*******************************
JOBS AND CALLS
*******************************
CALLS FOR PROJECTS:
INTERSCULPT'99
INTERSCULPT'99 is pleased to announce the opening of the 1st DIGITAL
SCULPTURE COMPETITION. The competiton is open to everyone who creates
virtual sculptures (cybersculptures) which can be materialized by
Rapid-Prototyping devices. The 3 winners will receive a MECHANICAL DESKTOP
software offered by AUTODESK inc.. Their sculptures will be built by
OPTOFORM in Europe and Z-CORP in USA. The first winner also will receive a
CHARLYGRAAL software from CHARLYROBOT S.A. -CharlyGraal is a CAD/CAM soft
for milling machines.
To register in the competition, send an e-mail to Michael REES:
zedand00@sound.net Give your full name and addresse, a short biography, and
an artist statement about your artwork. When you will send the file(s) of
your digital sculpture, add a technical description of the process and the
object (what is the computer, what is the software, what is the 3D
digitizer, etc.)
To send the sculptures you want to submit at the DSC Jury, please use the
IS'99 FTP: Host: ftp.toile-metisse.org Login: anonymous Password:
email-address Incoming directory
The competition will be closed on 15 of September, and the winners will be
named the 8 of October, both in IS'99 symposium in French Senate, on the IS
web site, and in other IS'99 participating places via videoconferencing.
Regulations and more technical infos at
http://www.toile-metisse.org/intersculpt/dsc.htm
NOTE:If you don't want to compete, but you only want to show your 3D
virtual sculptures on ActiveWorlds/DAAP during INTERSCULPT, get in touch
with Derrick WOODHAM: and send your picrtures and
3D files to
FTP host: cerhas.uc.edu Login: anonymous
Password: email-address Incoming directory
More technical infos at http://www.toile-metisse.org/intersculpt/daap.htm
******
LJUBLJANA 2000 - banner.art COMPETITION
http://www.teo-spiller.org/banner.art/
[Concept and Background]
In the environment of the relatively young and rapidly evolving cultural
economy of the net, the field is wide open for artistic and critical
interventions in the commercialization of digital communications. Following
the line of investigation of institutional critique developed by
conceptual, performance and installation artists, we seek to encourage art
projects which incorporate critical reflection upon their place within the
art market and the broader cultural economy.
The current competition is an outgrowth of the net.art.trade forum (
http://www.teo-spiller.org/forum/ ) organized by Teo Spiller for the 5th
International Festival of Computer Arts in Maribor Slovenia in 1999. The
forum consisted of a month-long online discussion of net.art commerce and
negotiations over the sale of Spiller's recent online artwork "Megatronix"
( http://www.teo-spiller.org/megatronix/ ), culminating with a live panel
discussion at the festival in Maribor
During the forum Brian Goldfarb opened a discussion of alternative schemes
for the support of net.art to the sale of discreet art. Participants in the
forum discussed connections between the current dilemma of collecting and
preserving net-based art.work and the problems posed by the ephemeral art
of the past few decades (conceptual art, performance art, earthworks, etc).
An outgrowth of these changes in art has been the development of new
strategies for the support of art which follow models drawn on the one hand
from the service sector of the economy and on the other hand from
advertising and promotion strategies.
The current competition is an effort to facilitate and showcase efforts to
critically engage with the transformation of the art market in the age of
digital distribution. The advent of the new millennium promises to bring
with it an unprecedented and pervasive extension of commodification to all
areas of existence, even those spurious and immaterial spaces that seemed
to evade economics in the pre-digital age. As monolithic as this global
expansion of the principals of western economic and cultural imperialism
appears, it none-the-less contains fissures and internal contradictions
that invite creative and critical intervention that is the essence of art.
[Rules]
Work must incorporate at least one money-earning mechanism, such as the
hosting of a commercial banner or other economic scheme to prostitute their
work. They could for example make their own net.art in the form of a banner
on a commercial site for which they have been commissioned. Or perhaps
their site could be supported by a commercial entity that pays for some
form of affiliation with the artist's site. In any case, the jury will base
its decision equally upon the aesthetic qualities of the art and the
creative conception of its relation to its commercial prostitution.
The site must be operational throughout the period of the competition.
Documentation of income/revenue generated as well as modification of the
site in reaction to the sponsors will be considered in the judging process.
Aside from the awards for projects demonstrating the best overall
aesthetic/conceptual qualities, additional honors will be given to projects
which:
1) earn the most revenue
2) develop the most innovative scheme for earning income.
Deadline for submissions is November 24, 1999; however, since significant
consideration will be given to the length of time each work has been
functioning economically, early submissions are strongly encouraged.
