OINM

Resource center and projects incubator vased in Nantes, PiNG supports and develops collaborative projects both a local and european level. PiNG closely works together with other associations, artists and public institutions involved in the field of non formal education and new media creation.

mcd review along with PiNG are seeking submissions for a specific issue in the European field of media labs.

This specific issue goes along a collabroative project LABtoLAB initiated by 5 European media labs :Kitchen (Budapest), Medilab Prado (Madrid), Constant (Brussels), Area10 (London) and Crealab (Nantes).

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Association ressources et pépinière de projets basée à Nantes, PiNG accompagne et développe des projets collaboratifs, du local à l'européen. PiNG travaille étroitement aux côtés d'artistes, d'associations et de collectivités engagés dans le champ de l'éducation non formelle et de la création numérique.

La revue mcd et PiNG collaborent sur un hors-série consacré à la scène européenne des media labs à paraître pour le printemps 2011.

Cette publication se fabrique en parallèle du projet collaboratif LABtoLAB initié par 5 media labs européens : Crealab (Nantes, FR) Kitchen Budapest (Budapest, HU) Medialab Prado (Madrid ES), Constant (Bruxelles, BE) et Area10 (Londres, UK). http://www.pingbase.net

Lancement de la première publication Électronique de LA CHAMBRE BLANCHE "Le performatif du Web"

Cette publication ayant pour titre Le performatif du Web a été produite à partir de la série de résidences LabWeb réalisées sous le thème du performatif à laquelle six artistes ont participé entre mai 2007 et juin 2008 à LA CHAMBRE BLANCHE.
Le performatif du Web consiste en un essai théorique écrit par Joanne Lalonde, professeure d’histoire de l’art et vice-doyenne à la recherche et à la création à la Faculté des arts de l’UQAM. L’ouvrage questionne et tente de définir la notion du performatif dans le contexte de l’art Web. L’analyse se décline en quatre catégories générales, soit la performativité de l’identité, de l’interactivité, de la communauté et de la narrativité. Par l’examen des œuvres de Jillian Mcdonald, Jeanne Landry-Belleau, Linda Duvall, Michelle Teran, Nadine Norman et Patrice Duhamel, l’auteure propose d’observer le phénomène polymorphe et dynamique de la création Web.

.12th International, Juried, Digital Print Exhibition
organized by Art & Science Collaborations, Inc. (ASCI)
to be held at the New York Hall of Science
October 3, 2010 - January 31, 2011
ENTRY DEADLINE: August 16, 2010
Details & Submissions are online at:
http://www.asci.org/artikel1102.html

We invite artists and scientists to submit original digital prints that reflect their perceptions of our planet. Are these perceptions changing as we learn more about Earth from explorers, scientists, and artists? What is the relationship between all living things and planet Earth? What images are evoked by calling it the blue planet or the peaceful planet or the changing planet? What is the human impact on the whole planet? What is our concern for its future?

The museum furnishes the frames (18"x24"); If selected, just send your digital print(s) in a cardboard tube!

Art & Science Collaborations, Inc. (ASCI)
serving the international art-sci-tech field for 22-years
The ASCI eBulletin is the most comprehensive hyperlinked information listing of the events and opportunities in the art-science field. Sample issue: http://www.asci.org/artikel1109.html

asci@asci.org
www.asci.org

Avec un essai de Peter Flemming traduit par Claudine Hubert et un graphisme de La boîte à Bobo, cette publication bilingue et en couleurs permet d’éclairer les recherches menées par l’artiste Jessica Field dans le cadre de son exposition La robotique tout-terrain présentée à OBORO au printemps 2009.

Games Fed, le Ministère de la Culture, le Ministère de l’Industrie, le Centre National du Cinéma et de l’image Animée, et le Conseil Régional Île-de-France présentent la quatrième cérémonie des Milthon, qui se déroulera à l’occasion du 5ème Festival du Jeu Vidéo de Paris.
Les Milthon récompensent les studios européens de création de Jeux Vidéo pour la qualité de leurs œuvres. Ils sont destinés à mettre en lumière les œuvres sélectionnées ainsi que leurs créateurs, et plus largement à promouvoir la qualité des studios européens.

http://picasaweb.google.fr/afjv.event/2009Milthon

Les nominations
Les nominations feront suite à l’appel à candidature ouvert du 30 juin au 30 juillet 2010 inclus. Seuls les jeux publiés dans les 12 mois précédant la cérémonie 2010 pourront entrer en compétition.
Une première évaluation de l’ensemble des jeux inscrits permettra de retenir trois jeux pour chacune des catégories. La liste des jeux officiellement nominés sera communiquée en d’août 2010.

Les récompenses
8 Milthon seront attribués :
• Meilleur game design
• Meilleur design visuel
• Meilleur design sonore
• Meilleur jeu console
• Meilleur jeu mobile
• Meilleur jeu PC/MAC
• Meilleur jeu indépendant
• Jeu de l’année
La cérémonie aura lieu le vendredi 10 septembre, en inauguration du 5ème Festival du Jeu Vidéo, qui aura lieu du 10 au 12 septembre 2010 au Parc des Expositions de Paris - Porte de Versailles.
Les Milthon seront également l’occasion de récompenser une nouvelle fois les établissements de formation supérieure à la création de jeu vidéo et l’excellence des travaux de leurs étudiants grâce au Prix Etudiant du Festival du Jeu Vidéo.

has just published its latest issue at
http://surveillance-and-society.org/ojs/index.php/journal. This is a special
issue on 'Surveillance, Performance and New Media Art' and includes quite a lot of linked and supplementary material. We hope you enjoy it!

Coming soon: in July, a special issue on 'Surveillance, Children and
Childhood', and in August, our next Open Issue (all authors for this issue will be contact shortly).

Bob Sweeny, PhD
Associate Professor, Art and Art Education
Coordinator of Art Education
Indiana University of Pennsylvania
http://naea.typepad.com/dvc/

Editorial
--------
Editorial: Surveillance, Performance and New Media (90-93)
John McGrath, Robert Sweeny

Artistic Presentations
--------
Artist, Robert Ladislas Derr uses die rolls and cameras to map his walk
through cities worldwide (94-97)
Robert Ladislas Derr

>From Closed-Circuit Television to the Open Network of Live Cinema (102-114)
Paola Barreto Leblanc

Contemporary Closed Circuits - Subversive Dialogues. Artistic Strategies
against Surveillance. (144-164)
Raul Gschrey

Interviews
--------
A Trialogue on Interventions in Surveillance Space: Seda Gürses in
conversation with Michelle Teran and Manu Luksch (165-174)
Seda Gurses, Michelle Teran, Manu Luksch

Articles
--------
Artveillance: At the Crossroads of Art and Surveillance (175-186)
Andrea Mubi Brighenti

"NASA recently released "Moonbase Alpha", the first game in NASA's
Learning Technologies
project. It's a glimpse of what will eventually become a NASA-based
massively multiplayer online
game (MMOG) project. Earlier this year, the Challenger Center for
Space Science Education was
awarded a cooperative agreement with NASA for work related to NASA's
MMOG activities."

The opp_effect

http://oppeffect.weebly.com/project.html

is a networking work-in-progress project connecting international
young artists and curators who assume that a city without art isn't
imaginable.

The special thing about the opp_effect is that it will stay open to
negotiation and change, will grow and will pick up (up)coming
discourses which it might even create by itself. So a
wandering-exhibition does. Here the non-verbal potential of art is
used to connect and interact, to evoke new meaning in diverged
contexts and to open up new observable or mental spaces.

Young cultural workers and initiators of art-projects will be brought
together to work equal on exhibitions in the five participating
countries and to explain and exchange their strategies, utopias,
leeways, limits and motivation during a supporting workshop and an
art-mediation program. All projects deal with their city, their
surrounding and their circumstances - until now there are projects
from Beirut, Vienna, Belgrade, Damascus and Halle involved– and in
every city there are very different conditions existing whether
economically, political, sociocultural or infrastructural.
All Projects include their very own situation into their work and
force comprehension of and coping with the local realities through
exhibitions and worshops in the urban space or intensive
art-mediation.The motivation of every project diverges from its local
realities. On the one hand space has to be made up – for contemporary
art or a social discourse – like in Syria and Lebanon, on the other
Hand percieved gaps are closed, like in Germany and Austria.

Art, Space and Memory in the Digital Era
Paideia Publishing House, Bucharest, 2010.

Editor: Tincuta Heinzel
Authors: Bogdan Ghiu, Woody Vasulka, Tincuta Heinzel, Paulo
Ferreira-Lopes, Sophie Fetro, Augustin Ioan, Gemma San Cornelio, Pau
Alsina, Anne-Marie Duguet, Heike Helfert, Peter Tomaz Dobrila, Uros
Indihar.

Translators: Barbara Bartos, Patricia Comanescu, Simona Klodnischi,
Ancuta Ionescu.
Bilingual edition: Romanian - English

Based on diverse artistic and aesthetic experiences, the publication
offers possible answers to the way in which image and sound are
affected by digital technologies of today. This collection of texts is
organized around different types of imagery and sound, spatial forms
and forms of memory to be found in the current digital context. The
volume approaches the ways in which new technologies have influenced
the artistic production, its organization, its spatial representation
and its perception, as well as, the complexities involved in the
organization of a database or an archive. The present book has
attempted to present various layers of theoretical approach on new
media, and to highlight a few points of view and possible ways of
approaching it.

Chapter I. Types of Imagery and Sound and Their Interaction
Bogdan GHIU - Imperceptible, Hyperceptible: the New Hodological Condition.
Tincuta HEINZEL - Video - Between Utopia and History. Interview with
Woody Vasulka.
Paulo FERREIRA-LOPES - A Gnosseological Approach of the Concept of
Interaction. Real Time in Music - Several Paradigms and Models.

Chapter II. Spatial Forms
Sophie FETRO - Digital Surrealities. Design and Architecture: Arts of
f[r]iction.
Augustin IOAN - Experiment in Romanian Architecture.
Gemma SAN CORNELIO & Pau ALSINA - On Flows, Places and Spaces: towards
a framework for Locative Media Artworks.

Chapter III. Types of Memory
Anne-Marie DUGUET - Anarchive (Digital Archives on Contemporary Art)
n°3 - Title TK.
Heike HELFERT - Search and Repair. Digital Heritage and Time Based Art.
Peter Tomaz DOBRILA & Uros INDIHAR - MEDIARC - Open Source Multiuser
Central Archiving System: Web Application for Electronic Managing of
Documents and Other Files.

Dear theorists, artist or both,
As part of the upcoming ISEA Ruhr 2010, we will be presenting a panel on climate art: The Digital Aesthetics of Climate Crisis. In order to strengthen the scope and bring in fresh perspectives on this issue, we would like to ask, if you would be interested in participating through short prerecorded video clip (2 minutes max.) that we may use during our panel session. This is a strategy developed for the CO2NFESSION / CO2MMITMENT installation (presented at the panel and shortly below), hat we will use in order to open up the panel and the discussion about the possible roles for digital art in climate crisis. We will be happy with any response! We plan to publish the videos on http://www.vimeo.com/iseaclimate
(please indicate if you don't want this!).

In short, we would like to ask you to record yourself (using your web
cam):
1) give us your idea on what role (digital) art should or could play
when dealing with the issue of climate change
2) confess your climate sinns and consider making a future commitment
3) email the video as an attachment to climateconfession@gmail.com
(preferred formats: .avi, .mov, .m4v, .mpeg, .mpg, .qt, .wmv)

About our panel:
Besides mediating science and politics, how is the climate crisis
intrinsically related to the form and functioning of digital art, what
are the criteria for evaluating and critically discussing climate art?
In our panel we aim to discuss both epistemological issues and broader
cultural, political issues in order to examine the particular
contribution of digital art to the climate crisis. Relevant questions
are how digital art can contribute to questions around how we hear,
see, sense climate change, how we experience a post-crisis
environment, and how we debate and act facing climate change?
http://www.isea2010ruhr.org/conference/tuesday-24-august-2010-dortmund#thedigital

We hope of course also to see some of you at the panel at ISEA!
Best regards,
Søren Pold
climateconfession@gmail.com

CO2NFESSION / CO2MMITMENT is an advanced video installation designed at the Center for Digital Urban Living. The installation made it possible for people to confess their climate sins (eating too much
meat, taking the car too often, loving technology and the like) and
commit themselves to changing their environmental habits. The aim with the installation was to get people in Aarhus engaged in the climate debate on an individual level. The installation consisted of two parts; the confessional booth in the exhibition space (Ridehuset) and various screens distributed around the city at bus stands. People would be able to record videos that were then distributed across the
city. In the booth, a range of props made it possible for people to
create their own creative climate narratives. See a video presentation
at http://www.vimeo.com/iseaclimate

------------------------------------------
Søren Pold
Lektor (Ass. Prof.), Ph.d.
Informations & Medievidenskab
Aarhus Universitet
Helsingforsgade 14
DK-8200 Aarhus N
Danmark

pold@multimedia.au.dk
(+45) 8942 9254
skype: soerenpold

In 2009, ISFF will create a unique program that embeds writers and
filmmakers in scientific labs in order to promote creative
collaboration and make short films.

http://www.imaginesciencefilms.com/isf-productions/film-lab/

A screenwriter working on a script about genetic engineering could,
for example, spend a concentrated period of time in a biotechnology
lab, observing the research process and talking with research
scientists. Rather than being passively interviewed and observed, the
scientists would read the film treatment or scenes being worked out by
the writer and make an active contribution.

More information will be posted as the project develops. Please check
back to find out more about this exciting initiative to further bring
science and the arts together.

http://www.imaginesciencefilms.com/isf-productions/film-lab/
_______________________________________________

VIDA 13.0

At a time when the notion of life is once again located in an
uncertain domain, a wide range of artistic initiatives come together
to illustrate and investigate this phenomenon; they examine the impact
on the collective conscience and the way it is manifested in cultural,
technological and social thought.

Over the last decade, in the same formal space, VIDA has been bringing together inter-disciplinary projects that respond to this situation.
By means of formal strategies that defy the boundaries between
existing practices, these projects offer new ways of reflecting on
what we understand by life and artificial life.

Fundación Telefónica announces the VIDA 13.0 Art & Artificial Life
International Competition, which for the last twelve years has awarded
prizes for artistic projects using technological mediums offering
innovative approaches to research into artificial life.

The projects may be based on systems which emulate, imitate or
speculate on the notion of life through current research and
technology. These systems may involve attributes of agency and
autonomy which display specific behaviour, are dynamic, react to their
surroundings and evolve, and which question the frontiers between what is alive and what is not, between synthetic and organic life.

As in previous years there are two categories to the competition:

FINISHED PROJECTS
In this category VIDA 13.0 will award prizes to artistic ALife
projects developed after 2008. The sum of 40,000 Euros will be shared between the projects selected by the jury: First Prize: 18,000 Euros,
Second Prize: 14,000 Euros, and Third Prize: 8,000 Euros. In addition
seven honourable mentions will be awarded.

ARTISTIC PRODUCTION INCENTIVES IN IBEROAMERICA, SPAIN AND PORTUGAL
In this category VIDA 13.0 helps to fund artistic ALife projects that
have not yet been produced. This is aimed at citizens or residents of
countries comprising Latin America, Spain and Portugal. The sum of
40,000 Euros will be shared between the selected projects.

The winning projects will be subsequently exhibited at the VIDA Gallery,
http://www.fundacion.telefonica.com/arteytecnologia/galeriavida/. and
may be presented in exhibitions related to art and new technologies
organised by Fundación Telefónica or in which it takes part.

DATES
Period for submission of projects: from 19th July to 7th November 2010.
JURY
The works submitted will be examined by an international panel
composed of José-Carlos Mariátegui (Peru), Mónica Bello Bugallo
(Spain), Nell Tenhaaf (Canada) Rodrigo Alonso (Argentina), Simon Penny
(USA/Australia), Zhang Ga (USA/China) and Francisco Serrano (General
Director of Fundación Telefónica).

ENQUIRIES
Queries may be addressed to the FAQs section of the website, by e-mail
to vida@telefonica.es or by calling (0034) 91 584 23 00.

A symposium exploring the culture and ethics of the use and ownership of living material, from the cell to the whole body, in art, science, law and philosophy.

The body is increasingly being transformed into commodity and media, put
on display, fragmented, manipulated, preserved and rearranged.
Scientists, artists, lawyers, historians and social scientists will come
together to trace the radical shifts in our understanding of the body -
and life itself - and investigate how these emergent realities influence
our notion of being human while simultaneously challenging the
relationship to the 'Other' that is living or semi-living.

http://www.bodyartbioethics.symbiotica.uwa.edu.au/

Kind Regards,

Rachael Glasgow
Administration Officer
SymbioticA, The Centre of Excellence in Biological Arts
School of Anatomy and Human Biology l Mailbag M309
The University of Western Australia l 35 Stirling Highway l Crawley 6009
l Western Australia
www.symbiotica.uwa.edu.au

Phone: +61 8 6488 5583
Email: admin@symbiotica.uwa.edu.au

Mis en place par Julie Morel de incident.net et LA CHAMBRE BLANCHE, Géographies Variables est un programme d’échanges croisés franco-québécois en art web/numérique. Ce dernier a pour objectif de favoriser des échanges entre les communautés artistiques en s’adressant spécifiquement aux pratiques liées à Internet. Planifié sur deux années, Géographies Variables permettra à 24 artistes de réaliser des résidences grâce à la participation de 7 organismes artistiques d’accueil dispersés en France et au Québec.
C’est dans le cadre de ce programme que les artistes Jeanne Landry-Belleau (Québec) et David J. Johnston (Montréal) produiront leurs projets à Incident.res, Briant (France). D’une part, Jeanne Landry-Belleau s'intéresse aux nouveaux médias de communication et plus particulièrement au Web participatif (Web 2.0). D’autre part, David J. Johnston propose de travailler sur Temporal-Mental, un poème visuel construit à partir de fragments vidéos.

Entangled: Technology and the Transformation of Performance - Chris Salter Foreward by Peter Sellars

This ambitious and comprehensive book explores technology’s influence on artistic performance practices in the twentieth and twenty-first centuries. In Entangled, Chris Salter shows that technologies, from the mechanical to the computational—from a "ballet of objects and lights" staged by Diaghilev's Ballets Russes in 1917 to contemporary technologically enabled "responsive environments"—have been entangled with performance across a wide range of disciplines. Salter examines the rich and extensive history of performance experimentation in theater, music, dance, the visual and media arts, architecture, and other fields; explores the political, social, and economic context for the adoption of technological practices in art; and shows that these practices have a set of common histories despite their disciplinary borders.

Each chapter in Entangled focuses on a different form: theater scenography, architecture, video and image making, music and sound composition, body-based arts, mechanical and robotic art, and interactive environments constructed for research, festivals, and participatory urban spaces.

The Author:
Chris Salter is an artist, Assistant Professor of Design and Computation Arts at Concordia University, Montreal and researcher with the Hexagram institute for Research-Creation in Media Arts. His works, large-scale multimedia environments, have been exhibited worldwide.

I am pleased to inform that at the URI: http://procivitate.assisi.museum
you can have access to digital collections of the Cittadella Museum in
Assisi. It hosts masterpieces of the second half of the XX century Italian
contemporary art, beside a music library and a book library..
By now the site is in Italian.
Researchers interested in studying hosted masterpieces may send me a mail.

The First Artist's Book Published by 3331 Arts Chiyoda

ART PATENTS, HIDEKI NAKAZAWA

3331 ARTS CHIYODA

A4 size, 740 pages, monochrome
On-Demand Publishing (only subscription)
First Printed on March 31, 2010
Supported by Command N, Gallery Cellar
Thanks to Naoko Watanabe

10,000 Yen + tax

An artist's book which is compiled with all the
details of claiming patents for tools of art are
art, from inventing and obtaining them, patent
poverty, securitization, and to the selling them.

"In 1996, I invented new fundamental tools of art
in the world of computers and applied for patents.
Just at that moment, I believed firmly that the
invention of tools of art itself is art, rather
than making art works by using the tools of art."
"This is not mere invention in the field of
technology. Invention in the field of art,
creating a new genre, I believe."

01 Patents
02 Auto Chronology
03 3331 First PowerPoint
04 Lectures
05 All the Records 1996-2005
06 Patent Security
07 Literatures
08 Exhibitions
09 Digital Nendo (Digital Clay)
10 Multipostings
11 Other Material

- Further information:
http://aloalo.co.jp/nakazawa/artpatents.html

- Make a subscription (not available at bookstores)
email to: webinfo@3331.jp

- Exhibition celebrating a new book publication
March 14 - April 11, 2010
3331 Arts Chiyoda, 2F, 205 (Sotokanda, Tokyo)
http://www.3331.jp/schedule/en/000004.html

- Related Event "Demonstration of Digital Nendo"
7pm-9pm on Saturday, April 10, 2010.
Those who have subscribed for the book are welcomed.

- [YouTube] 3331 First PowerPoint (in Japanese)
http://www.youtube.com/watch?v=a9-DXiPBScE

Hideki Nakazawa
Twitter: nakaZAWAHIDEKI #geijutsutokkyo
http://aloalo.co.jp/nakazawa/

APPEL À DOSSIER : RÉSIDENCE DE PRODUCTION EN ARTS MÉDIATIQUES POUR UN ARTISTE QUÉBÉCOIS AU BRÉSIL, AUTOMNE 2010

Avatar, La Bande Video et la chambre blanche s’associent pour réaliser un échange de résidence d’artiste avec le MIS, le Musée de l’image et du son de Sao Paulo, Brésil en 2010-2011.
Une résidence de production et de création au Musée de l’Image et du Son de Sao Paulo (http://www.mis-sp.org.br/) , Brésil, d’une durée de deux mois, est offerte à un artiste québécois dans le domaine des arts médiatiques.

