>Is there anyone local using this software for visual as well as just
As part of a masters in media technology I'm doing at Leiden Uni (The
Netherlands) we had an assignment to get various agents do stuff with web
vision with the expectation that we would all be doing this using Jitter.
I started with another student in Jitter, then Pure Data, then moved to
python (he's good at python and i'm good at guessing :) till we got it
working for the assignment.
The problems with Pure Data seemed to be a glitch, so I'm going to try an
upcoming workshop at Mediamatic in Amsterdam to see if I can get GEM (the
windows library for imaging) to work better because I'm not sure if python
is the way to go with visuals in terms of processing speed.
>i don't know, but over here in Europe it would seem less and less people
>are using Max/MSP in favour of Pure Data, which can now open MSP patches
I'd tend to agree with you Julian because that's what seems to be the case,
but I was surprised that out of the 20 projects for our course, 4 of us
worked in processing, 1 in c++ and 1 in python. The rest worked in Jitter,
and in discussions with various lecturers in Art Science Dept at the Hague,
they swear that max/MSP is still superior. We are apparently the first year
where some went our own way with programmes. But none of the lecturers seem
to know much about alternatives. And at various performances I see artists
doing, it has always been max/MSP or Jitter.
>from all outward appearances i would say Max/MSP is not as useful to
>teach as Pure Data these days.
I'd agree! I actually find Pure Data clearer - I think probably easier for
But -so far- I don't see it being taught in institutes here, only max/MSP.
Mediamatic runs courses but, for example, at the workshop i was at in
Febraury there were about 10 people there and half dropped out by the second
day. A great pity. The teacher was fantastic.
>Miller Stuart Puckette developed Max/MSP in his own name in the early
>90's. after Max/MSP was commercialised by software company 'Cycling 74'
>he developed and released Pure Data as an open source alternative.
My teachers claim that max/MSP was developed much further after Puckette
left, but I suspect they were mainly defending their choice to just work in
max/MSP. It is true that there are a lot of max/MSP resources (patches)...
hei konei ra, Sonja
Windows Live Hotmail gives you the control you need to help you keep your
e-mail private, safe and secure. See for yourself!
Competition Announcement: Share Prize 2008
Piemonte Share announces the fourth edition of the Festival by calling a competition
Piemonte Share Award . See registration form.
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
Manuela De Caro
experiences in digital cultures
2007 ANAT Emerging Technologies Mentorship
ANAT is offering the opportunity for young and emerging practitioners
working with distributed, portable, online, wearable, gaming, mobile
and emerging platforms to undertake a three-month mentorship with an
established practitioner of their choice.
The mentorship enables an emerging artist to explore new creative
directions, to expand technical skills and increase knowledge of
networks, debates and business practice. Applicants are invited to
select a mentor and develop a program of activity spanning a
three-month period. By utilising emerging technologies the mentor may
be accessed locally, nationally or internationally and the successful
applicant will maintain a blog for the duration of the mentorship on
the ANAT server.
Applicants must be emerging technologies practitioners who are 30 years
or under. The mentorship will provide a fee for the mentoree ($7,200
excl GST) and a fee for the mentor ($1,800 excl GST). The mentorship
program should be completed by early December 2007.
ANAT APPLICATIONS CLOSE 3 AUGUST 2007
ANAT guidelines and application
forms are available on our web site http://www.anat.org.au. For
further information please contact Gavin Artz, ANAT General Manager -
manager(a)anat.org.au, 08 8231 9037, Monday - Friday, 10am - 4pm CST.
This mentorship is a part of the Australian Government's Young &
Emerging Artists Initiative through the Australia Council, its arts
funding and advisory body. Australian Media Arts Organsiations d.lux,
Experimenta and MAAP are also offering mentorships:
+ d.lux will hold their mentorship inside Second Life or a similar
online virtual community, contact malcolm(a)dlux.org.au for more
+ Experimenta's focus is on Site Related and/or Public
Work, contact kentia(a)expeirmenta.org for more information.
+ MAAP will focus on projects that intersect or consider connections with the Asia
Pacific regions, contact info(a)maap.org.au for more information.
ANAT gratefully acknowledges the assistance of CraftSouth in
establishing the ANAT Emerging Technologies Mentorship Program.
