THE INTER-SOCIETY FOR THE ELECTRONIC ARTS THE ISEA NEWSLETTER #69 November - December 1998 _____________________________________________________________ * CONTENTS * * EDITORIAL * ISEA NEWS * REPORT * INFO * JOB POSTINGS * CALLS & EVENTS SECTION * _____________________________________________________________ * EDITORIAL * Please allow me introduce myself. I am the Interim Director (part time) of the ISEA HQ as of October 98. My job is to give Alain Mongeau and the HQ staff a hand in running the various activities of the HQ until March 99. I was Alain's assistant program director and responsible of the electroacoustic music series at ISEA 95 and have followed with interest the evolution of ISEA since then. I am impressed to see that ISEA has come such a long way in such a short time and am proud that Canada is one of the leading countries in this field. My professional activities have been principally in the fields of electroacoustics, interdisciplinary production, acoustic ecology, the media arts and in service organisations such as the Canadian electroacoustic community (CEC) and the World Forum for Acoustic Ecology (WFAE). My life philosophy is to listen. Listening to people, the environment and to myself. My philosophy as an administrator is to work in close and respectful collaboration with my co-workers and clients. I also believe in the principal of "less is more", whereas a professional organisation such as ISEA, with its precious limited resources, must be careful to not overload itself and to focus on its basic mission first and foremost and to grow from there... One of our challenges at the ISEA HQ is to filter through the complex interdisciplinary web inherent to the contemporary electronic arts and serve a sounding board and critical voice in the international community. Of course, ISEA does this through its Symposium but we also do it through our other activities : publications, lobbying, workshops, seminars, etc. Please find included in this newsletter some vital information about what is happening in the international electronic arts community, as well as some critical comments on recent events and ongoing questioning of the ISEA movement (which is a sign of health in any organisation, I think). However, in spite of our best efforts, this is only a fraction of what is really going on in the electronic arts community. Therefore we need YOU, the membership, to help us keep a steady and useful flow of relevant information going. Please inform us of your activities and concerns as we diffuse them through the ISEA communication network : newsletter, web site, listservs, etc.. We will make a note of your concerns and interests and try to make ISEA work better for the membership and the electronic arts community at large. This is a critical year for ISEA. We are moving into Daniel Langlois' new media arts complex in March and there is much to do to ensure a smooth transition. Among other activities, your board of directors has concluded a virtual email meeting in early December in which they have taken some important steps towards creating active tools to realise the objectives of ISEA. The HQ will be keeping you in touch with these activities as they evolve. Finally, I would like to thank Isabelle Painchaud, who is leaving the ISEA staff at the end of January, for her extraordinary work as information and administration Coordinator. She will be greatly missed, but I think will always be close to ISEA. Claude Schryer ISEA HQ ****************************************** ISEA NEWS ****************************************** VIRTUAL AFRICA Afrique Virtuelle/Virtual Africa (AVVA) is an international network created under the aegis of OLATS/Leonardo (http://cyberworkers.com/Leonardo/africa). Its main goals are to stimulate contexts of ideas exchange between intellectuals, scientists and artists originary from Africa and other continents. The working toolsare the web and the new technlogies, the challenge being to establish a contact between a real, ancient and contemporary Africa, in a virtual communication mode and to develop original works using these technologies. Starting from this initiative, ISEA HQ proposes an action plan and a project orientaded on French-speaking countries. Afrique virtuelle francophone 1998-2000 is shaped in parternship with Vues d'Afrique Festival in Montreal (http://www.vuesdafrique.org), OLATS/Leonardo (for the activities to be realized in France) and the group Metissacana, Dakar, Senegal (http://www.metissacana.sn). The proposed activities are articulated around these two axis : 1) the realization of web art workshops in Western French-speaking Africa, coupling local artists with artists from other continents to create web art projects (multimedia fictions, interactive tales, etc). This aspect includes training, technological exchange and multilateral collective creation concepts. The first pilot-project will be held in Dakar, February 1999. It addresses professionnal artists from various disciplines (litterature, visual art, media arts, audio) in order to constitute a first corpus of French language african fictions created specifically for the web. The electronic works will be diffused publicly within the Montreal Festival Vues d'Afrique in April 1999 and through the partners' web sites. 2) the organization of conferences/seminars in Quebec/Canada and France bringing artists and theoricians around new creation and communication forms and models in Africa. The first conference will be held in Montreal, April 1999, during Vues d'Afrique. Under the general theme of "African art and new technologies: challenges and developments", this conference wishes to bring together african and international artists and experts, including some participants from the Senegal workshop. This seminar as well as the diffusion of the electronic works should also be used as a context of awareness and networking on the emergent needs related to the development of new technologies in Africa. In parallel to the conference and with ISEA's collaboration, Vues d'Afrique is programming the exhibit Afromedi@rt, a collection of contemporary african media art organized by the nigerian/austrian group Cross Cultural Communication (http://www.t0.or.at/~ccc). A second worshop/seminar is proposed by OLATS/Leonardo and Foundation Sophia Antipolis, in Nice or Marseille (France) during the summer of 1999. Any ideas or suggestions relating to the above projects are welcomed ! ****************************************** ISEA2000 Update Discussions are continuing with the public institutions in order to insure the financial support of the event and to create strong cultural connections. A steering committee has been put in place within the Ministry of Culture, bringing together 6 representatives from different sections that will follow the project. (Délégation au Développement et aux Formations, Mission de la Recherche et des Technologies, Département des Affaires Internationales, Délégation aux Arts Plastiques, Direction de la Musique et de la Danse, Centre National de la Cinématographie). The committee also includes a representative from the General Direction of the Cultural Affairs of Ile de France. It will meet at the beginning of December to study the distribution of the support from the Ministry in 1999, and to discuss future collaborations to implement. In addition, this project is followed by the interdepartmental Mission for the year 2000, and the Paris 2000 Mission. These two missions, which objectives are to define and support the cultural operations within the framework of the national commemorations of year 2000, will start to integrate ISEA in their communications with the media. This is a significant lever to find private partnership. Consultations are talking place with professionals (artists, researchers, intellectuals...) in order to constitute a network of persons involved in the creation of ISEA in France. These persons will refer to the first editorial and scientific committee, formed last April, as well as on the spontaneous contributions to come. A Symposium committee is being put together, and should start work at the beginning of December. Starting from now, we are awaiting for your feedback, propositions, suggestions or questions. We can be reached at the ART3000 email address: email@example.com. Don't hesitate to contact us, we would be happy to exchange with you. We are currently preparing a Web site to start communicating on ISEA. We would be happy to receive information that will help us structure the project (artists' files, key persons to contact, etc...) Therefore, don't hesitate! Nils Aziosmanoff ART3000 President ****************************************** NEW SUBSCRIPTION DISCOUNT FOR ISEA MEMBERS ! Mediamatic Magazine http://mmol.mediamatic.nl/index.html The accelerating convergence of modern media has created a maelstrom in which hype and relevance are difficult to distinguish. Located in the eye of this maelstrom, Mediamatic's strong philosophical and historical roots allow it to offer you a perspective on and participation in this digital 'third culture', where art and technology merge. Established in 1985 as a meeting place for video artists and TV dissidents, Mediamatic Magazine has evolved into today's sophisticated and beautiful quarterly on art and media and the changes being wrought by techno-culture, hypermedia and virtuality. Mediamatic focuses on understanding what's going on with our culture rather than boring you with the latest corporate mergers or technological breakthroughs. It is a magazine for literate people. Each issue has a theme, such as Storage Mania, Home, or Religion. Articles are commissioned in which playfullnes and freedom of thought are employed to produce unexpected insights. Mediamatic fosters the uncommon rather than the common. Its raw material is the text of theory: analysis, polemics, experimental theory, speculations and sometimes pure fiction. Authors from Europe, Japan and North America examine the themes through the filter of Mediamatic's only assumption: New media are changing every facet of human endeavour more rapidly and more deeply than one can guess. Next to the World Wide Web publication on the Internet, Mediamatic Magazine is also published in print plus CD-ROM. This printed edition is available by subscription. For more information on your ISEA membership discount to subscribe to Mediamatic, please contact the ISEA HQ: firstname.lastname@example.org ****************************************** LEONARDO SUBSCRIPTION DISCOUNT FOR ISEA MEMBERS LEONARDO, the leading journal for anyone interested in the application of contemporary science and technology to the arts, is now available to members of Inter-Society of Electronic Arts (ISEA) at a special discount price of $57.60 This is 20% off the journal's regular rate and includes the companion annual journal, LEONARDO MUSIC JOURNAL. Founded in 1967, LEONARDO provides an international channel of communication between artists and others who use science and technologies in their creations. The journal covers media, music, kinetic art, performance art, language, environmental and conceptual art, computers and artificial intelligence, and legal, economics, and political aspects of art as these areas relate to the arts, tools and ideas of contemporary science and technology. LEONARDO MUSIC JOURNAL (including compact disc), features the latest in music, multimedia art, sound science and technology. TO RECEIVE THE SUBSCRIPTION FORM, PLEASE EMAIL US AT: ISEA@ISEA.QC.CA ****************************************** REPORT by Mike Stubbs ****************************************** (la version francaise suit) Plastikman meets Rubberlegs Re-defining New Media in Montreal 15-25 October 1998 Artists define new media by entering art into a festival of new media. The festival director and committee define it by accepting it. Nothing is definitive. Someone will attempt to try, but not me. A lot of CD ROMs, a few websites, 10 live performances and combination work represented through presentation defined a cracking programme at the Festival of New Cinema and New Media of Montreal. I'm tapping my foot to a techno beat as I write this on a computer station at the new media section of the FCMM. Checking out yesterday's snapshots expediently imported by the web casting crew, I browse (window shopping) some of the more technically sophisticated sites a site advertising web design that looked like a TV advert and some streaming audio site linking record labels. One young artist suggested that the web is like a supermarket - - "you go there, get what you want and then get the hell out" or " you go there for a pint of milk and end up with a trolley full of fresh only's that you then try to consume in three days". Hull Time