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Richard Rogers <rogers@chem.uva.nl> : Internet Knowledge Symposium | 0 1 |
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Pierre Robert <probert@videotron.ca> : ARCHÉE SEPTEMBRE 1999 | 0 2 |
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alondra nelson <arn8047@is.nyu.edu> : AfroFuturism Forum | 0 3 |
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Steve Goodman <steve@tmg.co.uk> : bomb ibiza | 0 4 |
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Gate Foundation <gate@xs4all.nl> : On(e)Line | 0 5 |
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Grugnog <grugnog@tao.ca> : hacktivism e-mail list | 0 6 |
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Giaco Schiesser <giaco.schiesser@hgkz.ch> : Dozentur | 0 7 |
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Art & Science Collaborations, Inc. <asci@asci.org> : Digital99 | 0 8 |
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Peter Lunenfeld <peterl@artcenter.edu> : Chris Marker's Immemory | 0 9 |
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Maren Schmohl <maren.schmohl@merz-akademie.de> : Open Positions | 1 0 |
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Jean-Philippe Halgand <jean-philippe.halgand@cec.fr> : varnishing | 1 1 |
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Internet Knowledge Symposium - Amsterdam
Preferred Placement: The Hit Economy, Hyperlink Diplomacy and Web
Epistemology.
Theatrum Anatomicum, de Waag, Society for Old and New Media, Nieuwmarkt,
Amsterdam
Saturday, 16 October
10.30-18.00
Preferred placement is a term employed by search engine companies for
boosting sites in query returns. Organisations pay engine companies to
have their sites placed higher in search engine returns, in order to
receive more hits. When they add up, hits count. In the hit economy,
organisations hope to gain banner advertising revenue and demonstrable net
presence. Hit counts show presence. They indicate measures of site
popularity and reliability. Or do they?
A different measure of reliability and reputability may be found in
hyperlinks. Quantities of 'links in' single out the authoritative voices
on the web, according to the latest engine logics. Hyperlinking is telling
in other ways, too. It shows which organisations acknowledge the presence
and relevance of others. It also may indicate trust between organisations.
When larger sets of organisational interlinkings are mapped, networks of
power and knowledge, and landscapes of discourse and debate may be found.
Exploring new engine logics and information visualisation techniques, the
symposium will focus on how knowledge is being gained these days from
'reading between the links'. We refer to these new forms of knowing as web
epistemology.
The symposium includes presentations on the following:
Web epistemology: Tracking and authoring reliability
Banners, clicks and rings: In defense of the hit economy
The Web as political economy
Cybergeographies: The new Mappae Mundi
Footprints in the snow: Subjective and contextual social navigation
Hyperlink diplomacy: Inside the emerging link economy
Playing with search engines and mapping geographies of power & knowledge
govcom.org: Experimenting with the persistent pluralist potential
The debate engine: Dynamic systems for public dialogue
10 years of social theory of the net
Virtual Society?
A visual language for hyperlink theory
Speakers and discussants include:
Prof. Steve Woolgar, Brunel University; Martin Dodge, University College,
London; Dr Matthew Chalmers, University of Glasgow; Nick Durrant,
MetaDesign, London; Korinna Patelis, Goldsmiths College, London; Dr Richard
Rogers, University of Amsterdam/Royal College of Art; Michael Murtaugh,
Jam! Media for Public Dialog, Amsterdam; Prof. Gillian Crampton-Smith,
Computer Related Design, Royal College of Art, London; Dr Gerald Wagner,
Frankfurter Algemeine Zeitung, Berlin; Michael Kay, Electronic Publishing
Programme, Open Society Institute, Budapest
Pre-registration recommended. Information and registration:
http://www.govcom.org
Further information: Richard Rogers, 31.43.350.3576, rogers@chem.uva.nl
Programme Description
----------------------
The symposium takes up one of the everlasting challenges of the Web. In
1994, before the advent of search engines, portals, Netscape Navigator and
Internet Explorer, the Millenium Whole Earth Catalog posed the classic
problem as follows.
