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<nettime> Announcements [x11]

Table of Contents:

   Global Media call to action from Robert McChesney / Llamada a la  Accion Global 
     Sasha Costanza-Chock <schock {AT} asc.upenn.edu>                                     

   First News from Tidal Wave Cancun / Primer Noticias desde Huracan Cancun        
     Sasha Costanza-Chock <schock {AT} asc.upenn.edu>                                     

   M/C: Call for papers - 'text' issue                                             
     "M/C - Media and Culture" <mc {AT} media-culture.org.au>                             

   ma|msc d'f"                                                                     
     Digital Futures <study {AT} digital-futures.net>                                     

   call for submission: installations & media art                                  
     "Scott Berry" <scott {AT} imagesfestival.com>                                        

   PRESS RELEASE                                                                   
     "JavaMuseum" <agricola-w {AT} netcologne.de>                                         

   VRCAI 2004, Singapore, 16-18 June 2004                                          
     "Fatima Lasay" <digiteer {AT} ispbonanza.com.ph>                                     

   CFP NIRES 7 -APPLICATION DEADLINE EXTENDED                                      
     Pold <pold {AT} multimedia.au.dk>                           

     trebor scholz <treborscholz {AT} earthlink.net>                                      

   unbehagen.com newsletter for September 2003
     "unbehagen.com" <chris {AT} unbehagen.com>                                           

   Art in Motion call for enteries description                                     
     Art In Motion <aim {AT} usc.edu>                                                     


Date: Tue, 2 Sep 2003 11:07:10 -0400 
From: Sasha Costanza-Chock <schock {AT} asc.upenn.edu>
Subject: Global Media call to action from Robert McChesney / Llamada a la  Accion Global por los Medios


[Scroll down for English]


Favor circular. 

Este mes de septiembre, en la conferencia de la Organización Mundial del

Comercio (OMC) de Cancún, el representante comercial de Estados Unidos 
intentará extender el poder de la OMC a los servicios de comunicaciones 
y audiovisuales.  Esto incluye tanto el cine, la radio, la televisión y 
la producción musical, como los servicios de distribución mediática, 
sean satélites, servicios de cable y de radio y teledifusión. 

El resultado podría ser desastroso para muchos sistemas mediáticos de 
todo el mundo. Las regulaciones estadounidenses que favorecen la 
diversidad mediática, el localismo y el interés público podrían ser 
atacadas bajo el pretexto de ser "barreras al comercio". Los límites a 
la propiedad de medios y los programas federales y estatales que en 
Estados Unidos fomentan la diversidad de los medios también podrían ser 
considerados violaciones al comercio. 

Por favor, acuda a la página www.mediareform.net/global. Firme la 
petición. Hágala circular entre l {AT} s que se preocupan por los medios o 
por los temas globales. La petición Se entregará al Congreso 
estadounidense justo antes de la conferencia de la OMC, a mediados de 

Una ola masiva de presión pública es esencial para conseguir que el 
Congreso estadounidense pare la usurpación de poder de los Grandes
Medios en 
la OMC. 

Para más información en inglés, por favor, acuda a: 

Muchas gracias, 

Robert McChesney 
Free Press 
info {AT} mediareform.net

Please post to all media reform and global issues lists: 

This September at the World Trade Organization (WTO) meeting in Cancun, 
Mexico, the US Trade Representative will attempt to expand the WTO's
power over Communications and Audiovisual Services. This includes film,
radio, television, video, and music production, as well as media
distribution services such as satellite, cable and broadcast. 

The result could spell disaster for vibrant media systems worldwide: US 
regulations that favor media diversity, localism and the public interest
could be attacked as "barriers to trade." Media ownership limits, as
well as Federal and state programs that encourage diverse media, could be
considered outright trade violations. 

Please go to www.mediareform.net/global. Sign the petition. Pass it
along to others concerned with media or global issues. The petition will be
delivered to Congress shortly before the WTO meeting in mid-September. 

A massive wave of public pressure is essential to move Congress to block
Big Media's power grab at the WTO. 

For more information, please go to www.mediareform.net/global 

Thank you, 

Robert McChesney 
Free Press 
info {AT} mediareform.net 


Date: Tue, 2 Sep 2003 18:55:52 -0400 
From: Sasha Costanza-Chock <schock {AT} asc.upenn.edu>
Subject: First News from Tidal Wave Cancun / Primer Noticias desde Huracan Cancun

Hello media activists and friends,
We have produced a first article about the Tidal Wave Cancun media
convergence, here:


Hola activistas de medios y panas,
Hemos escrito el primer articulo sobre Huracan Cancun aqui:




Date: Wed, 3 Sep 2003 18:07:51 +1000
From: "M/C - Media and Culture" <mc {AT} media-culture.org.au>
Subject: M/C: Call for papers - 'text' issue

FOR IMMEDIATE RELEASE - 3 September 2003

                          M/C - Media and Culture
            is calling for contributors to the 'text' issue of

                                M/C Journal

The award-winning M/C Journal is looking for new contributors. M/C is a
crossover journal between the popular and the academic, and a blind- and
peer-reviewed journal.