Based Arts have recently finished presenting 'ROOT 98 - Lucid ", our annual festival back in England, and now I have a week to take in some new media as a jury member, here in Montreal. A team of Marie-Josée Jean (Co-director Le mois de La Photo Montreal), Louis-Phillipe Demers (President, Kunst Macchina) and myself have to decide during the week which artwork/artist will be awarded the $2,000 prize. This is the first time a jury has been set up in the context of the Festival - amongst the other prizes of best feature, short, Canadian, all nice and easy to define...we will be selecting from a diverse mixture. Clearly it will not be for this jury to judge what is new media and for this reason the commendations (not prizes) could be awarded to any of the formats included within the programme - but my view is that the commendations are for the quality of art - not the technology. I 've just spent 3 hours dancing to Plastikman (alias DJ Richie Hawtin). The morning after I find myself jet lagged and rubber-legged. Before I danced I watched. I watched him spin his home made discs, wringing sound from the barest of clips, sending it into delay, leaving it looping whilst cueing his next home-cut disc, Chicago, Detroit, Windsor all meet here, minimal and stripped down into a very live interactive performance - the audience creeps forward to watch a great craftsmen manipulate vinyl, performer testing 3 or 4 different tracks before finally finding the new beat which will fuse best - is this improvisation or live composition ? Starting with a simple die, Richie casts a new tool, in the mixer / reverb unit - instant audio sculpture - formed, previewed and sent all within a few seconds. This solo improvisation has more in common with improvised jazz than techno. Mike Ink and Pole spring to mind but the live quality of this performance has more in common with Miles Davis and Jeff Mills. The audience ignored the bobbing rotating cubes video projection overhead and become transfixed by the acoustic magic happening around them. The audiences hunger for a beat or a groove is momentarily satiated as Richie releases a monster beat he has been previewing as a click or a crackle in the delay unit, the audience explodes into dance. Richie seems to love what he does and provides a human open performance that is accessible and unreliant on a learnt or academic appreciation. Raw and essential. Many new media artists have been massively influenced by contemporary music or incorporate audio into their work. It is time that audio art is acknowledged directly for exemplary work on the threshold of two cultures:-dance culture and audio art. The next morning I order a beer at the bar and discuss the politics of non governmental organisations with a newly met friend. Real World recordings have presented a brief history of their activities in the music and design industries over since its inception and how over more recent years they have taken under their wing an increasing number of multi-media designers and fine artists in addition to the impressive list of African and Asian artists. They recounted how hard it can be to track down some of the African artists and bring them over to their recording studios in Bath, whilst Peter Gabriel said a piece to camera because he could not come to Montreal ! Metamkine performed with celluloid and analogue projections last night - flagging projectors, making loops and using coloured filters across the projector lens they accompany an audio track to make a dramaturgy of the smashed mirror - the story they told last time I saw them in London - the raw grainy imagery and mechanical tech form of film projectors are charming. Metamkine know what it is they are doing and have not caved into electronics - or have not experimented enough with the form and possibly content of what they are doing. Providing a long cold experience, relentless, hypnotic yet already tried and tested - there is little 'happy' here - but why should there be ? Vuk Cosik showed 'real ascii', a spoof new programme along with other influential web based artists dominating the contemporary arts media festival circus this year. Showing fake history and other "archaeologists" findings. Vuk also presented Gebhard Sengmuller's promo for his new trash peg format data recording system 'vinyl video'. I know what I write will make it sound good here - fakery and intervention always sounds good and makes good folklore. I want to make a special award to Vuk of 2,000 ASCII dollars for Best Media Archaeology. In the background David Rokeby is providing a constant flow of surveillance imagery bringing attention to how we are watched all the time, but hang on a minute that girl on the street looks cute and what's that man doing with that dog......I watch the piece again and it grows on me - having studied it and tried to work out rationally what is happening, I give up and take it as a perception extender. This is about time and space and inside outside. Border Control is an installation I saw at Ars Electronica earlier this year made in collaboration with Paul Garrin. A checkpoint charlie automatic person recognition and tracking system for weapons. It graphically displays what is possible and might not be out of place at a military fair. The response of the audience is ambiguous and I am not convinced that context within which these technologies 'speak' is fully explored, considering the chilling nature of the implications. Later I will chat with David about the paradox of "the necessity for surveillance in our society and how useful it is in minimising inner city crime." He agrees that the discussion is no longer about whether surveillance is bad and it becomes apparent that he is struggling through with a complex set of issues regarding data tracking and market profiles which will look at the subtler actualities regarding information and surveillance and remote agents. I look forward to seeing his new work. Constance De Jong presented 'Fantastic Prayers' a solo performance utilising video, CD Rom and the spoken word, full of metaphor on issues surrounding the body and skin. With headset mic in an 80's New York style, she has collaborated with musician Stephen Vitello, sculptor Dan Graham and Video artist Tony Oursler. Constance demonstrated why multi media should be meshed. More browsing in the CD ROM section. A lounge set up with several Macs made available the individual works of artists delivering artworks on this outdated storage format. It so difficult not to group them all as one, I did watch them all as individual artworks (having followed some of the net criticism of selection processes at Ars Electronica recently) but its difficult to guarantee every path has been explored ? I liked the humorous one best. It was only later after lobbying from Marie Josée, that I watched the entirety of 'The best of Connanski' and yes it was funny. But that line about cutting off a women's clitoris seemed a bit strong and I was surprised that it was finally Marie-Josée arguing most strongly for the work, maybe women are cooler in Quebec about these kinds of things than they are in England ? or maybe she did not get through all Connanski's questions to get to see that clip ? (the work is frustrating test). Alex Mayhew said during his presentation that he thought the best CD ROMs were the most linear - "why waste time scripting stuff which people may never find?" when he demonstrated and talked us through his beautiful CD ROM, Ceremony of Innocence produced by Real World. Clever scripting and good one line tricks like the lizard making hole and climbing through - but tedious having to read all those romantic letters (it is based on a book). CD's make nice stocking fillers and will become cult collectibles in the future - they are marketed as records or conventional artefacts but there real strength is as a playground for high speed multi player web work where real interaction may take place in the future. Masse de Terre a music video performance by Michael Chion took the form of a liturgy combing an electro acoustic soundtrack with video projection (some pre-recorded some live like the toy glockenspiel). If the work was a "subversion of mass" then it was a little difficult to penetrate, which then begs the question, should one have to understand the terms of reference ? The audience seemed to hate it - but maybe that was the intention, in the bar someone commented "is it pompous nonsense or nonsensical pomposity for fucked up Catholics". This made sense somehow in relation to the video masturbation, lots of squiggly electronic effects form the worst of 80's video art. Formally a mess, technically inept but refreshingly unfriendly:- Rhythmless 'anti-entertainment' or conceptually half formed ? If one heard the performance of "Symphony no 1 for printers" without seeing the sound source - you might have a dance about - nice complex techno rhythms, played on a bank of 16 desktop PCs conducting a similar bank of dot matrix printers. The work was fresh, pure and unpretentious:- Great rhythms and quality music - arrived at through a compelling low tech route - dramatic in expectation and surprising in its simplicity. The machines are administered but I know with time they will develop more creatively as they learn to multi task and develop a more complex longer working day. I hope the Best Canadian award helps to develop the work and solves some of the conflicts these young artists are facing regarding future direction - the seemingly mutual exclusiveness of art and money. Steina Vasulka performed 'Violin Power' . The re-manipulation of herself in time and the dissection of the falling dancing man are very strong sequences and I would love to see them focused and developed to the exclusion of some other elements. Steina is a truly important artist - she is owed lots for her input to media art through the formation of the Kitchen in New York and seminal video work with Woody, her partner for many years. As an individual she represents so many threads of media art history and is still committed to making art. David Shea performed live audio to 'Dial History'; a feature length found footage film. I've seen it on video but not with a live soundtrack before a mesmerised audience of 200. Why were they mesmerised ? Exploding images of crashing airliners, a highjacker in his dying moment, a geeky kid saying how much he enjoyed being held hostage ? Dial History flattens out history - de-contextualises death and floats between a semi- Buddhist statement about our transitory nature and 'cool' gallery based art film...would someone contest this please? A-Live provided a four on the floor techno set straight out of the sequencer with related 'rave' visuals. Dull predictable pre-recorded and too loud, even for me. Four or five people danced badly to the 4/4 beat. The video image was always central and mostly colourful. Most interesting when the sound and image connected and shared a relationship not just the same time code, but then I remembered some of those experimental films by Fischinger or Garrard...at this point I decide to argue strongly in favour Plastikman winning the prize. The new media section of the Festival was very well organised, very social and excellently programmed in terms of transition between formal programme and club night, this was reflected in the diversity of people attending this section of the festival. The webcast was the best I have seen in terms of efficiency and refresh rate (despite technical problems) and that could only be a product of a great working team and volunteers putting their heart into making it all happen and on time. I'd like to take this opportunity to thank everyone who produced the festival for doing so and Alain Mongeau for inviting me to have the opportunity to concentrate on and enjoy so much new work. Mike Stubbs ****************************************** INFO ****************************************** L'IMMAGINE LEGGERA 1998 - THE AWARDS OF THE THIRD EDITION The International Jury of the third edition of "L'IMMAGINE LEGGERA - Palermo International Videoart+Film+Media Festival" held in Palermo (Italy) October 2 through 10, and composed by: Robert CAHEN (France), Lars Henrik GASS (Germany), Marina GRZINIC (Slovenja), Sandra LISCHI (Italy), Paolo ROSA (Italy), has decided to award the following prizes and appreciations: First prize (endowed with 10.000.000 Itl. lire) to: "ICH TANK" by David Larcher (new version, France-Germany, September 1998, international premiere) Second prize - sponsored by Planète (endowed with 5.000.000 Itl. lire) to: "A BOX OF HIS OWN" by Yudi Sewraj (Canada 1997) Third prize (endowed with 2.000.000 Itl. lire) to: "WHAT FAROCKI TAUGHT" by Jill Godmilow (USA 1998) Special prize of the Jury (no cash prize) to: "IN MY CAR" by Mike Hoolboom (Canada 1998) Two honourable mentions (no cash prize) go to: "S.O.L." by Robert Suermondt (Belgium 1997), and "NOCTURNE" by Yervant Gianikian, Angela Ricci Lucchi (Italy 1997) The Prize of the Audience (promoted by the film magazine "Ad occhi aperti"), has been awarded to: "THE TRANSLATORS" by John Zeppetelli (Canada 1998) The Jury for the Italian videos, composed by Simonetta CARGIOLI, Bruno DI MARINO, Alessandro VIANI, has tributed the following awards: Fearless Award to: "SETTE MELE BEN LUCIDATE" by Giuseppe Stassi (Italy 1998) Volcano Award to: "IL REGNO" by Paola Lo Sciuto (Italy 1997) Honourable mention to: "SYRENA" by Mariano Equizzi (Italy 1998) The award for the best Artist's CD-Rom has been decerned to: "INTERZONA *654Mgb* v.1.1" by Toni Serra (Spain, 1998) The Jury of the competition for Italian experimental Radioplays, composed by Pinotto FAVA, Otello URSO and Paolo CANTARUTTI, has awarded its prize (endowed with 1.000.000 Itl. lire) to: "MOLTO CORTO (QUELLO CHE E' MORTO)" by Massimo Toniutti (Italy, 1998) L'IMMAGINE LEGGERA Palermo International Videoart, Film and Media Festival 3rd edition: October 2 - 10, 1998 Festival staff: Alessandro RAIS (director), Marcello ALAJMO, Ignazio PLAIA, Maurizio SPADARO http://www.imprese.com.immagineleggera voice: +39-091-6961740, +39-0339-2103962 fax: +39-091-6111682 e-mail: email@example.com ****************************************** Book Publication: The Art of the Accident On the occasion of DEAF98, V2_ Organisation and NAI Publisers are publishing a book that is more than a catalogue of the festival, its exhibition projects and participating artists. The fully illustrated book takes a synthesising approach towards the intersecting practices present in the festival, outlining the basics of an ars accidentalis. The Art of the Accident also includes essays and interviews by: N. Katherine Hayles (USA), Perry Hoberman (USA), Knowbotic Research+cF (D/A), Steve Mann (CDN), Brian Massumi (AUS), Humberto Maturana (CHI), Marcos Novak (USA), Dick Raaijmakers (NL), Lars Spuybroek (NL), Otto E. Roessler (D), and Paul Virilio (F). Articles about the projects of the DEAF98 exhibition and other programmes, including: Mark Bain (USA), Calin Dan (RO/NL), Masaki Fujihata (J), Perry Hoberman (USA), JODI (NL/B), KIT (GB), Knowbotic Research+cF (D/A), Gunter Krueger (D), Seiko Mikami (J/USA), Debra Solomon (NL), VinylVideo/Gebhard Sengmuller (A), Tamas Waliczky (H), Herwig Weiser (A/D), Aaron Williamson (GB), Bureau of Inverse Technology (USA), Association of Strategic Accidents (D), John Bain (USA), programm 5 (D), Karoly Toth (HU/NL), Zoltan Szegedy-Maszak + Marton Fernezelyi (HU), and Timothy Druckrey (USA). Documentation of the transArchitectures 02 + 03 at the Netherlands Architecture Institute with works by: ABB/ TUD B. Franken (D), Arakawa/M.Gins (USA), Asymptote (F), Maurice Benayoun (F), Objectile/Cache Beauce Hammoudi (F), Karl S. Chu (USA), CyberNetiK[A] (B), Decoi (F), degre zero (F), Neil Denari (USA), Dunne + Raby (GB), Ammar Eloueini (F), John & Julia Frazer (GB), Christian Girard (F), Gregoire Kligerman Petetin (F), LAB [au] (B), Greg Lynn (USA), F. Meadows/ F. Nantois (F), Ben + Laura Nicholson (USA), Marcos Novak (USA), NOX/ Lars Spuybroek (NL), Kas Oosterhuis (NL) Reiser + Umemoto (USA), ROCHE, DSV & Sie (F), Philippe Samyn (F), Nasrine Seraji (F), Adrien Sina (F), Neil Spiller (GB), Bernard Tschumi (F/USA). The book The Art of the Accident can be purchased or ordered at every bookstore in the Netherlands, at the Netherlands Architecture Institute Rotterdam, and at V2_Organisation, Rotterdam. During the DEAF98 festival, at all other festival locations. 256 pages full colour, price: HFL 49,50 (during the festival, on location, HFL 45,00 with discount coupon) Published by NAi publishers and V2_Organisation ISBN 90-5662-090-8 Check the DEAF98 website for text excerpts: http://www.v2.nl/deaf (projects) Further information: DEAF98 V2_Organisatie Eendrachtsstraat 10 3012 XL Rotterdam T ++31 10 206 7275 F ++31 10 206 7271 firstname.lastname@example.org URL: http://www.v2.nl/deaf ****************************************** JOB POSTINGS ****************************************** VIVID Birmingham's Centre for Media Arts is looking for a Director with the skills to develop creative opportunities in the digital & media arts & cultural industries. Experience of creative project development & management, fund raising, and income generation in the media necessary. Purpose of Post The Director is responsible for the strategic and creative development of Vivid in conjunction with the staff, the management committee and funders. The Director co-ordinates the planning, realisation and promotion of the activities of Vivid. Therefore the key role of the position is the Strategic and Creative Development of VIVID : a) To work with the management committee, staff, funders and other partners to plan Vivid's future development through the production and implementation of a rolling three year artistic and business plan. b) To develop creative and innovative projects that fulfil Vivid's aims and objectives. c) To produce and implement an income generation strategy and develop relationships with existing and new funders and sources of income. d) To develop appropriate partnerships with other organisations and individuals For full details, and a copy of the application form go to : http://wavespace.waverider.co.uk/~vivid/job/direct.htm or email email@example.com or via the address / tel.no. below It should be pointed out that Vivid will increasigly be involved in producing its own new media projects, and developing new practice. This is perhaps not reflected in the current website. If you want to actually speak to someone here, then ask for either andy robinson (digital and photo co-ordinator), or Colin Pearce (Chair of directors). Andy Robinson VIVID Unit 311f The Big Peg 120 Vyse Street Birmingham B18 6ND Tel. 0121 233 4061 Fax. 0121 212 1784 email. firstname.lastname@example.org ****************************************** The FOUNDATION FOR ART & CREATIVE TECHNOLOGY (FACT) is seeking to appoint two new members of staff please circulate the information below: GENERAL MANAGER ref. GM98 (£22k - £25k) PROGRAMME CURATOR ref. PC98 (£18.5k - £21k) As a leading agency for the commissioning, presentation, servicing and support of artworks using existing and emerging technology, FACT has a successful and impressive track record of initiating and producing major international projects including VIDEO POSITIVE and ISEA98, as well as operating MITES (the Moving Image Touring & Exhibition Service). These two new posts are key to FACT's next exciting stage of development including the staging of VIDEO POSITIVE 2000 and the development and completion of the FACT CENTRE - a centre for moving image media in Liverpool. GENERAL MANAGER will be responsible for financial control and planning, human resource management plus business development and planning issues. PROGRAMME CURATOR will have principal responsibility for curating, project managing and organising an international programme of exhibitions and events throughout the UK including the VIDEO POSITIVE biennial in Liverpool, scheduled for 2000. We are looking for dynamic and ambitious individuals who can work energetically and enthusiastically on multiple projects. For further details, please send an A4 SAE (49p) stating the reference number for the post to: Laurie Hunte, FACT, Bluecoat Chambers, School Lane, Liverpool L1 3BX Deadline for receipt of applications: THURSDAY 17th DECEMBER 1998 Interviews scheduled for: week beginning MONDAY 11th JANUARY 1999 The Foundation for Art & Creative Technology [FACT] [The UK's leading development agency for video and electronic media art] ****************************************** Volcano Programme POOLE ARTS CENTRE Poole Arts Trust have been awarded Lottery funding from the Arts for Everyone department to develop an innovative new programme of visual arts (specifically photography and new media). A freelance Project Leader is required to manage and develop the programme on behalf of Poole Arts Centre. The programme, which will focus on photography and new media/digital technology will pilot a new direction for Poole Arts Centre, and for arts and community development across the borough of Poole. The programme is comprised of 3 major commissions, a participatory arts programme, a small exhibitions programme, a training programme and 3 arts festivals. It specifically targets new audiences for the visual arts, particularly young people, people with disabilities, culturally-diverse groups, students and workers. In addition the programme aims to develop strong partnerships between local authority service units, local industry, local further and higher education institutions, artists, and the community. JOB DESCRIPTION 1. To manage and develop the Volcano programme, with the support of the Project Team and Project Steering Group. 2. To create partnerships and develop new links with local industries, higher education, local authority service units and other relevant organisations and individuals. 3. To support the work of artists undertaking the commissions. 4. To develop a series of participatory arts programmes, which meet the needs and aspirations of target groups and individuals, and to support the work of the artists delivering projects. 5. To develop a Website for Poole Arts Centre in conjunction with artists and participants of the Volcano programme. 6. To make presentations about the project to potential partners and other organisations. 7. To access additional resources for the Volcano programme, through business sponsorship, grant aid, income in kind and other fundraising activity. 8. To make verbal and written reports to the Project Team, the Project Steering Group and the Arts Lottery Board. 9. To manage the Volcano budget with the support of the Finance Officer 10. To carry out basic administration of the Volcano Programme The post will be supported by a steering group, an internal project team within Poole Arts Centre and The Borough of Poole's Local Arts Development Officer. PERSON SPECIFICATION You will be a creative thinker and an excellent facilitator. You will be experienced in arts management with an understanding of the needs of artists, and the needs of the potential target groups. You will be able to demonstrate awareness of the issues involved in developing the arts with new audiences, particularly in disadvantaged areas. Well-organised, efficient and imaginative, you will enjoy communicating with a wide range of people. You will be able to demonstrate an enthusiasm for contemporary visual arts, photography and new media/digital technology. EXPERIENCE & SKILLS Essential: a knowledge of new developments in contemporary arts, particularly photography and new media / digital technology a knowledge of arts in education, participatory arts, disability arts, youth arts, public/commissioning arts experience in organising exhibitions experience in fund-raising and applying for grants/sponsorship. Experience of Microsoft Office and related software experience and understanding of the Internet Desirable: experience of working in disadvantaged areas curatorial experience own transport practical experience of participatory arts FEES The fee for the position is 12,000 GBP per year for approximately three years until December 2001. (To be paid in monthly instalments of 1000 GBP). You will be expected to work approximately 3 days per week, although this may fluctuate substantially in accordance with the requirements of the programme. Hours are flexible with some weekend and evening work expected. This is a freelance contract and you will need to make your own Income Tax and National Insurance contributions. Reasonable travel expenses will be agreed. There will be a three month probationary period with one months notice period. Poole Arts Trust operate an Equal Opportunities policy. APPLICATION PROCESS Send a CV and letter of application, including 2 references, to: Alistair Wilkinson, Programme Director, Poole Arts Centre, Kingland Road, Poole, Dorset BH15 1UG. Your letter should indicate what you feel you can offer the project with reference to the person specification and the experience and skills indicated. Please also indicate your availability to take up the role. Please contact the above on 01202 665334, if you would like to have an informal chat about the role prior to application Deadline for receipt of applications: 15 January 1999 Shortlisted candidates will be informed by: 22 January 1999 Interviews will be held on: 29 January 1999 Successful applicant to start as soon as possible. ****************************************** The School of the Art Institute of Chicago