:: Saturday, November 15, 2003 ::

During the research for a lecture I was giving last week on the topic of "identity in non-places", I came across this mildly amusing website nonplace.com. Surely all web(places) are non-places in the blatently obvious cartesian sense although not necessarily in the cultural sense?

My main cause for concern was the creators 'need' of this space to copyright it, although culturally this does follow the lead of 'real' world non-places (spaces) i.e. fast food chains, supermarkets etc.

:: Garrett Lynch [+] ::
...

Tubulence.org is at it. This time featuring Reynald Drouhin
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FOR IMMEDIATE RELEASE
November 11, 2003
Turbulence Artists' Studio: Reynald Drouhin

Reynald Drouhin uses search engines, web cams, and Internet databases to generate random electronic canvases and photographic mosaics.

"For Reynald…the situation seems clear: since everything and its opposite gravitate and bustle and multiply to infinity within the twists and turns of networks, he might as well dig into the inexhaustible (and sometimes depressing) manna of data in order to construct his visual cathedrals with virtual matchsticks."--Pierre Bongiovanni

BIOGRAPHY

Reynald Drouhin lives and works in Paris and Rennes, France. He studied plastic arts at Paris Fine Arts School (DNSAP), University of Paris 1 (Masters, DEA) and a Hypermedia Multimedia Mastère (ENSBA). He has shown his work worldwide, including: ISEA 2000, Paris; the International Festival of Multimedia Urban Arts, Belfort; the Biennial Festival 2000, Montreal; and the International Demonstration of Video and Electronic Art organized by Champ Libre in 1999. He also took part in ISEA 97, Chicago, and Imagina, Monaco, 1998.

Drouhin has received several prizes and distinctions including the Grand Prix for Digital Creation; the Special Award of the Toshiba Jury (2003); the Video Award of the FIAV in Tangers (2001), the Grand Prix at the Cyberfestival of Reuil Malmaison; and the Auvergnes-Videoformes DRACs Multimedia Award (1999). His artist’s residencies include: C3, Budapest (2000); CICV, Belfort (2000-2001); Europeo, Italy (2001); and Carnegie Mellon University, Pittsburgh (1997). Currently Drouhin teaches at the Fine Arts School in Rennes and is a member of the Incident.net group.
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:: Eduardo Navas [+] ::
...

Here is an important announcement for all new media jockeys:

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REMINDER: DEADLINE APPROACHING

ART IN MOTION: THE INTERNATIONAL FESTIVAL OF TIME-BASED MEDIA PRESENTED BY THE UNIVERSITY OF SOUTHERN CALIFORNIA SCHOOL OF FINE ARTS


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AIM V: SYZYGY (the human remix) CALL FOR ENTRIES
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Deadline: NOVEMBER 30, 2003
Entry is FREE
Online entry form and further details: www.usc.edu/aim
Contact: aim@usc.edu
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AIM, the University of Southern California School of Fine Arts’ international festival of time-based media, in partnership with the Armory Center for the Arts, Pasadena, is pleased to announce AIM V: SYZYGY (the human remix).

AIM V: SYZYGY calls for entries that explore the question of the human/machine ‘remix’. Derived from a Greek root meaning “yoked or paired”, syzygy implies a state of interdependent duality that speaks to the increasingly chimeric relationship between human and machine.

Important Dates:
November 30, 2003 deadline to enter March 7 – June 6, 2004 exhibition will be held at the Armory Center for the Arts, Pasadena. TBA AIM V will also include screenings on the video billboards on West Hollywood’s Sunset Strip and satellite lectures and events in Los Angeles, Hong Kong, and Cusco, Peru.

Online entry form & further details:
www.usc.edu/aim

**Remember to include the following for your submission to be entered into the databases:
1. All required fields, such as name, biography, contact information, etc…
2. Three images in total: one large and one small image, and either images from option 1 or 2
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:: Eduardo Navas [+] ::
...

Here is the official announcement to one of the biggest grants anyone can get in the U.S. Enjoy the process:
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FOR IMMEDIATE RELEASE
Contact: Athena Robles, (212) 598-9900, ext. 238

CREATIVE CAPITAL GRANTS AVAILABLE IN MARCH 2004
Arts foundation will award up to 40 grants in the fields of visual arts and film/video



NEW YORK, NY (November 3, 2003) ­ In the spring of 2004, Creative Capital Foundation will accept proposals for its 2004­05 grant cycle supporting work in the visual arts and film/video. Grants for performing arts and emerging fields will be available in 2005. The nonprofit arts organization has implemented a new application process: to apply for a grant, artists must first submit an Inquiry Form, which will be available February 16, 2004 on the foundation¹s website, www.creative-capital.org. The deadline for completed Inquiry Forms is March 15, 2004; those invited to apply will be notified in June 2004.

As in past grant rounds, funded projects will receive approximately $400,000 in initial grants, ranging from $5,000 to $20,000. In addition, grantees are eligible for follow-up support totaling $900,000 to $1 million in the form of advisory services and additional financial assistance.

Now in its fifth year, the New York-based foundation has awarded an estimated $3 million in grants and supplemental support to 158 artists from 24 states and the District of Columbia. A complete list of grantees, profiles of funded projects, and up-to-date grant cycle information can be found online at the foundation¹s website.

