New Radio and Performing Arts, Inc./Turbulence Fundraiser
http://turbulence.org/fundraiser_05/index.html

Art work donated by Cory Arcangel, Kate Armstrong, Andy Deck, Jason Freeman, Mariam Ghani, Peter Horvath, Yael Kanarek, Michael Takeo Magruder, Michael Mandiberg, MTAA, Yoshi Sodeoka, Helen Thorington and Ricardo Miranda Zuñiga

Dear Friends,New Radio and Performing Arts, Inc. (NRPA) will be 25 years old in 2006; Turbulence will be 10 years old. Despite the expansion of our projects, the acceleration of our support for net artists, and the valuable resources we provide in our networked_performance blog and New American Radio archive, NRPA has seen a decline in its operating support. As a result, much of our hard work forgoes compensation. Of equal concern is the dual role our server is forced to perform: archiving work produced since 1996 and supporting new commissions that require cutting edge technologies and later versions of its current software. It’s time for a new server.We need your support. Please help us preserve our archives and support emerging artists and technologies. Numerous Turbulence artists have generously donated DVDs, CDs, archival prints, T-Shirts and more. Choose from this impressive array or simply make a donation today.
http://turbulence.org/fundraiser_05/index.html

With Gratitude,Helen Thorington and Jo-Anne GreenCo-DirectorsNew Radio and Performing Arts, Inc.: http://new-radio.org

New York: 917.548.7780 • Boston: 617.522.3856
Turbulence: http://turbulence.org
New American Radio: http://somewhere.org
Networked_Performance Blog: http://turbulence.org/blog
Upgrade! Boston: http://turbulence.org/upgrade

ART BIOLOGIC

A thematic exhibition based on art inspired from the biological world. Open to all interpretations of landscape, fruits, vegetables, flowers and fauna. Figurative art of human beings excluded. The exhibition will be held at the Limner Gallery, May 11 - June 3, 2006. Open for entry to all artists. National magazine publication awards. Deadline February 28, 2006. On-line entry form at _http://www.slowart.com/prospectus_ (http://www.slowart.com/prospectus) , or email _slowart@aol.com_ (mailto:slowart@aol.com) , or send SASE to SlowArt Productions, PO Box 503, Phoenicia, NY 12464

ADC 85th Annual Call for Entries




L’85°ADC Global Awards lancia la sfida alla comunita' creativa: “Pimp my Brand” e’ la parola d'ordine.
Nominati i presidenti delle giurie che provengono da Tribal DDB, JWT e O&M’s Brand Integration Group. Alex Giordano e Mirko Pallera di NinjaMarketing.it in giuria per l’Italia nella sezione Interactive. New York – La trasformazione dei brand in macroentità culturali ed economiche portatrici di significati ha ispirato l’85°edizione dell’Art Directors Club Annual Awards, che ha aperto ufficialmente le iscrizioni. La campagna, che riporta l’headline “Pimp My Brand” (espressione derivata dall’hip-hop che significa “Rendi super-cool il mio brand”), è stata creata da Ernest Lupinacci, partner dell’agenzia newyorkese Anomaly. L’ADC ha anche annunciato i presidenti della giurie dell’85°Annual Award per le categorie “interactive,” “advertising” e “design.” Si tratta di Matt Freeman di Tribal DDB per quanto riguarda la sezione Interactive, Ty Montague di JWT per la sezione Advertising e Brian Collins di O&M’s Brand Integration Group per la sezione Design. Tutti e tre insieme presidieranno la categoria Hybrid, la categoria introdotta l’anno scorso per premiare le soluzioni creative che si estendono oltre i mezzi tradizionali.

http://www.adcglobal.org/main.html

http://comunicati-stampa.blogspot.com/2005/12/l85adc-global-awards-lancia-la-sfida.html

From January 26 through March 26, 2006, Witte de With, center for contemporary art, is presenting Satellite of Love, in association with the TENT. Center for Visual Arts and the International Film Festival Rotterdam (IFFR).During the festival (January 25 – February 5, 2006), Satellite of Love will be the nerve center for the Exploding Television section of the IFFR’s program. As in previous years, this section of the festival, organized by Edwin Carels, focuses on recent developments in digital technology that influence or perhaps even result in radical shifts within visual and audiovisual culture. Satellite of Love will become the headquarters of a veritable TV commune, a utopian project. Furthermore, in association with the VPRO, Exploding Television will be manifesting itself online via the Internet.Opening Thursday January 26, 2006, 6 p.m.

Participants in Satellite of Love include Franz Ackermann, AL+AL, Francis Alÿs, Mark Bain, John Logie Baird, Pierre Bismuth & Michel Gondry, Angela Bulloch, Edith Dekyndt, Dias & Riedweg, Michel François, Laurent Grasso, Erik van Lieshout, Yves Netzhammer, Melik Ohanian, Daniel Sauter & Osman Kahn, Monika Sosnowska, Maurice van Tellingen, Rirkrit Tiravanija, and Francesco Vezzoli. During the ten days of the IFFR, the following units will be producing live television: Ambient TV.NET from London, CAC TV from Vilnius, Orfeo TV-Telestreet from Bologna, De Taalpolitie from Rotterdam/Brussels, and tv-tv from Copenhagen.A special program will be presented during the Museum Night on March 4, 2006.

http://www.wdw.nl/project.php?id=116
Also see the Film Festival website at http://www.filmfestivalrotterdam.com/.

''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

We are currently gathering a veritable global smorgasbord of TV-guides forthe'Satellite of Love' exhibition over in Witte de With (http://www.wdw.nl/)during January's IFFR = the Rotterdam International Film Festival(www.filmfestivalrotterdam.com <http://www.filmfestivalrotterdam.com/> )We're hoping to gather as many and as diverse an amount of TV guides aswe can muster, (both new and crumpled, coffee stains welcome) for thecurious flaneurs to browse during the exhibition period.We would appreciate your effective contribution and multi-national activesupport (+that of the global village represented in your address book too ;)So don't hesitate and start chain lettering!You will make us very happy if you send your most exotic copies (no Dutch)and when you're travelling over the next while please pick one up for us andsend this also to the address we've primed for this potential avalanche ofcheap print :Solange de Boer / Satellite of LoveWitte de With, center for contemporary artWitte de Withstraat 503012 BR RotterdamThere's no cash prize unfortunately but we'll be making our own(www.zeloot.nl rich) TV guide-like catalogue of Satellite of Love. We willsend a copy out to every donator who leaves his or her address.The exhibition will open on January 26 so the sooner anyone can dispatchsomething the better given the perils of X-mas post etc.Kind regards and many thanksThe Exploding Television teamps here's a quick profile of the "Exploding Televison" programme:http://www.filmfestivalrotterdeam.com

Top News Sites of 2005


1 ABC News
2 The New York Times
3 Reuters
4 The Washington Post
5 Guardian Unlimited, UK
6 Voice of America
7 SFGate.com, CA
8 Bloomberg
9 Times Online, UK
10 International Herald Tribune, France
11 CNN
12 The Christian Science Monitor

http://www.newsknife.com/features/top_rating_news_sites_2005.html

Vectorama.org is a 'multiuser playground' on which a maximum of ten users at the same time can design a picture together. Drag vector-graphic items out of libraries and drop them on the playground. The items can be moved, scaled, rotated and colored. Of course you also can delete items. If you like the picture, print it or send it to someone as an email (you can choose one of the following graphic formats: AI, SWF, GIF, JPG, PNG). In addition to this 'visual chat' Vectorama.org also offers a chat system which allows you to send short text messages to one or all other users.

INnet02: Interaction Design e Nuovi Immagini" che si terrà dal 15 al 17 dicembre 2005 alla Civica Galleria D'Arte Moderna, Viale Milano 21, Gallarate (VA).

Il progetto INnet, promosso dalle due associazioni culturali Avventure in Elicottero Prodotti (Lugano) e Ariella Vidach - AIEP (Milano) e sostenuto dal Programma Interreg IIIA, intende creare una connessione tra i centri di ricerca internazionali e le più importanti realtà operanti nel settore delle nuove tecnologie digitali interattive.

INnet 02
"INTERACTION DESIGN E NUOVE IMMAGINI"
15-17 dicembre 2005
Civica Galleria d'Arte Moderna di Gallarate
V.le Milano, 21 Centro di ricerca invitatoZKM - CENTRO PER L'ARTE E LA TECNOLOGIA MULTIMEDIALE DI KARLSRUHE
workshop teorico-pratici, conferenze, dibattiti e performance con artisti e relatori internazionali
______________________________________________________________
PROGRAMMA
GIOVEDì 15 DICEMBRE
10.30-12.30 "IL MUSEO DEI MEDIA DELLO ZKM"workshop teorico (1h 30min.)Relatore: Thomas Thiel (Trainer Museo dei Media - in sostituzione di B. Koenches)
14.30-17.30 "L'ISTITUTO PER I MEDIA VISIVI: RICERCA E PRODUZIONE DI ARTE INTERATTIVA ALLO ZKM"workshop teorico (1h) e pratico (1h 30min)Relatore: Bernd Lintermann (Direttore Istituto per i Media Visivi)
18.30-20.00 "ZKM: IL CENTRO PER L'ARTE E LA TECNOLOGIA MULTIMEDIALE DI KARLSRUHE"conferenzaRelatori: T. Thiel, B. Lintermann, L. Bruemmer
23.00 "DANXY MUSIC"performance di danza interattiva e incontro a seguireCompagnia: Ariella Vidach - A.i.E.P.(Evento collaterale organizzato dalla Civica Galleria D'Arte Moderna di Gallarate presso il Teatro delle Arti - Via Don Minzoni,5 Gallarate)

VENERDì 16 DICEMBRE
10.00-13.00 "COMPUTER MUSIC & MEDIA: L'ISTITUTO DI MUSICA E ACUSTICA DELLO ZKM"workshop teorico (1h) e pratico (1h 30min)Relatore: Ludger Bruemmer (Direttore Istituto di Musica e Acustica)
14.30-17.30 "INTERACTION DESIGN E NUOVE IMMAGINI"tavola rotondaInterventi di: Ennio Bertrand, Carlo Infante, Maria Grazia Mattei, Marcello Mazzella, Claudio Prati, Claudio Sinatti, Paolo Solcia e Ariella Vidach.Con la Partecipazione di: T. Thiel, B. Lintermann, L. Bruemmer
18.30-20.00 "NUOVE IMMAGINI DALL'ARTE MULTIMEDIALE: MEDIA ART AWARD - ZKM/SWR"conferenzaRelatore: T. Thiel
21.30 "SYMBIOSIS ORCHESTRA"performance live mixmediale di C. Sinatti, A. Gabriele, I. Garrelfs, S. Tedesco(Evento collaterale organizzato dalla Civica Galleria D'Arte Moderna di Gallarate presso la sua sede: V.le Milano,21)

SABATO 17 DICEMBRE
9.30-13.00 "INTERACTION DESIGN: DALL'IDEA ALLA PERFORMANCE"workshop teorico (2h) e pratico (1h 30min)Relatore: Christian Ziegler (Media Artist) 14.00-18.30 "INNET LAB"workshop pratico
20.30-22.00 "LE PRODUZIONI INTERATTIVE DI CHRISTIAN ZIEGLER"conferenzaRelatore: Christian Ziegler (Media Artist)___________________________________________________________________
INGRESSO - CONFERENZE (15,16,17 dic) e TAVOLA ROTONDA (16 dic): ingresso gratuito- WORKSHOP TEORICI: aperti al pubblico con quota di partecipazione. Quota singolo workshop: Euro 10; Quota complessiva per quattro workshop: Euro 30.- WORKSHOP PRATICI: riservati ai partecipanti del progetto INnet selezionati tramite bando di concorso. E' comunque possibile assistere in qualità di auditori previa comunicazione.-
EVENTI COLLATERALI (15,16 dic): ingresso gratuito
____________________________________________________________________
INFOAss. Ariella Vidach - A.i.E.P.Tel./fax 02 3450996organizzazione@innetproject.net PROMOTORIAss.ne Ariella Vidach - A.i.E.P. / Ass.ne Avventure in Elicottero ProdottiIN COLLABORAZIONE CON Civica Galleria D'Arte Moderna di GallarateCON IL PATROCINIO Goethe Institut MailandCON IL SOSTEGNO DI Confederazione Svizzera / Regione Lombardia / Repubblica del Cantone Ticino / Swiss Los-DECS Divisione Cultura / Unione Europea Associazione Ariella Vidach - A.i.E.P.
c/o La Fabbrica del Vapore - via Procaccini 4 - 20154 Milano
tel./fax +39 02 3450996
Avventure in Elicottero Prodotti
via Rava 6 - CH 6974 Aldesago (Switzerland)
tel./fax +41 091 9710232
info@aiep.org - www.innetproject.net

Web Semantico - Intelligenza connettiva nelle retiUn seminario di Andrea Marchesini (a.k.a. bakunin) e il gruppo diricerca Ippolita.net
http://www.autistici.org/bakunin
/http://somasuite.orghttp://ippolita.net

Domenica 18 Dicembre, Milano - Associazione Culturale Xx(y)
Via Bianchi D'Espinosa angolo Via Graziano Imperatore, Quartiere Niguarda
Tram: 4, 5 Fermata Niguarda CentroXML, RSS, W3C, Accessibilita', Browser, Web SemanticoUn incontro teorico su cambiamenti delle reti e di internet.Il seminario e' accessibile a chiunque, in particolare e' di interesseper chi si occupa di Information Technology, Web Design, Ergonomia,Hacking e Filosofia delle reti.Le reti sono intelligenti? Come puo' il web rispondere alle nostredomande in maniera pertinente, se noi utilizziamo i linguaggi naturalie lui algoritmi discreti? Cosa significa fare knowledge managementnelle reti?Le pratiche di mediazione informazionale sono modalità per navigare lereti e contemporaneamente per crearle.Non è importante conoscere di più (indicizzare, accumulare) maconoscere meglio, cioè stabilire regole precise circa la qualità(tipo, modalità, morfologia, natura) dei collegamentitra glioggetti esistenti. Studiare la gestione delle conoscenze significaindagare i metodi per creare automaticamente questi collegamenti,queste interfacce, queste librerie fra reti e oggetti differenti.Ovvero, fare web semantico.Il seminario e' gratuito, ma e' gradita una sottoscrizione libera.Il pranzo costa 8.00 euro a persona. Il ricavato andra' a sostenere lespese dell'associazione e dell'organizzazione dell'evento.Chiediamo conferma della vostra presenza ed eventuale prenotazione delpranzo attraverso l'invio di una email a corinna _at_ inventati _dot_ org.