Applicants will be asked to provide documentation of the project's revenue
by December 26th. Applicants may submit up to six projects, however
multiple submissions must be spaced at least one month apart. A peer-review
panel composed of an international selection of digital artists, curators,
and political economists will judge the works. Awards will be presented in
Ljubljana in the first few days of the new Millennium.
******
LEONARDO ELECTRONIC ALMANAC GALLERY
The Leonardo Electronic Almanac Gallery is a feature of "Leonardo
Electronic Alamanac," Leonardo/ISAST and MIT Press' electronic journal
dedicated to providing a forum for those interested in the realm where art,
science, and technology converges. The LEA Gallery archive includes works
by Joel Slayton, Carl DiSalvo, Tina LaPorta and Eugene Thacker. If you are
interested in creating work for the Leonardo Electronic Gallery, please
send a project description, C.V.'s of the main developers, and URL's of
past web and non-web works to Gallery Curator Patrick Maun (butoh@well.com).
On-going deadline.
http://mitpress.mit.edu/LEA
******
COMTEC ART '99: THIRD MEDIA ART FESTIVAL COMTEC art explores cultural
chances and risks of "cybernatisation" and the attendant changes in
perception. The festival will focus on the interaction of human mental-body
and digitally mediated communication. COMTEC art is accompanied by
performances, workshops and a symposium.
COMTEC art '99 Dresden Festival/exhibition for computer aided art, December
16th 1999 - January 30th 2000. The competition with an endowment of DM 20
000 comprises internet projects, computer animation, computer graphics and
music, audio-visual compositions, performances and installations.
Performances, concepts, texts and experiments will be included in
accompanying events and publications. All of the selected projects will be
documented in the COMTEC art '99-catalog and in the internet. Address your
submissions and any questions to:
COMTEC art '99 office,
Medien- und Kulturzentrum Pentacon,
Schandauer Str. 64, D - 01277
Dresden, Germany,
Tel./Fax: 0049 551/340 00 33,
http://www.body-bytes.de
eMail: eidol@body-bytes.de
******
LESBIAN AND GAY EXPERIMENTAL FILM/VIDEO FESTIVAL
November 10-14. Requesting all genres, as well as audio/visual
installations, cyber submissions of interactive & digital media plus
media-based performance. Formats: 35mm, 16mm, super 8 & video. Preview on
NTSC VHS. Entry fee: $19.99.
For more information, please contact:
MIX,
29 John St #132, New York NY 10038 212-501-2309
http://www.mixnyc.org
mix@echonyc.com
Deadline: Jul 16, 1999
I******
13e RENCONTRE VIDEO ART PLASTIQUE
From november 24 to 27, 1999 the "13e Rencontre Video Art Plastique" takes
place at the Centre d'art Contemporain de Basse-Normandie.
Videos, CD-Rom productions etc.that are produced in 1998 or 1999 can be
submitted for the international selection.
Deadline for entries: september 1st 1999
More informations
Centre d'art contemporain de Basse-Normandie
7, passage de la Poste, B.P. 59
F - 14203 Hérouville Saint-Claire Cedex
Tel: +33 (0)2 - 31 95 50 87
Fax: +33 (0)2 - 31 95 37 60
wharf@cybercable.tm.fr
I******
IMAGINA 2000 INTERNATIONAL 3D ANIMATION CONTEST
January 2000
Paris, France
" FNAC imagines love in the year 2000 for imagina".
Organisation
FNAC and L'INSTITUT NATIONAL DE L'AUDIOVISUEL are together organising a
competition for the creation of videographic, cinematographic or
photographic works incorporating one or more sequences of animated or
special effects computer graphics images or one or more series of still
computer graphics images. The competition was launched at the 18th edition
of ImagIna, held in Monte Carlo on 18, 19 and 20 January 1999, and in Paris
on 20, 21 and 22 January 1999. The results will be announced at the 19th
edition of ImagIna, which will be held at the start of the year 2000.
A computer graphics image is defined as any image resulting from digital
processing or digital synthesis involving the use of computers,
microcomputers or digital cameras, which may be associated with other
production facilities. A special effect is defined as any effect resulting
from the operation of digitally processing an image, particularly of a
cinematographic nature.
Entries
The competition is open to talented young people with a passionate interest
in computer graphics creation aged under 35. However, any entries from the
following will be refused: INA or FNAC personnel, any private individual or
corporate entity participating in the organisation of ImagIna, the agents
or employees of the previously mentioned entities, and the families of the
previously mentioned agents or employees.
