Website: http://www.pauwaelder.com
Website: http://www.pauwaelder.com
<nettime-ann> Call for Proposals Kassel Documentary Film & Video Festival

- - - - - - - - - - - - - - - - - - - - - - - - - -
24th Kassel Documentary Film & Video Festival 2007
- - - - - - - - - - - - - - - - - - - - - - - - - -
Deadline: August 1, 2007
- - - - - - - - - - - - - - - - - - - - - - - - - -
ANNOUNCEMENT
The 24th edition of the Kassel Documentary Film and Video Festival is
going to take place from November 13 to 18, 2007. On six days the
festival presents about 220 international documentary films as well as
experimental and artistic works. Moreover, the media art exhibition
MONITORING, the DokfestLounge with audiovisual performances and the
interfiction symposium do top off the festival program. Having this
profile the Kasseler Dokfest annually attracts both a regional audience
as well as professionals of the film and media industry from Germany,
Europe and the rest of the world.
We invite all artists, filmmakers, distributors, gallery owners,
universities or institutions to submit latest works and projects to the
different sections of the festival program. Deadline for entries is
August 1, 2007.
Kati Michalk / Gerhard Wissner
phone: +49.561.707 64 21
fax: +49.561.707 64 41
http://www.filmladen.de/dokfest
dokfest@filmladen.de
mail:
c/o Filmladen Kassel e.V.
Goethestrasse 31
34119 Kassel
Germany
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at second glance
![]()
Most persistence of vision projects I have seen involve moving a strip of leds fast enough that our eye perceives it to be an image. Make magazine has covered many projects of this type.
Jens Wunderling, a student of the Digital Media Class at UDK Berlin, has created at second glance, an alternative approach to POV. Instead of moving the LEDs, Wunderling has them fixed in position, but plays with saccades (our eyes never look straight, but always make fast tiny movement around an area).
So if you happen to glance past the work, you may notice something unusual. On second glance, if you shake your head, you will be able to clearly see the symbol. Created as a “guerilla messaging device, made to place hidden critical messages within the abundant medial environment in the city”.
Developed using Arduino and Processing, the source code of which is available on his site, and 32 ultrabright LEDs.
More from Jens Wunderling
loopArena at Cybersonica, Building a multitouch, loopArena multitouch
John Cage performs Water Walk
John Cage performing Water Walk on TV game show I've got a secret in 1960, while being set up as something of a freakshow the presenter still goes to great lengths to convince the audience that Cage is 'serious'. Cage handles the occasion with a light touch and a good sense of humour, when the presenter warns Cage that while the audience are nice people ... some of them are going to laugh, is that alright he replies with a winning smile of course I consider laughter preferable to tears.
via WFMU
<nettime-ann> Call for Entries: Gameplay: Video Games in Contemprary Art Practice -- Chicago
Via: Mason Dixon
Call for submissions: Gameplay: Video Games in Contemporary Art Practice
The word gameplay refers to the creative, resistant, or artful manipulation of video games by users. It can be said that "gameplay" relates not only to the strategic, but also emotional framework of play, as it is a unique reflection the individual's meaningful bond to the game itself. According to Sid Meier, a world-renowned designer, a game is a "series of interesting choices." If art can also be considered a "series of interesting choices," what happens when the realms of art and video game intersect?
Around the Coyote is seeking submissions for our July 2007 group show, Gameplay: Video Games in Contemporary Art Practice. For Gameplay, we are looking for artists who use video games in a myriad of ways: Do you use video games or its software to explore your own identity or place in this world? Do you use it politically, as a site of resistance? Do you use it as a tool for interactivity or collaboration with other artists or subjects? Do you see virtual worlds as a site of meaning? Does your video game work result in art objects such as photographs, installations or performances?
If your practice is related to video games, and you would like to be considered for Gameplay: Video Games in Contemporary Art Practice, please apply in accordance with the following application procedures. For questions, please contact jessica@aroundthecoyote.org.
Deadline and Application procedure:
If would like to be considered for this exhibition, please submit the following to the Around the Coyote Gallery no later than May 5, 2007 at 6pm.
1. Digital documentation of each submitted piece - artists can submit a maximum of six images on CD. All submitted images must be of work that is available ...
Mal Au Pixel: Koelse.org [Video]
http://pixelache.ac
Video in Google
Kokeellisen elektroniikan seura Society of experimental electronics At Mal Au Pixel, Paris 2006 Video by Christina Kral.