Topics: UNTANGLE: The Future Past of Media Art; UNSUSPICIOUS: The Politics of Aesthetics; UNCUT: Time-Based Art.

UNNEEDED CONVERSATIONS - Theory and Practice of Art is an international conference to be organized every year by the Faculty of Fine Arts - University of Porto (FBAUP). This first edition will take place in May 2010 in the city of Porto, Portugal.
After the conference, a book will be printed — UNNEEDED TEXTS | Vol. one — with all the papers presented and further documentation on the conversations, talks and exhibitions included in the program. The book will be divided in three different chapters, following the three topics of this year's UNNEEDED CONVERSATIONS.

A call for papers to be included in this book is now open. Only texts in English will be accepted.
The papers must be sent by e-mail texts@unneeded.virose.pt before the 22th May, 2010.

an EACEA-CULTURE project which will last two years.

The Project SCIENAR takes into account the links existing between Science and Art; it will use the innovative possibilities that new media and ICT offer for a better Visualization and Communication.
Visualizing and Communicating theoretical achievements of present Culture is by no means simple; moreover, presenting them in an innovative way is a fascinating challenge dictated by new trends of Society. ICT allow us to explore and represent these fruitful relationships in a way unthinkable before.
The central idea of SCIENAR consists in developing and building three emblematic scenarios at the intersection of Science & Art. Each scenario is closely linked to one of three different historical ages in which the interaction between Mathematics & Art was deep and fruitful. The three scenarios that we have selected are:
- Geometry - The Birth of Mathematics in the Antiquity: Arithmetic and
Geometry
From the Antiquity to Middle Age, *Classical Art* represented the space as it is in its “*frozen*” and rigid Euclidean structure. In this historical period *Platonic Solids* and the *Golden Mean* were the prototypes of beauty and harmony; the underlying Geometry was of course the Euclidean Geometry, that describes the “*ordinary space*” together with its geometrical properties.
- *Symmetry - Development of Mathematics from Reinassance to '900:Perspective and Symmetry

The *Art of Renaissance* was dominated by *Perspective *and represented the space “as it appears to the eye”, still on a Euclidean basis.
Euclidean Geometry appeared as the only paradigm to represent Space and was considered as the basic geometric structure of Nature. The transition from Greek’s Euclidean Geometry to the*Geometry of Perspective* was related to the conception of “*beautiful painting*”; canons of beauty and harmony dominated Art and the notion of Symmetry became more and more important.- *Relativity - Mathematics in the XX Century: Curvature, Motion,
Relativity and Chaos**
**Modern Art *represents the World “as it is perceived by the mind”. In
Mathematics we have with *Riemannian Geometry* the dissolution of an absolute space in favor of many private ones, dominated by non-linearity, curvature, extra dimensions and dynamics. *Time* and *Motion* pervade artistic expressions, while new experiments lead to the introduction of Chaos* and *Fractality *also in Art. New *Digital Technologies* give eventually a further impetus to Art and allow a more and more important crossroad between *Art & Science*.*
A cooperation network, formed on purpose for this Project, aims at bringing together the best of national partners' projects, to start an added value to exchange of ideas and products, and to the mobility of researchers and artists, so to start a new production of cultural events and products, as well as a new network that hopefully will be enlarged in the future to other EU countries.*
The fundamental starting points are:

Symposium Communications Marketing « Médias interactifs et Réseaux sociaux »

À la suite du succès du symposium « Le nouveau visage de l'industrie publicitaire », le Centre d'études AAPQ-Infopresse sur les communications marketing de la Chaire de relations publiques et communication marketing de l'UQAM renouvèle l'expérience en organisant un symposium sur le thème « Médias interactifs – Réseaux sociaux ».

En présence des conférenciers suivants :
- Issam Heddad, stratège interactif, Revolver3
- Andrés Restrepo, stratège médias sociaux, Ressac Média
- Jean-François Renaud, associé et co-fondateur, Adviso Conseil Inc.

début avril chez Pix’n Love. Cet ouvrage est une refonte des recherches menées par Alexis Blanchet - Docteur en Études Cinématographiques - pour sa thèse sur les relations industrielles et culturelles entre les secteurs cinématographique et vidéoludique, des années 1970 à aujourd’hui.

Ce livre a pour ambition de raconter l’histoire des échanges économiques et culturels entre deux secteurs majeurs des industries du divertissement et de s’intéresser à quelques moments marquants de cette relation industrielle. L’analyse des faits historiques et l’étude de certains objets importants produits à l’intersection des deux domaines permettent de comprendre comment ces deux domaines du divertissement de masse ont profondément modifié le fonctionnement des industries du loisir en réorganisant les processus de production des fictions contemporaines.

Emblématique des relations entre Hollywood et les jeux vidéo, cet événement industriel n’est pourtant qu’une des très nombreuses manifestations de l’intérêt réciproque que se portent ces deux domaines majeurs du divertissement de masse. Adaptation, inspiration, pastiche, plagiat, critique… Les échanges entre cinéma et jeu vidéo ont pris des formes variées et parfois étonnantes.

Des années 1970 à aujourd’hui, Des pixels à Hollywood retrace l’histoire commune du cinéma et des jeux vidéo, à la fois concurrents et partenaires dans leur conquête du public. Une histoire économique et culturelle qui montre comment ces domaines du spectacle et de l’imaginaire ont profondément modifié le fonctionnement des industries du loisir et les processus de production des fictions contemporaines.

Alvaro Quezada calls for the production of a video game for helping Chile

A group of people associated a to the chilean video game industry are
currently working on the develpment of a game to help with the
reconstruction of our country after the earthquake / tsunami, the
catastrophe kills a lot of people and destroy the dreams of others. We lost USD$ 30 Billion of our patrimony.

Our goal as a group is to make this game and put on the distribution
circuits over the internet, and all the recaudation will go to help the
child-care institutions on the reconstruction task, the are a lot here with
a big damage, specially the poor ones.

Currently we a working in the develop of the game in Flash, I-Phone, XBOX and PC (XNA)

I'm working as a coordinator of the efforts, and i want to ask if you can
help us on this enterprise, we need mainly help to promote our campaign, and to try to minimize the cost of distribution, to achieve help with the bigest possibly part of the recaudation.

is calling for applications from creative practitioners and science and research organisations for the 2010 Synapse Residency program. Now in its fifth round, the program is a core element of the Synapse initiative of the Australia Council of the Arts and ANAT, which enables collaboration between artists and scientists.

ABOUT SYNAPSE
Synapse supports creative partnerships between scientists and artists through a residency program, a database of international art/science collaborations and an archived discussion list and through the Australian Research Council (ARC) Linkage program, which supports longer-term partnerships between artists and scientists in academic research settings.
http://www.synapse.net.au

Three residencies are available for Australian artists working in any discipline and/or medium: two Australian-based residencies of 16 weeks' full-time duration and one international residency of 12 weeks' full-time duration (part-time equivalents can be negotiated). Residencies are expected to take place between 1 June 2010 and 31 December 2010, however this can be negotiated if the project demands a different time-frame.

To ensure a good fit between the artist and host organisation, a joint application must be submitted. It is the responsibility of the project partners to establish contact and to identify the nature of the proposed collaboration prior to application. Those with existing relationships are strongly encouraged to apply.

ANAT will pay participating artists a fee of $800 (AUD) per week, as well as accommodation, living away from home allowances and return travel to the destination of the residency if required. The host organisation will provide in-kind access to personnel, equipment, space and resources, as well as contributing where possible a small amount of cash towards materials and/or the cost of mounting a seminar/exhibition or other public outcome at the conclusion of the residency.
Tertiary students, including PhD candidates, are ineligible to apply.

HOW TO APPLY
Please submit the following in your application:
1. A completed http://anat.org.au/events/274

2. A two-page proposal, which includes:
a. A brief description of the artist's practice and previous collaboration with science partners;
b. A brief description of the host organisation's activities, including any previous experience it may have had working with artists;
c. A description of the proposed project;
d. A statement outlining how both partners anticipate benefiting from the residency;
e. A detailed budget
Note: details of the host organisation's cash and in-kind contributions must be negotiated between the artist and organisation prior to application and included in the residency budget. Example budgets are available to guide applicants; contact the Program Manager (details below) to receive a copy of these and to discuss your requirements.

3. Support material - no more than TWO of the following:
· Five images in digital format
· Five A4 pages of text or other printed material
· Five minutes of video material
· Five minutes of audio material
· Five minutes of interactive material
· Five URLs

4. Summary CV's (no more than TWO pages) of the artist and the principal collaborating scientist from the host organisation.

Please ensure that:
· The application is on standard A4 sheets
· The application is not bound or stapled
· Your name appears on all pages of the application
· All support material is clearly labeled

SELECTION CRITERIA
Selection criteria includes:
1. The originality and innovation of the proposed project;
2. The artist's track record and their familiarity with the proposed area of scientific inquiry;
3. A demonstrated willingness by both parties to work collaboratively;
4. The anticipated benefits accruing to both the artist and the host organisation.

KEY DATES
All applications must be received by 5pm, (Australian CST) on Friday the 23rd of April 2010.
Applicants will be notified of the outcome of their application by Friday the 7th of May 2010.

For further information and to discuss your application, including the budget, please contact:
Vicki Sowry
ANAT Program Manager
Tel. (+61 8) 8231 9037
Email: mailto:vicki@anat.org.au

Please forward your application and support material to:
Australian Network for Art and Technology
PO Box 8029 Station Arcade
Adelaide, SA 5000
___________________________________________

ANAT is assisted by the Australian Government through the Australia Council http://www.australiacouncil.gov.au its arts funding and advisory body, by the South Australian Government through Arts SA http://www.arts.sa.gov.au and the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

We seek participants for a research project on synthetic biology,
design, and aesthetics. The project will provide funding to bring
together scientists and engineers working in synthetic biology with
artists, designers, and other creative practitioners. Resources will
be made available for ‘embedded residencies’, in which artists and
designers will spend time in laboratories, and scientists and
engineers in artistic studios and design workspaces. It is our
intention that such collaborations will produce presentable results,
although the form these take is entirely open to the participants.
Travel and accommodation expenses will be covered by the project.
We aim to construct the groundwork for future collaborations that
could inform new types of engineering, new schools of art and design, and innovative approaches to the study of synthetic biology in society.
Synthetic biology is broadly defined as the design and construction of
new biological parts, devices, and systems, and the re-design of
existing biological systems for useful purposes. Design is central to
synthetic biology, as the living world becomes a product of design and
manufacturing choices, rather than evolutionary pressures alone. Thus, it becomes important to ask what role design--and the related concept of aesthetics--play in this burgeoning field. Other forms of
engineering and manufacturing work in close conjunction with creative practitioners: structural engineers work with architects; mechanical engineers with product designers. Can synthetic biology benefit similarly from such collaborations?
The Synthetic Aesthetics project aims to answer this question by
setting up these collaborations. We will employ the broad framework of 'embedded residencies'. In these residencies, each participant will
host either a synthetic biologist or creative practitioner and then
visit and engage with the other’s workspace. These exchanges are
expected to introduce members of each community to the other’s work, develop transferable knowledge and skills, and possibly form the basis for longer-lasting collaboration. The details of these residencies are flexible; participants will have a great deal of control over how resources are employed and the collaborations structured. Members of the Synthetic Aesthetics team will provide logistical support for, and document and study the exchanges. Ultimately, we seek more than simply one-off experiences; it is our intention that such collaborations will produce presentable results, which might be disseminated through electronic media, practitioner workshops, or possibly gallery exhibitions.
The collaborations are intended to be complementary and active
experiences. Members of both communities who are part of this project will not just be passive recipients of information; they will engage in each other’s work without either practice taking precedence. The process will be equal, and we expect the art, design and engineering to be informed as a result.
These interactions should positively contribute to ongoing work in
both communities, as well as develop new spaces for practice,
cooperation, and debate. Long-lasting interactions between the two
communities would enable more encompassing design concerns to be reflected in synthetic biology projects and products, enabling
inclusive and responsive technology development. Collaboration can
also contribute to the development of new schools of art and design, as well as to the fostering of existing artistic and design work with this form of biological engineering.
Moreover, we believe that art and design can encourage thought and
debate in unique and innovative ways, and promote new avenues for
outreach and public engagement.
Application Procedure and Deadline
Interested scientists, engineers, artists, designers, and others
involved in synthetic biology or the creative professions should
submit the following required documents:
For designers and artists:
1. CV 2. PDF portfolio, including URLs for relevant websites
containing your work. 3. Letter of interest (no longer than one page)
describing what you hope to get out of the project and what you would
like to contribute. 4. One paragraph outlining the projects that you
expect to be working on until December, including any institutional
affiliations.
For scientists and engineers:
1. CV 2. List of publications 3. Letter of interest (no longer than
one page) describing what you hope to get out of the project and what
you would like to contribute. 4. One paragraph outlining the projects
that you expect to be working on until December, including any
institutional affiliations. Please submit your application documents via email to before the 31st
March 2010 to be considered for one of the 12 residencies (6 artists/
designers, 6 scientists/engineers), to:
Dr. Pablo Schyfter: p.schyfter@ed.ac.uk
Contact Information
For further information, visit www.syntheticaesthetics.org, or contact:
Dr. Pablo Schyfter: p.schyfter@ed.ac.uk Stanford Bioengineering Y2E2
Building, MC 4201 473 Via Ortega
Stanford, CA 94305 USA
The Synthetic Aesthetics project is collaboration between Stanford
University and the University of Edinburgh. It is jointly funded by
the National Science Foundation (USA) and the Engineering and Physical
Sciences Research Council (UK).
Project Team
Drew Endy, Jane Calvert, Alistair Elfick, Pablo Schyfter, Alexandra
Daisy Ginsberg

Green Light: Toward an Art of Evolution, par George GessertGreen Light: Toward an Art of Evolution
by George Gessert

Humans have bred plants and animals with an eye to aesthetics for centuries: flowers are selected for colorful blossoms or luxuriant foliage; racehorses are bred for the elegance of their frames. Hybridized plants were first exhibited as fine art in 1936, when the Museum of Modern Art in New York showed Edward Steichen's hybrid delphiniums. Since then, bio art has become a genre; artists work with a variety of living things, including plants, animals, bacteria, slime molds, and fungi. Many commentators have addressed the social and political concerns raised by making art out of living material. In Green Light, however, George Gessert examines the role that aesthetic perception has played in bio art and other interventions in evolution.

Gessert looks at a variety of life forms that humans have helped shape, focusing on plants—the most widely domesticated form of life and the one that has been crucial to his own work as an artist. We learn about Onagadori chickens, bred to have tail feathers twenty or more feet long; pleasure gardens of the Aztecs, cultivated for intoxicating fragrance; Darwin's relationship to the arts; the rise and fall of eugenics; the aesthetic standards promoted by national plant societies; a daffodil that looks like a rose; and praise for weeds and wildflowers. Gessert surveys recent bio art and its accompanying philosophical problems, the "slow art" of plant breeding, and how to create new life that takes into account what we know about ecology, aesthetics, and ourselves.

About the Author

George Gessert is an artist whose work focuses on the overlap between art and genetics. His exhibits often involve plants he has hybridized or documentation of breeding projects. His writings have appeared inLeonardo, Art Papers, Design Issues, Massachusetts Review, Hortus, Best American Essays 2007, Pushcart Prize XXX, and other publications.

April 2010
The MIT Press
A Leonardo Book
ISBN: 0-262-01414-9
192 pp., 30 illus.

http://leonardo.info/isast/leobooks/books/gessert.html

ITALIAN PORTAL QUALITATIVE ANALYSIS INIZIATIVA EUROPEA
Articolo di fondo a cura di Roberta Cavicchioli: intervista ad Augusto Debernardi (Presidente Iniziativa Europea, Socio Onorario e Collaboratore Scientifico dell'Osservatorio Processi Comunicativi)

IL PROGETTO VALICO
Articolo di fondo a cura di Fabio Olivieri:'Il progetto Valico - San Paolo: la biografia partecipata di un quartiere', relazione presentata a conclusione del progetto Valico (martedi 23 febbraio 2010) presso la Sala Consiliare del Municipio Roma XI

SCUOLA TRIENNALE COUNSELING SISTEMICO PLURALISTA
Seminario 'Maternita' altrove: gestazione, parto e pratiche post partum', Shinui - Centro di Consulenza sulla Relazione

ATELIERS IMMAGINARIO AUTOBIOGRAFICO
Assessorato alla Cultura Comune di Catania, Associazione Le Stelle in Tasca

explores the characteristics distinctive to new media art, including its immateriality and its questioning of time and space, and relates them to such contemporary art forms as video art, conceptual art, socially engaged art, and performance art. The authors, both of whom have extensive experience as curators, offer numerous examples of artworks and exhibitions to illustrate how the roles of curators and audiences can be redefined in light of new media art's characteristics. *Rethinking Curating is now available through the Leonardo Book Series (MIT Press).* Find out
more<http://leonardo.info/isast/leobooks/books/graham-cook.html>
http://www.leonardo.info/isast/leobooks/books/graham-cook.html
_______________________________________________
25 fev

Après deux années de travaux l’atelier Schöffer rénové ouvre
ses portes à la visite individuelle ou en groupe. La mise en
scène de l’atelier comporte un nouveau parcours
luminodynamique dans une présentation inédite.
L’association ANS internationale reprend ses autres
activités pour ses membres : dîners d’idées, soirée de
lectures et de dialogue autour des livres de Nicolas
Schöffer, soirées de découvertes des mondes virtuels.

Tarif des visites : Nombre de visiteurs limité à 15
personnes (s'inscrire)
Plein tarif : 10 Euro
Tarifs réduit : Chômeurs : 1 Euro - Etudiants : 5 Euro -
Retraités : 6 Euro
Membre de l’association - 8 Euro et une invitation gratuite
pour une personne par an.
Groupe 10 personnes : 75 Euro - gratuit pour la personne qui
l’accompagne
Groupe 15 personnes : 100 Euro - gratuit pour la personne
qui l’accompagne

Contact :
Eléonore de Lavandeyra Schöffer, Villa des Arts, 15 rue
Hégésippe Moreau, F-75018 Paris
+0033 (0)1 42 94 26 54 / 06 85 77 50 05
schofferdelavandeyra.eleonore AT neuf.fr

Accès :
Métro : La Fourche (ligne 13), place Clichy (ligne 2 et 13)
Bus : 54, 74, 81 arrêt la Fourche

Information :
Site internet : http://www.olats.org/schoffer

require mobilization and cross-fertilization among the domains of art, science and technology.
Leonardo/ISAST fosters collaborative explorations both nationally and internationally by facilitating interdisciplinary projects and documenting and disseminating information about interdisciplinary practice." *From Leonardo/ISAST Mission <http://www.leonardo.info/isast/isastinfo.html>*

Currently, "Leonardo, the Journal of the International Society of the Arts, Sciences and Technology, is seeking to publish papers and artworks on the intersections of chemistry, nanotechnology and art for our on-going special section on nanotechnology and the arts.* *With this special section of Leonardo, we hope to ignite artists' interest in the exploration of nanotech/nanoscience and encourage scientists, scholars and educators to contemplate the implications of an art-nanotech/nanoscience connection.
Leonardo, in collaboration with the Exploratorium under the auspices of the Nanotech Informal Science Education Network, will publish a series of special sections periodically over the next 5 years exploring the intersections of nanotech/science and art." *From Nanotechnology,
Nanoscale Science And
Art<http://nanowiki.info/#%5B%5BNanotechnology%2C%20Nanoscale%20Science%20And%20Art%5D%5D>
*

In this framework, Leonardo/ISAST begin a cooperation with NanoWiki in the publication of capsules tagged "art", providing one new item a month; an abstract of a paper either accepted or published in one of the Leonardo journals or a related news that deal with nano and art.
*NanoWiki*<http://nanowiki.info/>is a digital online publication, developed in the frame of NanoAracat, to track the evolution of paradigms and discoveries in nanoscience and nanotechnology field, annotate and disseminate them, giving an overall view and feed the essential public debate on nanotechnology and its practical applications.

This is the first post resulting from this cooperation of Leonardo with NanoWiki, send by Roger Malina from a call of Victoria Vesna and edited by NanoWiki team: *SciArt NanoLab <http://nanowiki.info/#%5B%5BSciArt%20NanoLab%5D%5D>

Two major new publications which examine how best to disseminate science to the public through a variety of new and traditional media.
Together, the 40-plus essays they contain provide a stimulating overview of new, innovative and successful initiatives in this field, written by many of the museum community’s most experienced and thoughtful practitioners.

The essays draw on cutting-edge experience throughout the world, with contributions from Australia, Brazil, Canada, France, Germany, Greece, Japan, Mexico, Portugal Singapore and New Zealand - as well as the UK and USA. The two publications - Science Exhibitions: Curation & Design and Science Exhibitions: Communication & Evaluation - are available either separately or together.