Theme of the competition
The objective for the talented young people is to make a film in computer
graphics with a maximum running time of 13 minutes on one of the themes
chosen for ImagIna 2000: Love. Through this theme, FNAC and ImagIna wish to
demonstrate that computer graphics, often criticised for their coldness,
can in fact express subtle emotions.
Registration forms are available at the following site:
http://www.ina.fr/Imagina/99/Evenements/concours.fr.html
Registration forms should be sent to the following address :
Concours FNAC/INA/ImagIna,
4, avenue de l'Europe
94366 Bry sur Marne Cedex -
France
Deadline: 22 October 1999.
I******
VIII INTERNATIONAL FESTIVAL OF ELECTROACOUSTIC MUSIC
"SPRING IN HAVANA 2000"
Cuban Institute of Music National Laboratory of Electroacoustic Music
The Cuban Institute of Music and the National Laboratory of Electroacoustic
Music of Cuba are organizing the 8th edition of the International Festival
of Electroacoustic Music "Spring in Habana 2000" that is going to take
place from March 5 (Sunday) to March 11 (Saturday) in the year 2000 and
will be dedicated to the 80 Anniversary of the Birth of Master Juan Blanco.
This event will present works of electroacoustic music for tape, mixed,
performances and multimedia shows, lectures, workshops and exhibitions.
Due to the magnificent reception obtained by the previous edition in March
1998 among the participants, next Festival will developed its activities at
the rooms and yards of the colonial houses, the squares, museums and
military fortress of the ancient time of the spanish colony all inside the
Historic Center of Habana City (Patrimony of the Humanity for UNESCO).
The present economical situation of our country makes impossible for us to
assume your costs of air ticket, lodging and food, but we can offer you
very special prices in the Historic Hotels of the Old Habana.
If you are interested in participating, you can send us your proposal the
e-mail Festival lnme@artsoft.cult.cu, you should include a brief curriculum
vitae (around 200 words), your personal address and number fax, in order to
send you the official invitation.
Address:
LABORATORIO NACIONAL DE MUSICA ELCTROACUSTICA
Calle 17 esq. a I No. 260, Primer piso, Vedado, C.Habana 10400, Cuba
Tel: (537) 30-3983
Fax: (537) 66-2286 (537) 33-3716
Email. lnme@artsoft.cult.cu
Deadline: December 15 1999
*******************************
CALLS FOR PAPERS:
*******************************
SYNTHETICS: MAKING AND REMAKING CULTURE
Synthetic: adj. & n. produced by synthesis, or the combination of elements
(as opposed to analytic); a substance or material made by synthetic
processes, especially in imitation of a natural product
Cultural Studies Association of Australia Annual Conference December 3-5,
1999, University of Western Sydney Nepean
This is a call for papers for the annual conference of the Cultural Studies
Association of Australia. We invite abstracts from academics, activists,
artists and writers whose work engages with the themes of the conference
and with the broad concerns of Cultural Studies.
This conference will reflect on the place of the synthetic in contemporary
cultural practice and its study. An emphasis on hybridity, multiplicity,
interdisciplinarity, the sub-cultural and the transgressive has long been a
concern within cultural theory, and it seems timely that we consider the
analytical, methodological and political ramifications of this orientation.
* how well have the tools of cultural analysis - bricolage, appropriation,
hybridity, and so on - captured the role of synthesis in cultural practice?
* how adequately do these tools deal with questions of power, inequality
and difference?
* to what extent has Cultural Studies synthesised and transformed research
methodologies and genres to account for the complexities of life in the
late twentieth century, and in the next?
* how well does cultural analysis engage with other knowledges and
practices - the spiritual, the scientific, the economic, the everyday?
* does Cultural Studies speak to other actors and communities, and offer
viable forms of political and cultural practice?