transmediale.05 BASICS
BASICS
Berlin, February 4 - 8, 2005
Haus der Kulturen der Welt
___COMPLETE PROGRAM at:___
http://www.transmediale.de
info@transmediale.de
Conferences
**************************************************
1. Conferences
2. BASIC Life
3. BASIC Security
4. Art and Social Responsibility
5. Xeno_Tech Interim Report
6. Sound Art Visual
7. BASICS of Media Art
8. Re-Thinking Media History
9. BASIC Media Education
10. Cool Interaction
**************************************************
1. Conferences
transmediale.05 questions the BASICS of our contemporary culture in
the areas of biotechnology, politics and media art amongst others. Will
our existence become newly defined in gene-technology laboratories, and
how can one acquire this biotechnical knowledge? Security technology is
deployed at the expense of individual freedom - how much 'BASIC Security'
do we need? As well, our perception of what constitutes our basic
political, media-related and aesthetic needs must continually be
redefined. Necessities, demands and possibilities change, whether in the
production of art, in the education of media producers, or in our
understanding of interactivity. The conference programme discusses
current and historical art and cultural projects - a springboard for an
approach to the Next-Level-BASICS.
All conferences will take place at Haus der Kulturen der Welt,
John-Foster-Dulles-Allee 10, 10557 Berlin.
All conference panels in the auditorium will be translated simultaneously
into
German/English.
Conference programme in cooperation with the Federal Agency for Civic
Education.
**************************************************
2. BASIC Life
The starting point for this panel is the development of bio and gene
technology
and a questioning of the ethical basics of our society... Questions
regarding societal awareness of bio-technology and the protection of
bio-political self-determination will be raised...
Participants:
Steve Kurtz, Critical Art Ensemble, Buffalo
Henk Oosterling, philosopher, Rotterdam
Claire Pentecost, artist, Chicago
Presented by: Jan-Christoph Heilinger, Humboldt University, Berlin
Conference: BASIC Life
Sun 6.2. 12-15 hrs
auditorium
**************************************************
3. BASIC Security
Security has become a central issue in political negotiations... This
panel exploresthe relationship between technical, political and cultural
aspects of the security issue and questions its ethical boundaries...
Participants:
Konrad Becker, Public Netbase, Wien
Wendy Hui Kyong Chun, Brown University, New York
McKenzie Wark, media theorist, Lang University, New York
Presented by: Florian Cramer, media theorist, Berlin
Conference: BASIC Security
Sun 6.2. 16-19 hrs
auditorium
**************************************************
4. Art and Social Responsibility
The aim of this panel is to draw attention to the differences and
similarities in artistic and activist strategies emerging from South East
Asia
and Europe... An important side-effect of the panel will be the
intensification of cooperation and networking among the different groups
and individuals...
Kindly supported by the Asia-Europe Foundation (ASEF)
Participants:
Keiko Sei, Bangkok
Vincensius 'venzha' Christiawan, Venzha and the House of Natural Fiber,
Jakarta
Yukiko Shikata, ICC Tokyo / MobLab, Tokyo
Dominick Chen, Tokyo
Woon Tien Wei, tsunamii.net, Singapore
Marie Le Sourd, ASEF, Singapore
Conference: Art and Social Responsibility
Fri 4.2. 16-18 hrs
K1
**************************************************
5. Xeno_Tech Interim Report
.. The panel presents an interim report of 'Xeno_Tech', a curatorial
research
project conducted by Deanna Herst and Nat Muller. The aim of 'Xeno_Tech'
is to
examine how cultural differences, media and technology affect artistic
practices and representation. The featured guests will question, from
their own
context and practice, paradigms of locality, urban space, identity, and
technology. Xeno_Tech is supported by The Netherlands Foundation for
Visual Arts, Design and Architecture
Participants:
Deanna Herst, curator and lecturer, Amsterdam
Nat Muller, curator and lecturer, Rotterdam
Lea Mauas, Sala-Manca, Jerusalem
Gueben Incirlioglu, Xurban, Istanbul
Charles Lim, Tien Woon, Tsunamii, Singapore
Conference: BASIC technologies - Xeno_tech
Fri 4.2. 14-16 hrs
K1
**************************************************
6. Sound Art Visual
..The panel 'Sound Art Visual' questions the latitude and boundaries of
various
means of artistic expression such as video images, sound, architecture
or
performance. The event is part of the Live Cinema programme series in
which the transmediale and the club transmediale 2005 jointly organise
performances, workshops and discussions.
