The Temporary Travel Office produces a variety of services relating to tourism and technology aimed at exploring the non-rational connections existing between public and private spaces. The Travel Office has operated in a variety of locations, including Missouri, Chicago, Southern California and Norway.
Is MySpace a Place?
Networked Performance pointed me toward an interview (download in PDF)with Networked Publics speaker Henry Jenkins and Networked Publics friend danah boyd about Myspace. The site, popular with teenagers, has become increasingly controversial as parents and the press raise concerns about the openness of information on the site and the vulnerability this supposedly poses to predators (Henry points out that only .1% of abductions are by strangers) and the behavior of teens towards each other (certainly nothing new, only now in persistent form). In another essay on Identity Production in Networked Culture, danah suggests that Myspace is popular not only because the technology makes new forms of interaction possible, but because older hang-outs such as the mall and the convenience store are prohibiting teens from congregating and roller rinks and burger joints are disappearing.
This begs the question, is Myspace media or is it space? Architecture theorists have long had this thorn in their side. "This will kill that," wrote Victor Hugo with respect to the book and the building. In the early 1990s, concern about a dwindling public culture and the character of late twentieth century urban space led us to investigate Jürgen Habermas's idea of the public sphere. But the public sphere, for Habermas is a forum, something that, for the most part, emerges in media and in the institutions of the state:
The bourgeois public sphere may be conceived above all as the sphere of private people come together as a public; they soon claimed the public sphere regulated from above against the public authorities themselves, to engage them in a debate over the general rules governing relations in the basically privatized but publicly relevant sphere of commodity exchange and social labor. The medium of this political confrontation was peculiar and without historical precedent: people's ...
SWITCH: Issue 22
HI everyone. Just wanted to announce the new issue of SWITCH:
SWITCH : The online New Media Art Journal of the CADRE Laboratory for
New Media at San Jose State University
http://switch.sjsu.edu switch@cadre.sjsu.edu
SWITCH Journal is proud to announce the launch of Issue 22: A Special
Preview Edition to ISEA 2006/ ZeroOne San Jose.
As San Jose State University and the CADRE Laboratory are serving as
the academic host for the ZeroOne San Jose /ISEA 2006 Symposium,
SWITCH has dedicated itself to serving as an official media
correspondent of the Festival and Symposium. SWITCH has focused the
past three issues of publication prior to ZeroOne San Jose/ISEA2006
on publishing content reflecting on the themes of the symposium. Our
editorial staff has interviewed and reported on artists, theorists,
and practitioners interested in the intersections of Art & Technology
as related to the themes of ZeroOne San Jose/ ISEA 2006. While some
of those featured in SWITCH are part of the festival and symposium,
others provide a complimentary perspective.
Issue 22 focuses on the intersections of CADRE and ZeroOne San Jose/
ISEA 2006. Over the past year, students at the CADRE Laboratory for
New Media have been working intensely with artists on two different
residency projects for the festival – “Social Networking” with Antoni
Muntadas and the City as Interface Residency, “Karaoke Ice” with
Nancy Nowacek, Marina Zurkow & Katie Salen. Carlos Castellanos,
James Morgan, Aaron Siegel, all give us a sneak preview of their
projects which will be featured at the ISEA 2006 exhibition. Alumni
Sheila Malone introduces ex_XX:: post position, an exhibition
celebrating the 20th anniversary of the CADRE Institute that will run
as a parallel exhibition to ZeroOne San Jose/ ISEA 2006. LeE
Montgomery provides a preview of NPR (Neighborhood Public Radio)
presence at ...
Art & Mapping
The North American Cartographic Information Society (NACIS) has released a special issue of their journal, Cartographic Perspectives:
Art and Mapping
Issue 53, Winter 2006
Edited by Denis Wood and and John Krygier
Price: $25
The issue includes articles by kanarinka, Denis Wood, Dalia Varanka and John Krygier, and an extensive catalogue of map artists compiled by Denis Wood.
[-empyre-] Liquid Narrative for June 2006
Christina McPhee:
hi all, I am not sure we got this message out to Rhizome!