* Embodiment, affect and sense * Technologies and material culture * Spaces
and territories * Femininities and masculinities * National and ethnic
belongings * Sexualities and queer sensibilities * Consumption and
appropriation * Globalisation and (post)modernity * Politics, communities
and practice *
Abstract welcome on these or other topics
due by September 30
Send to:
email: rcis@uws.edu.au
or
FAX: +61 2 9678 7334
or
The Convenors, Cultural Studies Conference
School of Cultural Histories and Futures
UWS Nepean
PO Box 10 Kingswood 2747
Enquiries:
rcis@uws.edu.au
p.alberts@uws.edu.au
g.noble@uws.edu.au
ph: +61 2 9678 7388
Check the conference webpage at:
http://www.nepean.uws.edu.au/histories/csaa99
******
2ND INTERNATIONAL CONFERENCE ON VIRTUAL WORLDS
International Multimedia Institute
Paris, France
5-7 July, 2000
CONFERENCE THEME
After the success of the first international conference on Virtual Worlds
(VW98), this second issue will confirm the growing interest of the
scientific community for this new field. The terms "virtual worlds"
generally refer to Virtual Reality applications of experiences. We extend
the use of these terms to describe experiments that deal with the idea of
synthesizing digital world on computers. Thus, Virtual Worlds (VW) could be
defined as the study of computer programs that implement digital worlds
with their own "physical" and "biological" laws. Constructing such complex
artificial worlds seems to be extremely difficult to do in any sort of
complete and realistic manner. Such a new discipline must benefit from a
large amount of work in various fields: Virtual Reality, Advanced Computer
Graphics, Artificial Life, Evolutionary Computation, Simulation of Physical
Systems, and more. Whereas Virtual Reality has largely concerned itself
with the design of 3D immersive graphical spaces, and Artificial Life with
the simulation of living organisms, Virtual Worlds is concerned by the
synthesis of digital universes and virtual worlds as wholes. Besides it
applications in simulation, computer games, on-line business, etc, this
approach is something broader and more fundamental. Throughout the natural
world, at any scale, from particles to galaxies, one can observe phenomena
of great complexity. Research done in traditional sciences such as Biology
and Physics has shown that components of complex systems are quite simple.
It is now a crucial problem to elucidate the universal principles by which
large numbers of simple components, acting together, can self-organize and
produce the complexity observed in our universe. Therefore, Virtual Worlds
is also concerned with the formal basis of synthetic universes. In this
framework, it offers a new and promising approach for studying complexity.
This interdisciplinary conference hopes also to extend the scientific
community by encouraging contributions from people involved in
philosophical questions and artworks related to virtual worlds. Technical
papers describing innovative applications of Virtual Worlds in computer
games, simulation, on-line education and business, etc, are also welcome.
TOPICS OF INTEREST
Topics of interest include (but not limited to): Artificial and Virtual
Worlds, Virtual Reality and Advance Computer Graphics for Virtual Worlds,
Artificial Life, Evolutionary Computation, Simulation of Ecological
Systems, Simulation of Physical Environments and systems,
Multi-agent,on-line communities, Applications of Virtual Worlds, Art and
Virtual Worlds, Philosophical Issues.
PAPER SUBMISSION
Full length papers from 6 to 12 pages should be send to the conference
chairman. We encourage submissions via the Internet, though traditional
papers are also accepted (three hardcopies). Papers must include title,
names and full addresses of authors, emails, and a short abstract. The
recommended format for papers is the Springer LNCS/AI format available at
< http://www.springer.de/comp/lncs/authors.html > The papers will receive
three independent reviews from the international program committee. Papers
describing original research works will be accepted for presentation and
publication in the conference proceedings. Demonstrations, videos, and
proposal for associated workshop or tutorials are also welcome.
IMPORTANT DATES
Submission deadline: 31 December 1999
Notification of acceptance: March 2000
Camera-ready due: April 2000
Conference: 5-7 July 2000
CONTACT
For any information about the conference, the steering committee,
submission of papers, contact the conference chairman:
Prof. Jean-Claude Heudin
International Institute of Multimedia
Pôle Universitaire Léonard de Vinci
92916 PARIS LA DEFENSE CEDEX - FRANCE
Phone: +33.01.41.16.73.04 - Fax: 75.75
Jean-Claude.Heudind@evinci.fr
******
CONVERGENCE: THE JOURNAL OF RESEARCH INTO NEW MEDIA TECHNOLOGIES
The Summer 2000 issue of Convergence (vol. 6, no. 2) will be a special
issue on Synthesisers, Sound and Music. Contributors are invited to submit
papers on any aspect of the relationship between synthesisers, sound and
music in audio and/or audio-visual media over the last 50 years.
Copy deadline for refereed research articles: 30 October 1999, But
expressions of interest are encouraged as soon as possible as several
papers are already under consideration.
All proposals and submissions for this special issue to:
Philip Hayward,
Director of the Centre for Contemporary Music Studies,
Macquarie University,
Sydney,NSW 2109,Australia.
phone: +61 2 805 7111
fax: +61 2 9850 9245
email: phayward@humanities.mq.edu.au
All other inquiries, proposals for articles or completed papers should be
sent to:
Julia Knight or Alexis Weedon, Editors, Convergence, Dept of Media Arts,
University of Luton, 75 Castle Street, Luton, LU1 3AJ, United Kingdom.