Grant Calendar 2004­05
February 2004: Inquiry Forms available (Visual Arts & Film/Video)
March 2004: Deadline for completed Inquiry Forms
June 2004: Notification of results; applicants selected
January 2005: Announcement of awards

About Creative Capital
Founded in January 1999, Creative Capital Foundation is a national nonprofit organization that supports individual artists pursuing innovative approaches to form and content in the visual and performing arts, film/video, and in emerging fields.


:: Eduardo Navas [+] ::
...

The following is an interesting event organized by Nilo Casares. There are no specific links, but his abstract at the end contextualizing Net Art since 1995 is quite interesting. Please scroll through.
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cycle
web/net.art of conferences
(or net.art against web.art)


20h00m/11.17.03
net.art vs web.art:
creators,activists,tricksters
and other businesses of the online art
josé ramón alcalá
professor in graphic expression
systems and image technologies
of the castilla-la mancha university
he is also director of the
international electrography museum (mide)
of cuenca since its foundation in 1989

20h00m/11.18.03
¿netart o notart?
brian mackern
founder of the online directories
and netart_latino
database, he is also developer of
offline/online sound interfaces

20h00m/11.19.03
ñet.art
fran ilich
digital narrator, media artist,
film director, writer, publisher, critic,
activist and net.proletarian

20h00m/11.20.03
transitorio
arcángel constantini
multidisciplinary artist
unosunosyunosceros.com creator

20h00m/11.21.03
no moreart, life only 2.1
laura baigorri
titular professor of video of the
fine arts faculty at the
university of barcelona
net.art expert and founder of the
online directories
_el transmisor_ and _data.art_


presents
nilo casares

where
aula de cultura cam
pza. del mercado, 4
46002- valencia
+34 963913396

free entry
maximum number of participants: 80

organizes
caja de ahorros del mediterráneo
social fund

abstract:
web/net.art (or net.art versus web.art), the art that populates the internet, obtains a leading role in the contemporary art scene since the year 2000. in this year, the whitney museum incorporates net.art into the biennale festival, even though the museum had acquired an online work for its own collection as far back as 1995; douglas davis' "the world's first collaborative sentence (1994)". from then onwards, artist's attention was drawn to net.art many of whom were
total strangers to internet as a media. these artists felt the media was elitist and hermetic, in the hands of a few web sites and mailing lists. being net.art the art of the info space, confrontations exist within it's own kind between the terms net.art and web.art (the use of the term net.art dates from 1995 by vuk cosic). i am used to saying that net.art is to web.art what painting is to design. However, in order to provide a more accurate explanation, we could define net.artists as those who make transparent the manipulation, monitoring and interrelation processes that are part of internet. the
web.artists take advantage of these resources and characteristics to enhance our senses, exploiting the illusive possibilities of the media while hiding "the traps " internet sets out for its users. Net.art shows us the ins and outs of internet, something web.art tries to hide in order not to interfere with the artwork's delight. Some days, tired of the fact that i cannot access an online artwork because it is only able to be seen from a pc or it needs a specific
plug-in impossible to find, i go back to thinking net.art resists any circumstances while web.art explores all the possibilities of the media without discriminating the user. nevertheless, it seems like this distinction between net.art and web.art is currently out of date. our guests will discuss the extremes in which one or other genre take action, or whether there is no longer a distinction between both art forms.
--by Nilo Casares
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:: Eduardo Navas [+] ::
...

Yet another promising event for our everchanging interests:

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THE INTERNET AS A MUSEUM SPACE
Current situation and future proposals.

Friday 14 November
MACBA - Museum of Contemporary Art of Barcelona

To mark the launch of the new MACBA website ( starting 14th of November), this event would like to foster a public debate on the use of the web by museums and on the specific nature of the medium in relation to the way it is used by artists.

Internet and digital media has made a significant contribution to the redefinition of the traditional concept of new media. This event will serve as a forum to review the achievements of these years from a technological perspective, as well as from an artistic and cultural point of view. We would like to discuss a number of issues, including the museum as a production space and the hybridisation of exhibition and communication aspects, the possible existence of a new public digital sphere not related to any particular territory, and the potential of the new technologies to promote new forms of self-management that challenge the traditional notion of artistic autonomy, the institution of which has historically been the museum.


It is already accepted that museums must assume an integral role in promoting artistic experiences related to the web through involvement in production, exhibition and conservation. This debate aims to define the current state of the relationship between museum institutions and the Internet by establishing coordinates and lines of action for the future

Programme

16.00 Talk by Christiane Paul, curator of New Media Arts and founder of Artport, the online exhibition space of the Whitney Museum in New York, and
the co-founder, publisher and editor-in-chief of Intelligent Agent.

18.00 Presentation of the new MACBA website by Roberta Bosco, Stefano Caldana and the group of artists area3, who were responsible for the
site's concept and development.

19.00 Round table with Christiane Paul, José Ramón Alcalá, Director of MIDE (International Electrography Museum) and Professor of New Technologies at the Faculty of Fine Arts of the University of Cuenca, and Roc Parés, artist and lecturer at Pompeu Fabra University. Chaired by Roberta Bosco.

Auditorium. Free admission. Limited number of places available Simultaneous translation service



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:: Eduardo Navas [+] ::
...

There are no additions to the New Media Fix this week. Our recommended fix of the week is Creative time.
:: Eduardo Navas [+] ::
...