Programma:

10.00 Benvenuto10.30
Inizio seminarioIntroduzione: html, http, browser, storia della WWW e della W3
Problemi web odierno: la soluzione semantica e le ontologie
L'html puo' essere semantico?: meta, span, shoeIntelligenza Artificiale v.s. Web Semantico: reti e cambiamenticoncettuali
Cos'e' l'XML?: xml, namespace, dtd, xmlschema

13.00 Pausa pranzo con buffet su prenotazione

14.30 Ripresa
Introduzione ai sette livelli del web semantico Unicode.org e uriRDF e RDF
Schema: analisi e applicazioni

16.30 break

7.00 Ripresa
Strato ontologico: OWL Lite, OWL DL, OWL FullProgetti Opensource e Link

18.30 ConclusioneIl seminario si svolgera' attraverso l'uso di slide, verranno fornitialcuni materiali cartacei di supporto.

Per informazioni:E-MAIL: corinna _at_ inventati _dot_ org
URI: http://xxy.realityhacking.org
URI: http://www.autistici.org/bakunin/URI: http://www.ippolita.net/annoteaweb/
gruppo di ricerca ippolita.net

30th of january/ DEADLINE for the 3rd edition of the FESTIVAL DI PALAZZOVENEZIA/International exhibition of documentaries on art, architecture,cinema and theatre

Dear friends and colleagues,The Festival at Palazzo Venezia in Rome – International Exhibition ofFilms and Documentaries on art, architecture, cinema and theatre, isgrowing by leaps and bounds. The second edition, held in Rome from 28 Mayto 5 June 2005, once again surpassed our wildest expectations, thanks inparticular to the quality of your work, to the media’s interest (both inItaly and abroad), to the “events” featured in our (and your) initiative,and to the more than 52,000 people who attended the nine days of theFestival.The path we have taken, with your help, has been shown to be anindispensable tool, a must, for those seeking training and information inItaly about art, architecture, and high-level documentary work nototherwise available in Italy or elsewhere.And so we continue on this shared undertaking. I need not tell you howorganizationally complex and economically frustrating it is, yet I knowfull well that the Festival at Palazzo Venezia has now become firmlyrooted, achieving a size and scope that render it ineradicable (thoughmany have tried, and will try again!)On the occasion of this third edition, we have added THREE NEW CATEGORIESto the competition bulletin, as you yourselves have suggested by sendingus so much interesting material.- DOCUMENTARIES ON CINEMA- DOCUMENTARIES ON THEATRE- ESSAYS FROM FILM AND DOCUMENTARY SCHOOLS ON ART, ARCHITECTURE, CINEMAAND THEATREIn summation, we look forward to hearing from all of you and invite you toattend the events of the Festival, which needs your help. Come to giveyour support, make comments, have a glass of wine (on the house), andcompare notes.My most heartfelt thanks,Artistic DirectorRubino RubiniVisit our site at www.docfest.it where you will find the entry form, aswell as helpful information for signing up and taking part in ourfestival.THE DEADLINE FOR SENDING THE ENTRY FORM IS ON THE 30th OF JANUARY 2006.30 gennaio/ DEADLINE per iscriversi alla 3° edizione del FESTIVAL DIPALAZZO VENEZIA/ Rassegna internazionale di film e documentari d’arte,architettura, cinema e teatroCari amici e colleghi,il Festival di Palazzo Venezia a Roma - Rassegna internazionale di film edocumentari d’arte, architettura, cinema e teatro, sta diventando grandein tutti i sensi. La seconda edizione svoltasi a Roma fra il 28 maggio eil 5 giugno 2005 ha superato, ancora una volta, le nostre più roseeaspettative grazie alla qualità del vostro lavoro innanzitutto, all’interesse dei media italiani (ed internazionali), agli “eventi” che hannocostellato la nostra (vostra) iniziativa e ad un’affluenza di pubblicoche, nei nove giorni di Festival, ha superato le 52.000 presenze.La strada che grazie a voi abbiamo imboccata si è rivelata essere unostrumento indispensabile, una tappa obbligata, per chi in Italia vogliacostituirsi un percorso formativo e informativo sull’arte, l’architettura,la documentaristica d’alta fascia altrimenti non reperibile nel nostropaese /e non solo).Continuiamo dunque questo cammino comune, che non vi sto a dire quanto siaorganizzativamente complesso ed economicamente frustrante, ben sapendooggi che il radicamento del Festival di Palazzo Venezia ha raggiunto un’estensione ed una capillarità che lo rende ormai inestirpabile (anche semolti ci hanno provato e ci proveranno!).In occasione di questa terza edizione abbiamo aggiunto al bando per idocumentaristi in concorso, TRE NUOVE SEZIONI, cosa che siete stati comesempre, voi stessi a suggerirci (mandandoci materiale interessantissimo)ovvero:- DOCUMENTARI SUL CINEMA- DOCUMENTARI SUL TEATRO- SAGGI DI SCUOLE DI CINEMA E DOCUMENTARIO DEDICATI ALL’ARTE, ALL’ARCHITETTURA, AL CINEMA ED AL TEATRO.Insomma attendiamo nuove da tutti voi pregandovi comunque di cercare d’essere presenti anche fisicamente nella parata del Festival che ha bisognodi voi per confermarsi, rinforzarsi, chiacchierare, bere un bicchiere divino (questo ve lo offriamo noi), metterci l’un l’altro a confronto.Grazie, veramente grazieIl Direttore ArtisticoRubino RubiniVisitate quindi il nostro sito www.docfest.it dove, oltre al modulo d’iscrizione, potrete trovare ogni altra informazione utile per l’iscrizionee la partecipazione al nostro festival.DOC FESTCoordinamento Artistico: Veronica FragolaVia Tarvisio, 200198 RomaTel. 0039 06 8840262/8840341Fax. 0039 06 8840345e.mail: art@docfest.itsito web: www.docfest.itDOC FESTCoordinamento Artistico: Veronica FragolaVia Tarvisio, 200198 RomaTel. 0039 06 8840262/8840341Fax. 0039 06 8840345e.mail: art@docfest.it sito web: www.docfest.it

The Digital Artist Warns of a New Internet Scam Targeting Artists
The Digital Artist, an international art and design website representing more than 1500 exhibitors, has sent out a warning about a new Internet scam targeting artists.(PRWEB) December 12, 2005 -- The Digital Artist, an international art and design website representing more than 1500 exhibitors, has sent out a warning about a new Internet scam targeting artists. After receiving a number of queries from artists asking about emails they had received from potential buyers, The Digital Artist investigated the situation, which turned out to be a variation on the so-called Nigerian scam.Typically, an artist receives an email from an alleged art buyer, flattering the artist’s work and offering to buy quantities of artwork, usually for US$1500.00 or more, for a home-decorating project. One such email reads:Hello,My name is Brono Artar,I really appericate all your artworks and i will like to buy some of these from you.I have looked at your artwork shop,I found different types of your work,I am interested in buying some of this artworks.What are the prices for your painting,oils,pastel e.t.cWe are travlling to Egypt from our UK home to supervise our house project . i will like to beautify our new apartment with your artworks. I will like to pay you with Money Orders/cashier check .I will arrange for the shipping through a shipping company. Kindly get back to me with the price excluding the shipmentand your full contact details where the MO should arrive at so that you can go and cash it easily.I am looking forward in hearing from you as soon as possible to make the payment for this products available asap.Regards,Mr Brono ArtarAlthough the details may change, the substance of the emails is almost unvarying:- The “buyer” offers to purchase pieces seen on the Internet.- The “buyer” wants to use a particular shipping company to transport the work once the sale is complete, and will bear all charges associated with shipping. - The method of payment is by cashier's check or money order so that “it can be cashed easily.”What happens next? If the artist responds to the email, hoping to sell some work, the “buyer” will respond that a money order or cashier’s check for more than the agreed-upon price for the art will be sent. This check is to come from the buyer (often in Africa), with the excess to be sent to a third party in the USA to whom the buyer says he owes money. The artist is asked to cash the check, keep the right amount for the sale of his artwork and send what is left to this third party. (Alternatively, the check is said to be coming from the third party, with the remainder to be sent back to the buyer.) The cashier’s check or money order for the larger-than-necessary amount arrives and is deposited in the artist's bank account or cashed. The check or money order appears to clear, and any freeze the bank had placed on these funds is removed. Satisfied that the check is good (the bank had released the funds, after all), the artist sends out the remainder and waits for the shipping company to pick up the art. No one ever comes to pick up the art.Two weeks later, the artist learns from his bank that the check or money order is a forgery.The artist must then repay the bank for the forged check or money order.“It is possible to make legitimate sales online, but you must certainly do your homework!” remarks Carol Pentleton, owner of The Digital Artist. “First: know your buyer! Be sure you can verify the name and address of any potential buyer. Ask for references, and check them out. Talk to the person on the telephone. Use a payment service, such as PayPal, which offers seller protection and dispute resolution. Consider having any large payment escrowed. Make sure any payment you accept is legitimate before you send any merchandise anywhere. If you have any doubts, ask your banker - that is one of the reasons he or she sits at that big desk!“These scams may seem ludicrous, but their targets are usually young or inexperienced artists. It’s sad, but some people actually do fall for these cons. After all, if the scams never work, nobody would be trying to trick people out of their money with them.“Remember - if something sounds too good to be true, it virtually always is.”The Digital Artist has posted a warning on the home page of the website (http://www.thedigitalartist.com ) and sent out a special edition of its monthly newsletter alerting subscribers about this swindle. Artists are urged not to reply to suspicious email and encouraged to investigate carefully any offers to purchase work.A major international website for artists, designers and artisans, The Digital Artist hosts exhibits by more than 1500 artists, designers and artists from more than 60 countries. The website offers free exhibits, articles, newsletters, forums, ebook library and art news updates, as well as a bookstore and magazine stand.

http://www.computer-security-news.com/artman/publish/digital-artist-12156.shtml

Dal 21 al 29 gennaio 2006 si terrà a Napoli la prima edizione di MAGMART ¦ video under volcano, il Festival Internazionale di videoarte, una produzione dello studio tad, con la partnership della Stella Film, del Casoria International Contemporary Art Museum e di GenomART.Il festival è aperto a tutti i video artisti internazionali ed è strutturato su quattro step:- l’iscrizione gratuita attraverso il sito web www.magmart.it- lo show online sul sito web- la proiezione dei video selezionati alla sala VideoDrome nei giorni 21 e 22 gennaio 2006- una successiva proiezione dei 30 video finalisti che si terrà nei giorni 28 e 29 gennaio 2006 negli spazi del Casoria International Contemporary Art Museum.L’iscrizione può essere effettuata esclusivamente attraverso il sito web http://www.magmart.it

