| Announcer on Sun, 23 Mar 2003 01:45:04 +0100 (CET) |
[Date Prev] [Date Next] [Thread Prev] [Thread Next] [Date Index] [Thread Index]
| <nettime> Announcements [publications + some IRAQ; x6] |
zondag 23 maart om 2 uur debat over 'Kunst en Engagement' in SMART
Project Space
"SMART Project Space" <info@smartprojectspace.net>
Re: <nettime> [IRAQ] 030319 digest 1 [x8]
da@kriegste.de (dah)
Culture Machine 5
"Lori Gaskill" <lorijgaskill@attbi.com>
Suspended Gardens 2 is now live...
"Alex Dragulescu" <alex@loudink.com>
"Histories of Internet Art" 2.1 version released
"Lori Gaskill" <lorijgaskill@attbi.com>
VIRTUAL ART new video documentation
Oliver Grau <Oliver.Grau@culture.hu-berlin.de>
------------------------------
Date: Tue, 18 Mar 2003 12:56:22 +0100
From: "SMART Project Space" <info@smartprojectspace.net>
Subject: zondag 23 maart om 2 uur debat over 'Kunst en Engagement' in SMART Project Space
SMART Project Space | 1e constantijn Huygensstraat 20, Amsterdam | +31
(0)20 427 5951
Zondag 23 maart om 14 uur debat over 'Kunst en Engagement'. Met Arie
Altena, Lex ter Braak, Ann Demeester, Jeanne van Heeswijk, Sanne van
Rijn en Bart Verschaffel.=20
Nederlandse beschrijving onderaan.
Discussion on Art and Engagement=20
Sunday March 23 , 14.00 at SMART Project Space (dutch spoken)
'Art and engagement' is lately a much discussed subject. We seem to be
concerned with evaluating the ideals introduced by contemporary practice
in 1990's. Doubts arise as to whether art has succeeded in appropriating
its much desired position within society. Is what we refer to as
'engaged' art really so engaged, or has art's desire to collaborate with
society resulted in an uncritical absorption by social structures ?
Related to this is the increasing populism within culture politics and
subsidy system that produces an official kind of engaged art. Recently a
new call for autonomy, a previously discredited concept in art
criticism, can be heard again. This seems to address the question that
art perhaps gains its critical possibilities after all from its own
unique position with the implication of distance from society. Important
questions discussed: Can art be engaged, and should it be? Can we speak
of a turning point which could be defined around the term 'engaged
autonomy'? What are the possibilities, forms and contexts available
within contemporary society in order that art is engaged?
The discussion will take place in the form of 3 dialogues, following
the example of political debates, to bring the fire within art
discussions.
Guests: Arie Altena (editor of Metropolis M), Lex ter Braak (director
Fonds voor Beeldende Kunsten, Vormgeving en Bouwkunst) Ann Demeester
(curator and director W139), Jeanne van Heeswijk (artist), Bart
Verschaffel (affiliates with the University of Gent and editor of the
Witte Raaf) Sanne van Rijn ( theatre director). Moderator : Tiers Bakker
( HTV de IJsberg and de Groene Amsterdammer)
Debat over Kunst en Engagement=20
Zondag 23 Maart, 14.00 uur in SMART Project Space
'Kunst en engagement' is een onderwerp dat de laatste tijd in het
centrum van het kunstdebat staat. Op dit moment lijkt het of er een
evaluatie plaats vindt over waartoe de idealen van de kunst van de jaren
90 hebben geleid. De resultaten van de maatschappelijk positie die de
kunst voor zichzelf wilde terug vorderen lijken op een teleurstelling te
zijn uitgedraaid. Is de kunst wel zo ge=EBngageerd of heeft haar
samenwerking met de samenleving voornamelijk geresulteerd in een
onkritische opname door de samenleving. Populistische cultuurpolitiek en
een subsidiestelsel die een offici=EBle kunst van engagement produceert,
hangen hier nauw mee samen. Langzamerhand zien we de vraag naar
autonomie, een lange tijd uit de mode geraakt begrip in de kunstkritiek,
steeds vaker opduiken. De twijfel rijst of de kunst misschien toch niet
juist haar kritische vermogen ontleent aan haar unieke positie als
vrijplaats, en de mate van afstand die dit impliceert tot de
maatschappij. Belangrijke vragen zijn "Kan kunst ge=EBngageerd zijn, en
is dit wenselijk? Kan er gesproken worden van een kentering waarvoor we
een begrip als ge=EBngageerde autonomie kunnen introduceren? Welke
mogelijkheden, vormen en contexten staan de kunst ter beschikking in de
hedendaagse samenleving om ge=EBngageerd te zijn?
