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Table of Contents:
[no subject]
post@perfres.demon.co.uk (performance research)
invitation . darko fritz's p.sound @ de loge + toon festival . haarlem
"darko fritz" <fritz.d@chello.nl>
call for papers
STRATE@FORDHAM.EDU
Bardcode @ Artcontext
deck@artcontext.org
le mediatrans.13
matze.schmidt@n0name.de
le mediatrans.14
matze.schmidt@n0name.de
le mediatrans.16
matze.schmidt@n0name.de
le mediatrans.17
matze.schmidt@n0name.de
Reminder : Verbal Group Presents Warhol Hijack @ jihui
Jennifer Crowe <jennifer@rhizome.org>
Upcoming IMC and CMD Events
"geert lovink" <geert@xs4all.nl>
le mediatrans.19
matze.schmidt@n0name.de
Ballettikka Internettikka | net.ballet
"intima" <atom@intima.org>
Transmute at Site Gallery
Michelle Hirschhorn <m.hirschhorn@virgin.net>
le mediatrans.15
matze.schmidt@n0name.de
call for submissions
thomas dumke <dumke@body-bytes.de>
------------------------------
Date: Fri, 9 Feb 2001 11:57:56 +0000
From: post@perfres.demon.co.uk (performance research)
WITH APOLOGIES FOR ANY CROSS-POSTING
WOMEN & PERFORMANCE: A JOURNAL OF FEMINIST THEORY
CALL FOR PAPERS
TRAFFICKING BOUNDARIES
A boundary is a crossover moment. It defines our longings for transcendence
and our passions to stay put. Trafficking Boundaries will explore how a
performance event or written text marks itself out from the
discursive/aesthetic practices it simultaneously embraces and transgresses
at its conception. This issue of the journal Women and Performance speaks to
academic and artistic interests concerned with how different kinds of
spaces - textual as well as physical - come to be codified, circulated,
represented and defined within the discursive landscape. We want to document
ways in which instances of boundary crossing create fruitful contamination
and thus may serve as resistance to, and transformation of, hegemonic
cultural material. Considered from this perspective, boundaries can be
addressed as sites of production in relation to current feminist praxis and
a broader critical engagement alike.
The metaphor of the boundary is familiar to performance and feminisms,
understood as a means of loosening up established disciplinary divisions.
Trafficking Boundaries seeks to challenge the hierarchical logic inherent
within traditional categories of genre and gender. We encourage work which
addresses the often enigmatic transactions and intersticial spaces that
arise among such generic affiliations.
We venture to ask what might be the long-term stakes in the fields of women'
s and performance studies in mixing genres as diverse as autobiography,
political propaganda, technological lingo, and manifesto, or of confounding
such different media and art forms as storytelling, video, live performance,
dance, bodyart, painting/sculpture, photography, music, newspaper fragments
and other everyday "trivia". Experimental writing, photo essays, poetry,
critical essays, visual art and ficto-criticism (as examples) are welcome
genres for submission to the present volume.
Writings on boundary crossing may include, but need not be restricted, to
topics such as:
generic intersection amongst performance traditions
performativity and gender construction
encodings of public and private space
installation and visual art hybridity
urban planning & spaces of transit (airports, hotel lobbies, bus-stops,
train stations)
collage, montage, bricolage
cross-contamination, plagiarism, palimpsests and parasitism
translation, methods of transcription and bilingualism
the rhetorical and the tropological
idle talk, gossip, rumor and heresay
legal discourse, testimony, confession and proofs
No abstracts, please! Materials due in hard copy: March 5, 2001
Please send to: Trafficking Boundaries, Issue #24 Editors
Women & Performance Journal, New York University
Tisch School of the Arts, Dept. of Performance Studies
721 Broadway, 6th Floor, New York, NY- 10003
Editors: Sara Bailes and Maiken Derno
Questions can be e-mailed to: sjb226@nyu.edu and dernos@worldonline.dk
***********************************************************
Clancy Pegg (Editorial Administrator)
Performance Research
Market Road
Cardiff CF5 1QE
UK
TEL: + 44 (0) 29 20 388 848
FAX: + 44 (0) 870 055 7873
E-MAIL: post@perfres.demon.co.uk
WEBSITES: <www.aber.ac.uk> then search for 'Performance Research'
<www.tandf.co.uk/journals>
***********************************************************
------------------------------
Date: Fri, 09 Feb 2001 00:55:23 +0100
From: "darko fritz" <fritz.d@chello.nl>
Subject: invitation . darko fritz's p.sound @ de loge + toon festival
. haarlem p.sound
sound installation by darko fritz
16 . 02 - 04 . 03 . 2001 . solo exhibition @ De Loge . Haarlem
> opening friday 16 . 02 . 17 - 20 h
free entrance
part of Toon festival
initial sound samples were taken from porno films sound library CD.
