Ada_list September 2005

ada_list@list.waikato.ac.nz

23 participants
26 discussions

by Rebecca Adams

Discover the future in all it's shocking glory this Thursday evening at the Film Archive. A special screening in association with the exhibition C:/DOS/RUN - remembering the 80s computer Discovering Electronic Music (1970) "This film shows us something of the physical basis of music and how it can be created and altered by electronic means.... We learn about computer-controlled music and watch a composition being created through the use of a computer...." Future Shock (1973) Based on the landmark book by Alvin Toffler and hosted by Orson Welles. Future Shock “... is a sickness that comes from too much change in too short a time… it's the feeling that nothing is permanent anymore. It's the reaction to changes that happen so fast that we cannot absorb them – it's the premature arrival of the future. For those who are unprepared, its effects can be pretty devastating.” Highlights of the piece include the horrors of 30,000 books being published every month (oh no!), old dolls being abandoned by little girls in favor of new ones that talk ("even friends don't last! - an early lesson in disposability!"), the creation of artificial organs, plastic surgery, and computer art ("instant art, no longer permanent" - as if all paintings and drawings are free from decay). 7:00pm 29 September 2005 Entry by Koha

15 years, 10 months

Fwd: Call for submissions- New Media Art : Embodied Praxis

by nzdancenews

> >From: Olive Bieringa <olive(a)bodycartography.org> > > >CALL FOR SUBMISSIONS > >We are calling for submissions for the first edition of the journal >New Media Art : Embodied Praxis > >This journal will build dialogue about work that explores the >intersections between emerging technologies and body, place, space & culture. > >We are seeking art works, articles (research oriented or reflection >on artistic process), interviews or art reviews that can be >displayed in a online context for this debut edition. > >Work from researchers, academics and artists working with the body, >space and new technologies are welcome. > >We will consider all article abstracts of not more than one page and >original art works received by October 24th 2005 for selection. >Completed articles will need to be received by Nov 30th 2005. > >For consideration, please submit your work with a short (one >paragraph) biography in electronic form by e-mail to this address : >journal(a)liu.edu >Please also note, that if your work is accepted, the journal >requires either a hard copy of your work or high-resolution files >uploaded to the internet. >For hard copy submissions, please send a CD or DVD to the address below: > >New Media : Embodied Praxis Journal >Sita Frederick >Comm/Perf/Theater >Long Island University >1 University Plaza >Brooklyn >NY 11201 5372 ====This message came from the NZ dance news mailing lists===== A dance information service supported by DANZ, Dance Aotearoa New Zealand === To subscribe go to http://www.danz.org.nz/nzdancenews.php ==== ===== Check the online dance Diary at http://www.danz.org.nz/diary.php ====

15 years, 10 months

[UpStage] Next UpStage Walk-thru

by vickismith＠paradise.net.nz

kia ora koutou this is a reminder about the monthly UpStage walkthru's [the next one is next week!] - Wed 5 October: - California, USA: 2pm New York, USA: 5pm UK: 10pm Western Europe: 11pm Finland: 12 midnight Australia (NSW/QLD): 7am [thurs] NZ: 10am [thurs] - or check - http://www.timeanddate.com [for your local time] the format will be newbies in the introduction stage [over view of the tools and tricks in the UpStage performative space] while other crew will be devising with members of Avatar body Collision [please come to the introduction stage first for directions :)] to take your place as a player please email [ colliders(a)avatarbodycollision.org ] for a login and password audience members please proceed to http://upstage.org.nz:8081/stages/presentation look forward to seeing you there vicki :) ::::::::::::::::::::::::::::::::::::::::::::: Vicki Smith ICT Learning Facilitator WestNet Email: vickismith(a)paradise.net.nz Cell: 021 778 067 http://www.westnet.school.nz http://www.avatarbodycollision.org http://www.upstage.org.nz ::::::::::::::::::::::::::::::::::::::::::::::

