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Table of Contents:
FDL-Tribute to the Vasulkas / Hommage aux Vasulka
Angela Plohman <aplohman@fondation-langlois.org>
editorial job at Mute
Josephine Berry <josie@metamute.com>
Re: <nettime> Censoring Porn: An Experiment in Waste
andrew garton <agarton@toysatellite.org>
Call for...
Are Flagan <areflagan@mac.com>
TWO DIGITAL ARTISTS POSITIONS AT UCSD
Lev Manovich <manovich@ucsd.edu>
"A virtual memorial" October / "A virtual memorial" Octobre
"Garrett Lynch" <garrett_44@hotmail.com>
announcement: a "user-driven" alternative
Bill Spornitz <spornitz@mts.net>
GameArtResearch || Seeking Submissions ||
"nearhere" <nearhere@selectparks.net>
------------------------------
Date: Fri, 12 Oct 2001 13:47:14 -0400
From: Angela Plohman <aplohman@fondation-langlois.org>
Subject: FDL-Tribute to the Vasulkas / Hommage aux Vasulka
- --le français suit ci-dessous--
Press Release
Steina and Woody Vasulka : Instrumental Video
http://www.fondation-langlois.org/e/collection/vasulka/archives/index.html
Montreal, October 12, 2001 - The Daniel Langlois Foundation for Art,
Science, and Technology is proud to present a new section of its Web site
dedicated to two pioneers of electronic art active since the late 1960s.
Based on the archival documents in The Steina and Woody Vasulka Archives,
this section marks the beginning of a research process devoted to the
collections acquired by the Foundation that will enrich the documentation
offered on-line.
Steina and Woody Vasulka make instrumental video like others make
instrumental music. More than video artists, the Vasulkas have been
explorers of electronic media - first analog (from 1971 to approximately
1978) then digital - for over three decades. Steina, the "musician," is
interested in the vision of machines (Machine Vision) and in the perception
of landscape, developing her own editing syntax, and image and sound
treatment processes. Woody, the "filmmaker," studies the possibilities of
generating forms, both visual and sound-based, and works to develop an
electronic synthesis that moves away from the camera.
Steina is Icelandic, Woody is Czech. She was trained as a violinist, he is a
poet, engineer and filmmaker. Together, they emigrated to the United States
and made a home in New York in 1964. In 1971, they founded The Kitchen in
New York. They subsequently moved to Buffalo (NY) in 1973 and then, in 1980,
to Santa Fe, New Mexico where they reside today.
- - 30 -
Source :
Jean Gagnon, Director of Programs of the Daniel Langlois Foundation
Audrey Navarre, Assistant to the Director of Programs
(514) 987-7177, anavarre@fondation-langlois.org
http://www.fondation-langlois.org
- ----------
Communiqué
Steina et Woody Vasulka : De la vidéo instrumentale
http://www.fondation-langlois.org/f/collection/vasulka/archives/index.html
Montréal, le 12 octobre 2001 - La fondation Daniel Langlois pour l'art, la
science et la technologie est heureuse de présenter une toute nouvelle
section de son site Web consacrée à deux artistes pionniers des arts
électroniques à l'oeuvre depuis la fin des années 60. Élaborée à partir des
documents d'archives du Fonds Steina et Woody Vasulka, cette section amorce
un processus de recherche portant sur les fonds acquis par la fondation, ce
qui permettra d'enrichir la documentation offerte en ligne.
Steina et Woody Vasulka font de la vidéo instrumentale comme d'autres font
de la musique instrumentale. Plus que des vidéastes, pendant trois
décennies, les Vasulka ont été des explorateurs des médias électroniques -
d'abord analogiques (de 1971 à 1978 environ), puis numériques. Alors que
Steina, la « musicienne », s'intéresse à la vision des machines (Machine
Vision) et à la perception du paysage tout en développant sa propre syntaxe
du montage et du traitement de l'image et du son, Woody, le « cinéaste »,
étudie la possibilité de générer des formes, visuelles et sonores, et
travaille à une synthèse électronique ne faisant plus appel à la caméra.