Tutti i video pervenuti entro le ore 24 del giorno 15 gennaio 2006 saranno mostrati on-line.La selezione dei video sarà suddivisa in tre sottosezioni:- ricevuti (che saranno indistintamente pubblicati sul sito web www.magmart.it)- pre-selezionati (che, selezionati dalla produzione, verranno proiettati alla Sala VideoDrome - Napoli)- finalisti (che verranno proiettati nelle sale del Casoria International Contemporary Art Museum)Tra tutti i video pre-selezionati e proiettati alla sala VideoDrome nei giorni 21 e 22 gennaio 2006, verrà effettuata una selezione finale sulla base del voto di una Giuria di esperti e del voto del pubblico (raccolto attraverso una scheda distribuita all’ingresso).Le 30 opere finaliste verranno proiettate i giorni 28 e 29 gennaio 2006 negli spazi del Casoria International Contemporary Art Museum ed entreranno a far parte della collezione permanente del Museo.Per il giorno 29 gennaio 2006 alle ore 19.00 è prevista una cerimonia di acquisizione delle opere alla collezione permanente del Museo. CARATTERISTICHE TECNICHE DELLE OPEREIl video deve essere realizzato interamente con tecniche digitali. Deve essere in formato ..mpeg, .avi o .mov. La sua durata non deve superare i 15 minuti. Deve essere accompagnato da una scheda (in formato .txt) sull’opera e sull’autore/i di non oltre 500 battute. Deve essere accompagnato da una immagine estratta dal video (video still/frame by video) in formato .jpg, di dimensioni non inferiori a 400 px per 300 px. MODALITÀ DI PARTECIPAZIONEIl Festival è dedicato esclusivamente alla videoarte. Il tema del video è libero. La partecipazione è aperta a tutti i video artisti italiani e/o stranieri. La partecipazione è aperta a singoli e gruppi. Lingua ufficiale del concorso: Italiano e Inglese. La scadenza per l’invio del materiale è fissata alle ore 24 del 15 gennaio 2006.Per partecipare occorre inviare via e-mail:- Nome e cognome dell’autore/degli autori o del gruppo artistico.- Scheda di partecipazione (vedi sopra) in allegato- Immagine (vedi sopra) in allegatoIndirizzo da cui scaricare il video (tipo: http://www.mydomain.com/myvideo.mpg) OBBLIGHI DEI CONCORRENTILa partecipazione al Concorso comporta l’accettazione integrale di quanto contenuto nel presente bando. Non è consentito ai concorrenti condizionare in alcun modo il giudizio della giuria. Le decisioni della Giuria sono inappellabili. Non è consentito ricorso avverso le decisioni della commissione giudicatrice. Non è consentito ai concorrenti ricorso avverso il bando. I concorrenti con l’invio del proprio video accettano tacitamente la loro diffusione attraverso il sito web www.magmart.it nonché la loro visione permanente nelle sale del Casoria International Contemporary Art Museum. REALIZZAZIONE E DIRITTI IN RELAZIONE ALLE OPERE PRESENTATEIl Museo acquisisce al proprio patrimonio unicamente i 30 video finalisti. PROPRIETA’ INTELLETTUALEI diritti morali e di sfruttamento economico relativi ai video presentati restano di proprietà dei concorrenti.
Per info: www.magmart.it ¦ info@magmart.it

2006 IGF Main Competition Finalists Announced!

Following an amazing set of entries for this year's IGF, we're pleased to announced that the judges have picked this year's Independent Games Festival finalists, and they are as follows:Seumas McNally Grand Prize: Darwinia, Dofus, Professor Fizzwizzle, Weird Worlds: Return To Infinite Space, Wildlife Tycoon: Venture Africa.

Best Web Browser Game: Dodge That Anvil, Moleculous, Dad 'N Me.
Innovation In Game Design: Rumble Box, Strange Attractors, Braid, The Witch's Yarn, Darwinia.
Technical Excellence: Saints & Sinners Bowling, Tribal Trouble, Tube Twist, Darwinia, Crazy Ball.
Innovation In Visual Art: Dofus, Darwinia, Putt Nutz, Glow Worm, Thomas And The Magical Words
Innovation In Audio: Professor Fizzwizzle, Saints & Sinners Bowling, Dodge That Anvil, Glow Worm, Weird Worlds: Return To Infinite Space.


All finalists are eligible for the IGF 2006 Audience Award. Each eventual award winner in these categories will receive a prize of $2,500, with the Seumas McNally Grand Prize being worth $20,000, and all finalists will be demonstrating their titles on the IGF Pavilion at GDC 2006 in San Jose next March, where awards will be handed out. [Please note - the other finalist announcements (Mod Competition finalists, Student Showcase winners) will occur on January 15, 2006.]

Call for entries - digital sparks 2006>> „TANGIBLE – HEARABLE – VISIBLE: BRINGING THE DIGITAL INTO THE SPACE“>>>

For the fourth time the MARS Exploratory Media Lab of the > Fraunhofer Institute for Media Communication is organising the > digital sparks - higher education competition, on the Internet > platform netzspannung.org.>> digital sparks 06 is aimed at media art, media design, media IT and > media architecture - students at universities in Germany, Austria > and Switzerland.>> digital sparks is a competition for students and graduates of all > disciplines whose work is linked to media art, media design, media > IT and media architecture. The objective is to find interactive and > experimental work which demonstrates an innovative approach to > digital culture technologies and manages the transfer to the > physical space: „Tangible – Hearable – Visible: Bringing the > Digital into the Space“>> The aim of the competition is to nurture “new media” students and > at the same time to chart the training given in media studies.

>> Submission:> Deadline: February 15th, 2006>
Online at: http://netzspannung.org/digital-sparks/06/>>

The winners will have the opportunity to present their work at ZKM > Center for Art and Media Karlsruhe in the exhibition “Art Computer > Works” and in context of the activities of the eCulture Factory in > Bremen (Germany).>>
Further information:
> About the competition digital sparks> http://netzspannung.org/digital-sparks/en> Interactive map with all digital sparks submissions 2001-2003 > (German):> http://netzspannung.org/digital-sparks/flashmap/>
Press photos:> http://netzspannung.org/about/press/press-images/? > currentpage=3⟨=de#>
About Fraunhofer IMK MARS> http://www.imk.fraunhofer.de/en/mars> About eCulture Factory (German):> http://eculturefactory.de/> About netzspannung.org:> http://netzspannung.org/about/en> http://netzspannung.org/video/netzspannung/english.rm>>

For questions contact:> Sophie Pester> Email: digital-sparks06@netzspannung.org> Tel.: +49-(0)421-9601-426> Fraunhofer Institute for Media Communication> MARS-Exploratory Media lab>> With best regards,>> Monika Fleischmann, Wolfgang Strauss> and the MARS-Exploratory Media La

-- Activist Media Landscape

We fly over the terrain. But each light cone of our searchlightsrenders a different area. Sometimes, this territoryis claimed to be the entire forest. What would we find ifwe pin note pads to a map of resistant practicesin today's networked media landscape? I took some timeto outline what I see as sites of resistance. They comedown from a birds-eye view to lists of concrete examples.
INSIDE/OUTSIDE
All acts are political in their consequences. It did nottake Brecht to teach us that. There is no outside. Thereis no snow-white innocence of an absolute non-involvement.Many are vehement in their critique of the universityas corporate vehicle. They cancel it out as site of oppositionality.It does not take much historical wandering to question thisargument. Just take the German political theorist HerbertMarcuse who taught at the conservative,small, private Brandeis University for 8 years. We could add manyOther examples. In similar ways to critique of academia others leave nospace or potentiality for affective resistant practices within the (evencommercial) art world.
TIME/DURATION
The separation of work time and leisure that I wrote aboutearlier is a major site of contestation. Here I see a personallocale for resistance. We need time to dream, reflect, and think.http://collectivate.net/journalisms/2005/11/19/downtime.html
Grant brought up the question of duration in art. I recommend Grant's book"Conversation Pieces: Community and Communication in Modern Art" (2004)highly!

Here, Grant looks at long-term, sustainable community art. I amparticularly taken by his approach to critique. He is obviously invested incommunity art. But to value it he is extremely critical as well asappreciative. No romanticism here!
This also relates to the prevailing culture of immediacy. Immediate resultsare expected in the process of learning (i.e. in programming). The way toart world fame needs to be short. The production time for artworks are oftenweeks if not shorter. Also the staging of the artwork is often more like aflash. Time was also at the core of the considerations in previous posts whoreminded us that social change takes generations.
Time was also the issue for those who asked us to be ready for ouroppositional gesture when the window of opportunity (of vulnerability) opensup.
CONNECT
A key problem in the field of activism or oppositional practices I see inthe antagonisms between different communities of practice. Dismissiveaccusations are quick at hand. People are blamed for selfishness,complacency, techno-utopia, careerism, managerial behavior, betrayal ofprinciples in the art world or in academia, etc etc etc. We should rest thisand instead look for connections. We should respect distinct levels ofthinking and not impose our ideas. We should recognize our own errors andcorrect them. We should seek dialogue instead of shutting others up. We canlearn and speak in discursive communities and renew ourselves through thesenetworks of inspiration. It's not all of "them" against "us." We are largelythe same. To acknowledge what we hate so much about the other in ourselvesis a start. This takes self-awareness and consciousness. We see how our ownbiography shapes our thinking. We are driven by our fascinations. That'swhat motivates our feelings and behavior. We can help each other in living abit less brainwashed, depressed, compulsive, anxiety-ridden, and addicted.We can be a bit more in touch with social reality. A bit less"remote-controlled" by corporate media. A bit more self-governed. A bit moreautonomous.
I look at this network society and the politics surrounding me and I see awide field of possibilities for engagement. From art, media activism, theproduction of media theory, to an event-based cultural practice.
What follows are examples. What follows is not more than an annotated sketchof sites of oppositionality in today's network society. I make, of course,no claims to completeness.
1) CIVIC USES OF NEW TECHNOLOGIES
2) TACTICAL MEDIA
3) MEDIA ART/DISTRIBUTED CREATIVITY
4) PROTEST CULTURE
5) PROPERTY
6) CULTURE JAMMING
7) (TRADITIONAL) ART WORLD
8) EVENT-BASED CULTURAL PRACTICE
9) EXTREME SHARING NETWORKS and the their OPEN ARCHIVES
10) (MEDIA ART) EDUCATION
11) ALTERNATIVE ECONOMIES/ COMMONS-BASED PEER PRODUCTION.
=======================
1) CIVIC USES OF NEW TECHNOLOGIES
Communal web pages, mailing lists, blogs, grass-roots journalism,pod casts, cell phones, open access journals
Examples:
IndymediaCitizen journalism is the act of citizens "playing an active role in theprocess of collecting, reporting, analyzing and disseminating news andinformation."http://indymedia.org/
OhmyNewsSouth Korea's OhmyNews website (new type of democratic journalism)
http://english.ohmynews.com/
TxtMobA free service that lets you send SMS text messages to a group of people.http://www.txtmob.com/
FahamuAfrican Global Call to Action against Poverty usesSMS messaging as a tool for mobilization.http://www.fahamu.org/
Bytesforallhttp://www.bytesforall.org/
Blogosphere/ Rise of the online Citizenhttp://www.eff.org/bloggers/
Daoud Kuttab's Bloghttp://www.daoudkuttab.com/
Blog on the Commonshttp://www.onthecommons.org/
Audio Activism Podcasthttp://www.audioactivism.org/http://www.odeo.com/show/239771/view
JournalsNeuralhttp://www.neural.it/english/
Google BombingA Google bomb stands for the willful manipulation of the ranking of a givenpage in results returned by the Google search engine (i.e. google "Miserablefailure").
=======================
TACTICAL MEDIA
Short-term, spontaneous interruptions of daily life through creative re-useof mostly cheap consumer electronics.
Personal Sousveillance (pronounced "Sou Veil Lance," Steve Mann) refers bothto inverse surveillance, as well as to the recording of an activity from theperspective of a participant in the activity (i.e. personal experiencecapture).
Carbon Defense Leaguehttp://www.carbondefense.org/
=======================
MEDIA ART/DISTRIBUTED CREATIVITY
Examples:
Internet Art"Nukorea" by Young-Hae Chang Heavy Industrieshttp://www.yhchang.com/OPERATION_NUKOREA.html
and the classic: "The Struggle Continues"http://www.yhchang.com/THE_STRUGGLE_CONTINUES.html
RadioTransit Wellen by schleuser.nethttp://www.transitwellen.net/de/p1_0_0.php
GamesagoraXchangehttp://www.agoraxchange.net/index.php?page=218
Games with political intenthttp://www.selectparks.net/modules.php?name=News&new_topic=2
Transforming aesthetics, conference, Sydney 2005http://www.artgallery.nsw.gov.au/aaanz/program
=======================
PROTEST CULTURE
Demonstrations, new organizational forms
Democratic globalization movementSeattle, Genoa, Davos, ...
Virtual Marchhttp://www.stopglobalwarming.org/default.asp
Denial of service attackshttp://www.thing.net/~rdom/ecd/ecd.html
Protest.net lists upcoming protestshttp://protest.net/
=======================
PROPERTY
Copyright Issues/Creative Commons/ GPL
Creative Commons-- nonprofit organizationthat offers flexible copyright licenses for creative works.http://creativecommons.org/
CC Mixterhttp://ccmixter.org/
Archive.org/ (also see: Ourmedia.org)http://archive.org/
BittorrentThere is a decisive disregard of copyright law by millionsof Internet users every day on file sharing networks like Bittorrent.http://www.bittorrent.com/
=======================
CULTURE JAMMING
Examples:
AdbustersAdbusters is a political magazine.http://adbusters.org/
Bush in 30 Secondshttp://www.bushin30seconds.org/
Billionaires For BushBillionaires For Bush is a culture jamming political street theaterorganization that satirically purports to support George W. Bush.http://billionairesforbush.com/
The Yes Menhttp://www.theyesmen.org/
The PartypartySatire Remix Culturehttp://www.thepartyparty.com/
The Meatrixhttp://www.themeatrix.com/
Bush & Blair by US Department of Art & Technologyhttp://ia300131.us.archive.org/0/items/bush_blair/bush_blair.mov
Homeland Security Threat Monitorhttp://hewgill.com/threat/
Gatt.orghttp://gatt.or/
Whitehouse.orghttp://whitehouse.org/
Politics in the game Second Lifehttp://secondlife.blogs.com/photos/nwn/icerink.JPG
http://secondlife.blogs.com/nwn/2004/08/so_very_kerry_a.html
http://secondlife.com/
=======================
(TRADITIONAL) ARTWORLD
Conceptual Political Art/ Public Interventionist