15 years, 10 months

Fwd: Fake Art: Call for Digital Web Art/Programs

by Helen Varley Jamieson

>From: "arteonline" <arteonline(a)arteonline.arq.br> >To: "FACES" <faces-l(a)lists.servus.at> >Date: Mon, 26 Sep 2005 09:07:50 -0300 >Subject: [faces] Fake Art: Call for Digital Web Art/Programs > >[Please forward this call to appropriate lists and sites!] > >Fake Art: >an exhibit of fake abstract art and fake art criticism >to be held in The Faketropolitan Museum of Art, a virtual museum which will >come to www.sporkworld.org in Spring 2006 > >Sporkworld.org will host a new collaborative exhibit of computer-generated >digital abstract paintings, to open in Spring 2006. The exhibit will >consist of computer-generated paintings which are different on each viewing, >accompanied by computer-generated art criticism, and a dynamically-generated >soundtrack made up of visitor comments about art, recorded in many >languages. > >Artists may contribute to this project in four ways. The first two options >are for artist/programmers to contribute programs to generate paintings or >texts about paintings, while the third option simply requires recording your >voice. The fourth option is a call to photographers and visual artists to >create images of museum visitors. > >Art Machine submissions may be created in Flash (preferred), Shockwave, or >another client-side web technology (by arrangement). Crticism Machine >submissions may be in Flash, Shockwave, Javascript, or PHP, or another >technology by arrangement. Contributions to the soundtrack should be >submitted in MP3 format if possible, and otherwise as WAV files. The images >of museum visitors should be in JPG or PNG format. > >Sporkworld will provide the gallery environment in which the art is viewed, >which will have a button for each Art Machine and each Criticism Machine so >that users may see the machines generate new material. The art generated by >submitted Art Machines will be loaded into picture frames in the virtual >gallery, which users can walk through using a scrolling interface. > >Please send questions and submissions to Millie Niss at men2(a)columbia.edu >before April 30, 2006. > >1. Submitting an art machine > >Web programmers are invited to submit web-based programs that produce a new >abstract composition each time the program is run. The resulting art can be >in any non-realistic, not strictly representational style, and compositions >may make use of images of recognizable objects if they so desire. The >composition should rely on some kind of random process, so that an infinite >(or at least very large) variety of compositions can be produced by each >program. Programs may attempt to imitate the style of a well-known artist >or may generate art in a style of their own. The goal of this project is to >produce compositions (really meta-compositions) that are attractive and look >like believable art. We are interested in programs which generate very >simple, spare compositions yet can produce a wide variety of different >effects, although programs which produce more Baroque, detailed, and complex >imagery are also sought. Your program may be designed to generate a >specific style of composition, so that the results look like variations on a >human-designed theme, or they may aim at generating the widest possible >variety of paintings. What we are not aiming at is results that look very >mathematical, like early computer graphics. Programmers should try to make >thier machines create art which looks organic, emotional, >deliberately-designed, hallucinogenic, harmonious, bleak, jarring, etc. >Programmers/artists should do as much thinking about design principles as >about mathematics or programming. We would like to see works which have >algorithms specially designed to produce aesthetically pleasing (by whatever >standard) compositions, but we also would like to see what kinds of >compositions can be produced by very simple-minded programs. > >Examplea: A very simple art-generating program might put a random number of >overlapping squares on the canvas, in various orientations. This is easily >made more flexible by making the squares come in different colors, putting >them on painted backgrounds, allowing shapes other than squares, etc. etc. >Bear in mind that this sort of thing is the most basic possibility. (But >simple programs may be best at producing consistently pleasing paintings or >at imitating the style of a known painter. For example, it is not too hard >to see how to make some kinds of fake Mondrian paintings.) More complex >programs might draw irregukar curved shapes, use patterns, incorporate >written words or small realistic images, or use complex gradients and >stacked translucent layers to create a more organic look. > >Technical details: The most convenient format for submissions is Flash. >The program should produce a composition of 500 pixels wide by 375 pixels >high. The art machine should be smaller than 200 Kb if possible and smaller >than 100 kb if possible. This size refers to hiow much must be loaded at >one time to run the program once. It is acceptable for machines to use a >larger library of assets which are externally loaded, so long as only 200kb >must be loaded each time a composition is produced. The total size should >be under 2MB. > >If the work is in Flash, it should have a function on its main timeline >called generate(), so that the main gallery movie (to be provided by >Sporkworld) can load the art machines into frames and display them, along >with a button for generating a new composition (which will call generate()). >Works in Shockwave are also easily accommodated. > >We will make every attempt (assuming the art machine is practical and meets >the requirements) to accept art machines which use other languages and >technologies, athough artists wanting to do this should be willing to >research how their work can be controlled from Flash (e.g. via Javascript >and FSCommand, etc.). If you wish to do a work using a technology other >than Flash, please email men2(a)columbia.edu as soon as possible so that your >technology may be incorporated into the design of the gallery. > >Please send a brief (less than one page; it could be just a sentence or two) >non-technical explanation of the algorithm your machine uses along with the >machine itself. Viewers of the Fake Art exhibit will have access to these >explanations if they want to see how a machine works, but the explanations >wikll not appear unless the viewer chooses to have the secret of any >particular machine revealed, and that will be possible only after the art >made by the machine has been shown. > >2. Submitting an art theory/art criticism machine > >This a call for programs which generate fake art criticism/art theory texts >to accompany the exhibit af abstract art. You may aim for a ridiculous >effect or try to make a machine that creates texts that someone might >actually believe were written by a curator, newspaper art critic, or expoert >on cultural theory. Machines can range from very simple (choosing a random >sequence of canned sentences from a list, if the list is long and >well-constructed) or may make use of sophisticated natural language >processing. The results do not have to make sense and may be poetic if you >so choose. The texts to be generated may be mock-academic and theoretical, >and may cite many sources, or may be more direct, such as explanations of >how the artist supposedly came up with the idea for the painting while >taking a bath or what the painting means politically, etc. Texts may purport >to quote various people (from expert art historians to the man-on-the-street >or a child at the museum) who give opinions on the art. > >We are also very interested in machines that generate texts that purport to >be written by the artists themselves. > >Technical details: If the machine is written in Flash, it should consist of >a 1 pixel by 1 pixel movie with a white stage, which will be hidden from the >viewer. The program will have a generate() function on its main timeline >that returns the generated text as a string of HTML. Alternatively, >machines may be written in the PHP server-side scripting language, in which >case the PHP page should return the HTML text via POST. > >Please send a brief (less than one page; it could be just a sentence or two) >non-technical explanation of the algorithm your machine uses along with the >machine itself. Viewers of the Fake Art exhibit will have access to these >explanations if they want to see how a machine works, but the explanations >wikll not appear unless the viewer chooses to have the secret of any >particular machine revealed, and that will be possible only after the text >generated by the machine has been shown. > >Advanced Option for Brave Programmers: You are challenged to make a >combined Art Machine/Art Criticism machine, in which the texts generated by >the Criticism Machine are based on the specific characteristics of the >particular composition that has been generated by the Art Machine. > >3. Contributing to the soundtrack of museum visitors' conversations > >The digital exhibit of Automatic Abstract Art will be accompanied by a >soundtrack made up of overlapping voice samples. The soundtrack is designed >to simulate the sound of a large crowd visiting the exhibit. The crowd will >have sophisticated art connoisseurs in it, but also small children, people >who hate art and are being dragged to the museum by thier parents or spouse, >people who make fun of the art, people who make stupid comments about art, >people who are very emotional in their response, etc. Some comments may not >be directly related to the art: you can record a child begging to go home, >someone asking where to find the restroom, someone who has just stepped on >someone else's foot, guards telling visitors not to touch the artwork, etc. >Voices may include fragments of guided tours or lectures about the >paintings. > >We are to imagine that this exhibit takes place in a museum in a major world >capital, where there are many tourists. Accordingly, we would like to >gather voices speaking as many languages as possible. Your sounds may >contain sound effects other than voices but the sounds should complement the >voices. > >Please produce your sounds in MP3 format (if possible) or WAV format. >Sounds should be no more than 1 minute long (many should be shorter), but >you may submit as many sounds as you want. > >4. Submitting museum visitor images > >Images of the visitors to the virtual gallery are also sought. These should >be photographs or drawings in JPG or PNG format with a resolution of 300 >across by 500 high. Ideally, the people should be on a white or transparent >background so that they can easily be cut out and placed in the gallery. >Images of many kinds of people in many kinds of clothing are desired. You >may also send nude visitors, so long as they are not engaged in explicit >lewd acts. You may include typical tourist trappings in your images (guide >books, cameras, etc.) or instead send sophisticated artistic-looking people, >or bored groups of schoolchildren, or any other people whom you would like >to see in the Faketropolitan Museum of Art, a museum with free admission >that does outreach to all elements of the local community and has an >international reputation. Images of museum guards are also welcome. > >Millie Niss >http://www.sporkworld.org -- ____________________________________________________________ helen varley jamieson: creative catalyst helen(a)creative-catalyst.com http://www.creative-catalyst.com http://www.avatarbodycollision.org http://www.writerfind.com/hjamieson.htm ____________________________________________________________

