(Apologies for any cross posting)
We take great pleasure in announcing that The Artvertiser source code is now
(finally) available, licensed under the GPLv3.
The Artvertiser is an Improved Reality platform, designed for the live
substitution of advertisements in a video stream with alternative 2D content.
The code was initially developed by Julian Oliver before being significantly
improved by Damian Stewart.
A typical application of The Artvertiser at work might be the Product
Replacement of street billboards with 2D art using a laptop with webcam or
camera-enabled mobile device. You might also want to have your own personal
exhibition in the Louvre, substituting well known paintings with your own
creations and inviting others to enjoy the show.
Counter-propaganda operations are also well suited to the platform, like
changing the imagery of a disliked political campaigner before uploading the
recorded result for all to see. Alternatively, it can be used to product replace
planar images in archival video, like a HollyWood movie or TV advert, using
popular films as an 'exhibition surface'.
You can see a couple of examples of The Artvertiser at work using our own
specially crafted digital binoculars, The Billboard Interception Unit, on the
The entire project tree exists as a git repository, cloned like so on your local
git clone git://repo.or.cz/The-Artvertiser.git
The code should currently build on any modern Linux-based OS with the addition
of a couple of dependencies and - thanks to Damian - should also compile on OS X
with the correct prior tweaks in place. See the README file in the top-level
directory for more information.
A special 'mob' user has been set up allowing complete Read/Write access for
anyone at all. Once you've cloned the repository as above, just:
git checkout mob
.. to move to the mob branch. It's all yours!
We look forward to your improvements, forks, derivations and vandalisms.
Happy (urban) hacking!
Julian and Damian
home: New Zealand
based: Berlin, Germany
currently: Berlin, Germany
-empyre- in November
Manifest Dynasty : Media Arts in China 彰显的王朝：新媒体艺
[Scroll down for Mandarin]
It is said that a new Gallery or Museum opens in China every 3 days;
Ai Weiwei installs another monumental sculpture across the globe; and
70 million visitors trudge through the World Expo in Shanghai. Three
or so centuries after Chinoiserie entered the Western Art Vocabulary,
and despite some recent market deflation, China is definitely still IT.
Like Chinese contemporary art, media art is flourishing beyond the
Great Firewall, and increasingly appearing in the international Media
Festival scene. There has been a rush in Western Europe and Australia
to introduce regional specific art to China and embrace Chinese
cultural exchanges. Whilst the concept of equal exchange beyond the
social, political and geographical constraints of a supposed
globalised world is problematic in so many ways, the number of new
collaborative projects is accelerating.
A recent example is 2010 -The Year of Australian Culture in China,
where a dizzying array of Opera, Exhibition, Film, Theatre and Dance
events were produced and mediatised. Reciprocally, 2011 is The Year
of Chinese Culture in Australia. As part of this cultural exchange the
DreamWorlds: Australian Moving Image introduced diverse genres of
Australian media art to Chinese audiences outside the art gallery
context, exhibiting continually on massive urban screens in Beijing
The DreamWorlds project was also designed as catalyst for a more
specific exploration of media art in China:- How do exhibitions,
symposia or publications decode across cultural sexual and political
bounds to Chinese audiences? What are the emergences, frictions and
dialogues between artists and curators within contemporary Chinese
distributed and digital practices?
We welcome you join us at -empyre- in November to engage in critical
enquiry, beyond the 20th century spectres of censorship and
conservatism, of the complexity of media art production, curation,
exhibition and networks in China.
Melinda Rackham and Edward Sanderson
Curator, artist and writer, Adelaide, Australia
Edward Sanderson 李蔼德
Writer, cultural producer at CPU:PRO Beijing, China
Aaajiao (Xu Wenkai)
Artist and producer, We need Money not Art, Dorkbot, CornerSound,
Director and curator, OV Gallery, Shanghai
Alvis Choi ,
Project Coordinator, Videotage, Hong Kong
Stephanie Hemelryk Donald
Scholar of Film, Media, and the Politics of Visual Culture in China,
Artist, curator and researcher on art, technology and sexuality, Hong
Filmmaker, media artist and curator, Founder of Videotage, Hong Kong
Writer and curator, Society for Experimental Cultural Production,
Multi-media artist, curator and producer, Laboratory Art, Beijing/Zurich
Media Artist, DICA; DreamWorlds Producer Beijing/Melbourne
Melinda Rackham与Edward Sanderson
Edward Sanderson 李蔼德
Aaajiao (Xu Wenkai)
经理兼策展人，OV 画廊, 上海
Stephanie Hemelryk Donald教授
Artists, human rights practitioners and activists, particularly
those interested in cross-artform and interdisciplinary approach,
including work originating in performance, visual arts and media,
writing, multimedia and collaboration involving digital technology and
WHAT: Call For Papers: for the Special
Edition of the Journal of Arts & Communities in partnership with
Amnesty International - dedicated to critical examination of Arts and
Human Rights to be published September 2011.