Practices
Examples:
Alfredo Jaarhttp://www.alfredojaar.net/
Temporary Serviceshttp://www.temporaryservices.org/
Ultra Redhttp://www.ultrared.org/
BL4CKH4Mhttp://www.bl4ckh4m.com/
0100101110101101.orghttp://www.nikeground.com/
=======================
EVENT-BASED CULTURAL PRACTICE
Examples:
Conference in Budapest, October 2005 http://mokk.bme.hu/centre/conferences/reactivism/index_html?set_language=en&cl=en
International conference on Information and Communication Technologies andDevelopment, Berkeley 2006http://www.sims.berkeley.edu/events/ictd2006/
Make Worldhttp://www.makeworlds.org/1/index.html
Share, Share WidelyConference on Media Art Educationhttp://newmediaeducation.org/
=======================
RESEARCH
Who Dies?http://whodies.com/
Iraq Body Counthttp://www.iraqbodycount.net/
360 Degreeshttp://360degrees.org/
=======================
EXTREME SHARING NETWORKS and OPEN ARCHIVESEXTREME SHARING NETWORKS are social networks that are able to reproducethemselves. They takes the idea of extreme programming to autonomous socialnetworking. Extreme Programming is a popular development methodology used toimplement software engineering projects. It claims to have the potential toavoid personal burnout and develop a more sustainable software developmentculture.
Examples:
FibreCulturehttp://fibreculture.org/http://journal.fibreculture.org/
Cactus Networkhttp://www.cactusnetwork.org.uk/collective.htm
Sarai https://mail.sarai.net/mailman/listinfo/reader-list
Argentinean Electronic Networkhttp://raec.clacso.edu.ar/
Interactivist Info Exchangehttp://slash.autonomedia.org/
=======================
(MEDIA ART) EDUCATION
-Transformative power of human encounters in the class room-Analysis of neoliberalism-Teaching of human rights, civil society related to network society-Empower students to use the networked commons-Reeingineering, hacktivism (programming + critical thinking for socialchange)
Examples:
http://gothacked.org/http://www.hohusen.com/mmotimes/issue2_1.html
Distributed Learning ProjectsH2O, Connexions, ShareWidely
=======================
ALTERNATIVE ECONOMIES/ COMMONS-BASED PEER PRODUCTION(non-proprietary cooperative production of information)
Examples:
Anonymous P2P file sharingGNUnet file sharing applicationhttp://gnunet.org/
Friend-to-friend networks/ Community Informaticscommunity networking, electronic community networking
Production & Use of Free, Libre, and Open Source Applications
FreshMeathttp://freshmeat.net/
Freshmeat is probably the largest open archive of open sourceand free software projects.
WikipediaFree, user contributed encyclopedia.http://wikipedia.org/
FreeNetFreenet is free software that lets you publish and obtain informationon the Internet without fear of censorship. Contributors stay anonymous.http://freenet.sourceforge.net/
=======================
Best,Trebor--http://collectivate.net/

12th Annual Graduate Conference on Language and Literature: McGillUniversity, Montreal

Theme: Permeability and Selfhood
March 11-12, 2006

This call for papers is for a panel to be held at Permeability and Selfhood,the McGill Graduate Conference on Language and Literature, which will takeplace March 11-12 at McGill University, Montreal, Quebec, Canada. Selfhood in a Posthuman Context This panel will address fictional representations of the "posthuman" intwentieth-century narrative prose and/or film. Concepts of the posthumanattempt to theorize the human being as a multiplicity of selves: from aplethora of cyberselves coded in ones and zeros (in email, text messages,weblogs, etc.), to a combination of DNA molecules, to a biological, embodiedindividual, to a consciousness with an independent will. The posthumanunderstands humanity as being involved in a process of combination orreplacement by such entities as cybernetic mechanisms, computer simulations,nanotechnologies and robots. A number of theorists work to reclaim the human body for the posthumanbeing; however, many narratives nostalgically construct the posthumansubject as essentially a cluster of significations (transferable or evendownloadable consciousness, DNA codes, etc.) and therefore as not embodied.This panel is interested in how such narratives hark back to late-nineteenthand early-twentieth-century ideas about human beings as essentiallyconsciousnesses, which do not depend upon a body for survival. For example,papers might address characters' resistance to the many biological,technological and economic networks that progressively diminish theiragency. Turning on fiction of the late-nineteenth and early-twentiethcenturies, theories of the posthuman sensitize us to the following kinds ofquestions: How does the human in twentieth-century fiction attempt to assertor, at the very least, understand itself in a context resistant toindividual selfhood? In what ways does the writing subject, as well as theresulting narrative in which the human being is represented, support anunderstanding of the human being as signified and signifiable informationand thereby undermine the embodiment of the posthuman subject?

The deadline for paper proposals is January 10, 2006. Please send abstractsof approximately 300 words to lindsay.holmgren@mcgill.ca. The keynote speaker for the conference will beTerry Castle, Walter A. Haas Professor in the Humanities at StanfordUniversity. More information about the conference is available at<http://www.arts.mcgill.ca/programs/english/grad/gradsymp/

Independent Exposure 2006 -
Call For Works to view the page on our website please go here:http://www.microcinema.com/index/call2006

Independent ExposureAn international touring exhibition of moving image artPresented by Microcinema InternationalCurators: Microcinema InternationalJudges: Addictive TV (United Kingdom)

Deadline: Must be Received by March 31, 2006

Screenings: worldwideGrand Prize: Panasonic AG-DVX100A 1/3" 3-CCD 24P/30P/60i DV Cinema CameraFees: US$5More information write: submissions@microcinema.comOn-line call: www.microcinema.com/index/call2006 Independent Exposure 2006An Ongoing Microcinema Screening Program of International Short Films,Videos and Digital Works Independent Exposure is based in San Francisco and Houston. The program,held continuously since 1996, has presented the short moving image worksof over 1500 artists from all over the world. Beyond the San Franciscoand Houston screenings, Independent Exposure tours many worldwidevenues, in many places where independent films are rarely screened.Independent Exposure has been presented hundreds of times in 43countries plus Palestine and Antarctica and a base camp on Mt. Everest. 2006 is the ELEVENTH season. WHAT ARE WE LOOKING FOR? For our Independent Exposure 2006 compilation series we accept shortvideo, film and digital media submissions of 15 minutes or less and arecurrently looking for narrative, humorous, dramatic, animation,documentary, experimental, alternative, avant-garde, music videos,erotic, gay/lesbian, and underground works of all genres and styles. SUBMISSION GUIDELINES and CHECKLIST see our Submission FAQsee the Submission Checklist at www.micrcinema.com/index/checklist

You must fill out the online form found here:www.microcinema.com/submissionform.php (for all calls).FEES: US$5.00 payable by check, money or credit card/Paypal online.Please send check with submission or PAY ONLINE atwww.microcinema.com/index/subpay. Please send us your screeners on VHS, CD, miniDV, or DVD, readable on PC.PAL or NTSC accepted for screeners. For exhibition we will require works on mini-DV or unauthored DVD (mpeg,avi, or mov files only). MiniDV PAL or NTSC OK. Unauthored data filesmust be in NTSC. Must be 15 minutes or less, including all titles...NO EXCEPTIONS. A brief synopsis of the work(s) and a short biography of the artists ofup to 50 words maximum is also requested. Still .jpeg or .gif (PCformatted) should be included on a CD along with biographical materialsand synopses. Please include a stamped, self-addressed postcard that we will send backto you as indication of reception of your film. ALL SUBMITTED ITEMS (papers, DVDs, tapes, cards, etc) MUST HAVE THEARTIST NAME, NAME OF THE WORK, AND CONTACT INFORMATION PRINTED CLEARLY. Deadline: March 31, 2006 (must be received at the address below) Please mail all submissions to:Independent Exposure 2006c/o Microcinema International1528 Sul RossHouston, TX 77006USA+1-415-864-0660FAX: +1-509-351-1530 Please address all inquiries to: Stephanie Martz, Associate Curatorsubmissions@microcinema.com SCREENINGS AND AWARDS: The Microcinema Curatorial Team of Joel S. Bachar, Patrick Kwiatkowski,and Stephanie Martz will curate 5 programs (approximately 60 minutes inlength) that will then tour throughout 2006 and early 2007. Each programpremieres at our "home Microcinema" in San Francisco at 111 Minna Gallery. Selected artists receive a US$50 honorarium and will be eligible for ourawards program. Addictive TV to judge Independent Exposure 2006, Curate "best-of",Panasonic Grand Prize We are also pleased to announce our collaboration with Panasonic Broadcast.For our 2006 Independent Exposure season, a grand prize will be awardedto a filmmaker selected by United Kingdom audiovisual artists and VJsADDICTIVE TV www.addictive.com. The grand prize will be a PanasonicAG-DVX100A 1/3" 3-CCD 24P/30P/60i DV Cinema Camera. Other prizes will beannounced at a later date. Addictive TV will curate a "Best of Independent Exposure 2006" whichwill then screen in San Francisco in fall of 2006. Addictive TV willalso select a grand prizewinner. Winners will be selected and notified by September 1, 2006. TERMS see Full Terms Upon acceptance, practitioners will be awarded a $50 honorarium. Artistswill be contacted by Microcinema International regarding the exposure ofworks through festival exhibition, online screenings, promotionalmaterials, and on print media (prints/catalogues) for gallery showings.All filmmakers agree, when submitting, that they have secured thenecessary rights to screen the works in this touring festival, and thatMicrocinema is granted a non-exclusive 3-year license to screen work(s)at any one of Microcinema's Independent Exposure 2006 or Mobile Exposure2006 screening tours and Microcinema's on-line festival website as wellas on www.microcinema.com and www.independentexposure.com forpromotional, archival and other non-commercial uses). All artists retaincopyrights. About Addictive TV www.addictive.com "If there ever was a truly groundbreaking bunch of guys in the VJ world,it's certainly this lot" said DJ Magazine, voting Addictive TV numberone in their first ever worldwide VJ poll in 2004. The London basedgroup of DJs, VJs and producers have been championing the art of the VJand pushing it into mainstream media for a decade now. Performing internationally, crisscrossing the art and club worlds,Addictive TV have played at venues from the Pompidou Centre in Paris andthe roof of the National Theatre in London to Tokyo superclub Ageha andthe UK's Glastonbury Festival. Recent audiovisual performances includethe 2005 Roskilde festival in front 20,000 people. and Sven Vath'samazing Cocoon Club in Frankfurt, using 25 projectors. And as VJs, inthe past the guys have mixed live visual sets for artists includingHowie B, Andrew Weatherall, Goldie and Fatboy Slim. On the flipside, producing for television, Addictive TV were the firstto put VJs on TV back in 1998 with their Transambient series for Channel4 (UK), and in the last five years have produced four seasons of theITV1 music series Mixmasters, commissioning over 300 artists worldwideincluding many of the best names in electronic music from Miss Kittinand DJ Spooky, to Plump DJs and Derrick Carter plus a whole host ofinternational VJs. In 1999, they set up what is acknowledged as theworlds first VJfocused DVD label, releasing compilation DVD albumsfusing music and visuals releases include Audiovisualize, cult classicin the genre Transambient and the Mixmasters series. This year, Addictive TV judged the VJ category at the 2005 Diesel UMusicAwards, the Radio 1/BBC archive Superstar VJs competition and DJMagazine's TScan Awards. Also in 2005, the team broke new groundorganising the sellout music and visuals hybrid festival Optronica atthe National Film Theatre and bfi London IMAX cinema the first festivaldedicated to the audiovisual genre plus the first time the IMAX venuehas been used for live performances in such a way. Currently AddictiveTV are working on the Rapture Riders video mashup for EMI, remixingBlondie Vs The Doors, for release in November 2005.

