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.

Stanza: Abuse of the Public Domain
Abuse of the Public Domain.
Private View Thursday 8th December 7-9pm
9th December 2005- 23rd January 2006
HTTP presents Abuse of the Public Domain, the first solo show of
networked media art by Stanza.
http://www.http.uk.net/docs/exhib8/exhibitions8.htm
This exhibition features two large video projections, which use live
real-time data from CCTV cameras sited in two cities, London and New
York. Security tracking data is Stanza's chosen medium for these
process-led artworks.
You are my subject uses data from a single fixed camera in New York,
focusing on subjects as they pass below it. Authenticity [Trying to
imagine the world from everyone elses’ perspective, all at once] draws
its imagery from cameras all over London. Other works can be viewed in a
web browser via the Internet and turn us all into voyeurs of eerie
'parallel realities'.
“CCTV systems are everywhere in the public domain. Millions of hours
worth of data are recorded every day by these cameras. We are all
unwitting bit part actors, in the filming of our own lives. Usually we
cannot watch. The results are not collected for broadcast back to the
public. Rather they are monitored, filtered, distributed and archived
without our knowledge or permission. The city has millions of CCTV
cameras. One can take the sounds and images off live web streams to
offer them back to the public for new interpretations of the city. In
essence the city of London can be imagined as the biggest TV station in
existence.”
About Stanza:
Stanza is a London-based artist, who specialises in net art, multimedia,
and electronic sounds. His award winning online projects have been
invited for exhibition in digital festivals around the world, and Stanza
also travels extensively to present his net art, lecturing and giving
performances of his audiovisual interactions. His works explore artistic
and technical opportunities to enable new aesthetic perspectives,
experiences and perceptions within the context of architecture, data
spaces and online environments.
http://www.stanza.co.uk
Awards:
Videoformes Multimedia First prize France 2005, Netsa Dreamtime 2004,
Art In Motion V.First prize USA 2004, Vidalife 6.0 first prize 2003,
Fififestival Grand Prize France 2003, New Forms Net Art Prize Canada
2003, Fluxus Online first prize Brasil 2002, SeNef Online Grand Prix
Korea 2002, Links first prize Porto 2001, Videobrasil Sao Paulo 2001
first prize, Cynet art 2000 first prize, Dresden.
Stanza: Abuse of the Public Domain AT HTTP Gallery.
For more information and images, please contact Stephanie Delcroix,
stephanie@furtherfield.org or 0207 700 7859. Open Friday to Sunday
12noon-5pm.
HTTP [House of Technologically Termed Praxis] is one of London's
foremost galleries dedicated to showing net art, new media and sound
art. HTTP was opened on the initiative of Furtherfield
(http://www.furtherfield.org) in the vibrant and culturally diverse
Green Lanes area of North London. HTTP works with a wide range of
artists and audiences to explore the potential of current network
technology and to promote distributed creativity. HTTP is supported by
Arts Council of England. Furtherfield is an online platform for the
creation, promotion and criticism of net art, new media and sound art.
http://www.http.uk.net/
Getting to HTTP://
Tube: Manor House
Buses: 341, 141
Train: Haringey Green Lanes.
http://www.http.uk.net/docs/gettingto.htm
Past Exhibitions at HTTP:
http://www.http.uk.net/docs/exhib7/exhibitions7.htm
SocialSource 2005
SocialSource 2005: A one-day event examining the potential of Free/Open
Source Software (F/OSS) for the Voluntary/Non-profit sector will be taking
place in London on Wednesday 9 November 2005. The day is designed as a
meeting-point between those interested in Voluntary sector ICT, those
wanting to find out more about Open Source, and those who may already be
actively involved with Open Source projects. Full details can be found at
http://www.socialsource.org.uk. The event is affiliated to the Penguin Days
that have taken place in the US (http://www.penguinday.org/).
