EUROPEAN
MEDIA ART FESTIVAL
OSNABRUECK
MAY 5.-9. 1999
http://www.emaf.de
The deadline for submissions is 1 February 1999
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We cordially invite you to submit your contributions to the 12th
European Media Art Festival. Dedicated to artistic experiment, the
festival has an open policy with room for projects ranging from
process-based experiments and technological innovation to dexterous
crossovers between the media and genres. For five stimulating days,
this international forum for contemporary media art brings together
filmmakers, multimedia and performance artists, theorists, journalists
and the interested public.
CALL FOR ENTRIES
Eligible for consideration are works in the areas of film, video,
installation, performance, CD-ROM, and the Internet. The deadline for
submissions is 1 February 1999. The festival commission will select
contributions and projects to be included in the festival programme.
During the EMAF, the German Film Critics' Award for the best German
experimental film or video production will be presented by a
specialist jury.
We also invite the submission of media-relevant discussion papers,
essays or criticism. Selected contributions will be published in the
festival catalogue and/or on the Internet.
METROPOLIZED
Spaces under Pressure - Bodies in Excess
This project is being advanced with the support of the E.C.F.F.
(European Coordination of Film Festivals) in collaboration with the
Biennale film+arc.graz, Festival die Populi, Florence, and the EMAF.
The content of this focal programme is the reciprocity resulting from
interaction between urban structures and the human psyche.
RETROSPECTIVE
Planned is a retrospective featuring films and TV productions by the
US filmmaker Gregory Markopoulos. In the course of his creative
career, he developed a refined montage technique involving in-camera
editing further heightened by double e xposure and dissolves. Orbiting
around the director's own homosexuality, the subjects of his films are
persuasively integrated into adaptations of ancient Greek tragedies.
ELECTRONIC CAFE'
"To me, it seems there's no way round contributing to the design of
one's own times using modern means." (Lazlo Moholy Nagy)
The Internet, CD-ROM and multimedia networks are the contemporary
media for inter-media undertakings. At the same time, they act as
interfaces between social processes and artistic activity. The
festival presents works and projects implemented on, or originally
conceived for, these platforms.
EXHIBITION, 5-30 May 1999
The "Kunsthalle Dominikanerkirche" is the central venue for the
Electronic CafÚ along with an exhibition of international film, video
and computer installations. The space offered by this historic
building is ideal for implementing artistic concepts encompassing
sculpture, projection and interactive systems.
INTERNATIONAL STUDENT FORUM
This festival section is dedicated to students attending colleges in
Germany and abroad, and their current output. A focal point is the
exhibition with video and computer installations. The festival invites
the submission of new productions by students working in media- and
AV-related fields.
MEDIA MINDS
Congress on Culture and Multimedia in Europe
On the occasion of Germany's EU presidency in 1999, the EMAF is
staging an interdisciplinary congress devoted to culture and
multimedia in Europe. Under discussion will be the perspectives for
arts and multimedia promotion in the ever more closely linked
countries of Europe, against the background of the new EU framework
programme for cultural promotion in 2000-2004.
The global interaction of art, culture, technology, science and
business has led to new structures that raise questions about
society's cultural self-image. The transformation into a mediatized
society, and the radical changes and progressi ve dissolution of
traditional social and economic structures this process involves,
poses the major cultural challenge we must face as the millennium
draws to a close. The goal of the conference is to discuss the
problems and perspectives of European cultural subvention at the
crossroads between a future policy of centralized or regional
decision-making.
European politicians specializing in arts and media, cultural
philosophers, as well as artists and academics in various disciplines
will come together to discuss the role of new technologies in the
transformation processes affecting arts an d society, and present
their blueprints and projects.
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For applicationforms visit our website: http://www.emaf.de
----------------------------------------------------------------------
European Media Art Festival
Lohstr. 45a
PO Box 1861
D-49074 Osnabrueck
Tel: +49/541/21658/25779
Fax: +49/541/28327
Email: info@emaf.de
Internet: http://www.emaf.de
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Festivalboard: Alfred Rotert
Hermann Noering
Ralf Sausmikat
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Funding by:
Niedersaechsisches Ministerium fuer Wissenschaft und Kultur, Hannover
Stadt Osnabrueck
Auswaertiges Amt, Bonn
Bundesministerium für Bildung und Wissenschaft, Bonn
European Commisssion, Bruessel
European Coordination of Film Festivals, Bruessel
British Council
and contributions made by other supporters
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Invenção — thinking the
next millennium
August 25 - 29, 1999
http://www.itaucultural.org.br/invencao/ivenframe03.htm
Invenção is an opportunity for those working at the creative edge of the arts,
sciences and technology to collaborate in the transdisciplinary development of ideas and
innovative strategies for life in the next millennium. Invenção is a "seeding"
event that seeks to identify key questions and issues that can lead to the radical
transformation of culture.
Just as increasingly artists work with the metaphors of
science, so scientists are employing forms of representation, such as visualisation, which
owe much to research in the digital arts. As art is transformed by interactivity, so
science increasingly recognises the subjectivity of the observer. In turn, technology
informs our aesthetic and epistemological structures and is engendering new processes of
perception, communication and cognition.
Invenção will examine the consequences of this convergence of art, science and
technology on our sense of self and human identity, on consciousness, community and the
city, as well as on learning and leisure. For example, the artist is challenged to
consider what might lie beyond "electronic art": where might the connectivity of
the Internet, the interactivity of hypermedia and the fluidity of virtual reality lead us?