ANAT is assisted by the Australia Council for the Arts, by the South
Australian Government through Arts SA http://www.arts.sa.gov.au and the
Visual Arts and Craft Strategy, an initiative of the Australian, State
and Territory Governments.
anyone a business plan expert? i'm just constructing one now for floss
manuals and i need some advice on...err...how to write one...
i've done some research on business cases, just need someone to explain
to me the best approach to writing the plan given the business model i
am thinking of
'free as in media'
The 070707 UpStage Festival kicks off in less than 24 hours, live
online and at the New Zealand Film Archive in Wellington, NZ. From
2.30 to 11.30pm NZ time, on Saturday 7th July, performances created
in UpStage by artists from around the world will delight, entrance,
engage, baffle, amuse and rock you!
http://www.upstage.org.nz has all the information, including links to
find your local time for each show, and 15 minutes before each show
there will be a live link directly to the stage for that show.
come and be part of this festival of online performance!
h : )
helen varley jamieson: creative catalyst
>From: Mark Harvey <m.harvey(a)auckland.ac.nz>
>You are invited to attend a free performance-lecture at the
>University of Auckland by New York-based, Cuban-American performance
>artist, writer and visiting Hood Fellow, Coco Fusco.
>Associate Professor Fusco will be staging two performances of her
>latest work, "A Room of One's Own: Women and Power in the New
>America" on August 2nd and 3rd. The performance-lecture examines the
>expanding role of American women in the War on Terror, with Ms Fusco
>taking on the persona of a female graduate of military intelligence
>school and a seasoned interrogator.
>On August 4th, Ms Fusco will also lead an Australasian artists'
>symposium on "Society, Politics and the Performative", discussing the
>role of contemporary art practice and performance as a vehicle for
>Find out more about the performance-lecture and symposium here:
>We hope that you will join us at these events, and that you will
>extend this invitation to others whom you think may be interested.
>- Mark Harvey
>National Institute of Creative Arts and Industries
>The University of Auckland
>Ph 64 9 3737 599 ext 89374
====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 ====
>Across Visceral and Digital Performance
>OPEN CALL FOR PAPERS, POSTERS & PERFORMANCES
>INTIMACY Across Visceral and Digital Performance
>is supported by the AHRC ICT Methods Network,
>Goldsmiths Graduate School , Goldsmiths Digital
>Studios, Goldsmiths Drama Department and LABAN.
>INTIMACY is a three-day interdisciplinary
>programme of events made to elicit connectivity,
>induce interaction and provoke debate between
>makers, participants and witnesses of works that
>explicitly address proximity and hybridity in
>performance. It will feature workshops,
>seminars, performances, posters, and a 1-day
>symposium. INTIMACY will employ digital and
>live art practices as agents, aiming to further
>practical exploration of and vibrant discourse
>into notions of intimacy in contemporary
>performance. It is framed as a forum for
>artists, scholars, community workers,
>performers, cultural practitioners, researchers
>and creative thinkers.
>INTIMACY will provide a platform for the
>discussion of live art/performance practices
>concerned with displaying intuitive, intimate
>and visceral relationships between artist and
>other. It will explore performance practices
>that engage in intimate encounters, raising
>issues around bodies of data and flesh; presence
>as aura and representation; desire as embodied
>condition and disembodied fantasy; the human and
>posthuman self. Confirmed contributors include:
>Johannes Birringer, Kira O'Reilly, Tracey Warr,
>Janis Jefferies, Amelia Jones, Dominic Johnson,
>INTIMACY will take place on the 7th, 8th and 9th
>December in and around Goldsmiths University of
>London, LABAN and The Albany ( South London ).
>Rachel Zerihan and Maria Chatzichristodoulou [aka maria x]
>Prof. Johannes Birringer, Chair in Drama and
>Performance Technologies, School of Arts, Brunel
>University of West London; Artistic Director of
>Hazel Gardiner, Senior Projects Officer, AHRC ICT Methods Network; Researcher.
>Dr. Adrian Heathfield, Principal Research Fellow
>(Performance and Live Art), School of Art and
>Design, Nottingham Trent University ; Writer;
>Prof. Janis Jefferies, Artistic Director,
>Goldsmiths Digital Studios; Director Constance
>Howard Resource and Research Centre in Textiles;
>Artist; Writer; Curator.
>Gerald Lidstone, Head of Drama Department, Goldsmiths University of London .