To see what M/C Journal is all about, check out our Website, which contains
all the issues released so far, at <http://www.media-culture.org.au/>. To
find out how and in what format to contribute your work, visit

      Call for Papers: 'joke' - edited by Catriona Mills & Matt Soar

In 1976, ad critic Leslie Savan began her first ever column for New York's
Village Voice magazine with a short piece called 'This typeface is changing
your life.' In it, she discussed the ways in which one particular sans
serif typeface - Helvetica - had insinuated itself into American daily life
to the extent that "The 'signs of the times' can be found on the literal
signs of the times. The use of Helvetica on so many of them expresses our
need for security, for visual proof - if nothing else - that the world's
machinery still runs."

In truth, our everyday lives are suffused with textual encounters - in the
letterforms that come together to provide newspaper reading; subway,
washroom and street signage; directions for taking medicine; film titles
and webpages; bus tickets and advertisements, etc. How, then, does the
construction and arrangement of letterforms imply security, as Savan
suggests, or - for that matter - friendliness, or menace?

For Beatrice Warde, writing in 1932, this was the wrong question
altogether. The task in hand ideally involved absolute transparency: "The
book typographer has the job of erecting a window between the reader inside
the room and that landscape which is the author's words. He may put up a
stained-glass window of marvellous beauty, but a failure as a window; that
is, he may use some rich superb type like text gothic that is something to
be looked at, not through."

What we're looking for

Between the positions taken up by Warde and Savan lies a whole realm of
artefacts and encounters that beg critical analysis, and it is these
phenomena that constitute the theme for this issue of M/C Journal. We are
seeking fresh, informed interventions that bring media, literary, and
cultural studies perspectives to bear on:

Letterforms: typefaces (including their conception and application), fonts
(the 'cuts' of typefaces that reside on computer hard drives or in
printers' trays); handwriting, calligraphy, comic book 'inking', tattoos,
graffiti, homemade shop signs;

Textual studies: the search for authenticity - including word choices used
in manuscripts; textual author-ity located in the mark of pen or typeset
letter on paper; translations; first editions; facsimile editions and
annotated editions; electronic versions (e-books, pdf files, CD-ROMs); book
marketing based on the external rather than internal text (blurbs, pseudo-
historical typefaces, typefaces as a means of facilitating author-

The act of composition: the increasing interest on-screen in the manual
production of the text (eg Nicole Kidman 'communing' with Virginia Woolf
through her attempted replication of Woolf's handwriting in preparation for
The Hours, or the use of handwriting on-screen in Possession); novel
structures that foreground the act of writing (epistolary fiction, diary
forms, plots driven by forgery or by the immutability of the written word);

Typefaces: cultural/critical histories of particular typefaces; media and
the connotations of 'native', or media-specific typefaces (dot-matrix and
the cash register; courier and the typewriter);

Type in motion: film title sequences and television advertising; broadcast
graphics (TV station identifiers/bumpers); 'pop-up' music videos; TV
weather maps; CNN's stock market tickertapes; Sesame Street, etc.

M/C Journal was founded (as "M/C - A Journal of Media and Culture") in 1998
as a place of public intellectualism analysing and critiquing the meeting
of media and culture. Contributors are directed to past issues of M/C
Journal for examples of style and content, and to the submissions page for
comprehensive article submission guidelines. M/C Journal articles are blind

deadline for submissions: 13 October 2003
article length: 1500 words

for more info - text {AT} journal.media-culture.org.au

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

         2004 issue topics and deadlines to be announced shortly!

- ---------------------------------------------------------------------------
M/C Journal is online at <http://journal.media-culture.org.au/>.
All issues of M/C Journal on various topics are available there.
- ---------------------------------------------------------------------------
M/C Reviews is now available at <http://reviews.media-culture.org.au/>.
- ---------------------------------------------------------------------------


                                            Dr Axel Bruns

- -- 
Supervising Production Manager           production {AT} media-culture.org.au
M/C - Media and Culture                 http://www.media-culture.org.au/


Date: Wed, 3 Sep 2003 15:38:58 +0100 (BST)
From: Digital Futures <study {AT} digital-futures.net>
Subject: ma|msc d'f"

ma|msc d'f"

- - Hybrid MA|MSc programme
- - Delivered in online and offline spaces
- - 1 year full-time or 2 years part-time
- - University of Plymouth, UK

ma|msc d'f" offers students an intellectual and creative challenge through
a critical engagement with emergent practices in arts and technology. It
arises from a research and teaching environment that includes the BSc
(Hons) MediaLab Arts undergraduate programme http://www.medialabarts.net/
and the CAiiA-STAR PhD research provision http://www.caiia-star.net/, all
located in the University of Plymouth's School of Computing that allows
for appropriate technical support and an exciting interdisciplinary base.
By integrating the critical practice of digital media production within
on-line and off-line environments, ma|msc d'f" fully embraces the
potential of "being digital" without losing sight of actuality.