ANIMATION Animation/3D Visualization. Full-time, tenure-track, rank open. The School of the Art Institute of Chicago seeks practicing artist to teach and help expand animation courses in art & technology and filmmaking. Animator-filmmakers, 3D animators, and real-time 3D Visualization artists are encouraged to apply. Ability to work with beginning and advanced students. School's open curriculum nurtures experimentation and interdisciplinary work in art & technology, film, video, sound, painting, sculpture, etc. AA.EOE.WMA.. Send letter of application; resume; statement of teaching philosophy; sample of work; names/addresses of 3 references and self-addressed, stamped envelope by February 1, 1999 to: Animation Search Committee/em3, SAIC, Dean's Office, 37 S. Wabash, Chicago, IL 60603. ****************************************************************** The School of the Art Institute of Chicago SOUND Audio Artist/Musician. The School of the Art Institute of Chicago. Full-time, tenure-track, rank open. Sound department seeks practicing audio artist/musician with experience in one or more of the following: digital/analog electronic production techniques, experimental instrument design and construction, improvisation, sound installation, and sound for internet or multi-media presentation. Candidates should be familiar with current critical discourse as well as with the history of audio art and experimental music. Candidates should be comfortable working with sound and music in the context of a variety of artistic disciplines. MFA or other terminal degree or equivalent experience as well as college-level teaching experience required. AA.EOE.WMA. Send letter of application; resume; documentation of work (audio cassette or DAT, VHS/NTSC videotapes, slides, CDs or CD-ROMS, written materials); names and addresses of three references and self-addressed stamped envelope by February 1, 1999 to: Sound Search Committee/em3, SAIC, Dean's office, 37 S. Wabash, Chicago, IL 60603. ****************************************** CALLS & EVENTS ****************************************** 1. [Call for Participation] AT HOME' ABROAD Tábor, Czech Republic August 20-24, 1999 2. [Call for Works] THE NEW YORK ANIMATION FESTIVAL New York City, April 1999 Deadline for submission: February 1, 1999 3. [Call for Participation] STRANGE CASE WITH ART! http://www.cryptic.demon.co.uk/case.html 4. [Call for Submission] POWDERKEG CONTEMPORARY PERFORMANCE Seattle, WA/Los Angeles, CA February 1999 Deadline for submission: January 1, 1999 5. [Call for Papers] EURICOM--WACC COLLOQUIUM ON MEDIA OWNERSHIP AND CONTROL IN EAST-CENTRAL EUROPE Piran, Slovenia, April 8-10, 1999 6. [Call for Submission] MY FIRST WEB PAGE Online Exhibition 7. [Call for Works] CALL FOR FEAR SEEKING MEDIA WORKS SF Art Commission Gallery 8. [Call for Papers] CONVERGENCE: THE JOURNAL OF RESEARCH INTO NEW MEDIA TECHNOLOGIES 9. [Call for Works] LITERATURA Slovenia 10. [Call for Submission] LIFE 2.0 International Competition Madrid, Spain Deadline for submission: January 15, 1999. 11. [Call for Submission] SOUND BOX 2.0 Museum of Contemporary Art in Helsinki, Finland Deadline for submission: February 1st 1999 12. [Call for Scores] ISCM World Music Days 2000 Luxembourg 29 september - 8 october Deadline for submission: March 1st 1999 13. [Call for Entries] VRML.ART Paderborn, Germany February 23-26, 1999. Deadline for submission: January 15, 1999 14. [Call for Participation] 01 ART INTERNATIONAL EVENT Rio de Janeiro, Brazil March 1999 15. [Call for Works] COLLAGE JUKEBOX 2.0 Musee d'art contemporain de Lyon France February to April 1999 16. [Call for Works] INTERNATIONAL FESTIVAL OF YOUNG INDEPENDENT ARTISTS Ljubljana, Slovenia May 1999 Deadline for submission: February 8, 1999 17. [Call for Works] AVAILABLE LIGHT Ottawa, ON Canada Deadline for submission: January 15, 1999 18. [Call for Works] INDEPENDENT EXPOSURE 1999 Seattle, WA, USA 19. [Event] SCHOOL OF SOUND London, UK 15-18 April 1999 20. [Event] W3LAB :: BETA-TEST Exhibit ****************************************** 1. [Call for Participation] AT HOME' ABROAD An Arts Festival of Cross-national Interdisciplinary Collaborations Reflections on Adopted Cultures from Im/E/Migrants, Refugees, Extra-legal and Resident Aliens, and Others making their Homes on Foreign Soil Cultural Exchange Station in Tábor, Czech Republic August 20-24, 1999 As world borders grow, change or disappear, the results are evident in movement: here to there, near to far, inside to outside. This is not a new occurrence, nor is it strange, yet foreigners remain strangers. Through At Home' Abroad we will take a look at our societies from the Other side by discussing and witnessing the experiences, rejections, losses, gains and illusions of these social voyeurs, these uninvited viewers. We will debate the placement of foreigners into non-participatory social categories and offer their descriptions as integral contributions to understanding our societies as a whole. Through the process of collaboration the artists themselves will also investigate the similarities and differences of their adopted cultures. CESTA's festival parameters of cross-national interdisciplinary collaborations represent the center's commitment to developing communication through creative expression. We base our selection of artists on a review of applications resulting from our annual open call. Interested artists submit a prepared concept that fits the festival parameters or request CESTA to connect them with potential collaboration partners. For At Home' Abroad participants must join or present a collaboration group in which the members: 1) currently live in a country in which they are considered "foreign" 2) are using different artistic media 3) create a large portion of the work(s) exclusively for At Home' Abroad We do not accept consecutive year applications from previous CESTA festival participants. For more information or an open call application form for At Home' Abroad, please contact CESTA. CESTA is an international non-profit center committed to the development of cultural understanding and tolerance through the arts. CESTA was founded in 1993 in the southern Bohemian city of Tábor, Czech Republic. For the past four years our association has pursued the development of this center through community events and annual arts festivals of cross-national interdisciplinary collaborations. Housed in a century-old mill, the project serves as a resource center for local and regional artists, and exhibition and performance space for festival participants and visiting artists. CESTA Novakova 387, Tabor 39001, Cech Republic tel: +420-361-258-004 email: http://www.cesta.cz ****************************************** 2. [Call for Works] THE NEW YORK ANIMATION FESTIVAL New York City, April 1999 First annual festival featuring film, video and digital animation from around the world. Deadline: February 1, 1999 Early Deadline: January 4, 1999 For entry form or information, call, fax, write or e-mail your name, address or e-mail address to: New York Animation Festival PO Box 1513 Peter Stuyvesant Station New York, NY 10009 USA Tel: (212) 982-7781 Fax: (212) 260-0912 E-mail: NYAFest@yahoo.com ****************************************** 3. [Call for Participation] Help fill the Strange Case with art! You are one of a number of dispersed and diverse individuals, invited to gather in a virtual place to draw, paint, collage, montage. The resulting artworks will be distributed by hand to other individuals. The art makes random connections between one network and another: between the electronic and the social, from the telematic to the personal. Please alter Polaroid images of the Strange Case: maybe you would like to put something in the case, decorate it, obliterate it, whatever. Download the images via your browser. You will need graphics software, for example Photoshop, Paint Pro, GraphicConverter, to make your marks. Once your work is complete, simply send me an e-mail, with the altered image(s) attached. To take part, visit http://www.cryptic.demon.co.uk/case.html Contributions will be archived on this site for all to see. I will collate the altered images after one month, output to a laser printer, and place them in the Strange Case. Exhibition At the opening of the exhibition, I will invite people in attendence to take an image from the Strange Case. The location will hopefully be Rotterdam, during this year's Dutch Electronic Art Festival. No money will change hands, this is a non-profit project, concerned solely with exchange of ideas. All participating artists will be credited. Gulp! Gallery This project is included in the programme of Gulp! a travelling free space in operation since 1995. For further details, consult the web site: http://www.hi.is/~tbth/gulp "All that is comes from the mind" Chris Byrne, Kaleidoscope email@example.com http://www.cryptic.demon.co.uk/index.html The Strange Case of Art http://www.cryptic.demon.co.uk/case.html Variant Magazine on the web: http://www.cryptic.demon.co.uk/variant.html ****************************************** 4. [Call for Submission] POWDERKEG CONTEMPORARY PERFORMANCE Powderkeg Contemporary Performance is now accepting submissions of contemporary video work that is 20 minutes or under in length. The exhibition will take place in February in Seattle, Wa and in Los Angeles, CA in late Spring of 99. Please send all submissions to: Powderkeg 1122 E Pike St #443 Seattle, WA USA 98122 The deadline for submissions is January 1, 1999, but the sooner the better. Requirements: - each piece submitted should be under 20 minutes - all work should be on 1/2 inch VHS or S-VHS tape - a $5.00US processing fee should accompany your work (the amount of videos you would like to submit is unlimited. The $5.00US fee is per artist, not per submission and is strictly to offset the costs of the venue and necessary equipment for the event, as well as the needed facilities to convert the European format submissions to NTSC) - if you want your work returned, please send a SASE with appropriate postage. - if you want more detailed information concerning the event and or selection process, then send a letter of specific request and a SASE. If enough funding can be generated by local arts organizations and submission fees then the panel will select two artists to travel to Seattle for the opening of the exhibition and present an informal lecture about their work. questions: firstname.lastname@example.org ****************************************** 5. [Call for Papers] EURICOM--WACC COLLOQUIUM ON MEDIA OWNERSHIP AND CONTROL IN EAST-CENTRAL EUROPE Piran, Slovenia, April 8-10, 1999 The European Institute for Communication and Culture and World Association for Christian Communication will hold a colloquium in Piran, Slovenia on media ownership and control in East-Central Europe. With the end of the communist utopia at the turn of the 1980's, East-Central European countries have been undergoing fundamental changes -- in politics, economy, as well as social consciousness. The media followed suit: A few thousand newspapers and magazines changed their owners, many went out of business and even more new ones were launched. Dozens of commercial radio and TV stations have appeared on the market. Nowhere in the world were these changes more dramatic than in East-Central Europe. While the process is still far from complete, there is no doubt that these region has the richest experience of democratisation and its impact on the mass media. The abstract debates about the ideal relationship between the media and democracy have a concreteness and an urgency which are is sometimes lacking in discussions about more stable societies, either democratic or dictatorial. These processes of democratisation have taken place more or less at the same time as the growth of new media, and have clearly influenced both governments and citizens in their thinking about the role and functions of the media. The questions of commercialisation, ideologisation, objectivism, politicisation, private ownership, monopoly, state control, the role of church and, generally, the relationship between the mass media and democracy are hotly debated topics, both by scholars and by political and social actors. This colloquium will address those themes. We welcome papers that look at the experience of the media and democratisation, and the new media and democracy, in both East-Central Europe and other regions to enable a comparative perspective. We are interested in detailed country studies, comparisons of two or more countries either within the region or between regions, and attempts to draw more general theoretical lessons from the concrete experiences in question. As is always the case in Colloquia organised by or with Euricom, we do not