freeware Reader version of
online forum and offline lab3d symposium will be available later in the year
for web download or from participating organizations.

For more information:  http://www.subtle.net/empyre/guests.html

To join -empyre- forum: http://www.subtle.net /empyre/

- ----------------------------------------------------------------------------
- -------
Simon Biggs              http://www.babel.uk.net/
Steve Guynup             http://www.pd.org/~thatguy
John Klima                 http://www.cityarts.com
Przemyslaw Moskal http://www.laksom.com
 &  Edward Tang             http://www.antiexperience.com/edtang
Adam Nash                http://yamanakanash.net/projects.html
Michael Pinsky http://www.michaelpinsky.com
Melinda Rackham         http://www.subtle.net/empyrean
Anhtony Rowe (Squidsoup) http://www.altzero.com/
Ayoub Sarouphim             http://www.mat.ucsb.edu/~ayoub
Tamiko Thiel            `            http://mission.base.com/tamiko
Ales Vaupotic & Narvika Bovcon  http://black.fri.uni-lj.si/videospace/
Grégoire Zabé             http://www.nobox-lab.com
Lab3d             http://www.cornerhouse.org/exhibitioninfo.asp?ID=54
Kathy Rae Huffman & David Osbaldeston, Cornerhouse Manchester
Taylor Nuttall, Folly Lancaster                   http//www.folly.co.uk
Melentie Pandilovski,  EAF Adelaide         http://www.eaf.asn.au
Lina Dzuverovic-Russell,  ICA London           http://www.ica.org.uk


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

Date: Mon, 26 May 2003 15:14:19 +0200
From: Martin Warnke <warnke {AT} uni-lueneburg.de>
Subject: Programm HyperKult 12

Workshop


Computer als Medium
»HyperKult 12«


analog digital
Kunst und Wissenschaft zwischen Messen und Zählen

Rechenzentrum der
Universität Lüneburg
Scharnhorststr. 1
Gebäude 7
21335 Lüneburg
24.-26.7.2003

Fachgruppe »Computer als Medium«
Fachbereich »Informatik und Gesellschaft« der
Gesellschaft für Informatik e.V.
und
»Labor Kunst und Wissenschaft«
an der Universität Lüneburg


Programm
Version 1.0

Obwohl Computer keineswegs nur Rechnen oder Zählen, wird ihr Einsatz 
noch immer mit dem Schlachtruf ?Digital" gekennzeichnet - im Gegensatz 
zum bloß "Analogen" früherer Medientechnik. Was damit gemeint ist, 
bleibt freilich unklar, es scheint sogar immer unklarer zu werden. Die 
Verwirrungen reichen von sensorischen Zuschreibungen wie dem ?warmen 
Klang des Röhrenverstärkers" gegenüber dem ?kalten Klang der CD" bis zu 
Grundlagenaussagen wie "Im Computer sind alles letztlich nur Nullen und 
Einsen." Wer damit arbeitet, kann diese schnellen Zuschreibungen 
freilich nicht wiederfinden. Da geht es mehr um präzise Kopierarbeit, 
einheitliche Speichermedien oder programmierte Bearbeitung.

Die Phänomenologie des Digitalen, ehemals von Zahlenreihen auf 
Grünmonitoren, gepixelten Graphiken, von Artefakten wie Aliasing, 
Moiré, Quantisierungsrauschen, den Bächlein des Schriftsatzes und dem 
Sonderzeichenmassaker von 7-Bit- ASCII geprägt, hat sich verändert. 
Ihre Oberflächen verraten nichts mehr von den ‘darunterliegenden' 
Codes. Im Gegenteil, die Erscheinungsformen der alten analogen und 
digitalen Medien werden gleich mitsimuliert. Das Bildwackeln und 
- -rauschen des Super-8-Films, Vinylknistern, SID-Chip und alter 8-bit 
Sampler, all' dies steht im Effekte-Menu bereit.