Unusually, this hybrid programme offers MA (Master of Arts) or MSc (Master
of Science) awards, reflecting its interdisciplinary ambitions. This
challenges many of the orthodoxies of how creative practices might be
developed in the light of technological change.

ma|msc d'f" seeks graduates and practitioners from a wide range of
creative and technical backgrounds - including artists, designers,
curators, writers, new media practitioners, technologists and programmers.
The aim is to draw together an interdisciplinary mix of practices that
help define the future of digital practice. Reflecting our research
interests, we run pathways in in spatial design, curatorial practice,
software art and sonic arts.

For more information and how to apply, contact: Mike Phillips mp {AT} i-dat.org
or Geoff Cox gc {AT} i-dat.org or visit the website



Date: Mon,  1 Sep 2003 21:16:30 -0400
From: "Scott Berry" <scott {AT} imagesfestival.com>
Subject: call for submission: installations & media art



The Images Festival annually exhibits a selection of media arts 
installations and new media artworks as part of the festival. 
Images works with several Toronto galleries and other alternative 
exhibition spaces to show installations incorporating the moving 
image and interactive media. 

Among the artists whose installations and new media works have 
been featured in past festivals: Harun Farocki, Steve McQueen, 
Pipilotti Rist, David Rokeby, Masashi Iwasaki & Tadasu Takamine, 
Jane & Louise Wilson, Bob Ostertag & Pierre Hébert, Gustavo 
Artigas, Carolee Schneemann, Judy Radul, Luke Jerram, Paulette 
Phillips, Joe Kelly, Nell Tenhaaf, Jean-François Guiton, Deanna 
Bowen, Haruki Nishijima, Gebhard Sengmüller, Marion Coutts, 
Willy LeMaitre & Eric Rosenzweig, Adriana Arenas Ilian, Michael 
Snow, Althea Thauberger, Taras Polataiko, Dara Gellman & Leslie 
Peters, Michelle Teran, badpacket… 

Deadline for receipt of entries: 
Friday, September 19, 5:00 pm 

The 17th annual Images Festival runs April 15 to 24, 2004 in 
Toronto, Ontario, Canada. 
Submission results will be sent out by mail or email in late 
January, 2004. 

pdf of submission forms are downloadable at 


Date: Thu, 4 Sep 2003 16:37:56 +0200
From: "JavaMuseum" <agricola-w {AT} netcologne.de>

'Perspectives'03' -
competition and showcase
deadline 1 September 2003

organised by

JavaMuseum -
Forum for Internet Technologies in Contemporary Art
(Java=Joint Advanced Virtual Affairs)

in co-operation with
Computer Space Festival Sofia/Bulgaria
Goethe Institut - Internationes Sofia/Bulgaria
91 artists from 18 countries will enter the selection process with 173

The finalists will be notified by 21 September 2003.

"Perspective'03" - the show will be launched on 13 October and will be
presented in physical space as part of Computer Space Festival Sofia from 16
until 18 October 2003.

The Goethe Institut -Internationes Sofia will present in co-operation with
JavaMuseum during the festival  as an accompanying program the featured
"Netart from German speaking countries"
curated by Agricola de Cologne,
including following artists
Reiner Strasser, Nadja Kutz und Tim Nikolai Hoffmann
Jens Sundheim, Sascha Büttner, Bernhard Reuss,
Martin Mittelmeier, kyon, Per Pegelow, Jürgen Trautwein
Franz Alken, Ralf Hellmann, Joern Ebner, Thomas Tirel
Roman Minaev, Stephan Harger, Malte Steiner, AmbientTV, Johannes Auer,
Isabel Saij, Marcello Mercado and Agricola de Cologne.

"Netart from German speaking countries" belongs to the "3rd of Java series"
and will remain online for permanent as an ongoing project.New artists and
new net based art works are welcome at any time.

JavaMuseum -
Forum for Internet Technologies in Contemporary Art
(Java=Joint Advanced Virtual Affairs)
info {AT} javamuseum.org

is part of
[NewMediaArtProjectNetwork] :||cologne
 - the experimental platform for net based art -
operating from Cologne/Germany.


