presenting @ DOCAM I will be presenting my Media Art Histories research and development of the Phil Morton Memorial Research Archive in the MEDIA IN MOTION: The Challenge of Preservation in the Digital Age conference next week. MEDIA IN MOTION occurs on October 29, 2008 at McGill University in Montreal. MEDIA IN MOTION is a project of DOCAM and Media@McGill. DOCAM is “an international research alliance on the documentation and the conservation of the media arts heritage, initiated by the Daniel Langlois Foundation for Art, Science, and Technology.” DOCAM and the Daniel Langlois Foundation are world leaders in the conservation and preservation of Media Art. Media@McGill is “a hub of research, scholarship, and public outreach on issues and controversies in media, technology, and culture” and is based in the Department of Art History and Communication Studies at McGill University.
I will be making the presentation materials and documentation available on this blog during and after the event. - jonCates
"Fair Use and the Future of the Commons," discussion on HASTAC.org "An announcement from HASTAC.org
Veronica Paredes, a HASTAC Scholar from USC, has just opened our next HASTAC Scholars Discussion Forum on "Fair Use and the Future of the Commons," featuring the non-profit advocacy coalition Critical Commons. Please come join the discussion!
Fair Use and the Future of the Commons Discussion forum open now at www.hastac.org
Coinciding with a day-long Critical Commons event to take place at USC's Annenberg Research Park on Oct 27, this forum will address the fear, uncertainty and misinformation dominating the discourse of copyright and intellectual property. Fair Use has become one of the most vexing issues in today's academic landscape. As educators, what are our rights and responsibilities when working with copyrighted media (images, audio, video) under the current copyright regime? In light of recent developments in legislation (e.g. the creation of a 'copyright czar'), how is this copyright regime changing? How can media scholars and artists avoid chilling effects and self-censorship? How can we contribute to advocacy and reform of fair use protections?
Inspired by Critical Commons, a non-profit advocacy coalition that supports the use of media in educational contexts, this forum will explore these urgent questions and aim to provide some tangible answers. The forum will also document and engage a real-life Critical Commons event - a series of presentations and discussions with key players in the advancement and redefinition of fair use (which will include a keynote presentation from Peter Jaszi, Professor of Law at American University and co-chair on the Code of Best Practices Committee at the Center for Social Media). The event will be coupled with a faculty showcase and hands-on workshops at the Institute for Multimedia Literacy (IML), as well as a virtual space to join in on the conversation at the IML island in Second Life. Possibilities for participation are many and diverse: read and post on the forum; attend presentations and discussions in Second Life; visit us in Southern California and participate in a workshop at the IML!
The goal of this forum is to bring clarity to questions of fair use for scholars and educators working with copyrighted media for research, teaching and electronic publication. This forum, in its multiple forms, will facilitate some much-needed discussion of the state of contemporary Fair Use and where we should be setting our sights for the future.
Veronica Paredes is a PhD student in the new interdivisional program Media Arts and Practice (iMAP) at USC's School of Cinematic Arts. While at USC, she has worked as a research and teaching assistant for the Institute for Multimedia Literacy. Her research interests include digital scholarship, transnational online economies and audio culture. Her work explores histories of technology and culture through the topics of gender, labor and race.
Critical Commons, a winner of the 2007 HASTAC/MacArthur Foundation Digital Media & Learning Competition Knowledge Networking award, is a non-profit advocacy coalition that supports the use of media in educational contexts, providing resources, information and tools for scholars, students and educators. They aim to: Facilitate the writing and dissemination of best practices and fair use guidelines for academic communities; Showcase innovative electronic scholarship that is free, open source, or fair use; Inform educators about current copyright law and its alternatives; Provide a tool for viewing, tagging, annotating and distributing media for classroom use; Build an open, informed community around media-based education, scholarly research and critical practice; and Share tools, resources and information of interest to educators, students and researchers."
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Tuesday, October 21, 2008
Art Game documentation archive on Internet Archive "A new game video collection at the Internet Archive - games for art's sake.