A programme for the day is in place at
http://www.socialsource.org.uk/pmwiki.php/EventNov05/EventProgramme, and
features:
* introductions for those who have had no hands-on contact with Free/Open
Source Software (F/OSS)
* case studies & details of projects going on within the sector using F/OSS
tools
* demonstrations of Free/Open Source Software in action
* opportunities for discussion & the chance to meet others in the non-profit
and technology communities.
* WHO FOR?
All are welcome to attend, whether new to Open Source or already involved in
projects, with key stakeholders envisaged as those:
- involved in the voluntary/non-profit sector with an interest in their
organisations' effectiveness and/or technology (e.g. IT/Resource managers,
funders...)
- supporting technology within organisations ("accidental techies", IT
staff, circuit riders - the event takes place on the day after the London
Circuit Rider Conference, trainers, support companies and consultants)
- already involved with Open Source technology via support or development -
meet others in the sector, come and raise awareness, or find out more about
the needs of the voluntary sector
We are also keen to attract people who have already applied Open Source
solutions in a voluntary or community setting, and who would like to share
their experiences.
Please feel free to pass on this announcement to colleagues or networks who
may be interested in attending.
* WHERE?
The venue for the event is City Temple Conference Centre on Holborn Viaduct,
London EC1A 2DE, (UK).
Details of how to reach the venue can be found at
http://www.socialsource.org.uk/pmwiki.php/EventNov05/EventLocation
* INTERESTED IN ATTENDING?
The event will be *free to attend* thanks to the support of the UK ICT Hub.
However, please send us a mail if you are intending to come, for us to get
an idea
of numbers for the day, especially as we're hoping to provide lunch (there's
bound to be a gag in there about "free" & "lunch"...).
* WHO IS ORGANISING?
The event has been put together by an informal group of volunteers -
details at http://www.socialsource.org.uk/pmwiki.php/Main/OrganisingGroup,
and is being supported by the UK Voluntary Sector ICT Hub
(www.ictconsortium.org.uk).
* NEED MORE INFORMATION?
Drop us a line via the wiki, or get in touch with one of the organisers,
Adrian De Luca, via adrian.deluca at physics.org
or +44 (0)7905 526 396.
* WANT TO CONTACT SOCIALSOURCE OR STAY IN TOUCH?
All the event details are on SocialSource's wiki at www.socialsource.org.uk,
where you can also send us a mail via
http://www.socialsource.org.uk/pmwiki.php/Main/ContactUs and sign-up to an
announcements list for further details of SocialSource's activities.
Hope to see some of you on 9 November!
Kind regards,
Adrian De Luca & the rest of the SocialSourcers
--
Adrian De Luca
E: adrian.deluca @ physics.org
M: +44 (0)7905 526 396
_______________________________________________
NetBehaviour mailing list
NetBehaviour@netbehaviour.org
http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Move 36 by Eduardo Kac
Eduardo Kac
A solo exhibition at Biche de Bere Gallery, Paris
Curated by Numeriscausa and @rt Outsiders Festival
Opening: September 27, Tuesday, from 7 PM to 10 PM
Biche de Bere Gallery
Septembre 28 - Octobre 26, 2005
8 Rue Rambuteau 75003 Paris (close to Pompidou Center)
Tuesday to Sunday, from 2 PM to 7PM
Phone : 06. 13. 50. 56. 16
Email : contact@numeriscausa.com
Web : www.numeriscausa.com
Two New Books Available:
Eduardo Kac. Telepresence and Bio Art -- Networking Humans, Rabbits and Robots (Ann Arbor : University of Michigan Press, 2005).
Elena Rossi, ed., Eduardo Kac : Move 36 (Paris : Filigranes Editions, 2005). Texts by David Rosenberg, Frank Popper, Didier Ottinger, Linda Weintraub and Hugues Marchal.
MOVE 36
"Move 36" makes reference to the dramatic move made by the computer called Deep Blue against chess world champion Gary Kasparov in 1997. This competition may be characterized as a match between the greatest chess player who ever lived and the greatest chess player who never lived. The installation sheds light on the limits of the human mind and the increasing capabilities developed by computers and robots, inanimate beings whose actions often acquire a force comparable to subjective human agency.