Date: Sat, 6 Sep 2003 01:04:48 +0800
From: "Fatima Lasay" <digiteer {AT} ispbonanza.com.ph>
Subject: VRCAI 2004, Singapore, 16-18 June 2004

Fatima Lasay
University of the Philippines


                                     ::::::::::::::::: FIRST CALL FOR
PAPERS :::::::::::::::::

VRCAI 2004 –An ACM SIGGRAPH Conference on Virtual reality Continuum and
Its Applications in Industry

Co-located with GRAPHITE 2004 – An ACM SIGGRAPH International Conference
on Computer Graphics and Interactive Techniques in Australasia and
Southeast Asia

Venue: Nanyang Technological University, Singapore

Conference Dates: 16-18 June, 2004


Please forward to interested associates.

The next generation of info-communication environment is envisaged to
include the Virtual-Reality (VR), Augmented-Virtuality (AV),
Augmented-Reality (AR) and Mixed-Reality which span the Virtual-Reality
Continuum (VRC). The rapid advances in interactive and display
techniques are expected to make our work, learning, and leisure vastly
more efficient, effective and appealing.

VRCAI 2004 will be a forum for researchers, educators, developers and
users to share the latest development of the state-of-the-art technology
in the Virtual Reality Continuum. Special efforts will also be placed in
its fast growing application areas in Defense and Military Science, Life
Science, Design and Engineering, Education, Entertainment, and so on.

Special Issue in Journal "Computers & Graphics"
The best papers from the conference will be invited to be published in a
special issue with the Journal "Computers & Graphics"
The Conference Theme (includes but is not limited to):

1. Fundamentals in Virtual-Reality Continuum
Virtual Reality
Augmented Virtuality and Augmented Reality
Mixed Reality
Artificial Reality
Algorithms in Virtual-Reality Continuum
Geometrically, Physically and Image Based Modeling
Real-time Rendering, Image-based Rendering, and 3D Auditory Rendering
Multi-resolution and Multi-scale Methods, Level of Detail, Model
Compression and Simplification
Scientific Visualization in Virtual-Reality Continuum
Collision detection in Virtual-Reality Continuum

2. System, Architecture and Environment in Virtual-Reality Continuum
Distributed Computing in Virtual-Reality Continuum
Grid Computing in Virtual-Reality Continuum, Commodity Clustered VR
High Performance Computing in Virtual-Reality Continuum
Artificial Intelligence and Soft Computing in Virtual-Reality Continuum
Collaborative Virtual Environment
Intelligent Virtual Environment
Artificial Life and Artificial Ambience
Avatars and Intelligent Agents
Large-scale Simulation
Immersive, Semi-immersive and Desk-top System
Walk-through, Fly-over and Reach-in System

3. Hardware and Device in Virtual-Reality Continuum
Sensor and Sensor Technology
Human Perception
Motion Tracking and Calibration
Tactile, Haptical and Force Feedback Devices
Projection and Display System
Active and Passive Stereo System
3D Scanner, Digital Mock-up and Reverse Engineering
3D Enabled Devices: Mouse, Glove, Stylus
Human Computer Interaction, Human Factor, and Ergonomics
Integration of VR and Multimedia

4. Applications
Virtual-Reality Continuum in Defense and Military
Virtual-Reality Continuum in Life Science
Virtual-Reality Continuum in Medicine
Virtual-Reality Continuum in Education
Virtual-Reality Continuum in Engineering and Design
Virtual-Reality Continuum in E-Commerce
Virtual-Reality Continuum in Geology, Geography and GIS
Virtual-Reality Continuum in Tele-presence and Robotics Simulation
Virtual-Reality Continuum in Game/Entertainment Industry
Virtual-Reality Continuum in Manufacture Industry
Virtual-Reality Continuum in Architecture and Building Industry
Virtual-Reality Continuum in Aerospace Industry
Virtual-Reality Continuum in Automotive Industry
Other Applications of Virtual-Reality Continuum

Paper Submission
Full paper A4 size maximum 8 pages in word format
Short paper A4 size maximum 4 pages in word format

Template can be downloaded from http://www.seagraph.org/vrcai2004
Poster  A1 size 1 page (please submit a 250 word abstract for review

Important Dates
Paper (long/short) submission: 16 Dec 03
Poster submission  16 Dec 03
Paper/Poster acceptance notification: 20 Jan 04
Camera-ready paper: 10 Feb 04
Early registration closed: 18 May 04
Conference: 16-18 June 04

URL: http://www.seagraph.org/vrcai2004

Enquiries: info-vrcai {AT} siggraph.org

All inquiries about the conference should be made to:

Professor Judy Brown or Assistant Professor Cai Yiyu
VRCAI 2004 Conference Co-Chairs
email: info-vrcai {AT} siggraph.org

Art Tech Cult http://digitalmedia.upd.edu.ph/digiteer/
If email bounces pls resend to imaginero {AT} yahoo.com