Het debat neemt de vorm aan van 3 twee gesprekken, gemodelleerd naar
het politieke debat, om het vuur terug in de kunst discussie te brengen.
Gasten: Arie Altena (eindredacteur Metropolis M) Lex ter Braak
(directeur van het Fonds voor Beeldende Kunsten, Vormgeving, en
Bouwkunst), Ann Demeester (artistiek leider van W139), Jeanne van
Heeswijk (kunstenares), Sanne van Rijn (theatermaker bij Zuidelijk
Toneel? Hollandia), Bart Verschaffel (redacteur van de Witte Raaf,
filosoof, docent aan de universiteit van Gent). Moderator: Tiers Bakker
(verbonden aan HTV de IJsberg en de Groene Amsterdammer). =20
De discussie vindt plaats in Smart Project Space | 1e constantijn
Huygensstraat 20, Amsterdam | +31 (0)20 427 5951
www.smartprojectspace.net
To be deleted from our mailing please return mail with subject
'unsubscribe SPS'.=20
=20
- ------=_NextPart_000_0086_01C2ED4D.C9F470E0
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML xmlns:o =3D "urn:schemas-microsoft-com:office:office"><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html;
charset=3Diso-8859-1">
<META content=3D"MSHTML 5.50.4522.1800" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#d8d0c8>
<DIV><FONT face=3DArial size=3D2></FONT> </DIV>
<DIV style=3D"FONT: 10pt arial"> </DIV>
<DIV><FONT face=3DArial size=3D2><EM><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-STYLE: normal; FONT-FAMILY:
Arial"><STRONG>SM</STRONG></SPAN></EM><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"><STRONG>ART Project
Space</STRONG> |=20
1e constantijn Huygensstraat 20, Amsterdam | +31 (0)20 427
5951</SPAN></DIV>
<DIV>
<P class=3DMsoNormal><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"><STRONG>Zondag 23 maart
om 14=20
uur</STRONG> debat over 'Kunst en Engagement'. Met Arie Altena, Lex ter
Braak,=20
Ann Demeester, Jeanne van Heeswijk, Sanne van Rijn en Bart=20
Verschaffel. </SPAN></P>
<P class=3DMsoNormal>Nederlandse beschrijving onderaan.</P>
<P class=3DMsoNormal> </P>
<H1><SPAN lang=3DEN-GB>Discussion on Art and Engagement </SPAN></H1>
<P class=3DMsoNormal><SPAN lang=3DEN-GB=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-ansi-language:
EN-GB">Sunday=20
March 23 , 14.00 at <EM><SPAN style=3D"FONT-STYLE:
normal">SM</SPAN></EM>ART=20
Project Space (dutch spoken)</SPAN><SPAN lang=3DEN-GB=20
style=3D"mso-ansi-language: EN-GB"><o:p></o:p></SPAN></P>
<P class=3DMsoNormal><SPAN lang=3DEN-GB=20
style=3D"mso-ansi-language: EN-GB"> </SPAN><SPAN lang=3DEN-GB=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-ansi-language:
EN-GB">'Art and=20
engagement’ is lately a much discussed subject. We seem to be
concerned with=20
evaluating the ideals introduced by contemporary practice in 1990's.