Talk Digger is a new way to find, follow and join discussions evolving on the Internet.It is simple. You have in hand the URL of a piece of news of the BBC, a blog post, a product page, or any other web page, and you want to know who is talking about it, you want to know what people have to say about it. You copy that URL, paste it in the Talk Digger search box and press Dig it! Talk Digger will then return results from various search engines. All the results returned contain a link to the URL. This is what we call a conversation: a multitude of people, all over the Internet, linking to a specific URL. The following schema describe what a conversation found by Talk Digger is.

http://www.talkdigger.com/

technorati
googleblog
bloglines
feedster
blogdigger
icerocket
msnsearch
google
yahoo

now accepting submission

NEW YORK INTERNATIONAL INDEPENDENT FILM AND VIDEO FESTIVAL
The New York International Independent Film and Video Festival (NYIIFVF) is the largest film festival in the world. Founded in 1993 by entertainment impresario Stuart Alson, NYIIFVF has been recognized by the film and entertainment industry as one of the leading film events on the festival calendar. Each festival showcases over 300 films from around the world, including world premieres, features, shorts, documentaries and animations.
NYNYIIFVF now exhibits in the four entertainment capitals of America: New York, Los Angeles, Las Vegas and Miami. Traditionally the event kicks off with a huge networking party, followed by 10 days of screenings, red carpet premieres, panels with industry executives and after-parties in premier locations. NYIIFVF always attracts many global entries, including, Australia, Baghdad, Brazil, Canada, Croatia, Holland, Iceland, India, Ireland, France, Germany, The Netherlands, Russia, Spain, Tunisia, the UK and all over the US. The scope of the festival ranges from high profile to novice, so audiences can experience an array of films and individuals driven by independent movie making.
Past Festivals have included the work of Abel Ferrara, Andy Garcia, Benjamin Bratt, Calista Flockhart, Cameron Diaz, Chad Allen, Christopher Walken, Daryl Hannah, Drea de Matteo, Dominique Swain, Eva Herzigova, Guy Pearce, George Clooney, Jennifer Aniston, Matthew Modine, Melanie Griffith, Meryl Streep, Michelle Philips, Rod Steiger, Susan Sarandon, Tippi Hedren, Tony Danza, Vin Diesel, and Willem Defoe.
The NYIIFVF is a competitive event and is dedicated to making things happen for emerging filmmakers and screenwriters. The festival has cultivated excellent relationships with thousands of companies in all four cities. We are constantly following up with acquisitions representatives from Miramax, Fineline Features, LionsGate, Sony Pictures Classics, Comedy Central, Metro Golden Meyer in the hope that buyers will acquire and distribute product from our extensive library.The festival is known as 'the voice for independent film' and receives extensive coverage in all major media, including: Variety, Hollywood Reporter, Fox 5, CNN, New York Observer, New York Times, Newsday, LA Times, LA Weekly, Time Out NY, E News, NY Daily News, Wall Street Journal, New York Post, Movie Maker, Star Magazine, Screentalk Magazine, to name a few. As indie guru Abel Ferrara famously quoted in an interview with Movie Maker "This festival is the real deal; everybody else just talks about doing it and these guys just do it."
The festival's distribution wing, ITN Distribution, Inc. travels to all major film and television markets and has successfully acquired and sold quality product from all over the world. Headquartered in Las Vegas, the company has quickly established itself as a major player in the world of distribution and specializes in negotiating the best deal possible for international filmmakers and buyers. ITN's objective is to become a top source for attracting, acquiring, understanding and selling product and their international presence at Cannes, MIPCOM, MIFED, NAPTE and AFM has shaped a realistic approach to selling, programming and closing deals with buyers worldwide.

http://www.nyfilmvideo.com/

PodART December 9, 2005 - January 17, 2005at FINE ART IN SPACE
Opening Reception:December 9, 2005, 7 to 9pm.
Gallery Hours: Monday through Saturday, 9am. to 5pm.Fine Art in Space10-47 48th AvenueLong Island City, NY 11101(718) 392-

Fine Art in Space is pleased to present in collaboration with 31GRAND, the first group exhibition of video art intended to be viewed and sold solely on the iPod. Apple, the computer of choice by much of the art world is the inspiration for our new exhibition.This curatorial exploration was inspired by the introduction of the latest iPod, which now plays video. In recent years, Video art has been growing rapidly in popularity. Their ongoing introduction of more technologically advanced products has resulted in the acceptance and accessibility of this media. Apple's latest achievements with the iPod have garnered this art form even more portability.Artists featured in PodART will include the work of: Gogol Bordello, Th' Legendary Shack*Shakers Jason Clay Lewis, Nelson Loskamp, MTAA, Marisa Olson, Eugenio Percossi, Jean Pigozzi, Adam Stennett, Lee Walton, and Jeff Wyckoff.

Gogol Bordello, the critically acclaimed gypsy punk rock collective, has long been embraced by the art world for their cathartic live performances and innovative sound. In addition to performing in major rock venues and festivals including the upcoming Unlimited Sunshine Tour this January, Gogol Bordello have performed at some of the world's most prestigious art institutions including the Whitney Biennial, The Venice Bienniale and The Tate Modern. Gogol Bordello is currently touring in support of their most recent album “GYPSY PUNKS” (Sideonedummy Records), a 15-track salvo that expands the band's fusion of Gypsy sounds with punk rock and dub-wise sound effects that pay tribute to the classic sounds of Jamaica. Th' Legendary Shack*Shakers started their hell-for-leather, Penta-caustic roadshow just over three years ago and have earned quite a name for themselves with their unique brand of New American Gothic that is all-at-once irreverent, revisionist, dangerous, and fun. Led by charismatic frontman, J.D. Wilkes, th' Shack*Shakers are a four man wrecking crew from the South whose explosive interpretations of the blues, punk, rock and country have made fans, critics and legions of potential converts into true believers. In addition, Wilkes is also recognized as an accomplished illustrator and painter. The band's third full-length recording Pandelirium will be released on Yep Roc this February. Jason Clay Lewis is an installation artist whose work stems from his own tales of “The Four Horsemen of the Apocalypse”. Widely known for his show “The Black Death” which was reviewed in Art in America, Lewis has just recently completed a very successful run with his current project “Devour”. Jason's work has been shown internationally in many places such as New York, Los Angeles, Miami, Washington, Prague, Zagreb and London. MTAA is an art duo working on and off-line and are known for their conceptual and often humorous art projects. Past exhibitions have been at the New Museum of Contemporary Art, The Getty Research Institute, and Postmasters gallery.Based in San Francisco, Marisa Olson's work has been commissioned by the Whitney Museum of American Art and she has most recently performed or exhibited at the New Museum for Contemporary Art, the Berkeley Art Museum/ Pacific Film Archive, Side Cinema-Newcastle, New Langton Arts, Southern Exposure, Foxy Productions, Debs & Co, Galapagos, Flux Factory, 667 Shotwell, Pond, the international Futuresonic, Electrofringe, Cinemascope-London, Machinista, Scope, and VIPER festivals, and elsewhere. She has held residencies and fellowships at Goldsmiths, the New School, Northwestern University, the Technical University-Dresden, and the Banff Centre for the Arts. She participated in an exhibition which Artforum highlighted among their "Best of 2004" and while Wired has called her both funny and humorous,the New York Times has called her work "anything but stupid."Eugenio Percossi is a multitalented artist whose work often deals with death, depression, and personal loss. His working mediums range from photography, installation and video. Percossi's artworks have been shown throughout Italy, Czech Republic, and New York. He currently divides his time between Rome and Prague.Adam Stennett will include his new video work in this exhibition, "Prospect Park Fight Fuck" 2005. As with Adam's paintings, this body of work concentrates on the balance between calm and panic, beauty and ugliness, renewal and destruction; so as to reveal the instant when everything starts to unravel. Small-unnoticed moments, absurdity, sexual tension, humor and obliviousness are key components. "I intend for my work to give people a little shove out of their comfort zone, to encourage them to take a second look at things that are all around us, but that we often prefer to ignore."-Adam Stennett Stennett's work has been shown extensively throughout the US and Europe. His most current solo exhibition, “hold me down and under” at 31GRAND, has been extended through Jan. 29, 2006 and has recently been featured in Black Book Magazine. Adam Stennett splits time between Brooklyn, New York and a cabin/studio in the mountains of Northern California.Lee Walton is an Experientialist whose projects and performances are full of humor, detailed planning, and interaction with the outside world. After a two-year affiliation with the Headlands Center for the Arts in Marin, Walton has received many accolades, from the Video Selections at the 8th Havana Biennale, to multiple residencies and fellowships as well as an induction into the collection of the Metropolitan Museum of Art, NY. Walton has exhibited at numerous venues both nationally and internationally, most recently at the Museum of Contemporary Art Berlin and Clubs Project Inc., Australia. He has been invited to lecture and lead projects at various institutions, including the Reykjavik Museum in Iceland and the Psy-Geo-Conflux in New York.Jeff Wyckoff is an artist and scientist whose video work includes intravital imaging, cancer research and often music. Mr. Wyckoff has an upcoming lecture at MIT in February and exhibitions in Belgrade, Antwerp, and is currently working with the Art and Genome Center in Amsterdam. Jeff will also have an upcoming exhibition at Presbyterian College in S.C. in January 2006. Each video object is a limited edition and is sold in iPod format with the player.For more information about the artists please contact us at 718.388.2858 or gallery31grand@earthlink.net.

http://www.31grand.com/podart.html

Pajamas Media had its beginnings in 2004, when co-founders Charles Johnson and Roger L. Simon experienced first-hand two events that marked the growing influence of blogs on society: a blog-driven investigation into the United Nations Oil for Food scandal and another into the falsified military records cited by CBS News in coverage of President George W. Bush.
From those and other blogging experiences, Roger and Charles knew there was enough expertise and investigative ability among bloggers nationally and globally to out-report the mainstream media on turf they had long controlled. The two Los Angeles co-founders were already friends via their blogs, Little Green Footballs and Roger L. Simon. So, as they talked to other participants in the ever-expanding blogosphere, an idea began to take shape.
Roger, a well-known novelist and screenwriter, and Charles, a successful musician and software designer, realized that by aggregating weblogs together into a new media form, blogs could become a force to be reckoned with in the 21st Century. To pursue their vision, they sought out the advice and involvement of several widely respected top bloggers, and soon a plan emerged.
After spending several months developing a model to support a dramatic new publishing medium, they announced in the summer of 2005 that their venture was a go. Their plan will provide an online place where readers and thoughtful bloggers can come together to be informed, to explore issues of the day, and to have fun. Key details of the plan are still under wraps. For now, the co-founders will say only that there will be a significant unveiling in the fall of 2005.

http://www.pajamasmedia.com

Newstex to Supply Newsfeeds to Open Source Media
Pajamas Media Goes "Open Source,"
Flips Switch on New Online Venture

http://osm.org/


article from bloggers
Anechoic Room: F*ck Pajamas Media.
Hog on Ice linked with: "Pajamas Media Accused of Murder.
"http://www.hogonice.com
Riehl World View linked with: "Pajamas Media: This Makes No Sense.
"http://www.riehlworldview.com
Althouse linked with: "Me, I don't go to the Pajamas Media website anymore."
http://althouse.blogspot.com

transmediale.06 REALITY ADDICTS Berlin, 3. - 7. Februar 2006
Akademie der KuensteBerlin, Hanseatenweg 10
Ausstellung SMILE MACHINES