Geschwätz über Prozessortakte, Speichergrößen und Übertragungsraten 
verwandelt sich im Überfluß ihrer technischen und ökonomischen 
Verfügbarkeit in einen unaufgeregten täglichen Umgang mit Ressourcen.
Dabei gibt es das Digitale in der Hardware nicht. Die Schaltkreise 
unserer Computer und ihre AD-Wandler sorgen zwar für eine digitale 
Repräsentation der Signale, haben aber selbst noch Kennlinien, die 
steil, aber dennoch keine Treppenstufen sind. Geht es beim Digitalen 
also um Repräsentation, um in Kauf genommene und gewollte Fortlassung 
alles dessen, was zwischen den willkürlichen Levels von Rasterung und 
Quantisierung liegt, mit dem Ziel, danach die so zugerichteten Daten 
als Symbole manipulieren zu können.

Demgegenüber weiss eine Geschichte des Denkens und der Kunst jedoch von 
Praktiken, die von der Umwertung aller Werte, der Dekonstruktion aller 
sicher geglaubten Schemata, des Aufenthalts in verbotenen 
Zwischenbereichen leben, die das Paradoxe nutzen, dem 
neutestamentarischen und rationalistischen Ja-Ja/Nein-Nein misstrauen 
und es sich zwischen den Stühlen bequem machen.
Ist das Digitale noch zu retten? Müssen vielleicht, damit die 
Informationstechnik wieder auf die Höhe der Zeit kommt, erst 
Quanten-Computer kommen, die vielleicht besser analog zu interpretieren 
sind?

Do., 24. Juli 2003

09:00 Anmeldung
11:00 Wolfgang Coy: Analog/Digital - Schrift, Bilder & Zahlen als 
Basismedien
11:45 Jochen Koubek: Die Technik der Analog/Digital-Wandlung
12:30 Mittagspause
13:30 Jochen Bonz: Identifikationsmedien: Analoge und digitale Aspekte 
der Identifikationsformen in der Kultur der "Techno-Musik"
14:15 Rolf Großmann: Wandel oder Zerfall einer Leitdifferenz? Analoge 
und digitale Synthesizer
15:00 Kaffepause
15:30 Martin Warnke: Quantum Computing
16:30 Verleihung der Ehrenmitgliedschaft im Fachbereich "Informatik und 
Gesellschaft" der GI an Klaus Brunnstein.
  Laudatio: Heidi Schelhowe
17:30 Begrüßung durch die Universitätsleitung mit Empfang

Fr., 25. Juli

09:00 Thomas Hölscher: Nelson Goodmans Philosophie des Analogen und des 
Digitalen
09:45 Sabrina Geißler: Bits and Symbols - Versuch einer Bestimmung der 
technischen Qualitäten digitaler Medien
10:30 Kaffeepause
11:00 Ute Holl: Die Ringe des Herrn
11:45 Präsentationen
12:30 Mittagspause
13:30 Udo Thiedeke: digital delight: soziologische Betrachtungen zur 
Faszination des Digitalen
14:15 Jörg Pflüger: Vom Umschlag der Quantität in Qualität - 9,499... 
Thesen zum Verhältnis zwischen Analogem und Digitalem
15:00 Kaffepause
15:30 Richard Anjou: Ende der Repräsentation? Der Eintritt in die 
Videosphäre bei Michel Gondry
16:15 Podiumsdiskussion: Analog | Digital
17:00 Hartmut Sörgel: 5-min-Workshop-Verdichtung
20:00 Abendveranstaltung: Friedrich Gauwerky - Cello und Live Elektronik
ab 21:30 in Schröder's Garten an der Ilmenau: FirstCutSoundSystem - Sue 
und Moritz legen auf in lauer Sommernacht zu Tanz, Gespräch, Speisen & 
Getränken

Sa., 26. Juli

09:00 Ingeborg Reichle: ANALOG VERSUS DIGITAL - neue visuelle 
Strategien der Kunstgeschichte?
09:45 Annett Zinsmeister: Analogien im Digitalen: Architektur zwischen 
Messen und Zählen
10:30 Kaffeepause
11:00 Frieder Nake und Susi Grabowski: Ein Bild. Zwei Sichten - 
Betrachtung einer Zeichnung aus der Geschichte der Computerkunst
11:45 Mark Amerika: digital art
12:30 Hartmut Sörgel: 5-min-Workshop-Verdichtung
12:35 Sitzung der Fachgruppe "Computer als Medium"