intend to prioritise any particular approach or method. We welcome papers from any perspective, or employing any methodology. It is one of the strengths of the kinds of gathering we organise that these differences can be debated and discussed in an open and friendly way, to the benefit of all participants. Abstracts due: January 1, 1998 Papers due: April 1, 1998 Abstracts of approximately 250 words should be submitted to: Slavko Splichal, University of Ljubljana, Faculty of Social Sciences, Kardeljeva pl. 5, 1000 Ljubljana, Slovenija. Fax: +386 61 721 193. E-Mail: email@example.com ****************************************** 6. [Call for Submission] MY FIRST WEB PAGE Submissions are requested for an online exhibition My First Web Page. Curators will comb through the virgin net projects of self-professed artists AND non-artists. Pages focused on personal hobbies or experiences as well as first web pages demonstrating art, programming or underground talent are welcome. URLS or files (appropriate if the first web page is no longer online) should be sent to Heath Bunting (mailto:firstname.lastname@example.org) and Rachel Greene (mailto:email@example.com). Rachel Greene and Heath Bunting ****************************************** 7. [Call for Works] CALL FOR FEAR Seeking media works (video, photography, film, CD-ROM, sound, web) relating to collective disquiet and fear in contemporary society for an exhibition scheduled for Fall 1999. Themes particularly related are: Fear and Anxiety (the state of unease as the Zeitgeist of the times) Fear and the Family Fear and Authority Fear and Technology Fear and the 'Other" (fear of invasions) Send proposals or for a prospectus to: Rupert Jenkins, Paula Levine,curators, SF Art Commission Gallery, 25 Van Ness Avenue, Suite 240, San Francisco CA 94102 ****************************************** 8. [Call for Papers] Convergence: The Journal of Research into New Media Technologies Special issue on young people and new media technologies guest-edited by David Buckingham and Julian Sefton-Green The Winter 1999 issue of Convergence will be devoted to the theme of young people and new media technologies. Debates on this issue typically invoke contrasting visions of the future. On the one hand, there are those who celebrate the autonomy of the new generation of 'cyberkids'; while on the other, there are those who lament the decline of traditional notions of childhood into a technological dystopia. Young people are the key target market for a range of new media products and marketing; they figure in disputes over the place of technology in redefining domestic and public spaces; and they are apparently the most ready to grasp the cultural possibilities offered by new digital media. Developments in this field also reflect the changing nature of 'education' and 'entertainment' and of the relationships between them. Yet research is only just beginning to assess the significance of computer and on-line games, both in themselves and in terms of their influence in other forms of cross-media output; and we still have a long way to go in realising the potential impact of new media in bringing about new kinds of teaching and learning. We welcome submissions relating to the cultural, educational, economic and political dimensions of this field, particularly those based on empirical research into young people's uses of digital media. Copy deadlines Refereed research articles 30 April 1999 Debates 30 June 1999 Feature reports 30 May 1999 All proposals and submissions for this special issue to either: Dr David Buckingham Reader in Education Institute of Education, University of London, 20 Bedford Way, London, WC1H 0AL, UK. Tel: +44 171 612 6515, Fax: +44 171 612 6177, E-mail: firstname.lastname@example.org OR Dr.Julian Sefton-Green, Media Education Development Officer, Weekend Arts College, Interchange Studios Dalby Steet, London NW5 3NQ, UK. Tel: +44 171 284 1861, Fax: +44 171 482 4727, E-mail: email@example.com OR firstname.lastname@example.org All other editorial inquiries, general proposals and submissions to: Julia Knight/Alexis Weedon, Editors, Convergence, School of Media Arts, University of Luton, 75 Castle Street, Luton, LU1 3AJ, UK. Tel: +44 1582 34111, fax: + 44 1582 / 489014 ****************************************** 9. [Call for Works] LITERATURA MAGAZINE I would really appreciate it if you could send me the URL of your: - cyber (hypertext) literature projects - net art projects - theory of computer art If it's not too much trouble it would be very nice if you could include short description (or statement, or something similar) of the project. Please try to be as short as possible (few sentences), use English language and Slovene if you know it. (If you have some information about cyber literature (like URL of on line literature magazines or mailing lists, ...) I would appreciate if you send me this data also.) WHERE TO SEND DATA? Please send data to: email@example.com WHY DO I NEED THIS? I'm one of the editors of slovene literature magazine called LITERATURA. It's published in Slovene language only, but the magazine is now going on line and soon there will be some parts translated into English. Magazine covers poetry, fiction and theory of literature. By going on line it will cover also hypertexts literature and theory and also there will be part about net/web art (computer art). In on line part of the magazine will be a page with links to hypertext literature projects and to other net art projects and also to the theory of net art/ computer art. Best regards and thanks in advance Jaka ****************************************** 10. [Call for Submission] LIFE 2.0 International Competition This is a call for submission of art works to an international competition on "art and artificial life." We are looking for works in electronic and digital media that cross over with the field of a-life research. Artists whose work uses digital synthesis techniques and whose conceptual concerns are related to synthetic life and artificial evolution, are invited to submit their pieces. The work may employ techniques such as digital genetics, autonomous robotics, recursive chaotic algorithms, knowbots, computer viruses, avatars or virtual ecosystems. An international jury (Jose Luis Brea, Manuel DeLanda, Joe Faith, Rafael Lozano-Hemmer, Sally Jane Norman and chair Nell Tenhaaf) will grant three cash awards, with a first prize of US $5,000 (2nd Prize:$3,500 - 3rd Prize:$1,500), plus seven honorary mentions to the most innovative electronic art projects related to a-life. Furthermore, works that are awarded a monetary prize or selected for an honorary mention will be included in a "Best of LIFE 2.0" video which will be aired on specialty television programs and circulated at festivals worldwide. Assessment will be based on video documentation submitted along with an application form. The deadline for submission is Friday, January 15, 1999. The Life 2.0 International Competition is sponsored by the Fundacion Arte y Tecnologia in Madrid, Spain. For further submission information and the application form, please see: http://www.telefonica.es/fat/vida.html For questions concerning eligibility of entries: Nell Tenhaaf, Artistic Director <firstname.lastname@example.org> All other inquiries: Susie Ramsay <email@example.com> ****************************************** 11. [Call for Submission] SOUND BOX 2.0 Webcast Project Date: November 1998 Kiasma, Museum of Contemporary Art in Helsinki Finland, is seeking works for possible inclusion for the upcoming SOUND BOX 2.0 web project. SOUND BOX 2.0 is a RealAudio based experimental webcast, opening on Tuesday April 6th 1999. Webcast will be online for a period of four months at the following address: http://www.kiasma.fng.fi/soundbox/ . SOUND BOX 2.0 will introduce different kind of works and aesthetics concerning electronic music. SOUND BOX 2.0 is looking for fresh ideas, works in which sounds and electronic means are used in imaginary and interesting ways. SOUND BOX 2.0 will give the web audience a versatile vision about the diversity and richness of international sonic art in the 90's. 40 works will be selected for SOUND BOX 2.0 webcasting. The selected works are broadcasted as a nonstop stream, including text information about every composer and work. Visitors can also make their own choices and select whatever pieces they like. It is also possible to leave comments. Each selected composer will receive a fee of 100 USD. Please be sure that you own the copyright of the piece before submitting it. There will also be a possibility that Kiasma, Museum of Contemporary Art will buy a few of these works for its collection. SOUND BOX 2.0 project is curated by composer Petri Kuljuntausta (http://muu.autono.net/artists/kuljuntausta/), chairman of the CHARM OF SOUND association. Formats for submission: - DAT, CD/CD-R, Mini-disc. Please include: - Written artistic statement about the submitted work and bio about yourself and your previous work in diskette (Macintosh / PC). DEADLINE for submissions is February 1st 1999 (postmarked). Submit your work and diskette to: SOUND BOX 2.0 Kiasma, Museum of Contemporary Art Mannerheiminaukio 2 FIN-00100 Helsinki Finland The SOUND BOX Website at: <http://www.kiasma.fng.fi/soundbox/> ****************************************** 12. [Call for Scores] ISCM World Music Days 2000 Luxembourg 29 september - 8 october The World Music Days 2000 will be held in Luxembourg from September 29 to October 8. In order to give as complete an overview as possible of the contemporary music scene, the organizer intends that every national section and associate member taking part in the submission process will be represented in the festival program. Any piece composed after 1975 may be entered. Entries must be accompanied by a recording, except for pieces composed in 1998 or 1999. Pieces written especially for the WMD 2000 should not last more than 10 minutes, to enable the organizer to perform the largest possible number of composers. It is recommended that entries include works for the usual ensembles: symphony orchestra, chamber ensemble (sinfonietta), symphonic wind band, string quartet, woodwind quintet, saxophone quartet, piano solo, piano + solo instrument, etc. During the entire duration of the World Music Days, "sound-installations", video-art, music and film installations, electro-acoustic installations and exhibitions will be on show and can be heard in the Forum d'Art Contemporain in the centre of the city of Luxembourg. In all, there are 14 rooms with a total of 700 m2 for this purpose. An International Jury will decide on the final program of the ISCM World Music Days 2000. Beside the Orchestre Philharmonique du Luxembourg and various Luxembourgish soloists, the performances will be assured by established international ensembles. Entries 1.Each National Section and Associate Member of the ISCM may submit up to six works from at least two different categories as an official submission. 2. Composers including those from countries not affiliated with the ISCM, may submit only one work. An entry fee of Hfl. 50,- (fifty Dutch guilders) has to be paid by credit card, by international money order/mandat de poste international (no bank cheques) or transferred by bank, referring to 'ISCM World Music Days 2000'. If one wishes to pay by bank cheque, Hlf.25,- have to be added. If the entry is not paid to the ISCM Secretariate, Swammerdamstraat 38, 1091 RV Amsterdam, the Netherlands, the submission will be disqualified. 3.Entries by publishers must be accompanied by a letter of consent from the composer. 4.Only one submission per composer can be accepted, whether as a result of national selection or individual submission. Preference will be given to official submissions. 5.Equal attention will be given to all categories of music: a. orchestra (with or without soloists, choir, electronic instruments) b. chamber orchestra c. music for ensemble with or without soloists d. vocal music (choir and smaller vocal ensembles with or without instruments) e. solo instruments (including organ) and/or voices f. electroacoustic works g. music theatre and music for dance h. video (VHS, European format, not US), film, installation/ambient events i. other categories 6. All submissions must be accompanied by the following materials: a. short biography of the composer translated into english b. proof of his/her nationality c. contact address of the composer d. a recording of the work (audio or video VHS; exception: pieces composed in 1998 or 1999) e. programme note to the work translated into english f. year of composition and duration of the work g. all necessary information/documentation relevant for judging by the International Jury h. submissions by individual composers or by publishers have to be accompanied by a proof of payment of the entry fee. 7. Deadline for entries is 1 March 1999 8. All material should be sent to the following address: LGNM Case Postale 828 L-2018 Luxembourg 9.The composers of the selected works must provide all the performance material (including rental material and tape rental). 