Please join our guests this month, Dene Grigar (US), Jim Barrett
(AU/SE), Lucio Santaella (BR), and Sergio Basbaum (BR) , with
moderator Marcus Bastos (BR), for a spirited discussion of "Liquid
Narratives" ----- digital media story telling with a dash, perhaps,
of 'aura' .
Here's the intro from Marcus:
The topic of June at the - empyre - mailing list will be Liquid Narratives. The concept of 'liquid narrative' is interesting in that it allows to think about the unfoldings of contemporary languages beyond tech achievements, by relating user controlled applications with formats such as the essay (as described by Adorno in "Der Essay als Form", The essay as a form) and procedures related to the figure of the narrator (as described by Benjamin in his writings about Nikolai Leskov). Both authors are accute critics of modern culture, but a lot of his ideas can be expanded towards contemporary culture. As a matter of fact, one of the main concerns in Benjamin's essay is a description of how the rise of modernism happens on account of an increasing nprivilege of information over knowledge, which is even more intense nowadays. To understand this proposal, it is important to remember how Benjamin distinguishes between an oral oriented knowledge, that results from 'an experience that goes from person to person' and is sometimes anonymous, from the information and authoritative oriented print culture. One of the aspects of this discussion is how contemporary networked culture rescues this 'person to person' dimension, given the distributed and non-authoritative procedures that technologies such as the GPS, mobile phones and others stimulate.state of the planet infographics
a small collection of beautiful information graphics documenting the current state of the planet.
see also gapminder & 3d data globe.
[seedmagazine.com]
Re: Preserving Work That Falls Outside the Norm - NYTIMES
running, so it's auto-replying to everyone's email...
see:
http://www.rhizome.org/thread.rhiz?thread 772&page=1
ryan
On Apr 3, 2006, at 11:09 PM, Lauren Cornell wrote:
>
> No, you're not. I started receiving these messages last week, and
> thought
> I was the only one. With the server issues we encountered, looking
> into got
> laid to the wayside. We will do so asap, and let you know.. -- L
>
>
> On 4/2/06 11:49 AM, "Lee Wells" <lee@leewells.org> wrote:
>
>> I'm glad I'm not alone.
>>
>> On 4/2/06 12:26 PM, "marc" <marc.garrett@furtherfield.org> wrote:
>>
>>> I would'nt mind knowing also...
>>>
>>> marc
>>>
>>>> Can someone explain to me what mailia is?
>>>>
>>>> On 4/2/06 12:50 PM, "rhizome" <list@rhizome.org> wrote:
>>>>
>>>>
>>>>
>>>>> mailia
>>>>>
>>>>> Lee Wells <lee@leewells.org> wrote:
>>>>>
>>>>>
>>>>>> Nice quote Lauren.
>>>>>> Cheers.
>>>>>>
>>>>>> March 29, 2006
>>>>>> Conservation
>>>>>> Preserving Work That Falls Outside the Norm
>>>>>> By TERRY SCHWADRON
>>>>>>
>>>>>> Correction Appended
>>>>>>
>>>>>> FOR centuries, museums, libraries and collectors have been forced
>>>>>> to worry
>>>>>> about how to keep artifacts and documents from falling into
>>>>>> pieces.
>>>>>> Despite
>>>>>> the inevitable decay of the materials involved, curators and
>>>>>> conservators
>>>>>> have protected mummies, paintings and other objects.
>>>>>>
>>>>>> Now these curators and conservators find themselves in the
>>>>>> digital era,
>>>>>> with
>>>>>> artists presenting work that challenges not only the audience,
>>>>>> but also
>>>>>> the
>>>>>> traditions of preservation. The essential question is, How does a
>>>>>> museum
>>>>>> safeguard work that was built as an interactive experience and
>>>>>> that may be
>>>>>> based on computer code that will almost certainly disappear in
>>>>>> less than
>>>>>> two
>>>>>> years?
>>>>>>
>>>>>> "It's certainly been a problem since the first time we decided to
>>>>>> keep
>>>>>> something," said Richard Rinehart, director of digital media at
>>>>>> the
>>>>>> Berkeley
>>>>>> Art Museum and Pacific Film Archive of the University of
>>>>>> California.