Web site:
Tel: +44 1582 734111, fax: + 44 1582 489014,
email:
******
ANTHOLOGY ON TEXTS & TECHNOLOGY
Eds. Ollie O. Oviedo, John Barber, and Janice R. Walker
The editors are seeking submissions that address socio-cultural,
ideological, technical, and/or pedagogical concerns relating to digital
technologies (hypertext, hypermedia, cyberspace, cyberculture), literacy,
and society as a whole as they relate to thinking about and production
and apprehension of texts (online texts as well as those created using
technological means for print dissemination) for an anthology of essays on
"Texts and Technology" to be published in 2000 by a major publisher. The
anthology will contain essays selected from those published in the
Fall/Winter 1999 Special Issue of the journal Readerly/WriterlyTexts, as
well as those accepted as a result of this call for papers and will
include a foreword by a prominent scholar in the field.
We are interested in submissions of 20-25 pages in MLA manuscript style
(using parenthetical notes, content end notes, and a list of works cited
following MLA format for print sources and COS-Humanities style for
electronic sources) For more information, see the Guidelines for
Submissions at
http://www.cas.usf.edu/english/walker/texts/guidelines.html
Deadline for submissions is September 1, 1999.
Send three copies of the abstract and complete paper, with sufficient
unattached postage to mail to outside reviewers, and a stamped,
self-addressed envelope to:
Janice R. Walker
jwalker@chuma.cas.usf.edu
Georgia Southern University
2224 Newton Building Eastern
P. O. Box 8026
Statesboro, GA 30460
Fax: (912) 681-0783
Ollie Oviedo
Dept. of Writing and Linguistics, Languages and Literature
Station 19
New Mexico University
(505) 562-2742
(505) 562-2362
************************
CALLS FOR SUBMISSIONS:
MICROSOFT ARTIST-RESIDENCY FELLOWSHIP PROGRAM
Supported by a grant from Microsoft Corporation, the STUDIO for Creative
Inquiry in the College of Fine Arts at Carnegie Mellon University is
undertaking a one-year pilot program of residency fellowships. Three
artists will be selected from across the spectrum of all the arts to
receive fellowships through an open, competitive application process.
Fellowship residencies will start on October 1, 1999 and end on
September 30, 2000. (For additional information visit www.cmu.edu/studio/.)
This pilot fellowship program will connect three established artists and
a critic-historian-curator to the robust science-technology resources at
Carnegie Mellon. The artists will:
1) engage contemporary science-technology as it provides tools, media, and
content to their work,
2) assume leadership roles in generating and implementing complex,
collaborative projects, and
3) connect the process of the projects and its results to the larger community.
Artists will initiate projects and develop collaborative teams drawing on
faculty-researchers at Carnegie Mellon. In support of this endeavor, the
STUDIO has organized the direct participation of the major academic
divisions in science and technology at the university, including its
* Carnegie Institute of Technology (engineering),
* Mellon College of Science,
* Graduate School of Industrial Administration (business), and
* School of Computer Science.
A critic-historian-curator will participate as a Microsoft fellow in
conjunction with this program. This individual will be responsible for
establishing a dialogue about this program, evaluating its activities and
presenting the resulting work over the program's twelve-month duration.
Fellowship Benefits
Fellows will receive annual stipends of $30,000 paid in twelve monthly
payments, a full Carnegie Mellon benefits packages including health
Insurance, and round-trip air transportation expenses (or its equivalent)
between Pittsburgh and their home cities.
In addition, fellows will receive administrative support from the STUDIO
staff, including assistance in developing connections with potential
collaborators and facilities at the university. Office space in the STUDIO
and computing equipment will be provided to each fellow.
Fellowship Requirements
Each resident fellow will be expected to:
*Maintain residence at Pittsburgh from Oct. 1,1999 to Sept. 30, 2000.
*Present a culminating work developed with the collaborative team during
the residency year.
*Work within the community of artists and other professionals at the STUDIO
and the university towards enriching the overall interdisciplinary arts
culture.
Eligibility
Artists with established capabilities for working on complex, collaborative
projects in the science-technology arenas outlined above. Current or former
employees or affiliates of Microsoft Corporation or Carnegie Mellon
University are not eligible for these fellowships.
Application and Selection Process
Fellowship recipients will be selected based upon their capabilities as
Revealed through resumes and documentation of prior work, their established
ability to work collaboratively on complex projects, and the diversity of
the four-person group of resident-fellows. The purpose of this project is
not only to advance the arts, but also to cross-pollinate the disparate
fields of endeavor at the university, to Leave a lasting imprint on the
university's capabilities to support work involving the arts and other
disciplines, and to provide experiences which can be subsequently returned
to a diverse set of communities. The selection panel will include artists,
scientists, engineers and other professionals.