We are pleased to announce a new game video collection hosted by the Internet Archive, called "games for art's sake" - http://www.archive.org/details/game-art. This is devoted to providing online documentation of both individual works and exhibitions of game art, art games and related work made "for art's sake".
Games constitute a large and important field of contemporary art. How this art will withstand the passage of time remains an open question. This collection is intended to provide a stable and enduring site for the hosting of documentation about games made for art's sake.
Artists, curators and others with relevant documentation of game art are encouraged to contribute their files to the collection. To do this, first upload them to the Internet Archive's open source video collection, using the tool at http://www.archive.org/create/. Then email us at and we will moved them into the "games for art's sake" collection. This will be viewable at http://www.archive.org/details/game-art
ISEA2010 info The ISEA Foundation Board is pleased to announce that Medienwerk NRW, Germany will host ISEA2010 as part of the European Capital of Culture RUHR.2010.
Medienwerk NRW is a consortium from the North Rhine-Westphalia area of Germany including currently 16 institutions working in different areas of media culture: Music, Performance/Dance, Art, Research, Education and Digital Heritage.
HMKV which acts as the branch office of Medienwerk NRW will organise the conference in cooperation with ISEA2010's artistic director Dr Andreas Broeckmann in Dortmund, Essen, Duisburg and other cities of the Ruhrgebiet between August 20 and 29, 2010 - integrated into a month of media arts within the RUHR.2010.
The programme will include conferences, exhibitions, audio-visual and dance performances, projects in public space, artist presentations, workshops, an E-Culture Fair and Artists-in-Labs-programme.
ISEA2010 will be held from 20 - 29 August 2010. The call for proposals, papers and presentations will be published on June 1 2009 with a deadline of 15 September 2009.
BOXEN seeks donated space we are BOXEN and we are seeking a donated space to develop our collaborative project.
can you help?
do you know a landlord or building owner who might be interested in hosting us?
do you have free space that you are not using?
we know this may sound strange but you might know someone or have sum space available and anything you can think of or might suggest could help so please email us if you have any suggestions
BOXEN is an open organization committed to the production and discussion of experimental work at the intersections of digital/electonic art, hacker/activist culture, live performance and electronic music.
BOXEN is a collective of artists/hackers/activists/educators who have self-organized to develop a new work, education and performance space.
collectively we have a wide range of experience in organizing spaces and events and teaching workshops and classes... we are on faculty, teaching or have taught @ The School of the Art Institute, Columbia College, Marwen, Street Level Youth Media, Experimental Sound Studio, etc... and have organized or been involved in the immediate organization of spaces, events and platforms such as dai5ychain, r4WB1t5, BUSKER, HARDCoded, Chicago Hackmeetings, [FRAY], Version Festivals (02, 03 and 04), etc... we have also participated as artists and organizers of events @ spaces throughout Chicago such as DEADTECH, dorkbot, Messhall, ENEMY, Polvo, Heaven, Links Hall, Chicago Art Department, etc...
IF YOU HAVE IDEAS FOR DONATED SPACE PLEASE EMAIL US
2nd Call for Artworks and Art Projects, Papers, Workshops, Open Spaces and more - ACROSS EIGHT SUB-THEMES Abstracts for papers and descriptors of artworks/projects, panels and workshops etc are sought for ISEA 2009 that will illuminate both the near and long term Future of Digital Media Culture. Papers which present research outcomes, track trends or developments, describe case studies or works in progress, are speculative projection, challenge existing paradigms or record a history, are all welcome.
Submissions are encouraged from any professional, craft or scholarly field that relates to communications art/design, cultural expression, practice and aesthetics, and the technical means by which they are enabled.
