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

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24th Kassel Documentary Film & Video Festival 2007
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Deadline: August 1, 2007
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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
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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.

GOODBYE PRIVACY - Ars Electronica 2007
The 2007 Ars Electronica Festival
(Linz, April 11, 2007) A new culture of everyday life is now upon us, bracketed by the angst-inducing scenarios of seamless surveillance and the zest we bring to staging our public personas via digital media. One in which everything seems to be public and nothing‚s private anymore. Panopticon or consummate individual liberty? At symposia, exhibitions, performances and interventions, the 2007 Ars Electronica Festival will delve into what the public and private spheres have come to mean and the interrelationship that now exists between them. Date: September 5-11. Location: throughout the City of Linz.
Feature yourself or you‚re out of the running
Being present wherever you want to be, whenever you want to be there; being able to reach anyone and being accessible by all. What were yesterday the yearnings projected onto new technologies have now materialized into the reality of our time. In the meantime, everyone has become simultaneously a transmitter and a receiver, and can get linked up to everyone else in an ever more tightly woven, world-encompassing web. With the aid of our avatars, blogs and taggings, we assume digital form(s) and adopt more or less imaginative second identities. Assisting us in our efforts to be omnipresent are our cyber-twins, the programmed clones that correspond to our personality profiles and take our places in chatrooms during absences made necessary by having to work and sleep. Showcasing ones
customized persona, staging ones own image is the order of the day. Feature yourself or its GAME OVER, dude! Once the countervailing scenario juxtaposed to the formula-driven, homogenized public sphere of the mass media, individualization and personalization a la Second Life, My Space, Flickr and youtube have become mainstream. Emerging along with them at a rapid clip are completely new sectors of the public sphere featuring brand new rules of play. Traditional recipes for success have only limited applicability in this Brave New World. Being attractive isn‚t enough. Originality and uniqueness are what it takes to attain virtual stardom, and what this encourages or even absolutely demands is exhibitionism that‚s incessantly expanding the limits that define what constitutes taking things too far. Accompanying this staging of the self for consumption by a mass audience is the emergence of a new culture of everyday life in which seemingly everything is public and nothing is private anymore. A new dimension of civil liberty seems to have become reality.
Big Brother is watching you
And the same holds true for the nightmare of flawless surveillance. Whether in real spaces or digital domains, the network of cameras, biometric sensors, RFIDs, log files and trojans is becoming ever more tightly woven. Video surveillance is shifting the dimensions of the public sphere: in British pilot projects, it‚s no longer limited to just observing and recording; now, should the situation warrant it, there‚s even a possibility of urgently requesting individuals to get their comportment into compliance with regulations. Immense databases and highly developed algorithms automatically interlinking and evaluating all our electronic traces consummate this new quality of surveillance. But it‚s not just the depth of field and high resolution of this digital reconnaissance that‚s significant; it‚s also the fact that access to the technologies and the compiled data is increasingly shifting out of the purview of public authorities and into the hands of commercial and individual interests. Revenue-enhancing information is a valuable commodity that comes with a correspondingly high price tag. But it‚s not merely technology, information and communication that are omnipresent. It‚s we ourselves. At all times and anywhere. Classifiable via the detailed and comprehensive personality profiles that we leave behind as the traces of our outings in digital domains.
The 2007 Ars Electronica Festival
GOODBYE PRIVACY will limn the current and future standing of the public and private spheres and the relationship between those two realms. What sorts of new strategies can be developed to create a private sphere in the transparent world of digital media? What do we have at our disposal to counter the intrusions of increasingly efficient control and surveillance technologies, and how can we prevent the loss of individual control over our digital personas? How can we shatter the pre-configured virtual public spheres of the entertainment industry and genuinely configure new ones ourselves? How can we bring the entire cultural diversity of our societies to bear in these recently emerged and currently emerging social and public realms, and how can the new cultural paradigms of Web 2.0 communities be made to generate social dynamics that can also display relevance in the real world?
GOODBYE PRIVACY invites artists, network nomads, theoreticians, technologists and legal scholars to formulate responses to these and other questions. In Ars Electronica‚s inimitable fashion, elaborations in the form of symposia, exhibits, performances and interventions will proliferate beyond the confines of classic conference halls and exhibition spaces, and spread across the whole city. And onward into the virtual world of Second Life.