multilayered and reprogrammed through various sound software using random
algorhitmics alongside others, they appears now as new 60 minute soundscape.
copyleft three minute version
http://members.ams.chello.nl/fritzd/sound/p.sound.mp3
more on p.sound + dutch press release
http://members.ams.chello.nl/fritzd/sound/p.sound.htm
how to get to De Loge by car or train
http://www.vide.demon.nl/oud/info/route.en.html
toon festival
http://www.vide.demon.nl/
____ >>>>>>>>>>____
darko fritz propaganda . http://members.ams.chello.nl/fritzd
___________________________........
if you don't want to receive further information about darko fritz's work
please send e-mail to fritz.d@chello.nl with a message 'no more propaganda'
------------------------------
Date: Fri, 9 Feb 2001 10:46:08 -0500
From: STRATE@FORDHAM.EDU
Subject: call for papers
CALL FOR PAPERS
The Second Annual Convention of the Media Ecology Association
New York University
New York, New York
June 15-16, 2001
If you are interested in:
- -- the nature, history, and impact of technology, media, and symbol
systems
- -- the study of communication, consciousness, and culture
- -- technological determinism, media evolution, information theory and
cybernetics
- -- the study of media codes, media literacy, and media education
- -- orality, literacy, secondary orality, and post-literacy
- -- oral, scribal, typographic, and electronic cultures
- -- the graphic revolution and image culture
- -- scholars such as Marshall McLuhan, Harold Innis, Walter Ong, Neil
Postman, Lewis Mumford, Edmund Carpenter, Jacques Ellul, and Erving
Goffman
Then you won't want to miss this summer's hottest convention in the
coolest part of New York City. The Media Ecology Association invites
you to participate in our Second Annual Convention, sponsored by the
Department of Culture and Communication at New York University.
We welcome proposals for individual papers and presentations as well
as theme-based panel sessions on topics such as those listed above.
Papers presented at the Convention may also be submitted for online
publication in the Convention Proceedings.
------------------------------
Date: Fri, 9 Feb 2001 12:06:39 -0500
From: deck@artcontext.org
Subject: Bardcode @ Artcontext
|| || |||| || |||| ||| | |||| | | ||| | || | |||
Bardcode translates the work of the Bard,
adapting it to the concerns of the 21st century,
when literature itself is expendable and
computer languages are omnipotent. Barcode
welcomes you to the new world of language
fortification. The lesser known Shakespearean
tradition of cryptography ushers in a radical
new economy of speech. Freedom of speech
becomes freedom from speech! Oration is
e-rationed!
Bardcode offers cool exclusive technologies
like Bardband communication. It unleashes
the potential of unlimited terms, post-literacy
interfacing (PLI), and eliminates the danger of
fair use (FU). Plus, you get the post-tertiary
Act IV Bard service pack, which enables Bard-
drive optimization, free with your resigned
submission to a variety of other Bardware
products. Tune in to the Bardcast today at:
http://www.artcontext.org
|| || |||| || |||| ||| | |||| | | ||| | || | |||
------------------------------
Date: Fri, 9 Feb 2001 23:20 +0100
From: matze.schmidt@n0name.de
Subject: le mediatrans.13
le mediatrans.13
09022001 23:09 Berlin Local Time
n0name live! from transmediale.01
(http://www.transmediale.de),
Berlin, Germany 4 to 11 February
2001
23h Electronic Mailing _Keyboard
Terror: All You Can Download!_
------------------------------
Date: Sat, 10 Feb 2001 00:42:28 +0100
From: matze.schmidt@n0name.de
Subject: le mediatrans.14
le mediatrans.14
09022001 00:13 CET
n0name live! from @ home
(http://www.transmediale.de),
Berlin, Germany 4 to 11 February 2001
Streaming Art
...loading
do yourself!