Doubts=20
arise as to whether art has succeeded in appropriating its much desired
position=20
within society. Is what we refer to as 'engaged’ art really so
engaged, or has=20
art's desire to collaborate with society resulted in an uncritical
absorption by=20
social structures ? Related to this is the increasing populism within
culture=20
politics and subsidy system that produces an official kind of engaged
art.=20
Recently a new call for autonomy, a previously discredited concept in
art=20
criticism, can be heard again. This seems to address the question that
art=20
perhaps gains its critical possibilities after all from its own unique
position=20
with the implication of distance from society. Important questions
discussed:=20
Can art be engaged, and should it be? Can we speak of a turning point
which=20
could be defined around the term 'engaged autonomy'? What are the
possibilities,=20
forms and contexts available within contemporary society in order that
art is=20
engaged?</SPAN><SPAN lang=3DEN-GB=20
style=3D"mso-ansi-language: EN-GB"><o:p></o:p></SPAN></P>
<P class=3DMsoNormal><SPAN lang=3DEN-GB=20
style=3D"mso-ansi-language: EN-GB"> </SPAN><SPAN lang=3DEN-GB=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-ansi-language:
EN-GB">The=20
discussion will take place in the form of 3 dialogues, following the
example of=20
political debates, to bring the fire within art discussions.</SPAN><SPAN
lang=3DEN-GB style=3D"mso-ansi-language: EN-GB"><o:p></o:p></SPAN></P>
<P class=3DMsoNormal><SPAN lang=3DEN-GB=20
style=3D"mso-ansi-language: EN-GB"> </SPAN><SPAN lang=3DEN-GB=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-ansi-language:
EN-GB">Guests:=20
Arie Altena (editor of Metropolis M), Lex ter Braak (director Fonds voor
Beeldende Kunsten, Vormgeving en Bouwkunst) Ann Demeester (curator
and =20
director W139), Jeanne van Heeswijk (artist), Bart Verschaffel
(affiliates with=20
the University of Gent and editor of the Witte Raaf) Sanne van Rijn (
theatre=20
director). </SPAN><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY:
Arial">Moderator :=20
Tiers Bakker ( HTV de IJsberg and de Groene
Amsterdammer)</SPAN></P>
<P class=3DMsoNormal> </P>
<P class=3DMsoNormal=20
style=3D"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto"><SPAN=20
style=3D"FONT-FAMILY: Arial"></SPAN> </P>
<P class=3DMsoNormal=20
style=3D"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto"><SPAN=20
style=3D"FONT-FAMILY: Arial"></SPAN><FONT size=3D6><SPAN=20
style=3D"mso-ansi-language: NL; mso-bidi-font-size: 12.0pt">Debat over
Kunst en=20
Engagement</SPAN><SPAN style=3D"mso-ansi-language: NL">
</SPAN></FONT></P>
<P class=3DMsoNormal=20
style=3D"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto"><FONT
size=3D6><SPAN=20
style=3D"mso-ansi-language: NL"></SPAN></FONT><SPAN=20
style=3D"FONT-SIZE: 10pt; mso-ansi-language: NL; mso-bidi-font-size:
18.0pt">Zondag=20
23 Maart, 14.00 uur in SMART Project Space</SPAN><SPAN=20
style=3D"FONT-SIZE: 10pt; mso-ansi-language: NL; mso-bidi-font-size:
12.0pt"><o:p></o:p></SPAN></P>
<P class=3DMsoNormal=20
style=3D"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto"><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-bidi-font-size:
12.0pt"><SPAN=20
style=3D"mso-spacerun: yes"> </SPAN>‘Kunst en
engagement’ is een onderwerp=20
dat de laatste tijd in het centrum van het kunstdebat staat. Op dit
moment lijkt=20
het of er een evaluatie plaats vindt over waartoe de idealen van de
kunst van de=20
jaren 90 hebben geleid. De resultaten van de maatschappelijk positie die
de=20
kunst voor zichzelf wilde terug vorderen lijken op een teleurstelling te
zijn=20
uitgedraaid. Is de kunst wel zo ge=EBngageerd of heeft haar samenwerking
met de=20