DETAILS: This is in
partnership with Amnesty International as part of the 50th Anniversary
celebrations of Amnesty International.The Journal of Arts and
Communities seeks to provide a critical examination of the practices
known as community or participatory arts, encompassing work which
incorporates active creative collaboration between artists and people in
a range of communities of place and interest. The Journal seeks
original researched articles, case studies, reports of projects in
progress, particularly from practitioners and research students as well
as book reviews, conference reviews and reports. The work embraced by
the Journal might include activity taking place within the context of
regeneration, education, community development or social inclusion;
equally it will debate artist-led projects and practice with less
explicit social outcomes but with a commitment to cultural democracy,
access, development of community voices or skills sharing. It will also
aim to discuss experimental approaches that challenge the boundaries of
the practice and connect with a wider range of contextual practices.For
full details see www.intellectbooks.co.uk/weblog/view-Post,id=43024/
APPLY: Articles submitted should
generally be 5-6000 words long. Case studies and project reports from
practitioners should be no more than 4000 words long and do not have to
be extensively referenced. Conference proceedings and other reports
should be up to 1,000 words long and include both a description and a
critical analysis. For full details
Deadline: 15 November 2010
Sonja van KerkhoffART: http://www.sonjavank.comBLOG:www.sonjavank.blogspot.com DESIGN: www.sonjavank.com/design VIDEOS: www.youtube.com/sonjavank
October 22, 2010
Nancy Spector, director of the Guggenheim says: "All eyes are shifting now
to the digital realm to see what that will bring us to the future". "After
months of considering the 23,000 submissions to its new YouTube Play digital
video biennial, the Guggenheim Museum announced the 25 videos that made the
cut. Picked from a shortlist of 125 entries by a jury that included artists
Marilyn Minter, Douglas Gordon, Takashi Murakami, and three members of
Animal Collective - all working alongside Guggenheim curator Nancy Spector -
the grouping amounts to the "ultimate YouTube playlist," according to the
Any comments? What is the digital realm? .The internet, DVD's, video, IPads,
cell phones, 3D software, Photoshop, Pong?
Hey AF and ADAers,
(apologies for any cross-posting)
Quick note to let you know the deadline for submitting a recording of
your work/live space for inclusion into the Big Room online work is
31st of October.
We've had some wonderful spaces captured: quietly whispering bedroom
studios, droning cockpits, reverberant museum offices, and a wind
whipped beach house, amongst others.
To contribute, simply record 1 to 3 minutes that capture the 'essence'
of your work/live space and submit it here:
Alternatively you can simply email me a file, with some basic
information such as name and city, or as anonymous as you prefer.
For those wanting more specifics, I'm looking for recordings that
simply document everyday activity (e.g. footsteps, typing, computer
humming, for an office environment), and or recordings that define the
space (e.g. near silence for a bedroom, echoic washes for a concrete
We're pleased to announce the launch of Screens, a new series of
commissioned online works running over the next few months.
Seung Yul Oh opens the series with ‘Rain’, a playful, chaotic
interactive which invites users to germinate an unpredictable
kaleidoscope of objects, images, and sounds.
William Bolings 'Marco Polo' is a long duration project, where the US
photographer invites participants to post snapshots, memories and
moments which are responded to daily - embracing, compiling or
ignoring their input into his own.
Working at the intersection of art and interactivity, Screens seeks to
expand this space by providing curatorial and technical support to
artists, to realise works in this new field.