dual com.cation modulator
service
post something to n0name, we beam it into the internet for you!
the ultimate business model
getting conservative: syndicate. selfjudgeing with author machines
who reads all this? the overload
philosopher Pfaller's thesis: interpassivity (Huebler: "i don't know the
word") people not producing, not consuming -> laughing from tape in sit
coms, -> videorecorder watches tv for you, hand over your joy to systems ...
powered by ............*
*insert your favourite company here
(c) 2001 n0name
------------------------------
Date: Sat, 10 Feb 2001 01:59:55 +0100
From: matze.schmidt@n0name.de
Subject: le mediatrans.16
le mediatrans.16
09022001 00:13 CET
n0name live! from home
(http://www.transmediale.de),
Berlin, Germany 4 to 11 February 2001
Electronic Mailing _Keyboard Terror: All You Can Download!_
half fictional part of a conversation of 2 guys in the festival lobby: "i
jet to munich tomorrow, to new york and then back to berlin again."
superschool a online shoppingwhatsoever "telemall" as a portal for videos
producer produces showed a female-world for women reduced to typical stupid
feminin patterns gets payed by a car-company 10 minutes flash costs dm
10,000 - 30,000 what was the cut formerly is now the programming
merchandizing chain for image making
stream interrupt
------------------------------
Date: Sat, 10 Feb 2001 02:23:00 +0100
From: matze.schmidt@n0name.de
Subject: le mediatrans.17
le mediatrans.17
fr. 09022001 02:04 CET
n0name live! from home
(http://www.transmediale.de),
Berlin, Germany 4 to 11 February 2001
oh one!
dee ai why?
deliver broadcast and broadband access + plasma display to the customers.
want to make sure that the artists get famous, they must get money for
producing
channel of art
for a short moment the panel people looked at theirselfes on the screen
when the cam took the stage
a democratic medium.
"
****************************************************************************
************************
during the whole festival week
you can explore interactive CD's and net.art
projects, watch videos from our
video-on-demand service or wander around the space in
the Media Lounge, have a
drink and get to meet the artists of the festival.
****************************************************************************
************************"
error: le mediatrans.16 was sent at 01:59 not at 00:13
([sorry for bad engl.])
(c) 2001 n0name
------------------------------
Date: Fri, 09 Feb 2001 17:38:27 -0500
From: Jennifer Crowe <jennifer@rhizome.org>
Subject: Reminder : Verbal Group Presents Warhol Hijack @ jihui
Hi Rhizomers,
Just a reminder. If you are online...please tune in.
Jennifer
+ + + + + + + + + + + + + + + + + + + + + + + + + +
The Verbal Group Presents The Warhol Hijack @ jihui
Friday, February 9, 2001 7 PM
Parsons Center for New Design
55 West 13th Street, 9th Fl.
New York, NY 10011
Live webast at http://netart-init.org 7pm EST.
On January 26-28, 2001, members of the Verbal Group (new media artists
Ricardo Dominguez, G.H. Hovagimyan, Yael Kanarek Tina LaPorta, Diane Ludin,
Kevin & Jennifer McCoy, MTAA, Cary Peppermint and curator Jennifer Crowe)
hijacked WeLiveInPublic.com, Josh Harris and Tanya Corrin's loft in Soho
that is wired to the Internet with 32 cameras. All sounds, events, and
actions were broadcast live.
Over the weekend, planned and spontaneous interventions into the physical
and virtual space occurred. The Verbal Group also engaged in quite a bit of
eating, drinking, conversing about online aesthetics, and hang out with
each other and the people in WeLiveInPublic.com chat room.
Through interventions ranging from morning exercises led by people in the
WeLiveInPublic.com chat room, to having simulated cybersex, and presenting
performative texts to the "toilet cam", the Verbal Group spent the weekend
messing around with and trying to cope with living in the ready-made
object/space of WeLiveInPublic.com.