For full details and to order copies please visit:
www.museumsetc.com/?p=2175

Among the world-class organisations sharing their insights and experience in the books' 1000-plus pages are:
* Canada Agriculture Museum
* Centre de Sociologie de l’Innovation, Paris
* Center for Nanotechnology in Society, Arizona State University
* Columbia University, USA
* English Heritage, UK
* Huntington Library & Botanical Gardens, USA
* Institute of Education, University of London, UK
* Liberty Science Center, New Jersey
* Miami Science Center, USA
* MIDE (Museo Interactivo de Economía), Mexico
* Museum Victoria, Australia
* New York Hall of Science, USA
* Science Museum, London
* Wellcome Collection, London
* Yale University, USA

Because of the importance of the content, we’re releasing both books in our Preview Edition format, which provides early access to all the books’ essays
- before they’re published. You can order either one or both volumes now and:
* receive a complimentary copy of the final paperback edition(s) on
publication;
* read, download or print the essays immediately;
* help shape the final content by interacting with the authors and editor;
* save by buying at a reduced pre-publication rate.

Graeme Farnell
Publisher
MuseumsEtc

SCI|ART 2010 Summer NanolabTWO WEEKS : JUNE 21st-JULY 2nd

NanoLab is a unique program for creative high school students who love both art and science. This program will immerse students in a world renowned research University setting with access to cutting edge science labs and museums. Small groups of students are led by an art-science instructor duo -- giving a larger perspective to the sciences being explored.

Students will receive 4 college credits and be issued a student ID allowing access to all UCLA student facilities. Sponsored by UCLA's Art|Sci Center +Lab, the department of Design | Media Arts and the California NanoSystems Institute (CNSI). The UCLA Art|Sci Center + Lab focuses on multi-disciplinary collaborations addressing social, ethical and environmental issues related to scientific and technological innovation.
Running in parallel with the Summer program in the department of Design | Media Arts, students will also have an opportunity to meet and interact with another creative group.
artsci.ucla.edu/artsci/summer
<http://artsci.ucla.edu/artsci/summer><http://artsci.ucla.edu/artsci/

Call for papers:
'Digital technologies and educational integrity'A special issue of the online refereed journal IJEI
Edited by Chris Moore and Ruth Walker University of Wollongong

This special issue of the International Journal for Educational Integrity (IJEI) seeks articles that address the impact of digital technologies on educational integrity. Many different terms have emerged in an attempt to capture the shifting terrain of media use and users in various networked environments: 'social', 'participatory', 'user-generated' or simply 'new' media. Common to the online interactive spaces of Web2.0 is the challenge of technologies and practices that are capable of changing the way we teach, learn, and share knowledge. How can we best engage and support students and colleagues coming to terms with the dynamics of these technologies and the development of new literacies?
We are particularly interested in innovative research from scholars in cultural and media studies and/or the scholarship of teaching and learning, and welcome interest from other disciplinary researchers, who might consider a broad range of questions about digital technologies that critically unpack the conversation about academic integrity and go beyond a preoccupation with plagiarism and research ethics. Critical voices of concern, examples of best practice and consideration of the perceived impact of digital technology on institutional boundaries are keenly sought as is research exploring the collaborative approaches to social and participatory media that challenge conceptions about authorial identity and scholarly writing practices. Research examining the development of new literacies that celebrate the appropriation, adaptation and transformation of source material would fit well within the scope of this special issue. We also welcome reviews of relevant books or publications.
Abstracts (max 500 words) due date: 31st March 2010
Full papers (3-6000 words) due date: 1st July 2010
Book reviews (1000 words) due date: 1st September 2010
Special issue release date: December 2010

Please send all enquiries and abstracts to the editors at
ruth_walker@uow.edu.au.

Submission style guide:
http://www.unisa.edu.au/EducationalIntegrity/Journal_submission_guidelines.htm

About the editors:

Chris Moore is a father, gamer and lecturer in Digital Communications, Games and Media Studies at the University of Wollongong. Currently researching Australian gamers and their cultural, economic and social contributions, this focus has emerged from analysis of the complementary and alternative regimes of intellectual property generation and management, including the Open Source movement and digital games modification sub-cultures and online learning practices.
Ruth Walker teaches a range of academic writing programs in the Faculties of Creative Arts and Law at the University of Wollongong. Her research interests take a cultural and media studies approach to academic integrity, particularly regarding the impact of media technologies on critical writing practices. She is currently the deputy chair of the Asia Pacific Forum for Educational Integrity (APFEI).

Le Donegal County Council et Leonardo/Olats ont le plaisir d'annoncer les cinq projets sélectionnés pour les résidences d'artistes "Lovely Weather", un projet art/science portant sur le changement climatique dans le comté du Donegal en Irlande.

A l'issue d'un appel à participation international, cinq artistes ou groupe d'artistes ont été retenu pour développer un projet dans chacune des cinq régions du Comté (Glenties, Inishowen, Letterkenny/Milford, Ballybofey/Stranolar, ville de Donegal).

• Peter d’Agostino (USA), WorldWide Walks/between earth & sky/Dún na nGall, Glenties

• The League of Imaginary Scientists (Lucy Hg & partners, USA), The Irish Rover: Looking for Mars Off the Northern Coast of Ireland, Letterkenny/Milford

• Softday (Sean Taylor & Mikael Fernstrom, IRE), Marbh Chrios (Dead Zone), ville de Donegal

Les résidences se dérouleront tout au long de l'année 2010. Elles seront organisées et coordonnées par John Cunningham du Centre Culturel Régional de Letterkenny pour le Programme d'Art Public du Donegal County Council et Annick Bureaud pour Leonardo/Olats. Des workshops et séminaires seront organisés pendant la durée du projet.Le projet est financé par le Programme d'Art Public du Donegal County Council.

en el marco de la exposición When Process Becomes Paradigm

Una colaboración de LABoral y Medialab-Prado, del Área de Las Artes del Ayuntamiento de Madrid

PLAZO DE LA CONVOCATORIA: hasta el 15 de febrero 2010
FECHAS DEL TALLER: 8 al 20 de abril 2010
LUGAR: LABoral Centro de Arte y Creación Industrial, Gijón (España)

Se abre la convocatoria para la presentación de proyectos para
participar en Interactivos? When Process Becomes Paradigm, dentro del programa destinado a artistas y creadores de LABoral Centro de Arte y Creación Industrial. Se seleccionarán un máximo de ocho propuestas para su desarrollo colaborativo en el taller que tendrá lugar en las semanas anteriores a la inauguración de la exposición When Process Becomes Paradigm, el 23 de abril de 2010.

La exposición When Process Becomes Paradigm pone de manifiesto, a través de 25 proyectos, el cambio fundamental de una cultura basada en el producto final (sociedad industrial) a otra fundamentada en el proceso. Interactivos?, que se anticipa a la exposición, está dedicado a la producción de obras de arte en línea con este planteamiento teórico. Las pruebas y los prototipos realizados durante este taller son procesos que evolucionarán, se desarrollarán y se transforman a lo largo del tiempo.
Los proyectos desarrollados durante Interactivos? formarán parte de la exposición.

Consulta las bases en www.laboralcentrodearte.org

Check the guidelines at www.laboralcentrodearte.org

The Artvertiser is looking for artwork to exhibit on urban billboards
duringTransmediale 2010 in Berlin.We are seeking interesting 2D artworks that criticise, recontextualize and remixthe urban advertisements of Berlin. If you are tired of seeing streetadvertisements - and want to say something
about it - this call is for you!

Rather than painting over billboards directly, The Artvertiser uses a
digital technique called Augmented Reality: by looking through our specially engineered digital binoculars, users of the system will see artwork instead of advertisements in the city of Berlin.

Your fully credited work will be presented in video documentation in the main 'Future Obscura' exhibition at Transmediale 2010 and also seen during an 'art walk' in the streets of Berlin during the festival.

Here are the steps to contributing:

1/ Visit http://www.flickr.com/photos/theartvertiser/sets/72157623233484340/and
pick an advertisement. Alternatively, take a good photo of an advert
somewhere in the A|B metro zone of Berlin and work with that.

2/ Using Gimp, Photoshop, a video editor or pen and paper - remix, alter or produce something entirely new that relates to the advert in question.

3/ Mail your work, or a link to to your work, to theartvertiser@gmail.combefore
January 26th. Be sure to include your artist name and a title for the piece.

PNG, JPEG and AVI movies up to 30 seconds in length are OK. If possible, be sure to send us work in an aspect ratio that is similar to the advert in the image..

Once we have your contribution we'll take our Billboard Interception
Binoculars out on the street and substitute the advert with your work, making a video of the result.

Please visit http://theartvertiser.com for more info about the project,
alongside the to-be-confirmed location of the art walk taking place during the festival.

NANOTECHNOLOGY - NANOSCALE SCIENCE AND ARTGuest Editors: Tom Rockwell and Tami I. Spector

Leonardo Journal , call for Papers:

2011 is the International Year of Chemistry! To celebrate Leonardo is
seeking to publish papers and artworks on the intersections of chemistry, nanotechnology and art for our on-going special section on nanotechnology and the arts. Since its inception nanotech/science has been intimately connected to chemistry; fullerenes, nanoputians, molecular machines, nano-inorganics and self-assembling molecular systems all spring from the minds and labs of chemists, biochemists and chemical engineers. If you’re a nano-oriented chemist who is serious about art, an artist working on the molecular level, or a chemical educator exploring the mysteries of nano through the arts we are especially seeking submissions from you.

Over the last decade, "nano" has become a buzzword signifying everything from imagined atomic-scale robotic utopias to small electronics. For scientists the shift toward nano has also become ubiquitous; what used to be referred to as molecular has been reframed as nano; 27 journals devoted to nanotech/nanoscience are now published; and the National Science Foundation and other granting agencies have devoted a significant amount of funding
toward nanotech/nanoscience. Among engineers, scientists and science-studies scholars, discussions of the potential of nanotech/nanoscience abound, including conferences that debate the pros and cons of a nano-hegemony and attempt to debunk some of the hype. Artists, however, have only begun to explore this emergent scientific field, leaving it wide open for creative interpretation. With this special section of Leonardo, we hope to ignite artists' interest in the exploration of nanotech/nanoscience and encourage scientists, scholars and educators to contemplate the implications of an
art-nanotech/nanoscience connection.

Leonardo, in collaboration with the Exploratorium under the auspices of the Nanotech Informal Science Education Network, will publish a series of special sections periodically over the next 5 years exploring the intersections of nanotech/science and art. We are especially seeking submissions of artworks (visual, performance, sound, etc.) with artist's statements explaining the relationship of the work to nanotech/science; essays from scientists, engineers and scholars exploring the connection between nanotech/science and art; and essays and visuals aiming at nanotech/science education that use the arts as a pedagogical tool.

Interested artists and authors are invited to send proposals, queries and/or manuscripts to the Leonardo editorial office at
leonardomanuscripts@gmail.com.

The Leonardo Scientists Working Group http://www.leonardo.info/isast/sci-workgroup.html
(Tami Spector, Chair)

Nanotechnology and Art http://www.media.uoa.gr/yasmin/viewtopic.php?t=1262>
discussion on YASMIN Network (co-sponsored by Leonardo), moderated by piratas.de.la.ciencia.

Le dossier de ce numéro s’attarde aux diverses formes de sabotage perpétré par les artistes à l’intérieur ou à l’extérieur du champ de l’art. Afin d’expérimenter les concepts réfléchis dans cet ouvrage, esse a décidé de jouer le même jeu en sabotant l’édition numéro 68, ébranlant par le fait même le confort esthétique dans lequel une revue pourrait facilement se complaire.

Liebe Kollegen und Kolleginnen, Freunde und Freundinnen,
dear colleages and friends,

I am proud to announce to you the start of the compArt database on digital art. The database schema which we have worked on for a long time, is gradually filling up with data. We now believe time has come to make it available on the internet even though we are far from our goal of 98+. 98+ stands for "98% correct with an increasing tendency".
We know this cannot be verified. But it's fun to put a quality in the form
of a quantity.

These are times of social networks. Therefore we will use them.
compArt has from its start aimed at contributions from artists, critics,
curators, researchers, or gallerists. We are now beginning to actively ask for inputs, corrections, improvements. We are optimistic to gain such.

The database is only one component of the compArt medium on digital art. We build various systems on top of the collected data. These systems will establish various interfaces to the data.
They are virtual and actual, in cyberspace and in the Aesthetic Laboratory.

We invite all friends in the world to take a look at the current state and
send us your critical remarks.
Be advised that we currently restrict our subject area to the time up to
1979.

We wish to live in a more peaceful world. Frieder Nake for the team of compArt: Hermann Cordes, Susan Grabowski, Jörn Ketelsen, Stefan Kreitmayer, Jens-Holger Streck

Prof. Dr. Frieder Nake
Informatik, University of Bremen, PO Box 330440, D-28334 Bremen, Germany
or: University of the Arts, Am Speicher XI 8, D-28217 Bremen
http://www.compart.uni-bremen.de
(for parcels use: FB 3, University of Bremen, Bibliothekstrasse, D-28359cBremen, Germany)
fon +49-421-218 3525 or +49-421-9595 1267 fax +49-421-218 4322
nake@informatik.uni-bremen.de

This is a unique book about how museums, galleries and other cultural organisations large and small can – and are – using Twitter to successfully involve their very diverse communities. And it's written by some of the museum community’s most experienced and creative users of Twitter.

Appropriately, it’s a book with a difference. Our Preview Edition provides early access to the book's content - before it's published. Order it now and you:
• receive a complimentary copy of the final paperback edition on publication in January;
• access the digital version as it's being written, right now - online,
download a copy, or print it out;
• can help shape the final product by interacting with the authors and
editors.

Whether you're just starting out, or already an experienced user, Twitter for Museums will tell you everything you ever wanted to know about Twitter.
And provide in-depth case studies of how museums worldwide, at marginal cost, are successfully using it to:
• attract new visitors
• build their brand
• sell tickets to special events and exhibitions
• enhance PR activities
• raise funds
• boost retail sales
• reach new audiences
• pick up new ideas
• influence decision makers
• link up with professional colleagues

The topics covered include:
• Making the case for Twitter to your organisation
• Having a policy and being clear about your aims
• Protecting the museum’s image and “controlling” content
• Successful tweeting: events, tours, quizzes, prizes, fieldwork, object of
the day and lots more
• How to build your followers
• Integrating images, audio and video
• Using Twitter for research
• Using third-party applications
• Monitoring: tracking, measuring and reporting
• Using multiple Twitter accounts
• Linking Twitter to your other social media platforms

We've brought together stellar contributors from three continents, and a highly experienced Editorial Advisory Board, comprising:
• Dana Allen-Greil, Project Manager, New Media, Smithsonian National Museum of American History
• Laurence Hill, Development Manager, Fabrica
• Kaia Landon, Assistant Director and Curator of Collections, Mesa
Historical Museum
• Nancy Proctor, Head of New Media, Smithsonian American Art Museum
• Dan Zambonini, Technical Director, Box UK

Twitter for Museums Preview Edition is available to order online now:
www.museumsetc.com/?p=1501

Graeme Farnell
MuseumsEtc

I am happily ensconced in an extraordinary new venture in Bangladesh: the Asian University for Women. Our challenge is to provide a quality liberal arts education to women from all over South and South-East Asia, the majority of whom would be unable to get an education otherwise.
Currently, we have 300 students from 14 countries- a veritable tower of
Babel - amd are growing in leaps and bounds.

The reason I'm writing is that we need professors! We are starting a
Master's program in Computer Science/Information and Communication Technology (CS/ICT) and looking for teachers interested in developing the Undergraduate and Graduate Program (and in living in Bangladesh!). A description of the available posts can be found at our website
www.asian-university.org.

If you know of anyone who might be interested in coming here, could you please pass the word? The immediate need is for teachers so currently this should not be considered a research position. However, our vision is an integration of pedagogy, applied research and entrepreneurship for both student and teacher alike. I am working to set up a few research programs that respond directly to the regional needs and we are already working with CMU in a joint internship program. Anyone who comes is in a great position to help determine our research direction.

Applications from North America are due Jan. 4th (applicants from this
region have until the beginning of February). Because this is so soon,
I've asked that any applicants from my contacts be considered even if
the application is incomplete. So applicants should send in what they
have by Jan. 4 and mention my name.

Polly K. Pook
Associate Professor
Asian University for Women
20/A M.M. Ali Road
Chittagong 4000, Bangladesh
Mobile: (88) 019 266 730 31
pookpolly@gmail.com

(edited by Camille Bacos, Jeremy Hight, & Carol Novack)

We are looking for narratives, fictions, word and language games and
plays, all sorts of poetic forms, in fragments and entireties. We are
looking for visually stimulating presentations, with or without
custom-made audio elements, but preferably with. Surprise and delight us!
Here are some samples of moving words we love: artport.whitney.org/gatepages/artists/nakatani/new_index.html;
slippingglimpse.org/; www.yorku.ca/caitlin/waves/;
nmartproject.net/agricola/mpc/volume6/encoded.html. A comprehensive article about what's broadly referred to as "electronic literature" may be accessed at eliterature.org/pad/elp.html.

Submit up to two works, and please prepare your file/s as follows:
QuickTime movies, h.264, "Fast Start," 640 x 480 or 720X480 , for 16:9 use max. 720X480 with letter box , Data Rate 2000 kbits/sec. Audio AAC, Stereo, 16 bit, 44.100 kHz, duration no longer than 12 minutes. We accept flash & window media player formats.

Please submit your works directly to our server. For FTP info please send an email to movingwords@madhattersreview.com (with "Moving Words Submission" in the subject line) and include the following information (feel free to cut and paste):

1. YOUR name; email address; bio - max 250 words.

2. Name AND exact file name of pieces to be uploaded: i.e. Lucy in the
Sky, lucysky2.mov

3. Permission to publish email address in Issue 12. YES ___ NO ___

4. Do you wish to include a bio pic? YES ___ NO ___

Call for Applications - Overview
The International M.A. in New Media & Digital Culture (NMMA) at the
University of Amsterdam (UvA) is accepting applications for 2010-2011
academic year. The NMMA is a one-year residence program undertaken in English at UvA in the heart of Amsterdam. Students become actively engaged in critical Internet culture, with an emphasis on new media theory and aesthetics, including theoretical materialist traditions and practical information visualization trends. Our permanent faculty are recognized experts in their fields, who are committed to their students. The program admits approximately forty students per year, classes are no larger than 20 and often smaller, and the faculty-to-student ratio is 1:8.

Curriculum
1st Semester: students follow a course in academic blogging, led by
critical Internet theorist and tactical media practitioner Geert
Lovink. Their entries form the internationally noted Masters of Media
site, http://mastersofmedia.hum.uva.nl/, regarded as a top blog for
new media research and nominated for a Dutch blog award for best
education blog. The concurrent new media theories course focuses on classic texts by innovators from Alvin Turing to Tim Berners-Lee. The final first semester class, Digital Methods, given by the program
Chair, Richard Rogers, trains students in novel techniques for
Internet research, http://www.digitalmethods.net/. 2nd Semester: the
student chooses between courses on digital aesthetics, new media
politics or information visualization. The digital aesthetics course
is theoretically inclined in the traditions of art history and visual
culture, and the new media politics class is concerned with the
transformations the Internet is bringing to politics. Information
visualization is a joint theoretical-practical collaboration between
designers, programmers and analysts, where the product is an online
tool, digital visualization or interactive graphic. The course of
study concludes with the M.A. thesis, an original analysis that makes
a contribution to the field, undertaken with the close mentorship of a
faculty supervisor. The graduation ceremony includes an international
symposium with renowned speakers. Graduates of the NMMA have gained an analytical and practical skill-set that enables diverse careers in research and practice-related areas that make use of the Internet, including business, government, NGOs, and creative industries that are evolving with emerging new media. Our graduates include Lotte Meijer, winner of a Webby award, and Eva Kol, whose MA thesis, Hyves, was published by Kosmos in 2008 and sold over 5000 copies its first year in print.

Student Life
The quality-of-living in Amsterdam ranks among the highest of
international capitals. UvA’s competitive tuition (see below) and the
ubiquity of spoken English both on and off-campus make the program
especially accommodating for foreign students. The city’s many venues, festivals, and other events provide remarkably rich cultural offerings and displays of technological innovation. The program has ties to organizations including PICNIC, the Waag Society, Institute for
Network Cultures, Virtueel Platform, Netherlands Institute for Media
Art, govcom.org, and other cultural institutions, where internship
opportunities may be available, in consultation with the student’s
thesis supervisor. Students attend and blog, twitter or otherwise
capture local new media events and festivals, while commenting as well on larger international issues and trends pertaining to new media. The quality of student life is equally to be found in the university’s lively and varied intellectual climate. NMMA students come from North and South America, Africa, Asia and across Europe and from academic and professional backgrounds including journalism, art and design, engineering, the humanities and social sciences.

Faculty
Richard Rogers, Professor and Chair. Web epistemology, Digital
methods. Publications include Information Politics on the Web (MIT
Press, 2004/2005), awarded American Society for Information Science
and Technology’s 2005 Best Information Science Book of the Year Award, and the End of the Virtual (U Amsterdam P, 2009). Founding director of govcom.org. http://www.govcom.org/.

Geert Lovink, Associate Professor. Critical Internet theory, Tactical
Media. Publications include Zero Comments: Blogging and Critical
Internet Culture (Routledge, 2007). Co-founder nettime listserve (1995
– present); founder, Institute of Network Cultures, 2004.
http://www.networkcultures.org/.