Kicking things off will be the Austrian Judges Conference on September 4-5. Participants will scrutinize the fundamental rights now prevailing in the digital world, the tense interrelationship between the protection of confidential data and the private sphere on one hand and the freedoms of information and communication on the other. The conference will take an interdisciplinary, international approach. Ina Zwerger of the ORF‚s radio station O1 and artist/author Armin Medosch will curate the symposium. This year's guest institution of higher learning in the field of media art and culture is HyperWerk, the Basel University of Art and Design‚s Institute for Postindustrial Design. HyperWerk sees something very new taking shape: high-tech is increasingly finding its way back to tangible objects in the wake of an abstraction phase dominated by the computer screen and the mouse. In concrete terms, this means „neo-analog design‰ that gives form to this digital tangibility. HyperWerk is a node of acar2, a network of colleges, crafts initiatives and enterprises that‚s setting up an academy exploring the future of crafts.
In 2007, Ars Electronica is once again working together with a network of local associations and institutions involved in the arts and culture. The ORF - Austrian Broadcasting Company‚s Upper Austria Regional Studio and O1 have also made a major commitment to this undertaking.
Online Accreditation
Media outlet representatives can immediately start getting accredited for GOODBYE PRIVACY at
Successful Collaboration with Hatje Cantz
Ars Electronica is continuing its long-term professional relationship with internationally respected art book publisher Hatje Cantz. „Ars Electronica‚s mission and content ideally complement our publishing program. The internationality of the festival dovetails beautifully with Hatje Cantz‚s distributive possibilities of achieving a global presence with high-quality catalogs,‰ said Annette Kulenkampff, publisher and CEO.
In recent years, Hatje Cantz has developed into a special-interest publishing house producing exhibition catalogs and art books of superb quality for a very discriminating readership. Hatje Cantz is one of the „top names in the catalog field‰ (Buchmarkt 11/06) and is regarded as one of „the foremost publishers of art books‰ (Kunstzeitung 10/06). In addition to architecture, photography and the art of many historical epochs, a strong commitment to contemporary art is a tradition of long standing. Hatje Cantz publications have accompanied exhibitions at the world‚s most important museums including New York‚s MoMA, the Guggenheim, the Centre Pompidou in Paris, the Albertina in Vienna, the Royal Academy in London, the State Museums of Berlin and the Bavarian State Painting Collections. Hatje Cantz‚s „Ars Electronica‰ and „CyberArts,‰ the publications that have documented the activities of the Festival, the Museum of the Future, the FutureLab and the Prix each year since 2001, are among the standard works in the field of media art and in the discourse focusing on mankind‚s technological culture. They constitute a unique record of the entire Ars Electronica project, and offer a cross-section of the symposia, artists talks, discussion forums, workshops, concerts, performances and exhibitions that define what Ars Electronica is.
Meme: Romanticism
Opens Friday, February 16
Please join us for the opening of Meme: Romanticism on Friday February 6, 2007.
Meme: Romanticism
Organized by Michele Thursz
Artists: Tobias Bernstrup, Jeremy Blake, Claudia Hart, Michelle Handelman, Reynold Reynolds and Patrick Jolley, and Carlo Zanni
February 16, 2007- March 31, 2007
Opening Reception, February 16, 6:00-8:00 pm
DAILY SCREENINGS
Wednesday through Saturday:
Winchester Trilogy: 12PM, 2PM
Mantis City: 1PM, 3PM
This Delicate Monster: 1:30PM, 3:30
Folly & Error: 1:40PM: 3:40
The Possible Ties Between Illness and Success: 1:50, 3:45PM
Sugar: 4-6PM
The Swing and the prints are in the main gallery.
EFA Gallery
EFA Studio Center
323 West 39th Street, 2nd Floor
New York, NY 10018
between 8th and 9th Avenues
Gallery Hours: Wed. through Sat., 12-6 PM
For further information:
Elaine Tin Nyo, Director
T. 212-563-5855 x203, F. 212-563-1875
elaine@efa1.org
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February 16, 2007- March 31, 2007

image: michelle handelman
"I want to compete with the movies"
Meme: Romanticism examines five artists' cinematic productions that utilize technological aesthetics, cultural symbolism, historic compositions, and narratives to expose the conceptual underpinning of Romanticism. The exhibition will be set up like a theater, with viewing times allocated by length of the video. The room will have a sound system and projection with seating for the viewer's comfort, so they may enjoy the works. The waiting area will be set up as a traditional gallery space with prints derived or inspired by the films, but still functioning as unique objects.