Präsentationen

Nikolaus Heyduck: Komposition FÜNF MAL ZWÖLF
Thomas Lackner: Wissensmanagement in der Kunstgeschichte
Ralf Chille: capture-the-map-Turnier
Franz John: TURING TABLES - An Untitled Composition for Tectonic Spaces
Michaela Mélian: TRIANGEL
Kristin Abel: Hyper Ion
Vera Molnar: Zeichnungen
Thomas Hübner: Schema zum musikalischen Vergleich von Biographien am 
Beispiel Albert Einstein
Annett Zinsmeister: Architektur zwischen Messen und Zählen
Michael Harenberg und Frank Fiedler: Das pythagoräische Komma. 
Konzertante Installation für Monochord und Echtzeit-Procession
Anna Heine: "ha zaw"

Programm
Lena Bonsiepen (Humboldt-Universität zu Berlin)
Wolfgang Coy ((Humboldt-Universität zu Berlin)
Rolf Großmann (Universität Lüneburg)
Claus Pias (Ruhr-Universität Bochum)
Martin Schreiber (Universität Lüneburg)
Georg Christoph Tholen (Universität Basel)
Martin Warnke (Universität Lüneburg)
Organisation
Rolf Großmann
Martin Schreiber
Martin Warnke

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

Anreise, Informationen und Gebühren

Bei der Anreise können Sie sich von
http://www.uni-lueneburg.de/anfahrt helfen lassen,
letzte Neuigkeiten zum Workshop finden Sie unter
http://www.uni-lueneburg.de/hyperkult/.

Für die Pausengetränke und die gedruckten Materialien
und das Rahmenprogramm bitten wir um einen
Kostenbeitrag von 25 Euro, der bei der Anmeldung
zu entrichten ist.

Bitte melden Sie sich
unter
mailto:hyperkult {AT} uni-lueneburg.de
zur Teilnahme an. Bitte geben Sie Namen und Anschrift an.


Unterbringung in Lüneburg

Ihre Unterbringung in Lüneburg müssen Sie selbst organisieren.
http://www.lueneburg.de
kann Ihnen dabei helfen.

Fachgruppe »Computer als Medium«

Im Rahmen einer Mitgliederversammlung wird über
die weitere Arbeit der Fachgruppe diskutiert.


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

Date: Tue, 27 May 2003 14:48:07 -0400
From: "roberta buiani" <robb {AT} yorku.ca>
Subject: W I L L :: A Negotiations Event :: A Transnational Exhibition

Please post widely.
|__________________________________
|
|   W I L L
|
|   June 19 ­ July 19, 2003
|
|   Exhibition Reception: Thursday, June 19, 5:30-7:30 pm
|   Some of the artists will be present.
|
|   http://negotiation2003.net
|   <info {AT} negotiations2003.net>
|
|   A Space Gallery, 401 Richmond St.W., #110, Toronto, Canada
|   416-979-9633
|__________________________________
|   Ilana Salama Ortar, Stephen Wright
|         (Israel, France)
|   Galia Shapira, Aref Nammari, Haggai Kupermintz, Phil Shane
|          (Israel/USA, Palestine/USA, Israel/USA, USA)
|   Alexandra Handal in collaboration with poets Karen Alkalay-Gut
and Nathalie Handal
|         (Palestine/Dominican Republic, Israel, Palestine/USA)
|   Rami a.k.a. Jaromil
|         (Italy, Palestine)
|   Artist Emergency Response
|         (USA)
|   Shahrzad Arshadi, Josée Lambert
|         (Canada)
|   Negotiations Working Group
|         (Canada)
|__________________________________
|   WILL is a Creative Response initiative and a part of
_Negotiations: From a Piece of Land to a Land of Peace_ a multi-part
cultural event that intends to create new public spaces for dialogue
on shared entitlement and common responsibility for co-existence in
Palestine-Israel and beyond. For information about other Negotiations
events (June 19 - 29) visit our website at http://negotiations2003.net
|__________________________________
|__________________________________
|   C U R A T O R I A L   S T A T E M E N T