Members of the Verbal Group will present this project and talk about its
aftermath at Jihui.
For more information about Verbal and "The Warhol Hijack" visit:
www.treasurecrumbs.com/verbal/wlip
www.weliveinpublic.com
+++++++++++++++++++++++++++++++
The NETART INITIATIVE <http://netart-init.org> is a loosely knit, open
source based, hub styled, forum oriented, action enabled consortium,
where people meet, virtually and bodily, to communicate, exchange, and
discourse for advancing the understanding of a virtual art, a networked art
and an art that will be pervasive and ubiquitous in the years to come.
jihui (the meeting point), a self-regulated digital salon, invites all
interested people to send ideas for discussion/ performance/et, jihui
is where your voice heard and your vision shared.
jihui is sponsored by Digital Design Department and Center for New Design
@Parsons School of Design
A project of NETART INITIATIVE
------------------------------
Date: Sat, 10 Feb 2001 16:46:25 +1100
From: "geert lovink" <geert@xs4all.nl>
Subject: Upcoming IMC and CMD Events
From: "Brian G. Allen" <bri@brizone.com>
Sent: Saturday, February 10, 2001 1:36 PM
Subject: Upcoming IMC and CMD Events
MEDIA DEMOCRACY WEEKEND
Two days of FREE public events addressing issues of Media Democracy in our
community, sponsored by Movimiento Estudiantil Chicana/o de Aztlan (MEChA),
The Center For Media and Democracy, the Seattle Independent Media Center,
and the Elliott Bay Book Company.
********************
SATURDAY, FEB 17
********************
As part of the 2001 Pacific Northwest MEChA Regional Conference, "From
Consciousness to Action", MEChA and the IMC will be presenting two sections
of the following free workshop in the HUB (Student Union) of the University
of Washington, Seattle:
"Independent Media: Understanding media distortion, representing ourselves"
12:10pm-1:40pm - HUB 310 - Workshop session III
3:00pm-4:30pm - HUB 310 - Workshop session IV
Both sections of this workshops are FREE, and open to the public. For more
information please contact the MEChA office at (206) 543-9244.
********************
SUNDAY, FEB 18
********************
ELLIOTT BAY BOOK COMPANY, 101 S. Main St, Seattle (206) 624-6600
1:00 PM John Stauber, co-author with Sheldon Rampton of the muckraking
classic, "Toxic Sludge is Good for You", talks about and signs their newest
book: "Trust Us, We're Experts: How Industry Manipulates Science and Gambles
with Your Future". The book provides the dirt on 'perception management,'
the 'spin on spin,' and encourages us to take harder looks at the news and
media.
(Free Tickets are available beginning February 6)
For more information, please contact Elliott Bay at (206) 624-6600.
- --------------------------------------------------------------------
INDEPENDENT MEDIA CENTER, 1415 3rd Ave, Seattle (206) 262-0721.
(Donations appreciated, but not required):
3:00 PM A Screening of the Film, "Fear and Favor in the Newsroom", a
one-hour documentary narrated by Studs Terkel. A critical, must-see
documentary that examines some of the principal sources of the corruption of
American journalism. Includes interviews with four Pulitzer Prize winners,
Ben Bagdikian, and others.
4:30 PM a Lecture by John Stauber: "Toxic News is Good for You!: How
Corporations Manipulate the News through PR & Advertising $$$". John
Stauber, founder and director of the non-profit Center for Media and
Democracy, also writes and edits PR Watch (www.prwatch.org).
5:30 PM Panel Discussion / Audience Q&A Period:
"Developments in the Movement for Media Democracy"
- --------------------------------------------------
John Stauber Founder - Center for Media and Democracy
Editor - "PR Watch
Karen Toering Executive Director - Seattle Community Access Network
Member, National Board - Alliance for Community Media
Randy Baker Writer/Co-Producer "Fear and Favor in the Newsroom"
Martha Baskin Freelance Radio Journalist - "Making Contact"
Correspondent - Free Speech Radio News
- --------------------------------------------------------------------
For more information please contact the IMC at (206) 262-0721.