We welcome your participation, discussion, and sharing of the series
Luke Munn and Jeff Nusz
(italiano a seguire)
*PARATISSIMA, TURIN, ITALY*
Opening: November 3-7, 2010
c/o Stefilm Via Galliari 5
3: h 21-23
5: h 20-23
6/7: h 10-13/18-23
The first exhibition by a group of artists who have been working over a
period of years
with electronic media in the field of performance art, dance, sound, video
and digital light.
*“Hymn” Interactive sound installation by Ennio Bertrand*
“Hymn” is a work that is realised through sound. It is an interactive
installation managed by
a digital automatism that senses the proximity of the hands of visitors –
who approach or move away from the symbolic objects exhibited.
It is a small personal digital theatre, populated by “magical” concealed
actors who echo our
creative childhood gestures.
The movement of the hands becomes, in real time, associated with one of the
contained in the computer’s memory. As the hand gradually moves closer to
the object, the
sound will be played in advance , if the hand stops the sound also ceases.
And if the hand
withdraws the sound also ‘retreats’ and turns back on itself. A sort of slow
motion in sound.
The material, the sounds, are phrases freely derived from a part of
Allen Ginsberg and are automatically repeated by the computer’s voice.
Written at the end of the 1950’s Ginsberg’s mournful poem was dedicated to
who died in a mental asylum.
This work of reinterpretation is a shamanistic and propitious hymn so that
reappear that enlighten our dark contemporary state.
The installation was realised using Theremino, a new digital system that I
developed for managing the interaction of sound and digital material.
*“Analogical metamorphoses” interactive video installation by fannidada*
The analogical metamorphoses by Fannidada are interactive video
the public, analogically manipulating the video signal, metamorphose the
images that become coloured, kaleidoscopically disintegrating the quality.
*To Follow the Bye-ways*
To follow the bye-ways can be a way of living.
To leave the certain for the uncertain, to search for new visions in
Two bicycle wheels fixed to a tubular iron structure that supports four
analogic metamorphosis that, modifying the colours of the visualised images,
images to the spectators.
*The suitcase of the Metamorphosis*
What is inside the suitcase? tales of the journey, images, sensations but,
the pleasure of the surprise is in the unexpected.
A suitcase, a monitor, two pre-amplified microphones, a good mix to create
a “fantastic” journey.
*“Synthesis”, interactive dance performance by Micron*
Documentary video of the performance and exhibition of the digital paintings
and mixed media created during the show.
On stage two performers and SUMI, an interactive system for painting with
inspires the SUMI - in the pictorial style of the far east. The technology
part of the search in the creation of new forms of expression that confer
on the actor the role of a warrior of art, of an art visible, coloured.
The dance animates the colour, “ the bodily gesture traces graphic signs
and replayed by another body”.
Throughout the picture of the mixed media and digital actions one enters
the space, becoming space.
*“Rossore”, Sensible interactive light installation by Pietro Mussini*
The system consists of a case that houses the hardware needed to activate
the performance. It is made up by leds which have an intermittent, fast,
and punctiform effect. Getting closer to the system, the visitor activates
a luminous exuberance with a single, strong and saturated tone, which is
to activate a relationship with the world, with our body, with its
and border, with others, with the materiality of the body, of the hands, of
The telling of what is happening, of what is expected, comes with the
of apparently extraneous bodies that reveal, through a gesture, what is
exposed: seizure of outlines, eyes, interaction of bodies.
*PARATISSIMA, TORINO, ITALY*
Opertura: Novembre 3-7, 2010
c/o Stefilm Via Galliari 5
3: h 21-23
5: h 20-23
6/7: h 10-13/18-23
La prima mostra del gruppo di artisti che operano da anni con media
nel campo delle arti performative, danza, suono, video e luci digitali.
*“Hymn”, installazione Sonora interattiva di Ennio Bertrand*
Hymn è un lavoro che si manifesta attraverso i suoni. È una installazione
gestita da un automatismo digitale che percepisce la prossimità delle mani
dei visitatori-partecipanti che le avvicinano o allontanano da oggetti
È un piccolo teatro digitale personale, popolato di “magici” attori nascosti
che recitano seguendo in nostro infantile gesto creatore.
Il movimento della mani viene in tempo reale associato a uno delle decine di
contenuti nella memoria del computer. Man mano che la mano procede
avvicinandosi all’oggetto, il suono verrà “suonato” in avanti, se la mano si
anche il suono si arresta. E se la mano arretra anche il suono torna sui
suonato alla rovescia. Una sorta di moviola sonora.