"The least discussed, but most important aspect of what's ahead is quality
assurance. The democratic nature of the Net, where eminent scientists and
isolated crackpots can publish side by side, leads to wide variations in
the self-policing. . . . Authenticating that a resource is the definitive,
unedited version is next to impossible."
Various strides have been made towards not only authenticating the 'real
source', but also determining and then boosting the more reliable sites
over the less reliable. The symposium opens by taking stock of these
efforts to distinguish between the eminent and the crackpot, and to
establish levels of reliability and reputability.
In the introduction dr. Richard Rogers, design & media fellow at the Jan
van Eyck Academy, sets up some of the problems to be tackled during the
symposium. From virtual mastheads and red star reliability graphics to
collaborative filtering and network mapping, he will describe the various
attempts made thus far to create voices of authority on the web, and to
move the net beyond the rumour mill. He also will introduce the day's
speakers.
If the Web comes closer than most media to date in creating a condition of
perfect information, perhaps the market is able to separate the wheat from
the chaff. In defense of the hit economy, Nick Durrant, information
designer and corporate web consultant at MetaDesign, London, explains what
we can learn from interpreting hit counts. He also will take us through
the emerging cache economies.
Infomediaries, as they are called, are one of the forces that configure
what we come to know from the web. Combined browser and portal providers,
such as America On-Line, perform on-line power by putting up signs and
directions on their opening pages. Speaking about the phenomenon of
signposting, Korinna Patelis, lecturer in the political economy of the
Internet at Goldsmiths College, London, will relate how these cultural
environments construct information and knowledge much like langugage
constructs perception.
Perhaps the most palpable method for understanding new spaces is mapping.
Cybergeographers, as Martin Dodge of University College London will show
and tell, employ techniques of yesteryear in charting the latest mappae
mundi, as medieval world maps were called. New data mining technologies
also are driving the development of contemporary visualisation techniques.
Novel ways to read data traffic and information trafficking are at hand;
they also give an indication of what we do not know about the Web.
Situating knowledge involves situating the author. In the ongoing
information authorship debate, ushered in decades ago by hypertext
theorists, two distincts positions have emerged, represented at the
symposium. The early afternoon will be devoted to fleshing out the value
of tracing the path of the surfer, and reading and sharing the stories
authored. Dr. Matthew Chalmers, lecturer in information visualisation at
the University of Glasgow, will explain how the single and the collective
journey may be utilised. He will present Recer, a social navigation tool
based on subjectivity and context.
Are journeys and stories also being authored by webmasters? Another
approach to the navigation debate looks for the discourses and stories
made through strategic hyperlinking by webmasters. Noortje Marres,
theorist-in-residence at the Jan van Eyck Academy, will delve into the
methods by which a network may be rubbed, before stories through it are
traced. Introducing govcom.org, the fellowship's conceptual URL, Richard
Rogers joins her in explaining the kinds of transdiscursive stories they
are seeking.
In close collaboration with the Fellowship theorists, the designers at the
Academy have been developing a visual link language. The design project
shows how authority and reliabiliy on the web may be authored. Stephanie
Hankey, designer-in-residence, Ian Morris, programmer-in-residence, and
Alex Bruce Wilkie will present how one may locate the authoritative voices
in specific discourses, in a glance. They'll also introduce the working
design outcomes of not hypertext, but hyperlink theory.
In one model of social innovation, dialogue is being sought between
.gov's, .com's and .org's; in another it must be driven by public
participation. Michael Murtaugh, formerly of newMetropolis and now of Jam!
New Media for Public Dialog in Amsterdam, will show how dynamic narrative
structures place authors and audience in a continual dialog. He also will
demonstrate the public debate engine, first developed at the Amsterdam
science & technology center as an input device for public policy-making.
In the final portion of the day, meta-perspectives are put forward. Dr.