samenleving voornamelijk geresulteerd in een onkritische opname door de=20
samenleving. Populistische cultuurpolitiek en een subsidiestelsel die
een=20
offici=EBle kunst van engagement produceert, hangen hier nauw mee
samen.<SPAN=20
style=3D"mso-spacerun: yes"> </SPAN>Langzamerhand zien we de vraag
naar=20
autonomie, een lange tijd uit de mode geraakt begrip in de kunstkritiek,
steeds=20
vaker opduiken. De twijfel rijst of de kunst misschien toch niet juist
haar=20
kritische vermogen ontleent aan haar unieke positie als vrijplaats, en
de mate=20
van afstand die dit impliceert tot de maatschappij. Belangrijke vragen
zijn “Kan=20
kunst ge=EBngageerd zijn, en is dit wenselijk? Kan er gesproken worden
van een=20
kentering waarvoor we een begrip als ge=EBngageerde autonomie kunnen
introduceren?=20
Welke mogelijkheden, vormen en contexten staan de kunst ter beschikking
in de=20
hedendaagse samenleving om ge=EBngageerd te zijn?<o:p></o:p></SPAN></P>
<P class=3DMsoNormal=20
style=3D"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto"><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-bidi-font-size:
12.0pt"> Het=20
debat neemt de vorm aan van 3 twee gesprekken, gemodelleerd naar het
politieke=20
debat, om het vuur terug in de kunst discussie te
brengen.<o:p></o:p></SPAN></P>
<P class=3DMsoNormal=20
style=3D"mso-margin-top-alt: auto; mso-margin-bottom-alt: auto"><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-bidi-font-size:
12.0pt"> Gasten:=20
Arie Altena (eindredacteur Metropolis M) Lex ter Braak (directeur van
het Fonds=20
voor Beeldende Kunsten, Vormgeving, en Bouwkunst), Ann Demeester
(artistiek=20
leider van W139), Jeanne van Heeswijk (kunstenares), Sanne van Rijn=20
(theatermaker bij Zuidelijk Toneel? Hollandia), Bart Verschaffel
(redacteur van=20
de Witte Raaf, filosoof, docent aan de universiteit van Gent).
Moderator: Tiers=20
Bakker (verbonden aan HTV de IJsberg en de Groene Amsterdammer).<SPAN=20
style=3D"mso-spacerun: yes"> </SPAN><o:p></o:p></SPAN></P>
<P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY:
Arial">De=20
discussie vindt plaats in Smart Project Space | </SPAN><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">1e constantijn
Huygensstraat 20,=20
Amsterdam | +31 (0)20 427 5951<o:p></o:p></SPAN></P>
<P class=3DMsoNormal><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY:
Arial"><A=20
href=3D"http://www.smartprojectspace.net";><SPAN lang=3DEN-GB=20
style=3D"mso-ansi-language:
EN-GB">www.smartprojectspace.net</SPAN></A></SPAN><SPAN=20
lang=3DEN-GB=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial; mso-ansi-language:
EN-GB"><o:p></o:p></SPAN></P>
<P class=3DMsoNormal><SPAN lang=3DEN-GB style=3D"mso-ansi-language:
EN-GB">To be=20
deleted from our mailing please return mail with subject
‘unsubscribe SPS’.=20
<o:p></o:p></SPAN></P>
<P class=3DMsoNormal><SPAN lang=3DEN-GB=20
style=3D"mso-ansi-language:
EN-GB"> <o:p></o:p></SPAN></P></FONT></DIV></BODY></HTML>
- ------=_NextPart_000_0086_01C2ED4D.C9F470E0--
------------------------------
Date: Thu, 20 Mar 2003 08:56:47 +0100 (MET)
From: da@kriegste.de (dah)
Subject: Re: <nettime> [IRAQ] 030319 digest 1 [x8]
Hello all,
we mirrored the nettime´s related mails on iraq and start with Geerts open letter to Prof Derrida, Chomsky, Wallerstein and others.
please see http://nonato.de and [en|courage].
Greetings from old Europe Munich
David Herzog
dah@nonato.de
# distributed via www.kriegste.de : no commercial use without permission
# kriegste.de is a moderated free media system for net criticism,
# collaborative text filtering and cultural politics of the nets
------------------------------
Date: Thu, 20 Mar 2003 08:21:46 -0800
From: "Lori Gaskill" <lorijgaskill@attbi.com>
Subject: Culture Machine 5
This is a multi-part message in MIME format.