The sub-themes: Citizenship and contested spaces Interactive storytelling and memory building in post-conflict society Interactive textiles Tracking emotions Posthumanism: New technologies and creative strategies Positionings: local and global transactions Transformative creativity - participatory practices Entertainment and Mobility
Citizenship and contested spaces: Over the past decades international mobility, forced and voluntary migration has changed the social fabric of many societies. Alongside a growing ethnic and cultural diversity within countries, the nation state as discrete, bounded entity is itself increasingly being eroded under the influence of global capital and digitisation. This theme invites contributions that explore and challenge established and common sense notions of citizenship and interconnected value hierarchies particularly in politically, socially and culturally contested contexts. It aims to encourage debates on alternatives to the hegemonic model of democracy, and seeks alternative visions and creative strategies for citizen practices in contested spaces based on the (perceived) potential of digital technologies.
Interactive Storytelling and Memory building in post-conflict society Invited are innovative and advanced strategies of constructing inter/active storytelling through collaborative and participatory practices that build on, mobilise and explore the long tradition of oral story telling. Of interest are how stories operate in the formation of memories within post-conflict (but still conflicted) society individually and collectively, and what potential they may have in conflict transformation and identity re/formation. Considerations of aesthetic and ethical concerns both within the narrative domain as well as in technological realisation and dissemination / distribution are welcome too.
Interactive Textiles The theme invites contributions related to creative and technical production and application processes that challenge and extend conventional methods of working with textiles and their perceived material properties. It aims to give consideration to innovative ways to produce and use textiles, materials and forms that are capable of extending and responding to interaction. The panel will profile fibre and fabric structures that promote expression, communication and enhanced or altered behaviours. What kind of ‘second skins’, artifacts and constructions can be created that support interactions and context awareness?
Where are the hardware, software and material challenges, the ethical concerns, sustainability issues, aesthetic, cultural and activist potential? Themes may include- • Information gatherers and communicators • Mobile and personalized communication systems • Enhanced aesthetics, • Adoption strategies • Wireless sensor networks and wearable computing • Performance measurements in the medical and sports sectors
Positionings: local and global transactions The theme takes its point of departure the processes through which spaces are being constructed, re-mapped and negotiated in the contemporary situation of global capital, digitisation and migration. Issues of space are highly pertinent in terms of its constitution, perception, appropriation, consumption. These issues cannot be divorced from a scrutiny of the social, political, cultural and medial conditions under which spaces are being produced, trans/formed, and re/presented. Of particular interest are new and convergent models of space and spatial dynamics, and thus of reality construction, whether real, virtual or augmented, and the challenges they pose to the relationship between local(ised) and global(ised) transactions in the cultural domain and the re/formation and re/presentation of identities connected to them.
Transformative Creativity - Participatory Practices The theme highlights the operations and limitations of conventional (post-modernist) aesthetic models and cultural representation in relation to the clash of different ideological perspectives, vested interests and authority, whether they concern outright economic interests, political power or the relationship between different domains of knowledge production like art and science, or authorship and expertise, production and consumption. Contributions are invited that challenge established templates of creative practice and audio- visual / multimedia re/presentations and their associated hierarchies of value, modes of understanding and agency in society. This strands focuses on the prototyping and probing of innovative ways of dialogic exchange, of collaborative and participatory creative engagement across the domains of creative practice and the ‘production of theory and reflection’. Proposals are thought that reconsider the transformative potential of creativity in society and scrutinise the role of and relationship between artist and collaborators/participants through the use of digital technologies and the development of innovative/alternative circuits of distribution, debate and social and political inter/action.
Tracking emotions The theme invites contributions related to emotions. It aims to give consideration to innovative ways to scan, model, simulate, stimulate, reproduce and trigger emotions. The theme takes its point of departure the human emotions utilized in different creative processes. Where and how can artists and researchers utilize new technologies to find about spectators’ - users’ emotions? How do we trigger, research, teach, and organize, emotions? Emotions are extremely complex but with the new technologies we are for the first time able to quantify and scan them. How do we differentiate in different emotional experiences? How artists make certain that artworks trigger wishful emotions? Of particular interest are new scanning technologies, different emotional models -whether describe emotions and related processes or use emotions or metaphors based on emotions to describe different processes and new art forms where spectators emotions are used for interactivity or reshape of the artworks.