The exhibition includes the artist collaborative feature film Sugar and prints by Reynold Reynolds and Patrick Jolley; Mantis City, a video and print by Tobias Bernstrup; Winchester Trilogy, videos and print by Jeremy Blake; The Possible Ties Between Illness and Success, an interactive video and prints Carlo Zanni; This Delicate Monster, video and prints by Michelle Handelman; and The Swing, 3-D animation and prints by Claudia Hart.
Romanticism as a movement emerged in the late 1700s. Artists took a stance against formal aesthetics to define art as a place for sentiment, nature, and the play of the imagination. This was an idea of art in which individuals shared their subjective realities with the public. Since that time, technologies of representation have advanced from still to moving images, from early cinema to Hollywood films to personal computers and the Internet. A social medium of representation unfolded with the capability to archive and to edit histories, identities, and geographies. These capabilities allow the public to participate in fantastic situations. Movies became popular because they reflect the dreams, fears, or fantasies of a mass public. The impact of Hollywood film and mass media is intriguing sociologically: How does consumer culture affect the personal? How does it effect the way people define their own identities?
Artists of the 50s and 60s started using the machinery of commercial culture to create and engage a broad public. This tendency was later identified as "Pop". Today's contemporary artist raises the ante of the Pop aesthetic by creating works that reflect our communal experiences. Communality is the key to the success of the movies and mass media; both use the tactic of bringing together a general consensus and the popular. The market and the media are based on the human need to shareempathy, opinion, and historymaking the media generative by the public and the media reflecting back and forth on each other.
In the contemporary art context these cinematic or communal works become the romantic concept of the Gesamtkunstwerk, the total work of art. The exhibited works are cinematic and poetic by the nature of their production and their narratives. They reference historic compositions to create an emotional outlook on nature. These works are also a good index of the values and needs of our society because they are invested in our cultural life. In them the hierarchies and histories of art making is deconstructed and reapplied to these artists' craft and aesthetics, aligning theirs artistic intention with the ideas of romanticism.
Meme: Romanticism suggests that Romanticism was more than a formal movement of the past but successful in changing and adapting with the times and the exigencies of historyand with the needs contemporary art making.
Michele Thursz, 2006
Michele Thursz is an independent curator. Recently she has been appointed as the director of NY Projects, an international art advisory and production company. Her previous projects include Post Media Network; Post Media is a term and action demonstrating the continuous evolution of uses of media and its effect on artists practice, and culture-at-large. Thursz' recent curatorial projects include Thread, Wood Street Gallery, Pattern: Modernism as Mediator, Borusan Gallery, Istanbul, Cine-O-matic, The New Museum, public.exe: Public Execution, Exit Art, NYC, and Democracy is Fun, White Box, NYC.
Contact: michele.thursz@gmail.com
This exhibition is presented by the EFA Gallery, a program of The Elizabeth Foundation for the Arts. With additional support from The Helen Keeler Burke Charitable Foundation, Peter C. Gould, Materials for the Arts, and Carnegie Corporation Inc. and many generous individuals.
The EFA Gallery is a curatorial project space. Through the gallery, The Elizabeth Foundation for the Arts supports the creative work of independent curators. Curators build the framework in which we understand artists and the art they make. At their best, they redefine how we look at culture. The Elizabeth Foundation for the Arts believes in the essential importance of art in a civil society. The value of the artist's creative spirit is not limited by age, race, nationality or acceptance by others.
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SCREENING TIMES
DAILY SCREENINGS:
Wednesday through Saturday:
Winchester Trilogy: 12PM, 2PM
Mantis City: 1PM, 3PM
This Delicate Monster: 1:30PM, 3:30
Folly & Error: 1:40PM: 3:40
The Possible Ties Between Illness and Success: 1:50, 3:45PM
Sugar: 4-6PM
The Swing and the prints are in the main gallery.
ROUGH DRAFT OF VIDEO SYNOPSISES
available at meme-romanticism.blogspot.com
elaine@efa1.org • The Elizabeth Foundation for the Arts
THREAD at Wood Street Galleries
Opening Reception + Gallery Crawl
Friday, January 26, 5-10pm
with music by Shade
Gallery talk with Michele Thursz
Saturday, January 27, 1pm
The term thread has many connotations, relating to craft and technology in the contemporary artist’s studio and in culture at large.
The curatorial model of Thread physically emulates the structure of a web log. Here at Wood Street Galleries, the exhibition is parsed into four categories, simulating threads in a conversation about the resurrection of craft aesthetics within technology-based contemporary art making.