Date: Thu, 04 Sep 2003 13:55:11 +0200
From: =?iso-8859-1?Q?S=F8ren?= Pold <pold {AT} multimedia.au.dk>

The 7th Nordic Interactive Research School - Call for Participation
Interface: from the desktop to interactive spaces
- Challenging aesthetics, architecture and computer science -

November 9-15, 2003, Aarhus, Denmark

Arranged by Centre for Research in Digital Aesthetics, University of
Aarhus and Centre for Interactive Spaces, ISIS Katrinebjerg

DEADLINE FOR APPLICATION extended untill 1st of October, 2003

Computers and the interaction with them are increasingly embedded in our
surrounding space. The aim with the research school is to discuss how art
and aesthetics challenges, and is challenged by the interface, and to
explore what happens with the interface when it becomes interactive space
and embedded in architecture.

>From the computer screens to interactive spaces, the current developments
present challenges to aesthetics, architecture and computer science.
Challenges that need cross-disciplinary discussions, explorations,
experiments and answers. NIRES7 will take stock and look at new
perspectives. It will focus on the interface, how it has become a cultural
and artistic form. Simultaneously the interface as we know it is changing
towards a situation where the interface is spatialised and space becomes
an interface.

The interface is a central cultural form of the digital age. It is the
point of convergence where the hidden technological dimensions of the
computer meet human perception, interpretation and interaction. Here, at
the interface, the data become text, image, sound, space and vice versa.
In digital art forms such as net.art and techno, the very process of
digitalisation has come into focus, but all art forms and genres have
explored digital media and will continue to do so. Digital art develops
well-known aesthetic forms such as narrative, illusionism, space, and so
forth, but it also places these aesthetic forms in a new, technological
context. The aesthetics of the interface is the cultural and artistic
answer to the information society of the digital age 96 it is where its
forms, structures and expressions are critically explored and in some
cases developed.

As seen in recent developments in computer science such as pervasive
computing, the interface is no longer bound to the desktop screen, but is
proliferating in space by means of large screens and projections, mobile
devices, intelligent objects, sensors and so on. Humans have a wide range
of capacities for sensing, navigating and affecting the physical world
that the design of computers until now has taken little advantage of.
Through the emergence of pervasive computing our surrounding space
contains both physical and virtual properties. To enhance human92s
expressiveness towards computers, interaction design should move beyond
simple displays, and be considered a part of 96 and take place in the
physical space, enabling the perception of spaces as the interface for
computer resources. Interacting with these environments require a new way
of understanding the relation between space and technology.

Pervasive computing raises new questions about how to represent the
computer and the interaction with it, and besides it makes it necessary to
reconsider how the interface has become part of our spatial environment,
culture and art. How should computers dress and behave when they become
part of our homes and culture? The typical image of computers is closely
related to grey boxes on our desktops. However, as technology moves beyond
the work environment into the domestic and cultural realms of life, the
roles and ideals of information technology must reflect the experiential
aspects of life. Aesthetic interaction emphasizes a focus beyond
functionality of computational devices taking departure in the more subtle
and poetic sides of life. It aims for creating involvement, experience,
surprise and serendipity in interaction with everyday artifacts and
interactive spaces.

The research school will be divided into three themes in order to address
the crossdisciplinarity of the field.

[Space as Interface]
Our spatial surroundings - the places where we work, the homes where we
live and the cities where we consume - can no longer be understood as
framed and fixed territories, but is rather to be seen as living organisms
consisting of both digital information and physical space in close and
dynamic coexistence.

Our daily interaction with these environments, call for a new way of
understanding the relation between space and technology. By focusing on
combining the spatial and technological possibilities with interacting
users - speaking to, gesturing with, moving in and touching the
surrounding space - it is possible to enhance human92s expressiveness
towards computers interaction. Hereby design methods and solutions take
part of physical space, enabling the perception of spaces as the interface
for computer resources.

Art and architecture reflect the understanding of space as a complex
living organism where new instruments and ways of perceiving evolve, thus
calling into question the more classic and static view of spaces. The aim
of this part of the conference is to discuss works, theories and methods
describing new relations between information technology and our spatial

[Art at the interface] 
The interface of the computer screen has become a central part of artistic
explorations in digital art. This phenomenon can be seen in fields such as
multimedia and computer games, in net.art's more formalistic approaches
and in contemporary software art. Concurrently, the electronic music scene
has become interested in the computer and its software as an instrument in
itself. The first part of the conference aims to discuss how the interface
develops from a mere mediator to the very point of interest for artistic
activity &#8213; an artistic activity that consequently calls for a
broader discussion of the interface as a cultural phenomenon.