The scientist, walking a delicate balance between the world of the quantum, deep
space, chaos and complexity has profound questions to ask about the constraints of nature
and the part that can be played by artificial intelligence and post-biological systems in
the construction of reality. Bio-technology and nano-engineering add further dimensions to
these questions.
Invenção will take place in Brazil, whose euphoric energy, cultural diversity and
productive optimism is intended to characterise the conference. With its history of
dynamic pragmatism coupled with utopian vision, Brazil is a country where dreams can be
reclaimed, a vast space both geographically and culturally, in which we can re-invent
ourselves and collaborate in the construction of new realities.
Invenção will be structured to enable a wide range of presentations, collaborations and
interventions to take place, involving lectures, workshops, panel discussions, papers and
breakout groups. The onsite activity will be integrated with online activity, through a
dedicated website. The proceedings will be embodied in a CD and print publications.
Organising Committee
Arlindo Machado (chair)
Roy Ascott
Roger Malina
Alain Mongeau
Scientific Committee
Diana Domingues
Claudia Giannetti
Eduardo Kac
Marcos Novac
Margarita Schultz
Ricardo Anderaos
Jesus de Paula Assis
This event is organised by Itaú Cultural Institute in collaboration with the ISEA,
Inter-Society for the
Electronic http://www.sat.qc.ca/isea , Arts
Leonardo/ISAST
http://mitpress.mit.edu/e-journals/Leonardo/home.html
, and CAiiA-STAR, Centre for Advanced Inquiry in the Interactive Arts, University of Wales
College, Newport and the Centre for Science Technology and Art Research , University of
Plymouth http://caiia-star.newport.plymouth.ac.uk,
UK, support
http://nunc.com .
Further information
Itaú Cultural Gerência de Difusão Projeto Invenção
Avenida Paulista 149 CEP 01311 000 São Paulo SP
invencao@itaucultural.org.br
BRAZILIAN ELECTRONIC ART
http://mitpress.mit.edu/e-journals/Leonardo/isast/spec.projects/brazil.html
Special Projects -- Collaborations
A RADICAL INTERVENTION: BRAZILIAN ELECTRONIC ART
Documents, Essays and Manifestoes
Guest Edited by Eduardo Kac
A series of articles on the topic of Brazilian artists working with electronics and
technology will appear in the Leonardo WWW Site, as well as in the print journal
Leonardo with an introduction by Eduardo Kac.
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BREAK 21 - 1999
Dear all,
> >I'm sending you the application formular of the 3rd international
> >festival of young independent artists BREAK 21. SPREAD THE NEWS (and
> >the application), please and make possible also to artists from your
> >country to participate.
> >
> >All the best,
> >Mateja Lazar
> >BREAK 21
> >3.international festival of young independent artists
> >3. - 9. 5. 1999, LJUBLJANA, SLOVENIA
> >
> >selection process
> >will take place between 25th November 1998 and 8th February 1999
> >
> >DEADLINE : 8.2.1999
> >
> >the selection will be completed by 22nd February 1999
> >any material sent to the below listed address will automatically
> >become a candidate for festival selection. any application that is not
> >completed in full, or that arrives after the final deadline will not
> >be considered those candidates that have been successful will be
> >notified by 5th March 1999 all artists who have been invited to join
> >the festival will receive travel expenses, expenses for lodging, food
> >and a daily allowance for the time (three days) they are to spend in
> >Ljubljana artists will receive no monetary awards materials from
> >unsuccessful candidates will be returned to senders by 10th March 1999
> >
> >
> >application the application form consists of two parts
> >part one: general information
> >part two (different media): Relevant material
> >
> >part one: general information
> >1. the media for which you are applying
> >2. surname and name of the applicant
> >3. address (street, town, country)
> >4. phone, fax, e-mail
> >5. date of birth
> >6. CV (education, grants, projects, awards, etc.)
> >7. information about the the creative personnel and contributors to
> >the project 8. state where you have received information about the
> >festival All the information in answer to points 1 to 5 (including CV)
> >should be on a single A4 page.
> >
> >
> >For further information contact:
> >SOU KULTURA
> >VDOR 21/ BREAK 21
> >KERSNIKOVA 4
> >1000 LJUBLJANA
> >SLOVENIA
> >tel: ++ 386 61 1317010/ext. 266 (Cultural Department)
> >fax: ++ 386 61 319448 (addressed to Vdor21/Break 21)
> >Contact: Karla Zeleznik
> >e-mail: karla.zeleznik@kiss.uni-lj.si
> >T H E V I S U A L A R T S
> >
> >THEME: THE CLINIC OF IDEAS
> >It is still the idea that matters most not the fact to whom or where
> >it is launched. Therefore the clinic of ideas could and could not be
> >interpreted as KliniÄ?ni center (The medical Centre) of Ljubljana. It
> >could be so because the exhibitions will be held at and around the
> >premises of KliniÄ?ni center. But we are not interested in health,
> >health service and its politics exclusively. The raid of creativity
> >therefore remains open for numerous themes related to the area of
> >KliniÄ?ni center, of which self-sufficiency stands as an allegory for
> >a closed system. We had in
> >mind an exhibition space which is able to attract an audience of all
> >profilesand spur various associations such as masses, energy, drugs,
> >techno, life, death, birth, technology, science, fun and a wide range
> >of others, that haven't crossed our minds yet.