- ------=_NextPart_000_0422_01C2EEB9.BF79DBB0
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
CULTURE MACHINE 5 (2003)
http://culturemachine.tees.ac.uk
The e-Issue
Edited by Gary Hall
Featuring:
N. Katherine Hayles, 'Deeper into the Machine: The Future of Electronic
Literature'
Mark Amerika, 'Literary Ghosts'
Ted Striphas, 'Book 2.0'
Andy Miah, '(e)text: Error...404 Not Found! or The Disappearance of
History'
Gary Hall, 'The Cultural Studies e-Archive Project (Original Pirate
Copy)'
Alan Clinton, 'Wavespeech, Tapespeech, Blipspeech'
Charlie Gere, 'Can Art History Go On Without a Body?'
Anna Munster, '"This Fanciful and Colourful Image": The Image of New
Media within
the Contemporary Art-Science Nexus'
Cathryn Vasseleu, 'What is Virtual Light?'
Chris Chesher, 'Layers of Code, Layers of Subjectivity'
Gregory L. Ulmer, 'After Method: The Remake (Introduction to Ackeracy in
Reporting)'
Gregory L. Ulmer, 'Ackeracy in Reporting (Last Supper in Santa Barbara
by Paolo
Veronese)'
Bernard Stiegler, 'Our Ailing Educational Institutions'
Culture Machine welcomes original, unpublished, unsolicited submissions
on any
aspect of culture and theory. Anyone with material they would like to
submit for
publication is invited to contact:
Culture Machine c/o Dave Boothroyd and Gary Hall
e-mail: g.hall@tees.ac.uk
or d.boothroyd@ukc.ac.uk
- ------------------------------
Call for Contributions
Culture Machine 6: Deconstruction is/in Cultural Studies
February, 2004
Editors for this issue: Gary Hall, Dave Boothroyd and Joanna Zylinska
Cultural studies has often described deconstruction in rather pejorative
terms.
Deconstruction has been criticized for being too textual and
theoretical, too
concerned with meaning and language, and therefore more suited to the
concerns of
literature and philosophy than to cultural studies and its desire to get
down and
dirty with the real world of concrete political materiality. As a
result,
deconstruction has been somewhat marginalized by the move away from
'theory' and
'back to reality' and the economic that took place within cultural
studies over the
course of the 1990s. However, recent years have seen the gradual
emergence of a
newer generation of cultural studies writers and practitioners many of
whom, while
clearly locating themselves in the tradition of Hoggart, Williams and
Hall,
nevertheless regard deconstruction and deconstructive modes of thinking
as extremely
important to their work.
For this issue of Culture Machine we are inviting contributions on any
aspect of the
relation between cultural studies and deconstruction, as well as between
'old' and
'new' cultural studies.
Indicative questions to be addressed include:
Why should cultural studies be interested in deconstruction? Can
deconstruction help
to think through some of the problems in contemporary cultural studies:
the relation
between culture and society, the cultural and the economic, cultural
studies and
political economy, Marxism and post-Marxism, theory and politics, agency
and
structure, textuality and lived experience, the subject and the social?
What are the consequences for cultural studies, and for our
understanding of
culture, of recent 'deconstructive' work on politics, ethics, justice,
responsibility, performativity, the institution of the university,
teletechnologies, spectrality, the 'New International', hospitality, the
foreigner,
the parasite, cosmopolitanism, forgiveness, secrecy, friendship,
experimenting, the
future?
Why should deconstruction be interested in cultural studies? Is the
latter as
interesting as, say, literature or philosophy? Is cultural studies
capable of
providing anything that other modes of enquiry cannot achieve more
easily/interestingly/rigorously?
Can deconstruction be 'applied' to cultural studies? Is cultural studies
already in
deconstruction? Can there be a 'deconstructive cultural studies'? Is a
certain
pervertibility and experience of mobility, transition, translation,
transformation
and change not what makes cultural studies at once both possible and
impossible?
As always, contributions which take advantage of and explore the effects
of
electronic media technologies in their form, as well as content, are
welcomed.
Deadline for submissions: October 2003.
Contact:
Gary Hall
School of Arts
Middlesex University
White Hart Lane
London N17 8HR
UK
e-mail: g.hall@mdx.ac.uk
All contributions will be peer-reviewed; all correspondence will be
responded to.