Jan Simons, Associate Professor. Mobile Culture, Gaming, Film Theory. Publications include Playing The Waves: Lars von Trier's Game Cinema (U Amsterdam P, 2007). Project Director, Mobile Learning Game Kit, Senior Member, Digital Games research group.
http://home.medewerker.uva.nl/j.a.a.simons/

Yuri Engelhardt, Assistant Professor. Computer modeling and
information visualization. Publications include The Language of
Graphics (2002); founder and moderator of InfoDesign (1995-9);
codeveloper of Future Planet Studies at UvA. http://www.yuriweb.com/

Edward Shanken, Assistant Professor. Digital aesthetics, visual
culture. Publications include Art and Electronic Media (Phaidon, 2009)
and Telematic Embrace: Visionary Theories of Art, Technology and
Consciousness (U Cal P, 2003). http://artexetra.com

Thomas Poell, Assistant Professor. New media politics. In 2007 he
defended his PhD-dissertation on the democratization and
centralization of the Dutch state during the revolutionary period
around 1800. http://nl.linkedin.com/in/thomaspoell

Application & Deadlines
1 January 2010 for “early bird” candidates for Fall 2010. Early bird
candidates notified on 1 February. General deadline: 1 April for Fall
2010. Applicants will be notified around 15 June. Applications
received after 1 April may be considered if places are available. See
http://www.studeren.uva.nl/ma-nieuwe-media/ for details.

More Info & Questions
• International M.A. in New Media & Digital Culture - University of
Amsterdam, http://www.studeren.uva.nl/ma_new_media/
• Graduate School for Humanities General Information,
http://www.hum.uva.nl/gs/actueel.cfm • Further general questions?
Please write to UvA’s Graduate School of the Humanities,
graduateschool-fgw “at” uva.nl.
• Specific questions about curriculum and student life? Please write
to Richard Rogers, Chair in New Media & Digital Culture, University of
Amsterdam, rogers “at” uva.nl.

THE LARGE, THE SMALL AND THE HUMAN MIND – DAS GROSSE, DAS KLEINE UND DER MENSCHLICHE GEIST
The 8th Swiss Biennial on Science, Technics + AestheticsSaturday, January 16, 2010, 12 – 7 p.m. / Sunday, January 17, 2010, 12 – 7 p.m.

A New Gallery Lucerne conference in association with the Swiss Museum of Transport, the City of Lucerne, the Regionalkonferenz Kultur Luzern (RKK), the Swiss National Science Foundation (SNSF), and private DonorsSimultaneous Interpretation: English-German and German-English
Swiss Museum of Transport, Lucerne, Coronado Hall Admission: CHF 90.00 (CHF 65.00 concessions)
Anmeldung: http://www.neugalu.ch/d_bienn_2010.html#9Registration: http://www.neugalu.ch/e_bienn_2010.html#9
Fragen an der Biennale sind:

Keynote Speakers:
Michel Bitbol, Director of Research, Centre National de la Recherche Scientifique (CNRS), Paris
Fritjof Capra, physicist and systems theorist, Berkeley
John Horgan, science writer/author, Director of the Center for Science Writings (CSW), Stevens Institute of Technology, Hoboken, USA
Kevin W. Kelley, artist, author, and entrepreneur, San Rafael, USA
Bruno Latour, sociologist, Scientific Director and Professor at Sciences Po, Paris
Pier Luigi Luisi, Professor at the Dipartimento di Biologia, Università degli Studi di Roma
Robert Poole, historian, University of Cumbria, Lancaster, UK
Harald Welzer, Director of the Center for Interdisciplinary Memory Research, Essen
Margaret Wertheim, science writer, historian of physics, Director of the Institute for Figuring, Los AngelesPresenter
David McConville, Director of Noospheric Research, The Elumenati, Asheville, USAChairpersons
Christina Ljungberg, University of Zurich
Josef Mitterer, University of Klagenfurt
Isabelle Stengers, Free University of BrusselsLeader of the Panel Discussions
Peter Weibel, Chairman and CEO, Center for Art and Media (ZKM), KarlsruheTHE SWISS BIENNIAL ON SCIENCE, TECHNICS + AESTHETICS
SCHWEIZER BIENNALE ZU WISSENSCHAFT, TECHNIK + ÄSTHETIK
P.O. Box 3501
CH - 6002 LUCERNE / SWITZERLAND
Tel.: + 41 (0) 41 370 38 18
http://www.neugalu.ch17 décembre

Safar, meaning travel in Arabic, is also the name of the program "Safar: Youth Mobility Fund". The program supports Arab young artists in their travel in the Arab world providing them with the air tickets and / or other travel expenses. The aim of Safar is to help youth develop their own experiences and knowledge. The main objectives are to provide human, financial and material resources for young people within the Arab world and to ensure youth ownership.
Three different types of grants:
1) Apprenticeship grants
2) Visitation grants
3) Events grants

**More information (in Arabic, English & French): *
Tel.: +962 6 5687557
Fax:+962 6 5687558
P.O.Box 940286  Amman 11194
info@safarfund.org
www.safarfund.org <http://www.safarfund.org/>

19 et 20 décembre 2009, Gorée . Dakar . Sénégal

Le Barcamp se déroulera sur l'ile de Gorée, au large de Dakar, les 19 et 20 décembre 2009.
*http://barcamp.org/BarCampGoree/*
*http://barcampgoree.org/*

Un "Barcamp" est une rencontre, une non-conférence ouverte, qui prend la forme d'ateliers-événements participatifs où le contenu est fourni par les participants qui doivent tous, à un titre ou à un autre, apporter quelque chose au Barcamp.
C'est le principe: pas de spectateur, tous participants. L'événement met l'accent sur les toutes dernières innovations en matière d'applications Internet, de logiciels libres et de réseaux sociaux.
Quelques informations à savoir avant de vous inscrire:
- Le transport n'est pas pris en charge (sauf peut-être la traversée, en
cours de négociation).
- Il y aura à grignoter, et peut-être des chambres à partager sur l'île.
Apportez une tente si vous en avez une.
- Ah oui: si vous n'avez pas de laptop, on vous jette à l'eau! Plus
sérieusement, venez avec un laptop si vous souhaitez profiter pleinement du Barcamp. Il n'y aura pas d'ordinateur en libre service.

Si vous avez envie de sponsoriser l'évenement ou si vous pouvez aider à sa préparation, envoyez un mail à:
*barcamp-goree-core@googlegroups.com<http://www.prontomail.com/prontomail/noframes/mailer/t_baseform.asp?whattodo=compose&fldToStr=barcamp-goree-core@googlegroups.com>

Creative Thinking for Interactive Media Design (e-book) Oguzhan Ozcan, A.Evren Yantac, 2009 Although it was founded only ten years ago, Interactive Media Design has been one of the leading field where the most creative design ideas in the world have been produced. We anticipate that this will to be so during the rest of 21st century. As the field of interactive media design has a very wide application spectrum from television to mobile environments, interactive media design education must be established on a very critical balance of art, design, and technology. Although there are considerable similarities and intersections with the fields of industrial and interaction design, interactive media design education has its own nuances and subtleties. This book introduces, with examples, how a qualified
interactive media design education should be planned, from the beginner to advanced level, from the perspectives of meanings, actions, mechanisms and the nature of design. (96 pictures and 28 web link included. Please see details via:
http://oguzhan.ozcan.info/eBook.html<html><head></head><bodystyle=3D"word-wrap:

Arts | Humanities | Complex Networks –
a Leonardo satellite symposium at NetSci 2010taking place at BarabásiLab – Center for Complex Network Research,
Northeastern University in Boston, MA, on Monday, May 10, 2010.

Abstract: By means of keynotes, contributed talks and interdisciplinary discussion we will explore and identify important issues surrounding the convergence of arts, humanities and complex networks. On the one hand we will concentrate on network structure and dynamics in areas ranging from art history and archeology to music, film and image science. In the same time we are interested in the development and critique of network visualizations from medieval manuscripts to the latest tools, such as Cytoscape and Processing. Our dual focus is based on the opinion that the study of networks and the study of visualizations of these networks complement each other, much in the same way as archeology cannot live without self-reflective art history – studying the represented always presupposes the study of representation. Bringing together network scientists and specialists from the arts and humanities we strive for a better understanding of networks and their visualizations, resulting in better images of networks, and a better use of these images. Running parallel to the NetSci2010 conference, the symposium will also provide a unique opportunity to mingle with leading researchers and practitioners of complex network science, potentially sparking fruitful collaborations.
Confirmed keynote speakers include:
Fernanda Viégas and Martin Wattenberg (IBM Visual Communication Lab, Boston): http://www.research.ibm.com/visual
Ward Shelley (New York artist): http://www.wardshelley.com
Contributions:
In addition to the keynotes we are looking for ten 15 minute contributions in order to cover a large territory around arts, humanities and complex networks.
Abstracts should not exceed 200-300 words. Applications should include one relevant URL and your most awesome figure. Please send a one page PDF not exceeding 500kb to: artshumanities@netsci2010.net
Selected original papers will be published in the Leonardo Journal, MIT Press. Proceedings will be published online.
Important dates:
The deadline for applications is January 22, 2010.
Decisions for acceptance will be sent out by February 7.
Possible subjects include:
* Multi-modal networks of features and meta-data in art, film, music and literature;
* Citation and transmission of motifs (Mnemosyne);
* Emergence and Evolution of canon in art, music, literature and film;
* Evolution of communities of practice in art and science;
* History of network visualization (genealogies, trees, matrices);
* Art history of taxonomy and evolutionary models (like Darwin‘s corals vs. Wallace‘s trees);
* Networks in architecture (from the Ekistics movement to modern traffic planning);
* Cultural exchange and trade networks (from the Neolithic to modern supply chains);
* Contemporary art and network science;
* Network structure in cultural heritage, film and music databases;…
Attendance:
Attending our symposium will be free of charge. As space is limited, we require registration. Registration will open here on January 22, 2010.
NetSci 2010 attendees can register directly now. For the NetSci 2010 registration fee and deadline please see http://www.netsci2010.net.
Organizers:
The symposium is organized by Maximilian Schich (Art Historian at BarabásiLab), and co-chaired by Roger Malina (Executive Editor at Leonardo journal) and Isabel Meirelles (Associate Professor at Dept. of Art + Design, Northeastern University).
The symposium is a satellite to NetSci 2010 and counts with the support of the BarabásiLab – CCNR and Dept. of Art + Design, both at Northeastern University in Boston, and Leonardo/ISAST.

Links:
Arts | Humanities | Complex Networks: http://artshumanities.netsci2010.net
BarabásiLab: http://www.barabasilab.com
Dept. Art+Design: http://www.art.neu.edu
Leonardo: http://www.leonardo.info
NetSci2010: http://www.netsci2010.net

Contact:
artshumanities@netsci2010.net

will be held in Istanbul, Turkey.

Following a competitive bid process, ISEA2011 had been awarded to the proposal from Sabanci University led by Dr. Lanfranco Aceti, Associate Professor in Contemporary Art & Digital Culture and supported by Prof. Mehmet Bac, Dean of the Faculty of Arts and Social Sciences.

The ISEA International Foundation Board, the governing body of the
international ISEA network, made the selection of Istanbul.

The Board was impressed by the proposal, which focuses on Istanbul as a gateway between Europe and Asia, representing a cultural and creative meeting point for current debates in the fields of art, science and technology.

Following Istanbul as European Capital of Culture in 2010, ISEA2011 will be held in September 2011, to coincide with the prestigious Istanbul Biennale. The proposal from Sabanci University aims to bring the academic community of Istanbul together and embrace the vibrant visual art scene, which is flourishing in the cosmopolitan atmosphere of contemporary Istanbul.

With an academic conference, accompanied by a programme of exhibitions, performances and workshops, ISEA2011 will be an international gathering of leading and emerging thinkers and practitioners working at the interface of art and technology.

It continues the established and dynamic series of ISEA events, established in 1988 in the Netherlands. ISEA has been held across the world including symposia in Japan, Australia, USA and Europe. ISEA2009 was held in Belfast, Ireland with ISEA2010 being staged in the RUHR region of Germany.

For further details please contact ISEA Director Sue Gollifer at ISEA
Headquarters, University of Brighton, UK <s.c.gollifer@bton.ac.uk>.

Call for Applications: The Camargo Foundation Academic and Artistic
Fellowships

The Camargo Foundation is now accepting applications from composers, writers, and visual artists pursuing specific projects. The
interdisciplinary residency program is intended to give Fellows the time and space they need to realise their projects. The Foundation's hillside campus overlooks the Mediterranean Sea in Cassis, France; it includes fully furnished apartments, a reference library, and art/music studios. Fellows are provided with self-catering accommodation on campus. A stipend of $1,500 is also available. Fellowships are from mid-September to mid-December, or mid-January to mid-April.
Qualified candidates from all countries and nationalities are encouraged to apply; proficiency in English is a requirement. The application deadline is January 12, 2010.

For more information, please consult our web site at
<http://www.camargofoundation.org/> www.camargofoundation.org or write to
apply@camargofoundation.org.

Emily Roberts, Applications Coordinator
The Camargo Foundation

In order to reflect the increasing significance of theoretical and critical
practice works submitted for the transmediale Award competition, the
festival has introduced the *Vilém Flusser Theory Award*. In collaboration with the Vilém Flusser Archive at the Universität der Künste Berlin, the award honors outstanding theoretical or research-based digital arts practice.

As a media philosopher Vilém Flusser was above all an influential visionary who had already in the 1980s foreseen both the advance of digital technologies and an emerging telematic society. Thoroughly examining the new media technologies, this original thinker created philosophical fictions of a future in which new networks of communication would fundamentally alter human existence. Flusser's distinctive feature of freely moving between the traditional academic disciplines is manifested in the foundation of his "Communicological" studies. He is also known for writing and re-writing his texts in different languages, often letting the respective etymologies guide his thoughts. In a world dominated by machines Flusser -- the eternal nomad -- continuously sought to show a way to open up a space for freedom.

The *Vilém Flusser Theory Award* credits contemporary artistic positions and practice based research projects which adopt Flusser's legacy through their noteworthy imagination and analytic rigour. The international jury of the transmediale.10 Vilém Flusser Theory Award consists of Sabeth Buchmann (Berlin/Vienna), Oliver Grau (Berlin/Krems), Marcel René Marburger (Berlin/Köln). The prize carries a value of 2000 Euros.

The names of the four nominees for the *Vilém Flusser Theory Award
2010*were announced as part of the 10 year anniversary event of the
International Flusser Lectures on 22 October 2009. We are pleased to pass these names on to you here (detailed descriptions will follow shortly).

*David Link* (de) for his text *There must be an Angel. On the Beginnings of Arithmetics of Rays*
http://www.alpha60.de/
*Mina Lunzer* (at/de) with the media project *Syjettes*
http://www.minalunzer.net/
*Warren Neidich* (us/de) with the research project *Neuropower*
http://www.warrenneidich.com/
*Daniela Alina Plewe* (de/sg) with the research project *Transactional Art*
http://www.danielaplewe.com/
*Information on the jury members:*
*Sabeth Buchmann* is an art historian and critic. Since 1997 lecturer,
assistant, and guest professorships at various colleges and universities; since 2004 Professor for Modern and Post-modern Art History at the Academy of Fine Arts, Vienna. Regular articles in art journals, exhibition catalogs, and publications on art, politics and society. Since 1998 advisory board member of the magazine "Texte zur Kunst". 2004-2006 research project on "avant-garde, film and biopolitics" at the Jan van Eyck Academy Maastricht. Sabeth Buchmann lives in Berlin and Vienna.

*Oliver Grau* is an art historian and media theorist. He is professor of
image science (Visual Studies) and head of department at the Danube University Krems. Researches mainly in the history of media art, emotions and immersion (virtual reality) as well as the history, idea and culture of telepresence and artificial life. Grau lectured at the Humboldt University Berlin and worked as an exchange professor at several international universities. In the framework of the project Immersive Art which was sponsored by The German Research Foundation he initiated the first international Database of Virtual Art (www.virtualart.at) in 1998.

*Marcel René Marburger*: graduated in art history, German literature and philosophy in Cologne. Research assistant and lecturer at the Cologne Cathedral, the Academy of Media Arts Cologne as well as at the Berlin University of the Arts. One of the co-editors of the International Flusser Lectures.

• PIXXELPOINT 2009 – 10th International New Media Art Festival
04/12/2009 - 11/12/2009 , Nova Gorica, Gorizia
Once Upon a Time in the West
December 4 – 11, 2009
Nova Gorica (SI) – Gorizia (IT)
Curator: Domenico Quaranta
Organization: Kulturni dom Nova Gorica
Partners:
Kulturni Dom Nova Gorica (Slovenia) is proud to announce the 10th edition of the International New Media Art Festival Pixxelpoint, that will open at the Mestna galerija Nova Gorica on December 4, 2009, at 8.00 PM. The festival will take place from December 4 to December 11, 2009, and will have two venues: the Mestna Galerija Nova Gorica, every day from 9.00 AM to 7.00 PM; and the Fondazione Cassa di Risparmio di Gorizia (Via Carducci 2, Gorizia), every day from 2.00 to 7.00 PM. Furthermore, Web based works have been collected in an online gallery designed in collaboration with Club Internet (www.clubinternet.org) and proudly hosted by Padiglione Internet (www.padiglioneinternet.com) – a project by Miltos Manetas for the Venice Biennale. The online exhibition, open every day, 24/24, will be screened in the two venues of the festival as well.
Pixxelpoint, now celebrating its 10th birthday, has become an internationally established New Media Art festival, well known in Slovenia and abroad. Its primary interest is to bring information technologies and New Media Art to a broader audience, and to help new generations in developing an alternative, more “mature” use of the computer.
More: http://www.pixxelpoint.org/

AFRICA-ASIA: NETWORKS, EXCHANGES, TRANSVERSALITIES
SYMPOSIUM - December 2010CENTRE D'ETUDES DES MONDES AFRICAINS - C.N.R.S.
CALL FOR ARTISTIC CONTRIBUTIONS, FILMS.

Africa-Asia: Networks, Exchanges,Transversalities is a four-day
colloquium that brings together scholars, activists, policy experts and artists from seventeen countries around one fundamental aspect of 21st century globalisation: the increasingly elaborate web of economic, political, social and cultural networks linking African and Asian Cities. The colloquium deploys transdisciplinary approaches to foreground the historical depths, present complexity and future potential of Africa-Asia interactions. An outline of questions to be explored in this context follows.

The theme on which the symposium will focus is vast and brings to bear a wide range of scholarly disciplines. Among these are the fields of anthropology, archaeology, art history and visual culture, conomics,
geopolitics, history, international relations, legal studies, linguistics,
musicology and political science.

Contemporary ties between Africa and Asia - exchanges involving the
transit of persons, capital, technologies and imaginaries - are closely
linked to centuries-old networks. In part marginalized, or set aside, during the colonial period and, thereafter, with the rise of emergent nation states, a number of these networks have witnessed a noteworthy revitalization in recent decades. This in turn has led to an extension of these and related networks to new territories, geographical and otherwise. This state of affairs has significantly altered relationships with the "North" articulated during the colonial era and in the years immediately following Independence.

With these developments in mind, scholars in the humanities and the social sciences interested in exchanges between Africa and Asia must address twosets of issues, both of which will constitute key foci for the symposium:
(1) the diversity of forms of mobility that have in the past shaped, and
that continue to shape, these exchanges and (2) the emergence of
novel sitesand practices linking the local and the global in this setting. Images,works of art and prestige,writings,music and performance play a fundamental role in the articulation of political,economic and
social relations between Africa and Asia.
This is so today and has been for centuries. These forms of
creativity participate in the construction of space, social and age
classes, concepts of citizenship and notions of ethnicity and gender.
All of which simultaneously shape and are shaped by relations
between the two continents. At the core of these relations are
phenomena that are key motors of globalisation : cosmopolitanism,
translocality and the elaboration of social imaginaries. Symposium languages: English, French.
E.mail proposals to: cemaf.africa.asia at gmail.com.

The UNESCO Centre of Catalonia is glad to announce the celebration of a three-day Summit on Arab New Media to be held in Amman, Jordan, in January 2010. If you are of Arab nationality and enthusiastic about New Media and its potential to foster peace, dialogue and development in the region, kindly send your resume and a brief note about yourself as soon as possible to r.gomezsobrino@unescocat.org

We accept applications particularly from Palestine, Jordan, Syria, Lebanon and Iraq. Women are encouraged to apply. Participants will be provided with all-expenses paid for this training.

Rut Gómez Sobrino,Head of the Audiovisual Department,UNESCO Audiovisual E-Platform -Tel.: (+34) 934 763 276

*SUBSCRIBE TO DIGITALE AFRIQUE MAILINGLIST*
Send and receive all information about African Digital Art
http://digitalafrique.net/liste/
*CALL FOR PROJECT PROPOSALS _ DANCE & NEW TECHNOLOGIES*
*BAINS NUMERIQUES* #5
*INTERNATIONAL COMPETITION IN DANSE & NEW TECHNOLOGIES*
International Digital Arts Festival of Enghien-les-Bains (France)
11 > 19 JUNE 2010
http://www.bainsnumeriques.fr / http://www.cda95.fr

For the 5th edition of the /Bains numériques/ Digital Arts International
Festival (11-19 June 2010), the "Centre des Arts" is organising an
*international competition* for creations mixing *dance* and *new
technologies*. This *international call for project proposals* aims at
pre-selecting 8 hybrid stage form. The 8 works selected will be
presented during the festival. A *dedicated Committee* will be assigned
to select projects coming from the African Continent in order to ensure
*representation of African Digital Art* and to select an African Project
which will join the 7 other Works in competition.