[Interfaces in art spaces]
Incorporating digital technology into the art practice changes and
broadens the field of art. New forms of art are emerging; for example,
interactive digital installation art. Interactive installation art is a
hybrid art form, inspired by fields as diverse as installation art,
theatre, music, computer programming, biology and engineering. New forms
of collaboration, new types of artists and consequently new forms of
artistic expressions are emerging. The space of art is changing while
interactive spatial arts are establishing new and different relationships
with the art consumer.

This part of the conference will try to describe the transformations in
the field of the spatial arts. The main question is: Which types of
interfaces are being constructed and used by interactive digital
installation art?

Workshop format
The workshop part will focus on interfaces and interaction within
environments in the fields of art, education and workplace. Work will be
done in interdisciplinary teams. Mixed reality concepts will be developed
and demonstrated in the workshops based on information and communication
technology. After a short introductory presentations of each participant
(field of research, methodology), concept, design and physical model work
(in scale or full scale) will be undertaken in groups, resulting in
scenarios with a presentation and ending with a joint analysis and
reflection. The workshop groups can emphasise on analytical issues and/or
on design concepts and productions. Depending on background and wishes of
participants, we propose three main workshop themes:

Challenging interfaces: software art and web design, analysis and design
Spatial interfaces in art: new concepts, focusing on dramaturgy and
software Space as interface - instrumenting interaction between
information technology and spatiality The workshops contain introductions
to various techniques by invited guests from media industry, art and
academia (video-prototyping, mock-up techniques etc.).

Who should participate
PhD students, researchers and practitioners with competence in computer
science, systems and interactive design, architecture, behavioural
science, art, aesthetics and media are invited. Applications should
therefore contain a short description of the participant92s background and
special interests.

Confirmed lecturers

Kim Cascone, musician, San Francisco
Marie-Laure Ryan, independent scholar, Colorado
Josephine Bosma, writer and critic, Amsterdam
Adrian Ward, software artist and musician, London
Bert Bonger, Vrije University,Amsterdam and Academy for Digital
Communication, Utrecht
Amanda Steggell, dancer and choreographer, Oslo
SF6ke Dinkla, curator and academic collaborator at Wilhelm Lehmbruck
Museum, Duisburg
Kollision, Andreas Lykke-Olesen, Tobias LF8ssing and Rune Nielsen,
Architects, Aarhus
Troels Degn Johansson, IT-University of Copenhagen
Superflex, Artists, Copenhagen
Ben Hooker & Shona Kitchen, Royal Collage of Art, London
Morten Breinbjerg, University of Aarhus
Kaj GrF8nbE6k, Interactive Spaces, University of Aarhus
Important dates
Deadline for application: 1st of October, 2003

Notification of acceptance: 10th of October, 2003

Deadline for payment: 31th of October, 2003

University of Aarhus, Aabogade 34, 8200 Aarhus N, Denmark

Deadline for application is at latest 1st of October 2003

Please send the application to lise {AT} nordic-interactive.org

The application must include the following:

1. ID (name, postal address, e-mail address, telephone, academic
institution, doctoral program)

2. Position paper on your interest and relation to the theme of the
conference and the workshops in the perspective of your research
orientation. Proposals for a desired kind of project are welcome (2-4 A4)

3. research studies and profile

4. short CV

Please attach the documents as one PDF-file

Conference and workshop fee is DKK 1200.- lunch and coffee included -
other meals and accommodation excluded.

Payment must be made by 31th of October 2003. Cancellation will not be

We have some NorFA grants available to cover parts of travel and
accommodation cost for Nordic non-Danish participants.

IMPORTANT: To apply for grants for travel and accommodation please
remember to write it in the application form.

A maximum for the Research School is set at 30 participants

Academic evaluation
Position paper, participation in lectures, workshops and reflection will
grant 7 ECTS points. A certificate will be issued after completed

Evaluation decisions by the Programme Committee.


Programme Committee

Kaj GrF8nbE6k, Professor, Department of Computer Science, University of
Aarhus, and manager of the Laboratory for Interactive Workspaces in Center
of Pervasive Computing

SF8ren Pold, Assistant Professor, Department of Comparative
Literature/Multimedia Studies, University of Aarhus
Morten Breinbjerg, Assistant Professor, Department of

Rune Nielsen, Ph.D.-student, Architect maa, The Centre for Advanced
Visualization and Interaction at the Department of Information and Media
Studies, University of Aarhus
Falk Heinrich, Ph.D.-student, MA, Department of Dramaturgy, The Doctoral
School in Arts and Aesthetics, University of Aarhus
Anne Sophie Warberg LF8ssing, Ph.D.-student, MA, Multimedia at the
Department of Information and Media Studies, University of Aarhus


Professor Kaj GrF8nbE6k (DCS/LIW), kgronbak {AT} daimi.au.dk
Assistant Professor SF8ren Pold (DCL/MS), pold {AT} multimedia.au.dk
Assistant Professor Morten Breinbjerg (DM/MS), mbrein {AT} multimedia.au.dk
Administrative staff
Marianne Dammand Iversen, Department of Computer Science, E-mail:
dammand {AT} daimi.au.dk

Centre for Research in Digital Aesthetics http://www.digital-aestetik.dk

ISIS Katrinebjerg, Center for Interactive Spaces

Financial support

The research school has received financial support from:

The Aesthetic Research School
Accommodation and travel
We suggest early booking of flight or other means of transportation for
lower prices.