In cooperation with Sound Studies - Akustische Kommunikation (UdK Berlin)
-
www.udk-sound.de
Participants:
Anthony Moore, KHM Koeln
Edwin van der Heide, artist, Rotterdam
Elena Ungeheuer, musicologist, TU Berlin
Presented by: Holger Schulze, Sound Studies, UdK Berlin
Conference: Sound Art Visual
Fri 4.2. 18-20 hrs
K1
**************************************************
7. BASICS of Media Art
..The discussion regarding the fundamentals of a media art, which no
longer can
solely define itself by its use of digital technology, has resulted in
the
abolishment of the competition categories (image, interaction, software)
of the
transmediale award competition. The first result is a fundamentally
broader
perspective of the potential of media art, and of the aesthetic
possibilities
of interdisciplinary approaches.
Participants:
Gunalan Nadarajan, LASALLE-SIA College of the Arts, Singapore, member of
transmediale Jury 2005
Sally Jane Norman, Culture Lab, Newcastle, member of transmediale Jury
2003
Christiane Paul, Whitney Museum, New York City, member of transmediale
Jury
2005
Presented by: Mercedes Bunz, editor of magazine DE:BUG - Zeitung fuer
elektronische Lebensaspekte, Phd candidate at Bauhaus-University Weimar
Conference: BASICS of Media Art
Sat 5.2. 16-18 hrs
auditorium
**************************************************
8. Re-Thinking Media History
.. Re-thinking Media History will focus on the reciprocal relationship
between
media practice and media theory.
Participants:
Ute Holl, film maker and theorist, Bauhaus University, Weimar
David Tomas, media theorist and artist, Univ. of Quebec
Siegfried Zielinski, media art theorist, KHM, Cologne
Julien Maire, artist, Berlin
Woody Vasulka, artist, ZKM, Santa Fe / Karlsruhe
Presented by: Timothy Druckrey, media theorist and curator, New York
Conference: Re-Thinking Media History
Mon 7.2. 14-18 hrs
auditorium
**************************************************
9. BASIC Media Education
.. In November 2004, the Dutch Electronic Art Festival organized a
colloquium with the title 'Open Alliances' attended by representatives
from
various Dutch institutions to discuss their experiences with
interdisciplinary
projects and their cooperation with higher-education, industry and
research
institutes. This forum will also be taking place during transmediale.05
with a
focus on the conceptual and technical fundamentals of media education.
Participants:
Keiko Sei, educator on independent media in South East Asia, Bangkok
Geert Lovink, media theorist, Institute of Network Cultures Amsterdam
Lorenz Engell, Bauhaus-Universitaet Weimar (to be confirmed)
Presented by: Alex Adriaansens, director of V2_Organisation, Rotterdam
Conference: BASIC Media Education
Tue 8.2. 12-14 hrs
K1
**************************************************
10. Cool Interaction
In continuation of the critical interaction debates hosted by
transmediale, this panel discusses new critical methodologies of
interactivity in trans-cultural media art. It investigates classical and
ancient, esp. Asian aesthetics as 'cool aesthetics'...
**************************************************
transmediale.05
BASICS
international media art festival berlin
http://www.transmediale.de
info@transmediale.de
*******************
_______________________________________________
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Free Software Magazine issue#1
don't be too surprised, you're free to download a copy too of this 78-page
publication. Some of the articles in the first issue:
o File formats; format wars (Marco Fioretti)
File formats: the past, the present, a possible future
o XML: The answer to everything? (Kay Ethier, Scott Abel)
This article weighs the pros and cons of XML for some
applciations (publishing) and explores why it is the
best possible solution for many programming and
publishing needs.
o Free file formats and the future of intellectual
freedom (Terry Hancock)
Information as property may be served by closed
file formats, but the freedom of information
requires free formats.
o Creating the Free Software Magazine (Tony Mobily)
A long path that takes us to the very beginning
of this project.
o Mac OS X: Welcome to the jungle -- a look inside the
Mac OS X software ecology (Chris J Karr)
o The magic of live CDs (Harish Pillay)
What are live CDs, and how do they work?
o Every engineer's checklist for justifying
Free Software. It's not just about 'no licence fees'
(Malcolm D Spence)
o Smarter password management (John Locke)
How to handle your passwords without getting lost
o The content tail wags the IT dog (Daniel James)
Without hardware and software, there would be
nothing for digital media to be created on, or used
with. And yet the content industry attempts to tell
the far larger IT industry what it can and cannot do.
o Motivation and value of free resources. Wikipedia
and Planetmath show the way (Aaron E Klemm)
o It's all about freedom (Christian Einfeldt)
Freedom is free software's competitive advantage.
o The Commons (Dave M Berry)
The Commons as an Idea -- Ideas as a Commons
o Let's not forget our roots (Free Software is not
just about cost or stability; it's a movement that
mustn't forget the principles which made it possible)
Tom Chance.