Gerald Wagner, Feuilleton journalist for the new Berlin pages of the
Frankfurter Algemeine Zeitung, will comment critically on the last ten
years of social theory of the Net. Steve Woolgar, professor of sociology
at Brunel University and head of the major U.K. ESRC Virtual Society?
programme, will provide the most counter-intuitive results of the 22
research projects on virtuality. Finally, Gillian Crampton-Smith,
Professor in Computer Related Design at the Royal College of Art, will
open a discussion with the symposium about what electronic publishers,
designers and theorists may learn from new notions of web epistemology.
Upon conclusion the directorship of the Jan van Eyck Academy will receive
the symposium.
The Symposium is held in association with Computer Related Design Research
at the Royal College of Art. The Fellowship is supported by the City of
Maastricht, the Province of Limburg, the Ministry of Foreign Affairs and
the Ministry of Education, Culture and Science.
Day Design by Peter Bilak.
------------------------------------------------------------------------------
If ARPANET's first 'ping' is taken as its birth, the Net is 30 years old on
the 20th of October, 1999.
------------------------------------------------------------------------------
Limited seating is available, so please register for the Symposium before 1
October. Registration is fl. 35,-
All registration, symposium and fellowship information are available at
http://www.govcom.org. For immediate registration jump to
http://www.govcom.org/machine/registration.htm. Server runs on Linux.
For more detailed information on the Fellowship research work, contact
Richard Rogers, rogers@chem.uva.nl, tel. 31 43 350 3756.
The symposium papers will be compiled in an edited volume. Publication
information will appear on the govcom.org web site in November. Registrants
will receive that information by email.
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ARCHÉE SEPTEMBRE 1999 - SOMMAIRE
¤¤¤¤¤¤¤ Les Prix Ars Electronica 1999: le choix des oeuvres et la méthode
Par Richard Barbeau
Le Festival Ars Electronica 1999 divulguait en juin dernier ses prix de
distinction dont les Nicas d'or et les mentions honorables accordées aux
participants du festival qui se tient à Linz, en Autriche, du 4 septembre au
9 septembre 1999. Nous nous penchons ici sur la catégorie «.net» (intégrée
en 1995) et, surtout, à la polémique soulevée par les choix du jury. Une
sélection qui pose effectivement certains problèmes en ce qui a trait aux
critères, à la vision esthétique et au processus de sélection.
http://archee.qc.ca/
¤¤¤¤¤¤¤ «Bodymaps: artifacts of touch» de Thecla Shiphorst
Un article conjoint d'Isabelle Hayeur et Éric Raymond
Bodymaps: artifacts of touch appartient au registre encore très restreint
d'oeuvres interactives significatives où l'expérience du spectateur est
tributaire d'une immersion concrète dans un environnement à très forte
charge poétique. Compte rendu d'une exposition interactive.
http://archee.qc.ca/
¤¤¤¤¤¤¤ Le NET: site et non-site
Un entretien de Chantal Pontbriand avec Jean-Claude Guédon
Jean-Claude Guédon est professeur titulaire en littérature comparée à l’
Université de Montréal. Membre du collège scientifique du REFER (réseau
électronique francophone pour l’enseignement et la recherche), il a publié
La Planète cyber. Internet et cyberespace chez Découvertes-Gallimard.
Chantal Pontbriand, directrice de la revue d'art contemporain Parachute, l’a
rencontré pour discuter des retombées artistiques et sociales de la
"révolution cyber".
http://archee.qc.ca/
¤¤¤¤¤¤¤ Les rhizomes du ciel étoilé
Par Pierre Robert
Présentation de l'organisme Rhizome et discussion autour de leur nouvelle
interface à l'image d'une carte du ciel. La présence de l'internaute dans la
configuration de l'interface perturbe-t-elle la perception de la banque de
données?