Steina est Islandaise, Woody est Tchèque. Elle est violoniste de formation;
il est poète, ingénieur et cinéaste. Ensemble, ils émigrent aux États-Unis
et s'établissent à New York en 1964. En 1971, ils fondent The Kitchen à New
York. Puis ils déménagent à Buffalo (NY) en 1973 et, en 1980, à Santa Fe au
Nouveau-Mexique où ils résident présentement.
- - 30 -
Source :
Jean Gagnon, Directeur des programmes de la fondation Daniel Langlois
Audrey Navarre, Adjointe à la direction des programmes
(514) 987-7177, anavarre@fondation-langlois.org
http://www.fondation-langlois.org
------------------------------
Date: Thu, 18 Oct 2001 15:19:07 +0000
From: Josephine Berry <josie@metamute.com>
Subject: editorial job at Mute
Mute magazine is looking for an addition to its editorial team. As part of
the company's reorganisation, we are seeking to appoint an assistant editor
to work closely with the editors and deputy editor on all aspects of
editorial.
Initially, the assistant editor will share responsibility for basic subbing
and commissioning as well as feed into editorial development. In the longer
term, his/her job will encompass all aspects of editorial, from
co-commissioning larger features to helping devise themes and developing
creative crossovers with the company’s website, Metamute. The assistant
editor will join the magazine at an exciting time of change: Mute (launched
in 1994) is seeking to build on its distinctive editorial history by
finding original ways to pursue established editorial threads on art, net
politics, information economies, globalisation and protest.
The magazine and associated website will also function increasingly as
spaces in which models of cultural self-sustainability are explored. As
such, the development of editorial content should be understood in the
'bigger picture' of innovative information architectures, tools and
services.
You are likely to bring to the role the following: excellent command of the
English language, experience in writing, subbing and editing, and a sound
knowledge of contemporary culture and politics. Although it would help for
you to be familiar with Mute's history and cultural context, we are
ultimately most interested in your informed and critical opinion on how the
magazine should service independent cultural production now.
The job is part time (3 days p/w) and subject to the satisfactory
completion of a three month test’ period. The salary will be in the range
of £14-16K pro rata, depending on skills and experience. We are keen to
appoint ASAP.
If you'd like to discuss this further, please send your CV with a covering
letter detailing what you might bring to this job and organisation to
Pauline van Mourik Broekman and Simon Worthington (the editors), Mute, 2nd
Floor East, Universal House, 88-94 Wentworth Street, London E1 7SA. For
further information, contact us at E: <mute@metamute.com> // T: 00 44 (0)20
7377 6949 // F: 00 44 (0)20 7377 9520
DEADLINE: 29th OCTOBER, 2001
If you've never heard of Mute before, its home page at
[http://www.metamute.com] provides information on its history and editorial
development since 1994 as well as a manifesto of sorts entitled Ceci n'est
pas un magazine’ [http://metamute.com/mfiles/mcontent/metamutemap.pdf].
We are happy to send interested parties a recent issue for preparation
purposes.
*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Mute/Metamute/Mutella 2nd Floor East,
Universal House, 88-94 Wentworth Street, London, E1 7SA. T: +44 (0)20 7377
6949 // F: +44 (0)20 7377 9520 E: pauline@metamute.com // W:
[<http://www.metamute.com/ EUDORA=AUTOURL>www.metamute.com]
the divine diva of websites ->- www.metamute.com -<- has risen again
* ->- www.ouimadame.org -<- * to follow
------------------------------
Date: Sun, 28 Oct 2001 15:56:47 +1100
From: andrew garton <agarton@toysatellite.org>
Subject: Re: <nettime> Censoring Porn: An Experiment in Waste
Several artists participating in the Experimenta Trash/Waste project have
been invited to participate in a collaborative web project being
coordinated via a mailing list.
Trash mailing list Archive
http://www.trash.toysatellite.org/cgi-bin/ezmlm-cgi
(Select "Messages by Date" for current list of postings)
I feel it prudent to discuss the issues raised by Ned Rossiter about
Katrien Jacobs's work and its treatment by Experimenta within a forum with
other participating artists.