Posthumanisms: New Technologies & Creative Strategies Posthumanism operates at the interface of transhumanism and cyborgology, drawing attention to the convergent spaces of biology and artifice. Its manifestation through a range of biopolitical events, along with an aesthetic staging of bioethical encounters ruptures the polarized views of bioconservatism and technoprogressivism, provoking a series of conflicts that demand multi-layered conceptual apparatus to unravel. The sensory habitus of posthuman prostheses initiates the re-staging of design principles to anticipate the demand for new sensory experiences, technologies, services. This theme explores and expands our understanding of how innovative hardware and technologies are constituted by shifts of new art and design forms and how modes of sensory experience alter arts. For example, what kind of experience is generated through imaginations of posthumanity in different art and design forms? What do viewers expect from artists in terms of adopting posthuman technologies and modes of sensory delivery? How do we prepare and critically engage new generations of artists, designers and consumers through these technologies?
Entertainment and Mobility Theme seeks to identify the development of entertainment and mobile media toward arts and to understand how gaming and mobile expressions, technologies, products, services and media can shape new art forms and reshape existing art forms. Areas of possible presentation include, but are not limited to, the following: Uses of mobile technologies in arts. Uses of gaming in arts. New gaming technologies New mobile technologies Cataloging and archiving mobile artifacts Mobile and gaming experimenting. New art forms utilizing mobile technologies Mobile technologies and the delivery of art and culture experiences, services and resources Usability Mobile collaborating
DEADLINE FOR ABSTRACTS, ARTWORKS AND INITIATIVES, PROJECTS AND WORKSHOPS ETC - 17 NOVEMBER 2008
Go to http://www.isea2009.org for further detailed information on symposium sub-themes, broader ISEA2009 activities and information on how to submit your paper/project proposal.
CALL FOR WORKSHOPS, ROUNDTABLES/PANELS/FORUMS/TUTORIALS AND OPEN SPACES
Proposals are sought for ISEA 2009 that will illuminate both the near and long term future of Digital Media Culture. Submissions are encouraged from any professional, craft or scholarly field that relates to communications art/design, cultural expression, practice and aesthetics, and the technical means by which they are enabled.
CALL FOR ARTWORKS AND INITIATIVES ISEA 2009 invites artists, creators and researchers to submit their works. Submissions are encouraged from any art, craft or professional field. Artists, early career scholars and PhD students are particularly encouraged to submit.
REVIEW PROCESS All paper and project proposal will be double blind peer reviewed by an international panel and published in the proceedings. Other, more substantial publishing opportunities may arise in due course.
Fields of inquiry and practice: ISEA 2009 accepts submissions from following fields of inquiry and practice: electronic art, cultural activism, socially and politically engaged practices, mobile environments, locative media, GIS, interactive and nonlinear storytelling, electronic fiction, hypertext, interactive television and cinema, multimedia, new media, streaming media, cinema and video, video art, video installation, interactive and networked performance, digital aesthetics, theory, history, computer games, games culture, games system design, games theory, bio-art, nano-art, sound, electronic music, interactive architecture, MOOs, MUDs, RPG, augmented reality, virtual reality, virtual worlds,
DATES FOR SUBMISSION
Dates for the submission of 500 word abstracts/proposals: 17th of November 2008
If you have any further questions or problems, please don’t hesitate to contact email@example.com
READ this instruction paragraph carefully ONLY SUBMIT A 500 WORD ABSTRACT FOR PAPERS AND/OR A DISCRIPTOR OF ARTWORKS, ART PROJECTS ETC FOR THE 17TH OF NOVEMBER DEADLINE. PROVISION FOR SUBMITTING PAPERS ON THE WEB PLATFORM IS FOR A LATER DATE. YOU WILL BE GIVEN PLENTY OF NOTICE FOR THIS BY THE CHAIR OF YOUR CHOOSEN PANEL. ARTWORKS AND ART PROJECTS SHOULD BE SUBMITTED UNDER THE SAME PLATFORM. YOU CAN ATTACH ONE PDF DOCUMENT WITH IMAGES INSTEAD OF A PAPER IF YOU WISH TO SUPPORT YOUR ARTWORK OR ARTPROJECT WITH VISUALS. THE INTERNATIONAL PROGRAMMING COMMITTEE MAY REQUEST FURTHER INFORMATION FROM YOU AT A LATER DATE. THE PLATFORM WILL BE OPEN FOR YOUR SUBMISSIONS IN THE NEXT TWO WEEKS.