10.All entries will be treated with great care. The ISCM and organising commitee however can not take responsability for the loss or damage of scores, tapes or any other submitted material. 11.The submitted scores and material will only be returned if this is expressly requested and the cost of postage or freight has been paid. Delegates of the National Sections and Associate Members may collect submitted material from their countries at the General Assembly. 12.All submissions which do not meet the conditions or deadline above will not be considered. Radio Every effort will be made to record as many concerts as possible and to make them available to the radio stations which are members of, or affiliated to the European Broadcasting Union. Financial conditions The organizers of the ISCM World Music Days 2000 will bear the costs for the performance of the works. In the case of a composer having special requirements concerning the performance (e.g. specific performer or conductor) the expenses must be covered by the composer, National Section or Associate Member. The organizer will inform composers in due time on the rehearsals of their works and other relevant things. ISCM World Music Days 2000 Artistic Director: Marcel Wengler Administrator: Luc Blasius tel.: (+352) 22 58 21, fax: (+352) 22 58 23 email: firstname.lastname@example.org internet: http://www.lgnm.lu Address LGNM (ISCM Luxembourg Section) Case Postale 828 L-2018 Luxembourg Fill in the "Method of Payment' form and send this form (eventually with money or cheque) to: the ISCM Secretariate, Swammerdamstraat 38, 1091 RV Amsterdam, The Netherlands add a copy to your entry which has to be sent to the ISCM Luxembourg Section METHOD OF PAYMENT name: address: postcode / town: country: Title of entered work: [ ] I enclose the amount of Hfl. 50,- in cash money [ ] I enclose a bank cheque of Hfl. 75,- [ ] I will tranfer an amount of Hfl. 50,- to account no. 552532088 of the ISCM in Amsterdam, at ABN/AMRO bank in Bilthoven, the Netherlands, swiftcode ABNA 2NLA [ ] I will transfer an amount of Hfl. 50,- via international money order / mandat de poste internationale [ ] I will pay an amount of Hfl. 50,- by credit card. Please charge my [ ] Mastercard [ ] VISA [ ] American Express Card # Expiry date Signature Date Send this form (eventually with money or cheque) to the ISCM Secretariate, Swammerdamstraat 38, 1091 RV Amsterdam, the Netherlands; add a copy to your entry which has to be sent to the ISCM Luxembourg ****************************************** 13. [Call for Entries] VRML.ART -- CALL FOR ENTRIES The 4th VRML Conference will take place in Paderborn, Germany (the first time in Europe) February 23-26, 1999. This year, the conference, a collaboration between the VRML Consortium (www.vrml.org), the Gesellschaft fur Informatik (www.gi-ev.de) and C-lab, the R&D Institut of Paderborn University and Siemens AG (www.c-lab.de/) will feature the VRML.ART expo. DEADLINE to submit projects: January 15, 1999 NOTIFICATION: January 25, 1999 Categories: Artists and designers - Art and design students Projects can be submitted as: Stand-alone VRML -- Web-based VRML -- Multi-user-based VRML Multi-media VRML Work -- VRML Objects and Environments The VRML.ART expo features the ideas and independent creations in VRML from artists, and Web VRML design from commercial designers. It shows the status of VRML based visual work done private, in companies and in schools. A growing number of Art Schools and Art departments in Universities are teaching students VRML based visual work, commercial companies and institutions are starting to implement 3D objects (in their 2D Web representation), and artists are using VRML technology to express artistic ideas and in communication environments. The VRML.ART expo will be presented online, and also featured in a gallery installation at the VRML 99 conference. Works will be juried by Karel Dudesek, Director of VGTV Laboratories (Germany) and Kathy Rae Huffman, Independent curator and Associate Professor of Electronic Art, Rensselaer Polytechnic Institute, Troy, N.Y. (USA) ENTRY RULES: Please specify the category, and provide a URL, title of project, contact name, address, telephone, FAX, and email address. Online submissions: Submission authorizes linking to your 3D site, if selected. Online works must run on max.150 MHz. Please specify CPU power and OS which your work is tested on. CD ROM submissions: Test CD ROMS before sending. Please specify CPU power and OS which your work is tested on. Works with loading problems, or ëalertí messages on VRML dashboard will be automatically eliminated. Return of CD ROMs is not guaranteed. Student submission: In recognition of the growing number of student sites and VRML activity, ALL student works that load properly will be included in a special VRML-student gallery. Class compilations are encouraged. The name of professor or instructor, a list of students included, school name and course title should be included with each student entry. Submit projects on or before January 15, 1999, to: Karel Dudesek, VGTV, Gl?singerstr 40c, D-21217 Seevetal (Germany) 040.7691.0542 Additional information: email@example.com or http://www.c-lab.de/vrml99/ ****************************************** 14. [Call for Participation] 01 ART INTERNATIONAL EVENT We are presenting you with an opportunity to get together with a group of people who are composing and important panel which will be part of an art exhibition on computers that will take place in march 1999 at Rio de Janeiro, Brasil. There are six computer generated images on our site: <http://www.iis.com.br/~regvampi>http://www.iis.com.br/~regvampi Our idea is that these images will come to suffer innumerable free interventions from each participant. The metamorphosis that will be carried out by this image should be sent to pobox: firstname.lastname@example.org . If you prefer the traditional mail, you should sent your image to caixa postal 64050, Rio de Janeiro RJ, CEP: 22012-920, in the form of a print of A4 format, black and white or color, signed by you (if you wish) and it should be accompanied by a return address and the information you want to disclose about your work, or about computer art. Your participation in this project automatically implies that we have the right to use the image you send to the "ÔUANARTE" group. Join us in an event that will reflect the feelings and the imaginary of 1999 so present already within us. ÔUANARTE ARTISTS: Guto Nóbrega e-mail: email@example.com Marcelo Frazão tel: 548 10 88 ramal 254 (SESC / Copacabana) Neide de S e-mail: firstname.lastname@example.org Regina Célia Pinto e-mail: email@example.com Romero Cavalcanti Rubens Ribeiro e-mail: firstname.lastname@example.org ****************************************** 15. [Call for Works] COLLAGE JUKEBOX 2.0 http://www.imaginet.fr/manca/joy/collage Co-production ASSOCIATION ICI / BREGENZER KUNSTVEREIN / MUSEE D'ART CONTEMPORAIN DE LYON NOUVELLE REALISATION / NEW REALIZATION : Musee d'art contemporain de Lyon France 11/02/1999 -> 11/04/1999 APPELS A CONTRIBUTION / CALL FOR WORKS DEADLINE : 8/12/1998 PROCHAINE REALISATION / NEXT REALIZATION : Bar Wagram Nice APPELS A CONTRIBUTION / CALL FOR WORKS DEADLINE: 30/01/1999 Venez rejoindre les quelques 170 artistes qui participent deja au projet. Envoyez vos contributions des maintenant. Come to join the few 170 artists who take part already in the project. Send your contributions now. ---> Jerome Joy, BP 74, 06372 MOUANS SARTOUX Cedex, FRANCE. ---> email: email@example.com ---> fax: 00 33 4 92 92 26 35 INVITATION You are invited to take part in Collage JukeBox, a project of Jerome Joy. Here is the advertisement of the new international project Collage JukeBox. You are cordially invited to take part in this co-operative project of an international edition in a new form: a juke-box. This project proposes new investigations in the field of the sound, in music, visual arts and in other disciplines. It is a project on the " fixed sound " or the " recorded sound ". The original proposal of the Collage Project was two years ago, to can listen to some new sound and musical investigations in knowing that the majority of those are not broadcasted in the traditional networks, and to find some inedite forms of presentation which come out off the beaten tracks and which allow to put together some sound researches in visual arts and musical ones. How the sound invests the contemporary languages today? and which artistic activity and musical possible today? DESCRIPTION The new project Collage JukeBox, after the project of the last year CollageTV and the first version of JukeBox the last summer, uses the device of a "true" JukeBox to become mobile and permanent. The edition consists of evolutionary banks of CDAUDIOs, growing progressively with new contributions, and is representative of new sound investigations in art and music. It is not a question of a collection carried out by collecting, but of a project where we ask each artist to voluntarily take part and to send what he or she desires. You can send to the postal address above your sound and/or musical contributions (works, extracts, documents, etc.) on DAT, CD or audio-cassette, each work must be less than 10 minutes. These contributions are then burned on CD, are inserted in the JukeBox device and are "playable" like tracks starting from the board of the Juke. Specific works for this project of JukeBox are of course welcome and especially desired. The participating artists keep the moral right and the copyright on works sent. JukeBox is free and not-paying. The user chooses one or of the selections on the board of the JukeBox according to the names of the artists and titles' displayed, as on a traditional jukebox. All the selected artists are named (quoted) into each presentation of the project (publication, catalogs, etc). You can invite two or three other artists to participate to the JukeBox project. The Collage title do not want to indicate a selection and a esthetic reference according to this kind, but this choice wanted to reveal this particular juxtaposition of different varied processes and experiences around audio recording. The project Collage JukeBox is permanent today and evolutionary, you can send your contributions when you want. Each presentation of the project is a step of this one, and contains the whole of the participations for a presentation and it choosen date. Be inventive vis-a-vis of the jukebox! COLLAGE Past events: - 1996 "Collage Musiques d'Appartement", non-stop hi-fi dispositive in an apartment open to the public . - 1996 "Collage Musiques de Plein Air", non-stop sound-system dispositive in a public place. - 1997 "Collage TV", 38 TV-programs of 15 minutes each, white screen + sounds. - 1997 "Collage Auditorium", automatic website. - since 1998 "Collage JukeBox", jukebox. (version 1.0, Bregenz Austria, http://thing.at/orfkunstradio/BREGENZ/KIDS/collage.html http://thing.at/orfkunstradio/BREGENZ/IS/RADIO/RA/is-21_7a.ram http://thing.at/orfkunstradio/BREGENZ/RA/jukebox.ram COLLAGE JUKEBOX : CONTEMPORARY ART MUSEUM OF LYON, FRANCE 11/02/1999 -> 11/04/1999 !!!!!!!! DEADLINE : 8/12/1998 Collage JukeBox will be presented during the event "Musiques en scenes" with other projects of Janet Cardiff, Ian Car Harris, Philip Corner, Paul Demarinis, Raymond Gervais, John Giorno, Joe Jones, Collage JukeBox un projet de Jerome Joy, Alvin Lucier, Christian Marclay, La Monte Young, Charlotte Moorman, Charlemagne Palestine, Peter Sinclair & GH Hovagimyan, Michael Snow, Wolfgang Staehle, Doug & Mike Starn, Stephen Vitiello et Bill Vorn. I am sorry for the very short time for the reception of the new contributions and the "montage" of the project, but I was informed myself very late. All the artists will be quoted in the catalog. The JukeBox will be presented in a user-friendly space especially arranged for this purpose (with a bar), and not laid out into exhibition spaces. COLLAGE JUKEBOX : BAR LE WAGRAM NICE, FRANCE Mars 1999 !!!!!!!! DEADLINE : 30/01/1999 Collage JukeBox will be presented into a traditional bar near the Nice 's harbour. PARTICIPANTS The number of participants have not ceased to increase since two years, creating truly an experimental space in which meet as much the artists in contemporary art, composers, musicians, etc. Since the Collage JukeBox Version 1.0, you can find into the JukeBox pieces of these following artists: Annie Abrahams, Anna