If you wish to participate, and perhaps engage other artists involved in
this project, you may do so by emailing a blank message to:
trash-subscribe@lists.toysatellite.org
The collaborative web project is being coordinated via:
http://www.trash.toysatellite.org
The end result of this collaborative will be a hybrid interactive site
compiled, designed and produced by the artists at the Toy Satellite
Collective.
Regards,
- -ag.
- ---
t o y s a t e l l i t e | e. studio@toysatellite.org
| w. http://www.toysatellite.org
media arts | t. 61 3 9486 5425
production + performance | f. 61 3 9486 5426
_____________________________________________________________________
This email is solely for the named addressee and may be confidential.
------------------------------
Date: Sun, 28 Oct 2001 20:38:18 -0500
From: Are Flagan <areflagan@mac.com>
Subject: Call for...
Afterimage call for papers/contributions: Alternative technologies
"'Dialectic' is a way of evading the always open and hazardous reality of
conflict by reducing it to a Hegelian skeleton and Œsemiology¹ is a way of
avoiding its violent, bloody and lethal character by reducing it to the calm
Platonic form of language and dialogue."
Michel Foucault, from Power/Knowledge
Contents:
Introductory overview
Call for papers/contributions
+ + + Introductory overview + + +
It is common practice that sailors and soldiers launching bombs and missiles
in Afghanistan these days decorate them with a written message for their
recipient. Usually underwritten by phobic statements from the American
vocabulary, these deliberately offensive exclamations obviously reiterate
some close affinities between warfare and discourse. However, while
insulting words are often delivered for a destructive effect, they are
rarely backed by such explosive power: with every message dispatched in
Afghanistan any notion of impact acquires an added meaning. The sight of
language dispersed along with shrapnel has caused many cultural critics and
artists to lament the lack of power and potency in the relations of meaning
they have carefully crafted. But to actually mourn such a loss must come
with a recognition that any dialectic always aspires to a combative model.
If words have supposedly lost their impact, to recall the blast of a
previous sentence, it is only because they were, from the outset, launched
from a linguistic command that calculated their syntactical path and
semantic trajectory with purposeful precision. Discourse, in other words, is
always caught up in the power relations made explicit by warfare. The point
is made even more poignant by the Anthrax-laced letters arriving at various
U.S. institutions. Handwritten manifestos have forwarded a lethal concoction
that is both a subject of the text and a definitive enclosure. These words
are, as with the correspondence taking place in Afghanistan, dispatched and
backed by a substance that brings them into effect. The question is: are we,
as critics, writers and artists, really ³jealous² of bombs or toxic agents
to the extent that we, in understandable despair, surrender words to the
role of a futile supplement, even when words remain such a compelling
addendum for warlords and terrorists alike? At the moment, the American
bombs, combining insults and munitions, along with the anonymous letters,
blending threats and poisons, are horrible compromises on communication. Let
us instead address the struggles, strategies and tactics of present
discourse/warfare with a sharpened pencil.
+ + + Call for papers/contributions + + +
Let me offer some incomplete and inadequate fragments to elaborate on this
call for papers and contributions in the context of recent events. It
becomes more apparent with every GPS-piloted missile and ground operation
guided by night-vision equipment that this "war on terrorism" is fought both
with and over certain technologies. In the "wrong" hands, technology has a
destructive potential, as witnessed on a macro level by the September 11
hijackings, renewed concern over the nuclear capability of Pakistan and the
capacity to produce Anthrax spores with a levitating density. In the "right"
hands, technology exudes a redeeming promise of global justice (administered
the American way), economic affluence and ideological supremacy. But the
battle of and over technology, interpreted here in the widest sense, may of
course also extend to the removal of new Osama bin Laden footage from
network television over fears that he could send some secret signal‹a
destructive code made possible by his mere presence‹to accomplices around
the world. American media outlets have accompanied this move toward a dated
caricature of the enemy with segments on the "lies" spread by headlines in
the Pakistani press (reporting on Taliban news conferences) and ³misleading²
information distributed by broadcasting networks in Arab nations. It may
furthermore include the capture of this very email message by the joint
project Echelon that monitors communication channels and intercepts those
parcels containing key words from a filtering list (I have no doubt made
this shortlist). This latter point was further exacerbated by the recent
U.S. anti-terrorism bill, passed on October 26, which makes invasion of
privacy, through searches, and the constant surveillance of phone and email
communications, what is commonly referred to as a gathering of
³intelligence,² a largely uncontested right of certain government agencies.