> >
> >SELECTION
> >the selection will be made by Bostjan Hvala, Dunja Kukovec, Maja
> >Skerbot THE SECOND PART OF THE APPLICATION (IN ADDITION TO THE
> >FIRST PART) MUST CONTAIN: a description of the project intended for
> >the festival (a sketch of the work, measurements and a summary of the
> >message the project is intended to carry)
> >
> >SEND THE APPLICATION FORM TO:
> >
> >chosen location (interior or exterior)
> >all media are welcome (paintings, sculptures, installations,
> >performances, video, internet, photographs...) technical requirements
> >(description of the materials inevitably employed), in case the
> >project is more demanding in technical terms state the approximate
> >duration necessary for its set SOU CULTURA, vdor 21 / break 21, (THE
> >VISUAL ARTS), Kersnikova 4, 1000 Ljubljana
> >F A S H I O N D E S I G N
> >
> >THEME: CHAOS=COOL
> >
> >SELECTION
> >priorities are innovative use of materials, patterns and forms,
> >originality of presentations (models) and basic concept we intend to
> >select between 20 and 25 from all submitted the selected collections
> >will be presented by means of a collective fashion show at the end of
> >which the three most outstanding collections will be proclaimed the
> >organiser of the collective show will take full responsibility for the
> >stage presentation (light, music, choreography, make-up, hairstyle)
> >of the collection the selection will be made by Mateja Benedetti,
> >Monika Lorber, Vanja MeškoTHE SECOND PART OF THE APPLICATION (IN
> >ADDITION TO THE FIRST PART) MUST CONTAIN: a colour sketch of each
> >complete outfit from your collection (not more than two will be
> >accepted) and each collection is understood to comprise 1 to 6
> >outfits, each on A4, or photographs of already realised outfits. a
> >technical sketch of each model a description of the materials and the
> >techniques employed to make the outfits themselves, and all the
> >decorative items (jewellery, handbags...) a short description of the
> >collection (4-10 sentences)
> >
> >SEND THE APPLICATION FORM TO:
> >SOU CULTURA, vdor 21 / break 21, (FASHION DESIGN), Kersnikova 4, 1000
> >Ljubljana
> >L I V E P E R F O R M A N C E
> >
> >The intention is to present the creative work of young theatrical
> >artists, provided that they don't work under the auspices of any
> >state-funded artistic institution or art school, but allowing students
> >to present their own autonomous projects.
> >
> >SELECTION
> >projects which will be taken into consideration by the Festival must
> >cover the fields of either theatre, dance or performance art. (verbal
> >dimension of the project should not be put forward - an international
> >aspect of the festival is hoped to be achieved) the duration of
> >individual project is not limited strictly, dance performances can
> >consist of several shorter choreographies) the organisers of the
> >festival will enable those selected to perform in Ljubljana as well as
> >in other areas such as Celje, Ptuj, Maribor, Nova Gorica, Koper, Novo
> >mesto, Izola) those selected will have the opportunity to follow and
> >take part in conferences which will take place during the festival,
> >and which will simultaneously serve as points of exchange between
> >Slovene and foreign artists as well as with the young generation of
> >theoreticians and critics. the selection will be made by Primoz
> >Jesenko, Nina Mesko, Karla Zeleznik
> >
> >THE SECOND PART OF THE APPLICATION (IN ADDITION TO THE FIRST PART)
> >MUST CONTAIN: a rough(i.e. uncut, unedited) video of the whole show +
> >a notice of its duration promotional material (reviews, theatre
> >photos, press photos etc.) technical requirements audio visual
> >requirements stage dimensions and the preferred location of the
> >performance the number of the creative personnel with the functions of
> >the individuals clearly defined
> >
> >
> >SEND THE APPLICATION FORM TO:
> >SOU cultura, vdor 21 / break 21, (LIVE PERFORMANCE), Kersnikova 4,
> >1000 Ljubljana
> >c a r t o o n a r t
> >theme: peace
> >Peace as a state of mind, a tendency of mankind, peace to all people,
> >eternal peace, Nobel Prize for peace, absence of peace, the Russian
> >space station Peace.
> >
> >SELECTION
> >the cartoons will be exhibited during the festival and published in a
> >special cartoon album the selection will be made by Matjaz Bertoncelj
> >and Martin Bricelj
> >
> >THE SECOND PART OF THE APPLICATION (IN ADDITION TO THE FIRST PART)
> >MUST CONTAIN: an A4 copy of the original cartoon which can be up to 4
> >pages long, in black and white and in English SEND THE APPLICATION
> >FORM TO: SOU CULTURA, vdor 21/break 21,(CARTOON ART),KERSNIKOVA 4,
> >1000 LJUBLJANA
> >M U S I C
> >
> >The intention of the festival is to present creative, unconventional
> >and experimental work of the young musicians within a varied spectre
> >of genres and traditions. We wish to present artists whose music is
> >different from conventional aesthetic norms of the musical market and
> >institutions.
> >
> >SELECTION
> >we are open to all musical genres, which radiate with a fresh and
> >innovative feeling projects that connect music with other media (film,
> >video, theatre, musicals...) are also welcome the selection will be
> >made by Peter Kus, Andrej Skaza, Ana Vipotnik THE SECOND PART OF THE
> >APPLICATION (IN ADDITION TO THE FIRST PART) MUST CONTAIN: studio or
> >demo recording (as recent as possible and at least 15 minutes long)
> >
> >VHS recording where applicable
> >exact technical requirements (description of instruments, staging,
> >light, amplification, other) description of the setting, suitable for
> >the performance promotional material ( group projects, logo, media
> >reviews, etc.