Applications should include the following material:
1) Resume
2) Written statement
Outline a general thrust of work that would, at least in theory, be
addressed during the residency period. While the statement is not to be
considered a specific project proposal, it should reveal a focused interest
in engaging and combining the scientific and technological resources
available at Carnegie Mellon in computer science and in engineering,
science or business. This will necessarily require an investigation and
understanding of the university's human and technical resources, which can
be determined in part from the university's website: www.cmu.edu.
3) References
Include the names, addresses, telephone numbers and e-mail addresses of
three professional references. No letters of recommendation will be
accepted.
4) Documentation of prior work in any of the formats listed below:
*Slides - A maximum of 20. Label each slide with your name and slide
number, and indicate which side is the top. Include a typed, numbered list
identifying work by date, media, size, title and other information as
appropriate.
*Video tapes - VHS format only. Cue video tapes to the viewing point.
*Audio tapes - cassette format only. Cue audio tapes to the listening point.
*Film - 16mm format only.
*Digital media on CD-ROM or Zip disk. Indicate application and operating
system used.
*Self-authored publications.
*URLs for web sites.
Limit the total time-based media selection to 10 minutes. Provide
appropriate, concise explanatory material. Provide a self-addressed
envelope for return of all materials.
Please send applications to:
Microsoft Artist-Residency Fellowship Program
STUDIO for Creative Inquiry
College of Fine Arts
Carnegie Mellon University
Pittsburgh, PA 15213-3890
Applications submitted by email or fax will not be accepted.
Complete applications must be received by July 12, 1999.
Fellowship recipients will be notified by August 4, 1999.
Questions about the program may be sent via email to
studio-info@andrew.cmu.edu.
Project Partners
The STUDIO for Creative Inquiry
The STUDIO is a center for experimental and interdisciplinary arts in the
College of Fine Arts at Carnegie Mellon University. Founded in 1989, the
STUDIO connects artistic enterprises to academic disciplines across the
Carnegie Mellon campus, to the community of Pittsburgh and beyond.
All STUDIO projects are artist-generated. Work carried out over the years
by the STUDIO has typically engaged contemporary science and technology,
through projects incorporating disciplines from cell biology to robotics to
neuroscience to imaging technology. The generative process utilized by the
STUDIO seeds artistic experimentation through artist residencies. Several
seeded projects have evolved into major collaborative efforts by
interdisciplinary teams. Additional information on the STUDIO and its
projects can be found at www.cmu.edu/studio/.
Microsoft Corporation
Microsoft's national corporate philanthropy focuses on enhancing access to
technology in communities with limited access, such as the creative
community. By funding a pilot residency program at the STUDIO for Creative
Inquiry, Microsoft is endeavoring to support and encourage artists to
integrate contemporary technologies into their practices by providing
access to that technology along with the opportunity to collaborate with
and otherwise benefit from the artistically and technologically enriched
environment of Carnegie Mellon. Additional information on Microsoft's
philanthropy can be found at
www.microsoft.com/giving.
******
CLICK DRAG CREATE UNDO SMASH
Do you use computer technology to produce your art? Do you use the computer
as a tool to make art? Do you smash computers to make art??!! ART WIRED
INTERNATIONAL - an exhibition of computer dependent art. Two Texas
universities are coordinating a juried exhibit of non-comercial computer
dependent art from March 3 thru April 7, 2000. Juried. Works can be
submitted by slides, e-mail, disk (Mac or Windows '95 run-time version), or
videotape (VHS derived from digital images). Compatability of formats and
year 2000 compliance are the responsibility of the entrant. We will notify
you of uneadable file formats within one week. Non-returnable entry fee of
$25 per submission. Art may include digitally-derived works, installations
and traditional art forms which could not exist without a computer. The
exhibit will be on both campuses and Internet-based. CASH AWARDS.
Deadline: Nov 17, 1999 For a prospectus send an SASE to:
O'Kane Gallery, University of Houston Downtown, One Main St, Houston TX 77002
http://www.dt.uh.edu/O'KaneGallery
ArtWired@dt.uh.edu
******
FILMLADEN KASSEL: FILMPROGRAM Kulturhaus Dock 4: Videoprogram, Exhibition,
interfiction
The Kassel Documentary Film and Video Festival aims to provide insight into
current international documentary film and video work. We intend to present
critical, ambitious and entertaining documentary films and videos committed
to both reports on current affairs and off-beat topics. The video section
of the Kassel Documentary Film and Video Festival is also interested in
experimental and artistic videos, which reveal the use of video specific
means.