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1. Ausstellung SMILE MACHINES
2. Reflecting Art
3. Media Critique
4. Black Humour
5. Machines
6. Weitere Arbeiten
7. Katalog , Oeffnungszeiten, Eintrittspreise
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1. Ausstellung SMILE MACHINES
Nutzlose Systeme, auf menschliche Hilfe angewiesene Roboter, kuenstlicheIntelligenzen, die nichts als Fehlfunktionen hervorrufen, und Apparate, diescheinbar unsinnige Diskurse produzieren: Die Schoenheit des Paradoxen machtden technischen Defekt zur Kunst. In der Ausstellung SMILE MACHINES zeigt dietransmediale.06 rund 30 kuenstlerische Arbeiten, die mit freundlicher Ironieoder schwarzem Humor, mit Uebertreibung oder technischem Versagen die Realitaetunserer von Technologien gepraegten Zeit unterlaufen.
Die franzoesische Medienkunst-Wissenschaftlerin Anne-Marie Duguet hat alsKuratorin der Ausstellung das kritische Potenzial des Humors inunterschiedlichen kuenstlerischen Strategien untersucht. Hierbei geht es um dieAuseinandersetzung mit dem Kunstsystem ebenso wie um Reflexionen ueberTechnologie und Gesellschaft.
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2. Reflecting Art
Waehrend die Arbeiten von Nam June Paik ('The Thinker') und Les Levine ('I Am anArtist') ironisch die Rolle und das Selbstverstaendnis des Kuenstlersreflektieren, bezieht sich Michael Snows Video-Installation auf den Kontext, indem das Kunstwerk praesentiert wird. 'That/Cela/Dat' zeigt simultan auf dreiMonitoren jeweils ein Wort in den Sprachen Englisch, Franzoesisch undNiederlaendisch. Mit trockenem Humor thematisiert Snow in dieser Arbeit dieRolle von Sprache und Bild in der Kunst.
Nam June Paik (us/kr), 'The Thinker - TV Rodin' (1976)Les Levine (us), 'I Am an Artist' (1975)Michael Snow (ca), 'That/Cela/Dat' (2000)
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3. Media Critique
Antoni Muntadas Installation 'Slogans' dekonstruiert Werbebotschaften undentlarvt ihre Tautologie als Strategie der Macht, waehrend sich bei RobertFillious Video 'And so on, End so soon: Done 3 Times' durch die variierteWiederholung das subversive Element aufzeigt. Eine subversive Strategie setztauch die amerikanische Kuenstlerin Dara Birnbaum fuer ihr Video 'Wonder Woman'ein: Szenen der gleichnamigen TV-Serie aus den spaeten Siebzigern werden durchdie bewusste Wiederholung der Bilder zur eigenen Parodie.
Christian Moellers Video-Installation 'Cheese' ist ein zynischer Beitrag zurMedienkritik: Sechs Schauspielerinnen wurden gebeten, vor der Kamera so langewie moeglich ein Laecheln aufzusetzen, das von einem Emotionserkennungssystembeobachtet wurde. Ein Abfall an 'Froehlichkeit' loeste Alarm aus, der zu mehr'Ernsthaftigkeit' gegenueber der Aufgabe aufrief.
Antoni Muntadas (es/us), 'Slogans' (1986-87)Robert Filliou (fr), 'And So On, End So On: Done 3 Times' (1977)Dara Birnbaum (us), 'Wonder Woman' (1978-79)Christian Moeller (de/us), 'Cheese' (2003) http://www.christian-moeller.com/
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4. Black Humour
Schwarzer Humor ist in SMILE MACHINES vor allem Frauensache: In EvaMeyer-Kellers Video-Serie 'Death is Certain' werden Kirschen gefoltert,gevierteilt, vergiftet und auf weitere, boes einfallsreiche Weise verunstaltet.Tamy Ben-Tors Video-Reihe 'Hitler, The Horror and The Hurrah' istDokumentarfilm, Parodie und Musikrevue der besonderen Art fuer den 'innerenHitler' in jedem von uns.
Maja Bajevics Video 'Back in Black' zeigt maskierte Menschen, die verstoerende,zynische Witze ueber die Kriegszeit in Sarajewo machen. Der Schwarze Humordient hier nicht nur als Katharsis, sondern auch als Moeglichkeit, dasUnaussprechliche auszudruecken.
Eva Meyer-Keller (de), 'Death is Certain' (2004) http://www.evamk.de/Tamy Ben-Tor (is/us), 'Hitler ? The Horror and The Hurrah' (2003) series, 3Teile: 'The Hitler Sisters', 'My Name is Adolf Hitler', 'Women Talk About AdolfHitler'Maja Bajevic (fr/bih), 'Back in Black' (2003)http://www.channel-0.org/bajevic.php
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5. Machines
Zwei Roboter als sinnentleerte und pervertierte Karikaturen ihrer Gattung werdendie Besucher der Ausstellung belaestigen: Simon Pennys 'Petit Mal' ist als eineneugierige 'Persoenlichkeit' programmiert, die eben auch ein QuantumUnvorhersehbarkeit enthaelt. Der 'Helpless Robot' von Norman White dagegenscheint Mitleid erregend, denn er kann nichts - ausser um Hilfe zu bitten. Sodreht die vermeintlich hilflose Maschine den Spiess um und macht den Menschenzu ihrem Diener.
Als Goethes Zauberlehrling schliesslich wird man sich in Perry HobermansInstallation 'Faraday's Garden' fuehlen: Auf das Geraeusch von sich naeherndenSchritten warten dort Haushaltsgeraete und Bueromaschinen, um einen Ohrenbetaeubenden Aufstand zu veranstalten.
Simon Penny (au/us), 'Petit Mal' (1989-93)http://www.ace.uci.edu/penny/works/petitmal/petitcode.html
Norman White (ca), 'Helpless Robot' (1987-96) http://www.normill.ca/
Perry Hoberman (us), 'Faradays Garden' (1990-99) http://www.perryhoberman.com/
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6. Weitere Arbeiten u.a.:
Jean-Christophe Averty (fr), Ausschnitte aus 'Les Raisins Verts' (1963) und 'UbuRoi' (1965)Paul DeMarinis (us), 'Grind Snaxe Blind Apes (A Study for Pomeroy's Tomb)'(1997) http://www.well.com/-demarini/Robert Filliou (fr), 'this flag is meant to straddle national border lines'(1974)Jean-Pierre Gauthier (ca), 'Remue-Menage' (2000-2006)George Maciunas (us), 'Flux Smile Machine' (1971)Valerie Pavia (fr), 'C?est bien la societe' (2000)Jim Pomeroy (us), 'Apollo Jest' (1979) u.a.UBERMORGEN.COM (ch/at), 'G3 ? Bureaucrazy'William Wegman (us), Selected Works (1970-78)The Yes Men (us), 'Dow does the right thing' (2002-2005)
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7. Katalog, Oeffnungszeiten, Eintrittspreise
SMILE MACHINESKatalog'Smile Machines - Humour Art Technology - transmediale.06 Berlin'Ca. 80 Abbildungen192 SeitenPreis: 15,00 Euro
SMILE MACHINESAusstellung3. Februar - 19. Maerz 2006Oeffnungszeiten: Di-So 11-20 UhrSonderoeffnungszeiten 3.-7. Februar: taeglich 10-22 UhrEintrittspreis: 5 Euro (ermaessigt 2 Euro)
**************************************************
transmediale.06REALITY ADDICTS festival for art and digital culture berlin
http://www.transmediale.de/
info@transmediale.de**************************************************

transmediale.06 award

Nominations:

Markus Kison (de) - "Roermond-Ecke-Schönhauser"Webcams record inconceivable amounts of images and data. Markus Kison found four webcams in Denmark, Amsterdam, Berlin and Roermond and uses them for his 3D-installation. Through a special mirror construction the images are projected onto architectural models. The virtual existence of distant places becomes almost real - close enough to touch. http://www.digital.udk-berlin.de/de/people/students/kison.html

Agnes Meyer-Brandis (de) - "Eisberg-Sonde / SGM-Iceberg-Probe"Agnes Meyer-Brandis has made a surprising discovery: there are subterranian icebergs underneath Germany's Ice-Scating Halls! The artist explores this geological surprise with her SGM-Iceberg-Probe and a mobile drill hole. The probe simulates a dive into 120 meter's depth displaying, on an external monitor, a mixture of images from real antarctic holes and virtual ones generated in real time. http://www.researchraft.net/

Yuko Mohri, Soichiro Mihara (jp) - "Vexations - Composition in Progress"Erik Satie's piece "Vexations" is said to be the longest composition, and the origin of minimal music. Yuko Mohri and Soichiro Mihara use Satie's piece to create a room installation as a sound medium. Together with the first "Vexations"-theme, every sound made in the room is also recorded, transformed into data, and played back as piano notes. In the course of the duration of the exhibition, Satie's theme is transformed into a totally new, ever-evolving piece of music. http://cip.io/about/

Platoniq (es) - "Burn Station""Burn Station" is a mobile self-service for searching, listening to and copying music and audio files with no charge. Moreover, it is completely legal, released under an open licence, and non-commercial. The social application of technology and the idea of the internet as commons, are a main concern of platoniq's members, activists of the "copyleft"-movement. http://www.platoniq.net/burnstation/

Andres Ramirez Gaviria (co/at) - "-./"Ramirez' six minute video uses Morse Code to visualize and sonify a section of the index from the book “Point and Line to Plane”, written by Wassily Kandinsky in 1926. The project interpolates abstract aesthetic elements (e.g. line, plane, form) with the informational space constructed in the Morse Code translation. For Ramirez Gaviria, this is a way to invert the commonly known method of narration in audio-visual media. http://www.andresramirezgaviria.com/

Ubermorgen.com feat. Alessandro Ludovico vs. Paolo Cirio (at/it) -"GWEI - Google will eat itself" Ubermorgen declared war on Google: They generate money by serving Google text advertisements on their websites, technically deconstructing the new global advertisement mechanism by rendering it into a surreal click-based economic model. In order to take over and gain control of Google in due time, Ubermorgen use Google's pay checks to buy the company's shares, whose value currently sums up to more than all Swiss Banks together...

Honourable Mentions:
Yves Coussement (be) - 'Insert the Name of the City Here' http://www.transmediale.de/page/detail/detail.1.projects.389.3.html
Manuel Saiz (es/uk) - 'Specialized Technicians Required: Being Luis Porcar'
http://www.unxposed.com/saiz/index_work.htm
Jan-Peter E.R. Sonntag (de) -'612.43WEISS'
Claudia X. Valdes (cl/us) - '192:291'http://www.claudiaxvaldes.com/video/192.html
Mai Yamashita, Naoto Kobayashi (jp) - 'When I wish upon a star 'http://plaza.rakuten.co.jp/okumokum/3005

http://www.transmediale.de

DIGIMAG magazine di arti digitali e cultura
elettronica, Milan, Italie.

//DIGIMAG ISSUE 10 DIC'05/JEN'06

E' on line il decimo numero di Digimag, mensile che si occupa di
cultura, arti e tecnologie elettroniche.
I contributi di Digimag sono scritti da quei soggetti che in prima persona si occupano delle tematiche affrontate, dalla net art all'intelligenza artificiale, dalla musica elettronica all'interaction design.
Otolab e' media partner di Digimag, riconoscendo come fondamentale l'attivita' di informazione e connessione tra le community che la testata si propone.
Otolab collabora attivamente alla redazione dei contenuti per quello che riguarda il mondo dei live media e dell'arte audiovisiva.

http://www.digicult.it/digimag


http://www.otolab.net
http://www.microsuoni.com/labels/otolab.html
http://www.risonanza-magnetica.com/label.php?id=028
http://www.stasisfield.com/releases/sf-3009.html
http://robotopera.yearofthemachine.com/index.php


DIGIMAG magazine di arti digitali e cultura elettronica //
DIGICULT
Largo Murani 4
20122, Milano, Italia
Tel +39.02.26117166
Mob +39. 340.8371816

WEB3DART 2006 CALL FOR ENTRIES
http://www.web3dart.org

DEADLINE: 31. January 2006

Submit your on-line 3D works to WEB3DART 2006, for inclusion in an exhibition of completely new works created by internationally regarded artists, architects, designers, students and creative 3D developers. The selection will showcase the foremost ideas and independent creations in all on-line 3D formats.Submission form is available at: http://www.web3dart.orgWEB3DART 2006 will be premiered at the Web3D Symposium, the 11th International Conference on 3D Web Technology, April 18-21, 2006 Columbia, Maryland, USA. For more information: http://www.web3d2006.org/The selected works for WEB3DART 2006 will be also featured at the Experimental Art Foundation - Adelaide , Australia and at the Danacenter - Science Museum, London United Kingdom (Dates to be announced).WEB3DART was launched in 1999 at the VRML ART show in Paderborn; following shows at the 2000 VRML-ART Expo at the SIGGRAPH ART SHOW in New Orleans, WEB3D ART 2002 at The ICA London, the WEB3D ART 2003 in St.Malo and the Lab3D show at Cournerhouse in Manchester and 2005 in Bangor, Wales, UK and at the Experimental Art Foundation - Adelaide , Australia.SUBMISSION PROCESS:All work will be juried on-line and must be viewable on free browsers (available on-line).Send URL with application form, found at: http://www.web3dart.org to: info@web3dart.orgDeadline is January 31, 2006. Only on-line submissions will be accepted.QUESTIONS:ALL questions regarding submission procedure, gallery exhibition, or the jury process should be directed to Karel Dudesek info@web3dart.org, through January 31. 2006.A signed release giving written authorization to link your work on-line, and copyright clearance for the Web 3D Symposium and a possible SIGGRAPH CD ROM and Catalogue, must be received before your work will be confirmed in the program. This authorization form will be send to the final, selected artists/projects.SELECTION CRITERIA:Keywords for the selection are art and design, imagination, and innovation. All 3D on-line projects must be complete and functional at time of submission. The selection will be made on-line by a jury - listed in the submission form. Please see details on the website.PLEASE FOLOW THESE CONDITIONS CAREFULLY, THIS YEAR NEW:We will only accept applications which send attached to there application form by e-mail a short project description maximum 15 lines and 1-3 screen shots JPG 500x 300 - minimum 72 DPI of your work.CATEGORIES (the jury reserves the right to assign or reassign a category):- Artists and architects- Scientific models- Multi-user Worlds- Product design and unique commercial applications- Experimental works and studies by art and design studentsWe are looking forward to receive your works and wish you all the best for the upcoming celebration days.