For more information, visit the Culture Machine site at:
http://culturemachine.tees.ac.uk
Please feel free to forward this mail.
- ------=_NextPart_000_0422_01C2EEB9.BF79DBB0
------------------------------
Date: Fri, 21 Mar 2003 10:40:07 -0800
From: "Alex Dragulescu" <alex@loudink.com>
Subject: Suspended Gardens 2 is now live...
This is a multi-part message in MIME format.
- ------=_NextPart_000_0057_01C2EF96.3D479730
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: 8bit
http://www.suspendedgardens.net/
Suspended Gardens 2, an interactive project by Alex Dragulescu, is a
metaphor that references history, borrows meanings from contemporary
culture, and offers a political commentary in a subtle, playful way. It is a
hybrid between an interactive Flash game, a messageboard and a simulation
system rendered relevant by the current conflict in Iraq.
Today's digital war makes the explosion of a “precision-guided missile”
appear like a mere bleep on a screen. Death is distant and often invisible.
The audience is desensitized and apathetic. Virtual flowers planted in
cyberspace will attempt to establish a symbolical link to a reality that is
distant, remediated and reduced by the digital stream. How ironic that the
technological platform that makes this project possible is an offspring of
military research.
Suspended Gardens users can chose from three types of flowers whose growth
is influenced daily by various factors (climate, population, oil, war, other
plants). The flowers also carry a user-assigned text message that can be
easily read by the whole community. Additionally users are able to see in
real time how the garden evolves.
http://www.suspendedgardens.net/
Please forward...
- ------=_NextPart_000_0057_01C2EF96.3D479730
------------------------------
Date: Thu, 20 Mar 2003 08:20:51 -0800
From: "Lori Gaskill" <lorijgaskill@attbi.com>
Subject: "Histories of Internet Art" 2.1 version released
This is a multi-part message in MIME format.
- ------=_NextPart_000_0412_01C2EEB9.9E43D040
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
IMMEDIATE RELEASE
University of Colorado Digital Art Students Launch 2.1 version of
"Histories of Internet Art" Website
Contact: Lori Gaskill lorijgaskill@attbi.com
March 19, 2003
STUDENTS FROM THE UNIVERSITY OF COLORADO AT BOULDER'S TECHNE INITIATIVE
LAUNCH UPDATED WEBSITE FEATURING NEW CONTENT FROM INTERNATIONAL ARTISTS
BOULDER, Colorado (March 19, 2003) -- Digital art students from the
University of Colorado at Boulder's TECHNE initiative have just released
the 2.1 version of the "Histories of Internet Art" web site featuring
over
two dozen video and email interviews as well as streaming archives of
performances and presentations by recent visitors to the TECHNE lab.
The
international net artists and curators featured on the site include Mark
Napier, Young Hae-Chang Heavy Industries, Ben Benjamin, Melinda Rackham,
Alex Galloway, Lev Manovich, Giselle Beiguelman, Heath Bunting, John F.
Simon Jr., Erik Loyer, Mary Flanagan, Lisa Jevbratt, John Klima,
Christiane Paul, DJ Spooky, Mark Tribe, Andy Deck, Randall Packer and
many
others.
The site also includes a curated exhibition of 35 net-based art works, a
section devoted to net theory, and a survey of the new work being
created
by students working in TECHNE's Experimental Digital Art Studio. This
easy-to-navigate site with its stunning design and exploratory content
is
produced by undergraduate and graduate students in conjunction with
Department of Art and Art History's TECHNE initiative, the ATLAS
program's
campus-wide Technology, Arts, and Media curriculum, the Alt-X Digital
Arts
Foundation, and the blurr lab.
The site is currently located at http://art.colorado.edu/hiaff
"This student-built website is still very much in its infancy and yet in
a
very short period of time, the students have produced a fabulous
multi-media, online resource for both our program and other programs
around the world who choose to use our site as part of their own
research
and development," says CU Professor and TECHNE Faculty Director Mark
Amerika. "Over the next few months, the students will build a back-end
database which will enable the site to grow exponentially both in its
curatorial and theoretical aspects as well as its technical
functionality."