List of low-priced accommodation possibilities:

Get-In, Jens Baggesensvej 43, 8200 C5rhus N, Phone: +4586108614, URL:

(we have made reservations here 96 it is close to the university and low
price. Refer to Nires7 when you book your room)

Cab Inn C5rhus, Kannikegade 14, 8000 C5rhus C, Telefon : +45 86757000

URL: www.cabinn.dk

City Sleep-In Havnegade 20 8000 Aarhus C Denmark Tel.: +45 86 19 20 55,
URL: www.sleep-in.dk

More accomdation possibilities may be found at www.visitaarhus.com

About the lecturers

Kollision works in the crossfield between architecture, art and research.
Their projects aim to integrate and develop information technology to be
used in spatial and architectural relations. The people behind Kollision
are researchers from Aarhus school of Architecture, University of Aarhus
and CAVI, Centre for Advanced Visualisation and Interaction.

Josephine Bosma (1962) lives and works in Amsterdam. She is a writer and a
critic. Her work focusses on art in new media with side steps to net
culture, sound art and radio art. Josephine Bosma' work has appeared in
many on and off line publications, from catalogues to magazines, such as
Mute, Metropolis M, Telepolis, Ars Electronica, Electrohype and various
conference publications.http://www.laudanum.net/bosma/

Adrian Ward is a software artist and musician. He creates auto-generative
software artworks that articulate concerns over authenticity, authorship
and authority by deploying parody software into the graphic design
community. His first piece, Autoshop - a parody of Adobe Photoshop -
earned him a modest following in the Macintosh design community, whilst
his latest offering, Auto-Illustrator - a fully-blown vector graphic
design application - continues to insult, offend and abuse graphic
designers looking for an easy ride everywhere. It was recently published
by i-DAT in Plymouth as a boxed set and is available to purchase online.
Adrian's other works include smaller desktop offerings and collaborative
efforts with the likes of Stuart Brisley and Geoff Cox. He recently
participated in the GENERATOR Exhibition at Spacex Gallery in Exeter, and
has presented his work across the world at venues like Transmediale
(Berlin), Lovebytes (Sheffield), Rhizome (New York) and Sonic Acts
(Amsterdam). He is also the proud owner of awards from Transmediale and
Real Software, and an honorary mention from the 2001 Prix Ars Electronica.
http://www.adeward.com/, http://www.auto-illustrator.com/

Bert Bongers holds a master of science degree in Human-Computer
Interaction from the University College London, Psychology Department and
he has a master of science degree in Ergonomics and HCI. He is director
and founder of the Metronom Electronic Arts Studio, Barcelona and
co-director and founder of Meta-Orchestra, an international and
multi-disciplinary group of artists and researchers. He has been guest
professor at Audiovisual Institute of the Pompeu Fabra University of
Barcelona, Metapolis at UPC Polytechnic University of Cataluny, Barcelone,
Rijksakademie van Beeldende Kunsten, Amsterdam, Dartington International
Summer School. Currently he is working at the HCI group at the Vrije
University in Amsterdam and at the Academy for Digital Communication in
Utrecht. He has been part of many artistic projects, dealing mainly with
electronics for the arts with an emphasis on human interaction technology.
He developed a number of electronic musical instruments and installations.

Amanda Steggell is a dancer and choreographer, educated of London College
of Dance (UK) and Drama and Statens BalletthF8gskole (N). During the last
eight years she has co-directed the artist group Motherboard with Per
Platou. Motherboard has been working with art that often utilizes the
Internet as a mediating and modulating instance, and presenting work in
various formats such as installations, live art events, worklabs,
seminars, theatre and film. Amanda currently has a phd research position
at the Academy of Figurative Theatre in Fredrikstad.

SF6ke Dinkla holds a ph.d. in Art History. She is working as a curator and
academic collaborator at the Wilhelm Lehmbruck Museum Duisburg and she
curated InterAct! 1997 and Connected Cities, 1999. Publication of the
standanrd reference book Pioniere der interactive Kunst von 1979 bis
heute, 1997. She gives lectures at international congresses (XXVIII.
International Congress of the History of Art, 5th International Symposium
on Electronic Art (ISEA) Helsinki, mm.) .