Adahl, Guenther Albrecht, Dominique Angel, Pierre-Andre Arcand, Eric Arlix, Scot Art, Kenneth Atchley, Christophe Ballange, Christian Banasik, Robert Barry, Frederic Beaumes, Vicki Bennett, John Bischoff, Olivia Block, Blood on the Honky Tonk Floor, Lynn Book, Xavier Boussiron, Steve Bradley, Pascal Broccolichi, Nicolas-Jaufre Bullot, Warren Burt, Rosalie Calabrese, Rhys Chatham,Jeff Chippewa, Henri Chopin, Michel Cloup, Philip Corner, Pierre Couprie, Courtis, Andy Cowton, Kurt Dahlke, Lance Dann, D'Arcy Philip Gray, Sophie Decoret, Paul Demarinis, Ernesto Diaz Infante, Dickyoucantrust, Kristie Drew, Chantal Dumas, Jean Dupuy, Dust Breeders, Karlheinz Essl, David Fenech, Evelyn Ficarra, Rajmil Fischman, Mike Frengel, Bernhard Fruehwirth, William Furlong, Rainer Ganahl, Diego Garro, Marcus Geiger, Thomas Gerwin, Bob Gluck, Fred Gobin, The Golden Gate Fils de Pute, G.R.A.M., Gilles Grand, Alex Grillo, Bruno Guiganti, Martin Guttman, Claudia Hart, Hanna Hartman, Andrew Hauschild, Christophe Havel, Nigel Helyer, Axel Huber, Sung Ho Hwang, Joseph Hyde, Jalouxdemonsucces, Philip Jeck, Thorsten Jordan, Pierre Joseph, Jerome Joy, Luc Kerleo, Martin Kippenberger, KlangKrieg, Imi Knoebel, Koch-Schuetz-Studer, Thomas Koener, Jan Kopp, Charles Kriel, Peter Kristiansen, Christina Kubisch, Petri Kuljuntausta, Eric La Casa, Diane Landry, Heimo Lattner, Richard Lerman, Philippe Legoff, Thomas Lehn, Claude Leveque, John Lever, Ludovic Lignon, Henry Lowengard, Marco Lulic, Erik M., Kenny Mac Alpine, Danny Mac Carthy, Andrew McKenzie / The Hafler Trio, Arnaud Maguet, Eric Maillet, Don Malone, Jose Augusto Mannis, Maxime Matray, Kaffe Matthews, Martin Meilleur, David Michaud, Micromega, Christof Migone, Joachim Montessuis, Michael Morley, Antoine Moreau, Gianni Motti, David Moufang - Move D, Florian Mutschler, Helene Myara, Maurizio Nannucci, Yuko Nexus6 Kitamura, Jerome Noetinger, Ed Osborn, John Oswald, Frank Edward Pahl, Jean-Louis Paquelin, Para-Noise Terminal, Gianantonio Patella, Stacy Pershall, Christophe Petchanaz, Dominique Petitgand, Emanuel dm Pimenta, Jean-Louis Poliart, Andrea Polli / Doorika, RadioActivists, Lee Ranaldo, Maja S. Kjelstrup Ratkje, John Richey, Jocelyn Robert, Jean Routhier, Jean-Philippe Roux, Sabdam, Philip Samartzis, Sam Samore, Claude Schryer, Segovia/Vialard/Guiganti/Myara, Jarmo Sermila, Gemma Shedden, Peter Sinclair / GH Hovagymian, Franck Slama, Isabelle Sordage, Ghislave Sosnowski, Stephane Steiner, Axel Stockburger, Pete Stollery, Allen Strange, Takahiko Suzuki, Taro Suzuki, Gauthier Tassart, Asmus Tietchens, Pascale Tiraboschi, Kasper Toeplitz, Mark Trayle, Trio Erratum, Hans Tutschku, Francoise Valery, Annette Vande Gorne, Jean-Luc Verna, Yann Vero, Christian Vialard, John Voigt, Hans Weigand, Gregory Whitehead, Richard Windeyer, Komminos Zervos, Heimo Zobernig ****************************************** 16. [Call for Works] 3.INTERNATIONAL FESTIVAL OF YOUNG INDEPENDENT ARTISTS Ljubljana/SI, 3. - 9. 5. 1999 Selection process will take place between 25th November 1998 and 8th February 1999. The selection will be completed by 22nd February 1999 any material sent to the below listed address will automatically become a candidate for festival selection. Any application that is not completed in full, or that arrives after the final deadline will not be considered those candidates that have been successful will be notified by 5th March 1999 all artists who have been invited to join the festival will receive travel expenses, expenses for lodging, food and a daily allowance for the time (three days) they are to spend in Ljubljana artists will receive no monetary awards materials from unsuccessful candidates will be returned to senders by 10th March 1999 application the application form consists of two parts part one: general information part two (different media): Relevant material part one: general information 1. the media for which you are applying 2. surname and name of the applicant 3. address (street, town, country) 4. phone, fax, e-mail 5. date of birth 6. CV (education, grants, projects, awards, etc.) 7. information about the the creative personnel and contributors to the project 8. state where you have received information about the festival All the information in answer to points 1 to 5 (including CV) should be on a single A4 page. For further information contact: äOU KULTURA VDOR 21/ BREAK 21 KERSNIKOVA 4 1000 LJUBLJANA SLOVENIA tel: ++ 386 61 1317010/ext. 266 (Cultural Department) fax: ++ 386 61 319448 (addressed to Vdor21/Break 21) Contact: Karla éeleznik e - mail: firstname.lastname@example.org T H E V I S U A L A R T S THEME: THE CLINIC OF IDEAS It is still the idea that matters most not the fact to whom or where it is launched. Therefore the clinic of ideas could and could not be interpreted as Klinieni center (The medical Centre) of Ljubljana. It could be so because the exhibitions will be held at and around the premises of KliniËni center. But we are not interested in health, health service and its politics exclusively. The raid of creativity therefore remains open for numerous themes related to the area of KliniËni center, of which self-sufficiency stands as an allegory for a closed system. We had in mind an exhibition space which is able to attract an audience of all profiles and spur various associations such as masses, energy, drugs, techno, life, death, birth, technology, science, fun and a wide range of others, that haven't crossed our minds yet. SELECTION the selection will be made by Boötjan Hvala, Dunja Kukovec, Maja äkerbotTHE SECOND PART OF THE APPLICATION (IN ADDITION TO THE FIRST PART) MUST CONTAIN: a description of the project intended for the festival (a sketch of the work, measurements and a summary of the message the project is intended to carry) SEND THE APPLICATION FORM TO: chosen location (interior or exterior) all media are welcome (paintings, sculptures, installations, performances, video, internet, photographs...) technical requirements (description of the materials inevitably employed), in case the project is more demanding in technical terms state the approximate duration necessary for its setSOU CULTURA, vdor 21 / break 21,(THE VISUAL ARTS), Kersnikova 4, 1000 Ljubljana F A S H I O N D E S I G N THEME: CHAOS=COOL SELECTION priorities are innovative use of materials, patterns and forms, originality of presentations (models) and basic concept we intend to select between 20 and 25 from all submitted the selected collections will be presented by means of a collective fashion show at the end of which the three most outstanding collections will be proclaimed the organiser of the collective show will take full responsibility for the stage presentation (light, music, choreography, make-up, hairstyle) of the collection the selection will be made by Mateja Benedetti, Monika Lorber, Vanja MeökoTHE SECOND PART OF THE APPLICATION (IN ADDITION TO THE FIRST PART) MUST CONTAIN: a colour sketch of each complete outfit from your collection (not more than two will be accepted) and each collection is understood to comprise 1 to 6 outfits, each on A4, or photographs of already realised outfits. a technical sketch of each model a description of the materials and the techniques employed to make the outfits themselves, and all the decorative items (jewellery, handbags...) a short description of the collection (4-10 sentences) SEND THE APPLICATION FORM TO: SOU CULTURA, vdor 21 / break 21, (FASHION DESIGN), Kersnikova 4, 1000 Ljubljana L I V E P E R F O R M A N C E The intention is to present the creative work of young theatrical artists, provided that they don't work under the auspices of any state-funded artistic institution or art school, but allowing students to present their own autonomous projects. SELECTION projects which will be taken into consideration by the Festival must cover the fields of either theatre, dance or performance art. (verbal dimension of the project should not be put forward - an international aspect of the festival is hoped to be achieved) the duration of individual project is not limited strictly, dance performances can consist of several shorter choreographies) the organisers of the festival will enable those selected to perform in Ljubljana as well as in other areas such as Celje, Ptuj, Maribor, Nova Gorica, Koper, Novo mesto, Izola) those selected will have the opportunity to follow and take part in conferences which will take place during the festival, and which will simultaneously serve as points of exchange between Slovene and foreign artists as well as with the young generation of theoreticians and critics. The selection will be made by Primoû Jesenko, Nina Meöko, Karla éeleznik THE SECOND PART OF THE APPLICATION ( IN ADDITION TO THE FIRST PART) MUST CONTAIN: a rough(i.e. uncut, unedited) video of the whole show + a notice of its duration promotional material (reviews, theatre photos, press photos etc.) technical requirements audio visual requirements stage dimensions and the preferred location of the performance the number of the creative personnel with the functions of the individuals clearly defined SEND THE APPLICATION FORM TO: SOU cultura, vdor 21 / break 21, (LIVE PERFORMANCE), Kersnikova 4, 1000 Ljubljana c a r t o o n a r t theme: peace Peace as a state of mind, a tendency of mankind, peace to all people, eternal peace, Nobel Prize for peace, absence of peace, the Russian space station Peace. SELECTION the cartoons will be exhibited during the festival and published in a special cartoon album the selection will be made by Matjaû Bertoncelj and Martin Bricelj THE SECOND PART OF THE APPLICATION (IN ADDITION TO THE FIRST PART) MUST CONTAIN: an A4 copy of the original cartoon which can be up to 4 pages long, in black and white and in English SEND THE APPLICATION FORM TO: SOU CULTURA, vdor 21/break 21,(CARTOON ART),KERSNIKOVA 4, 1000 LJUBLJANA M U S I C The intention of the festival is to present creative, unconventional and experimental work of the young musicians within a varied spectre of genres and traditions. We wish to present artists whose music is different from conventional aesthetic norms of the musical market and institutions. SELECTION we are open to all musical genres, which radiate with a fresh and innovative feeling projects that connect music with other media (film, video, theatre, musicals...) are also welcome the selection will be made by Peter Kus, Andrej Skaza, Ana Vipotnik THE SECOND PART OF THE APPLICATION (IN ADDITION TO THE FIRST PART) MUST CONTAIN: studio or demo recording (as recent as possible and at least 15 minutes long) VHS recording where applicable exact technical requirements (description of instruments, staging, light, amplification, other) description of the setting, suitable for the performance promotional material ( group projects, logo, media reviews, etc. SEND THE APPLICATION FORM TO: SOU CULTURA, vdor 21 / break 21, (MUSIC), Kersnikova 4, 1000 Ljubljana, SLOVENIA F I L M We will try to find out how deep into the eye of the viewer can the film images of the artists under the thirties penetrate. It will happen less then one year before the arrival of the great 21 century. The intention is to present both feature length and short films, either fiction, experimental or documentary. Video art, music spots and TV programmes will not be considered. Three films will be awarded, the winner will receive a colour film reel Kodak (duration:60 minutes). SELECTION the selectors will pay special attention to films with an individual note selection will be made by Boris PetkoviË-Oli and Nejc Pohar THE SECOND PART OF THE APPLICATION (IN ADDITION TO THE FIRST PART) MUST CONTAIN: a VHS copy of the film: if the film is selected you will be required to submit a copy on 35mm, 16 mm, or Beta. information about the director and creative personnel technical information pertaining to the production and specification of the original format in which the film was made synopsis photograph(s) from the shooting of the film any special information relating to its projectionSEND THE APPLICATION FORM TO: SOU CULTURA, vdor 21 / break 21, (FILM), Kersnikova 4, 1000 L ****************************************** 17. [Call for Works] AVAILABLE LIGHT Available Light, an Ottawa-based collective which organizes screenings and installations of experimental films, videos and other new media, is seeking works to be part of upcoming screenings. They are especially interested in projects done on or about obsolete technologies such as pixelvision, regular and Super-8, 1" video, audio tape and 8-track tape, as well asworks making use of found footage. Other potential screening topics include: "Skin, Scars and Tattoos", "Virtual Life", and works incorporating toys and domestic implements. They are also seeking proposals for installations and performances; these proposals must (if applicable) include a budget. Contact them by phone or e-mail for info on the exhibition space. The installation will be on exhibit from mid-March to mid-April. Submission Deadline: ***January 15, 1999*** Include a SASE for return of materials, as well as how you can be contacted. Submissions should be sent on video or audio cassette. Rental fees will be paid as part of screenings. Available Light c/o SAW Video Co-op 67 Nicholas Street Ottawa, ON K1N 7B9 Questions: please call (613) 238-7648 or e-mail email@example.com ****************************************** 18. [Call for Works] INDEPENDENT EXPOSURE 1999 Seattle, WA, USA Blackchair Productions' "Independent Exposure 1999" Program Seattle video and film artist, Joel S. Bachar founded Blackchair Productions in 1992. Due to the overwhelming lack of independent-oriented screening venues, Blackchair Productions began the "Independent Exposure" microcinema screening program in 1996. This program, held every month at the Speakeasy Cafe has presented the works of over 200 artists from 30 states, 65 cities and 11 countries and has gained an enviable reputation in the network of microcinemas around the country as well as around the world. 