>>>>>> "That's
>>>>>> what museums do: they are society's memory banks. Digital art is
>>>>>> different
>>>>>> because it essentially can disappear."
>>>>>>
>>>>>> "I like to joke that digital art can last forever or for five
>>>>>> years,
>>>>>> whichever comes first," he added.
>>>>>>
>>>>>> The Berkeley Art Museum Web site describes the problem: "Works of
>>>>>> variable
>>>>>> media art, such as performance, installation, conceptual and
>>>>>> digital art,
>>>>>> represent some of the most compelling and significant artistic
>>>>>> creation of
>>>>>> our time. ... Without strategies for cataloging and preservation,
>>>>>> many of
>>>>>> these vital works will eventually be lost to art history." There
>>>>>> is
>>>>>> growing
>>>>>> concern about preserving digital documents and art among museum
>>>>>> personnel,
>>>>>> libraries and collectors. Digital art has joined with holograms,
>>>>>> performance
>>>>>> art, conceptual art and other time-based media creations that can
>>>>>> be
>>>>>> difficult for a museum to maintain or conjure up again or lend to
>>>>>> another
>>>>>> institution. While critical appreciation of digital-based art may
>>>>>> be
>>>>>> limited, there are questions being raised beyond the art itself.
>>>>>>
>>>>>> "Preservation represents a continuum," said Carol Stringari, a
>>>>>> senior
>>>>>> conservator for contemporary art at the Solomon R. Guggenheim
>>>>>> Museum in
>>>>>> New
>>>>>> York. "There have always been periods in history in which there
>>>>>> was
>>>>>> experimentation in art, and there have always been new materials.
>>>>>> But the
>>>>>> questions about preservation remain the same, regardless of the
>>>>>> media. We
>>>>>> must strive to understand the meaning and integrity of the work,
>>>>>> which
>>>>>> allows us to make informed decisions about its long-term
>>>>>> preservation."
>>>>>>
>>>>>> Keeping alive art that is based on interactivity or computer code
>>>>>> was not
>>>>>> part of her training, Ms. Stringari said, and raises questions
>>>>>> about
>>>>>> maintaining a collection.
>>>>>>
>>>>>> For example:
>>>>>>
>>>>>> A Felix Gonzalez-Torres piece from 1991, "Untitled (Public
>>>>>> Opinion)," was
>>>>>> shown as a pile of cellophane-wrapped black licorice candies
>>>>>> against a
>>>>>> wall
>>>>>> where people could remove them, changing the shape. To consider
>>>>>> preserving
>>>>>> the work for restaging, the museum dealt with the artist's estate
>>>>>> (he died
>>>>>> in 1996) on questions like whether the brand of candy was
>>>>>> important; the
>>>>>> pile's exact shape had to be kept; and the color or look of the
>>>>>> candies
>>>>>> must
>>>>>> be the same.
>>>>>>
>>>>>> "For the moment, those same candies are still available, but they
>>>>>> may not
>>>>>> always be available," although efforts have been made to specify
>>>>>> acceptable
>>>>>> parameters, she said.
>>>>>>
>>>>>> A computer-based presentation by Mark Napier from 2002 called
>>>>>> "net.flag"
>>>>>> invited visitors to use symbols from international flags to
>>>>>> change a set
>>>>>> of
>>>>>> stars, among other things, a work partly intended to show how the
>>>>>> Internet
>>>>>> has dissolved national border limitations. The art is in the
>>>>>> interactivity,
>>>>>> which is difficult to preserve.
>>>>>>
>>>>>> Video works by Nam June Paik, who died in January, were made on
>>>>>> machinery
>>>>>> using cathode ray tubes, on monitors giving way to plasma screens
>>>>>> and with
>>>>>> other technology. Conservators suggest that restaging his art
>>>>>> reflects the
>>>>>> discussion about intention versus physical replication involving
>>>>>> hardware,
>>>>>> which could change the work.