Lion Arts Centre North Terrace at Morphett Street Adelaide * PO Box 8091 Station Arcade South Australia 5000 * Tel: +618 8211 7505 * Fax +618 8211 7323 * eaf@eaf.asn.au * Bookshop: eafbooks@eaf.asn.au * http://www.eaf.asn.au * Director: Melentie PandilovskiThe Experimental Art Foundation is assisted by the Commonwealth Government through the Australia Council, it arts funding and advisory body and by the South Australian Government through Arts SA. The EAF is also supported through the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

A list of the best software of 2005
http://web2.wsj2.com/the_best_web_20_software_of_2005.htm

The CodeTree is a social networking community created to bring new media artists, programmers, and students using Macromedia Flash and Proce55ing together. Learn more about this site, start browsing the code, or join the community and start sharing your code today!

Can digital artists learn new techniques, be exposed to new coding structures, and better express themselves by working in tandem or in a group?
CodeTree is an attempt to create a worthwhile dialogue between new media artists of different skill levels and backgrounds. The project’s objective is to offer a social network that facilitates learning and artistic expression—a place where coders can dissect, share, and expand upon one another’s code.
Membership is free, and registered members can create a profile as well as tag, rate, and comment on artwork/code. Members are encouraged to share their artistic works in Proce55ing and Macromedia Flash along with their source code (See the terms of use for more information).

Site Credits
This project was created by Rich Hauck as a graduate thesis project in the Interactive Telecommunications Program at New York University. Special thanks to Gordon Luk for his open source FreeTag module and for contributing some custom code to this site.

CHI2006 is the premier international conference for human-computer interaction. From April 22-27, 2006, we will gather in cosmopolitan Montreal, Canada in order that researchers and practitioners from all segments of the CHI community – design, education, engineering, management, research, and usability – can interact, inform and inspire each other. Conference activities have been significantly enhanced this year to include a new set of courses which are integrated into the technical program and included in the base registration fee. The core days of the conference have been extended from three to four days (April 24-27). CHI 2006 is your chance to explore in depth the latest work by researchers and practitioners in your area, as well as experience the breadth of work that is going on elsewhere in the field. The many plenary and social events provide opportunities to network with members of your community and others who impact your work. Not only will CHI 2006 offer you a broader perspective on the complete human-computer interaction landscape, but it will also assist you in bringing new ideas back to your own work and community. Join Us.

http://www.chi2006.org/

The Video iPod November 30, 2005
How will the new video iPod change video content in cyberspace? What does it suggest or promise as a cultural model? How will it affect independent media makers and corporate media providers? Is the video iPod good or bad for cinema—or is the term "cinema" no longer applicable in such a context?The first ten responses appear below in the order received:
Lev Manovich
Daniel Myrick
Mark Cuban
Tara Veneruso
Michael Edo Keane
Nicholas Rombes
Matthew Clayfield
Chuck Tryon
Evan Mather
David Lowery

http://braintrustdv.com/roundtables/ipod.html

http://www.missdigitalworld.com

Gangart Awards for bilingual or multilingual/ multicultural arts &
culture sites on the Net

eThe winners of the fourth annual Gangart Awards are...

Gold
Rewrite History
http://www.adgame-wonderland.de/type/history.html
by Bjoern Karnebogen

Ever wanted to change history? Now you can! Rewrite medieval European
history or Japanese Edo period. The Historic Tale Construction Kit
allows you to create your own medieval story using pictures from the
Bayeux tapestry. Text, with suitable medieval font, can be added to a
background that looks like it would pass any medieval manuscript
authenticity test. The Hokusai Manga Construction Kit is based on the
Manga drawings from Katsushika Hokusai. The interface is designed
completely in Japanese, to make it fit with the images. You can write
your message in beautifully hand-drawn hiragana syllables.


Silver
Camouflage Comics
http://www.camouflagecomics.com
by Aarnoud Rommens, Ingrid Stojnic and Bert Balcaen

"Camouflage Comics: Dirty War Images" aims at producing reflections -
both in the form of verbal and visual material - on the interplay
between art, dictatorship and human rights in general and the legacy of
the Argentine "dirty war" (1976-83) in particular, with a focus on comics.


Bronze
Banyan Project
http://www.banyan-project.de
by Alfred Banze and Andreas Dettloff

Banyan Project is a traveling art festival trough the spreading area of
the banyan tree worldwide. 60 artists from over 30 countries
participate. Banyan presentations and workshops with children, young
people and adults take place in cultural centers, galleries, festivals,
museums, universities, but also offroad in bars, studios and just on the
street. The banyan website serves as a communication platform for
participants.


Special Mentions:
http://www.cremecenter.de
http://www.oodlala.net
http://www.derheiligevirgil.de
http://www.transcri.be


Congratulations. We're looking forward to next year's Gangart Awards and
invite you to take part in the search for the best intercultural sites.
Thanks to Esther Anatolitis, Chris Joseph, Sylvia Petter, Agathe
Jacquillat and Tomi Vollauschek for judging - and best wishes and many
thanks to all the artists and creators for participating.

Gerald Ganglbauer

Gangart Awards Office
PO Box 522, Strawberry Hills, NSW 2012 Australia
Phone: +61 2 9280 2120
Mobile: 0411 156 309
E-Mail: awards@gangart.com
http://www.gangart.com/awards

10 anni di esterni in un epico gioco di sopravvivenza urbana
Perché non prendere una tisana calda, seduti al tavolino, in uno spartitraffico della circonvallazione?Chi si sente particolarmente creativo, può improvvisare opere d’arte con foglie secche e cartone... E poi scambi d’identità, danze nel traffico e caccia al tram, musei d'arte momentanea e improvvisazioni collettive...
Mancano pochi giorni all’inizio di esternìade, il nuovo Gioco di Sopravvivenza Urbana pensato da esterni in occasione del suo decennale. Centinaia di squadre e decine di prove a punti per contendersi infiniti palcoscenici urbani. Un primo premio che permetterà ai 5 componenti della squadra vincitrice di vivere diversamente la città: 5 abbonamenti annuali al settimanale Internazionale, 10 biglietti per il Teatro Smeraldo, 5 per il Teatro Out/Off e per la Triennale, cd e DVD della Mescal, 5 discese in snow rafting con lastminute.com…
Il gioco si concluderà sabato 17 con una grande festa per celebrare il decimo anniversario di esterni e premiare la squadra vincitrice.
Le squadre sono composte da 5 giocatori.E’ possibile iscrivere una squadra completa di 5 giocatori.

Per iscrizioni singole o di gruppi inferiori a 5, esterni si occupa di completare la formazione.Sono quasi 40 le squadre già iscritte al gioco. Fino alla 50° squadra, l’iscrizione è gratuita…Info e modalità di iscrizione sul sito: www.esterni.org Calendario dei giochi: Martedì 13 dicembre, ore 21 Trattoria “La Lina” Via Alessi 1Festa della PunzonaturaAppuntamento dalla “Lina”, storica trattoria milanese in zona navigli, luogo di ritrovo per i primi avventori di esterni. Festa della Punzonatura: ultime iscrizioni, ritiro del kit di partecipazione e del regolamento, momento di ritrovo per le squadre iscritte. E poi cocktail, musica e gnocchi fritti… Da Mercoledì 14 a Venerdì 16 dicembre – “Allenamente”Appariranno nel corso di tutta la giornata a sorpresa sul sito www.esterni.org dei quesiti a cui rispondere per conquistare punti o indizi utili per le attività che si svolgeranno il venerdì e il sabato successivo. Venerdi 16 dicembre, ore 21 – Naviglio Pavese Inizio del giocoPrende il via il Gioco di Sopravvivenza Urbana con le prime 4 prove. Punto di ritrovo: la chiatta ormeggiata sul Naviglio Pavese, all’altezza di Via Ascanio Sforza 49. Un punto base per tutte le squadre iscritte al gioco e un crocevia di musica, persone, balli e amici. Festa fino a notte fonda… Sabato 17 dicembre, dalle ore 11La giornata è dedicata allo svolgimento delle prove: ad ogni prova, se correttamente superata, verrà corrisposto un punteggio utile per concorrere a vincere il premio finale. Sabato 17 dicembre - dalle ore 20 fino a notte fondaGrande Festa per il decennale di esterni10 anni di esterni in una notte: musica, live performance collettive, installazioni e improvvisazioni. Scopri il luogo della festa martedì 13 alla Festa della Punzonatura o sul sito www.esterni.org. In occasione di esternìade, l’appuntamento del martedì sera di esterni open source è spostato alla Trattoria “La Lina” in Via Alessi, 1.
Per info scrivere a info@esterni.org o chiamare allo 02.713613


Eventi e iniziative.
esterni produce eventi unici che privilegiano la centralità dell’uomo, l’espressione artistica, l’aggregazione, la comunicazione.

· Eventi propri a scadenza annuale o semestrale

Milano Film Festival - Festival internazionale di cinema ospite in settembre del Piccolo Teatro di Milano e giunto alla nona edizione. Aperto a cortometraggi e lungometraggi di oltre 70 Paesi del mondo, di ogni “genere”, durata, lingua e formato. Al concorso annuale si affiancano proiezioni e rassegne speciali, incontri e seminari con ospiti e giurati, concerti, mostre ed installazioni. Nell’ultima edizione la rassegna si è confermata un evento unico nel panorama del nuovo cinema internazionale, con cifre che raccontano di 1.500 film visionati, 56 opere selezionate e 350 proiezioni in 10 giorni di evento. Di particolare rilievo tdk audiovisiva, che associa musica elettronica sperimentale a proiezioni d video arte: nato come evento parallelo all’ottava edizione del Milano Film Festival è cresciuto fino a diventare un evento autonomo che, nell’ottica di ridefinizione e contaminazione degli spazi urbani, apre le porte della cultura a suoni e modi arrangiati dalle più moderne tecnologie di produzione e riproduzione musicale.

Salone Arredo Urbano – L’avvenimento annuale nato con esterni e che si pone come tradizionale appuntamento “fuorisalone” alla scoperta di nuovi spazi di socializzazione, è divenuto nel tempo simbolo di importanti cambiamenti del vivere urbano. Ora è anche una rassegna-mercato che spazia da nuovi allestimenti a sperimentazioni ed entertainment e un’idea già condivisa da molte persone che riesce a polarizzare attenzione, creatività, energie.

Sciopero Nazionale dei Telespettatori - Evento mediatico e socializzante per stimolare un’azione critica, culturale e di aggregazione, sganciato da qualsiasi polemica e posizione politica. Per sensibilizzare cittadini e amministratori locali, opinion leader, associazioni culturali e commerciali sull’uso sconsiderato del mezzo televisivo ed indire un fine settimana di astensione. Dopo sette esperienze milanesi, la prima edizione nazionale nel Dicembre 2003 cambia il calendario dell’evento che diventa semestrale e riscuote l’adesione massiccia di musei, teatri, cinema e gallerie che offrono sconti e agevolazioni a chi si presenta con il telecomando.

· Alcuni eventi passati

Piatto del Giorno (Marzo 1996) - Un evento di musica, arte e buona cucina nella cornice di Piazza Sempione, rivitalizzata e valorizzata dopo anni di abbandono, con raccolta e archiviazione di più di 5.000 opere d’arte istantanea e successiva pubblicazione del catalogo che raccoglie una selezione di 100 opere.

Via Palizzi, Spazio pubblico in festa (Aprile 2003) - Una festa per riappropriarsi di un non-luogo della città e farlo rivivere: appuntamento nella vasta area adiacente al ponte tranviario di Via Palizzi nella periferia nord-ovest di Milano, luogo-simbolo di una storia di difficile sopravvivenza con forte necessità di riqualifica delle aree pubbliche urbane. L’iniziativa ha ospitato un allestimento animato da luci, suoni e voci per il massimo coinvolgimento dei partecipanti.

· Alcune installazioni

Alla Stazione Centrale di Milano (Aprile 2000) - Un’installazione animata, concerti e proiezioni per far conoscere e far rivivere piazza Duca d’Aosta.

Intorno e dentro alla Fondazione Sandretto Re Rebaudengo di Torino (Giugno/Settembre 2003) – In occasione della mostra “Arte nell’era globale. How latitudes become forms” vengono esposti i progetti di esterni: cartelli di obbligo al saluto, di rivoluzione socializzante in corso, amache cittadine, segnaletica per delimitare la “piazza” di esterni, meltin’ point, aree di rallentamento e sosta indotta.


· Performance

Linee Straordinarie di Socializzazione Urbana - Appuntamento annuale di metà dicembre per i soci di esterni e gli utenti ATM: ritrovo su diverse linee dei mezzi pubblici con musica, aperitivi e giri panoramici notturni della città.

“su misura” (Aprile 1998) - Installazione interattiva e multimediale in Piazza Affari, uno tra i luoghi più belli della città, che ha configurato un uso insolito dello spazio rivelando la voglia di partecipazione del pubblico. Temi centrali dell’intervento: omologazione, trasformazione, interazione.