A PLANT NEEDS WATER TO GROW! Free Software Magazine -- by subscribing you will
be supporting a magazine which believes in Free Software. All our articles are
released under the GNU free documentation license, enhancing existing
information on Free Software.
Download your copy today from http://www.freesoftwaremagazine.com
Subscriptions open!
----------------------------------------------------------------------------
Frederick Noronha (FN) Nr Convent Saligao 403511 GoaIndia
Freelance Journalist P: 832-2409490 M: 9822122436
http://fn.swiki.net http://fn-floss.notlong.com
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Prix Ars Electronica 2005 is Good to Go!
Creatives across the entire spectrum of media art and technology may begin submitting their work to the 2005 Prix Ars Electronica on January 10th. The categories range from [the next idea] and u19 competitions for young people to the classic Ars Electronica disciplines-Digital Musics, Net Vision, Computer Animation and Interactive Art-all the way to Digital Communities with its programmatic commitment to sociopolitical innovation. The deadline for submissions is March 10, 2005.
The Prix Ars Electronica is being held for the 19th time this year. This cyberarts competition is conceived as an open platform for works representing a broad spectrum of disciplines in the digital media field at the interface of art, technology and society. Since 1987, the Prix Ars Electronica is the most important and most successful international showcase of the best of digital media art.
>>> Details about the categories are provided on the following pages.
To submit an entry and for more information, log on to www.aec.at/prix
The Categories
COMPUTER ANIMATION / VISUAL EFFECTS
The "Computer Animation / Visual Effects" category has been part of the Prix Ars Electronica since its very inception. It recognizes excellence in independent work in the arts and sciences as well as in high-end commercial productions in the film, advertising and entertainment industries. In this category, artistic originality counts just as much as masterful technical achievement.
DIGITAL MUSICS
Contemporary digital sound productions from the broad spectrum of "electronica" come in for consideration in the "Digital Musics" category, as do works combining sound and media, computer compositions ranging from electro-acoustic to experimental music, and sound installations. This category's programmatic agenda is to expand horizons beyond the confines of individual genres and artistic currents.
INTERACTIVE ART
The "Interactive Art" category is dedicated to interactive works in all forms and formats, from installations to performances. Here, particular consideration is given to the realization of a powerful artistic concept through the especially appropriate use of technologies, the innovativeness of the interaction design, and the work's inherent potential to expand the human radius of action.
NET VISION
The "Net Vision" category singles out for recognition artistic projects in the Internet that display brilliance in how they have been engineered, designed and-especially-conceived, works that are outstanding with respect to innovation, interface design and the originality of their content. The way in which a work of net-based art deals with the online medium is essential in this category.
DIGITAL COMMUNITIES
For the second time in 2005, Prix Ars Electronica will honor important achievements by digital communities. This category focuses attention on the wide-ranging social impact of the Internet as well as on the latest developments in the fields of social software, mobile communications and wireless networks. "Digital Communities" spotlights bold and inspired innovations impacting human coexistence-efforts to bridge the geographical as well as gender-based digital divide, to create outstanding social software or to enhance the accessibility of technological-social infrastructure. This category showcases the political potential of digital and networked systems and is thus designed as a forum for the consideration of a broad spectrum of projects, programs, initiatives and phenomena in which social innovation is taking place, as it were, in real time. A Golden Nica, two Awards of Distinction and up to 12 Honorary Mentions will be awarded in the Digital Communities category in 2005.