*DIGITALE AFRIQUE*
"Digitale Afrique" is a *Web & paper publication for a Cartography of
the Digital Creation on the African continent*. "Digitale Afrique"
contribute to *strengthen the networks in the field of digital creation,
to index information, resources and tools* which support this creation
under all its forms, with *partners-relay based in various regions of
Africa*. "Digitale Afrique" is initiated by *Incident* (Art &Technologies), platform dedicated to the netart in Paris (France), *Trias Culture*, cultural company based in Dakar (Senegal), *doual'art*,
contemporary art center in Douala (Cameroon), and *MCD* (Musiques & Cultures Digitales) magazine, in Paris (France).
http://digitalafrique.net

*INSCRIVEZ-VOUS A LA LISTE DE DIFFUSION DIGITALE AFRIQUE*
Envoyez et recevez toutes les annonces concernant la création numérique africaine.
http://digitalafrique.net/liste/
APPEL À PROJETS _ DANSE & NOUVELLES TECHNOLOGIES*
*BAINS NUMÉRIQUES* #5
*COMPÉTITION INTERNATIONALE DANSE & NOUVELLES TECHNOLOGIES*
Festival international des arts numériques d’Enghien-les-Bain (France)
11 > 19 JUIN 2010
http://www.bainsnumeriques.fr / http://www.cda95.fr

Dans le cadre de la 5ème édition de /Bains numériques/, festival
international des arts numériques d’Enghien-les-Bains (11-19 juin 2010), le Centre des Arts organise une *compétition internationale* de
créations mixant *danse* et *nouvelles technologies*. Cet *appel à
projets international* vise à présélectionner 8 formes scéniques
hybrides, qui seront auditionnées pendant le festival. Un *comité
spécifique* sera chargé d'étudier les projets émanant du continent
africain, ceci pour assurer une *représentation de la création numérique africaine*, et sélectionnera un projet africain, qui rejoindra les 7autres en compétition.

*DIGITALE AFRIQUE*
"Digitale Afrique" est une *publication Web et papier pour une
cartographie de la création numérique sur le continent africain*.
"Digitale Afrique" contribue à *renforcer les réseaux dans le domaine de la création numérique, à référencer les informations, les ressources et les outils* qui soutiennent cette création sous toutes ses formes, grâce à des *partenaires-relais basés dans les différentes régions d'Afrique*.
"Digitale Afrique" est initié par *Incident* (Art et Technologies),
plateforme dédiée au netart à Paris (France), *Trias Culture*,
entreprise culturelle basée à Dakar (Sénégal), *doual'art*, centre d’art
contemporain à Douala (Cameroun), et la revue *MCD* (Musiques & Cultures Digitales) à Paris (France).

L’Atopic Festival se situe à la croisée des chemins entre Art, Sciences et Technologies. ‘Atopic’ du grec a (sans) topos (lieux), vous invite à découvrir les mondes virtuels. Du 27 octobre au 4 novembre, plongez dans le Métavers, gigantesque réseau sans centre ni périphérie.
Projections de films Machinima, exposition Retrogaming, animations Demo Art, voyages initiatiques dans les mondes virtuels, initiation au Machinima et au code informatique, collaboration avec un laboratoire de recherche, conférences et table ronde.

La Cité des sciences et de l’industrie propose une immersion totale au coeur de l’Atopic Festival, en accueillant cet événement gratuit et accessible à tous. L’association organisatrice Human Atopic Space permet la production et la diffusion d’oeuvres virtuelles. La programmation artistique participe à la sensibilisation des publics à de nouvelles formes de création artistique, aux relations arts et sciences ainsi qu’au patrimoine numérique.

Le festival fédère une multitude d’acteurs des NTIC (Nouvelles technologies de l’Information et de la Communication) tels que concepteurs multimédia, développeurs, scénaristes, codeurs, mais aussi musiciens et architectes, alimentant une dynamique instillée par l’île-de-France depuis plusieurs années. Ces synergies annoncent une nouvelle ère de la communication homme-machine.

Devenez métanaute, et parcourez l’ensemble de ces territoires en vagabond des réseaux.

ArtInScience Cafe blog, part of a global, online community for
scientists, artists, art collectors and curators exploring the
intersection of art and science. http://artinscience.wordpress.com/

PURPOSE
1) provide an informative resource, 2) open doors for new
collaborations between individuals in the scientific and artistic
communities, and 3) support a platform for networking sciArt online.

ATM imaging of nanotechnology video presentations of distant nebulas unique sound vibrations of a cell membrane
multimedia representations of biosystems mathematical visualizations synced to music cell assay images fine art
and, more!
SCIART NETWORKING
:::Artists, scientists, art collectors and curators discuss potential
collaborations, provide links to work and opportunities, and share
thoughts and ideas evolving around the intersection of art and
science.

ADDITIONAL RESOURCES
:::Talks, Symposiums, and Academic Institutes exploring the synergy
between art and science.
:::Art Gallery Call for Submissions
:::New technologies used to render, present and distribute artistic works
:::Events, news, and invitations to Exhibits featuring science as art

http://www.leonardo.info/LEA/CreativeData/CreativeData.html<http://www.leonardo.info/LEA/CreativeData/CreativeData.html>
--The *Creative Data* special issue of *Leonardo Electronic Almanac
(LEA)* features
papers and artworks that deal with the emerging practice of data
visualization as an immersive experience. Data has long been the property
and domain of screen-based collection, archiving, processing and
interaction. The emergence of new processes, functionality and ways of
interacting with information is opening up several new areas of great
possibility in which the data allows newfound thematic and engaging forms of
immersion, as well as innovative and perception-reshaping interaction. Guest
edited by Jack Ox, Jeremy Hight and Erik Champion.

Announcing Vague Terrain 15: .microsound

The latest of edition of Vague Terrain is dedicated to celebrating the tenth anniversary of the .microsound community. Guest curated by the American composer Kim Cascone, the issue provides a range of commentary and context on "sub-atomic" musical aesthetics and a window into this globally distributed community of electronic musicians. In Cascone's own words .microsound is a fertile middle ground between "the ivory tower of sterile academia" and "the seizure-inducing din of the dance club".
For those unacquainted with this zone of musical production, this collection of work provides a perfect introduction.

Featuring text & video contributions by Ben Neill, Charles Turner, Dextro, Joanna Demers, Pere Villez, Thanos Chrysakis, Thomas Bey William Bailey and William L. Ashline.

Feature audio contributions from Mike Rooke, Lubrication, Ronnie Cramer, [ruidobello], Richard Lainhart, sound art, TomDjll, Brett Ian Balogh, Scant Intone, Yota Morimoto, Jorge Castro, Joaquin Gutierrez Hadid, Francesco Rosati, Asferico, Water Falls, Yann Novak, John Hanes, Epoch_Collapse, Jhenner Gayap Benadrilled, Skjolbrot, Markus Jones, Jon Hawken, Adern X Fades 4:38, Julien Ottavi, Vanessa Rossetto, Kim Cascone, Larnie Fox, eddie135, Di.J Crisis, shg, Cheryl E. Leonard, Noe Cuellar, Gary R. Weisberg, Osvaldo Cibils, Kotra, Gintas K, John Kannenberg, Ricky Pannowitz, ocp, TheSAD, Margaret Schedel, Pereshaped, so/on, Eric Miller, Nux Vomica, v4w.enko, UmanoidSomeday, Epoch Collapse, Umanoid and Noe Cuellar.

To view the issue please visit http://vagueterrain.net/journal15

MACHINE begins its programming with “No No Nonsense ”. The focus on this MACHINE event is to bring together artists who interpret their art genres in a unique and individual manner.

MACHINE is a new non-profit organization that defines itself as a project for contemporary ideas in the arts, including experimental practices. Our mission is to cultivate creative potential by presenting contemporary work from young and emerging talent in various art disciplines in partnership with members and the broader community. Featured Artist for this event are the Jan Debel Jazz Quartet and Mehdi-Georges Lahlou . No No Nonsense begins with a 20h reception followed by performance and concluding with a walking dinner, jazz and world music. MACHINE location:

111 Molenaarsstraat Loft 5 9000 Gent.

For more information visit: MACHINEvzw.blogspot.com
For more information Jan Debel Quartet visit: http://www.myspace.com/jandebel
For more information Mehdi-Georges Lahlou visit: http://www.mehdilahlou.com/

all further communications from MACHINE will temporarily come from Machine.vzw@hotmail.com

YOU CAN ALSO VISIT THE SITE OF DIALOGIST-KANTOR
http://patacycliste.be

Deadline: November 25, 2009
Call for collaborators: December 14, 2009 through January 20, 2010
Teachers: Mar Canet, Antonin Fourneau, and Abelardo Gil-Fournier.
Coordinated by Flavio Escribano
Venue: Medialab-Prado in Madrid (Spain)

Call for the presentation of proposals to be carried out within the
collaborative production workshop that will take place in Medialab-Prado (Madrid, Spain) on January (21 to 24) and February (4 to 7), 2010.

PlayLab aims to explore the context of games and video games as a space for creativity, experimentation, learning and reflection. It also aims to create an environment that leads to collaborative work in which different disciplines come together.

PlayLab's activities are proposed as an open and participatory research process from which one can approach video games, a phenomenon that is becoming more extensive and influent in Contemporary Society, and explore its critical potential, its learning possibilities and its capacity to create social spaces that go beyond the purely commercial and standardized. PlayLab is also interested in the history of games and video games as it examines its possible genealogies and studies its social, cognitive and psychological effects characteristic of video games today.
Check the call guidelines and submit your project before November 25, 2009 - No entry fees. More information and call guidelines:
http://medialab-prado.es/article/convocatoria_playlab_laboratorio_de_experimentacion_con_videojuegos
playlab (at) medialab-prado.es

With the collaboration of ArsGames and PlayStation
Venue: Medialab-Prado, Plaza de las Letras, Calle Alameda, 15
28014 Madrid (Spain
Nerea García Garmendia, Comunicación / Press
Tfno. +34 914 202 754
difusion@medialab-prado.es
www.medialab-prado.es

This project gathers information about Academic Courses and Masters on arts/sciences/technologies. edu.List is a collaborative project, please, help us to make it really useful for students and scholars sending us information and links about the courses you know.

For any submissions or inquiries please get in touch with Noema Staff [staff (at) noemalab.org]
Directories

DeMontfort University, Leicester (United Kingdom), Masters in Creative Technologies (MA/MSc), Institute of Creative Technologies.
http://www.ioct.dmu.ac.uk/masters.html

Scuola Superiore Sant'Anna, Pisa (Italy), PERCRO - Perceptual Robotics
http://www.percro.org

McGill University (Canada), CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology)
http://www.cirmmt.mcgill.ca/
IDMIL (Input Devices and Music Interaction Laboratory)
http://www.idmil.org/

Marc Böhlen, Bruno Bossis, Massimo Botta, Alexandre Bouënard, Tony Brooks, Paul Brown, Dimitrios Charitos, Claudine Dussollier, Murat Germen, Fiammetta Ghedini, Gabriella Giannachi, Stelios Giannoulis, Derek Hales, Jens Hauser, Joël Laurent, Ray Lauzzana, Roger Malina, Adérito Fernandes Marcos, Michael Naimark, Philippe Nys, Eleonora Oreggia, Edward Shanken, Luis Teixeira, Mark Tribe, Stephen Wilson, Ionat Zurr

Call for Submissions: SIGGRAPH 2010 Art Papers and Art Gallery

SIGGRAPH 2010, in collaboration with Leonardo/ISAST, seeks papers that illuminate and explore how people understand the changing roles of artists and art-making in our increasingly networked, multi-sensory, online world. Accepted papers will be featured in a special issue of Leonardo which will be published in conjunction with the SIGGRAPH 2010 conference. SIGGRAPH is also looking for exceptional works of art, completed in the last two years, by artists who physically engage technology in their creative process. The aim is to gather a compelling and varied group of creative projects that relate to the SIGGRAPH 2010 Art Gallery theme, "TouchPoint: The Haptic Exchange Between Digits." Find out more

Arte, ciência e tecnologia: passado, presente e desafios

The book Arte, ciência e tecnologia: passado, presente e desafios by Diana Domingues and published by Editora UNESP in partnership with the Itaú Cultural was launched on September 17, 2009 at the #8. ART Symposium in Brazil. The book, inspired by REFRESH! The First International Conference on the Histories of Media, Art, Science and Technology which took place at The Banff New Media Institute in 2005, focuses on the historical relationship between art, science and technology and attempts to put into place the history of art in Brazil and the necessary elements, strategies, artists and institutions that shape the theories of this field of knowledge. The book includes many texts previously published in titles in the Leonardo Book Series. Find out more

Dirigé par Colette Tron
Textes de Elie During, Jean-Louis Déotte, Marie-José Mondzain, Bernard Stiegler, Alain Giffard
Ouvert à l'apport de philosophes, ce livre a pour objet, non pas de donner lieu à une théorie esthétique générale de notre temps, mais d'observer les conditions actuelles de l'expérience sensible, leur effet sur l'esthétique, et sur la vie culturelle en général.
Que génère notre société, hyper ou post-industrielle, post-moderne ou en fin d'histoire, et à coup sûr en cours de mondialisation ? Quelles en sont les formes de vie ? Quelles en sont les formes de l'art ? Quelle en est l'esthétique ?

Aesthetic and society
Directed by Colette Tron
Texts by Elie During, Jean-Louis Déotte, Marie-José Mondzain, Bernard Stiegler, Alain Giffard
With philosophical points of view, the goal of this book is, not to give rise to a general aesthetic theory, but to observe the current conditions of sensible experience, their effect on aesthetic, and on the cultural life.
What our globalized society generates ? What are our life forms ? How are the forms of art ? Which are the relations between materiality and mind, technology and culture, medias and art ? In which kind of aesthetic do we live ?
Plus d’informations/ More informations : http://www.alphabetville.org/article.php3?id_article=113

30 septembre
Art and Artificial Life International Awards

VIDA 12.0 awards art projects developed with artificial life technologies
and related disciplines: robotics, artificial intelligence, etc. Of
particular interest are works of art with emerging behaviours, which
evolve over time, react with their environment and seem to have a life of their own. Funded by the Fundación Telefónica in Spain, VIDA has given prizes in previous editions to artistic projects created with robots,
avatars, recursive chaotic algorithms, knowbots, cellular automata,
computer viruses, virtual ecologies that evolve with user interaction,
interactive architectures, augmented reality pieces and works that explore the social aspects of A-life.
A total of ?80,000 will be distributed amongst winning projects.
Deadline: October 9th, 2009.
For application guidelines, please go to: www.fundacion.telefonica.com/vida
Daniel Canogar
Calle Tracia 16 2º
28037 Madrid
Tel: 34-91-327-2785
www.danielcanogar.com

Leonardo Electronic Almanac Special Issue: Dispersive Anatomies

http://leonardo.info/LEA/DispersiveAnatomies/DispersiveAnatomies.html

Guest edited by Sandy Baldwin and Alan Sondheim. Gallery curated by Mez Breeze. This special issue, guest edited by Sandy Baldwin and Alan Sondheim, considers the network as dispersive anatomy. As the call for papers stated, "A fundamental shift in the way we view the world is underway: the abandonment of discrete objects, and objecthood itself. The world is now plural, and the distinction between real and virtual is becoming increasingly blurred, with troubling consequences within the geopolitical register. This shift is related to a cultural change that emphasizes digital deconstruction over analog construction: a photograph for example can be accessed and transformed, pixel by pixel, cities can be taken apart by
gerrymandering or eminent domain, and our social networks are replete with names and images that problematize friendship, sexuality, and culture itself. One issue that emerges here: Are we networking or are we networked?
Are we networks ourselves?" The resulting texts and works deal with this fundamental shift in new and illuminating ways.
Dispersive Anatomies Papers
Sandy Baldwin, "Introduction: the Anatomy of
Dispersion

The Delfina Foundation and A. M. Qattan Foundation are partnering to offer a visual artist, aged between 25 and 40 years old, an 8-week residency in London. We are seeking applications from Palestinian artists living and working in the West Bank, Gaza Strip or inside the Green Line.
The selected artist will be provided with:
- accommodation and a studio space in London
- an enabling bursary to cover the basic costs of living in London
- personal and professional support during the residency
- bespoke opportunities for professional development.
The ideal candidate:
- will be an emerging to mid-career artist, seeking a career defining
   opportunity to research and develop a bold, seminal and innovative artistic project;
   - will be able to demonstrate achievement or great potential in visually    articulating ground-breaking and critically engaged ideas in an innovative    way;
   - will be able to demonstrate how the experience of an international
   residency in London may benefit their practice and career development;
   - will be able to demonstrate basic English proficiency;
   - Demonstrable artistic quality and development potential will be key
   selection criteria.

http://www.m-node.org/mnode_programs.html

Competitions are open for admission to 10 PhD research position at M- Node Deadline for application are:
- September 16th, 2009;
- February 1st, 2010;
- October 1st, 2010;
- February 1st, 2011.
Please notice: start of the program: one month after deadline for
application.
M-Node Ph.D. Program Areas:
- Sincretic Arts;
- Aestetics;
- Cultural Studies;
- Media Design;
- Art & Design:
- New Media Art;
- Tech Art;
- Bio Art.

M-Node is a competitive Graduate Research Program, designed to attract
talented students and scholars.

Ph.D. programs and research networks at M-Node focus on processes of cultural and technological change.
The main goal of the doctoral programs is to produce cultural and
technological knowledge in areas marked by a lack of metodological
approach and skilled human capital. M-Node focuses exclusively on Doctoral and Postdoctoral programs, starting on Ph.D programs, achieving a significant integration between research on arts and technologies.
Graduates from M-Node - will combine robust theoretical grounding with advanced analytical techniques, and they will be part of an
international network of researchers on arts & design, media design,
philosophy and cultural studies.
PhD Planetary-Collegium M-Node NABA Research Grant Contest
The PhD Planetary Collegium M-Node Doctorate program created a grant contest for 10 PhD researcher positions.
Deadline for application are:
On June 11, 2009, The Nuova Accademia di Belle Arti- NABA board of
directors has deliberated the opening of 6 research grants for the PhD
Planetary –Collegium M-Node doctorate program. The grants will be
divided into: 4 partial grants and 2 full grants, for part-time program.
The research grants will be assigned by the international committee
consisted of: a keen emeritus Academy member, a doctoral research
member and a keen representative of the world art. In the event that
the researches collected do not meet the excellence level requested,
the International committee reserves the right of not issuing any
grants.
The grants will be issued during the Admission Sessions indicated on the M-Node website. The grants will be assigned based on: project’s cultural relevance (national and international) with particular emphasis on: a) the effective new knowledge improvement b) the effective contribution to the digital media research development as well as to the tecnoscientific dimension c) the level of attention that has been dedicated to the partecipatory themes. UE Citizens can participate to both (partial and full) grant selection, whether the Non-EU citizens can participate only to the selection of partial grants.
The grant contest will be pubblicated on the website: www.m-node.org as well as on NABA website: www.naba.it. It is binded to the Planetary-Collegium M-Node research program admission.
To participate to the research grant contest, please download the
application form, fill it out and send it by certified mail, not email, at the following address: PhD M-Node, NABA, Via Carlo Darwin
20, 20143 Milano. The grant selection will last until all grants have
been assigned. Application form download (http://www.m-node.org/Application_Form_MNode_0506.doc ) Grant application form (ITA) (http://www.m-node.org/materiali/bando_borsericerca_mnode.pdf )
Grant application form (ENG) (http://www.m-node.org/materiali/admission_grant_mnode.pdf )
--
Pier Luigi Capucci
e-mail: plc@noemalab.org
web: http://www.noemalab.org/plc/plc.html
skype: plcapucci

Herbert Franke
Subject: Rediscovering an exhibition in 1959
To all friends and collegues of Herbert W. Franke
The fiftieth Anniversary of an Exhibition“Experimentelle Aesthetik” – Museum of Applied Arts in Vienna 1959 *
http://www.art-meets-science.info/experimentelle-aesthetik/index.php
In the year 1959, the “Museum of Applied Arts” in Vienna opened the exhibition "Experimentelle Aesthetik". The exhibition presented pictures of a young physicist named Herbert W. Franke. The then 31 year old scientist and artist presented results of his artistic experiments using machines of different types to produce his visual art. The exhibition was shown afterwards in Zuerich (Swiss), Munic (Germany) and London (UK).
For the first time in the old continent, a recognized art museum presented a compilation of electronically generated visual art - a milestone in the progress of art. To mark this anniversary, we reconstructed this exhibition on our website “art meets science” in honour of Herbert W. Franke’s life achievements. Here you can find the full art work of this exhibition in 1959 as a virtual tour in the web. The exhibition is clustered by different categories describing the use of varying technical methods, experimentally tested in the framework of art by Franke.
*“analogue graphics”* – produced with analogue computers
http://www.art-meets-science.info/experimentelle-aesthetik/analoggrafiken.php
*“light forms”* – by mechanical vibrations
http://www.art-meets-science.info/experimentelle-aesthetik/lichtformen.php
*“studies in 3D”* – showing time exposures of slowly moving wires
http://www.art-meets-science.info/experimentelle-aesthetik/raumstudien.php
*“Ultralight”** *– originating by x-rays and similar frequencies
http://www.art-meets-science.info/experimentelle-aesthetik/ultralicht.php
*“Aerograms”* – with an individually developed air brush method
http://www.art-meets-science.info/experimentelle-aesthetik/aerogramme.php
Art work by Franke was also shown in the art festival “Nove Tendencije” in Zagreb 1969 as well in the Biennale in Venice 1970.
Today, Franke is known worldwide as a pioneer of computer art. His contribution is lasting more than fifty years now with important impulses to the scene. He influenced the evolution of this new art section not only as an artist but also as a theorist and publicist. An exhibition arranged by Herbert W. Franke “Wege zur Computerkunst” was shown first time in 1970 und afterwards
around the world in more than 160 places by the German “Goethe Institut”. It was an art collection of 12 precursers and pioneers in the field of computer arts. Furthermore, he is a co-founder of the “ars electronica festival” in Linz, today one of the best known festivals for electronic arts worldwide.
Kind regards
Susanne Paech2 septembre

ISEA 2009 in Belfast, by participants in the project 'Making history'.