Please send your works (VHS or U-matic-copy) for the preselection no later
than 15th of August, 1999. Fill out the entry form available for download
at our website:
http://www.filmladen.de/dokfest
The submissions should have been made in 1998 or 1999. Notification will
be made around October 15, 1999.
In addition to film and video, we exhibit media installations and
scupltures as well. Suggestions are welcome. Please ask for application
forms and details for conditions.
http://www.filmladen.de/dokfest
dokfest@filmladen.de
******
IMPAKT FESTIVAL
Impakt is a festival for multidisciplinary innovative arts: film, video,
music, installations, new media. In a number of thematical programmes, that
cross the boundaries between art and society, these different disciplines
are being presented. Aside from these thematical programmes, there's the
Panorama programme: an open entry programme that consists of recent work
that artists from all over the world have sent in. Also, the festival
features seperate film/video programmes, concerts, an exhibition and the
couch.club, which is inbetween an informal presentation of work and a talk
show. The festival takes place in several locations in the city of Utrecht.
deadline for entries: december 15, 1999
www.xs4all.nl/~impakt
impakt@xs4all.nl
******
SYMPOSIUM EN RED 0
CALL FOR SOUND ART AND MUSIC WORKS RELATED TO SOUNDSCAPE Symposium En Red
0 1999 is dedicated to Soundscape
Centre de Cultura Contemporenia de Barcelona (Spain)
November 10th-12th 1999
Symposium En Red 0 1999 is dedicated to Soundscape. We call for sound art
& music works related. Selected works will be programmed in chill-out
sessions providing a platform for works produced from materials related to
some aspect of the Soundscape of the creators' environments. The chill-out
sessions will be devoted to the Soundscapes of Barcelona and World
Soundscapes (other cities and environments). Works of all aesthetic
tendencies will be welcome.
Deadline for reception of works: september 30th, 1999.
Formats admitted: data CD-ROM with AIFF, SND (Mac) or Wave (PC) files- 16
bit, 44.1 KHz, CD-Audio and DAT.
Postal packages should be sent to:
Orquestra del Caos/En Red O
CCCB
Montalegre, 5 E-08001 BARCELONA
The results of these three days will be made into an audio CD-ROM including
the theoretical contributions and extracts from the works programmed.
As of early October, extracts of the works selected will be on show at:
http://www.cccb.es/caos/soundscape
and
http://usuarios.intercom.es/coclea/soundscape
En Red O is an electronic-electroacoustic music and sound art symposium
held yearly and organised by Asociacion de Musica Electroacoustica de
Espana, Coclea and Orquestra del Caos. It takes place at the Mirador of
the Centre de Cultura Contemporanea de Barcelona, a huge cultural center
dedicated to urban and humanistic contemporary culture.
This year En Red 0 is dedicated to sound and music related to Soundscapes.
We use the therm soundscape as used by World Soundscape Project comunity or
Music Department of Simon Frazer University. they take it from Murray
Shaffer's therminology. soundscape is a sonic landscape, the whole set of
sonic informations which can reach your conscience in a given environmental
context. you can also see it as the whole set of sonic objects (in
therminology of Pierre Schaeffer) in a given environmental context.
Talks and discussions are combined with chill-out sessions (about 6-8 hours
per day) in calm cool space (Mirador of the Center). People can come an go
at any time and listen what is on in any moment or come for a particular
request, listening to a particular wotc, etc. This means that there is not
live performance programmed. Anyhow, we are also interested in live
projects as we program other events along the year, so your information
about them is welcome even if we cannot accept them for En Red 0.
Works are selected taking into account creative quality, technical quality,
fitting with year's subject (this year, soundscapes) and length (10
minutes max.) .
We will quote author's name either in the Symposium's papers and in the
specific program. Author's copyrihgts will be arranged with spanish
author's society SGAE. We do not pay any artist directly. We will also
quotate names and logos of all institutions and associations which will
collaborate with us.
Some unedited works will be recorded on an enhanced cd as a result of the
symposium. Choosen authors will be contacted for request.
Organised by Orquestra del Caos. CÙclea. AMEE. With the collaboration of
Arsonal, CCCB and ICUB
For more information, please contact:
Clara Gari e-mail clcoclea@intercom.es
*******************************
JOB POSTINGS:
THE AUSTRALIAN NATIONAL UNIVERSITY INSTITUTE OF THE ARTS
HEAD AUSTRALIAN CENTRE FOR THE ARTS & TECHNOLOGY
http://www.anu.edu.au/ITA/ACAT/
The Institute of the Arts is seeking to appoint an academic in the arts
experienced in technology in the arts as Head of its re-organised
Australian Centre for the Arts and Technology (ACAT)
The Centre has been reviewed recently and has had its role and
responsibilities re-focussed in recognition of the interdisciplinary
potential of the field and to bring together relevant activities in the
Schools of Art and Music. The Head will advise on curriculum developments
and applications in electronic arts including composition, music, visual
arts and multimedia. He or she will also participate in teaching and
supervision of undergraduate and graduate students and advise on computer
operations in the Institute.