According to Kasparov, Deep Blue's quintessential moment in game two came at Move 36. Rather than making a move expected by viewers and commentators alike--a sound move that would have afforded immediate gratification--it made a move that was subtle and conceptual and, in the long run, better. Kasparov could not believe that a machine had made such a keen move. The game, in his mind, was lost.
The installation presents a chessboard made of earth (dark squares) and white sand (light squares) in the middle of the room. There are no chess pieces on the board. Positioned exactly where Deep Blue made its Move 36 is a plant whose genome incorporates a new gene that I created specifi cally for this work. The gene uses ASCII (the universal computer code for representing binary numbers as Roman characters, on- and off-line) to
translate Descartes's statement: "Cogito ergo sum" (I think therefore I am) into the four bases of genetics.
Through genetic modification, the leaves of the plants curl. In the wild these leaves would be flat. The "Cartesian gene" was coupled with a gene that causes this sculptural mutation in the plant, so that the public can see with the naked eye that the "Cartesian gene" is expressed precisely where the curls develop and twist. The "Cartesian gene" was produced according to a new code Kac created especially for the work. In 8-bit ASCII, the letter C, for example, is: 01000011. Thus, the gene is created by the following associations between genetic bases and binary digits:
A = 00
C = 01
G = 10
T = 11
The result is the following gene with fifty-two bases:
CAATCATTCACTCAGCCCCACATTCACCCCAGCACTCATTCCATCCCCCATC
The creation of this gene is a critical and ironic gesture, since Descartes considered the human mind a "ghost in the machine" (for him the body was a "machine"). His rationalist philosophy gave new impetus both to the mind-body split (Cartesian dualism) and to the mathematical foundations of current computer technology. The presence of this "Cartesian gene" in the plant, rooted precisely where the human lost to the machine, reveals the tenuous border between humanity, inanimate objects endowed with lifelike qualities, and living organisms that encode digital information. A single parallel light beam shines delicately over the plant. Silent square video projections on two opposing walls contextualize the work, evoking two chess opponents in absentia.
Each video projection is composed of a grid of small squares, resembling a chessboard. Each square shows short animated loops cycling at different intervals, thus creating a complex and carefully choreographed thread of movements. The cognitive engagement of the viewer with the multiple visual possibilities presented on both projected boards subtly emulates the mapping of multiple paths on the board involved in a chess match.
A game for phantasmic players, a philosophical statement uttered by a plant, a sculptural process that explores the poetics of real life and evolution. This installation gives continuity to Kac's ongoing interventions at the boundaries between the living (human, non-human animals) and the nonliving (machines, networks). Checkmating traditional notions, nature is revealed as an arena for the production of ideological conflict, and the physical sciences as a locus for the creation of science fictions.
Note: "Move 36" was previously shown at Gwangju and Sao Paulo biennials in 2004 and the Conde Duque Cultural Center, Madrid, in 2005.
Theatre of Restless Automata
Theatre of Restless Automata
by boredomresearch
Artist Private View:
Thursday 1st September 7-9pm
September 1 - 25 2005
Friday - Sunday : 12 noon - 5pm
Press Release for print (pdf 2.2 Mb)
Theatre of Restless Automata comprises three animated universes modelled from variations of the same computational formula. Each universe has a distinct aesthetic quality, which ranges from geometric abstraction to decorative figuration. Using computer algorithms based on scientific modelling techniques, the artists demonstrate how simple programming rules can create an infinite number of elaborate patterns. From these mosaics of pixels emerge small robotic figures (beings), which perform in a digital 'theatre of life'.
In RandomSeed Systems, groups of coloured pixels develop a pattern according to algorithms inspired by the mathematical model of cell growth known as Cellular Automata. The model designed by the artists produces patterns that evolve over time along an invisible grid of regular cells in a fashion reminiscent of tapestry weaving.
The result is independent from the aesthetic control of the artists: a real computational creation.