     High-tide on the day of war, before we are drowned into another
twilight of repressed and forgotten truths, engulfed in the light of
explosions ­ last year in Afghanistan, this year in Iraq, every year,
for fifty-five years, in the land historically known as Palestine ­
we ask: how do we change our world to change our fate? This question
points directly to the ethics of our intentions and practices for it
is no longer possible to question the urgency and the imperatives.
The world must change if we are to live with one another in dignity.
To live with ourselves, we must change. The empire is unmasked, yet
again. Rulers are at work to redraw the map, yet again. Bodies have
lined up to stand witness to this violence, yet again. Violations are
countless and cannot be checked against the anachronistic terms of
"human rights." Bombs, tanks, armoured helicopters, guns and missiles
are not bound by any charters, and our utopian investments in
international laws and institutions have failed to produce any
profits except for the profiteers at war for more control over land,
resources, human lives and histories. Resistance was yesterday¹s
response. Today, openly formulated insurgence is a reality.
         The Second Palestinian Intifada, which erupted in September
of 2000, provides an instance of such insurgency. This is a new phase
in the century-long Palestinian history of anti-colonial struggles,
ongoing since 1897. Contrary to mainstream representations, the
Intifada is not simply a localized Palestinian nationalist response
to the repressive Israeli occupation and its war machine; rather, it
is a demonstration of indigenous peoples¹ refusal to surrender their
agency to the hegemonic hold of colonial regimes. In spite of the
gross imbalance of powers, the Palestinians have risen up, yet again,
to challenge colonialism¹s intrinsically xenophobic discourses and
its structural patterns of exclusion and domination. More than
anything else, the Intifada exposes the failures of colonialism to
subjugate the will of the Palestinian people and silence dissenting
voices.
         The radicalization of this will has swept over the
checkpoints and barbed wire to infiltrate the consciousness of
Israelis and of people around the world. The new forms of
Palestinian-Israeli and transnational collaboration ­ manifested
through organizations such as the International Solidarity Movement
and Ta¹ayush ­ draw on a renewed will to organize civil communities
in countering economic, political and military colonization. Such
social mobilization calls for different forms of representation; for
a thorough shake-up in our habits of thought. It calls for a
conceptual creativity that sets out to ethically enact strategies of
change and pragmatically prefigure the horizons of a different world.
This, we believe, is the fertile land where a new insurgent art
movement can grow.
         For this exhibition, we called on artists to formulate and
realize the ways in which transdisciplinary artistic practices can
nourish stronger, more ethically accountable, multi-faceted and
multi-vocal responses to the social imperatives we face. A gathering
of politically responsive work, WILL is dedicated to the project of
change: unearthing, remembering, coming to voice, naming and, rooted
in the depths of consciousness, actively intervening in the social
field. The modes of intervention utilized by the projects in WILL
exceed conventional practices of representational art. Each work
shown in this exhibit has emerged through intense negotiations and
co-labouring, of which the ultimate products are the social and
personal relations and transformations that transcend the artwork.
Here the artwork is only a landmark for new conceptions. The real
work is ongoing, constantly evolving and defiant of representation as
it unfolds in the plains of awareness and action.
         WILL provides opportunities for engagement, and asks that we
engage differently. We encourage you to actively participate and
contribute your labour to this work.
- -- Gita Hashemi & Hanadi Loubani for Negotiations Working Group
|__________________________________
|   P R O J E C T S
|________
|   Inadvertent Monuments
|   Ilana Salama Ortar and Stephen Wright