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"Your unsubscribe request has been received." migrating all my email to gmail has involved making sum changes. as i wrote in my last post, the amount of mail that i look @ when i immediately login was intimidating @ 1rst but then i realized that it was in fax less then i thought it would be. + then i decided to thin it down even more. so i have started to unsubscribe to listservs, announcement lists, etc that i dont rly think/feel that i need to be on anyMore... it's a good feeling to narrow the focus + also to not feel that i am aquiring email that i wont ever rly read
additionally, i am just deleting emails that i will not read or that or redundant, i.e. announcements from Social Software like Facebook, etc
so, in general, the gmail inbox will be more streamlined then my standalone email apps have been in the past
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Thursday, October 09, 2008
When you stare into the inbox, the inbox stares back at you. when i was just staring into my Gmail inbox, i experienced a groundlessness as i was thinking/feeling about the fact that my local Mail.app filtering system moves all incoming email into over 180 folders + Gmail displays all these msgs in front of me. the Existenstial groundlessness comes from the feeling that i am standing on the edge, looking over @ an ever expanding depth of incoming msgs from listservs + announcemtent services + such... the other problem is that i have, for the most part, over the last 2 years, become less active on these listservs + just recently, over the last weekend, caught up w/reading recent posts to all of these lists...
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email archives, blocked ports + Temporary Errors my Sent email for my joncates AT criticalartware account was not archived over the last 5 months b/c when i rebuilt the account in my Mail.app on the Mac OS i overlooked the setting above
i have been saving/archiving my email for the accounts above since i began them. this archive has been locally stored on my machines + regularly backed up
so, i was a bit frustrated when i realized that overlooking this setting has caused me to lose the archive of the last 5 months of Sent email
i realize that sum ppl use email like a speech act, letting it be a conversational exchange that flows between ppl + is not contained, recorded, archived, etc
+ i can be ok w/my oversight b/c i emailled ppl + they replied or they didnt, i posted to lists + those posts are available on those lists, etc...
but this has prompted me to think + feel my way through reconsidering how i am using my email + my local archives of my email
then over the last couple daze of reconsidering this, Comcast stopped port 25 on my home service + alternate ports like 587 aren't working either. i contacted customer service yesterdaze + chatted w/them during which they said: "It should not have worked. If it did, it was a discrepancy, not a consistent, reliable port." + that "Port 25 has never been a valid port" which is ridiculous...
so then this morning i felt like trying to give myself over to gmail + letting gmail be my solution to these situations. but as i was setting my criticalartware POP acc to be collected + available from inside my gmail, i started getting errors like: "Temporary Error (502) We’re sorry, but your Gmail account is temporarily unavailable." while i was still logged in. so that "Temporary Error" stuck after multiple logOuts + logIns + now i'm not sure...
ppl i trust told me that they use gmail + that they dont care that Google is rendering them by automagically reading all their mail. i trust these ppl, they are my friends, but im not sure i feel as ok w/that algorythmic rendering of myself as they do about Google knowing them so well
+ so im currently stuck between blocked ports, Temporary Errors, local + networked archives of email + a growing mess of duplicate files produced by shifting back + forth from various email solutions over the last few daze...
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"The exhibition is to take place at 112 South Michigan Avenue at The School of the Art Institute of Chicago. Rooms 415 and 417, on the date of October, 10th, 2008, from six p.m. until nine p.m.
Preview at five p.m. Opening at six p.m. Existential Computing screening at six-thirty p.m. Skype poetry reading at six-forty-five p.m. After-party at nine p.m.
