Competition Announcement: Share Prize 2008
Piemonte Share announces the fourth edition of the Festival by calling a competition
Piemonte Share Award . See registration form.
Registration - SHARE AWARD : DIGITAL ART PRIZE 2008
Piemonte Share Festival announces the second edition of the Share Prize 2008 for digital art.
The competition jury will award a prize of ?2,500.00? to the work (published or unpublished) which best represents experimentation between arts and new technologies. The candidates for the prize (a short list of a maximum of 6 competitors) will be guests at the 4th edition of the Share Festival, taking place in Turin March 2008 at the Accademia Albertina di Belle Arti, Turin. In order to be declared winner of the prize, every artist has to take part in the 4th edition of Share Festival, by preparing his or her work of art, to be properly evaluated by jury and public.
The organization is available at offering all the costs regarding the preparation of the 6 selected works as well as travel and accommodation expenses for the artists, and, possibly, the prize itself". Nomination of 6 candidates for the prize: by November, 2007. The announcement will be published on the following website: www.toshare.it The winner will be announced in March 2008 during the award ceremony at Share Festival.
The prize aims to discover, promote and sustain digital arts.
The contest is open to any Italian and foreign artist using digital technology as a language of creative expression, in all its shapes and formats and in combination with analogical technologies and/or any other material (i.e. computer animation / visual effects, digital music, interactive art, net art, software art, live cinema/vj, audiovisual performance, etc.). Each artist or group can enter up to 3 works. Artists who are part of a group participating in the contest may also enter up to 3 individual works. Participating entries must be registered on the site www.toshare.it using the registration form. Registration and description of the competition entry forms should be either in English or Italian; English is preferred.
Conditions of exclusion
The competition is not open to:
- Jury members, organising body, their partners or relatives up to the sixth degree inclusive
- employees or collaborators of Jury members or announcement committee
- anyone who drew up the competition or any associated document
- any person working as a civil servant in Public Institutions or Administrations unless it is specifically permitted by the administration of affiliation
- unfinished projects or work
a. Entries must be registered on the site www.toshare.it by using the registration form only.
b. Registration must take place by 12.00 pm on 30 September 2007. Entries after that date, for whatever reason, will be excluded from the competition.
Candidates must fill in the on line registration form available at www.toshare.it
Applications must contain the following information:
- Title of the work
- C.V. of artist or artists (in case of new groups of artists, each member's C.V. is necessary)
- Concise description of the work (max. 150 words).
- URL documents concerning the work itself, where further details of the work can be found (see Art. 6bis)
- No material must be sent (paper, DVD, CD, etc) in addition to the specific requests of the public notice.
Further details on URL document
Every participant must provide further details from those given in the information on a specific web site. It must contain:
- Description of the work (max 500 words) explaining the main concept and technologies used
- Images (.jpg) and/or video (.avi) and/or audio (.mp3) of the work
- C.V. of artist or artists (in case of new groups of artists, each member's C.V. is necessary)
NB: competitors are responsible for the design and costs incurred in producing the Web Site regarding the work for the contest.
The jury, meeting in non-public sessions, will select 6 works among those presented for the contest within November, 2007. The candidates for the prize (a short list of a maximum of 6 competitors) will be asked to take part in the 4th edition of the Share Festival, taking place in Turin March 2007 at the Accademia Albertina di Belle Arti, Turin. The announcement will be published on the following website: www.toshare.it . The winner will be announced on March 2008 during the award ceremony at Share Festival.
The jury is composed by:
Bruce Sterling (writer and journalist, Austin) - chairman
Piero Gilardi (artist, Turin)
Anne Nigten (managing director, v2 e DEAF, Rotterdam)
Oscar Abril Ascaso (curator Sonar, Barcelona)
Stefano Mirti (architect, Interaction design Lab, Milano)
The Contest Information offices are located at Association The Sharing premises.