http://archee.qc.ca/
¤¤¤¤¤¤¤
L'équipe de la revue Archée vous souhaite la bienvenue à l'occasion de
cette première publication de la saison 1999-2000. Les lecteurs et les
lectrices assidus remarqueront notre nouvelle interface. Nous avons tout mis
en oeuvre pour créer une interface simple, dynamique et conviviale. En
effet, lire à l'écran demeure un des défis de la publication en ligne. Nous
tentons d'année en année de parfaire la consultation de notre site. Nous
vous invitons à nous suivre dans cette démarche en utilisant les navigateurs
de génération 4, si ce n'est déjà fait. Archée utilise maintenant une base
de données grâce à l'apport exceptionnel de Richard Barbeau sur le plan de
la programmation.
Concrètement, nous avons réduit les points d'accès au contenu d'Archée.
La barre de menu se compose uniquement de cinq éléments clés. Au haut de la
page, on retrouve les rubriques: «Cyberart», «Théorie» et «Cyberculture»,
elles contiennent tous les articles publiés par Archée depuis 1997.
«Cyberart» regroupe les commentaires relatifs aux oeuvres dédiées à
l'interréseau (net.art, webart, artweb, art des nouveaux médias, art
médiatique, art interactif, vidéo numérique et autres appellations),
«Théorie» fait état de l'évolution des idées entourant l'art, la virtualité
et l'interréseau alors que «Cyberculture» rend compte des productions
culturelles supportant l'activité cyberartistique. Le quatrième élément est
l'habituel sommaire mensuel. Dernier mains non le moindre, «Recherche et
index des articles» vous permet de construire des requêtes en diagonale à
l'aide de mots clés ou de consulter les résumés des articles.
Au bas de chacune des pages, la zone «Contacts» vous permet de
commenter, recevoir le sommaire mensuel par courriel, soumettre un article,
demander des informations ou, encore, faire de votre entreprise le
commanditaire privilégié de l'organisme Archée.
On vous invite à interagir allègrement à notre nouvelle interface,
vos commentaires seront toujours accueillis avec intérêt.
Permettez-nous de saluer les personnes inscrites à notre liste d'envoi
et de les remercier pour leur encouragement.
Nous vous souhaitons une année des plus stimulantes.
L'équipe
Pierre Robert / rédacteur en chef
Richard Barbeau / rédacteur adjoint
Kathleen Goggin / administration
Archée, revue d'art <en ligne>
http://archee.qc.ca/
+1 (514) 522-1700
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AfroFuturism | Forum
A critical dialogue on the future of black cultural production.
September 18, 1999
New York University
King Juan Carlos I of Spain Center
53 Washington Square South
11AM - 5PM
Suggested donation: $5
AfroFuturism | Forum gathers an international group of cultural critics,
artists and curators to consider futurist themes, sci-fi imagery and
technological innovation in black technoculture.
11:15 - 12:45
Future Visions..
Erika Dayla Muhammad
Reggie Cortez Woolery
Leah Gilliam
Raina Lampkins-Fielder
1:00 - 2:30
Future Sounds.
Tricia Rose
Kodwo Eshun
Simon Reynolds
2:45 - 4:15
Future Images.
Kobena Mercer
Beth Coleman
Franklin Sirmans
Alondra Nelson
4:30
"Edge/Eje"
A presentation by multimedia performance artist Tracie Morris.
This program is made possible by a grant from the Peter Norton Family
Foundation and by the generous support of the American Studies and
Africana Studies Programs at New York University.
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death garage
katajungle
2step darkcore
KATASONIX RECORDS
AUDIO FOR THE YEAR 00
http://www.katasonix.demon.co.uk
data@katasonix.demon.co.uk
dj solaris
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On(e)Line
Virtual presentations and
Live webcasts from
Four continents
http://oneline.dds.nl or
http://surf.to/on(e)line
Opening 16 September 1999 from 4.30pm to 7pm (local time) On(e)Line will
take place at the Gate Foundation, during the 17th World Wide Video
Festival in Amsterdam. For this special event the Gate Foundation will be
open during the weekend of Saturday 18 September from 2pm – 8pm and Sunday
19 September from 4pm – 7pm (local time)
The presentation of this internet project can be visited from 15 September
until 29 September 1999. The opening hours of the Gate Foundation are from
Monday to Friday from 10am to 5pm.