The technologies now pronouncing war are, without doubt, the same
technologies that we are actually fighting over, and the unbalanced contrast
between the current adversaries could not be stronger: on one side, a global
power, and on the other, a devastated place derogatively referred to as a
remnant of the Stone Age. Technological progress, or prowess, is quite
horrifically celebrated through this questionable display of military might,
but it is also seen, usually in the foreboding CNN suspense that accompanies
a dark night made visible in the moments before explosive impact, as a
regulating and disciplining apparatus extending from certain conjunctions of
power and knowledge to cover everything from your own home to the entire
globe.
In a broad call for papers and contributions, Afterimage, the journal of
media arts and cultural criticism (http://www.vsw.org/afterimage), seeks
work that wishes to profoundly engage and challenge the use and distribution
of technology with alternative visions and functions.
Please forward your requests for further information or proposals to the
editor, Are Flagan, areflagan@mac.com.
------------------------------
Date: Mon, 29 Oct 2001 07:14:11 -0800
From: Lev Manovich <manovich@ucsd.edu>
Subject: TWO DIGITAL ARTISTS POSITIONS AT UCSD
TWO TENURE-TRACK DIGITAL ARTS POSITIONS at
VISUAL ARTS DEPARTMENT, University of California, San Diego
http://visarts.ucsd.edu
- ----------------------------------------------------------------------------
COMPUTER ARTIST. Assistant Professor, tenure-track, beginning July 1, 2002.
Salary commensurate with qualifications and experience and based upon UC pay
scales. We seek an artist with a proven exhibition record whose work
exhibits an in-depth understanding of
computing and its relationship to contemporary art and its discourses. UCSD
is a research university that actively promotes and supports creative work
and advanced research in computing within a broadly interdisciplinary arts
department that includes studio, media, and art history, theory and
criticism. Opportunities for developing research include grants,
state-of-the-art facilities including CRCA (Center for Research in Computing
and the Arts), the Supercomputer Center, and the new California Institute
for Telecommunications and Information Technology, and cross-campus
collaborations. Teaching will include both graduate seminars and
undergraduate courses, including courses in an Interdisciplinary Computing
and the Arts Major with the department of Music. Candidates must demonstrate
in their work and teaching a substantial engagement with the computing arts
and their relationship to broader discourses of contemporary art and
culture.
Candidate will actively participate in the ongoing development of curriculum
and facilities. Teaching will draw upon knowledge of networked
cross-platform (Linux, Macintosh, NT/Windows PC) environments. Areas of
expertise might include any of the following: net.art; digital imaging;
multimedia authoring and publishing; graphics or sound programming; virtual
environments; computer based installation; electronics and robotics; history
and theory of new media. MFA or equivalency and teaching experience
required.
Send letter of application, curriculum vitae, names and addresses of three
references (do not send letters of recommendation and/or placement files)
and evidence of work in the field. This evidence may be in the form of
slides, tapes, discs, publications and/or public lectures and should be
accompanied by return mailer and postage.
Susan Smith, Chair (Position #AC02-W)
University of California San Diego
Visual Arts Department (0327)
9500 Gilman Drive
La Jolla, CA 92093-0327
All applications received by January 18, 2002, or thereafter until position
is filled, will receive thorough consideration. Please reference position
number AC02-W on all correspondence.
UCSD is an Equal Opportunity/Affirmative Action Employer with a strong
institutional commitment to the achievement of diversity among its faculty
and staff. Proof of U.S. citizenship or eligibility for U.S. employment will
be required prior to employment (Immigration Reform and Control Act of
1986).