General coordination: Manuela De Caro
tel. +39.011. 588.36.93 faxes: 0039.011.83.91304
Property and rights concerning projects and selected works
With the registration to the contest, the authors of the winning works grant The Sharing Association the right to publish and reproduce the works, totally or partly, as part of cultural promotion.
Publishing this notice
This notice is made up of three pages and will be published via Internet at the following address: www.toshare.it. News will also be available via all interested parties.
? two thousands five hundreds gross taxes and national insurance contributions
experiences in digital cultures
Following the success of the 070707 UpStage Festival, many of the
cyberformances will be presented again over the coming weeks.
First up is "Paraiso", on Wednesday and Thursday at 22.30pm in
Montreal; visit http://www.upstage.org.nz for a link to local times,
and for the live link to the stage 15 minutes before show time.
Taking the shape of a miraculous appearance, "Corazon_Desfasado",
some sort of illegal hybrid saint, reveals to us messages of
redemption. "Paraiso" is devised and performed by Helena Martin
Franco (Montreal, Canada), http://www.corazondesfasado.com.
All you need to participate is a browser with the Flash player
plug-in and an internet connection.
helen varley jamieson: creative catalyst
You are invited to celebrate the opening of Daddy Doo - an
installation by Bryce Galloway this Thursday 19th at 5.30pm at the
New Zealand Film Archive mediagallery.
Exactly 100 years after Sir Truby King founded the Plunket Society
to “help the mothers and save the babies” local artist Bryce
Galloway presents Daddy Doo, a video installation about the world of
male parenting. Mixing the comic with the grotesque Daddy Doo offers
an alternative portrait of fatherhood and the family album.
Thursday July 19, 5.30pm
Pelorus Trust mediagallery
New Zealand Film Archive
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Begin forwarded message:
> From: "Physics Room" <physicsroom(a)physicsroom.org.nz>
> Date: 13 July 2007 11:46:16 AM GMT+12:00
> To: <physicsroom(a)physicsroom.org.nz>
> Subject: The Physics Room Seeks New Director
> THE PHYSICS ROOM TRUST SEEKS NEW DIRECTOR
> The Physics Room contemporary art project space, one of only two
> independent contemporary art institutions in Aotearoa/New Zealand,
> seeks a new Director due to the departure of incumbent Director
> Danae Mossman.
> The Physics Room is an internationally recognised platform for
> contemporary art that presents an excitingintegrated programme of
> exhibitions, public programmes (including lectures, forums,
> screenings and performances), outdoor art projects and publications
> from its base in Christchurch, Aotearoa/New Zealand. A central aim
> of The Physics Room is to provide support and development
> opportunities for artists in Aotearoa/New Zealand, and to develop a
> range of programmes that reflect and encourage critical debate in
> the visual arts in both a national and international context. The
> Physics Room receives major funding from Creative New Zealand / Toi
> Director of The Physics Room
> The Director is responsible for the management of all areas of The
> Physics Room’s operations, including curatorial programming and
> financial management, within the broad scope of the Artistic and
> Business objectives of the Board of Trustees, with two staff in
> supporting roles.
> Candidates must have a keen interest and in-depth understanding of
> New Zealand and international art; curatorial and management
> experience; research and writing skills; strong communication
> skills. A post-graduate qualification is desired.
> Please contact The Physics Room for a Job Description and
> Application Form by email atdanae(a)physicsroom.org.nz.
> Applications must be received by: Thursday 2 August 2007, 5pm
> For more information please contact The Physics Room Director on
> +64 3 379 5583 ordanae(a)physicsroom.org.nz.
> The Physics Room contemporary art project space
> PO Box 22 351
> Christchurch 8142
> New Zealand
> ph +64 3 379 5583 / fax +64 3 379 6063
A new elective paper at VUW in the School of Design is looking for a
tutor that is fluent in Max/MSP/Jitter.
link to course
There will also be some physical computing involved, so basic
understanding of electronics, soldering, and communicating with max
via an arduino board is beneficial. Some key areas of Jitter knowledge
will be computer vision, openGL and working with movie playback.