Il contenuto, i suoni, sono le frasi liberamente tratte da una parte di
di Allen Ginsberg e rilette automaticamente dalla voce del computer.
Scritta alla fine degli anni 50 la disperata poesia di Ginsberg è dedicata
alla madre morta in manicomio.
Questo lavoro di reinterpretazione è un inno sciamanico e propiziatorio
ricompaiano poeti che ci illuminino la nostra buia contemporaneità.
L’installazione è realizzata impiegando Theremino, un nuovo sistema digitale
che ho appena realizzato per la gestione interattiva di suoni e contenuti
*“Analogiche metamorfosi”, installazione video interattiva di fannidada*
Le analogiche metamorfosi di fannidada sono videoinstallazioni interattive
il pubblico, manipolando analogicamente il segnale video, metamorfizza le
elettroniche che si colorano caleidoscopicamente disintegrandone la qualità.
*Percorrere strade secondarie*
Percorrere strade secondarie può essere un modo di vivere.
Lasciare il certo per l’incerto, cercare nuove visioni nella quotidianità.
Due ruote di bicicletta fissate ad una struttura tubolare in ferro che
quattro monitor generano, ruotando, analogiche metamorfosi che, modificando
i colori delle immagini visualizzate, offrono allo spettatore nuove visioni.
*La valigia delle Metamorfosi*
Dentro una valigia cosa si può trovare? racconti di viaggio, immagini,
ma soprattutto, il piacere della sorpresa e dell’imprevisto.
Una valigia, un monitor, due preamplificatori microfonici un buon mix
per creare un viaggio “fantastico”
*“Synthesis”, interactive dance performance by micron*
Documentazione video della performance ed esposizione dei dipinti
digitali e materici creati durante lo spettacolo.
In scena due performer e SUMI, un sistema interattivo per dipingere con la
che si ispira al Sumi-e, stile pittorico dell'Estremo Oriente.
La tecnologia si inserisce come ricerca nella creazione di nuove forme di
che conferiscono all'attore il ruolo di guerriero dell'arte, di un'arte
La danza muove i colori, “il gesto corporeo traccia segni grafici percepiti
e rielaborati da un altro corpo”.
Attraverso la pittura d'azione materica e digitale si entra nello spazio per
*“Rossore”, Installazione luminosa interattiva e sensibile di Pietro Mussini
Il sistema è formato da un involucro che contiene la parte di hardware per
E’ composto da led ad effetto intermittente, veloce, rado e puntiforme dal
avvicinandoci, si attiva un’esuberanza luminosa di tonalità unica, forte e
un invito ad attivare un rapporto col mondo, con il nostro corpo, con
l’altro, la materialità
del corpo, delle mani, degli occhi, la sua estensione, il suo spazio, la sua
Nell’incontro, nella captazione dei corpi si svela la narrazione di ciò che
che deve accadere, nell’avvicinamento, nella prossimità, corpi
estranei che nella loro narrazione, nell’approssimarsi, svelano nel gesto
è esposto, captazione di figure e di occhi, captazione fra corpi,
interazione tra corpi.
IE2010 - Call for Industry Participation
The Interactive Entertainment Conference 2010 is seeking expressions of
interest from Interactive and Game Industry leaders who are keen to take
part in the conference. There are several opportunities for industry
representatives to get involved.
For more information download the Industry
About the Conference
The 7th Australasian Conference on Interactive Entertainment is a
cross-disciplinary event that brings together researchers and practitioners
from many areas of game design, including interactive design, cognitive
science, computer science, drama and psychology. The conference is hosted by
the Institute of Communication Design, College of Creative Arts, Massey
University Wellington, and is endorsed by the Association for Computing
Machinery and the Design Research Society.
Our keynote speakers this year are Katie Salen, Professor of Design and
Technology, and Director of the Center for Transformative Media at Parsons
The New School for Design in New York. Salen is a leading game theorist and
researcher, and co-author of “Rules of Play”, a textbook on game design.
Locally we are joined by Joe Bleakley, Art Director for the Lord of the
Rings trilogy and King Kong, and a leading creative force in the New Zealand
film and television industry over the past 30 years.