>All participants will be selected on an open
>submissions basis. Proposals will be peer
>reviewed by the INTIMACY Board and Advisory
>Panel. Proposals must not exceed the word limit
>specified. You may provide additional info such
>as links to digital material including online
>video, photos and websites. Further supporting
>documentation such as hard copies and discs are
>welcome; if you want these returned please
>enclose a SAE. We are accepting proposals for:
>Paper presentations or Performance Lectures
>Live performances -physical and/or digital
>Proposals should be concerned with the
>relationship between visceral and digital
>environments/methodologies being explored in
>contemporary performance practice. Specifically,
>topics of interest include but are not limited
>The politics of intimacy in contemporary performance
>Risk in relation to intimacy in contemporary performance
>Pornography/erotics and performed intimacy
>(Dis)embodiment, (tele)presence and intimate performance encounters
>Technologies as affective instigators of intimacy
>Intimate aesthetics in contemporary performance
>Interfaces of performed desire
>Accepted proposals will be published on our
>website. Further publishing possibilities are
>HOW TO SUBMIT
>Submit by email to Maria X at
>and Rachel Zerihan
>writing INTIMACY SUBMISSION in the subject line.
>Send hard copies to INTIMACY c/o 22 Dutton Street , London , SE10 8TB .
>Performances: Submit 1) 500-word statement
>detailing your project; 2) 200-word CV; 3) Tech
>Drive; 4) Any other supporting material as
>described above. Please note that only limited
>technical support can be provided.
>Papers/ Performance Lectures: Submit 1) 500-word
>abstract. This contribution would form a 15
>minute paper to be presented at the Symposium on
>Sunday 9th December; 2) 200-word CV; 3) Any
>other supporting material as described above.
>Posters: Submit 1) 300-word abstract /summary;
>2) 200-word CV; 3) Any other supporting material
>as described above.
>Deadline for submissions: 19 August 2007.
>Notification of acceptance: early October 2007
>ADVISORY PANEL (confirmed to date)
>Ø Daisy Abbot, AHDS Performing Arts Glasgow
>Ø Gavin Barlow, CEO The Albany
>Ø Alice Bayliss, School of Performance
>and Cultural Industries, University of Leeds
>Ø Brian Brady, Head of Programming, LABAN
>Ø Anna Furse, Drama Department,
>Goldsmiths University of London ; Director
>Ø Marc Garrett, Artist, Co-director Furtherfield
>Ø Gabriella Giannachi, Co-director
>Centre for Intermedia, University of Exeter
>Ø Joe Kelleher, School of Arts , Roehampton University
>Ø Simon Donger, Central School of Speech and Drama
>Ø Roberta Mock, Faculty of Arts, University of Plymouth
>Ø Molly Mullen, Re-Write Co-ordinator
>Ø Lauren Berlant, University of Chicago
>Ø Chris Salter, Artist; Concordia University ( Canada )
>Ø Jennifer Sheridan, Director BigDog Interactive
>Ø Igor Stromajer, Artist ( Slovenia )
>Ø Bojana Kunst, University of Ljubljana , Slovenia
>Ø Teresa Dillon, Polar Produce
>Ø Tony Thatcher, Choreographer; Programme Leader LABAN
>Ø Helen Varley Jamieson, Performer ( New Zealand )
>For more information on INTIMACY please visit
>If you have further queries, please contact
>intimacyrachelz(a)yahoo.co.uk or drp01mc(a)gold.ac.uk
helen varley jamieson: creative catalyst
Audio Foundation presents:
$25, Friday July 6, 2007, doors 7pm, starts 8pm
Tickets from Ticketek - service fees will apply
Herald Theatre, Aotea Centre, Auckland
Free Deep Listening™ workshop with Pauline Oliveros and Ione at St
Paul St Gallery, AUT, 4th July 6pm – BYO pillow
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
"Through Pauline Oliveros and Deep Listening I finally know what
harmony is… it's about the pleasure of making music."
John Cage 1989
Born in 1932, US composer Pauline Oliveros is a living legend having
pioneered new ways of thinking about sound. A central figure in the
post-war development of American minimalism, she workedalongside a
core group of composers, including Steve Reich and Terry Riley, and
in the late 1950s was one of the first US composers to work with
In performance, Oliveros uses an accordion, which has been re-tuned
in two different systems of her just intonation, in addition to
electronics, to alter the sound of the accordion and to explore the
individual characteristics of each room. As part of Alt.music’s 2007
programme, Oliveros will be performing her seminal 1966 composition A
Little Noise in the System, the first to use her Expanded Instrument
System (EIS). She will also perform two more recent pieces with poet
and vocal performer Ione, and will also be joined by one of New
Zealand’s most respected senior sound artists, Phil Dadson.