------------------------------
Date: Sat, 10 Feb 2001 12:34:49 +0100
From: matze.schmidt@n0name.de
Subject: le mediatrans.19
le mediatrans.19
sa. 10022001 12:33 CET
n0name live! from home and transmediale.01
(http://www.transmediale.de),
Berlin, Germany 4 to 11 February 2001
At 06:59 09.02.01 -0800, normanke wrote:
>> some people get information from the streets,
>> but is it a medium? would it be helpfull to
>> define e.g. the subway as a medium? to see
>> the street as a new medium would help to end
>> the categorial distinction between the
>> immaterial (media) and the physis. street
>> would never be a dead medium (Bruce
>> Sterling) just it's form <- old discussion.
>
>read "understanding media: the extensions of man" by
>marshall mcluhan. there is a chapter entitled "roads
>and paper routes" which discusses the mediated nature
>of the road -- the street.
yes and no! because mcluhan, when he spoke about media, he thought of an
extension of man (the prothesis, like a artificial limb), that means he
could not imagine a social thing in a realm outer mankind but in contact
with and contrast to mankind (?). i would propose: don't see the objective
world as a mediated space in the meaning of manipulating and simulation,
but as a medial space which one must design and which is designing itself
all the time. so the option would be: the street as a space which x and y
and z and you not just the expert can form, shape, arrange, organize,
program. mcluhan's street is possibly just another massmedium. the steet as
a new medium would transform it into a potential aim for investment in
channels for 'real' social participation: give all people without finance
power back the space they need and don't wonder if they take it. the
following is clear for years now: this would mean first: a laptop and for
everyone + access to real space and virtual space for free and the right to
publish in all media channels, tv, radio, advertising, internet ("our
medium is every wall", the una-bomber problem). but the logic most
governments, artists and companies follow is that the media field must be
formed by professionals (they are inscribing their ideology) and they
overlook, that this field is already formed by everyone, but not adequate.
so it is a problem of ethics, will and authority.
matze schmidt
------------------------------
Date: Thu, 8 Feb 2001 18:49:48 +0100
From: "intima" <atom@intima.org>
Subject: Ballettikka Internettikka | net.ballet
*announcement
and invitation for co-operation*
- - - - - - - - - - -
"Ballettikka Internettikka | Part One: net.ballet"
(Ljubljana, Slovenia: February / March 28th 2001)
- - project -
Igor Stromajer - "intima | virtual base" and MC Brane (Brane
Zorman) - "Beitthron" are beginning with the preparations for the
new multilevel intermedia project:
"Ballettikka Internettikka"
[Stromajer dances net.ballet!]
After the project "Oppera Teorettikka Internettikka" (Ljubljana, March
1999 - Opera and Ballet of the Slovenian National Theatre), where
Stromajer was singing the HTML code of his net art projects, he
decided to dance the net ballet. It's time!
The aim of the project is also to support The State Academic
Bolshoi Theatre (Moscow, Russia) and its renovation.
"Ballettikka Internettikka | Part One: net.ballet"
March 28th, 2001 at 19:00 GMT+1
online only - live on the net
one year after - exactly one year after The Bolshoi Day, 2000
http://www2.arnes.si/~ljintima2/ballet
net.ballet dancer: Igor Stromajer - intima | virtual base
net.ballet composer: MC Brane / Brane Zorman - Beitthron
The second part of the project "Ballettikka Internettikka" will be
realized in spring 2002 in Moscow (RealTimeSpace).
Any kind of help or co-operation with the preparations and
realization of the project would be much appreciated.
For further information please contact: atom@intima.org
- - - - - - - - - -
links:
intima virtual base
http://www.intima.org
Beitthron
http://www.ljudmila.org/beitthron
net.ballet
http://www2.arnes.si/~ljintima2/ballet
The Bolshoi Theatre
http://www.bolshoi.ru
International Day of Solidarity with the Bolshoi Theatre,
March 28th 2000
http://www.bolshoi.ru/english/recon_day.phtml
TV.INTIMA
http://www2.arnes.si/~ljintima2/cam
Oppera Teorettikka Internettikka
http://www2.arnes.si/~ljintima2/oppera
- - - - - - - - - -
Appeal by The Bolshoi Theatre for international support
The Bolshoi is one of the finest theatres in the world, not only
because it is one of the largest and handsomest but also by virtue
of the supreme artistic level of the performances staged there.
