:: Friday, May 21, 2004 ::

Turbulence(New Radio and Performing Arts Inc.) have officially announced the winners for their Comp_04:

1. Kate Armstrong and Michael Tippett
2. Andy Deck with featured poster graphics from contributors Sonja
Smith, J°rn J°ntvedt, Bina Altera, Verˇnica Perales, Fred Adam, jimpunk,
Paul Garrin, Laurent Fetis, Fran Duncan, and John Schettino.
3. Nick Montfort, Dan Shiovitz, and Emily Short
4. Martine Neddam, with BlueScreen and students from Shanghai
University, China.
5. Ricardo Miranda Zu˝iga, with collaborators in the US and Nicaragua
(to be announced)

Each team will receive $5,000. The commissioned works will be launched
in spring 2005. Eighty-seven collaborative applications involving
several hundred individuals were received, many of which were highly

For complete information make sure to visit Turbulence.org
:: Eduardo Navas [+] ::
:: Wednesday, May 19, 2004 ::
Dal 19 al 23 maggio 2004 Shockart.net sarÓ presente al PEAM 2004 - Pescara Electronic Artists Meeting come curatore della sezione di web_art. La selezione operata per Peam2004 riunisce 8 progetti di artisti che utilizzano il web come piattaforma artistica in grado di conciliare diversi canali espressivi (audio, video, testo, grafica, fotografia) ai fini della costruzione di un linguaggio capace di interpretare, in modo assolutamente armonico, il ritmo della contemporaneitÓ.


Le opere saranno fruibili tramite un'interfaccia appositamente realizzata da Mitja Bombardieri visibile durante il festival ad ECOTECA e dal 19 sarÓ pubblicata sia sul sito del Peam

che sul sito di Shockart.net.

artisti invitati: BugZ, Ines Iglesias Heras, Morpheus, Alessandro Orlandi, SquidSoup, Niko Stumpo, STV, Wladimir Vinciguerra

Forwarded by
Francesca de Nicolò

posted by
:: Eduardo Navas [+] ::
:: Tuesday, May 18, 2004 ::
'Its the season for award announcements, as just a few days ago Peter Luining posted the winners for the Webby Awards and Ars Electronica. Now, Rhizome is the latest institution to announce the winners for their 2004 Commissioning Program.

And the winners receiving $2900.00 are Paul Catanese, Luis Hernandez Galvan with suport from Gabriel Acevedo, Jason Van Anden, and Carlo Zanni. Warren Zack (proposal website not available) will receive $2,500.00, and C-level will receive $1,750.00.

For more details look over the official online announcement.
:: Eduardo Navas [+] ::
:: Monday, May 17, 2004 ::
The Plannetarium Collegium - (at last) a fresh concept in graduate programs in Cyber Arts

This year the CyberArt Festival in Bilbao, Spain included a very interesting and new (as a collective), group of speakers. This piece is not so much about the conference itself, which was a success as it has consistently been since 1995, but rather about the Plannetary Collegium. This is a group of doctoral and post-doctoral researchers doing advanced inquiry in the subliminal space between the arts, technology, and the sciences, with consciousness research as a core component of the work.

The genesis of the Plannetarium Collegium is connected to the successful CAiiA-STAR (the Centre for Advanced Inquiry in the Interactive Arts established in 1994, at University of Wales College Newport, and STAR, the Science Technology and Art Research centre, established in 1997 at the University of Plymouth). The group of doctoral and post-doctoral students includes names such as Eduardo Kac, Char Davies, Thecla Schiphorst, Marcos Novak, and Yacov Sharir. Very recently the Collegium opened a new node in Zurich (the Z-Node). It will be based in the Hochschule fuer Gestaltung und Kunst. The Director of Studies of Z-Node is Jill Scott PhD of the Cultural Studies Institute at HGKZ.

Upcoming, the forum ôConsciousness Reframed 2004ö, which will take place in BEijing, China, from 24 to 27 November 2004 (http://www.planetary-collegium.net/conferences/
). This symposium is convened by this group of researchers in collaboration with the following Beijing Digital Arts Programs:
The Digital Media Studio, Central Academy of Fine Arts,
The China Electronic Music Center, Central Conservatory of Music,
Department of Digital Art and Design, School of Software, Peking Univ.
The Institute of Digital Media, Beijing Normal Univ.

As Brenda Laurel proves in her most recent book "Design Research : Methods and Perspectives" there is a need to rethink research in the field of what i will here vaguely label as "digital media". The Plannetarium Collegium is a new approach to what a doctoral program in the field should be, aimed at researchers that have already proved work in the field but who were too busy doing wonderful things that taught so much to so many of us... to think of their own academic careers.


:: ana boa-ventura [+] ::
As the term "new media" gets tossed around quite a bit these days (at least in the emerging technologies field), we find that it is much more slippery to define than expected, mainly because its definition relies on the word "new." Whatever the term may mean in the end is actually contingent upon what particular history of media is used to contextualize technology's influence in art: for Lev Manovich, in particular, is the history of Cinema. It is safe to say that "new media" implies media that is constantly changing; and so, what new media may mean today is quite different from what it could have meant in the first half of the twentieth century. (The term was actually not used then, but development of new technology at that time allows for this retrospective extension of the term to be used at least in relation to artistic practice.)

Take the history of radio broadcasting, for example, which precedes the development of current emerging technologies and artistic manifestations like internet art and software art. The radio came to be used by artists to make radio art. This becomes obvious in "New American Radio and Radio Art" an essay written by Jackie Apple for New American Radio works online. In her essay we discover that during the seventies, artists developed projects specifically for radio broadcasting in similar ways to how video artists developed projects also in the seventies for independent broadcasting, and net-artists currently develop projects for online exhibitions. But it was in the eighties that radio art projects were more specifically developed. To preserve this tradition, New American Radio currently offers 110 radio programs, mainly produced during the nineties, archived for online listening. So log on and learn more about the history of an "old" media that at one time was "new."

:: Eduardo Navas [+] ::
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