> >
> >SEND THE APPLICATION FORM TO:
> >SOU CULTURA, vdor 21 / break 21, (MUSIC), Kersnikova 4, 1000
> >Ljubljana, SLOVENIA
> >F I L M
> >
> >We will try to find out how deep into the eye of the viewer can the
> >film images of the artists under the thirties penetrate. It will
> >happen less then one year before the arrival of the great 21 century.
> >The intention is to present both feature length and short films,
> >either fiction, experimental or documentary. Video art, music spots
> >and TV programmes will not be considered. Three films will be awarded,
> >the winner will receive a colour film reel Kodak (duration:60
> >minutes). SELECTION the selectors will pay special attention to films
> >with an individual note selection will be made by Boris PetkoviÄ?-Oli
> >and Nejc Pohar THE SECOND PART OF THE APPLICATION (IN ADDITION TO THE
> >FIRST PART) MUST CONTAIN: a VHS copy of the film: if the film is
> >selected you will be required to submit a copy on 35mm, 16 mm, or
> >Beta.
> >
> >information about the director and creative personnel
> >technical information pertaining to the production and specification
> >of the original format in which the film was made synopsis
> >photograph(s) from the shooting of the film any special information
> >relating to its projection
SEND THE APPLICATION FORM TO: SOU CULTURA,
> >vdor 21 / break 21, (FILM), Kersnikova 4, 1000 L
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>VRML.ART >
February 23-26, 1999
>The 4th VRML Conference will take place in Paderborn, Germany (the first
>time in Europe) February 23-26, 1999. This year, the conference, a
>collaboration between the VRML Consortium (www.vrml.org), the
>Gesellschaft f=FCr Informatik (www.gi-ev.de) and C-lab, the R&D Institut
>of Paderborn University and Siemens AG (www.c-lab.de/) will feature the
>
>VRML.ART expo.
>
>DEADLINE to submit projects is January 20, 1999
>
>Categories:
> - Artists and designers
> - Art and design students
>
>Projects can be submitted as:
> -- Stand alone VRML Work -- Web-based VRML Work
> -- Multi-user-based VRML Work -- Multi-media VRML Work
> - Objects and Environments
>
>The VRML.ART expo features the ideas and independent creations in VRML
>from artists, and Web VRML design from commercial designers. It shows
>the status of VRML based visual work done private, in companies and in
>schools.
>
>Art Schools and Art departments in Universities are teaching students
>VRML based visual work, commercial companies and institutions are
>starting to implement 3D objects (in their 2D Web
>representation) and artists are using VRML technology to express
>artistic ideas and in communication environments.
>
>The VRML.ARTexpo will be presented online, and also featured in a
>gallery installation at the VRML99 conference. Works will be juried
>by Karel Dudesek, Director of VGTV Labatories and Kathy Rae Huffman,
>Independent curator and Associate Professor of Electronic Art,
>Rensselaer Polytechnic Institute, N.Y.
>
>Notification will sent January
>
>ENTRY RULES:
>
>Please specify the category, and provide a URL, title of project,
>contact name, address, telephone, FAX, and email address.
>
>Online submissions:
>Submission authorizes linking to your 3D site if selected. Online works
>must run on max.150 MHz. Please specify CPU power and OS which your
>work is tested on.
>
>CD ROM submissions:
>Test CD ROMS before sending, please specify CPU power and OS, which your
>work is tested on. Works with loading problems, or alert messages on
>VRML dashboard will be
>automatically eliminated. Return of CD ROMs not guaranteed.
>
>In recognition of the growing number of student sites and VRML activity,
>
>ALL student works that load properly will be included in the special
>VRML-student gallery. Class compilations are encouraged, with name of
>professor, list of students, school and course title included.
>
>Submit projects on or before January 20, 1999, to:
>Karel Dudesek, President of VGTV
>Gl=FCsingerstr 40c, D-21217 Seevetal (Germany)
>
>Ask for additional information: karel@vgtv.com
http://www.c-lab.de/vrml99/
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WRO 99 <> WRO 99 <> WRO 99
<>
>--------------------------------------------------------------
>7th International Media Art Biennale
>April 28th - May 2nd, 1999 ------ Wroclaw, Poland.
>--------------------------------------------------------------
>
><>International competition for video art
>open to works emphasizing and developing image and sound
>relationship in the creation of an innovative shape of artistic media
>expression.
>The deadline is January 23rd, 1999 (as stamp marked)
>
>
><> Other WRO 99 events are curated selections and exhibitions:
>
>----- "the power of tape" (film,audio,video)- screenings and retrospectives
>of various art forms created for the tape in XX century
>
>----- exhibitions of media installations, automata, art cd-rom,
>
>----- live broadcast and netcast projects
>
>----- audio/visual performances & miscellaneous activities
>
>---------------------------------------------------------------
>Open Studio/WRO Foundation tel./fax: (48 71) 342 26 91
>PO Box 1385 tel. (48 71) 44 83 69
>54-137 Wroclaw 16 email: wro@info.wcss.wroc.pl
>Poland>
Hi syndicate,
>
>for the last few days, apart from big amounts of tapes arriving every day,
>we are receiving numerous requests for WRO 99 entry forms and competition
>regulations, as well as many questions asking about the possibility of
>sending cassettes after the deadline. In this case, we decided to offer one
>week extra for late comers -- the deadline has now been moved till J a n
>u a r y 2 3 rd (as postmarked).
>
>Also, I'm taking the opportunity to apologize - the website at
http://www.wro.art.pl
>(announced in our printed leaflet) is still not working due to some stupid
>problems with virtual-buerocracy-administrative procedures. This is the
>reason why many of you could not find the information about WRO 99.