Craft and technology have always been linked. Craft has many meanings, all related to the making of art or objects: a mastery of skill; the hand-made quality of a designed object; an object that has a purpose; a hobby form. Craft itself has always been based in material technologies, but technologies also exist in the form of languages, as tools to transfer information. Today we have advanced these earlier technologies - languages - as media to facilitate our need for exchange.
Earlier crafts included a multitude of materials used for domestic, social, and ritual purposes. Today the materials include computers, programming languages, software, cell phones, and mass media. These materials result in crafted forms that are not unlike iterative, hand-me-down, repaired and collectively infused objects that are loaded with plural narratives generated from a rich legacy of many makers and many voices. The objects are both things, and containers for socially rich ornamentation and personal expression, like desktops, ring tones, hacks, and customizations. Applied crafts have ancient roots; these are passed down through generations, both through vocation, and as markers in history. Contemporary, technologically-based crafts might not be made of literal materials like wood, ceramic, cloth or metal but rather of code (with coder as craftsman), signal, or interactive objects.
Craft is generative; it reproduces in both form and mastery of medium. Today’s technological objects embody a collection of crafted actions, and are malleable in how they might be realized as designed objects- as tools and instigators of intellectual contemplation. The frame for these constructed works has shifted towards a more sociological context, one that explores the evolving terrain of technology’s effects on the individual and group, or public.
Computer and internet techologies act as extensions of our physical bodies and minds, to a virtual space in which we play and live. These constructs allow the user to devise new ways to collect, navigate, communicate, and even develop multiple identities and landscapes. Now that almost two decades have passed since personal computers and the internet have existed, the public is fluent with these new languages and objects as part of everyday use. This fluency in turn empowers makers to continue the evolution of technology at large. Here the makers’ skills enable them to recraft these platforms, and question the utopian ideas that are currently grafted onto the currency of technology.
Contemporary objects have dual functions of utility and ornament, and like hand-crafted relics of the past, they push at the processes of production and definitions of art. These applications of traditional craft aesthetics within contemporary art practice provide the most democratic of the arts to date.
The exhibition, Thread and the works all refer to craft in the functional sense of the word: as expertise in a medium, and as the construction of an object that is multidimensional - either as a sociological tool or as a personal perspective. The application of traditional craft, aesthetics, which are sometimes sentimental, and often tactile, positions the makers’ viewpoints both against and among the flood of technology today.
Within four physical threads inside of the gallery, twelve artists’ use information that is derived from information technologies, software, gaming, mass media, and video.
Participating artists: Michael Anderson, Andy Deck, Ursula Endlicher, Tal Hadad, Yael Kanarek, Knitta, Guthrie Lonergan, Cat Mazza, Anne-Marie Schleiner, Devorah Sperber, Carlo Zanni, Marina Zurkow
Wood Street Galleries is located in Pittsburgh's Cultural District.
601 Wood Street
Pittsburgh, PA 15222
http://www.woodstreetgalleries.org/
FUTURESONIC 2007
10-12 May, Manchester UK
GET INVOLVED!
Futuresonic 2007 now invites submissions of projects to Futurevisual and to EVNTS.
FUTUREVISUAL - INVITATION FOR SUBMISSIONS
http://www.futuresonic.com/07/2007_submissions.html
Deadline: Thursday 15th February 2007
EVNTS - INVITATION FOR SUBMISSIONS
http://www.futuresonic.com/07/evnts.html
Deadline: Thursday 15th February 2007
More info...
FUTUREVISUAL
http://www.futuresonic.com/07/2007_submissions.html
Futuresonic invites submissions of projects at the cutting edge of immersive sound and image.
Futurevisual forms the centrepiece of Futuresonic Live at Futuresonic 2007 in Manchester/UK. Futurevisual will also be presented at a new festival launched during 2007 by Art Centre Nabi in Seoul/South Korea, and a selection of works presented at Futuresonic will be shown at arte.mov in Belo Horizonte/Brazil.
Futurevisual is a celebration of all things audiovisual, with a focus on audiovisual projects which emerge from, reference or are inspired by the transfusion of visual media and visual technologies within music culture, and the mixing of visual culture and music culture.
This will be a homage to the 40th anniversary of seminal multimedia events in 1967 which, like Futuresonic, came not from film but a collision of music and art worlds. At events such as The 12 Hour Technicolour Dream and Games For May, and the UFO club, London's psychedelic underground exploded into the daylight. These were at the beginning of a seminal year which saw a coming together of the worlds of music and visual art, a crossover between avant garde and popular music, and also the introduction of the Moog at Monterey.