     Our project focuses on what was initially a deeply-entrenched
border cairn, constructed after World War I, intended to separate the
French mandate of Lebanon from the British mandate of Palestine.
During the Israeli occupation of South Lebanon from 1982-2000, and
under the protection of Tsahal, layers of top soil were scooped up
from vast tracts of occupied land and taken by dump trucks to Israeli
settlements near the border ­ a fact to which the stone cairn bears
subtle though irrefutable evidence: the cairn, whose bottom half was
deeply entrenched in the earth, now stands some eight feet above the
ground. While its top portion is the same light tan colour as the
surrounding topography, the bottom three feet are a dark ruddy brown
­ identical to the soil once covering them. Intended as a horizontal
territorial marker, the cairn has come to mark verticality ­ raising
a variety of issues regarding the difference between land and soil,
territory and earth. It is an inadvertent monument. As such, it
stands as a condensed metaphor of the conflict embedded in the
historical present; a public mirror for anyone who cares to look at
the issue of peace and partition not as event but as sign. Taking
this land-art-like unintentional "monument" as its hub, this project
refuses to be partitioned within the territory of "art." Instead,
using art-related skills to refocus attention on an otherwise
invisible symbol, it foregrounds art¹s use-value in negotiating the
shift from a piece of land to a land of peace.
|________
|   Destinations: A Palestinian-Israeli Audio-Visual Installation
|   Galia Shapira, Aref Nammari, Haggai Kupermintz, Phil Shane

     The "Destinations" installation makes use of photographic images
collected from Palestinians and Israelis that convey their profound
connection to their shared land and its history. Sound recordings
capture personal stories of love, hope and pain that the images
document. A multiple slide projection, the large photographic images
are projected onto the gallery walls in a continuous sequence and are
accompanied by Arabic and Hebrew audio narratives ­ including poetry
and literary pieces by Israeli and Palestinian writers. Surrounded by
images of the shared land, as seen through Israeli and Palestinian
eyes, viewers are invited to re-examine conventional perceptions of
the conflict. Collection and dissemination of images and stories
continue as the artists constitute a growing archive of hope and
struggle towards a common destiny.
|________
|   Farah ­ In Search for Joy
|   Rami a.k.a. Jaromil

     The "Farah" project documents my three-week trip, in August,
2002, through the occupied territories of Palestine. During this time
I crossed East Jerusalem, Gaza, Bethlehem, Hebron and Ramallah. This
was while Bethlehem and Gaza were still under siege and Ramallah was
experiencing another full-time curfew after the assassination of
Ahmad Saadat. I set out for this trip independently, but, once in
Palestine, I had the chance to collaborate with some valuable people
of the Palestinian Progressive Youth Union, Tactical Media Crew,
Popular Front for the Liberation of Palestine, International
Solidarity Movement and Indymedia Palestine. Farah is an effort to
document the life and culture of the Palestinian population in zones
of war, without actually mentioning the war itself. It is a net-art
project in the way that it tries to use the net as a privileged
medium to unveil a beauty usually made far by war. It is the content
that counts in Farah, the medium only provides the necessary means
for the message to be conveyed. The project is born from the need to
discover and document that which remains untouched by war: everything
in the tales of children and older folks that pervades in the
identity of a people in spite of dispossession, humiliation and
violence. Farah is a search for joy and for a resistance that
organizes itself in thousands of forms in the imagination. It is to
recognize the millenary Palestine in the untouchable dreams of its
children. http://farah.dyne.org/
|________
|   Dance
|   Alexandra Handal in collaboration with poets Karen Alkalay-Gut
and Nathalie Handal

     Alexandra Handal¹s multimedia installation, "Dance," is based on
a joint poem written by Israeli poet Karen Alkalay-Gut and
Palestinian poet, Nathalie Handal. A digital animation of the poem,
which becomes entirely legible only at the end, is projected onto the
floor. While watching the projection, the viewer experiences the
words of the poem transform into abstract shapes that resemble
lightning, needles, feathers, and webs. As they are colliding, moving
past and against each other, the words begin to emerge as lines of a
poem, then stanzas, breaking the fear of sharing the same space in
order to dance together. Dance is a space which invites the viewer to
gather round and experience - through movement, color, and rhythm -
the pain, frustration, fear and joy involved in taking the first
steps towards negotiating our present, ourselves. Dance compels the
viewer to ask: how can we not dance together?
|________
|   Squares in the Pavement & Beau temps, mauvais temps
|   Shahrzad Arshadi and Josée Lambert