- ----------------------------------------------------------------------------
MEDIA ARTIST. Assistant Professor, tenure-track, beginning July 1, 2002.
Salary commensurate with qualifications and experience and based on UC pay
scales. We seek an artist with a strong exhibition record who works in
video, film, and/or photography and who is also seriously engaged with new
media, one whose practice will inventively bridge our highly ranked programs
in media and the digital arts. UCSD is a research university that actively
promotes and supports creative work within a broadly interdisciplinary arts
department that includes studio, media, computing, and art history, theory,
and criticism. Opportunities for developing research include grants,
state-of-the-art facilities, and cross-campus collaborations.
Teaching will include both graduate seminars and undergraduate courses in
media and new media, and the candidate will actively participate in the
ongoing development of curriculum and facilities. Areas of computer
expertise might include, for example, film/video post-production practices;
on-line projects; interactive and web cinema; digital imaging; multimedia
authoring and publishing; virtual environments; history and theory of new
media. MFA or equivalency and teaching experience required.
Send letter of application, curriculum vitae, names and addresses of three
references (do not send letters of recommendation and/or placement files)
and evidence of work in the field. This evidence may be in the form of
slides, tapes, discs, publications and/or public lectures and should be
accompanied by return mailer and postage.
Susan Smith, Chair (Position #M2002-C)
University of California, San Diego
Visual Arts Department (0327)
9500 Gilman Drive
La Jolla, California 92093-0327
All applications received by February 24, 2002, or thereafter until position
is filled, will receive thorough consideration. Please reference position
number [M2002-C] on all correspondence. UCSD is an Equal
Opportunity/Affirmative Action Employer with a strong institutional
commitment to the achievement of diversity among its faculty and staff.
Proof of U.S. citizenship or eligibility for U.S. employment will be
required prior to employment (Immigration Reform and Control Act of 1986).
------------------------------
Date: Mon, 08 Oct 2001 23:51:43 +0200
From: "Garrett Lynch" <garrett_44@hotmail.com>
Subject: "A virtual memorial" October / "A virtual memorial" Octobre
+-----------------------------------------------------------+
Hello everyone
Proud to announce that I have been choosen as featured artist of the month
for October on ...
"A virtual memorial"
http://www.a-virtual-memorial.org/
with my work ...
"For those who fear Intimacy / for those who fear loneliness"
http://www.intimacyandloneliness.f2s.com/
"A virtual memorial" is an online exhibition space curated by Wilfried
Agricola de Cologne. It features different artists working worldwide in the
domain of new media on the broad theme of memory/commeration. The site
changes each month with new works and texts added, a featured artist section
as well as initiated works caused by any current events happening in the
world.
Below is the newsletter of a virtual memorial with its list of new items and
an especially important call for works to "A Memorial for the victims of
Terror", initiated due to the chain of events which have occured since the
11th of september. For any of you working in the field of new media/art and
with an interest in ether political statement (for or anti) or work with
themes of world events, we would encourage you to participate in whatever
way you can, no matter how small!
+-----------------------------------------------------------+
+-----------------------------------------------------------+
Salut tous
Contente a vous dire j'ai ete choisi pour artiste de la mois en octobre sur
le site ...
"A virtual memorial"
http://www.a-virtual-memorial.org/
avec mon projet ...
"For those who fear Intimacy / for those who fear loneliness"
http://www.intimacyandloneliness.f2s.com/
"A virtual memorial" est un espace de exhibition en line cree par Wilfried
Agricola de Cologne. Il contene le projets de differents artistes qui
travaille dans le monde entier dans le domaine de nouveau media sur le theme
de memoire/commemoration. Le site change chaque mois avec de nouveau
projets et textes ajouter, un artiste selectione pour le mois et des
differents projets commence par de different evenements dans le monde.
En sous est le 'Newsletter' de "a virtual memorial" avec son liste de
nouveau choose pour octobre et un tres importante appel au travail pour "A
Memorial for the victims of Terror", un espace cree a cause de l'evenements
depuis le 11 de septembre. Pour vous qui travail dans le domaine de nouveau
media/art et avec un intereste en politic (pour ou contre) ou travail avec
le themes de evenements dans le monde, actualite, on vous encourage a
participe dans cette espace dans votre moyen.