1999, the fourth season of the program, will be partially funded by the King County Cultural Arts Commission which means the artists whose works are shown will be paid an honorarium, a gesture that is practically unheard of in the independent film and video arts. "Independent Exposure" is fast reaching a wider audience by being hosted at other microcinemas throughout the world and has been seen hundreds of times in 35 cities, 15 states and 13 countries! Some of the hosting venues have been: CinemaTexas (Austin, TX); The Knitting Factory (New York City); The Mansion Theatre (Baltimore, MD); Arizona International Film Festival (Tucson, AZ); Blue Sky International Film Festival (Las Vegas, NV); Artistís Television Access (San Francisco, CA); Project304 (Bangkok, Thailand); The Terminal Bar (Prague, Czech Republic); Prague Indies Fest (Czech Republic); Volcano Film and Video Festival (London, UK); the Vrij Media Cafe (The Netherlands) and The Soros Center for Contemporary Art (Republic of Macedonia); Videomedeja Festival (Novi Sad, Croatia). Arrangements are currently being made for screenings in Los Angeles, Melbourne (Australia), France, Germany and Northern Ireland. Additionally, the program is netcast every month on The Sync (www.thesync.com). Ultimately, Blackchair Productions, through their "Independent Exposure" screening program and other advocacy efforts, hope to expose, promote and distribute the independent video and film arts to the widest audience possible. For those interested, here is our 1999 Call for Works (which differs from previous years): Blackchair Productions is accepting video, film and computer-art submissions on an ongoing basis for their monthly screening program called "Independent Exposure." 1999 begins the program's fourth year and we want to include you in the show! Artists will be paid an Honorarium! We are looking for experimental, narrative, humorous, dramatic, erotic, subversive, animation and underground works, but will review anything for a possible screening. Works selected will, in most cases, continue on to national and international venues for additional screenings. Submit a VHS (or S-VHS) clearly labeled with name, title, length, phone-number along with any support materials including photos! Also include a US$5.00 entry fee which will be returned to you if your work is not selected! Include an SASE if you wish the work(s) returned. We will get back to you! Send submissions to: Blackchair Productions, 2318 Second Ave., #313-A, Seattle, WA, 98121, USA. Info/details: 206-568-6051, firstname.lastname@example.org, www.speakeasy.org/blackchair ****************************************** 19. [Event] THE SCHOOL OF SOUND NOW BOOKING The second SCHOOL OF SOUND, a four-day symposium exploring the use of sound with moving images, will be held at the French Institute, London from 15-18 April 1999. The unique symposium will take a comprehensive look at the structure and evolution of the modern soundtrack, investigating the creative processes which result in the synthesis of sound and the moving image in film, video and multi-media. Aimed at producers, directors, writers, editors, composers, animators, multi-media artists and all those who suspect that the soundtrack can be infinitely more than merely a tedious post-production necessity, the School will present a rare amalgam of intellectual debate directly linked to the audio-visual and entertainment industries. In a programme of special presentations devoted to post-production, music composition, multimedia and the business side of sound production, the most influential and inventive practitioners and educators in the business will explain their concepts for creating soundtracks. Professionals, £385 + VAT; students, £160 + VAT; a limited number of student bursaries available for UK residents. LONDON FREELANCE REBATE Freelancers who live or work in Central London may qualify for a 50% rebate of their fee from Focus Central London TEC. Call the School of Sound for details. For information & application details, tel/fax +44 (0)171 586 3056; Epesound@aol.com or visit www.audioarts.com/schoolofsound Proposed speakers (subject to confirmation) Laurie Anderson An exclusive videotaped interview with the American composer/multimedia artist Mike Figgis Composer, musician and director of Leaving Las Vegas, One Night Stand and the forthcoming The Loss of Sexual Innocence Simon Fisher Turner Noise and music composer whose credits include Blue by Derek Jarman Michel Chion Composer, theorist, filmmaker and author of Audio Vision: Sound on Screen Roberto Perpignani Italian film editor who trained with Orson Welles and worked with the Taviani Brothers, Bertolucci, Zanussi and Mike Radford (Il Postino) Randy Thom Sound Designer who created the soundtracks for Contact, Wild at Heart, Mars Attacks, Forest Gump, Return of the Jedi and The Right Stuff (Academy Award for Best Sound) Jocelyn Pook Composer for drama, dance, documentary and theatre. Currently scoring Kubrick's Eyes Wide Shut. Peter Kubelka Experimental film-maker, archivist and chef Mani Kaul Seminal Indian film-maker and cultural theorist Paul Webster Chief Executive of Film Four Ltd. Piers Plowright Former Producer of drama and documentary features, BBC Radio Simon McBurney Artistic Director, Theatre de Complicite John Broomhall Producer and Head of Audio, MicroProse UK, publisher of computer entertainment software Owe Svensson Sound Mixer with Andrei Tarkovsky, analyses the soundtrack forThe Sacrifice Christopher Frayling Rector at the Royal College of Art in London; biographer of Sergio Leone Andre Ktori Digital artist, AudioRom Nick Laviers Head of Audio for video game producer Electronic Arts Ltd UK Adele Kellett Sound Designer, Electronic Arts Ltd UK Mark Hall Director of Cosgrove Hall Films animation studios Christian Wangler Sound recordist, producer Keith Griffiths Independent producer of fiction, documentary and animation, Illuminations/Koninck (Institute Benjamenta, London, The Falconer and Radio On-remix) Richard Holmes Producer of Shooting Fish and Waking Ned; Vice-Chair of Film at the Producers' Alliance for Cinema and Television Jake Milton Musician/composer, speaking on the use of music technology in screen productions Phil Parker Screenwriter and Course Director, MA Screenwriting at the London Institute Shoma A. Chatterji Indian film critic highlights the use of sound in arthouse and mainstream Indian cinema Michael Chanan Senior Lecturer at the London College of Printing analyses the work of Latin American documentarist Santiago Alvarez Chris Watson Sound recordist specialising in wildlife sound for film; M.I.B.S., with Jon Wozencroft Editor, Touch (A-V publisher); Tutor in Sound and Graphics, Royal College of Art ****************************************** 20. [Event] W3LAB announcement :: BETA-TEST http://gsa.rutgers.edu/maldoror/techne/w3lab-entry.html The [techne]W3LAB is an online installation of work devoted to the web (web-based projects, networking experiments, performance, software design, VRML, etc.), and will include a range of projects by an international group of digital artists, as well as a "hyper.theory" section of texts by contemporary theorists of electronic culture. This exhibit is being presented through an organization affiliated with the Program in Comparative Literature at Rutgers University called [techne]. Established in 1997, [techne] has held multimedia events, performances, and lectures (including Mark Amerika, The Poool, and Floating Point Unit) on the Rutgers University campus. The purpose of this online show is to foster awareness of the variety and complexity of selected works on the web. The show will run in two phases: Phase I (fall 1998) will be a beta-test preview, and will be communicated to the digital community via mailing lists and other information services. It will focus primarily on web-based works. Phase II (winter 1999) will be communicated to academic and art-based networks and institutions, and will coincide with the annual Program in Comparative Literature conference at Rutgers University, at which time the show will be "installed" during the conference, along with multimedia and networking performances. The conference, whose theme this year is "New World (dis)Orders: Globalization, Culture, Identity," will take place in late February, and will attract a multidisciplinary group of theorists from around the globe. This phase will place equal focus on web-based works and performance/performative works which make use of the Web. Both phases will include ongoing discussions and distributions of issues through the [techne] website [gsa.rutgers.edu/maldoror/techne/techne.html], as well as other online nodes such as Rhizome [www.rhizome.org], Alt-X [www.altx.com], and the show "The Shock of the View" [http://www.walkerart.org/salons/shockoftheview/sv_front.html], presented by the Walker Arts Center. W3LAB participants include :: net.art :: Mark Amerika & Jay Dillemuth, Diane Bertolo, Sawad Brooks & Beth Stryker, Heath Bunting, Contempt Productions (to be confirmed), Vuk Cosic, Critical Art Ensemble, DhalgrenMOO, Disinformation, Ricardo Dominquez & Zhanga, Fakeshop, Floating Point Unit, i/o 360, I/O/D, Oz Lubling, --meta--, Robbin Murphy, Nikolas, Thomas Noller, plumb design, Post-Tool, Erwin Redl, James Roven, Alexi Shulgin, Yoshi Sodeoka, Eugene Thacker, Helen Thorington & Marianne Petit & John Neilson, Annette Weintraub, Arianne Wortzel. hyper.theory :: Mark Amerika, Sawad Brooks, Steve Dietz, Kathy Rae Huffman, I/O/D, Douglas Kellner, Arthur & Marilouise Kroker, Geert Lovink, Lev Manovich, David Porush, Mark Poster, Rhizome, Steve Shaviro, VNS Matrix. For more info see the [techne] website at http://gsa.rutgers.edu/maldoror/techne/techne.html or contact Eugene Thacker at email@example.com For info on the "Globalization" conference http://complit.rutgers.edu/conferences/new_world_disorders [techne]W3LAB: works-in-progress/works-in-process ______________________________________________________ Editor: Isabelle Painchaud / Translation: Michel Lefebvre Collaborators: Eva Quintas, Claude Schryer, Mike Stubbs, Nils Aziosmanoff. ______________________________________________________ ISEA, P.O. Box 508, Succ. Desjardins, Montreal (Qc), H5B 1B6, CANADA Phone: (514) 281-6543, Fax: (514) 281-6728 Email: firstname.lastname@example.org URL: http://www.isea.qc.ca _____________________________________________________________ ISEA Board Members: Nina Czegledy, Kathy Rae Huffman, Tapio Makela, Amanda McDonald Crowley, Alain Mongeau, Cynthia Beth Rubin, Thecla Shiphorst, Atau Tanaka, Wim van der Plas. ___________________________________________________________________ ISEA LISTSERV: To subscribe, send a message to: email@example.com, no subject, with the message in the body: "subscribe ISEA-forum first name last name" =================================================================== ISEA distributes a hard copy version of this Newsletter in order to keep its members, who have no access to Electronic Mail, informed. Those members can, if they desire, get in touch with the email addresses mentioned in this Newsletter by contacting ISEA. Support: La Fondation Daniel Langlois, Ministere de la culture et des communications du Quebec, Montreal International, Ministere des Relations Internationales, Ministere des Affaires Etrangeres, ANAT, FACT, Leonardo, SAT, Universite du Quebec a Montreal, Public Domain. =================================================================== end of newsletter
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