A Little Noise in the System introduced the EIS, a sort of live remix
system using tape delays and patchbays at a time when there were no
mixers available. The ratio of signal to noise was of great concern
in analogue tape music so Oliveros chose to work with noise as
signal, a move that now seems prescient in an era where noise is
considered a genre in its own right and is the subject of much
critical discussion in the area of experimental music and sound art.
Acclaimed internationally for four decades, Oliveros’ compositions,
performances and innovations have already established her place in
music history. Whether playing in an underground cavern or in the
studios of West German Radio, her commitment to interaction with the
moment is unchanged. She can make the sound of a sweeping siren into
another instrument of the ensemble. Through Deep Listening Pieces and
earlier Sonic Meditations, Oliveros introduced the concept of
incorporating all environmental sounds into musical performance. This
philosophy of Deep Listening, which she has developed throughout her
career, begins with clarifying the distinction between hearing and
listening, the former an involuntary response, the latter an engaged
relationship with the audible world, which can then be channelled.
A 40 year retrospective, Sounding the Margins (as it was), will be
released soon in a 6CD boxed set from Deep Listening.
“Deep Listening® is listening in every possible way to everything
possible to hear no matter what you are doing. Such intense listening
includes the sounds of daily life, of nature, or one's own thoughts
as well as musical sounds. Deep Listening represents a heightened
state of awareness and connects to all that there is. As a composer I
make my music through Deep Listening.”
Ione is a spoken word performer and sound artist who performs with
Pauline Oliveros and other artists in the United States and
internationally. A noted author, playwright and poet, her works
include the critically acclaimed memoir, Pride of Family; Four
Generations of American Women of Color. Ione is the Artistic Director
of Deep Listening Institute Ltd.
Phil Dadson is an artist with an interdisciplinary practice including
solo performances and exhibitions; building experimental instruments,
video/sound installation, music composition and graphic scores, sound
sculptures and improvisations on his invented instruments. He is the
founder of New Zealand's most original rhythm/performance group, From
Pauline Oliveros’ Alt.music appearance is supported by Creative New
Zealand, Fulbright New Zealand , Auckland University of Technology
and St Paul Street Gallery, Liquid Architecture, Vitamin S and The
Edge in association with Stamp.
>Please submit to:
>Media Art Database mail to: info(a)medienkunst-datenbank.de
>my inquiry concerns your contribution for the
>M.A.D. Media Art Database, with
>its main purpose of bringing together information on media art (art using
>electronic media) in a thoroughly accessible and research-compatible pool.
>The first part of the M.A.D. about 1.100 documented Media installations,
>-performances, and films as well as internet projects is based on the
>results of our research published partially in
>the reference-scale book Closed
>Circuit Video Installations. A Contribution to the History and Theory of Media
>Art. With Modules for an Encyclopaedia of Artists (published in German in
>December 2004). This time we would like to present the actualised Information
>medium-fairly, without any content-, language-, geographical or other
>I would be delighted if the project found your interest and would look forward
>very much to having you provide me the following:
>your Copyright-permission for the publishing of the
>images/documents/photographs/diagrams of your
>artworks for the sole purposes of
>academic and historic documentation within the M.A.D.-Media Art Database.
>M.A.D. has no commercial interests at all. At
>the same time, M.A.D. develops an
>information-exchange-tool and pool for Media Artists, -producers,
>-distributors as well as curators and academics, where they might offer their
>knowledge, opinions, critics and their services as well.
>we would therefore be grateful, if you could send us an actual version of your
>CV, including the list of works / projects / projects in progress, and if
>wished the contact-information or the appropriate Internet-Link.
>About the details concerning the implementation of the wished video
>documentation and other materials in video format, we would like to inform you
>separately, as soon as you express your wish to
>integrate the digitalized video
>files in the M.A.D.-Database.
>We expect to have the M.A.D. online-free accessible by December 2007 at the
>latest. The general information about the main purpose, goals, building up,
>systematics, quality, setup, design, and structure of M.A.D. you will find
>further down as a part of this message. You are very welcome to bring in your
>suggestions and ideas and thus to take over the joint responsibility for the
>planned information system for media art, that
>should remain transparent in its
>I would be glad to answer any questions you have concerning my inquiry and our
>prospective collaboration on the M.A.D.-project.