The paper meets Monday and Thursday from 2:40 to 5:20. The class
started this week, and we now have enrollment to justify a tutor.
Please send me a CV via email if interested.
>Max/Jitter due to the installed base of support and the well
>documented video tools. It is also a question of having students dive
>right in, or fight with a poorly documented and poorly considered user
i'd agree. I just went into Pure Data as well as Jitter (but Joris (being
good at python/c++) found the UI annoying in Jitter and I really liked
pythons' overview-like way of coding). Also because I'd done that workshop
in PD it was not so difficult to try stuff out, but then I got stuck with
trying to get the GEM to work with the webcam. I don't think i could have
handled starting PD without that workshop though, whereas with max/MSP i
found by following the online manuals I could. Admittedly my experience with
both is v. little. In my course we don't get much in the way of lessons. The
expectation is you know that already or can work it out.
When we were doing our assignment (in April / may) I didn't want to go for
processing because want annoyed me so much about it, was the slowness with
graphics, even though it was designed as a more graphical way of working. My
background is the visual arts not programming, so the sort if imagery I was
trying was different to just lines. Then in late May i attended a lecture
given by Casey Rheas (http://reas.com/) and was impressed by the exciting
visual stuff he was making, so it was really my lousy coding and not knowing
that processing could handle speed if planned well enough. Though - my
feeling is that PD is better for any complicated live feed stuff. Or at
least in the examples made by fellow students (most are v. good programmers)
all examples choked with any great amount of processing work, whereas the
stuff we did in python involved a lot more processing power. Admittedly the
guy who made interactive fairy dust topped the bill with his custom-made
c++:) But that was beyond the scope of most of the rest.
The problem with python was that the window size was a restriction, whereas
in PD + Jitter you don't need to resize (and slow down things). Of course it
could be that we never found the right possibility in python. Anyway Joris
and I had such a good time that we are going to develop what we did further
after September in either python or PD.
Casey Rheas mentioned a new book on processing which, going by his extremely
clear and stimulating presentation, i'd highly recommend. (Perhaps he could
be invited to give a session in NZ? He explained processing is ways I never
dreamed it could sound so unthreatening to non-programmers)
Processing: A Programming Handbook for Visual Designers and Artists. Casey
Reas and Ben Fry. Published 24 August 2007 by MIT Press. 736 pages. $50.00
It is a pity that his website doesn't really show the power of his work,
which he showed us. On the other hand he said that he'd been focusing on the
book for the past 2 years.
this is it for me. i'm going travelling now >> venice biennale, croatian
beaches, documenta, etc.
till august or so.
hei konei ra, Sonja
Fight Allergies With Live Search
English version here:
worth noting is that the outcomes of this competition (like other Telefonica
awards) will be very public, reaching many million people. something of a
multi-national monopoly, Telefonica reaches out of Spain and into South
America. as such they strive to be seen as supporters of cultural
development and tend to promote their competitions widely.
Mónica Bello Bugallo, España
Daniel Canogar, España
Rafael Lozano-Hemmer, Canada/ México
José-Carlos Mariátegui, Perú
Simon Penny, EE.UU/Australia
Nell Tenhaaf, Canadá
Mónica is behind the excellent site http://www.res-qualia.net/ and wife
of English artist Andy Gracie http://www.hostprods.net/.
----- Forwarded message from fundaciontelefonica(a)telefonica.es -----
Delivery-date: Wed, 11 Jul 2007 19:27:15 +0200
X-Forward: from <julian(a)julianoliver.com> to <julian(a)selectparks.net>
Subject: VIDA 10.0 / Art and Artificial Life International Competition / Concurso
Internacional Arte y Vida Artificial
X-MIMETrack: Serialize by Router on 28NBHC10/SRV/PASARELA_EMAIL(Release 6.5.4FP3|January
09, 2006) at 11/07/2007 19:02:02
(Embedded image moved to file: pic06490.jpg)
(See attached file: VIDA 10_0.JPG)
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AF and Alt.Music Festival in collaboration with the Telecom 39th
Auckland International Film Festival presents La Cellule
d'Intervention Metamkine from Grenoble, France is a live expanded-
cinema group made up of musicians and filmmakers.