     "Squares in the Pavement & Beau temps, mauvais temps" is a
photo-documentary project created by two artists: one from the East,
the other from the West. Every Friday since September 14, 2001, these
two artists have met each other in front of the Israeli Consulate in
Montreal to stand vigil for peace and justice in Palestine. For a
period of one full year, rain or shine, Josée and Shahrzad have
documented the participants at these vigils as a testimony to their
collective hopes and fears. The collaboration between the two artists
is an installation of 104 black and white photographs. While Josée¹s
contribution symbolizes time, season and continuity, Shahrzad
captures portraits of people wearing the most immediately
recognizable symbol of Palestine ­ the "keffia" ­ people of all walks
of life, teachers, workers, artists and students; young and old from
all races and origins, Jewish, Muslim, Atheist and S
|________
|   Video Petition Project
|   Artist Emergency Response

     The "Video Petition Project" is a visual testimony of North
Americans voicing their opposition to the Israeli Occupation. Despite
their large and growing numbers, these voices are significantly
underrepresented by the mainstream North American media. They are
comprised of Jews and non-Jews alike whose sincere, thoughtful, and
eloquent speech cannot be dismissed as self-loathing or anti-Semitic
simply due to their criticism of the Israeli government and its
policies. Some participants present their own statements and others
use one or another among a variety of statements prepared by AER and
imbue these with their own sincerity. Our ultimate goal is to present
the project at schools, community organizations, art venues, museums,
public access television, radio, and internet sites, and also to
public officials and leaders, thus helping to further aid the
acknowledgement and rightful consideration of this growing movement.
The 80-min video premiered in September 2002 at the Piece Process
exhibit at Chicago¹s ARC gallery and was recently (April/May 2003) on
display at the Chicago Museum of Contemporary Art as part of the
exhibit War (What Is It Good For?).
|________
|   Olive Fair
|   Negotiations Working Group