You are invited to participate by going to ianclothier.com/makinghistory, reviewing the information and then voting for one of four nominated dates.
Each nominated date is a selected moment of unity from Irish history. The most voted for date will be incorporated into the history of internet micronation, the District of Leistavia.
The four dates are:
>1 November 190BCE Samhain festival
>21 April 1006 Brian Boru, Easter
>10 August 1976 Start of Peace People
>12 March 2009 Call to wear purple for peace
For more information about the dates, go to the website. The winning moment >will be announced at 6.15pm 29 August 2009 at Golden Thread Gallery in Belfast, Ireland.
Voters do not need to be Irish or live in Ireland as the Leistavian constitution voted for in 2004, dictates that cultural borders are open.
However the information will be tracked to find out whether there is any difference between the voting of the Irish and that of the international community.
For those in Belfast, there is an installation at Golden Thread Gallery.
This project is supported by Western Institute of Technology at Taranaki,
>ISEA 2009, Golden Thread Gallery, Sign Design NZ, Syntax Solutions and intercreate.org.

Best>Ian M Clothier
>Intercreate Research Centre
>New Plymouth, New Zealand
>South Pacific Ocean
>P= +64 6 753 2969
>F= +64 6 753 2969
>E= i.clothier@witt.ac.nz
>S= ian_clothier
>W= ianclothier.com
>W= intercreate.org

1er septembre

VIDA 12.0
Art and Artificial Life International Awards
VIDA 12.0 awards art projects developed with artificial life technologies and related disciplines: robotics, artificial intelligence, etc. Of particular interest are works of art with emerging behaviours, which evolve over time, react with their environment and seem to have a life of their own. Funded by the Fundación Telefónica in Spain, VIDA has given prizes in previous editions to artistic projects created with robots, avatars, recursive chaotic algorithms, knowbots, cellular automata, computer viruses, virtual ecologies that evolve with user interaction, interactive architectures, augmented reality pieces and works that explore
the social aspects of A-life.

A total of $80,000 will be distributed amongst winning projects.

Deadline: October 1st, 2009.

For application guidelines, please go to: www.fundacion.telefonica.com/vida

28 août

Call for proposals!
The The Planetary Collegium is running its Xth International Research Conference Consciousness Reframed at 19 - 22 November 2009 with the theme:

Experiencing Design,- behaving media - A transdisciplinary inquiry into art, science, technology and society.
Partner and Host: University of Applied Sciences, Munich MHMK
Please submit proposals for presentations and submission of abstracts
To
http://www.planetary-collegium.org/planet-call.htm

macromedia hochschule für medien und kommunikation
lena haubold
wissenschaftliche mitarbeiterin im dekanat
gollierstraße 4
80339 münchen
telefon +49 (0)89.544 151-86120 août

*ARTIFICIAL BRAIN 10 YEARS AWAY
*A detailed, functional artificial human brain can be built within the next
ten years, a leading scientist tells the TED Global Conference.

http://news.bbc.co.uk/go/em/fr/-/2/hi/technology/8164060.stm

Best regards,

Jorge Antunes

Giorgio Agamben's The Open. Man and Animal.

The Open. Man and Animal. Giorgio Agamben. Meridian, crossing
aesthetics (translated by Kevin Attel). Stanford University Press,
California, 2004.

Few philosophers have exposed the darker foundations of the Western project and opened new interpretive universes for us like Giorgio Agamben. Disclosing a powerful dialogue with Aristotle, Carl Schmitt, Martin Heidegger, Hannah Arendt, Walter Benjamin, and Michel Foucault, Agamben's work has already opened for us a new interpretive universe.
For those familiar with Agamben, The Open offers theoretical insight
on how to dislocate biopolitics and explore ontologies that allow for
the fraternal and non-hierarchical coexistence of all forms of life.
Yet those who encounter these ideas for the first time may consider
earlier arguments of the author that are implied in this new book.
Engaged in the scrutiny of the bonds between life, ontology, and
power, Agamben's claims dispute the "first philosophy" on which all of
our practices, institutions, languages, and forms of construction of
meaning are rooted.

21 July 2009

Partnership sealed between the University of Brighton and ISEA
International
On 20 July 2009 Anne Boddington, Dean of the Faculty of Arts and
Architecture, University of Brighton and Julianne Pierce, Chair, ISEA
International signed an agreement for the ISEA International Headquarters to
be hosted at the University of Brighton. ISEA International is a not for
profit foundation that oversees the annual International Symposium on
Electronic Art.

Hosting the ISEA Headquarters offers the University of Brighton a unique
opportunity to contribute its expertise and knowledge to this well
established and respected international digital arts organisation. Sue
Gollifer will take on the role of ISEA Headquarters Director, overseeing the effective running of an online archive, network for the electronic arts
community and the International Symposium on Electronic Art.

Sue is a Principal Lecturer in the Faculty of Arts and Architecture, and
Course Leader of the Digital Media Arts MA. Sue said: "Hosting the ISEA Headquarters will provide a focal point for the university's academic provision in the electronic arts and contribute to the wide-ranging research activity in the faculty. ISEA International fosters interdisciplinary academic discourse and exchange among culturally diverse organisations and individuals working with art, science and emerging technologies, which complements the university's commitment to developing a creative and energetic institution with a knowledge base of international quality."

The International Symposium on Electronic Art was established in the 1980's and is the oldest and largest international academic meeting on electronic art bringing together the international art, science and technology community to explore the most urgent and exciting questions in the field. In 2009 the University of Ulster, Northern Ireland with host the 15th Symposium, followed by Medienwerk, Dortmund, Germany in 2010.

21 juillet

TEI'10 - THE FOURTH INTERNATIONAL CONFERENCE ON TANGIBLE, EMBEDDED, AND
EMBODIED INTERACTION
January 25-27, 2010
MIT Media Lab - Cambridge, MA, USAhttp://tei-conf.org/

Submission Deadlines and Categories
-----------------------------------
>> Note: different from last year <<

August 3, 2009: Papers
August 3, 2009: Studios
October 2, 2009: Explorations
October 2, 2009: Graduate Student Consortium

July 10, 2009: Submission opens
January 25-27, 2010: TEI Conference at the MIT Media Lab

Keynote speaker announced: Professor John Frazer
------------------------------------------------
We are pleased to announce that Professor John Frazer of Queensland University of Technology will be giving the opening keynote. Professor Frazer pioneered the use of computers in architecture, created one of the first tangible construction kits for creating virtual models, and has been an inspiration for much work in our field. We are very excited to have him at TEI!

Call for Contributions
----------------------
Computing is progressively moving beyond the desktop into new physical and social contexts. Key areas of innovation in this respect are tangible, embedded, and embodied interactions. These concerns include the interlinking of digital and physical worlds and the computational augmentation of everyday objects and environments.

TEI 2010 will uphold the successful single-track tradition of previous TEI conferences. The new Studios, Explorations, and Graduate Student Consortium forums are aimed to further establish the TEI conference as a unique place for exchanging ideas and advancing the field of Tangible, Embedded, and Embodied Interaction.

Submission Topics
-----------------
Appropriate topics for submission (in each of the four categories) include but are not limited to:

- Novel tangible interfaces, embodied interfaces, or embedded interactive systems including: physical computing application, whole-body interfaces, gesture-based interfaces, and interactive surfaces
- Provocative design work and interactive art - Embodied interaction, movement, and choreography of interaction - Programming paradigms and tools, toolkits, and software architectures
- Novel enabling technologies (e.g. programmable matter and transitive materials)
- Interactive and creative uses of sensors, actuators, electronics, and
mechatronics - Design guidelines, methods, and processes
- Applied design in the form of concept sketches, prototypes and products - Role of physicality for human perception, cognition and experience
- The role of aesthetics in tangibles (e.g. decorative electronic wearables)
- Novel applications areas and innovative solutions
- Theoretical foundations, frameworks, and concepts
- Philosophical, ethical, and social implications
- Case studies and evaluations of working deployments
- Usability and enjoyment
- Teaching experiences, lessons learned, and best practices
- Sustainability aspects of the design and use of tangible systems

We invite four types of submissions
-----------------------------------
1) Papers:
We are happy to consider a variety of styles, such as academic papers, design sketches, and descriptions of art pieces or installations. At the conference, papers will be presented as a 5 or 15 minute talk, a poster, or an interactive demo/exhibit/installation. All accepted submissions will be included in the conference proceedings and archived in the ACM Digital Library; of these a selection will be invited for revision and inclusion in a special issue of IJART. For more details and submission guidelines see:
http://tei-conf.org/10/Participation/Papers

2) Studios:
Proposals for hands-on workshops (to be held on Tuesday, January 26th) that offer novel hands-on experiences to conference attendees with diverse skills and technical backgrounds. Proposals can range from the exploration of new development toolkits, to prototype design techniques, and the use of emerging or traditional materials in creatively applied ways. For more details and submission guidelines see:
http://tei-conf.org/10/Participation/Studios

3) Explorations:
Thought provoking, evocative, visually and sensually rich content created by a diverse and broad group of practitioners, researchers, artists, designers, inventors, students, and independents. Accepted Explorations will be presented at the conference as a demo, a 5 or 15-minute talk, or a video poster. For more details and submission guidelines see:
http://tei-conf.org/10/Participation/Explorations

4) Graduate Student Consortium:
A chance for students to get feedback and advice on their final terminal
degree project including but not limited to those leading to a PhD. We
anticipate that financial support will be available for graduate students to attend the GSC and TEI. ?For more details and submission guidelines see:
http://tei-conf.org/10/Participation/GSC

Contact
-------
If you have any questions, please do not hesitate to contact the Program Co-Chairs at tei10program@media.mit.edu.

TEI 2010 Organizing Committee
-----------------------------
General Co-Chairs
Hiroshi Ishii, MIT Media Lab
Robert J. K. Jacob, Tufts University
Pattie Maes, MIT Media Lab

Conference Co-Chairs
Marcelo Coelho, MIT Media Lab
Jamie Zigelbaum, MIT Media Lab

Program Co-Chairs
Thomas Pederson, IT University of Copenhagen
Orit Shaer, Wellesley College
Ron Wakkary, Simon Fraser University

Treasurer
Lisa Lieberson, MIT Media Lab

Studios Co-Chairs
Pamela Jennings, Banff New Media Institute
Amon Millner, MIT Media Lab
Jay Silver, MIT Media Lab

Explorations Co-Chairs
Jon Kolko, Frog Design
Thecla Schiphorst, Simon Fraser University

Graduate Student Consortium Chair
Mark D Gross, Carnegie Mellon University

Demo Session Chair
Leah Buechley, MIT Media Lab

Design Chair
Richard The, MIT Media Lab

Art Co-Chairs
Jean-Baptiste Labrune, MIT Media Lab
Ryan O'Toole, MIT Media Lab

Web Chair
Ryan O'Toole, MIT Media Lab

Video Chair
Michael Weller, Carnegie Mellon University

Engineering and Logistics Co-Chairs
Pranav Mistry, MIT Media Lab
Sajid Sadi, MIT Media Lab

Student Volunteer Co-Chairs
Daniel Leithinger, MIT Media Lab
Chloe Fan, Wellesley College

Publicity Co-Chairs
Sabine Fekete, Institute of Innovation and Design
Dana Gordon, Zazaziza Interaction Design
Takashi Matsumoto, Pileus LLC
Eric Schweikardt, Cornell University

20 juillet

EXTENDED CALL FOR CHAPTERS PROPOSALS
BOOK "META-PLASTICITY IN VIRTUAL WORLDS:AESTHETICS AND SEMANTICS CONCEPTS"

To be published by IGI Global:http://www.igi-global.com/requests/details.asp?ID=630

Inquiries and submissions can be forwarded electronically (Word document) to:
E-mail: gianluca.mura@polimi.it
Dr. Gianluca Mura (Editor)
Faculty of Industrial Design and Arts
Politecnico di Milano University

Important Dates
July 31,2009: Proposal Submission Deadline
July 31,2009: Notification of Acceptance
September 30,2009: Full Chapter Submission

Submission Procedure
Researchers and practitioners are invited to submit on or before July 31, 2009, a 2-3 page chapter proposal clearly explaining the mission
and concerns of his or her proposed chapter.
Authors of accepted proposals will be notified by July 31, 2009 about the status of their proposals and sent chapter guidelines. Full chapters are expected to be submitted by September 30, 2009. All submitted chapters will be reviewed on a double-blind review basis. Contributors may also be requested to serve as reviewers for this project.

Introduction

The concept of virtual worlds is strongly related to the current innovations of new media communication. This book offers an
interdisciplinary approach to virtual world studies focused on aesthetics and semantics principles from science,technology,media arts and design. It is important for researchers and practitioners
interested in this area to understand the actual criteria for creating virtual worlds' as well as their further evolution, regarding system architecture,information visualization and human interaction.

Objective of the Book

This book gives in-depth coverage of the state-of-the-art among the best international research experiences of virtual world concept
creations from a wide range of media culture fields, at the edge of artistic and scientific inquiry and emerging technologies. It will be written for professionals, researchers, artists and designers who want to improve their understanding of the strategic role of virtual worlds within the development of digital communication.

Recommended topics include, but are not limited to, the following:
- Virtual world projects, concepts, methodologies in design,arts&humanities,science and technology
- Virtual reality,augmented and mixed reality studies and applications
- Human computer interaction and user interfaces studies and applications
- Human issues in virtual worlds
- Social communities in virtual worlds
- User generated 3D content
- Innovative 3D graphics,Web,Web3D,multimedia studies and applications
- Advanced interfaces and Interactive 3D immersive systems
- Real-time interactive networked media in Mobile mixed reality
- Wearable interfaces and tangible interfaces for 3D media
- Online videogames and edutainment projects
- Virtual worlds in education and training
- Virtual heritage projects
- Animated humanoid (avatars),virtual life,body and mind
extensions,metacreations studies
- 3D modelling,animation,simulation studies and applications
- Information visualization within arts and scientific visualization
- Virtual worlds in industrial systems design
- Artwork,performances,installations media arts concepts and projects
- Imaginary and creative virtual worlds
- Digital Communication Systems: Platforms,technologies and standards
- Space,Time and Place: Mixed realities in Virtual Worlds
- Body and Mind Extensions. Senses,Cognition and Emotions in Virtual Worlds
- Virtual Worlds of Information Cyberworlds
- Architecture and Landscape in Virtual Worlds
- Cultural Heritage in Virtual Worlds
- Games and Edutainment Virtual Worlds
- Virtual Worlds for Enterprises
- Social Communities in Virtual Worlds
- Semantic Virtual Worlds

1er juillet

Leonardo On-Line Has a New Look!

Leonardo On-Line, the on-line hub of the Leonardo Network, has a new face! The new design by Bay Area designer Gilbert Guerrero makes navigation easier and features a plethora of images of work by artists in the Leonardo network. Find out more

Events

Next LASER: July 13, 2009 at University of San Francisco

Attention Bay Area Readers! Join us on the campus of the University of San Francisco for the next LASER with feature presentations by Jamie McHugh, Daniel "Cosmo Kichman" Grupp, Rhonda Holberton and Terrence Deacon. Leonardo Art Science Evening Rendezvous (LASER) is a series of lectures and presentations on art, science and technology organized by Piero Scaruffi on behalf of Leonardo/ISAST. Find out more

Leonardo @ SIGGRAPH 2009

Join members of the Leonardo community at SIGGRAPH 2009 in New Orleans, LA, for the Leonardo/SIGGRAPH 2009 Art Reception and Special Issue Release Reception (Tuesday, August 4, 2009) and the Leonardo Town Hall / Birds of a Feather Session (Thursday, August 6, 2009). Find out more

Community

YASMIN July 2009 Discussion--
Ethnic Cyborg: Are You (Un)Cyborgable?

In conjunction with the Amber Art and Technology Conference in Istanbul, Turkey, in November 2009, the YASMIN Network will be discussing the topic: ETHNIC CYBORG: ARE YOU (UN)CYBORGABLE? Find out more

Student Jessica Mathews Wins Frank J. Malina Oundle Art-Science Award

Leonardo/Olats is pleased to announce that the 2009 Frank J. Malina Oundle School Art-Science Award has been given to Jessica Mathews for her innovative work making computer-aided art work. Find out more

Leonardo Education Forum at ISEA 2009, Belfast

Join Andrea Polli, Nina Czegledy, Daniella Reimann and members of the Leonardo Education Forum (LEF) at the 15th International Symposium on Electronic Art (ISEA) in Belfast, Ireland. Topics for discussions will include "The role of research in media art & science & technology", "The role of curricula: Mapping the terrain" and "The role of Institutions: Institutional / Organizational". Find out more

Members

University of Caldas Joins Leonardo Affiliate Membership Program

The Faculty of Arts and Humanities of the University of Caldas, in Colombia, aims to provide a high-quality humanities education that, through a holistic concept of the individual and knowledge, develops professionals in the sciences, arts and technology for the development of society and the consolidation of a national identity. The school specializes in arts, design, philosophy and educational studies. Academic programs include visual arts, performing arts, music, philosophy, modern languages, literature, educational research and visual design, creating spaces for a dynamic interrelation of art, science and technology in the region and the country. It is of great interest to University of Caldas to carry out work with institutions to achieve the proposed targets. Leonardo/ISAST welcomes University of Caldas as a new Affiliate Member. Find out more

Opportunities

Place a Display Ad in a Leonardo Electronic Publication

Get noticed on Leonardo's newly re-designed web site and newsletter! Promote your organization, project or event in a Leonardo electronic publication utilizing bold graphics and text to make sure your message is seen by many. Cross-platform package deals are also available. Leonardo/ISAST Associate and Affiliate Members receive a 20% discount on ad placements. Find out more

« La saga des jeux vidéo » raconte comment une poignée d’artistes a donné naissance à un langage universel. La nouvelle version qui sort à la fin du mois de juin 2009 a fait la Une de Télérama du 10 juin 2009.
Si la nouvelle édition conserve les incroyables épopées liées à l’histoire de Nintendo, de Sega, de la PlayStation ou du jeu Tetris, c’est un tout nouveau livre. L’auteur a inclut de nombreuses informations inédites issues d’interviews de personnalités telles que Rob Pardo et Chris Metzen (World of Warcraft), Toby Gard (Tomb Raider), Will Wright (les Sims), Michel Ancel (Lapins Crétins) et bien d’autres acteurs majeurs du domaine... Il a remanié les chapitres conservés à la lumière des nouvelles informations recueillies, en a retiré certains qui ne paraissaient plus si importants avec le recul et a ajouté de nouveaux chapitres liés à l’histoire récente du domaine. Il en ressort un livre plus enthousiasmant que jamais, fourmillant d’anecdotes, de témoignages et de rebondissements en tous genre.
Et oui… Le parcours des créateurs de jeux évoque bien souvent un invraisemblable slalom, une succession d’événements chaotiques, d’accablements, de dépits, de coups de théâtre retentissant, de retournements de situation insensés, et dans le meilleur des cas de victoires éclatantes.
La Saga des Jeux Vidéo relate l’aventure de cette industrie depuis 1972 avec l’arrivée Pong et sa vertigineuse métamorphose durant près de quatre décennies. La nouvelle édition s’achève avec les épopées liées à World of Warcraft et à la Wii.

Un témoignage incontournable
L’histoire qui est contée dans ces pages est un témoignage irremplaçable des années folles d’une industrie encore jeune et vibrante. Comme l’écrit l’auteur dans l’introduction :
« En écrivant ce livre, j’ai souvent eu l’étrange sensation qu’il fallait que ces histoires soient racontées, qu’une mémoire devait en être conservée. Qu’elles ne pouvaient s’évaporer emportées par la vélocité infernale de cet univers en perpétuelle ébullition… »
Avant tout, La Saga des Jeux Vidéo rend hommage à ces héros de l’ombre que l’industrie rechigne à mettre en avant : les créateurs de jeu ! Comme le dit l’auteur en préambule :
« Si Léonard de Vinci, David Griffith ou Michel-Ange étaient vivants aujourd’hui, il est probable qu’ils opèreraient dans une édition de jeu vidéo ! »

Quatrième de couverture
« Un jeu vidéo, c’est un jeu dont vous êtes le héros.
Vu de l’extérieur, le genre apparaît comme un divertissement qui brasse les dollars par milliards. Pourtant, sa substance est ailleurs, dans l’imaginaire d’artistes venus de nulle part, souvent indomptables.
C’est l’incroyable histoire de ces desperados qui est contée ici. Des individus dont le parcours rappelle celui de Chaplin, de Matisse, de Mozart…
Il n’y avait rien. Ils ont créé un art de toutes pièces.
La saga des jeux vidéo est un récit palpitant, truffé de moments forts, de désillusions, de rebondissements, de victoires à l’arrachée. Ce livre est le témoignage irremplaçable d’épopées fascinantes et palpitantes. »
Daniel Ichbiah est l’auteur de plusieurs livres au rayonnement international : Bill Gates et la saga de Microsoft, Robots genèse d’un peuple artificiel, Comment Google mangera le monde. Il a également écrit des biographies d’artistes tels que Madonna, les Rolling Stones et Téléphone.
Fondée en 2007, la jeune maison d'édition Pix’n Love s'est spécialisée dans l'écriture d'ouvrages dédiés à l'histoire et la culture du jeu vidéo. Forte d'un succès immédiat grâce à la parution d'un "book" trimestriel (Pix'n Love) dédié au retrogaming, elle a déjà publié le premier tome d'une série ambitieuse, sur l'histoire de Nintendo.