+-----------------------------------------------------------+
+-----------------------------------------------------------+
>A Virtual Memorial Newsletter October 2001
>www.a-virtual-memorial.org
>info@a-virtual-memorial.org
>
>Visit the Memorial project!
>
>*0. Selected Memorial days
>*1. Features of the Month
>*2. Featured artist of the Month
>*3. Featured Project of the Month
>*4. Contribute to "A Memorial for the victims of Terror
>*5. News
>*6. Actual deadline list
>
>
>0. Selected Memorial days
>*2 October 1869 Mahadma Ghandy Birthday (India)
>*3 October 1990 Signing of the German Reunification
> Treaty (Germany)
>*8 October 1912 Begin of 1st Balkan War (Europe)
>*24 October 2001 United Nations Day
>
>1. Features of the Month
>The Features of the Month are monthly changing
>collections of multimedia works and links which form in the
>totality of the composition an artwork of theirown
>to be created on a webpage of theirown
>within the Memorial project.
>
>***Subject of the Month is
>Solitude - between inspiration and depression
>
>2. Featured Artist
>Garrett Lynch - his project:
>**For those who fear intimacy / for those who fear loneliness**
>can be viewed as part of Features of the Month
>
>3. Featured Project:
>***The Artist and his studio***
>collaborative project including following artists:
>Romano Abate, Aguila, Antonio Sassu, Igor Ulanovsky
>John Abrams, Dirk Coster, Florin Piersic, ERP, Judson Wright, Fernando
>Llanos, Richard Ellis, Stanza, Jürgen B. Brugger, Martin Baldock, Cornelia
>Heier, Oleg Tchebunin
>Krautscheid Bosse, Georg Mankat, Artur Augustynovicz
>Vanja Pagar, Vittorio Bacelli, Ryosuke Cohen, Max Herman, Michael Tice,
>Josip Ivancic, Mikhael Priorov
>Ansgard Thompson, David Brooker, Margaret Hunter
>Maria Sigova, Wolf Muschall, Elisabeth Sepi-Ochsenfeld
>Peter Heydeck, Igor Stevanovic, Harriett Jameson Pellizzari, Ars Longa,
>Ijosé Benin, Jader UOL, Agricola de Cologne, Edward Fillmore, Jürgen Bysard
>Adams
>Reem Hassan, Frim Parado, Fatima Lasay, ERKI
>Christina McPhee, Annett Zinsmeister, Ghislave Sosnowski, Moataz el safti,
>I
>love you
>
>4. News
>In October 2001
>a) A Virtual Memorial participates in
>Computer Space 2001 Festival Sofia (Bulgaria)
>b) Different video works originating from A Virtual Memorial participate
>in
>DMF2001
>Digital Media Festival 2001 Manila (Phillippines)
>c) experimental poetry works originating from A Virtual Memorial
>participate
>in
>2nd Interpoetry Exhibition Sao Paolo (Brazil)
>
>5. Call for submissions
>Artists are invited to send their contributions to
>**A Memorial for the Victims of Terror**
>initiated in connection with WTC terror in September.
>Submit one single work: image (.jpg), URL (net based work) or text (email
>or
>.txt file)
>and send it to september11@a-virtual-memorial.org
>visit the Memorial on www.a-virtual-memorial.org
>
>6. Actual deadline list
>See the actual deadline list on
>www.a-virtual-memorial.org/calls/calls.htm
>and participate!
>
>Wilfried Agricola de Cologne
>info@a-virtual-memorial.org
>A Virtual Memorial -
>Memorial project against the Forgetting and for Humanity
>www.a-virtual-memorial.org
>corporate member of NewMediaArtProjectNetwork
+-----------------------------------------------------------+
a+
Garrett
+-----------------------------------------------------------+
Garrett@asquare.org
http://www.asquare.org/
http://www.intimacyandloneliness.f2s.com/
http://www.playpause.f2s.com/
+-----------------------------------------------------------+
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp
------------------------------
Date: Wed, 17 Oct 2001 09:04:12 -0500
From: Bill Spornitz <spornitz@mts.net>
Subject: announcement: a "user-driven" alternative
- ------------------------------
For Immediate Release <restlessculture.net/discourse>
http://www.restlessculture.net/discourse
- ------------------------------
<restlessculture.net/discourse> is an international network for critical
dialogue of issues that affect the global community.