For more information, please contact Nate Hitchcock at +1 (254) 214- 9369, or firstname.lastname@example.org
Featuring: interactive websites by Angelo Plessas and Rafael Rozendaal, a Youtube conversation by Miltos Manetas and a Skype Poetry reading and posters by Nikola Tosic. Additional decorations will be provided by Nate Hitchcock, including the first of the “Wireless Manetas” painting series.
Neen was discovered in 1999 by Miltos Manetas and his friends. Commissioned by Miltos Manetas and Yvonne Force of Art Production Fund, a computer at Lexicon Branding Corp. gave the name of Neen to a new generation of artists. The name was announced by a Sony Viao at a crowded Gagosian Gallery in New York. Since then Neen has gained world recognition as a leading art movement of the 21st century. ( http://www.neen.org )
Miltos Manetas was the first artist to paint cables on a large scale, and was the first artist to place a video game screen grab in a gallery space. Two of his “Internet Paintings” have recently become a part of the Charles Saatchi collection and his seminal website “Jacksonpollock.org” was voted one of the top 50 coolest websites of all time, by TIME Magazine. His work in this exhibition is titled “Existential Computing” It is his way of introducing a conversation with the world. It is about our new life with our technologies. The viewer is invited to respond to the piece via Youtube. ( http://www.manetas.com )
Angelo Plessas is a Neenstar and the founder of the Angelo Foundation. This means he is a star of Neen. Angelo Plessas has shown all over the world at many highly respected venues. These include: Fargfabriken in Stockholm, Blow de la Barra gallery in London, The Museum of Contemporary Art in Athens, the 3rd Valencia Biennale and has received the 2009 Rhizome grant for his new website, ElectricityComesFromAnotherPlanet.com. In 2003, Miltos Manetas wrote about Angelo Plessas, “As it happens with any new Modus Operandi, only very few creators have the courage and the determination to use Flash Animation in order to create important art and Angelo Plessas is one of those few.” Plessas' works in this exhibition consist of interactive portraits in the form of websites. They are of different types of characters that can inhabit our screens. Through interaction with them we may discover new things about ourselves and about them. ( http://www.angeloplessas.com )
Rafael Rozendaal is also a Neenstar. Rafael Rozendaal has shown his works many different places including, Deitch in New York, Casco in Utrecht, Hayward Gallery in London and the New Museum in New York. Rozendaal's will be showing several landscape websites created in Flash. His works are creative and emotional portrayals of digital culture, reminiscent of old Romantic masterworks. ( http://www.newrafael.com )
Nikola Tosic is a poet and Neenstar. His poetry is brilliantly honest in an age where stupid humor permeates everything online. His use of simplicity in writing and publication mimics, destroys and recreates all known forms of Internet convention. Tosic's works in this exhibition will be a specially commissioned poster about the rules of the computer lab. He will also be performing a reading of his poetry via Skype. ( http://www.tosic.com )
The Angelo Foundation is an organization founded by Angelo Plessas. Its main purpose of existence is to promote contemporary ideas and future forward thinking in the fields of art, culture and computing. The Angelo Foundation is against copyright and intellectual property. ( http://www.theangelofoundation.com )
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CHICAGO WORKS - Andrew Hicks (2008) "This weekend marks the international debut of CHICAGO WORKS, an hour- long video program curated by Andrew Hicks featuring many wonderful artists from the Chicago area. The show is part of the weekend-long Parnu International Film & Video Festival held in Tallinn, Estonia:
Sasha Samochina RJ Chmiel Jared Larson Taylor Hokanson Chris Reilly Emily Kuehn Amber Hawk Swanson Stacia Yeapanis ilovepresets Matthew Nelson Aaron Henderson Sandra Rosas-Ridolfi Niki Nolin Janell Baxter Andrew Hicks"
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(Film, Video and New Media department at The School of The Art Institute of Chicago; New Media Art Histories; Art Games + Independent Gaming Cultures; Open Source, Artware + early Video Art; Computer Witchcraft + Majikal Media Art)