Biome systems consist of a set of glass portholes hung on the wall through which viewers can peer and observe virtual universes of swarming automata. Evoking a natural world of insects and micro-organisms, the artificial creatures evolve in sealed environments called Biomes, which span an acre of terrain. Limited by the two-inch diameter of the portholes, viewers can only catch a glimpse of the toing and froing of the biomes' inhabitants.
Ornamental Bug Garden 001 features a formally arranged space, which is being colonised by simple mechanisms and plants created from the same algorithm.
These colonies of bug like creatures are catapulted around the ornamental garden and sometimes collide with bubble pumping lifts.
A sound piece is incidentally composed from the noise of these collisions.
boredomresearch are interested in building computational works, inspired by simple rules found in natural systems. They explore processes of computer modelling and the creative potential of genetic algorithms for the creation of nature-like phenomena.
About boredomresearch
Vicky Isley and Paul Smith have been collaborating as boredomresearch since 2000.
boredomresearch have produced a number of interactive sound applications, online projects and computational soundscapes. Their work has been recently shown at Transmediale.05, Germany; FILE04, Brazil; NOW festival 2004, Nottingham, Electrohype festival in Sweden, Garage festival in Germany, Data:base Media Event in Dublin and within online exhibitions such as VIDA 7.0 Art & Artificial Life International Competition, soundtoys.net, mobilegaze.com and Dots & Line online exhibition.
Ornamental Bug Garden 001 has been awarded honorary mention in Transmediale.05, International Media Arts Festival, Berlin and VIDA 7.0, International A-Life Electronic Arts Competition, Madrid.
Theatre of Restless Automata has been produced in collaboration with Aspex Gallery and Peterborough Digital Arts
Theatre of Restless Automata has been produced in collaboration with Aspex Gallery and Peterborough Digital Arts
For press information and visuals, please contact Stephanie Delcroix
e-mail: stephanie@furtherfield.org
Gallery address:
Unit A2, Arena Business Centre,
71 Ashfield Rd,
London N4 1NY
Tube: Manor House
Buses: 341, 141,
Train: Haringey Green Lanes
Car: free parking facilities How to get there
HTTP:// is a non-profit organisation run by artists and curators of
board members: Ruth Catlow, Marc Garrett
COPYFIGHT in Barcelona
Here is the URL:
http://elastico.net/copyfight/eng_home.htm
Here is the text:
If intellectual property had always existed, humanity would have never known the Gilgamesh epic, the Mahbharata and the Ramayana, the Iliad and the Odyssey, the Popol Vuh, the Bible or the Quraan.
Digital technologies for distribution such as p2p networks, projects rewriting copyright and authora•˙s rights such as Creative Commons, or movements such as the one behind free software are turning this cultural period into a moment that demands a revision of the system regulating culture for the last three hundred years. COPYFIGHT is a series of activities about the unstoppable crisis of the contemporary model for intellectual property, and the emergence of free culture.
COPYFIGHT will open for three days several areas for documentation and debate as a contribution to the general effort to inform cultural producers and consumers. Panels and keynote presentations, workshops, screenings, download areas and legal counseling open to all visitors will take place in a decentralized way for three days focused on creativity in such areas as digital production, music, literature, and audiovisual culture.
Here are the pannelists:
Pau Alsina
Illegal Art
Downhill Battle
Sergio Bollain
David Bravo
Hernan Casciari
Jose Cervera
Cory Doctorow
Elastico
Amador Fernandez
Jesus Gonzalez Barahona
Bram de Jong
Mireia Garreta
Lawrence Lessig
Javier Maestre
Jose Antonio Millan
Beatriz Nosotrash
John Perry Barlow
Jota, Los Planetas
Platoniq
Cesar Rendueles
Carlos Sanchez Almeida
Pablo Soto
Wikipedia
(A project organized by the "elastic men" (Marta Peirano, Jose Luis de Vicente, Antonio Cordoba, Nacho Escolar) and Oscar Abril.)
Great to see you there,
Pau Alsina
Barcelona -Spain