*The focus & issues of the site will shift because it is a "user-driven",
collaborative media environment.*
In its conception this project is and will continue to be:
*a platform for creative, intellectual response and meditation.
*a "user-driven" alternative to the prescribed, sensational feeds of
accelerated mass media and governments which abandon thought in their haste
to implement the rhetoric of war for political, economic and/or religious
gain.
*a collective opposition to all forms of fundamentalism everywhere.
*a web-based initiative that questions patriotism, anti-Arabism, and all
forms of racism and indifference toward others in our precious and
increasingly inter-dependent global community.
*a collaborative media platform of informed responses to and careful
analysis of a world in crisis.
- ------------------------------
All content for this project is generated by users/collaborators to the site
and is slightly moderated sometimes by a small pool of editors and other
times by a user moderated voting system. To take part in this collaborative
media environment go to <restlessculture.net/discourse> and click on the
link "Make a New Account."
http://www.restlessculture.net/discourse
for additional information contact: info@restlessculture.net
- ------------------------------
This project was made possible by the efforts of the following:
Cary Peppermint: Design & Desire
Bill Spornitz: Conceptual, Technical Implementation &
Consultant
Christine Nadir: Islamic/Afghan Cultural Tip
Alan Sondheim: Conceptual Guidance & Motivational Postings
- ------------------------------
- ------------------------------
- ------------------------------
- ------------------------------
------------------------------
Date: Mon, 29 Oct 2001 05:01:45 +1100
From: "nearhere" <nearhere@selectparks.net>
Subject: GameArtResearch || Seeking Submissions ||
_________________________________________________________________________=
__
] call for submissions [ ...........................
=
_________________________________________________________________________=
__
New Media Using Computer Games
=20
SelectParks is putting together a large public=20
database of experiments and artworks exploring the use and/or=20
modification of computer gaming technologies.
=20
Of particular interest is work coming from either a fine-arts or =
theoretical=20
perspective. We are also interested in work purely concerned with =
exploring=20
the limits of the technology:
=20
Including:=20
=
_________________________________________________________________________=
__
3D engine hacks
Architectural Investigations
Gameboy and handheld hacks
Game to real world applications [eg: robotics]
AI / Bot design
Console modifications
Machinima
Game Engines for audio installation / performance
Renderer Hacks [PanQuake etc]
Research on Platform Independence / Portability
Written Theory
=
_________________________________________________________________________=
__
SelectParks is not interested in game-related illustrations, =
conventional=20
level design, tags and skins, or work that celebrates in-game=20
exploits.
We are also not seeking flash or shockwave games.
=20
Work must directly engage gaming technology specifically, toward=20
the ends of developing it for applications outside of the computer=20
game marketplace.
=20
The site will feature:
=
_________________________________________________________________________=
__
=20
Resources
Festival and Funding billboard
Howto's
Downloads
Online Multi-user Game Lab
Forum
Code repository
Catalogue
=
_________________________________________________________________________=
__
Each submitted work will have a page of documentation designed for it =
by SelectParks.=20
Those not comfortable with this can supply a link.
=20
These pages will be composed within a template looking something like =
this: =20
www.selectparks.net/qthoth.htm
We will soon have servers for popular multi-user development=20
platforms like Quake [II and Q3a], Unreal Tournament, with support =
also for Linux based engines
like CrystalSpace.
=20
The site will bring together the resources and innovations of the =
computer gaming and demo scenes in=20
contact with those wishing to explore alternative applications for =
these rich technologies.
Please email nearhere@selectparks.net with details of your project[s].
=
_________________________________________________________________________
Cheers,
SelectParks
------------------------------
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