<nettime> Video as Urban Condition: VIDEOpool

[_manu Luksch <manu@ambienttv.net>]

Hiya, I'd like to bring this call to your attention. Also, even so it is
limited to video (such as minidv and dvd) for presentation, conceptually
it means 'video' in its broad sense. I'd be really interested to include
video-documentations of locative media projects or other and look forward
to your contributions. Cheers,manu

===CALL FOR SUBMISSIONS OF VIDEO WORKS===
 
Video as Urban Condition: VIDEOpool
Deadline: 7th of May, 2004
 
 
===Video as Urban Condition===
 
Š examines the ways in which video has become part of the urban fabric:
the omnipresent screen and the watchful eye that inhabits private and
public space. Here, video is the ubiquitous equipment of the home, the
street and the work place: the tube, the box, the telly, CCTV,
info-screen, electronic billboard, in-store advertising, mobile,
terrestrial, cable, satellite, pay-per-view, downloadable, for sale, to
rent.
 
Video as Urban Condition http://www.vargas.org.uk/projects/video_as/
 
 
===VIDEOpool===
 
Šis the videotheque attached to the symposium and future touring
exhibition. The Pool aims at expanding the range of positions presented in
the show and symposium by giving access to related video work. During
opening hours, visitors have access to the Pool and viewing facilities
(DVD and MiniDV). Work which has been submitted to the Pool will be
indexed, documented and promoted online at the project website. The
contents are intended to help set the agenda of the symposium and provide
concrete points for discussion.
 
 
VIDEOpool is online at
http://www.vargas.org.uk/projects/video_as/pool.html entry form at
http://www.vargas.org.uk/projects/video_as/pool.rtf
<http://www.vargas.org.uk/projects/video_as/pool.rtf>
 
 
===Special focus: Urban road movies===
 
February 2003: the Congestion Charge is introduced in London. The fee
applies to all vehicles that drive in the 21 sq kms of central London.
Compliance is ensured by a surveillance apparatus that records vehicle
registration plates. Every vehicle is monitored over its entire journey
through the charging zone. In medieval times, city walls signified to
those entering them that they were approaching the centre of political,
economic, and religious power. Today¹s guardians, closed-circuit TV
cameras that peer down from posts on every street corner, ensure that
modern citizens are no less aware of this fact.

 
In 1995, at the Telepolis symposium in Luxemburg, an attempt was made to
redefine urbanism for an emerging digital age, in which trade,
communication, and information exchange would be increasingly carried out
by means of e-commerce, video conferencing, and chat- and newsgroups.
Today, media convergence is a reality, but the predicted decline in the
physical movement of people has not occurred. The increase in traffic is
not just across national boundaries, but also across the economically more
significant city borders. Former inhabitants leave older European and
American city centres, now turned into lifeless zones of speculation. The
influx of people into newer urban centres in Asia and South America is
creating mega-cities.
 
The European city plan is medieval; its nodes of activity are crossroads.
The new Asian media cities (attached to Dubai, Seoul, Kuala Lumpur) are
growing around an infrastructure of data highways, and their nodes of
activity are the access points to these highways. To what extent can
electronic media impose or create an urbanism? What kind of urbanism will
this be? could this be? Or, will the urban accrete only in the
interstices, despite the planners¹ best intentions?
 
Media convergence and the diffusion of digital technology, coupled with
increasing anxiety and paranoia in the city, has greatly expanded the
realm of video. The telephone conversation, the journal entry, the
eyewitness account, the infant¹s room, ­ all have enhanced, supported,
substantiated, monitored, or otherwise qualified by the use of ³moving²
image. Video is most prevalent not in any ³pure² form, but in such hybrid
manifestations.
 
This symposium and exhibition will examine the extents to which mediation
forms our urban experience, and urban experience influences video culture.
We invite work that throw light on the place of video in the city, and of
the city in video. Works that situate urban experience around networks of
traffic (human, vehicular, or data), or that examine the relationship of
newer, developing cities to media, would be of particular interest.
 
Manu Luksch (march 2004)
 
 
===REQUIREMENTS===
      
 
Send work and entry form to:
 
³VIDEO AS URBAN CONDITION²
Manu Luksch 
ambient space, Regent studios Unit 76
8 Andrews Road
London E8 4QN
 
 
post stamped:               7th of May, 2004
video formats:               DVD or MiniDV  (pls no VCD or VHS)
form download:     
http://www.vargas.org.uk/projects/video_as/pool.rtf
inquiries:                       manu@ambientTV.NET
 
 
===EVENTS===
 
The VIDEOpool will be launched at the symposium end of May 2004, London.
The artists will be informed about all subsequent exhibition participations
or screenings of VIDEO AS URBAN CONDITION on tour.

 
 
===BEHIND THE SCENES===
 
The project was initiated by Anthony Auerbach in collaboration with
architect and filmmaker Clare Gerrard for the ACF Visual Arts Programme. The
project is managed by Vargas Organisation, London. The project team consists
of Anthony Auerbach (artist, ACF visual arts co-ordinator), Diana Baldon
(curator), Manu Luksch (film-maker and media artist, founder ambientTV.NET)
and Mo-Ling Chui (assistant).
 
 
 

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



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