>>>>>>
>>>>>> Art institutions have begun to look at these issues
>>>>>> systematically. The
>>>>>> Guggenheim is part of a collaborative project that includes the
>>>>>> Berkeley
>>>>>> Art
>>>>>> Museum and Pacific Film Archive, Rhizome, an online community for
>>>>>> digital
>>>>>> artists, the Franklin Furnace Archive, the Walker Art Center in
>>>>>> Minneapolis
>>>>>> and the Cleveland Performance Art Festival and Archive. The
>>>>>> National
>>>>>> Endowment for the Arts granted the consortium $165,000 to create
>>>>>> models
>>>>>> for
>>>>>> preservation. The Guggenheim linked with the Daniel Langlois
>>>>>> Foundation
>>>>>> for
>>>>>> Art, Science and Technology to stage an exhibition and symposium
>>>>>> on
>>>>>> variable
>>>>>> media art and emulation, which uses newer computers to run older
>>>>>> software.
>>>>>> And the Museum of Modern Art is working with the Tate Modern in
>>>>>> London and
>>>>>> the San Francisco Museum of Modern Art on related work.
>>>>>>
>>>>>> "It is a paradox that the task is to preserve things that are not
>>>>>> materials," said Lauren Cornell, executive director of Rhizome,
>>>>>> which
>>>>>> documents digital work by participating artists and works with
>>>>>> the Museum
>>>>>> of
>>>>>> Contemporary Art in Los Angeles. "There really aren't any
>>>>>> standards for
>>>>>> how
>>>>>> to do this. We're all testing out different ways to preserve work
>>>>>> that is
>>>>>> online and then goes out of date really, really quickly."
>>>>>>
>>>>>> In addition to emulation, other preservation techniques include
>>>>>> storing
>>>>>> the
>>>>>> original work and machinery, making computer copies or preparing
>>>>>> extensive
>>>>>> documentation.
>>>>>>
>>>>>> Mr. Rinehart, a digital artist himself, said that questions about
>>>>>> digital
>>>>>> art may signify a larger issue. "Digital art, like all art, may
>>>>>> be at the
>>>>>> forefront of a larger question," he said. "What is rapidly
>>>>>> developing is
>>>>>> this black hole. In the future, people may look back and be able
>>>>>> to see
>>>>>> what
>>>>>> was happening in the 18th century, the 19th century, and then
>>>>>> will come a
>>>>>> period in which we cannot tell what artists were working on. But
>>>>>> this is
>>>>>> not
>>>>>> limited to the art world. This problem about retaining things
>>>>>> will be for
>>>>>> our collective social memory, and it will be of concern to
>>>>>> everyone in
>>>>>> every
>>>>>> walk of life. Government documents, for example."
>>>>>>
>>>>>> Still, he added, the heart of computer-generated art "separates
>>>>>> the
>>>>>> logical
>>>>>> from the physical."
>>>>>>
>>>>>> "We have worried about preserving the physical," he said.
>>>>>> "Perhaps we
>>>>>> should
>>>>>> be worried more about preserving the logical." Mr. Rinehart has
>>>>>> written
>>>>>> academic proposals for creating documentation that is more akin
>>>>>> to a music
>>>>>> score
Fwd: Ecopoetics at the Finger Lakes Environmental Film Festival
EcoPoetics Online Digital Art Exhibition
Curated by Timothy Murray, Tom Shevory, and Patricia Zimmermann
Selected artistic interventions from artists throughout the world
explore the electronic interfaces between sustainability and
environmental thought. Subsequently, they will be maintained in
off-line form in the Rose Goldsen Archive of New Media Art, Cornell
University Library.
This international exhibition probes a series of questions about
digitalities, visualities, and environments to create new landscapes
for contemplation and action.
How might new media environments and technological flows intervene in
ecoculture and ecopolitics? What is the relationship between the techne
of ecopoetics and the imperative of ecopolitics?
How do Internet paradigms of speed, flow, and traffic impact notions of
sustainability? Do mobile technologies and global positioning systems
provide platforms for ecological activism? How can we decipher and
comprehend the military's utilization of ludic gaming systems for
digital terror and ecological devastation?