La Cellule d'Intervention Metamkine and Plains with moving image work
by Michael Morley
$19.50, Saturday July 14, 2007, doors 7pm, starts 8pm
Tickets from Ticketek - service fees will apply
Kenneth Myers Centre, The University of Auckland, 74 Shortland
Free workshop with Metamkine’s Jerome Noetinger, Kenneth Myers
Centre, Saturday July 14, 4pm
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
La Cellule d'Intervention Metamkine
Metamkine produces and directs a new film with each thrilling and
spontaneous performance. These highly articulate improvisations push
the boundaries of film and soundtrack into the realm of live
Projectionists Christophe Auger and Xavier Quérel perform live on
multiple 16mm projectors; they apply chemicals to their films on
stage, play with film speed and filters, and scratch directly onto
celluloid to stunning effect. Jérôme Noetinger performs live musique
concréte in a similar analogue fashion. Utilising reel-to-reel tape
recorders and vintage synthesizers, the trio engage in an entirely
real-time invention. They create a unity of sound and image,
immersing the audience in a rich display of unusual diffusion and
refraction techniques and compelling sound-collage.
Metamkine remain deeply purist in their approach to the immediacy and
tactility of analogue film and sound techniques. For 20 years the
Metamkine project has expanded on the tradition of experimental
cinema and celluloid reverie. They could be described as successors
to the early experimental cinema lineage of Walter Ruttmann, Isodore
Isou, Guy Debord, Stan Brakhage, Len Lye et al, through to Fluxus
Film and Andy Warhol’s Exploding Plastic Inevitable happenings.
Metamkine’s performances revel in the undeniable beauty and depth of
real-time projected film, sound and light. This show should not be
missed by those with even a passing interest in avant-garde cinema.
Michael Morley Reason
35 minute, digital video, colour, 16.9
In collaboration with Plains
Auckland electronic supergroup Plains comprised of Rosy Parlane,
Richard Francis, Clinton Watkins, Paul Winstanley, Tim Coster and
special guest Dean Roberts will also be performing and working in
collaboration with a moving image work by Dunedin-based artist
Michael Morley (Dead C/Gate). Morley has been making video works
since 1990. Non-narrative and experimental, these are often
meditations on a subject, removed from real-time constraints and
suspended within a timeframe of its own making. Reason was conceived
as a response to the video game aesthetic, the romantic painted
landscape where possibilities for disaster are commonplace and
frequently catastrophic. North Otago is emblematic of New Zealand art
history; as landscape it is one of the characters within Reason.
[Metamkine’s] work ethic is a far cry from the trendy multi-art
events that are currently mushrooming in the capitals of Europe … The
performances were an inspiring and frequently chaotic mix of
acoustic, electronic and electroacoustic elements, an aural and
visual celebration that even included some live sampling - of the
group itself - by Noetinger, demonstrating that analogue and digital
techniques can be complementary. As Noetinger puts it: "We have to
move beyond this opposition between analogue and digital. The
important thing is the music, not where it's coming from."
Rahma Khazam, The Wire 157, March 1997.
“I believe firstly that the cinema is too rich. It is obese. It has
reached its limits, its maximum. With the first movement of widening
which it will outline, the cinema will burst! Under the blow of a
congestion, this greased pig will tear into a thousand pieces. I
announce the destruction of the cinema, the first apocalyptic sign of
disjunction, of rupture, of this corpulent and bloated organization
which calls itself film.”
Letterist filmmaker Isodore Isou, 1950
Metamkine’s Alt.music appearance is supported by Creative New
Zealand, The University of Auckland’s National Institute of Creative
Arts and Industries, The Gus Fisher Gallery, Liquid Architecture,
Room40 and Telecom 39th Auckland International Film Festival.