>The website problem is one of the reasons for moving the deadline. Until
>this regular website is started for running and giving updated info about
>WRO 99 programme, you can find some info, entry forms and competition
>regulations at our temporary site
http://www.asp.wroc.pl/~ppo/wro.
>
>best regards,
>piotr krajewski
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amour-horreur / love-horror
>Subject: La Centrale/Studio XX web art call for
submissions
! Deadline, March 1st, 1999 !
>CALL FOR SUBMISSIONS: web art projects (please forward)
>amour-horreur
>(love-horror)
>
>To celebrate the 25th anniversary of La Centrale, Gail Bourgeois is
>organizing a thematic exhibition entitled amour-horreur. For this
>occasion, in collaboration with Studio XX, La Centrale is seeking 5
>thematic web art projects conceived and executed specifically for the
>Internet.
>
>Information required
>Projects may include Real Video/Audio, Shockwave, Quicktime, etc. All
>projects should be on the web or forwarded on diskette (Mac or PC) by
>the submission deadline, March 1st, 1999. Selected projects will be
>hosted for an indefinite period, not less than one year, by La Centrale
>and Studio XX. As well, they will be presented in the gallery for the
>duration of the second exhibition, amour-horreur. The vernissage will be
>held April 17, 1999.
>
>Email: amour-horreur@studioxx.org
>
>Curatorial Theme
>There is an interesting oppositional tendency in some art production in
>the 1990's. This work seeks to position itself outside the mainstream to
>better see artistic and social conventions. Some of this work falls into
>the category of 'abject art', but in fact all such work reinstates
>corporeality with its inherent contradictions. For the project
>amour-horreur, what interests me is a reclaiming of the material body.
>This reclamation can not be done in any straightforward way, but the
>(abject) body is a potential site of transgression and feminist
>intervention.
>
>Works by women which explore notions of horror, abjection, and love will
>be considered. These criteria can be expressed in a variety of ways.
>Some possible sub-themes might be :
>+ The Social Body - sites of resistance.
>+ Nasty Girls Rebellion - the total body of experience of violence - the
>addictive adenaline rush.
>+ Lesbien Reflections - the phantasm of the archaic mother versus
>wanking off, or public sex or the body "out of bounds".
>+ Expelled - from the body, unsettling the boundaries between "I" and
>"you".
>+ Desire - how to invent it ?
>+ Articulate Love - how to speak of love - metaphoric body imaging, and
>self-portraits.
>
>The works selected for the exhibition will have, as one element of
>intention, a preoccupation with liminal states and transformation.
>
>Artists whose work is selected will be paid an artist fee of $150
>(Canadian).
>
>The call for submissions will be disseminated on the sites of
>Studio XX : http://www.studioxx.org
>La Centrale : http://www.lacentrale.org
>
>LA CENTRALE 460, rue Sainte-Catherine Ouest, espace 506, Montreal
>(Quebec) H3B 1A6
>Tel. : (514) 871-0268 Telec. : (514) 871-9830 courriel :
central@cam.orgsite : http://www.lacentrale.org
>Deadline March 1, 1999
>Submissions and information:
>Email: amour-horreur@studioxx.org
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-------------------------------------------------------------------------------------------------------------------
First annual "One
World" international film festival
! Deadline January 30th, 1999 !
>Prague, Czech Republic
>
>27-31 May 1999
>
>Contact person: Igor Blazevic, Festival Director
>Fax.: +420.2. 6113 4137
>Tel.: +420.2. 6113 4401 / 02
>e-mail: pinfcz@czech-tv.cz
>
>Foundation People in Need is preparing to launch its first annual
>"One World" international film festival in Prague, to be held
>from 27-31 May 1999. The festival was conceived for a two-fold
>purpose: to foster the idea of global responsibility, and to advance
>public education on human rights issues. It will do so by presenting
>the experiences of peoples endangered by conflict, state repression,
>discrimination, marginalization, deep-rooted prejudices etc, and
>exploring these problems in the context of their unrecognized rights.
>
>We believe that Prague is a very approprate host for such a festival
>because the city has its own turbulent history and symbolism vis-a-vis
>foreign intervention, repressive regimes and dedicated struggle by
>courageous individuals for freedom and human rights. In addition,
>Prague has also been named as the European Culture Capital for the
>year 2000.
>
>The People in Need Foundation, which will organize the festival, is a
>unique, award-winning Czech NGO that combines provision of aid to
>countries in crisis with advocacy for democracy and human rights.
>Since its establishment in 1992, it has been engaged in relief and
>development work in 14 countries. The foundation also promotes the
>work of independent media in non-democratic countries with material
>support and training, and brings prominent individuals from countries
>in crisis to the Czech Republic for public meetings.
>
>We believe that the "One World" film festival is a logical step
>forward that will serve to fortify the knowledge and involvement of
>Czech citizens, especially young people, in the worldwide effort to
>promote human rights and democratic freedoms. In a first year, the
>festival will comprise the following categories:
>
>1. Human Rights
>2. Films from Africa
>3. Voices of Women
>4. Country Profiles (Burma, Tibet, China, Belarus, Bosnia, Cuba,
>Haiti, Colombia)
>
>
>The films will be screened in Prague from 27 - 31 May, with highlights
>from the festival screened again the following week in two more Prague
>cinemas. Three films will be selected for awards by the festival jury
>and one film selected by the audience. All four will then be broadcast
>on Czech TV, the national public service television network..
>
>For the purposes of final selection we will need:
>
>1. One VHS copy of the film (preferably with English subtitles).
> Script in English or Russian for translation, and photos (incl.