     "Olive Fair" renders visible the material conditions and the
strategies of survival and resistance in occupied Palestine. The
installation displays olive products by Palestinian producers ­
obtained through Sindyanna, a fair-trade company based in Jaffa ­
side-by-side with video documentation of a direct action by the
International Solidarity Movement in support of a group of
Palestinian growers in the West Bank who were resisting the uprooting
of their olive trees by Israeli soldiers and bulldozers. Olive Fair
invites gallery visitors to take product samples in exchange for
contributing personal responses to a website, thus enabling networked
consciousness and informed dialogue. As the olive products in the
gallery diminish, what remains in the physical space ­ transmitted
through the ISM video ­ is the reality of the struggle in Palestine
cultivating a growing public awareness and solidarity in the virtual
space. http://olivefair.net
|__________________________________
__________________________________
|   A R T I S T S '   B I O S
|________
|   The collaboration between ILANA SALAMA ORTAR and STEPHEN WRIGHT
on Inadvertent Monuments is based on an extra-disciplinary approach
to art: contrary to trendy inter-disciplinary approaches (which
accept disciplinary partitioning as a precondition for association)
and the apparent lack of discipline characterising so much
contemporary art, they seek to mirror the disciplinary
extraterritoriality and non-situatedness of their practice in the
issues that they focus. Using art-related methodologies, they seek to
draw the sort of sustained and thoughtful attention to inadvertent
symbols and monuments ­ particularly in situations of social urgency,
suppressed memory and identity loss ­ that art-specific proposals
often enjoy. Stephen Wright is a Paris-based theorist of art-related
practice. Ilana Salama Ortar is a Haifa-based artist, working
extensively on the development of "civic art" (city + civitas),
investigating the visible and invisible traces of the erasure of
individual and collective memory in the urban fabric. They previously
collaborated in the exhibition L¹Incurable Mémoire des Corps.
|________
|   Since November 2002, a group of activists has been meeting in an
effort to explore a new vision and discourse to deal honestly and
courageously with the Palestinian and Israeli experiences. We
emphasize recognition of common destiny, mutual acknowledgement of
pain and suffering, and the embracement of the humanity of each other
as keys to reconciliation. Group members are: GALIA SHAPIRA, an
Israeli visual artist; AREF NAMMARI, a Palestinian electronics
engineer and activist; HAGGAI KUPERMINTZ, an Israeli assistant
professor of education; and PHIL SHANE, an American associate
professor of accounting. The Destinations group aims to promote the
co-existence of historical, cultural, and spiritual Palestinian and
Israeli narratives, through collaborative intellectual and artistic
expressions. By braiding together the stories of peoples' love for
their land, their struggles, pain and hopes, we strive to develop a
new understanding of reality. Our work stems from the realization
that a great responsibility for promoting an alternative vision lies
with the intellectual, spiritual, and arts communities in developing
new images of co-existence that resist self-serving political and
economic dictates. We hope to give voice to a grassroots movement,
expressing Israeli and Palestinian deep yearnings to transcend their
tragic destiny as eternal communities of suffering.
|________
|   RAMI a.k.a. JAROMIL (http://korova.dyne.org) is a free software
programmer and streaming media pioneer, media artist and activist,
performer and emigrant. Wired to the matrix since 1991 (point of
NeuromanteBBS on Cybernet 65:1500/3.13), Jaromil co-founded (1994)
the non-profit organization Metro Olografix for the diffusion of
information technology, and in 2000 founded the free software lab
dyne.org; sub-root for the autistici.org / inventati.org community.
Jaromil is active in the Italy Indymedia Collective, and is currently
the software analyst and developer for PUBLIC VOICE Lab (Vienna). He
recently co-curated I LOVE YOU , an exposition about software viruses
at the Museum of Applied Arts in Frankfurt. His past collaborations
include, among others: Giardini Pensili, digitalcraft.org, 01001.org,
August Black, [epidemiC], Florian Cramer, 92v2.0, LOA hacklab, Lobo,
Freaknet Medialab, CandidaTV, the Mitocondri, the HackMeeting
community. Jaromil's most recent online piece is Farah: a
documentation of his travel through the occupied territories of
Palestine, in search for joy.
|________
|   ALEXANDRA HANDAL is a Santo Domingo-NYC based Palestinian artist
whose installations, drawings and digital media focus on issues of
transnationality, cultural migration/displacement, representation,
and memory. Her work has been represented in exhibitions in NYC,
Chicago, Boston, Philadelphia, and Sydney, Australia. Currently, she
is a Visiting Artist Lecturer at the Escuela de Diseno in the
Dominican Republic, affiliated with Parsons School of Design. KAREN
ALKALAY-GUT was born on the last night of the Blitz in London to
refugee parents who brought her to the United States after the war.
She has spent her adult life teaching poetry at Tel Aviv University,
writing, and trying to get people to listen to each other through
poetry. Her 20 books include five poetry books in Hebrew, a biography
of the American poet, Adelaide Crapsey, an e-book of magic poems
called Avracadivra (2002). NATHALIE HANDAL is a Palestinian poet,
playwright and writer who has lived in the United States, Europe, the
Caribbean, Latin America and the Middle East. She is the author of
the poetry book, The NeverField, the poetry CD, Traveling Rooms, and
the editor of The Poetry of Arab Women: A Contemporary Anthology, an
Academy of American Poets bestseller and winner of the Pen
Oakland/Josephine Miles award. Nathalie Handal currently teaches at
Hunter College in NYC.
|________
|   JOSÉE LAMBERT is a freelance photographer in the cultural domain.
Twelve years ago, she began documentary work in the Middle-East.
Often associating herself with humanitarian organizations, Josée¹s
work primarily focused on the impact of sanctions on the Iraqi
people. She also produced, in collaboration with Amnesty
International, an important documentary with prisoners of Khiam
Detention Centre, south of Lebanon. For her exhibition Ils étaient
absents sur la photo, she was awarded artiste pour la paix in 1998.
SHAHRZAD ARSHADI, a human rights activist and Montréal-based
Canadian/Iranian artist, came to Canada as a political refugee on
December 24,1983. In the past ten years, Shahrzad has ventured into
different fields of photography, painting and video, enabling her
focus on issues of memory, culture and human rights. Shahrzad has
exhibited her work in various locations across North America.
|________
|   ARTIST EMERGENCY RESPONSE (AER) is a Chicago-based collective of
artists and activists ­ including many Jews and Palestinians ­
working for a peaceful solution to the Israeli-Palestinian conflict.
We seek a just and lasting peace through the minimal, general
framework of the implementation of the Palestinian people¹s right to
self-determination, an end to the Israeli occupation of the West Bank
and Gaza Strip, a just solution to the status of Jerusalem, and a
just solution to the Palestinian refugee crisis. We strongly condemn
the escalating violence against civilians on both sides of the
conflict and demand that the United States end its economic,
military, and political support of Israel until the illegal
occupation ends. We are dedicated to fostering dialogue between
communities and combating anti-Arab, anti-Muslim, anti-Palestinian,
and anti-Jewish rhetoric and violence.
|________
|   NEGOTIATIONS WORKING GROUP: We are women of diverse cultural
background (Anglo-Canadian, Iranian, Italian, Jewish and Palestinian)
and with different skills and experiences (some are artists, some
academics, and most full-time activists). Our differences have
constituted the productive and pragmatic spaces of our
'negotiations', and our work together has been the shared experience
of learning our ethical accountability to one another and to a larger
political project that touches our everyday lives in different and
not always readily acknowledged or immediately visible ways. In spite
of all the difficulties and uncertainties inherent in working towards
social transformation, months of intense volunteer labour have taught
us how to be allies and friends while navigating through politically
contentious, socially complex and historically painful grounds. This
work has made us more determined: negotiations cannot be channeled by
any prescribed roadmaps; they demand complete openness, transparency
and good will. We started as a small formation with dynamic
membership ­ by choice, chance or guile ­ within Creative Response.
For records of other CR initiatives, visit
http://creativeresponseweb.net