15 years, 10 months

linux conf

by adam

thanks for the update, sounds great :) adam Adam Hyde ~/.fi r a d i o q u a l i a http://www.radioqualia.net Free as in 'media' contact: email : adam(a)xs4all.nl mobile : +358 468 100 732

15 years, 10 months

wassup

by adam

ola been following the elction stuff, great to know whats going on, thanks to all those that contributed to the election special...i was wondering what was the situation with the linux conf? :) adam Adam Hyde ~/.cn r a d i o q u a l i a http://www.radioqualia.net Free as in 'media' contact: email : adam(a)xs4all.nl mobile : +358 468 100 732

15 years, 10 months

Fwd: [banffleoarthistconfinfo] Webstreaming of Refresh! - Conf. on Media Art, Science and Technology

by Sean Cubitt

Sean Cubitt ? Screen and media Studies ? University of Waikato ? Private Bag 3105 ? Hamilton ? New Zealand ? +64 (0)7 838 4543 ? seanc(a)waikato.ac.nz From: wendy coones <wendy.coones(a)mediaarthistory.org> TO: <banffleoarthistconfinfo(a)yahoogroups.com> CC: Date: Fri Sep 23, 2005 05:04:25 AM NZST Subject: [banffleoarthistconfinfo] Webstreaming of Refresh! - Conf. on Media Art, Science and Technology Webstreaming Refresh! the 1st International Conference on the Histories of Media Art, Science and Technology " Recognizing the increasing significance of media art for our culture, this Conference on the Histories of Media Art will discuss for the first time the history of media art within the interdisciplinary and intercultural contexts of the histories of art. Banff New Media Institute, the Database for Virtual Art and Leonardo/ISAST are collaborating to produce the first international art history conference covering art and new media, art and technology, art-science interaction, and the history of media as pertinent to contemporary art. " www.banffcentre.ca/bnmi/ http://virtualart.hu-berlin.de http://mitpress2.mit.edu/e-journals/Leonardo/ Venue: September 29 - October 1, Banff New Media Institute, Canada Conference program with streaming times www.MediaArtHistory.org Viewing: Since we have only a few places left to attend the conference in Banff we are webstreaming live all keynotes, sessions and discussions from the site. Viewing the sessions in groups at Universities, Libraries, and Art Centers is encouraged, in order to facilitate local dialogue. Webstreaming is available in Quicktime and Windows Media. For optimal viewing on larger screens and for in-screen viewing of powerpoint presentations, prior download of Windows Media is recommended. Full programme details and some very impressive preliminary papers (Programmatic Key texts) online at http://www.mediaarthistory.org/

15 years, 10 months

herald article for stella's "wet social sculpture"

by luke

hi all -- there's a very nice write up in today's herald about stella brennan's "wet social sculpture" installation presently showing in st pauls street gallery, written by andrew clifford http://nzherald.co.nz/search/story.cfm?storyid=%1E%FB%F8%C5%2B%B6%BEB the exhibition runs til october 13, and it is worth going to--i think 'immersive' is the word; an opening which has gallery patrons running about in their undies is a sure sign of a work that deserves attention. :) luke

15 years, 10 months

Re: [Ada_list] electoral angst

by suballard＠optusnet.com.au

Maybe it should be onlist! >From here in Australia, there is absolutely no indication that there might even be an election going on 'over the ditch'. su > Julian Oliver <julian(a)selectparks.net> wrote: > > > kia ora, > > ..on Wed, Sep 14, 2005 at 11:50:34AM +0100, honor wrote: > > > > following on the discussion about art policies of the major political > > partyies, ahead of saturday's election, i just wanted to ask for any > nbews > > anyone has (off list) about the election. > > > > for us ex-pats - adam, me, julian & i'm sure a holy host of others - > > reliable and unbiased election news seems difficult to track down. > i've > > gleened what i can from the ad-ridden new zealand herald website, > tried to > > follow the slightly gossipy www.stuff.co.nz coverage & attempted to > find > > the information in the opinion within russel brown's columns. but if > > anyone has any websites or articles which could shed light on the > present > > state of play, please do email me -- off list! > > if possible could you CC me this also? > > thanks for bringing this up honor, i also feel like i'm missing some > arterial stream of rich context on this election. i'm at the stage where > > i'm trawling for weblogs to bridge this gap. > > julian > > -- > _ _ _ > ___ ___| |___ __| |_ _ __ __ _ _ _| |__ ___ > (_-</ -_) / -_) _| _| '_ \/ _` | '_| / /(_-< > /__/\___|_\___\__|\__| .__/\__,_|_| |_\_\/__/ > |_http://selectparks.net > > Artist in Residence IT University of Copenhagen > Department of Digital Aesthetics and Communication > Rued Langgaards Vej 7 > DK-2300 København S > http://game.itu.dk > skype: julianoliver > home: http://selectparks.net/~julian > > NB: email sent in HTML format will not be read. > > _______________________________________________ > Ada_list mailing list > Ada_list(a)list.waikato.ac.nz > http://list.waikato.ac.nz/mailman/listinfo/ada_list

15 years, 10 months

Rogue Mail - The Hyperliterature Exchange, September 2005 - correction

by edwardpicot

Oops! Dropped a bollock in my last announcement, I'm afraid. If anyone tried to reach my latest review and got an error message, it's because the link should have been http://hyperex.co.uk/reviewintimacies.php, not http://hyperex.co.uk/reviewtintimacies.php . Believe me, heads will roll in the admin department. - Edward Picot, his handsome features aglow with embarrassment http://hyperex.co.uk - The Hyperliterature Exchange http://edwardpicot.com - personal website

15 years, 10 months

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Ada_list September 2005