> one
>of the director) for promotional purposes.
> Deadline: January 30th.
>
>2. Completed questionnaire form (attached).
>
>
>Thank you for your time and interest, and I look forward to hearing
>from you soon.
>Yours sincerely,
>Igor Blazevic
>Festival Director
>
>
>------------------------
>
>"One World" >International Film Festival >Prague, 1999
e-mail:marta.smolikova@osf.cz
http://www.osf.cz
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Strategies for a New Cyberfeminism
* Discourses of the New Cyberfeminism *
In recent years international telecommunications technologies have
been causing profound changes (globally) in social and political cultures.
* And elsewhere:
* in the Human - immense growing prosthetic body, intellectual
restructuring to fluid patterns, emotions as reflex tracts of the
Data-Superhighways *
* In Art - transgressive matter, conceptual pilings, haunting
specters of intelligent technologies *
*In Science - simulations, remote control systems, personal scientific agents *
Increasingly,globalized society is being territorialized by western
aesthetic and market strategies and cultural formations.
* as society is territorializing market strategies as cultural formative.* Many
"alternative" subversive strategies * competing for the rare nishes in the
system * have been harnessed * quoted *
by pancapitalism to capture * invent * new markets and consumers everywhere.* to teach
about resistance. *
This situation acts as a rallying cry * as the state-of-the-art * for a
* of the *_New_ cyberfeminism for the 21st century.
* embracing every brilliant, sad, effective, lusty, intellectual, desperate, wild, cool,
sentimental, illogical, free, crisped and ugly premature feminsm ever existing under new
technological conditions. *
A diversity of feminist critical, * deconstructive ** misfitting *
aesthetic, and cultural practices* ways of thinking *have become more and more relevant as
they decode, critique, and subvert
* imitate and falsificate *the languages and practices of global
capitalist culture.
What are the specific possibilities offered by the new technologies fora networked
feminism?
What are the specific possibilities and conditions for agency and female
subjectivity in a wired and globalised world?
Some energetic new cyberfeminists are already busy creating a liberatory and empowering
use of communications technologies and attempting incursions into the masculinist* beloved
** mind-boggling *culture* shit *of the Internet. It is not to the utopian magic of a
liberating technology* another technological restructuring of ourselves *we can look for
the hard cultural work which needs to be done.* which is the only real thrill left to do.
*Rather, women's
* the new cyberfeminists *tactical and imaginative uses of the Internet are already
bringing about new social * neuronal *formations and associations among very different
constituencies.* The new Meta-Medium, the networked Computer, is being tested in different
ways (THE NEW CYBERFEMINISN IS A TEST) as it is testing our abilities to change our
pattern-recognition, to keep up with a lingering subversion of tradition. (THE NEW
CYBERFEMINISM WAS FASTER) *
To some extent the "alternative" feminist institutions and services which sprang
up everywhere in the 70s have been reproduced on the Internet: Feminist data banks and
electronic news services provide information on war crimes against women, collective
economic actions, international solidarity actions, and critical health news. There are
on-line feminist directories for job news, self-help
group organizing, starting your own business, managing your money,
socializing, technological education, and the like.
* Do "alternative"-cyberfeminists analyze the imitations of the feminist
institutions of the 70s on the Internet?
Do "baby"-cyberfeminists hack the tamagotchis homepage as smoothly as the
Pentagon's archives?
Do "european intellectual" Cyberfeminists get their kicks on clicking
their mouses quickly (and writing a Phd about it)?
Click here. Click now. Enter your creditcardnumber. Identify yourself.STOP. (ELSEWHERE) *
As Avital Ronell, Donna Haraway, and others have pointed out, it
behooves feminists to become technologically skilled and knowledgeable lest the new
technologies of global communication and domination once again perpetuate and strengthen
the same old male culture and power structures. In this regard, feminists who have access
to technological privileges need to be particularly alert to cultural, racial, and
economic differences in the way women work, live, and use technology globally-differences
which are rapidly shifting and increasing with the onrush of technological
"advancement." Some female hackers and computer engineers, as well as
artists and tinkerers, are acquiring enough technological knowledge which if used
strategically could seriously disrupt and disturb the still overwhelmingly male culture of
the Internet.
* It behooves THE NEW CYBERFEMINISTS to ask new questions on the 19th century western
gender dichotomy.
How do they call themselves feminists? Even women? Is this still a
Fin-de-Millenium decadence? What could this mean while constantly
undergoing sexual and gender orders in theoretical and practical ways, as is the daily
cyberfeminist's virtual bread? Bits of XX..., byte, the X!
You should find out about that ( if you call yourself a CyberXX too!) *
Such disruptions presuppose a close entwinement of political and tactical thinking and
technological know how-something which is quite possible given current international
feminist resources. One can imagine other interventions:
Feminist leaders
* 'And when my brain talks to me, he says:
Take me out to the Ballgame
Take me out to the Park
Take me to the Movies
Cause I love to sit in the dark
Take me to your leader
And I say: Do you mean George?
And he says: I just want to meet him
And I say: Come on I Mean I Don't even Know George!
And he says:
Babydoll! Ooo oo oo Babydoll, Ooo He Says:
Babydoll! I Love It When You come when I Call'
Laurie Anderson: Baby doll *
and policy makers could communicate with activists working in
diverse locations with working-class and poor women (who are often not connected to
on-line resources)
* Note for the next meeting: Question: Isn't it a effective 'male'
capitalist's work to connect even more third-world-women to the more or less qualified and
jobs (from Data- Aquisition to Software-Engineering) at the computer-terminals in the
globally wired systems? And shouldn't western capitalist feminists - promoting the
liberating and educational use of Online-Computers - make their living, being paid by the
computer industry? * on labor, employment, and displacement issues.