|__________________________________
| Negotiations: From a Piece of Land to a Land of Peace
| info {AT} negotiations2003.net
| http://negotiations2003.net
|
| Negotiations is a Creative Response initiative:
| http://creativeresponseweb.net
|__________________________________


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

Date: Wed, 28 May 2003 14:55:48 +0100
From: joasia <joasia {AT} caiia-star.net>
Subject: Forthcoming from [i-DAT]: ARTIST AS ENGINEER symposium

For your information:

INTERRUPT: artists in socially engaged practice
ARTIST AS ENGINEER: a partnership between i-DAT, University of Plymouth &
Arts Council England for the Interrupt symposium series.
<http://www.interrupt-symposia.org/>

Where does socially engaged, participatory and education arts activity stand
within current debates around contemporary arts practice?

ARTIST AS ENGINEER

Location: Sherwell Centre, University of Plymouth, UK
Dates: 2-3 June 2003

This symposium organised by i-DAT seeks to investigate a recent radical
shift in the artist's social role influenced by the advent of new
technologies and new collective practices.

Walter Benjamin (in 'The Author as Producer' of 1934) describes the shift in
the role of the cultural producer 'from a supplier of the productive
apparatus, into an engineer who sees his [/her] task in adapting that
apparatus thus reconciling the means of intellectual production with
technical quality.'

The symposium asks what conclusions might be drawn from a parallel between
the contemporary practice of 'techno-art collectives' and Benjamin's
statement that it is simply not enough to have political commitment without
at the same time thinking through its relationship to the means of
production and the technical apparatus?

Speakers:

Etoy (International)
<http://www.etoy.com/>
The Institute of Applied Autonomy (USA)
<http://www.appliedautonomy.com/>
Piotr Wyrzykowski/CUKT, Central Bureau for Technological Culture (Poland)
<http://cukt.art.pl>
James Wallbank/Redundant Technology Initiative (UK)
<http://www.lowtech.org/>
Natalie Jeremijenko/Bureau of Inverse Technology (USA)
<http://cat.nyu.edu/natalie>
Harwood/Mongrel (UK)
<http://www.mongrel.org.uk/>

Symposium curated and introduced by Geoff Cox & Joasia Krysa (i-DAT,
University of Plymouth) and chaired by Armin Medosch (UK/Austria).

i-DAT (Institute of Digital Art and Technology) is a new organisation
engaged in the production and distribution of digital media with a broad
cultural remit across the fields of art, industry and education.
<http://www.i-dat.org/>

For more information:
email: contact {AT} i-dat.org
or phone 01752 232560 [Joasia Krysa / Geoff Cox]



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