On(e)Line: On One Line
In recent years attempts are made within the art world to seriously open
up towards other cultures; to not focus on a centre whether historically
or geographically grown or just put forward by groups in power. One of the
reasons for this sudden interest could be the rise of a ‘global village’,
in which ideological contradictions weaken and communication techniques as
the Internet are the new tools for the exchanges of knowledge and thoughts
and images. This global and international development is remarkable and
will play an important role also in the next millennium. But despite all
profiling of the new media and of the flexnetwork of a global culture,
many in and around the world of art seem to focus on the already existing
in stead of looking for the new. This is the the idea of the ‘home’ and
the return to the region and the local. The arts as a place to safeguard
authenticity and the local, the arts as a way of expression of concrete
and local experiences.
The global and the international are not opposed to the local or the
regional, there is no confrontation. It is just that the one cannot exist
without the other. It is better to measure these terms with their own
values. This will make way for development and will result in a higher
level in the end. Both in Europe and in North America their is a lack of
knowledge of the history of art from different countries of Latin America,
Africa and Asia. On the other hand in these continents their is a lack of
up to date information on contemporary western art. Exchange of knowledge
is essential. Some works of art from non-western countries get their
meanings from a deliberate local setting or from a definite regional
situation. This is not contradictory to globalising or regionalising in
art. Even the most pure local representation is a part of
internationalism.
In On(e)Line the Gate Foundation wants to give artists from different
parts of the world the opportunity to speak about their search for a place
in their connection to the region within the contemporary global
structure. The participating institutes and artists will give information
about their experiences with multimedia works of art. Exchange of
information is important and the distribution of this information is
essential for a broad cultural forum. Support for this exchange, for the
dialogue and the making of networks via the Internet is of vital
importance.
The project On(e)Line wants to make a start with different institutions
and artists, to bring them in contact with each other, so that in this way
a more balanced form can be developed in which contemporary art from
different areas can be assessed adequately and professionally in its
proper context.
On(e)Line is an internet project that will stimulate visibility, dialogue
and discussions among six artcentres from Zimbabwe, South Africa,
Indonesia, Costa Rica, the United Kingdom and The Netherlands. The
participating centres are independent art institutes or artists
initiatives, that are closely involved in the region and add considerable
contributions to the discussions and developments in international
contemporary visual art.
Participants to On(e)Line:
Gate Foundation, Amsterdam, The Netherlands: Margret Wibmer, Ademir
Arapovic, Debra Solomon
Delta Gallery, Harare, Zimbabwe: David Brazier, Berry Bickle, Chas Maviyane,
Luis Basto
Cemeti Art Foundation, Yogyakarta, Indonesia: Heri Dono, Bintang Hanggono,
Pius Sigit Kuncoro
Public Eye, Cape Town, South Africa: Minette Vari Robin Rhoda, Zayd Minty
Museo de Arte y Diseño Contemporáneo, San José, Costa Rica: Manuel
Zumbado, Karla Solano, Priscilla Monge, Cecilia Paredes
InIVA, London, the United Kingdom
On(e)Line is structured in three layers:
Virtual Presentation from 15 till 29 September
On(e)Line is a virtual presentation of digitised images on the Net, to be
seen and visited at the Gate Foundation on internet and projected on the
walls of the exhibition space. Website address: http://surf.to/on(e)line
Works of the selected artists by the participating institutions will be
shown at the Gate Foundation via the Internet. Each institute has made an
installation with stills of video works and computer works of the artists.
Visitors can see the different images, brows or zap from one slideshow to
the other.