Many outstanding musicians, composers, conductors, directors,
ballet masters, designers and performing artists have worked at the
Bolshoi, among them the singers Antonina Nezhdanova, Fyodor
Chaliapin, Leonid Sobinov, Vladimir Atlantov, Aleksandr Pirogov,
Yevgeniy Nesterenko, Irina Arkhipova, Elena Obraztsova, and such
great names in the world of ballet as Marina Semenova, Galina
Ulanova, Maya Plisetskaya, Raissa Struchkova, Lyudmila
Semenyaka, Nikolai Fadeyechev, Ekaterina Maksimova, Vladimir
Vasilyev, Maris-Rudolf Liepa and Mikhail Lavrovskiy.
The theatre has experienced many vicissitudes during its 223-year
life. Founded as a private theatre on 28 March 1776, under a
warrant granted by the Empress Catherine II, it soon became a
State institution and has remained one down to the present day. It
suffered two fires, in 1805 and 1853, and reopened in 1856 after
being rebuilt by the architect Albert Cavos to the original plans of
Osip Bovet. This elegant building, its colonnade of eight Doric
columns surmounted by a bronze quadriga driven by Apollo, still
possesses a special grandeur and majesty that make its image
immediately recognizable to lovers of the performing arts the world
over.
Since then, for over 140 years, the Bolshoi Theatre has been
constantly undergoing minor repairs and restoration, but this has
unfortunately been insufficient to solve the problems it has
accumulated with the passage of time. The behind-the-scenes
technology is also in need of modernization, to enable the theatre to
stage new, interesting large-scale productions.
Following a thorough survey of the premises by a specially
appointed commission, the Government recognized the need for a
comprehensive restoration and rebuilding programme for the
theatre back in 1987, but events in subsequent years meant it had
to be postponed. In 1993, the Russian Government decided that
subsidiary premises should be built, after which restoration and
reconstruction work would commence on the principal building, the
idea being that the new premises would house the Bolshoi company
pending completion of that work and would become its second
auditorium.
The foundation stone of the new building was laid on 8 September
1995 in Theatre Square, in front of the Bolshoi itself. Work on the
fabric of the building has now been completed, and the installation
of technical equipment and the finishing and decorating operations
began in October 1999.
The preliminary estimate of the total cost of renovation and
reconstruction of the Bolshoi Theatre is close to US $200 million.
The Bolshoi Theatre reconstruction project is assisted by UNESCO
on the basis of a tripartite agreement signed in 1993 by UNESCO,
the Russian Ministry of Culture and the Bolshoi Theatre. In order to
draw worldwide attention to the theatre's problems, an international
campaign to raise funds for its restoration was launched in May
1999 by UNESCO.
A steering committee has been set up to supervise the campaign,
oversee income and expenditure, and advise on general policy
matters connected with the project's implementation. This
committee comprises representatives of UNESCO, the Russian
Government and the Moscow municipality, the governing body of
the Bolshoi, directors of some of the world's major opera houses
and leading figures in the world of culture and the arts. The
campaign is being coordinated by UNESCO which has opened
special bank accounts to receive contributions for the reconstruction
of the Bolshoi Theatre.
One of the most important measures to be taken in connection with
this international campaign will be an International Day of Solidarity
with the Bolshoi Theatre on 28 March 2000. The world's theatres,
cinemas, concert halls and other cultural and performing arts
centres are invited to participate by setting aside any sum they can
afford from box-office receipts of one performance on that day.