>M.A.D. Media Art Database
>THE MAIN PURPOSE
>The main purpose of the M.A.D. Media Art Database is to bring together
>information on media art (art using electronic media) in a thoroughly
>accessible and research-compatible pool. Creating lucid links between such
>multimedia archives as already exist and the
>indices maintained by distribution
>and production sites will engender a virtual
>archive that, among other effects,
>will permit research work to be done directly in situ in the archive
>environment. The basis will consist of the extant information systems or those
>under construction, of existing scholarly/scientific literature, exhibition
>catalogues and other available material. Together with the meta-information
>(records, descriptions, indices, reference terms/headings), the archive matter
>will be at the disposal of the research community, students and teachers and
>the public at large via an online interface.
>The M.A.D. Media Art Database is to provide a
>pool of information on media art,
>sound and sustainable in that it places particular emphasis on gathering
>substantial, precise descriptions a resource hitherto given only little
>attention. Various authors written summaries, consisting of extant
>descriptions of individual works and projects or again, completed specifically
>for the M.A.D. Media Art Database , are to be open to supplementation with a
>series of data which in turn will form a reliable and quotable resource of as
>yet impartial meta-data for the compiling of
>new summaries, scholarly texts
>and critiques. The M.A.D. Media Art Database is designed to be a reliable,
>competent and sustainable curator of data on media art thanks to the input of
>an international network of researchers, artists and agents in the widest
>sense. In the course of establishing the M.A.D.
>Media Art Database, a scheme to
>bring together the widely dispersed authorities in the field of media art will
>set informed priorities in order to optimise what are currently uncoordinated
>and therefore painfully uneconomical archiving efforts pursued by institutions
>and interest groups working in relative isolation. The aim is to enable the
>gradual growth of a more transparent system of
>information that does justice in
>equal measure to the work of production, distribution and data archiving sites
>and of individuals occupied with the creation and scholarly processing of
>information on and the theory of media arts.
>With the M.A.D. Media Art Database it is hoped to establish an Internet
>facility to present media art in as broad and up-to-date a range as possible.
>Besides pooling the secondary information of academic, verbal and written as
>well as multimedia records relating to the works and projects, to the artists
>and their approaches and to the technological
>and social relevance of media art
>in general, the Database will also show the primary matter, the works of art
>themselves. The main aim, however, is to present
>as comprehensive a resource of
>information as possible on artists and works, institutions and private
>collectors along with their respective collecting focus. Permanent updating of
>the cross-references links will make it easier to locate specific videotapes
>and media installations, performances and Internet projects accurately as well
>as facilitating browsing in the course of curatorial and scholarly
>cross-referencing work. As another aid in that area, the Database will al
>so tend a permanently updated and expanding index. The structure of the M.A.D.
>Media Art Database is geared to enable a network of relevant data on various
>servers, thus offering instruments for effective searches, automatic indexing
>and arranging elements into groups.
>As in any similarly ambitious information
>system, the most difficult and at the
>same time the most crucial issue of keeping it up to date, of sustaining its
>quantitative and qualitative expansion and maintenance, continues to depend on
>an at once flexible and well-thought-out workflow and on establishing and
>maintaining the community. Only then can the meaningful expansion of the
>system be a realistic prospect. Previous experience across the world has shown
>that the highly demanding task of keeping a database of this kind current
>requires a media-art community that participates
>in reviewing and consolidating
>the information kept and in its cultivation overall. The M.A.D. Media Art
>Database, therefore, is to put structures at the disposal of selected
>individuals and working groups to edit or extend the database appropriately.