Theme: Fish of the Day
In this current economic climate of uncertainty, we see a convergence of
innovative minds, creative solutions and emerging technologies enabling
change. IE2010 will cover how PLAY can contribute to both major and minor
challenges we are facing in these roaring times. What can we learn from
being inventive and playful? And how can interactive entertainment
contribute towards facilitating these changes? What do we – as designers,
developers, critical thinkers and researchers – need to consider, bring in,
and promote when faced with these challenges? What is the role of play in
Call for entries: VIDA 13.0 Art and artificial life international awards
Deadline: 7th of November 2010
Fundación Telefonica announces the VIDA 13.0 Art & Artificial Life
International Competition, which for the last twelve years has awarded
prizes for artistic projects using technological mediums offering innovative
approaches to research into life and artificial life.
At a time when the notion of life is once again located in an uncertain
domain, a wide range of artistic initiatives come together to illustrate and
investigate this phenomenon; they examine the impact on the collective
conscience and the way it is manifested in cultural, technological and
Over the last decade, in the same formal space, VIDA has been bringing
together interdisciplinary projects that respond to this situation. By means
of formal strategies that defy the boundaries between existing practices,
these projects offer new ways of reflecting on what we understand by life
and artificial life.
There are two categories to the competition:
In this category VIDA 13.0 will award prizes to artistic ALife projects
developed after 2008.
The sum of 40,000 Euros will be shared between the projects selected by the
- First Prize: 18,000 Euros,
- Second Prize: 14,000 Euros
- Third Prize: 8,000 Euros.
In addition seven honourable mentions will be awarded.
In this category VIDA 13.0 helps to fund artistic ALife projects that have
not yet been produced. This is aimed at citizens or residents of countries
comprising Latin America, Spain and Portugal. The sum of 40,000 Euros will
be shared between the selected projects.
mónica bello bugallo
artistic director of VIDA
art and artificial life international competition
We are pleased to announce a call for proposals for an exhibition and a
public screening which will take place during the Ada Symposium 2010 -
ENERGETICS & INFORMATICS.
Details can be found on the new symposium website here:
Please send proposals to exhibition2010(a)aotearoadigitalarts.org.nz by
Friday Nov 5th.
* Exhibit Calls
ADA Symposium 2010, ENERGETICS & INFORMATICS
ADA (Aotearoa Digital Arts) are hosting an exhibition and an outdoor
screening event as part of the ADA 2010 Symposium held in Wanganui, New
Zealand in December. These events are to encourage and showcase
conversations between practitioners working in similar areas of research
in different fields of practice using digital media. This framework
references the work of Jack Burnham who curated Software, Information
Technology: Its New Meaning for Art exhibition in 1970. The exhibition
explored the convergence of art and technologies through the discovery
of parallel structures in both spheres of practice and concepts of
‘system aesthetics’. In 2010 these congruences are all the more integral
as we engage with the impact of energy and information on our planet.
* ADA Symposium 2010, ENERGETICS & INFORMATICS, Exhibition
Proposals are sought from practitioners in the arts, IT, design,
engineering and scientific disciplines whose work explores ENERGY,
INFORMATION and SUSTAINABILITY. The submission may be a model,
prototype, proposition, experiment or a finished piece in any media.
Digital and analogue media are both encouraged as are interactive and
collaborative works. Selected submissions will be showcased at the
Federal Gallery, UCOL (Universal College of Learning) in Wanganui.
Proposal needs to provide documentation of the work(s) proposed,
conceptual premise / proposition (200 words max), brief bio, materials,
dimensions, installation and technical requirements. Please email your
submission as a pdf and video work links to youtube or vimeo.
* ADA Symposium 2010, ENERGETICS & INFORMATICS, Outdoor Screenings
Video works are sought from artists whose work explores ENERGY,
INFORMATION and SUSTAINABILITY. Selected submissions will be screened
on the Sarjeant Gallery facade during the ADA Symposium 2010 in Wanganui.
Email your submission as a pdf including conceptual premise for the work
(200 words max), a brief bio and a link to your video work on youtube or
Submission deadline: 5 November, 2010.
Selected works delivery deadline: 26 November, 2010.
ADA will provide gallery space, technical hardware and support including
playback equipment, screens, etc. Transport and insurance of works must
be provided by the artist.
The ADA Symposium 2010 exhibition and video screening are supported by
UCOL, ADA, CNZ and the Wanganui District Council.