Other organizations, corporate bodies and individuals caring about
what becomes of the Bolshoi are also invited to take part. The
names of all who have helped the Bolshoi will be recorded in a
commemorative list that is to be incorporated in the fabric of the
restored and renovated theatre
[ text: © 2000 The Bolshoi Theatre (www.bolshoi.ru) ]
------------------------------
Date: Thu, 08 Feb 2001 16:32:13 +0100
From: Michelle Hirschhorn <m.hirschhorn@virgin.net>
Subject: Transmute at Site Gallery
Transmute - Keith Armstrong
Friday 9th March 12.30pm
Presented simultaneously at
Site Gallery - UK and The Powerhouse =AD Australia
www.sitegallery.org/liveart
Transmute is a highly interactive, live-art/installation work that aims to
draw attention to the visible and invisible relationships that exist between
people and their local and global environments.
For this work, transmute will comprise a physical performance/installation
environment in Australia and a dynamically updating web site projected
within a 3 dimensional set at Site Gallery. Followed by short artists talk.
The ultimate goal of the project is to produce a "net-work" that becomes
distributed across several worldwide locations, connected via streaming
media servers.
After 2 months of online conferencing and developments Keith Armstrong will
be artist in residence for one week developing the performance/installation
environment in Site Gallery=B9s upstairs studio.
This event is part of the Site Gallery Live Art Programme 3 - 17 March. For
full programme details, please see the website
------------------------------
------------------------------
Date: Sat, 10 Feb 2001 01:21:55 +0100
From: matze.schmidt@n0name.de
Subject: le mediatrans.15
le mediatrans.15
09022001 01:01 CET
n0name live! from @ home
(http://www.transmediale.de),
Berlin, Germany 4 to 11 February 2001
Germany's leading media art festival critix
Thanks to
digital media, lots of people are now in a position
to make their own
productions, meaning the hierarchical distinctions
between professional
and non-professional work are becoming increasingly
blurred.
The transmediale would then be in a position to become Germany's
leading media art festival. We want Berlin to be
http://www.transmediale.de/01/en/p_broeckmann.htm
... Participation has not per se liberating effects, counter proposal:
Renitenz
superchannel super channel problemsolving "creating communities"
Karlskrone2 as a 3d-city, avatars meeting
h h
Three prizes each worth DM 10,000 = 30,000 = 5 notebook-computers and access
(c) 2001 n0name, transmediale & all
------------------------------
Date: Sat, 10 Feb 2001 17:29:09 +0100
From: thomas dumke <dumke@body-bytes.de>
Subject: call for submissions
International competition for computer-based art CYNETart 2001
CYNETart award
The competition for computer-based art is calling for entries in the
fields of audio processing , internet, interactive CD-ROM, computer
graphics, computer animation, and computer-based
installation/performance. The prize money of 10,225 Euro (20,000 DM) is
donated by private enterprises. The (maximum of) four award winners and
about 12 recognitions will be chosen by the expert jury. A choice of the
submitted projects will be presented during the CYNETart festival. This
choice will be made by the promoter.
CYNETart Forum 2001 INTERFACES
CYNETart sees itself as a local and at the same time as a global centre
of reflection about the information society and for the formation of its
cultural dimension. The festival is at the heart of the political
concept “media culture city Dresden”. We view artistic exploration of
the possibilities of computer- and net-based communication as a field of
investigation into changes in our ways of perception, social relations,
exchange relations, image, product- and marketing strategies, political
and scientific research aims and development of creativity and human
potential.
At the topical centre of the CYNETart 2001 will be installations,
experiments, performances and research results dealing with connections
between technological and bio-psycho-social interfaces. In the course of
their history, human beings have created a network and at the same time
labyrinthine system of mirror images, symbolisations, and projection
space into which they go on the search for their being. Modern
information technology brings forth a sensorial system not only of
optical, acoustic, bio-electronic, and tactile information processing.
It also puts us in the position of being able to receive, to gauge, to
process, to save, to network and to exchange a broad spectrum of
energetic vibration parameters. Thus new "faces" developed by means of
which we perceive our "inner" and "outer" world.
Deadline: 30th of April, 2001
Regulations and submission form: http://www.body-bytes.de
send the submission to
CYNETart office
Medienkulturzentrum PENTACON
Schandauer Str. 64
D - 01277 Dresden
Further enquiries from Dorothea Kupsch (Koordination)
kupsch@body-bytes.de or Tel. +49-351-3400673
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