Suède: la génération internet entre au Parlement européenMarc PREEL, Agence France-Presse (Stockholm)

L'entrée au Parlement européen du Parti Pirate, avec un siège obtenu dimanche en Suède, marque l'avènement d'internet comme nouvel enjeu de la contestation politique et d'une nouvelle génération de jeunes électeurs éloignés des partis traditionnels.

Le jeune parti réclame la légalisation de l'échange gratuit de fichiers sur internet et veut protéger la vie privée des internautes qu'il juge menacée par la surveillance des nouvelles technologies. Il a réuni 7,1% des voix suédoises.

«C'est une fabuleuse reconnaissance politique», a déclaré à l'AFP Rick Falkvinge, l'entrepreneur informatique de 37 ans qui a fondé le parti en janvier 2006. «Et elle ne vient pas de l'establishment, des partis établis. Elle vient d'en bas, des citoyens, et c'est formidable», dit-il.

Avec 23,6% des voix chez les moins de 30 ans (dont 70% d'hommes), le parti est arrivé en tête dans une classe d'âge traditionnellement marquée par l'abstentionnisme et le désintérêt de la vie politique, selon les sondeurs.

«Les vieux politiciens ne comprennent pas l'importance des libertés fondamentales pour quasiment toute une génération. Ils considèrent cela comme un problème isolé des autres, ils vivent loin du clavier, ils ne vivent pas connectés», critique Falkvinge.

«Ils menacent le mode de vie d'une génération qui s'est déplacée aux urnes pour le défendre», pense M. Falkvinge. Sa formation politique qui veut assouplir le régime des droits d'auteur ou encore supprimer des brevets pharmaceutiques, n'avait rassemblé que 0,6% des voix lors de ses premières élections, les législatives de 2006.

Mais outre les partisans convaincus de son programme, le parti a su attirer les voix protestataires dimanche, relève un politologue de l'université de Göteborg, Ulf Bjereld.

«Ils sont vus comme un parti protestataire parce qu'ils refusent de se prononcer sur de nombreux sujets importants du débat droite-gauche, l'égalité, les impôts, la pollution. Ils se concentrent sur leurs thèmes et laissent les autres se débrouiller avec le reste», explique-t-il.

Mais «ce ne sont pas des extrémistes», tempère M. Bjereld, «plutôt une nouvelle forme de libéraux, pour les droits civiques et contre les monopoles».

D'ailleurs, selon M. Falkvinge, l'élu du Parti Pirate, Christian Engström, pourrait sièger à Bruxelles aux côtés des libéraux ou des écologistes.

Perçu à ses débuts comme une plaisanterie, le parti a peu à peu bénéficié du contexte en Suède, où plusieurs lois contestées, notamment sur la surveillance des télécommunications et le durcissement des sanctions du téléchargement illégal, ont été adoptées depuis l'an dernier.

Mi-avril, la condamnation par un tribunal de Stockholm de quatre responsables du site d'échange de fichiers The Pirate Bay à un an de prison ferme avait suscité une vague d'adhésions; le nombre de membres avait triplé en une semaine, pour dépasser les 45 000 à l'approche de la campagne.

Le parti a pioché un peu à droite, un peu plus à gauche, mais surtout parmi les abstentionnistes et les premiers votants, relève le directeur de l'opinion de l'institut de sondage Sifo, Toivo Sjören.

«Si le parti n'avait pas existé, je n'aurais simplement pas voté. Ce sont ces questions-là, de la protection de la vie privée, de la liberté sur internet, qui m'importent», dit-il, dénonçant le «flicage» via les nouvelles technologies.

«Je n'ai rien contre le fait qu'on combatte le crime, mais nous ne sommes pas tous des criminels», dit-il.
Pour en savoir plus; The Pirate Bay | Droit et technologie

launched Friday May 22 its 2009 training of trainers' workshop where 18 young professional Arab artists and techies aged 20 to 30 from Egypt, Lebanon, Syria, Palestine, Morocco, Tunisia and Sudan.

The training of trainers' continues until May 26, 2009. The workshop
aims at giving participants the opportunity to explore and get exposure to digital techniques in film-making, sound and music, animation and web 2.0 as well as training skills that enhance their own work.

During the workshop, participants will have the opportunity to explore
and practice open source software in the different audio-visual media and design with a focus on the role of this emerging worldwide trend that is proving to have tremendous empowering impact.

Participants will take part in discussions and exercises in digital
collaboration and sharing, communication and networking and exploration of the capacities of the Internet. Discussions over art and open source and the meaning of mass collaboration in art, the benefits of open source with elaboration on current experiences and initiatives.

Participants will also have the opportunity to work together and
collaborate in artistic works of expression of their choice during the workshop.

The collaborative and individual projects produced out of the workshop
will be uploaded on an online portal (www.arabdigitalexpression.net)
and other collaborative platforms.

In that context, participants will take part in exercises and games to
that develop soft skills such as presentation and communication skills that help articulate their work, how to work effectively within a team and how an experiential approach to any work practice can foster creativity.

Believing in the importance of empowering Arab youth who have artistic experience, the workshop will work on developing their training and facilitation skills through experiential learning approaches.

By the end of the workshop, ADEF will select participants to be
trainers in its third Arab Digital Expression Summer Camp in scheduled July 19 to 31, 2009 in Ismailiya, Egypt.

For further information about ADEF: www.arabdigitalexpression.com

(la forêt des nanosystemes, la rivière des robots et objets intelligents...), de panneaux d'orientation, et d'animations interactives en 3D montant ce que préparent les laboratoires dans le monde. Si vous vous intéressez à la réalisation d'objets sous second life (build et scripts), venez rejoindre le groupe de développement de l'ile et participer à un projet original et ambitieux avec les passionnés de la bibliothèque francophone de Second Life et du Metaverse, 3 écoles de design, des artistes numériques, le laboratoire d'intelligence artificielle du Lip6, la Fondation Internet Nouvelle Génération et une soixantaine de scientifiques spécialistes dans les nanotechnologies, les biotechnologies, l'informatique et les réseaux, les neurosciences, les sciences cognitives...

Suite à la parution du livre >Arts Numériques, Tendances – Artistes – Lieux & Festivals<, MCD a le plaisir de vous informer de l’ouverture du site : HYPERLINK "http://www.digitalarti.com" www.digitalarti.com.

Bienvenue sur digitalarti, la communauté internationale des arts numériques, ouverte à tous les professionnels du secteur : Artistes, Festivals, Lieux, Galeries, Journalistes ou bloggeur passionné.
L’objectif de cette communauté est de couvrir le plus largement possible l’actualité de l’Art Numérique au niveau international, de référencer les acteurs du milieu et de faciliter les échanges entre eux. A cet effet, des outils de blogging professionnels et gratuits sont offerts. :

HYPERLINK "http://www.digitalarti.com/fr/blog/digitalarti/help" http://www.digitalarti.com/blog/digitalarti/help
Pour y participer, contactez l'équipe de Digitalarti à: info@digitalarti.com

Sarah Taurinya
Chargée de production
Musiques & Cultures Digitales
01 48 05 88 27
production@digitalmcd.com
www.digitalmcd.com

YASMIN ANNOUNCES JUNE 09DISCUSSION:

ART AND ATOMS: FISSION AND FUSION

http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

In 2011 we will celebrate the International Year of Chemistry. We plan
to hold a number of YASMIN discussions over the next two years that
adress Artists and Atoms: the ways that artists engage with the
science and technology of atoms. Organic chemistry, with its
connections to living systems and modern biology is often addressed by artists, but inorganic chemistry and nuclear processes such as fusion and fission are rarely featured in cultural contexts. Nuclear Energy, both fission and fusion, are in the public eye again as our societies seek to find sustainable and alternative energy sources. In the Haute Provence, France the new ITER project is being established. ITER is a joint international research and development project that aims to demonstrate the technical feasibility of fusion power.
http://www.iter.org/

In this discussion we are interested in discussing the ways in which the arts and humanities are engaging with nuclear energy, and the cultural context of nuclear fusion and fission. We include both peaceful and military uses of nuclear energy, as well as use of radio-isotopes in medecine and natural radio activity. We are interested in historical examples from the 50s and 60s as well as the engagement of artists, science historians and other researchers today.

Questions that can be discussed include:
1) What are examples of artists projects that engage with nuclear fission and fusion ?
2) What is a cultural history of nuclear fusion and fission ?
3) How have expressed ideas, sensations or intuitions about atoms and nuclear phenomena in their art.
4)What modifications of perception took place in their creative
process? What sensorial and experiential environments did they
create?
5)What are examples of instrumental languages and systems they developed ?
6)How do artists engage with worlds and pheonemena at very different scales than every day experience, or with phenomena that have no counterparts in everyday life or sensory experience.

Moderators: Roger Malina, Guillermo Munoz

Roger Malina is an astronomer currently running the Observatoire Astronomique de Marseille Provence, and Executive of the Leonardo Publications at MIT Press. He is co chair of Art-Science-Instrumentation-Language
Wing of the new IMERA Mediterranean Institute for Advanced Studies. His PhD work was on white dwarf stars which are the atomic residue left of the core of a star after it has finished
burning through atomic fusion.

Guillermo Muñoz is a physicist working on the field of Nanotechnology at Material Sciencie Institute of Valencia University. His currently research covers high time and space resolution optical spectroscopy over semiconductor quantum dots and wires. He is part of “Piratas de la Ciencia” science communication group, based at Valencia (Spain).

Invited Discussants:

Patrick McCray:
W. Patrick McCray is a Professor in the History Department at the University of California, Santa Barbara and a research group leader at the NSF-funded - Center for Nanotechnology in Society..He has published books such as Giant Telescopes: Astronomical Ambition and the Promise of Technology.
(Cambridge, MA: Harvard University Press, 2004) and in 2008 by Princeton University Press. Keep Watching the Skies: The Story of Operation Moonwatch and the Dawn of the Space Age. He is currently writing a new book that explores the history of various exploratory technologies in the 1970s and 1980s including nanotechnology, fusion energy, and
space exploration.

Gabrielle Decamous
Gabrielle Decamous is a visiting tutor and doctoral candidate in the department of Visual Cultures at Goldsmiths College, University of London. Her research focuses on the use of advanced technologies as artistic de-territorialisations with a special interest in space and nuclear technology. In 2005, she has been the recipient of the International Hilla Rebay Fellowship and worked within the curatorial departments of the Solomon R. Guggenheim Museums of New York, Bilbao,
and Venice. Decamous also lectured within the contemporary galleries of the Museum of Modern Art and PS1 Contemporary Art Center in New York, focusing on the body contemporary art.

Jean Pierre Dautricourt, Former director of the Camargo Foundation, an interdisciplinary residential and cultural center. Member of the Art-Science-Instrumentation-Language group (ASIL) group of the Mediterranean Institute for Advanced Studies (IMéRA) in Marseille. Composer, performer, and sound technology researcher. Current research interests include new sound transformations and high-resolution audio over networks. 20 years as R&D professional in music and media arts, biotechnology, visualization and knowledge management.

Brandon Ballengee has been exploring the boundaries between ecological art, research biology and environmental education. An area of focus has been the occurrence of developmental deformities and population decline in amphibians. He has conducted field and laboratory investigations throughout the Americas and in England and has attended several artist/ researcher in residency programs. In 2003, he was an artist in residence at the Natural History Museum in London and the Yorkshire Sculpture Park in 2008 where he established a functioning amphibian research laboratory open to the public and regularly conducted field investigations with local participants. A lead authored paper will appear next month in the Journal of Experimental Zoology on the findings of his 2006-2008 English field and laboratory studies on potential etiologies for deformities in British anurans. A forthcoming book on his work with amphibians will debut in 2010 published by the Arts Catalyst, London England.

Subscribe/Post to YASMIN Discussion list:

http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

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The Discussion begins June 1 2009 and runs through the end of the month.

Artists and scientists participating in INFECTIOUS:

Bacteriology Illustrated - Susie Freeman and Dr Liz Lee - a corseted
dress made from fragments of a book illustrating the armoury we employ to defend ourselves against infection.

Contagious Creativity - Alo Allik, Annika Koski and Simon Jermyn - an
artistic experiment exposing three forms of creation to produce a
mutating artwork.

Cybernetic Bacteria 2.0 - Anna Dumitiriu, Dr Simon Park, Dr Blay
Whitby, Tom Keene and Lorenzo Greenspan - chemical communication of bacteria and our digital networks combine in this piece to generate a brand new artificial life-form.

Epidemic Planet - Vittoria Colizza, Wouter Van den Broeck, D. Balcan,
B Goncalves, H. Hu J.J. Ramasco, A Vespignani - explore how high-speed air-travel whisks new strains of influenza around the globe.

Fugue - Gordana Novakovic, Rainer Linz, Dr Peter Bentley, Anthony Ruto and Richard Newcombe - this work reflects the changes and responses occurring in the human immune system expressed through images and sound.

Glass Viruses - Luke Jerram - these transparent sculptures challenge
our received notions of media images of coloured viruses asking if
these images are designed to instill fear.

Horde - David Bickley, Tom Green, Dr John Mac Sharry - an audio visual installation representing the workings of the immune system in the style of an epic Irish myth.

Kiss Culture - Maria Phelan - kiss the agar plate and leave more than
the imprint of your lips behind to cultivate and contribute to a
growing wall of kisses.

SocioPatterns - Ciro Cattuto and Wouter Van den Broeck - find out how
network scientists are using radio frequency tagging to understand the
pattern of human interaction.

Stigmatised - Karl Grimes - exploring how visual representations
inform our knowledge, inner fears and aversion to illness.

ARE YOU INFECTED?

THE INFECTION IS TAKING HOLD. Nearly 9,000 individuals have already been exposed to the infectious exhibition in the Science Gallery. If you are brave enough to enter the containment zone on Pearse Street
you are advised to wear protective clothing. As soon as you enter the
gallery you will be screened for what you might be carrying and will
be electronically tagged to monitor your state of infection. Whether
you are addicted to brands, obsessed with an idea, coming out with a
strange rash or just can't get that catchy jingle out of your head,
you might be infected.

INFECTIOUS is a major new exhibition exploring mechanisms of contagion and strategies of containment through science and art including a live epidemic simulation, an opportunity to have your DNA swabbed from your cheek and analysed and to get up close and intimate with a Petri dish as you cultivate the bacteria from your lips in our Kiss Culture experiment.

INFECTIOUS opened with a three-day long festival of events, talks and
performances, including the launch of the INFECTIOUS viral competition with www.buzzfeed.com/infectious - launched by Jonah Peretti of Buzzfeed and Ze Frank.

A panel discussion on INFECTIOUS IDEAS on Saturday April 18 was hosted by New Yorker writer and Pulitzer prize finalist Lawrence Weschler and involved leading immunologist Luke O'Neill and explored where we can apply models of contagious diseases to other areas of culture, ranging from viral marketing to financial panics.

Keep an eye out for other infectious events on the schedule available here.

INFECTIOUS was released on April 17th and will hopefully be
decontaminated by July 17th.

INFECTIOUS is supported by the Wellcome Trust, and curated by Luke
O'Neill, Cliona O'Farrelly and Michael John Gorman.

Looking for your IMMUNE LAB results? These are currently being
analysed and the results will be available on this site when they
become available. Please keep an eye on this page for further details!

Computer Baroque

exhibition on line curated by Richard Wright

The Social Technologies Summit is the leading international conference that brings together 500 opinion formers, futurologists, artists, researchers and technologists to explore the latest upgrade affecting today's digital culture.
Pioneering ideas will be presented, which will transform the way you and your organisation operate, innovate and interact. Combining keynotes, critical debates, demonstrations and experiences with open space and participatory sessions, it is an engaging, critical and essential event to attend.
The themes for the conference this year include Environment 2.0, Digital Futures, Identity and Trust, Mobile and Semantic Web: Cultural Algorithms.

Lancement de la revue électronique .dpi # 14
L’acte de documentation des œuvres numériques
et nouvelles techniques de conservation

La conservation et l'archivage des oeuvres en art technologique sont des enjeux importants.
Comment documenter une oeuvre Web dont le parcours fait par chaque navigateur est différent?
Peut-on parler d'authenticité lorsque la restauration d'une oeuvre entraîne un changement d'équipement?
Et qu’advient-il d’une œuvre lorsque les logiciels désuets introuvables sur le marché demandent à être remplacés ?
Plusieurs chercheurs étudient cette question en ce moment et .dpi emboîte le pas en proposant un 2è numéro sur le thème de l’archivage à l’ère du numérique.

The Center for Experimental Media Arts (CEMA) at the Srishti School of Art Design & Technology (Bangalore, India) seeks artists, hackers, writers, engineers and scientists of all variations to enroll in the advanced diploma in Experimental Media Arts. Students will join the CEMA lab for 2.5 years and work with artists in residence and Srishti faculty on collaborative and individualized transdisplinary research.

Applications are accepted on a rolling basis until the beginning of the semester. The fall semester begins in Bangalore, in July.

Prospective students can find out how to apply here:
http://cema.srishti.ac.in/content/admissions

Abstract Proposal Deadline : May 1, 2009
Proposals must be made within specific conference Themes.

Conference Dates: Saturday evening 12 Dec through Tuesday evening 15 Dec.
Opening reception: Saturday evening 12 Dec at Beall Center for Art and Technology.
The Beall Center will be hosting a specially curated DAC-centric Exhibition.
Conference Proper: Sunday 13 Dec, Monday 14 Dec, Tuesday 15 Dec.

Digital Art and Culture 2009 is the 8th in an international series of conferences begun in 1998. DAC is recognized as an interdisciplinary event of high intellectual caliber.
This iteration of DAC will dwell on the specificities of embodiment and cultural, social and physical location with respect to digital technologies and networked communications.
DAC09 will be structured around themes, each theme being composed of panels. DAC09 will be held in the Arts Plaza of the University of California Irvine. Simon Penny is director of DAC09.

The Center for Experimental Media Arts (CEMA) at the Srishti School
of Art Design & Technology (Bangalore, India)

seeks artists, hackers,
writers, engineers and scientists of all variations to enroll in the
advanced diploma in Experimental Media Arts. Students will join the
CEMA lab for 2.5 years and work with artists in residence and Srishti
faculty on collaborative and individualized transdisplinary research.

Applications are accepted on a rolling basis until the beginning of
the semester.

The fall semester begins in Bangalore, in July.
For more information about the lab and the advanced diploma visit:
http://cema.srishti.ac.in/
Prospective students can find out how to apply here: http://
cema.srishti.ac.in/content/admissions

Questions should be directed to gabriel@srishti.ac.in

FAQ for APPLICANTS:

ENTRY REQUIREMENTS

Q: What kind of undergraduate (UG) degree do I need?

Students who have completed a degree in the Arts, Architecture,
Science, Engineering, Humanities, Law, Social Sciences or Business
are eligible for entry. If the candidate has not completed a UG, 2-4
years of professional experience may be considered as an equivalent
to UG. All others are considered on a case by case basis. There is no
age requirement for entry into the program. The requirements for
applying to the program are:
1. an application form with personal statement
2. A portfolio of work and / or writings.
Appropriate candidates will be invited for a personal interview.

Q: What type of students do you accept?

Successful candidates for the Advanced Diploma in Experimental Media
Arts will have a variety of interests and accomplishments. We do not
expect all candidates to have formal training in the visual or media
arts, but candidates should express an interest in creatively
engaging topics using experimental media arts as a medium of
investigation. In the past students have arrived at the lab and begun
work in areas such as Physical Computing, Bio-Arts, Participatory
Design, and Tactical Media. Successful candidates demonstrate
combinations of curiosity, self-direction, open-mindedness and maturity.

Q: What should be in my portfolio?

Candidates for entry into the CEMA advanced diploma may have a
variety of achievements in art and non-art background. Although not
all candidates will have a proper visual art portfolio we require a
portfolio of work or accomplishments. This portfolio may include
anything from published scientific papers to poetry, blogs or
documentation of political activism. We know that candidates have a
variety of interests and backgrounds and the portfolio is an
opportunity to share those with the selection committee.

Q: Are international students allowed to apply?

Yes. Srishti is an international institution. All course work at
Srishti is conducted in English. We have many students, faculty and
visitors from around the world. If you are not from India and have
questions about studying and living in India please contact us by
email and we will be happy to answer your questions.

THE ADVANCED DIPLOMA PROGRAM

Q: What will I learn at the lab?

It is expected that students in the Advanced Diploma in Experimental
Media Art will:

produce creative work | bring their work to the world through
exhibition and distribution | develop collaborative strategies for a
variety of situations | increase their global network of individuals
and organizations through internships and participation in e-
communities | engage with local organizations and communities in and
around Bangalore | engage in critical reflection of their work and
the work of their peers | articulate verbally and in text the social,
political, and technological implications of their creative work |
develop an ethical framework for their creative work

Q: How much does the program cost?

The program fees are 125,000 rp. a year. [US$ 3,150] [Euro: 2,170]

Q: Where is the lab located?