Marie-Laure Ryan is an independent scholar based in Colorado. She is the
author of Possible Worlds, Artificial Intelligence and Narrative Theory
(Indiana, 1991), and of Narrative as Virtual Reality: Immersion and
Interactivity in Literature and Electronic Media (Johns Hopkins, 2001),
which received the Jeanne and Aldo Scaglione Prize for Comparative
Literature from the Modern Language association. She is also the editor of
two collections of essays, Cyberspace Textuality (Indiana, 1999) and
Narrative Across Media (Nebraska, 2004).

*************** NEW PHONE NUMBER + ADRESS****************
Soeren Pold, ph.d., adjunkt (assistant professor)
Multimedia Studies & Comparative Literature
University of Aarhus            Office: Wiener: 5347.136
IT Parken                       phone: +45 8942 9254
Helsingforsgade 14              fax +45 8942 5624
DK-8200 Aarhus N, Denmark
email: pold {AT} multimedia.au.dk, soeren {AT} bro-pold.dk (priv.)


Date: Fri, 05 Sep 2003 20:54:05 -0400
From: trebor scholz <treborscholz {AT} earthlink.net>
Subject: Announcement

For April 2004 we, Trebor Scholz and Geert Lovink, are organizing a
conference at the State University of New York at Buffalo (upstate New York)
about the art of collaboration, models of critical web-based art, and the
role media technologies play in the making of social networks.

If you are interested in these topics please send a short introduction
to your interests and background to our listserv after subscribing to it at
collaboration-subscribe {AT} topica.com

Because of the nature of the topic we would like to invite those interested
in the topic of (online) collaboration, free cooperation, models of critical
web-based art, and the role media technologies play in the making of social
networks to join us in an online forum/mailing list where we will discuss
related issues.

Please feel free to join us, even if you think you won't be able to make it
to Buffalo next year. This event is very much about experimenting with
different forms of presentation and debate.



Date: Sun, 7 Sep 2003 10:17:06 +0200
From: "unbehagen.com" <chris {AT} unbehagen.com>
Subject: unbehagen.com newsletter for September 2003

Hello, here is the unbehagen.com newsletter for September 2003

>>> Two new works on unbehagen.com

WiFi-SM by Christophe Bruno

Global Landscape by Valéry Grancher

>>> These two pieces and many more will be exhibited at the Tirana Biennale
02, "U-Topos", Tirana, Albania, from september 12 to october 25 2003

New Media section: "Global conscience as utopia" curated by Valéry Grancher


Artist List: Jimpunk, Amy Alexander, Christophe Bruno, Teleferique, Valery
Grancher, Michael mandiberg, Olga Kisseleva, Vincent Tordjman, Radio
mentale, DJ Spooky, Miltos Manetas, Mai Ueda, Angelo Plessas, Rafael
Rozendaal, John White C, Dusty del Rosario, Yi Zhou, Andreas Angelidakis

>>> The "Google Adwords Happening" has been awarded with an Honorary Mention
at the Prix Ars Electronica 2003, Net Vision / Net Excellence



Christophe Bruno


Date: Wed, 03 Sep 2003 16:38:45 -0700
From: Art In Motion <aim {AT} usc.edu>
Subject: Art in Motion call for enteries description

If possible, can you please post this call for enteries description on your website.  

AIM, the University of Southern California School of Fine Arts’
international festival of time-based media, in partnership with the Armory
Center for the Arts, Pasadena, is pleased to announce AIM V: Syzygy (The
Human Remix).

AIM V: Syzygy calls for entries that explore the question of the
human/machine ‘remix’.  Derived from a Greek root meaning “yoked or
paired,” syzygy implies a state of interdependent duality that speaks to
the increasingly permeated relationship between human and machine.  In
this renegotiation of what it is and means to be human, we are exploring
the ramifications of the ‘remix’- its impact on the human relationships
(from global to interpersonal), on perception and the expression of
subjectivity (human and/or machine), and on the experience of being a body
(physical or virtual, flesh or machine).

The AIM V: Syzygy (The Human Remix) exhibition will be held March 7- June
6, 2004 at the Armory Center for the Arts, Pasadena.  AIM V will also
include screenings on the video billboards on West Hollywood’s Sunset
strip and satellite lectures and events in Los Angeles, Hong Kong, and
Cusco, Peru.

Works must be ‘time-based’ and address the festivals theme (however
obliquely).  Works may be submitted by anyone working in any discipline
and medium.  Submit proposals and/or copies of projects (no originals
please) in the form of DVD, VCD, VHS (NTSC), Macintosh CD-ROM or URL, as
appropriate.  Entry forms will be available mid-September and may be found
at www.usc.edu/aim.

Deadline for entries is November 30, 2003.  For more information please
email aim {AT} usc.edu.


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