How might new media interventions offset media blackouts of the global
ecology of war and public health degradation? How can the artistic
mixing of ecological and poetic materials
Fwd: <underfire> FW: Gewalt und Sprache / Under Fire / Podiumsdiskussion in Berlin
EINLADUNG
UNDER FIRE
The Organization and Representation of Political Violence
Discussion
Datum: Sonntag, 26. Marz 2006, 19 Uhr
Ort: Galerie der Heinrich-Boll-Stiftung, Rosenthaler Str. 40/41,
Berlin-Mitte
In englischer Sprache
Eintritt frei
presentations by Anselm Franke, Brian Holmes, Thomas Keenan and Gema
Martin
Munoz
moderated by Jordan Crandall
In cooperation with KW Institute for Contemporary Art
Under Fire is an ongoing art and research project that explores
contemporary
militarization and political violence. It delves into the structural,
symbolic, and affective dimensions of contemporary armed conflicts: the
organization, representation, and materialization of war.
This session of Under Fire will focus on the status of political speech
--
the operations of power that determine the legitimacy of action, and the
conditions that render speech and action intelligible as a political
force.
> From this basis, it will explore the dynamic between politics and
> violence
and look at the way that new political spaces are opened or invented.
Overall, it will foreground structural conditions of the new global
landscape, exploring the nature of contemporary power and situating
cycles
of violence within the modalities of a global system.
Under Fire revolves around questions of representation. It explores the
role that representations play as registers of symbolic meaning and as
agents of cultural change. Yet at the same time, it acknowledges
material,
affective realities that resist symbolization, but which nonetheless
play a
powerful role in shaping consciousness and the belief systems that
motivate
action. It this sense it probes into the dynamic between discourse and
affect, between larger rhetorical strategies and ineffable states of
expression, and moves toward a performative politics that can
accommodate a
multiplicity of somatic and symbolic registers.
For further information on Under Fire, including archives of past
discussions, please visit http://jordancrandall.com/underfire.
Organized by Jordan Crandall and Anselm Franke
Brian Holmes is an essayist and activist-researcher. He has a Ph.D. in
Romance Languages and Literatures from the University of California at
Berkeley, and now lives in Paris, collaborating with journals such as
Multitudes (Paris), Springerin (Vienna) and Brumaria (Barcelona). All
his
work can be found online at www.u-tangente.org, including the collective
project "Continental Drift" as well as the books HIEROGLYPHS OF THE
FUTURE
(2002) and UNLEASHING THE COLLECTIVE PHANTOMS (forthcoming).
Thomas Keenan teaches literary theory, media studies and human rights at
Bard College, where he directs the Human Rights Project. He is the
author
of FABLES OF RESPONSIBILITY: ABERRATIONS AND PREDICAMENTS IN ETHICS AND
POLITICS (1997) and the editor of two volumes documenting and analyzing
the
wartime journalism of Paul de Man -- Paul de Man, WARTIME JOURNALISM
1939-1943 and RESPONSES (1988/1989) and two volumes on THE END(S) OF THE
MUSEUM (1995). His latest book is an edited volume, with Wendy Chun,
called
NEW MEDIA, OLD MEDIA, just published by Routledge.
Gema Martin Munoz is Professor of the Sociology of the Arab an Islamic
World
at Autonomia University of Madrid. She is the author of Iraq: A
Failure of
the West (2003) and Islam, Modernism, and the West (1999) and is a
journalist for El Pais.
Anselm Franke is a curator and critic, based at Berlin's KW Institute
for
Contemporary Art until autumn 2006. He has curated and co-curated
exhibitions such as "Territories. Islands Camps and Other States of
Utopia"
(KW 2003, Witte de With 2003, Malmo Konsthall 2004, Index Stockholm
2004,
Bezalel Tel Aviv 2004), The Imaginary Number (KW 2005) and "B-Zone -
Becoming Europe and Beyond" (KW 2005/2006), most of which are
accompagnied
by extensive publications. Anselm Franke is currently a Ph.D. candidate
at
Goldsmiths College London.