The CEMA lab is a part of the Srishti School of Art, Design and
Technology located in Bangalore, India.The School is in the Yelehanka
(New Town) neighborhood, very close to the new International Airport.
The 2.5 year program is an in-residence program, although there are
opportunities for travel to conferences in India and internationally,
and it is expected that students take international internships or
shows during the summer break.

Centre for Experimental Media Arts [Bangalore, India]
http://cema.srishti.ac.in/

CIANT LAB 2009 Arts Research Residencies

Media artists from the Czech Republic and beyond, are invited to
apply for a three-month arts research residency at CIANT LAB in
Prague, Czech Republic, between April to end of 2009. The deadline
for applications is Friday the 3rd of April 2009.

Artists are offered a media laboratory space, a payment of 1000 EUR
per month and access to lab equipment and technical support. The
emphasis for this residency is on collaborative research and
development in the field of networked/distributed performance.
Presently, two positions are on offer: A. Area of 3D modeling (3ds
MAX), avatar creation and integration with motion capture systems
driven virtual environments, B. Area of interactive sound creation
(max/MSP, PD, etc.).

CIANT | International Centre for Art and New Technologies
(<http://www.ciant.cz >http://www.ciant.cz) is a non-profit
art/science organization with an artist residency, commissions,
research, production, promotion, and training programs. CIANT has
worked with over 400 artists in the last couple of years supporting
interdisciplinary practice, mobility and exchange. CIANT LAB engages
with artists and researchers to produce work that challenges use and
impact of emerging technologies in arts, culture and society.

Selection criteria: The ability to research, interpret and present
innovative ideas. Experience in the field of networked/distributed
performance. Experience in public presentation of completed work and
its proper documentation. Experience of working on fixed term
residencies with deadlines.

To apply please provide the following:

- Project description, Artist Statement and CV
- Supporting materials/documentation of previous work.

Please send your application to: CIANT (Attn: Pavel Sedlak,
Vice-Director), Kubelikova 27, 13000 Prague, Czech Republic.
Applications via email will be accepted but must have the Subject:
"CIANT LAB 2009 Residency Application". For more information about
this opportunity and application process please email
sedlak@ciant.cz.

DEADLINE: Friday 3rd of April 2009, 11 PM CET. Selection will take
place before the end of March, all applicants will be notified
shortly after that.

“En torno al arte visual i sonoro. Instalaciones Pedagógicas”
SIMBIOSIS ARTE Y EDUCACIÓN La asociación Cultural KTON Y CIA abre la convocatoria para la colaboración en el desarrollo del proyecto “En torno al arte visual i sonoro. Instalaciones Pedagógicas”.

Las INSTALACIONES PEDAGÓGICAS son un conjunto de 3 aplicaciones online orientadas al arte y la educación que estamos desarrollando de forma colaborativa y ransmodal con un equipo de programadores junto con artistas sonoros y visuales.
Si quieres participar en el desarrollo del proyecto, estamos abiertos a la participación de:
ingeniero informático programador de sonido, en entorno de trabajo AS3/FLEX, para trabajar a partir de abril y durante 3 meses. En Barcelona.
Dotación económica de la convocatória: 7.800 euros Si estás interesado envia tu cv a:
info@ktonycia.com www.ktonycia.com

KTON Y CIA.
Asociación Cultural para promover la creación y la difusión cultural en el ámbito de las
nuevas tecnologias.
Edificio Can Pardal
c) Montseny 49, principal 3 - 08012 Barcelona http://ktonycia.com

Technarte 2009
International conference on Art and Technology to be held in Bilbao on 23 and 24 April 2009.

Technarte is an international conference to talk about the symbiosis between art and technology, which covers a wide range of disciplines like nanoart, nanotechnology, virtual reality, artificial life, architecture or augmented
immersive virtual environments in three dimensions, Art & Robotic, Net Art, etc. in witch the speakers will show the real applicability of the fusion between art and these disciplines.

The goal of Technarte is to show how technology opens infinite possibilities to artists, and the companies use the technological creativity of the authors as inspiration for new projects.

During two days, the artists, experts of Technological Researh Centers and Universities and Art world professionals (researchers and developers from Art centers, professionals of galleries and museums, universities, Public Administration, etc.) will meet at the Euskalduna Palace of Bilbao, Spain, to share their vision about the artistic and technological universe.

The preliminary programme for the IV edition of Technarte is now available in the Web in http://www.technarte.org/en/. You can also follow the last information about Technarte in the recently created blog from the Conference: http://technarte.org/en/blog/.

In this IV edition and among the 16 presentations we will talk about the experiences in nanotechnology and nanoart with Alessandro Scali, Robin Goode and Chris Robinson. Fernanda d' Agostino will show us her experience in Art an Science, the portugese artist and European Year of Creativity and Innovation embassor Leonel Moura will talk us about Art and Robotic. The german designer Ludwing Zeller will present his project and experiences with the CubeBrowse and the profesor from the Kun Shan University from Taiwan Alfred Chen who will talk about the virtual conservation of the UNESCO world heritage.

In addition to the Conference, the american architect and artist Cameron McNall will give a magistral lecture about "Art and Technologies in public places" the day before Technarte, and will install an especific designed
installation for Bilbao during one month and coinciding the celebration of Technarte.

Via Web or via email at technarte@technarte.org the attendies can make the registration to attend the conferences. If you make the registration before March 24th you'll get 20 % discount.

We believe in Technarte to be a great and important event in this European Year of Creativity and Innovation.
Jon Astorquiza

http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions

A new generation of artists is making technical and social inventions in pursuit of their artistic production. There is new interest in the work of artists from laboratories, companies and public organizations seeking ways of innovating in science and engineering. The ARTSACTIVE network was established to promote these initiatives: http://www.artsactive.net/en/

ARTSACTIVE member Robert Thill is compiling a resource directory of patents filed by artists:
http://www.artsactive.net/en/resources/patents/

This work has stimulated a number of deeper questions about the nature of invention, intellectual property and the ways that the arts, sciences and technology interact in society.

YASMIN in collaboration with ARTSACTIVE is organizing a discussion around questions which include:

1. What makes a work an invention?

2. How have artists used " inventorship" to establish originality in the past and today?

3. What are some examples of artists' inventions? How have artists inventions pioneered new areas of technological development ?

4. How is an art-related invention different from an invention that is not
tied to the conventions of art? How is an art-related invention different from invention in other fields?

5. When art-related inventions attempt to transcend the art context, what are some of the outcomes?

6. How have artists appropriated existing inventions to create innovative art? Is some innovation culturally sterile.

7. To what degree has the idea of intellectual property shaped the
discourse between art and science and/or shaped discourse within these two fields?

8. Under what circumstances does "invention" mean "fiction"?

9. Often innovations in social organization and practices are as crucial as technological innovation. What examples do we have of artists contributions of this type.

Moderator:
THILL, Robert

Robert Thill is currently publishing "Intellectual Property: A Chronological Compendium of Intersections between Contemporary Art and Utility Patents in Serial Form" on the Web site of the Clandestine Construction Company International, which is devoted to issues related to art and law (see the project at http://www.clancco.com). In addition, Thill is an administrator at the Cooper Union for the Advancement of Science and Art in New York.

Dear Colleagues,

I am a member of the steering committee for the new Mediterannean Institute for Advanced Studies in Marseille.
We are designing a wing which is the ASIL ' Arts, Sciences, Instrumentation, Language° ;

The first call for proposals has been issued; Proposals are accepted at any time, with the selection committee meeting four times a year. First deadline March 31. We are very interested in promoting work at the interface of the arts and sciences.

Roger Malina

*M.I.A.S** - Mediterranean Institute for Advanced Studies*
*CALL FOR APPLICATIONS*

http://www.imera.fr/

Application forms at:
http://www.imera.fr/index.php/fr/devenir-resident/38.html

*SCIENTIFIC FRAMEWORK*

IMéRA, the new Mediterranean Institute for Advanced Studies, seeks to contribute to the construction of new inter-disciplinary connections opened by changes in the world and in scientific knowledge. Located in Marseille, it provides a physical location and context for the questions raised by its Residents and Members, and the region's research teams.
In the recent past, each of our disciplines has, each in its own way, become increasingly receptive to the factors of uncertainty, unpredictability and instability inherent to complex phenomena. They have also expanded the range of methods for processing information and large data sets though a variety of mediations (including phenomena which cannot be observed directly, or is invisible, or even identified through simulation only).
Above all, complexity involves critical transitions and system crises, hence the choice of the general theme selected by IMéRA's promoters more than a year ago to launch its programme: the question of crises.
But studying the theme of crises in a variety of forms and in greater depth leads to the uncovering of connected themes: first of all, that of the blindness resulting either from too much uncertainty or from over emphasis of desired outcomes; that of the role of errors when they bring about revisions or awareness of limitations; that, also, of the problem of regulation: is it possible to reduce the probability of crisis in the system without eliminating instabilities that generate fruitful discoveries?
Whatever the answers, IMéRA has chosen to commence its activities, inspired by the un-rest and un-certainty informing research carried out within and into a world where crisis is no longer seen as an ephemeral phenomenon, but as a permanent state.
This human condition of the sciences, seen here in a "time of crisis,"
requires a confrontation between the modes used to explore these critical states—in sciences and equally in the arts and humanities. The outcome will be a space bounded on one side by the limitations of our anticipations in uncertain situations and on the other by the use of researchers' critical judgments, which classify and discriminate (providing a reminder of the Greek verb from which the word "crisis" is derived). Identifying those limits and actuating this critical examination should, in the complex context of these instabilities, provide new reference points.
                              *IMéRA ACCOMMODATION*
*Accommodation will begin in May 2009* *in facilities outside
IMéRA**(lodging and work space) pending completion of the construction work on the IMéRA site scheduled for completion in September 2011. Locations in Marseille and Aix en Provence are available.*
IMéRA residence proposals are open to researchers of all origins in terms of nationality and disciplines prepared to contribute to collective work on new cross-field issues, notably interfaces between social and
formal/experimental sciences. The Arts and humanities are included.
Researchers and academics may apply for any residence of their choice, whatever their status and home institution.
Call for applications is permanent, as the short-listing committee
responsible for approving applications meets at the end of each quarter. A shortlist is established four times a year and submitted to the International Scientific Board for final acceptance.
*The next deadline is march 31 2009*
*Four types of Residencies are offered:*
1. One person – Academic / Short- or medium-term duration ("Fellow")
   2.    One person – Academic / Long-term duration ("Senior Fellow")
   3.    One person – Non academic ("Fellow" and "Senior Fellow")
   4.    Junior Teams ("Junior fellows")

http://www.imera.fr
Application forms at:
http://www.imera.fr/index.php/fr/devenir-resident/38.html

is opened. In the competition, you can particularly notice a new part
"Electronic Arts" with 3 categories.

   1. new pratices of sound and music creation
   2. Performances
   3. Netart

An full english version is also available on the IMEB website
http://www.imeb.net/MFLi/index.php?option=com_content&task=view&id=1116&Itemid=330

For the artists they don't know about the Bourges Competition, that's
the most important competition in electroacoustic music. It has been
founded in 1973. It is devoted to composers coming from all levels,
but also to sound artists, performers,... they practice different
forms of sound arts. The registration is free. The selection is made
anonymously (except the Magisterium). The jury is made with artists
and personalities well-known in the esthetical fields related to the
competition. Several awards to notice in the rules.

For any question in add, please send an email to    competition.bourges@gmail.com

La 36ème édition du Concours International de Bourges 2009 est ouverte.Il propose notamment une toute nouvelle section Arts Electroniques
avec 3 catégories :
Tendance Musicale ou sonore
Performances
Netart
Vous trouverez ci-joint les documents d’information sur le concours.
Les informations complémentaires et les inscriptions se trouvent sur
le site de l’IMEB :

http://www.imeb.net/MFLi/index.php?option=com_content&task=view&id=1061&Itemid=248

Pour ceux d’entre vous qui ne connaissent pas le Concours de Bourges, c’est le concours le plus important en musique électroacoustique. Il existe depuis 1973. S’adresse avant tout à des compositeurs de tous niveaux, mais également à des créateurs sonores pratiquant diverses formes d’arts sonores. L’inscription est gratuite. La sélection est faite de façon non nominative (sauf le degré Magisterium) par un jury composé d’artistes et de personnalités des domaines concernés.
Nombreuses récompenses à découvrir dans les règlements.

Pour toute question, envoyez un email à competition.bourges@gmail.com

(MIT Press/Leonardo Books)
Edited by Paul Brown, Charlie Gere, Nicholas Lambert and
Catherine Mason

White Heat, Cold Logic tells the story of early British
digital and computer artists—and fills in a missing chapter
in contemporary art history. Contributors, including Roy
Ascott, Paul Brown, Charlie Gere, Beryl Graham and others,
describe the influence of cybernetics, with its emphasis on
process and interactivity; the connections to the
constructivist movement; and the importance of work done in
such different venues as commercial animation, fine art
schools and polytechnics.http://leonardo.info/isast/leobooks/books/gere.html

Announcements: http://estia.media.uoa.gr/mailman/listinfo/yasmin_announcements

Synaesthesia is a term used to describe the neurological
condition where two sense modalities interact in human
perception. Some cases are described as seeing colours while
reading numbers or letters, tasting shapes or listening to
tones while looking at a painting.
A whole genre of visual and media art has been inspired by
the concept of "visual music"; Some experimental curricula
have also been developed in art education in order to study
the interrelationship of findings in synaesthesia research
with the study of art and cognition as a broader discipline.
However, very little has been done so far towards the
direction of creating an appropriate social environment for
children who share these extraordinary abilities, in order
to help them develop new ways of creative problem solving
and share their experiences of alternative ways of thinking
in general education.
Reports of synaesthetic experiences are considered to have
specific patterns to suggest for identifying abstract
narrative structures in specific artworks. Such reports
describe experiences like seeing moving shapes, forms, and
lines interacting with space while listening to music or
vice versa. Art genres, such as intermedia art, visual or
kinetic poetry may also be synaesthetic forms of art,
including hybrid art forms that interact with media
performance, space and architecture. An example is the new
ARS ELECTRONICA opening performance : http://www.youtube.com/watch?v=UtU3ekW9Nkk
Art historians have already performed research on the
synaesthesia case of certain poets and visual artists, such
as Wassily Kandinsky. We also have descriptions of composers
like Oliver Messiaen and Gyorgy Ligetti that document how
they used their synaesthesia to explore and elaborate their
compositions by drawing inspiration from visual forms.
Relatively less is known about abstract artists who
experimented with film or other time - based visual media
such as interactive or virtual environments and site
specific installations.

base de données des résumés de thèses et de masters soutenus
en langue française dans le domaine art, science, technologie.

FrancoLabs est mise en place et hébergée par le Laboratoire
d'Esthétique Théorique et Appliquée de l'Université de Paris
1 Panthéon-Sorbonne.
Nous invitons tous ceux qui ont soutenu une thèse à
soumettre les résumés à FrancoLabs. Un comité d'experts
multidisciplinaire conduit une évaluation 2 fois par an et
les auteurs des thèses les plus remarquées sont invités à
écrire un article pour Leonardo.
Pour toute information : http://francolabs.univ-paris1.fr/
FrancoLabs s'inscrit dans le projet LABS (Leonardo Abstract
Service) et vient rejoindre les bases de données déjà
existantes pour l'anglais, l'espagnol et le chinois :http://leonardolabs.pomona.edu

Call for film and video submissions for SEEDS 2009!
Somatic Experiments in Earth, Dance and Science June 14-28th, Earthdance,
Massachusetts, USA
http://seedsfestival.ning.com/

We are looking for films and videos of all lengths focused on ecology,
social ecology, movement and/or science. For example dance and moving image
films, environmental documentaries and related short experimental works. All
submissions should be sent by April 1st to Olive Bieringa, 3528 10th Ave
South, Minneapolis, MN 55407. All work must be in NTSC dvd format. Please
send dvds, promotional images and directors biography. Email
olive@bodycartography.org is you have any questions.

Futurelab has just published its latest Assessment Literature Review, commissioned from outstanding academic researchers to offer a route map through the vast body of research into education and technology with a view to social justice.
Social justice refers to the concept of a society affording individuals’ and groups’ fair treatment and an impartial share of the benefits of that society. It is crucial in relation to children and young people who have little control over their environment or circumstances, and have little say over much of what happens to them in schools in the name of testing and assessment.If we want to create an education system that fully assesses all learners, then we need to support any form of assessment that has the potential to reduce the effects of a variety of disadvantages that learners may experience and explore what role technologies might play.To view the publication online and download a FREE copy, please go to: http://www.futurelab.org.uk/resources/publications-reports-articles/literature-reviews/Literature-Review1186

Nach einer längeren Pause erscheint am 1. Februar 2009 die Edition 07
Autoren: Roy Ascott (UK), Reinhold Bertlmann (A), Ulrike Gabriel (D), Ernst von Glasersfeld (USA), Stuart Hameroff (USA), Luis Eduardo Luna (FL/BR), Josef Mitterer (A), Roger Penrose (UK), Otto E.Rössler (D), Peter Weibel (A), Anton Zeilinger (A).

Dieses Buch (in Deutsch, 172 Seiten, gebunden, Paperback im CD-Format) wird von der Edition Neue Galerie Luzern vertrieben. Infos: http://www.neugalu.ch/d_pub_editionen.html#07

Kurzbeschreibung: Die für dieses Buch ausgewählten Luzerner Gespräche zu Themen aus Naturwissenschaft, Technik und Ästhetik, legen den Fokus auf die seit einigen Jahren polemisierte Beziehung zwischen Quantenphysik und Gehirnforschung. Dabei wird für die Leserin und den Leser nachvollziehbar, wie akademische Streitgespräche als spannende Auseinandersetzung zwischen herausragenden Wissenschaftlern unterschiedlicher Disziplinen geführt werden. Aufgrund der einzigartigen Konstellation der Gespräche mit Spitzenvertretern der entsprechenden Fachgebiete – Quantenphysik, Neurowissenschaften, Philosophie, sowie Ethnologie, Medienwissenschaften und Medienkunst – sind sie als ausgezeichnete Einführung insbesondere in das schwierige Verhältnis von Quantentheorie und Neurowissenschaften lesbar.
Eine der Paradoxien, mit denen die Quantenphysik das menschliche Denken ausreizt, ist die vom österreichischen Physiker Anton Zeilinger 1997 vorgeführte Teleportation von Quantenzuständen. Den naturwissenschaftlichen und erkenntnistheoretischen Kontext der Aufsehen erregenden Experimente bilden die Phänomene der Quantenverschränkung und Nichtlokalität. Im vorliegenden Buch werden diese Phänomene kontrovers diskutiert, da ihre probabilistischen Eigenschaften für die Naturwissenschaft eine echte Provokation darstellen. Das Buch gibt auch Einblicke in neue quantenphysikalische Erklärungsversuche der Wirkung von bewusstseinserweiternden Substanzen wie Ayahuasca, einem halluzinogenen Präparat aus dem Amazonasbecken. Ein Glossar mit über 90 Begriffen aus der Quantenphysik, den Neurowissenschaften und der Philosophie sowie Wissenschaftlern und Forschenden dieser Disziplinen, vermittelt den Lesenden das für das vertiefte Verständnis der Gespräche nötige Hintergrundwissen.

THE SWISS BIENNIAL ON SCIENCE, TECHNICS + AESTHETICS
SCHWEIZER BIENNALE ZU WISSENSCHAFT, TECHNIK + ÄSTHETIK
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CH - 6002 LUCERNE / SWITZERLAND
Tel.: + 41 (0) 41 370 38 18 + 41 (0) 41 370 38 18
http://www.neugalu.ch
renestettler@centralnet.ch

This XXV edition of the Prize is focused on robotic art, that is the use of robotic technologies in the arts. The Prize yearly proposes a competition aimed at understanding and spreading topics which are strictly connected to the contemporary culture and society.
The Prize aims at raising a reflection on contemporary topics through the main viewpoint of contemporary arts, in their newest, most emblematic and international forms. This is the reason why the Oscar Signorini Prize on robotic art has an international jury with renowned theoreticians and artists, who indicated two young artists each. The jurors are Pier Luigi Capucci (president), Eduardo Kac, Riccardo Notte, Luigi Pagliarini, Laura Sansavini, Pavel Smetana and Franco Torriani.

Le programme conjoint FQRSC-Hexagram Appui aux arts et technologies médiatiques est offert à tous les chercheurs-créateurs universitaires québécois et à leurs collaborateurs dont les projets apportent une contribution en matière de contenus numériques. Le programme Appui aux arts et technologies médiatiques vise à stimuler l’innovation en matière de contenus et technologies numériques dans les créations médiatiques par le soutien à des activités d’expérimentation, de recherche et de création.

Voir détails sur le site du FQRSC

Call for proposals!
The The Planetary Collegium is running its Xth International Research Conference Consciousness Reframed at 19 - 22 November 2009 with the theme:

Experiencing Design,- behaving media - A transdisciplinary inquiry into art, science, technology and society.
Partner and Host: University of Applied Sciences, Munich MHMK
Please submit proposals for presentations and submission of abstracts
Tohttp://www.planetary-collegium.org/planet-call.htm

macromedia hochschule für medien und kommunikation
lena haubold
wissenschaftliche mitarbeiterin im dekanat
gollierstraße 4
80339 münchen
telefon +49 (0)89.544 151-86120 août

PiNG's blog

The international Digital Art monthly newsletter No 6. April 2010.
Artists - Festivals - Innovation and more..

Call for Submissions: SIGGRAPH 2010 Art Papers and Art Gallery

Arte, ciência e tecnologia: passado, presente e desafios