Feminist health, environmental, and medical workers could directly monitor the effects on
different groups of women of the new biomedical and genetic technologies, etc. etc.
Instead of being subjected to the irrelevancies of Jennicam
* Jennicam: the realisation (and thus: suspension) of paranoia?
Historical reference to the case of Daniel Paul Schrebers:
'Denkwürdigkeiten eines Nervenkranken'. Jennicam: The old subject's
CYBERFEMINISM. *, perhaps we could figure out ways to become more familiar with day to day
living conditions and the new experiences of women and girls in the global integrated
circuit.
When the first Cyberfeminist International met at the Hybrid Workspace in Kassel, we daily
recorded our discussions on video, and also emailed a daily report to the international
women-only Faces list. Perhaps this was the beginning of modeling a new feminist
consciousness raising for the 21st century-a networked, multi located, polyvocal
* voice 1 *
* voice 2 *
* Vocoder 2 *
* Letters 1b *
* Signifiers 0 and 1 *
* Information: as tunnel *
* Information: as skin *
* Information: as gender *
conversation, embodied and gathered locally and distributed globally by electronic means.
"Strategies of the New Cyberfeminism" hopes to address many of the issues
introduced above. We invite intense conversations, controversies, speculations, papers,
projects, presentations in many forms. We invite paradoxical approaches and diverse
interpretations of cyberfeminist theory and practice. Our hope is to expand our
connections to a wider circle of women, and to include an even greater mixture of
cyberfeminists than participated in the First Cyberfeminist International. Following is a
preliminary plan and structure for the Conference.
1. [What?] Second Cyberfeminist International. Title: Strategies of A
New Cyberfeminism.
2. [Who?] Cyberfeminist International. Hosted by TechWomen of Rotterdam,
obn (Hamburg), and attended by an interdisciplinary,international group of women artists,
writers, scholars, media critics, scientists and sociologists.
3. [When?]Dates: March 8-11 in Rotterdam
Related presentation:
March 12-14 Next Five Minutes, Amsterdam/Rotterdam
March 12: Cyberfeminist Presentation at Next Five Minutes in
Amsterdam.
Participation at the conference will be free, but most participants will
need to raise their own travel funds as there will be very little
funding to assist in accomodations and travel
4. [Where?] Place: Rotterdam. (Culture cafe and possibly V2.)
5.[How?] Organizing group: Corrine Petrus (TechWomen, Rotterdam), Ingrid
Hoofd (Leyden,liaison with n5m and V2 in Rotterdam) Cornelia Sollfrank (obn, Hamburg),
Helene Oldenburg (obn,Rastede/Hamburg) Claudia Reiche (obn, Hamburg), Faith Wilding
(obn,Pittsburgh) Yvonne Volkart
(obn,Zurich/Wien), Julianne Pierce (obn, Sydney).
6.[How?] Format: There will be a mixture of public presentations and
private discussions.
Initially, we are planning to have public presentations (in the
afternoons and possibly one evening) at which up to 4 different
presentations consisting of lectures, panels, short papers,
performances,etc. will take place. Altogether we estimate that there
will be approximately 16 different presentations in the public program.
7.[What?] Content: Presentations will be planned around the following
main points of emphasis. More specific concepts of each topic will be posted soon:
Introduction: Myths, utopias, histories of CyberfeminismS. An
introduction to the topologies and territories. What happened at Kassel?
What are the New CyberfeminismS? The embedding of feminist technical criticism, with women
and gender studies (All).
A. Women/Media/Politics/Technology (Claudia, Yvonne, Helene)
B. Women Hackers; hacking strategies; Hacking as method and
metaphor (Connie, Corrine)
C. Feminist Activism/Resistance/Intervention/Globalism (Faith,
Yvonne)
Closing Summation and discussion.
Private discussions among participants will also center on these
topics. And the discussions will also provide content for the planned
presentation at the Next Five Minutes Festival in Amsterdam.
8. Documentation: We expect to have well-organized video and radio
documentation of the entire conference. We also plan to issue a
publication on the model of the Cyberfeminist Reader.
9. Funding: A budget has been developed and funds are being solicited by
Corrine Petrus (TechWomen) from several local Rotterdam foundations, and from other Dutch
organizations. Additionally, Cornelia Sollfrank is looking into funding for a publication
of the proceedings from Germany.
It is expected that participants will try to raise travel and
accomodation funds for themselves from their local arts and culture
funders.
----------------------------
The CI2 planning group is now calling for proposals for presentations of many different
kinds at the Conference. We are interested in the widest possible interpretations of
cyberfeminismS theories, strategies, art-works, papers, performances, and actions.. Please
prepare a brief proposal describing your presentations content and form, and a
one-paragraph abstract or statement; include a two-line biography. Please designate which
main topic your presentation will fit best. Email to: <obn@ipr.nl>.
----------------------------
Statement for Funders:
The Cyberfeminist International is a diverse group of women from more than 12 countries
who met for the first time in l997 at the Hybrid Workspace at Documenta X in Kassel. One
strong impetus for forming this group was to research,discuss, and make information
available about the many ways in which the new communications, imaging, and medical
technologies are having profound impact on the lives, work, and health of women locally
and globally.