_______________________________________________
Under Fire
a forum on the organization and representation of violence
Witte de With center for contemporary art
http://www.wdw.nl
to post a message, send to:
underfire@list.v2.nl
for list information and subscription management:
https://list.v2.nl/cgi-bin/mailman/listinfo/underfire
for discussion archive:
http://www.wdw.nl/underfire-archive
Fwd: Glowlab news :: March :: April 2006
>
> Glowlab news
> March :: April 2006
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
> contents:
>
> 01. Glowlab issue 07 launched
> 02. Do some DAMAGE
> 03. DAMAGE opening reception Friday, April 07
> 04. DAMAGE loft party Saturday, April 08
> 05. CONFLUX 2006 Call for Proposals: Deadline April 10
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
> 01. Glowlab issue 07 launched
>
> Guest Editor: Jessica Thompson
>
> The projects in this issue examine urban space through sound,
> performance and installation. The artists strive to create shared
> experiences with their respective audiences either by producing the
> artwork in collaboration with the audience or by creating situations
> where the participation of the audience determines the work itself.
>
> Colours Are Forces That Radiate Energy :: by City Beautification
> Ensemble
> DAMAGE :: by Glowlab
> Get Lost :: by Duncan MacDonald
> Kiosk 2004-2006 :: by Derek Sullivan
> LED Throwies :: by Q-Branch/Graffiti Research Lab
> Life: a user's manual :: by Michelle Teran
> Neutrino Kitties :: by Sally McKay
> NYSoundmap :: by The New York Society for Acoustic Ecology
> Personalized Learning Trails :: by Kevin Walker
> Tactical Sound Garden [TSG] Toolkit :: by Mark Shepard
> What is a free space? :: by Kirsten Forkert
>
> Banners for this issue were provided by Martin Reis.
>
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
> 02. Do some DAMAGE
>
> DAMAGE
> Glowlab's latest project: an experiment in collaborative damage that
> starts on the web and ends on the wall.
>
> http://glowlab.com/damage
> [requires Flash]
> Click to add your DAMAGE -- it will become part of an installation for
> our show that opens at DCKT Contemporary gallery [NYC] in April.
>
> The project includes new work by:
>
> Christina Ray [concept/installation/video/drawings]
> Tender Creative [web dev/design]
> My Best Fiend [original music]
> Krou [remix of MBF track/audio production]
> Robin Antiga [video]
> Terminal One [audio production]
>
> Details and press release are on the DAMAGE site:
> http://glowlab.com/damage
>
> Read more about the project in the latest issue of Glowlab:
> http://www.glowlab.com/lab2/issue.php?project_idY&issue_name=7
>
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
> 03. DAMAGE opening reception Friday, April 07
>
> FRIDAY, APRIL 07, 6-8pm
> DAMAGE OPENING RECEPTION
> location:
> DCKT Contemporary
> 552 West 24th Street, NYC
> http://www.dcktcontemporary.com
> $free
> :: First 50 people in the door receive one of our signed,
> limited-edition CDs being produced for the project.
> :: Beverages courtesy of Newcastle and 42 Below vodka.
>
>
> Special thanks to:
> Anthem magazine
> http://www.anthem-magazine.com
> Newcastle
> http://www.newcastlebrown.com
> 42 Below
> http://www.42below.com/
>
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
> 04. DAMAGE loft party Saturday, April 08
>
> SATURDAY, APRIL 08, 9pm
> THE DAY AFTER - AFTER PARTY
> hosted by:
> 119 INGRAHAM [across from Syrup Room]
> BROOKLYN
> $free [$2 beer bar]
> Loft party in Bushwick to to celebrate the opening of DAMAGE and to
> premiere the new My Best Fiend track. DAMAGE project collaborator
> Terminal One DJs throughout the evening. Additional performances by
> Soft, Other Passengers and Northern.
>
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
> 05. CONFLUX 2006 Call for Proposals: Deadline April 10
>
> Got your proposal together for Conflux yet?
>
> Check out:
> http://conflux2006.glowlab.com
> and submit your proposal online.
>
> ...................................................................
> CONFLUX 2006 CALL FOR PROPOSALS
>
> CONFLUX 2006 - September 14 - 17. 2006
> Conflux is the annual New York City festival where visual and sound
> artists, writers, urban adventurers, researchers and the public gather
> for four days to explore the physical and psychological landscape of
> the city.