"The nature of our work each year is usually inspired by the group mind
and so each year the site has evolved in different ways," says John
Vega,
former digital art student and Senior Creative Director of the site.
"While new content is always being added, each version is a unique
reflection of the ideas held by the associated class."
"Working on HIAFF is like doing what I wanted to do when I set out in
multimedia: group (student) oriented focus upon art on the net with
unlimited potential for learning and exploration," says HIAFF project
manager and TECHNE student Lori Gaskill.
The TECHNE site at art.colorado.edu most recently featured the "Mapping
Transitions" online exhibition curated by Amerika and Christiane Paul,
Adjunct Curator of New Media at the Whitney Museum of American Art. The
exhibition included three newly commissioned works of Internet art
created
by artists selected for the 2002 Whitney Biennial, all of whom visited
the
CU-Boulder campus last Fall and who participated in the opening panel
discussion at a major conference entitled "Rethinking the Visual."
For more information on TECHNE and the "Histories of Internet Art" web
site, contact Lori Gaskill at lorijgaskill@attbi.com
____
TECHNE is a practice-based research initiative located inside the
University of Colorado's Department of Art and Art History. TECHNE
enables
its faculty, students and research associates to utilize both highly
specialized and easily accessible hardware and software applications to
further demonstrate the value of building more interactive, digital art
projects while critically analyzing their place in the world. Research
projects are varied and investigate many contemporary subjects whose
cultural implications bring to light the growing interdependency between
the arts and sciences.
ATLAS is a campuswide initiative at the University of Colorado at
Boulder
and is dedicated to the understanding and application of information and
communication technology in curriculum, teaching, research, and
outreach.
The Alt-X Network (www.altx.com) is one of the oldest surviving art and
writing sites on the net. It began as a gopher site back in early 1993
and
has since produced and distributed a vast array of content including the
Hyper-X online exhibition space, an artist ebook series, the "ebr" new
media forum, Alt-X Audio, Black Ice fiction, and various live net
events.
blurr is an experimental center for digital innovation at the University
of Colorado underwritten by Omnicom. blurr's mission is to provide an
environment that challenges the usual distinctions and barriers between
disciplines within the university and also the traditional lines drawn
between industry and academe.
------------------------------
Date: Fri, 21 Mar 2003 16:06:32 +0100
From: Oliver Grau <Oliver.Grau@culture.hu-berlin.de>
Subject: VIRTUAL ART new video documentation
In cooperation with the European TV channel ARTE, the DATABASE OF VIRTUAL
ART has documented a series on contemporary media artists at ZKM, which is
now available at the ARTE website. A sample from the work of Robert Loessl
and Oliver Grau can be found:
http://www.arte-tv.com/emission/emission.jsp?node=-1970&lang=de
Enjoy!
More Extensive Publication (in english):
OLIVER GRAU: VIRTUAL ART: From Illusion to Immersion, MIT Press January 2003.
(ISBN 0-262-07241-6, 360 S., 89 Ill.)
Production:
DATABASE OF VIRTUAL ART / Dr. Oliver Grau
Humboldt University of Berlin
in cooperation with
channel unit digitale mediengesellschaft mbh
Scientific Chair:
Dr. Oliver Grau
Video Director:
Robert Loessl
with support from ZKM /
especially: Dr. Andrea Buddensieg
Recording / Editing:
channel unit digitale mediengesellschaft mbh
Titles:
Sevrina Giard
Joachim Gärtner
********************************
DR. OLIVER GRAU
Kunsthistorisches Seminar
Humboldt University Berlin
Dorotheenstr. 28; 10117 Berlin
fon: +49 (0)30 2093-4295 (direct) - 4288 (secr.)
Fax: +49 (0)30 2093-4209
Oliver.Grau@culture.hu-berlin.de
www.arthist.hu-berlin.de/arthistd/mitarbli/og/og.html
www.diejungeakademie.de
**********************************
------------------------------
# distributed via <nettime>: no commercial use without permission
# <nettime> is a moderated mailing list for net criticism,
# collaborative text filtering and cultural politics of the nets
# more info: majordomo@bbs.thing.net and "info nettime-l" in the msg body
# archive: http://www.nettime.org contact: nettime@bbs.thing.net