Cultural exchange and dialogues from 15 till 18 September 15 September 3pm
–5pm (GMT): Gate Foundation – InIVA 16 September 3pm – 5pm (GMT): Public
Eye – Delta Gallery 17 September 12pm – 2pm (GMT): Cemeti Art Foundation 18
September 4pm – 6pm (GMT): Museo de Arte y Diseño Contemporáneo Web
castings will take place in which one of the international centres will
occupy a central position.
Video Conference 19 September from 2pm to 5pm (GMT) The Conference will
take place from 2pm to 5pm (GMT) with each of the centres in this project.
During the Conference guests will be invited to take part via a
chat-application to give their reactions. The participating institutes
from Zimbabwe, South Africa, Indonesia, Costa Rica and the United Kingdom
are connected via real audio with the Amsterdam location. They are
virtually present via the Net and participate in the Conference with text,
sound and image.
Please contact the Gate Foundation for more information: Ilse Chin tel 020-
6208057 / fax 020-6390762
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-::::-
A new e-mail list has been formed to discuss and
debate what has been termed 'hacktivism'. Refacing
corporate and government web-pages, organising
community based web servers or micropower radio
stations, using mobile comms to create
communication channels for poor, remote or
oppressed people: the fusion of activism and
hacking has begun to create some very creative
projects - not to mention some interesting
practical, tactical and even ethical questions.
-::::-
The e-mail list is a space to allow activists and
hackers of all persuasions to discuss what the word
'hacktivism' actually means and the issues
surrounding it. It can also be used as a forward
channel for any interesting hacktivism news or
opinion. Please forward this announcement to
interested people.
-::::-
To join this e-mail list simply send a message to:
hacktivism-request@lists.tao.ca
with
subscribe
in the (plain text) message body. Remove the
subject line and your sig.
-::::-
Alternatively go to http://lists.tao.ca/ and
subscribe there.
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Der Studienbereich Neue Medien (www.hgkz.ch/neue-medien) der Hochschule
fuer Gestaltung und Kunst Zuerich lehrt und forscht in dem Bereich
elektronische Informations- und Interaktionsfelder mit dem Focus auf den
gestalterischen und kuenstlerischen Umgang mit visuellen, auditiven und
installativen Gestaltungselementen. Innerhalb des Studienbereichs ist
per Wintersemester 1999/2000 eine
Dozentur fuer Interactive Visual Computing
zu besetzen.
Der Aufgabenbereich umfasst:
bestehenden computerspezifischen Ausdrucksqualitaeten herangefuehrt sowie
fuer das noch zu erweiternde aesthetische Artikulationssrepertoire
elektronischer Medien sensibilisiert werden
- die Konzeption und die Leitung von wissenschaftlichen Projekten im
Bereich von Grundlagen- und angewandter Forschung bezueglich digitaler
Aesthetik in elektronischen Informations- und Wissensfelder/- raeumen. Die
Konzentration liegt dabei auf der Neuentwicklung von echtzeitorientierten
Visualisierungs- und Formalisierungsansaetzen, von audio-visuelle und
installativen Gestaltungsprinzipien, von generativen
Datenvisualisierungsloesungen, funktionellen Software -
Interaktionsprinzipien im weiten Feld elektronischer "Public Spaces" und
computerunterstuetzter Kooperations- und Kollaborationsanwendungen im
besonderen
- die engagierte, konzeptionelle Mitarbeit am Auf- und Ausbau des
Studiengangs Neue Medien
Wir erwarten:
- eine Ausbildung als InformatikerIn, der/die an der Architektur der
Inhalte ebenso interessiert ist, wie an der Architektur ihrer Programme
- fundierte Kenntnisse in der Computergraphik/ -animation, v.a. in dem
Bereich der Echtzeitvisualisierung
- grundlegende Kenntnisse in den industriellen, wissenschaftlichen und
experimentellen Entwicklungen in den Bereichen elektronischer
Visualisierung mit zusaetzlicher Beruecksichtigung von innovativen Hard-
und Softwaresystemen, Virtual Environments, Hypermedia und auch
Interactive Distributed Media
Bewerbungen mit den ueblichen Unterlagen sind spaetestens bis zum 15.