Historically, technology has been male dominated, and the new
technologies are still continuing this tradition. Women media
technicians, programmers, computer scientists, hackers educators, home and office
teleworkers, electronic chip producers, artists, students, scholars, economists,
scientists, biomedical researchers, doctors--all have a common interest in changing the
male culture of the new technologies and becoming centrally active in shaping economic and
cultural policy for women in the global communications and economic networks.
The Cyberfeminist International seeks to bring together women from many >different
fields of knowledge and interest to begin to work together on strengthening women's
involvement and visibility in the developing policies and economies of electronic
communications technologies and networks. In this second conference we plan to present a
series of public programs which will consider many aspects of the way in which the new
technologies affect women specifically, and to discover what strategies and techniques
women are developing to meet these new conditions.
Old_Boys_Network <boys@obn.org> www.obn.org
---
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from cornelia@snafu.de
(Cornelia Sollfrank)Conference Call and Call for Proposals and Abstracts:
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Ars Electronica 1999
Life Science 4.9 - 10.9 1999
See: http://www.aec.at/lifescience/lifeeng.html
The first festival of art, technology and society in 1979 initiated
the
inquiry into the cultural correspondences of technological change, an
undertaking dedicated to analyzing the process by which new technologies become a culture
(and, indeed, a cult as well), and to finding possibilities of designing and managing this
process.
During the ensuing 20 years, the Ars Electronica project committed to continual evolution
into a broad spectrum of social domains and thereby attained the status of a model for
coming to terms with art in a way that is appropriate to these times traverse boundaries
by artists taking digital technologies as their implement, their medium, as well as their
subject. Moreover, this art addresses the new ordering of our society.
Conceiving itself as a direct consequence of society, it intervenes in
these transformational processes, participates in them, and advances them as an essential
element of social innovation.
In 1987, the festival added the Prix Ars Electronica as a forum for
artistic achievement and innovation, and as a barometer indicating trends in an expanding
and increasingly diversified world of media art. The Ars Electronica Center was opened in
1996 in response to growing public interest and as a prototype of a new artistic venue
develop adequate forms in which to produce, disseminate, and encounter art. Aside from the
Museum of the Future as the chief attraction for the general public, it has been the Ars
Electronica Futurelab in particular that has assumed an essential role here in providing
the infrastructure necessary to bring together
leading scientists and artists in the Ars Electronica Research and
Residency Program, and constituting a successful experiment for
interdisciplinary collaboration implemented in actual practice.
These 20 years, however, have also been marked by the emergence of a global Information
Society as the determinative circumstance of our
civilization. The processes of cultural assimilation of and adaptation
to this new reality remain a continual challenge; the formulation of the multifarious
problems posed by this economic, social, and political reordering is not even close to
completion. Nevertheless, the vectors of this development have been set, and thus 20 years
of Ars Electronica naturally offers an occasion to undertake an archeological dig through
the strata of artistic and technological evolution. But, above all, this is an occasion to
concentrate on the prospects prior achievements of digital information technology.
In the wake of these technical innovations, biology has catapulted itself onto the leading
edge of key technologies for the coming decades. Molecular biologists and genetic
engineers, equipped with the tools of information technology provided by the Computer Age,
have thrown open portals whose thresholds, in many instances, mark our culture breaching
of which, though, is increasingly the focal point of expectations and hopes for the
continued prosperity of our civilization.
Without a doubt, there are serious potential dangers, particularly since it is to be
expected that, beyond scientific undertakings, all economic and industrial efforts as well
have, up to now, gone about the business of mastering, reworking, and economically
exploiting our physical environment on life, on the science of life.
The fact that the foundations of life thereby assume a position at the
centerpoint of attention, however, can also engender a new mode of dealing with life. The
very conception of being capable of forming life (human life as well) beyond the
morphological level of the body, and of being able to construct its predispositions and
talents, compels us to take up new perspectives in regarding ultimate aspects of this life
A challenge for art as well.
Ars Electronica 99 will face these new challenges with the theme Life
Science, a confrontation which take place, above all, in the interplay of the divergent
concepts of artists and scientists.
---
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# collaborative text filtering and cultural politics of the nets
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Next Five Minutes 3
Conference and
Festival on Tactical Media
Amsterdam & Rotterdam, 12-14 March, 1999
http://www.n5m.org
The third Next 5
Minutes, an Amsterdam based conference on tactical communications culture, featuring
do-it-yourself media, dissident art and electronic media activists from around the world,
will take place on the 12th, 13th and 14th of March 1999.
The
growth of tactical media. The term 'tactical media' refers to a critical usage and
theorisation of media practices that draw on all forms of old and new media for achieving
a variety of specific non-commercial goals and pushing a plethora of potentially
subversive political issues.
Moving beyond the mere assertion of the net as a relatively new medium, the N5M3 will be
debating the wider social, cultural and political implications of an ever growing impulse
to digitalise information. Plus the conference will be looking at the recent political and
economic constellations evolving from currently emerging information and communication
structures. While analysing these more homogenising forces of convergence, there will be
an emphasises on the necessity of employing and deploying a variety of tactical and
independent media.
These issues will be addressed on two levels: a structural examination of empowering
strategies in new informational environments with an emphasis on the notion of 'tactical
networks' and 'electronic borders'. The latter refers to the disturbing fact that in
information societies, social, political and cultural divisions are increasingly drawn
along the lines of accessibility to electronic media. In discussing this, we will also be
looking beyond the West, highlighting the significance of different media in diverse
political and economic climates.
N5M3 will be a working conference comprised of a focused public program plus a variety of
smaller-scale seminars and workshops. Essential to the conference is the exchange of
ideas, experience, working methods, and the construction of long-term partnerships and
network structures.
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