>
> Say hello to Brooklyn! In 2006, Conflux will be held in Brooklyn for
> the first time. McCaig-Welles Gallery in Williamsburg will serve as
> our headquarters, with events taking place in and around the gallery.
>
> Conflux 2006 is produced by Glowlab and curated by Glowlab and iKatun.
>
> HOW TO APPLY
> Please read the guidelines below, and submit your proposal here:
> http://conflux2006.glowlab.com
>
> SUBMISSION DEADLINE
> 10 April, 2006, 11:59pm EST
> NOTE: Please register to submit your proposal. Only online submissions
> will be considered.
>
> CONFLUX SUBMISSION GUIDELINES
> Participants in Conflux share an interest in psychogeography [
> Wikipedia ]. Projects presented range from interpretations of the
> classical approach developed by the Situationists to emerging
> artistic, conceptual and technology-based practices.
>
> At Conflux, participants, along with attendees and the public, put
> these investigations into action on the city streets. The city becomes
> a playground, a laboratory and a space for the development of new
> networks and communities.
>
> WHAT TO SUBMIT
> Here are examples of the types of projects and events we're looking
> for:
> - exploratory drifts/derives
> - walks with hacked maps or experimental navigation techniques
> - alt.tours by foot, bike, subway, bus
> - social/environmental research and fieldwork
> - workshops
> - temporary public-space installations/interventions
> - performance projects
> - street games
> - mobile-tech/locative media projects
> - social networking projects that focus on cities and urban life
> - project presentations, panel discussions and lectures.
> - film/video works for a film series event.
> - audio projects and musical performances for night events
>
> Projects may take place in the neighborhood surrounding the gallery,
> in other public-space locations in NYC, in the gallery or in a
> different venue you provide.
>
> PLEASE NOTE: We are not doing an exhibition this year. You may provide
> handouts, maps, flyers, etc. for your project but not artwork for the
> walls. There will be wi-fi in the gallery.
>
> ABOUT FUNDING
> Conflux cannot provide individual project funding, but we may be able
> to assist in other ways, such as providing a letter of support, the
> help of our volunteers and discounts at local restaurants and other
> businesses.
>
> PROJECT SELECTION
> These are the criteria the curators use in selecting projects for
> Conflux:
> 1. Relevance: How does the project relate to psychogeography? Does it
> address issues central to classic psychogeography and/or propose new
> methods? Does the project take a unique approach to
> exploring/understanding/changing the city and/or local neighborhood?
> 2. Experience: How do people experience the project? Is the public
> experience of the project well-thought-through? Does it encourage
> dialogue between the diverse communities of New York City?
> 3. Feasibility: Is the project scope reasonable? Does the project have
> its own funding? Can the participants travel to Conflux with their own
> funds?
>
> SCHEDULE
> 10 April 2006: Call for Proposals deadline
> 01 May: notifications sent
> 14 - 17 September: Conflux 2006
>
> QUESTIONS?
> Contact conflux@glowlab.com
>
> ABOUT GLOWLAB
> Glowlab is an artist-run production and publishing lab engaging urban
> public space as the medium for contemporary art and technology
> projects. We track emerging approaches to psychogeography, the
> exploration of the physical and psychological landscape of cities. Our
> annual Conflux festival, exhibitions, events and our bi-monthly
> web-based magazine support a network of artists, researchers and
> technologists around the world.
> http://glowlab.com
>
> ABOUT iKATUN
> In South Slavic, "katun" means "temporary village" and is used to
> designate seasonal communities near pastures and bodies of water.
> iKatun's mission is to foster and develop temporary communities that
> experiment with art, geography and political engagement in everyday
> life. iKatun provides fiscal sponsorship to artists, produces
> experimental educational gatherings such as conferences, walks and
> reading groups, and conducts field research with the Institute for
> Infinitely Small Things.
> http://www.ikatun.com
Re: David Medalla At The Barbican Art Gallery In London During The "Tropicalia" Exhibition
I've got an OK book that includes Clark called The Experimental
Exercise of Freedom (along with Oiticica, Gego, Goeritz, an Schendel).
we just ran an interesting article discussing Oiticica in relation to
some new media ideas...
http://joaap.org/4/issue4.php?page=botey
best,
ryan