Please note that in 2007 we are only asking for submissions of projects that can be presented without financial support from Futuresonic.
Deadline for submissions:
Thursday 15th February 2007
See website for full details.
FUTURESONIC 2007
10-12 May, Manchester UK
http://www.futuresonic.com
Futuresonic, the urban festival of electronic arts and music, is moving from July to May, back to the Spring date it occupied in 2004.
See below for next year's highlights and special advance discounts on delegate passes.
FUTUREVISUAL
http://www.futurevisual.org
In 2007 the centrepiece of Futuresonic Live will be a celebration of all things audiovisual and a homage to 40 years of multimedia events.
40 years ago there were the first multimedia events of the kind that we would understand today. While the rest of the world was celebrating the soft-centred Summer of Love, a fusion of artforms and a crossover between avant garde and popular was taking place. This was the moment when events like Futuresonic became possible...
To celebrate the 40th anniversary of these seminal events, Futuresonic Live goes back to the future - revisiting one of the inspirations of the first Futuresonic festival in 1996 - to look at the cutting edge of immersive sound and image today.
URBAN PLAY
http://www.urban-play.org
Urban Play is the art and technology strand of the festival featuring exhibitions, workshops and interactive projects in the city streets. It was introduced in Futuresonic's 10th anniversary year, reflecting Futuresonic's focus since 2004 on artworks in urban space, and has since been mirrored in other events in the UK and Europe.
Thirty years after Brian Eno's MUSIC FOR AIRPORTS, Futuresonic 2007's Urban Play presents ART FOR SHOPPING CENTRES, an exhibition of interactive artworks in a major shopping centre.
Urban Play will also feature FREE-MEDIA activities in association with Mongrel, MediaShed and Access Space, including a UK first implementation of the free-media Video Toolkit developed by MediaShed and Eyebeam (more TBA).
EVNTS
http://www.futuresonic.com/07/evnts.html
A competition and showcase for the best new and ground breaking events from around the world.
EVNTS is a strand of the Futuresonic festival which enables artist groups and event organisers to participate in the festival. Since its introduction in 2005, EVNTS has grown into a community of people who each year return to give the festival an extra edge.
INVITATION FOR SUBMISSIONS: Futuresonic now invites anyone working in music or media arts to take part in EVNTS 2007, with the EVNT Competition offering financial support for a limited number of events.
For further details announced soon. Visit www.futuresonic.com/07/evnts.html for more info, or sign up to Futuresonic's subscriber list to receive regular updates.
SOCIAL TECHNOLOGIES SUMMIT
http://www.socialtechsummit.org
A major international conference exploring the creative and social potential of new technologies, bringing together leading figures to explore "a whole new way of doing things in the air".
In 2007 a focus of the Social Technologies Summit is FREE-MEDIA. Free- media is about finding inspiration and resources in our built and natural environment that were previously dismissed as being without value or irrelevant. It doesn't cost much because it makes use of public domain Free and Open Source Software, and recycles freely available old equipment, waste materials and junk (FOSS). Free-media increases access to media technologies, especially to the people who need it most and can afford it the least, and lowers environmental impact of the media we produce and consume.
The 2007 Summit will also host a network meeting for ENVIRONMENT 2.0, a new initiative joining the dots between locative media and environmental calamity, being launched by Futuresonic to assess and offset the environmental footprint of future arts and culture.
And it will play host to THE MAP DESIGNERS, an event drawing together map hackers, artists, cartographers, DIY technologists, architects, game programmers, bloggers and semantic web philosophers.
Delegate Pass - Advance discount available. See Below.
GET INVOLVED!
http://www.futuresonic.com/07/get_involved
Visit the website or subscribe to Futuresonic updates for upcoming calls for submissions, job offers and volunteering opportunities.
ADVANCE DELEGATE PASS DISCOUNT ... SAVE 20 http://www.futuresonic.com/07/bookings.html
Delegate Pass - 25 (Normally 45)
The Delegate Pass gives you access to all Futuresonic seminars and talks, the Social Technologies Summit, and entrance to Futuresonic Live events over the festival weekend. You must reserve your discounted Delegate Pass before December 31st 2006 and make payment by January 31st 2007. To reserve email tickets2007@futuresonic.com stating your name, address and contact details. You will be sent purchasing information from the festival box office by January 8th 2007.
*Futuresonic 2007 may burn when exposed to oxygen.