The appointment will be made at the level of Senior Lecturer (Academic Level C)
Salary Range$A57,671 - $A66,204 pa
plus generous superannuation benefits
For further information and any enquiries contact the Secretary, Institute
of the Arts, Mr Ross Cornwell
Telephone +61 2 62495702
Email Secretary.ITA@anu.edu.au
Closing date 2 July 1999
DUTY STATEMENT
Responsible to the Institute Management Group for the management of the
Centre and its facilities. This involves the application of new
technologies in ITAís music, visual arts, electronic arts and
interdisciplinary academic activities and the administrative functions of
the Centre. In particular, the Head will be expected to:Initiate, stimulate
and facilitate innovative use of technology in the Institute; Undertake
undergraduate teaching, graduate supervision and research as appropriate.
Co-ordinate curriculum development involving digital technologies; Be a
member of the Canberra School of Art and Canberra School of Music Academic
Committees and provide advice to them and to individual staff members on
applications of technologies, including computing and audio and video
recording, in teaching and research; Advise the Directors on the
implementation of teaching and graduate supervision within the Centre
including the deployment of appropriate academic staff, and recommend with
respect to revenue and consulting opportunities; Maintain professional
practice and research in own field of artistic endeavour; Oversee computer
operations in the Institute including the work of IT support staff and
audio/visual technical services; Promote the Centre within the University
and beyond by providing national and international visibility through
publications, performances, exhibitions, software development, conferences,
consulting and collaborative relationships; Assume responsibility for
planning and execution of specialist training and workshops. Assist in the
planning and development of new buildings and facilities for the use of
technology based activities.
SELECTION CRITERIA
Special expertise in creative and applied use of digital technology in the
visual arts and/or music and/or multimedia. Proven interest in the
interdisciplinary application of these technologies.
The University has an Aboriginal and Torres Strait Islander Recruitment and
Career Development Scheme and Aboriginal and Torres Strait Islander
applicants are encouraged to identify themselves as such.
Further information is available from the ANUís official Internet address,
http//online.anu.edu.au
and the Institute of the Arts Internet site is http//www.anu.edu.au/ITA/
The University is an Equal Opportunity Employer. The Universityís EO Policy
forms part of the Selection Documentation. The University has a non-smoking
policy effective in all University buildings and vehicles
ISEA NEWSLETTER
===========================================================================
Editor: Katarina Soukup / Translation Natalie Melancon
Collaborators: Eva Quintas, Atau Tanaka, Sylvie Fortin, James Wallbank,
Michael Boyce, VinylVideo- A Collective Memory, Amanda Aronczyk, Kathy Rae
Huffman.
______________________________________________________
ISEA, 3530 boul. Saint-Laurent, suite 305,
Montreal (Qc), H2X 2V1, CANADA
Tel: (514) 847-8912, Fax: (514) 847-8834
email: isea@isea.qc.ca
URL: http://www.isea.qc.ca
_____________________________________________________________
ISEA Board Members: Nina Czegledy, Kathy Rae Huffman, Amanda
McDonald Crowley, Alain Mongeau, Cynthia Beth Rubin, Thecla Shiphorst, Atau
Tanaka, Wim van der Plas.
___________________________________________________________________
ISEA LISTSERV:
To subscribe, send a message to:
listproc@uqam.ca, no subject, with the message in the body:
"subscribe ISEA-forum first name last name"
===========================================================================
ISEA distributes a hard copy version of this Newsletter in order to keep
its members, who have no access to Electronic Mail, informed. Those members
can, if they desire, get in touch with the email addresses mentioned in
this Newsletter by contacting ISEA.
Support: La Fondation Daniel Langlois, Ministere de la culture et des
communications du Quebec, Montreal International, Ministere des Relations
Internationales, Ministere des Affaires Etrangeres, Leonardo,
Universite du Quebec a Montreal, Public Domain.
==========================================================================
end of newsletter
****************************************************
Please note our new addresses :
Veuillez prendre note de notre nouvelle adresse :
3530 boul. Saint-Laurent
Montreal, Quebec, CANADA H2X 2V1
Tel. +1-514-847-8912 * Fax. +1-514-847-8834
isea@isea.qc.ca * http://www.isea.qc.ca