>The choice of these editors is likewise to be generated out of the
>(fundamentally open) community, so that an
>editorial system both discerning and
>varied can develop, its hierarchic structure to be permanently open to change,
>its areas of competence to be flexible. Thus artists, authors and institutions
>alike will have the opportunity to publicise these areas and so, too, the
>M.A.D. Media Art Database, with their works, written matter and offers. In
>using such hierarchies and groups, it will be possible to organise the data
>and information across different archives and to
>arrange them at will according
>to the research topic at hand and so on. 1. The scheme provides for several
>central administrators who can change everything and incorporate new users at
>will - there is to be no central institution nor a permanent up-to-bottom
>controlling committee. The editors elected as competent from case to case are
>to provide for continual improvements in quality, comparable to some extent to
>a Wikipedia system. 2. There are also provisions for administrators for the
>various subject areas within the system. They will be able to register new
>users only for their group, thus avoiding the development of any dominating
>pattern of allocation motivated by the administrators personal research
>interests currently a flaw in most comparable information systems. One
>subject area can overlap with others, so that a number of part areas may have
>access to the artist database. Where possible, it should be open to an
>administrator to be responsible for a number of groups. 3. Simple users should
>have different rights: a) Read Only b) Creating new sets of data with works of
>art c) Editing data sets d) Contributing their
>writing on works of art, etc. e)
>Combinations of b), c) and d)
>A simple user should be permitted to belong to
>several groups; and it should be
>possible to have an administrator on call who must approve a data set
>contributed by a user, prior to its publication. As there may be several
>individuals authorised to make alterations within a subject area, it would be
>desirable to have at least a basic record of such changes. A version system
>that enabled a reversion of changes made would be ideal. We are also currently
>working on mechanisms to come into operation in the event of several users
>working on the same item at once (blocking or similar). Such an authentication
>and authorisation system will ensure that no
>unauthorised users can access data
>permanently or temporarily copyrighted or that such data are only accessible
>through the local archives against payment. By implementing standardised
>protocols and formats, access to the archives will also be possible via the
>familiar Internet work stations. In this way it
>will be possible to access data
>in different archives (information distributed in different systems and at
>different physical locations) via the M.A.D. Media Art Database in a
>transparent fashion so that every intersection involved or linked in the
>archive retains full control of its own data and information.
>The quality of the M.A.D. Media Art Database is
>to be vouchsafed and maintained
>not least by minimising editorial provisos in order to maximise the input in
>the shared areas of competence. This kind of
>first-hand data-gathering can be
>expected to call for less effort in settling
>questions of copyright than is the
>case in comparable projects. The sustained minimising of costs thus effected
>and the high speed with which data can be
>obtained are among the most important
>priorities of the M.A.D. Media Art Database;
>they are also the preconditions for
>its ultimate aim of sustainability in both the
>information and the discourses
>The starter module for the M.A.D. Media Art
>Database is an archive representing
>some 1,100 media installations, augmented initially by some few characteristic
>media performances, video tapes and pieces for Internet, and texts on media
>art. The great number of artists and works presented, along with the pertinent
>descriptions (Summaries), represent great
>initial value on two counts, as a
>first introduction to the historical and current diversity of media art and as
>an apt base for the planned widening and deepening of the extant areas of
>information. Access to the majority of the information and data is to be free
>and open. However, previous experience has shown that licence considerations,
>particularly in relation to video tapes presented in full length, make it
>necessary to restrict access to these to a defined circle of users only the
>research community, corresponding institutions and private licensees. The
>system is to be based on existing Open-Source solutions which will have to be
>adapted for the purposes of the project.
>The general structure of the front end, the design, currently presented in
>provisional form, is to be optimised as finances allow, making it a
>user-friendly working environment. The emphasis in developing the user
>interface will be on making the system as simple and intuitive as possible to
>use whether it be by art historians or the interested public, including users
>without special technical expertise. During the trial period, the interface
>will be tested by students and their feedback taken on board in the design
>process in order to ensure that the product accords to the needs of the end
>The information on media art is organised according to the characteristics of
>perception of the respective form and the specifics of interaction with
>1. The Cinematic (video, film, 3-D-animation,
>both analogue and digital) Works
>oriented markedly on time/diachronic in
>structure. The option of archiving items
>as streams in preview (i.e., not the highest) quality is planned. The best
>possible quality is to be available via the direct links with the commercial
>and non-commercial providers, institutions and via individuals indirectly.
>2. Internet Projects Chiefly works existing and functioning only on the
>Internet. By way of an initial response to the difficult question of recording
>artistic Internet projects, there are to be direct links to the art websites
>themselves and to the relevant online archives, presentation and review
>3. Installation-based work Works of a mainly
>aspect media installations, on record in available multimedia material.
>4. Text-based items Text by researchers, artists and critics, collectors and
>promoters of art; but also original works of media art perceptible exclusively
>or chiefly as text.
>5. Performative works Performativv based works
>like Performance, Action, Media
>Theater, Video-Dance, Happening etc.
helen varley jamieson: creative catalyst