[the next idea]
Art and Technology Grant
The aim of this grant focusing on the mutually enriching interplay of art and technology is to nurture concepts for the future that young thinkers are coming up with today. This category's target group includes students at universities, art schools, polytechnic colleges and other educational institutions, as well as all other interested persons throughout the world between the ages of 19 and 27, who have developed a not-yet-realized concept in the fields of media art, media design or media technology. The winner will receive a E 7,500 grant and an invitation to spend a semester as scientific assistant and artist-in-residence at the Ars Electronica Futurelab.
u19 freestyle computing
"u19 freestyle computing" is Austria's foremost computer competition for young people. Helping youngsters to bring their ideas to fruition and exhibit their work, and nurturing their abilities, creativity and inventiveness in working with modern technologies and new media is the mission of Prix Ars Electronica's u19 freestyle computing category. Just as the name "freestyle computing" suggests, the spectrum of potential submissions is broad. And a perusal of the 1,103 entries in 2004 confirms that Austrian young people are giving free rein to their creativity. The list of past winners and recipients of Awards of Distinction and Honorary Mentions also displays great diversity, including groups of kids as well as individuals, primary school pupils and high school grads. The thematically wide-ranging creative encounter of Austrian youth with the kaleidoscope of modern technology is being played out in computer animation, robotics, Web design, interactive games and an array of other fields.
Ars Electronica
Presseteam: Partner der Medien
Press Team: Partner of the Media
Pressemeldungen/Pressemappen
Press Releases/Press Kits
http://www.aec.at/press
Bilder (300 dpi)
Images (300 dpi)
http://www.aec.at/pictures
Mag. Wolfgang A. Bednarzek MAS
Pressesprecher / Press Officer
tel: +43.732.7272-38
mob: +43.664.81 26 156
fax: +43.732.7272-638
mailto:wolfgang.bednarzek@aec.at
Mag. Robert Bauernhansl
Assistent Pressebetreuung / Assistant Press
tel: +43.732.7272-966
fax: +43.732.7272-632
mailto:robert.bauernhansl@aec.at
Ars Electronica Center
Hauptstrase 2-4, 4040 Linz, Austria
"Thinking Machine 4" by Martin Wattenberg (with Marek Walczak)
October 26, 2004
Turbulence Spotlight: "Thinking Machine 4" by Martin Wattenberg (with Marek Walczak)
http://turbulence.org/spotlight/thinking
"Thinking Machine 4" explores the invisible, elusive nature of thought. Play chess against a transparent intelligence, its evolving thought process visible on the board before you. The work consists of an artificial intelligence program--ready to play chess with the viewer. If the viewer takes up the challenge, the computer's thought process is sketched on screen as it plays. A map is created from the traces of literally thousands of possible futures as the program tries to decide its best move. Those traces become a key to the invisible lines of force in the game as well as a window into the spirit of a thinking machine.
The pace of interaction is deliberative, unlike the rushed tempo of popular video games. Indeed the true subject of the piece is not games or chess, but contemplation and introspection.
BIOGRAPHIES
MARTIN WATTENBERG'S work centers on the theme of making the invisible visible. Past projects include "The Shape of Song" and "Apartment" (both Turbulence commissions), "Third Person," and the Whitney Artport's "Idea Line." Wattenberg is a researcher at IBM, where he creates new forms of data visualization. He is also known for the SmartMoney.com "Map of the Market." He holds a Ph.D. in mathematics from U.C. Berkeley.
MAREK WALCZAK is an artist and architect who is interested in how people participate in physical and virtual spaces. This has led to projects such as "Apartment" (a Turbulence commission), shown at the Whitney Museum and many venues worldwide, and "Dialog Table," a commission of the Walker Art Center that replaces a keyboard and mouse with a shared interface based on gesture recognition technology. Current projects include a one block long facade at 7 World Trade Center that reacts to pedestrians walking beneath it (for James Carpenter Design) and interactive video installations such as "Third Person," recently shown at the ICA, London. Marek trained as an architect at the Architectural Assoc. in London and Cooper Union in New York.
For more Turbulence Spotlights please visit http://turbulence.org/spotlight/index.html
--
Jo-Anne Green, Associate Director
New Radio and Performing Arts, Inc.: http://new-radio.org
New York: 917.548.7780 • Boston: 617.522.3856
Turbulence: http://turbulence.org
New American Radio: http://somewhere.org
Networked_Performance Blog and Conference: http://turbulence.org/blog
IAMAS: Artist-in-Residence Invitation Program
>
>Call for applications
>-----------------------------------------------------------------------
>IAMAS: Artist-in-Residence Invitation Program
>-----------------------------------------------------------------------
>The Institute of Advanced Media Arts and Sciences and the International
>Academy of Media Arts and Sciences (IAMAS) conducts an
>Artists-in-Residence invitational program to support new and creative
>activities wherein scientific knowledge and artistic sensibility are
>aesthetically combined. The outline of the invitational program is as follows.
>
>1. Term of Invitation and Number of Invitees
>Term: 1st April 2005 - 30th September 2005
>1 person
>
>2. Application Requirements
>1) The applicant should be either an artist or researcher with an
>excellent track record as a professional in the field of media art.