September 99 zu richten an: Hochschule fuer Gestaltung und Kunst Zuerich,
Studienbereich Neue Medien, Herrn Giaco Schiesser, Postfach, CH-8031
Zuerich oder per email An Giaco.schiesser@hgkz.ch
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Art & Science Collaborations, Inc.(ASCI) presents...
The 2nd Annual Digital Art Exhibition
September 12 - October 10, 1999
in the Computer Gallery of the
New York Hall of Science (NYHOS)
Flushing Meadows, Corona Park, Queens, NY
In late October, the show will move to
the Brooks Gallery at The Cooper Union
8th Street at Astor place, Manhattan
http://www.asci.org/Digital99
>From the cool, sophisticated design sensibilities of Abigail Doan's -
Hypatia II - to the hot, 3-D intensity of Marjan Moghaddam's - Adoration of
PacMan - and Jun-Ho Lee's introspective twist on Cartier Bresson's camera
seizing just the correct moment in time (in this case "memory") - Digital99
is a brief tour de force of digital hardware and software as expressive
tools in the hands of imagination.
ASCI creates this Open Competition and Exhibition as a way to find new
talent and give their work visibility both in reality and online. Probably
20,000 children and families will see the work of this year's eight winners
in the Computer Gallery at the New York Hall of Science and then in the
Brook Gallery at The Cooper Union, which provides a Manhattan venue closer
to the SoHo art scene.
Seventy-five artists from around the world entered this Competition and
eight winners in two categories (Digital Print and Web-Art) were selected.
Last year's judge, Tim Druckrey, brought his vast experience in new media
to the selection process. That exhibition can still be viewed at -
http://www.asci.org/Digital98. This year, Therese Mulligan, Curator of
Photography at the George Eastman House (http://www.geh.org) in Rochester,
New York, was our juror. Although her experience with art websites was
admittedly limited, the George Eastman House was the first museum in this
country to collect a digital print for their collection. Therese said she
surprised herself at how much she enjoyed the interactivity of reviewing
the web-art entries and you can read more about her thoughts on the
selection process in her Juror's Statement.
We invite you to see the exhibition online at http://www.asci.org/Digital99
(includes image, Artist Statement, bio and contact information)
ASCI is an 11-yr.old national non-profit organization based in New York
City. Its mission is to raise public awareness about artists and
scientists using science and technology to explore new forms of creative
expression, and to increase communication and collaborations between
practicioners in these fields. Programs include a monthly publication,
the ASCI BULLETIN, emailed to members; public symposia and panels on
timely topics; exhibitions, online and hard copy Membership Directory for
curators; monthly ASCI members meetings in SoHo; and public art-sci
projects. Our director, Cynthia Pannucci, also lectures, curates,
consults, and develops public projects & symposia. For more informantion
call 718-816-9796 or visit.... asci@asci.org
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Chris Marker's Immemory
West Coast Premiere of the Artist's CD-ROM
Introduced by Christine van Assche, Centre Georges Pompidou
Los Angeles Times Media Center
Friday, October 1, 1999 | 7:30-9:30 PM
Art Center College of Design
1700 Lida Street | Pasadena, CA 90013
626.396.2200 | www.artcenter.edu
mediawork: The Southern California New Media Working Group and the Santa
Monica Museum of Art invite you to the West Coast premiere of Chris Marker's
CD-ROM, Immemory. Marker is the visionary French filmmaker, photographer,
novelist and artist whose best known works include the films La Jetee and
Sans Soliel, and the video/digital installation Zapping Zone.
The tour will be lead by Christine van Assche, the CD-ROM's producer and a
Chief Curator, Media Art at the Centre Georges Pompidou in Paris. Joining
van Assche in a roundtable discussion of Immemory after the demonstration
will be Carole Ann Klonarides (SMMoA), Steve Mamber (Film and Television,
UCLA), and Peter Lunenfeld (Communication & New Media Design, Art Center).