>2) The applicant should be able to speak either Japanese or English to the
>extent of being able to get by comfortably during his/her stay in Japan.
>3) The applicant should be in good health.
>
>3. How to Apply
>Applicants are required to submit the documents listed below in either
>Japanese or English. Please be aware that application materials, once
>submitted, shall not be returned.
>You can download the Application Forms from
>.
>1) Artist-in-Residence Program Application Form (Form A)
>2) Curriculum Vitae and Record of Activities (Form B)
>3) Creative Activity Planned During Stay (Form C)
>4) Letter of Reference (from an authoritative person or society in your field)
>* Please type 1) to 4) on a computer.
>5) Portfolio on your major works
>* You are free to submit software and recorded media as part of your
>portfolio. In the event you submit software, please make sure that it can
>run in popular operating systems and that you specify the operating system
>needed). It is not possible to apply by only showing your works with the
>link to your webpage.
>6) Other
>a. 2 photos (40mm x 30mm) * The photos must be taken within the last six
>months. No hats, no backgrounds.
>b. Certified copy of your diploma (please provide a translation into
>Japanese or English)
>c. Photocopy of passport
>
>Please submit the above documents to:
>* It is not possible to apply on-line and we do not accept applicants by
>e-mail.
>IAMAS
>3-95 Ryoke-cho, Ogaki-shi, Gifu, 503-0014, Japan
>Tel: +81-584-75-6600
>Fax: +81-584-75-6637
>
>4. Application Deadline
>Your application forms must reach IAMAS by 31th December 2004.
>
>5. Screening Process
>The Artist-in-Residence Screening Committee, consisting of IAMAS teaching
>staff, will strictly screen all applicants. The Committee may interview
>applicants in person and/or by telephone.
>
>6. Notification of Screening Results
>IAMAS will notify applicants of the screening results by around February 2005.
>
>7. Support Provided by IAMAS
>1) Facilities and Equipment
>Facilities designated by IAMAS and equipment set up in the said facilities.
>2) Economic Support
>One roundtrip ticket will be provided.
>Living expenses incurred while working on the program.
>3) Apartment
>IAMAS will rent an apartment for the Artists-in-Residence.
>However, the artists are asked to pay part of the rent.
>
>8. What is Expected of the Artists-in-Residence
>1) To create and exhibit/release one work by the end of his/her stay.
>2) To actively mix with IAMAS students and instructors by, for example,
>working in collaboration with them on their projects.
>3) Artists-in-Residence are sometimes asked to participate in workshops
>geared for local residents and students.
>4) The documentations of the produced work need to be submitted to IAMAS.
>These documents can consist of video, picture, text, etc. The artists give
>IAMAS the right to use these documents for IAMAS promotional purposes
>without prior consent of the artist.
>
>9. Copyrights of the Works
>The copyright of the works that Artists-in-Residence create during their
>stay will belong to the artists on condition that:
>1) When they exhibit/release such works outside IAMAS, they indicate in
>the credits that they created the works at IAMAS.
>2) They readily cooperate with IAMAS when IAMAS wants to exhibit their works.
>3) They leave copies of the works (or materials related to the creation of
>the works if the works are hard to copy) at IAMAS when their term of stay ends.
>4) The artists agree that IAMAS, at its own discretion, may use, for the
>purpose of education, research and publication, the copies of (or
>materials related to), and the documentations of its production and its
>exhibition that they left in IAMAS.
>
>10. Miscellaneous
>1) Artists-in-Residence are required to carry accident insurance and
>health insurance at their own expense.
>2) IAMAS will not pay for the transportation of works and/or equipment at
>the time when Artists-in-Residence join and leave the program.
>3) An Artist-in-Residence may be accompanied by their spouse, however they
>are required to pay all the costs involved.
>
>11. query
>info@iamas.ac.jp
>http://www.iamas.ac.jp/SC/E/index-air.html
>
>-----
>Miki Fukuda
>Center for Media Culture (CMC)
>cmc@iamas.ac.jp
>iAMAS
>Institute of Advanced Media Arts and Sciences
>International Academy of Media Arts and Sciences
>3-95 Ryoke-cho, Ogaki-shi, Gifu 503-0014, Japan
>http://www.iamas.ac.jp/
--no.logo.[-D-]scenting--
--dreaming.caramelized.txt.body.trickling.
--spraypaint.attractors = doll.functioning
http://www.hotkey.net.au/~netwurker/