"The purpose of this project is to offer a guided tour of one person's
private treasure trove, to offer, using a computer, each user the chance to
create his/her own geography book, either making his/her own selections or
being led haphazardly by the programs. Welcome to Memory, land of contrasts,
or, as I prefer to call it, Immemory." Chris Marker
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University of Portsmouth
Merz Akademie Stuttgart
Hogeschool voor de Kunsten Utrecht
European Professor of Interactive Environments in partnership with the
Merz Akademie, Stuttgart
European Professor of Design for Digital Cultures in partnership with
the Hogeschool voor den Kunsten, Utrecht
The School of Art, Design and Media of the University of Portsmouth,
in conjunction with key partners in Europe wishes to make two
Professor Appointments to lead their joint research and postgraduate
programme in digital cultures.
Each successful candidate will be a leading authority with an
established research portfolio and programmatic interests in the field
of digital cultures. Expertise relating to design and operation of
multi-user interactive environments, whether for enquiry, exploration,
exchange, critical discourse or creative work, would be particularly
valuable.
The salary of each Professorship will reflect the experience of the
successful candidate and the responsibilities of a leading European
role, but will not be less than £36k.
http://www.merz-akademie.de/sitemap/stellen.html
Please send your complete application until
September 23rd, 1999 to:
Mr. J. Boam
Head of Personnel Services
University of Portsmouth
Personnel Office
University House
Winston Churchill Avenue
Portsmouth Hants
PO1 2UP
England
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Dear fellow-member, dear colleague, I sincerely hope to have the honor to count
to you among my guests during the inauguration of the exposure of re-entry of
the Locality Art Foundation. This exposure, whose assembly was entrusted to me
by my colleague and administrator Clement Thomas, will be devoted to Messrs
Halgand, one of the media artists most outstanding of this end of millenium.
Messrs Halgand Of September 16 at October 20, 1999
URL: http://lieudit.org/artfoundation
Varnishing will proceed on line on the Internet in International Relay Chat
(IRC) in the presence of the artist, of Clement Thomas, administrator of the
foundation, of Ronald Green, critical of art and myself. Messrs Halgand will be
interviewed by Ronald Green.
Date and hour from varnishing: September 16, 1999 with 17h and 20h30 (GMT+1)
Server IRC: irc.webmaster.com Port: 6667 Channel: # fraclr
" By circumventing face the question of the truth, Messrs Halgand deliberately
reactivated the mechanics of Invrai. In the fortuitous use as much as chronicle
of dialectical of chaos communicated to media arts, they open as of the end of
XXe century the way with the " whole art, cross-country, and us " . If the
seduction of the " enfreint of the command awaited of the things done everything
" the conduit to reconsider the critical attitude of Marcel Duchamp, and to
adhere as of spring 1999 to the movement Popular Arts Been worth Upgrade, they
do not remain less refractory about it with the programme of " rhizomic
nationalization of informed arts " . **time-out** their project of rebuilding of
a " command poetic supreme " of which the variation of diaphragm leave a field
largely open with fork interpretatoire, their have be worth in 1998 a " New BB
Art Award " , and the rise, the year following, with row of " Rider of Art of
Elite " .
The locality art foundation devotes its exposure of rentree has this artist who
knew, during dernieres decennies, to trace the first furrows and degager a
luminous path in the fertile field of arts mediatic. Ronald Green is critical to
defer to the ESR the Locality Art Foundation is dedicated to informative arts
and is managed by Clement Thomas, founder member of the PAVU (Popular Arts Been
worth Upgrade).
For any request for additional information, apply to: Clement Thomas
(ctgr@free.fr) or me-meme(alban.saporos@theobvious.zzn.com).
Your,
Alban Saporos
Alban Saporos criticizes art and police chief of exposure.
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