Gioco di sopravvivenza urbana (Settembre 2003) - Esperimento collettivo di socializzazione indotta nella sera d’apertura del festival romano “Enzimi”, in Piazza Vittorio. Una performance che è gioco ed esperimento, studiata per far fronte alle nuove emergenze della vita urbana. Simulazioni e provocazioni per stimolare nuovi comportamenti nelle persone e creare situazioni per facilitare l’incontro e restituire il senso della comunità all’interno della piazza.


· Interventi su commissione

Stage ONU “Kosovo 2002” (Febbraio 2002) - Cinema e attualità trattati in incontri organizzati nelle tre settimane di permanenza nella piccola cittadina di Goradzevac, per conto dell’ONU.

Cantieri Aperti, Milano Zona 3 (da Settembre 2003) - Un progetto di integrazione tra i cantieri per la costruzione di parcheggi sotterranei e i residenti delle aree adiacenti le vie B. Marcello e Ozanam, a Milano. Per ridurre il disagio provocato agli abitanti dai lavori in corso e per creare una nuova comunità. Con il supporto di installazioni, pubblicazioni periodiche, segnaletica ed eventi.

Tipping Point, I luoghi dell’Innovazione in Italia (Ottobre 2003)- In occasione della 50° Esposizione Internazionale d’Arte, l’Archivio del Contemporaneo della Biennale di Venezia ha ospitato esterni insieme con altri protagonisti dei luoghi di innovazione culturale e artistica italiana.

POC 9, Conference of the Parties 9, Centro Congressi Fiera Milano (Dicembre 2003) - Il Coordinamento COP 9 Italia (associazioni italiane per la lotta ai cambiamenti climatici) ha commissionato ad esterni l’ideazione e realizzazione di un evento mediatico in grado di registrare l’andamento dei lavori e trasmettere ai delegati e alla stampa un messaggio sui temi principali della conferenza. esterni ha optato per un evento parallelo (Parties Overcome Competition) ponendo un obiettivo utopistico: superare gli interessi di ogni Paese per raggiungere un fine universale, comune a tutte le nazioni.

"Lavori in corso" (Febbraio 2004) - In occasione della settimana moda Donna a Milano, esterni ha sperimentato, con gli studenti del Polimoda di Firenze, un momento di svolta nel rapporto moda-città in cui la moda si integra nello spazio pubblico urbano e si alimenta di contenuti socializzanti. Con un nuovo spirito che porta questa frenetica attività a soffermarsi sui luoghi che attraversa, non più solo location dove sfilare, ma spazio dove rallentare, guardare ad altro, fare acquisti, vivere. Vengono allestiti 8 piccoli atelier mobili lungo il marciapiede di via Tortona, base operativa degli studenti, e delle postazioni di "pronto soccorso mobile", carrelli che offrono a cittadini e visitatori piccoli servizi (bevande calde, facchinaggio, giornali, fiori, musica, conversazione) per rendere la vita in strada piacevole e confortevole. La moda sperimenta così, in una delle sue capitali, un altro modo di vivere la città. E lo fa proprio mentre lavora, scoprendo che, soprattutto nei suoi spazi pubblici, la città può essere vivibile.

Il progetto ri-distribuzione

Nato nel 2002 dalla ferma intenzione di creare un circuito alternativo di visione per le opere ricercate e selezionate dal Milano Film Festival, il progetto porta avanti, amplificandolo, il discorso che il festival ha iniziato nove anni fa: dare visibilità a un cinema internazionale di qualità che difficilmente trova spazio e puntare sulle sue capacità comunicative. Sono principalmente cortometraggi prodotti da istituti di cultura, scuole di cinema o autoprodotti. Gli interlocutori del progetto appartengono ad un bacino di utenza ampio e variegato, dalle organizzazioni associative e commerciali alle strutture didattiche che intendono contribuire alla promozione e diffusione dell’arte cinematografica e vogliono proporsi come canali distributivi: sale - cinema e cineclub, circoli culturali e scuole, altri festival e le istituzioni.

http://www.esterni.org

New Media Predictions 2006: What Will The Web Future Bring?
12 dicembre 2005
http://www.masternewmedia.org/predictions/predictions_2006
-----------------------------------------------------------------------------------------------
about masternewmedia.org : il sito piu' interessante e aggiornato del web anche in italiano sui nuovi media e comunicazione .

Chi E' Robin Good
Robin Good è un editore online, un esperto di comunicazione dei nuovi media, attivo nella ricerca, composizione e pubblicazione di testi che riguardano le nuove tecnologie per l'insegnamento, il business ed il cambiamento sociale.

Un art director e designer di successo, un regista, un radiocronista, un DJ, un produttore televisivo, un information designer, uno specialista di computer grafica e di produzione multimediale, Robin Good è un esploratore interdisciplinare alla scoperta dei nuovi media.
I suoi scritti spesso sfidano la tradizione e i classici modi di operare per svelare nuovi sentieri, nuovi approcci per una comunicazione online efficace. Il suo obiettivo è quello di aiutare sia le grandi organizzazioni che i singoli individui a scoprire le infinite possibilità di cooperazione offerte da un uso intelligente dei nuovi media.
Gli interessi professionali e le attività di ricerca di Mr Good spaziano attraverso diverse aree quali:
a) la strategia per una editoria onlineb) la collaborazione in tempo realec) le tecnologie per la comunicazione audiovisiva
Nell'industria dell'editoria online, Mr Good è uno dei maggiori sostenitori degli RSS ed è stato il primo ad immaginare la nascita di nuove figure professionali tra cui il "Newsmaster" e il "Bibliotecario dell'Informazione Digitale", figure in grado di occupare nuovi ed importanti spazi.
Sul fronte della cooperazione online Robin Good è stato il primo a motivare ed incoraggiare una maggiore comunicazione e scambio tra i produttori, i tecnici e gli utenti finali degli strumenti di collaborazione in tempo reale. Egli ha recensito un gran numero di tecnologie per la conferenza, la collaborazione e la presentazione in tempo reale. Continua a farlo per fornire consulenza sullo stato attuale alle nuove aziende emergenti in questo settore e per alimentare il contenuto della sua Guida Ufficiale Online sui migliori strumenti di videoconferenza e Presentazione in tempo reale, divenuta uno strumento di base per coloro che hanno bisogno di comparare le caratteristiche, i pro ed i contro dei migliori tool di collaborazione in tempo reale disponibili sul mercatoLa guida è accessibile tramite sottoscrizione che include il download di un pdf di ben 600 pagine.
Durante il 2004 Mr Good ha organizzato e presentato diversi eventi online sulle nuove tecnologie che hanno ospitato nomi prestigiosi come Howard Reingold, Ray Ozzie, Jay Cross, Nancy White, ha recensito differenti tecnologie ed analizzato in profondità i nuovi trend.
Robin Good è inoltre un trainer esperto ed un presentatore di talento in seminari e workshop internazionali. E' un ottimo visual designer ed ha insegnato a centinaia di comunicatori delle Nazioni Unite il miglior modo di comunicare visivamente attraverso tool come PowerPoint.
Quello che lo differenzia dagli altri blogger e giornalisti online è la sua personale energia, le sue idee sulla tecnologia e il futuro, ed il suo interesse appassionato per il cambiamento sociale, la libertà di parola e la promozione dell'individuo come forza trainante dei nuovi media.
Professionalmente Robin Good ha lavorato per le maggiori organizzazioni internazionali che operano nel campo della ricerca, dello sviluppo e dell'educazione. Tra questi:
The World Bank InstituteFAO of the UNWorld Food ProgrammeUnited Nations Environment ProgrammeAsian Institute of TechnologyArab Planning InstituteInternational Plant Genetic Resources InstituteInternational Fund For Agricultural DevelopmentAsian Institute of ManagementIstituto Europeo di Design
Robin Good è il fondatore ed il proprietario unico del Robin Good Online Publishing Network.Master New Media http://www.masternewmedia.org/ è il sito di bandiera che offre notizie aggiornate su argomenti rilevanti per esperti di comunicazione, editori indipendenti, professionisti di marketing, trainer, educatori e presentatori. Il sito esiste dal 1998 a dal 2001 pubblica contenuto su base giornaliera. Dal 2004 MasterNewMedia conta quasi 100000 visitatori unici al mese e più di 200000 pagine visitate. MasterNewMedia è anche tra i 30000 siti più visitati secondo il rapporto pubblico sul traffico generale di Alexa. Ha un Google Page Rank pari a 7. Nella Blogosfera Masternewmedia si aggira tra i primi 600 siti secondo il LinkRank di PubSub ed ha secondo Technorati più di 400 risorse attive ce lo linkano. ( Tra i primi 1000 ).

Il Network include anche:
Kolabora - The Online Collaboration Authorityhttp://www.kolabora.com/
MasterViews - For Visual Presentershttp://www.MasterViews.com/
The Communication Agents Initiative:
Sepp Hasslberger's Health Supremehttp://www.newmediaexplorer.org/sepp
Chris Gupta's Share The Wealthhttp://www.newmediaexplorer.org/chris
Emma Holister's Candida Internationalhttp://www.newmediaexplorer.org/chris
Ivan Ingrilli's Grillo Parlantehttp://www.newmediaexplorer.org/ivan
Communication Agents Journalhttp://www.communicationagents.com/
Communicatin Agents Initiativehttp://robingood.typepad.com/
Robin Good's CA Blog(che registra i primi mesi di attività di questo gruppo)http://robingood.typepad.com/commagents_blog/


http://www.masternewmedia.org/it/2005/02/03/chi_e_robin_good.htm
Pubblicato da Alessandro Banchelli il Giovedì Febbraio 3 2005aggiornato il Lunedì Novembre 14 2005

Pings E Trackbacks da altri blogsTrackback URL di questo articolo: http://www.masternewmedia.it/cgi-bin/mt-tb.r41.cgi/2389


Chi E' Alessandro Banchelli
Alessandro Banchelli è un comunicatore online, un esploratore della rete attivo nella ricerca e creazione di contenuti. Alessandro Banchelli è Chief Executive Editor di Edentity Coach, sito di Psicologia della Comunicazione Online e Search Engine Copywriting.

Chi è Chiara Monetti
Chiara Monetti Nata e vissuta a Bologna, da circa 3 anni vive e lavora a Roma. Durante il suo percorso scolastico ha conseguito la maturità linguistica e si é laureata in Scienze Politiche, con indirizzo Storico-Internazionale, presso l'Università degli Studi di Bologna....

New Media Picks Of The Week

Here is what I have collected for you this week:
RSS search engine searches only the feeds you want
Virtual sticky notes you can place in the real world
Personalized search from Google Labs
RSS IT-focused search engine
Music community and network
Clearinghouse of exciting video clips
MP3 streaming server software for small publishers
Presentation enhancer for PowerPoint shows
Warning labels generator
Open Dictionary let's you define new words
Geeks on film: Documentary recounts real software development story

5 e 6 dicembre PARIGI
SPEAKERS

http://lesblogs.typepad.com/
Les blogs WIKI il piu' vasto e fornito elenco di blog europei online

nella sezione blog italiani di questo progetto wiki vengno classificati i blog piu' visitati:

Beppe Grillo --> (Grillo's gags have tackled financial scandals and political corruption) 14,887 links from 4,957 sources
Blog Notes (blog, web) 1,860 links from 791 sites
Macchianera (politics, fun, misc) 1,348 links from 732 sources
x§°nalità c°nfu§a (personal, story from Milan, one of the most read) 653 links from 611 sources
Wittgenstein (news, music - journalist) 645 links from 417 sources
Manteblog (tech) 439 links from 340 sources
Daveblog (tv) 357 links from 300 sources
La Torre di Babele (news, reportage - he is a reporter for the first channel of public television) 333 links from 299 sources
Sai tenere un segreto? (personal) 261 links from 226 sources
Luca Conti (tech, news> 744 links from 224 sources
Paolo Valdemarin 533 links from 214 sites
Brodo Primordiale (fun, personal, literature) 433 links from 210 sites
Emme Bi (music) 247 links from 209 sources
Camillo (politics - he is a journalist from a right-wing newspaper Il Foglio) 337 links from 208 sources
Placida Signora (writer) 249 links from 207 sites
dot-coma (niu economi) 238 links from 190 sources
Proserpina (personal, story) 483 links from 177 sites
Herzog 205 links from 167 sources
Indignato 350 links from 148 sources
Webgol (misc, it changes theme every month) 193 links from 145 sites
Ander costruksciòn (fun, link) 168 links from 145 sites
Magenta e Woland (personal) 190 links from 144 sources
Gaspar Torriero (tech> 169 links from 144 sources
Euston Station (music) 137 links from 125 sources
Leonardo (politics) 374 links from 136 sources
aitanblog (short stories & music) 131 links from 47 sources
Leibniz (news, link - journalist) 118 links from 110 sites
Selvaggia Lucarelli (fun - she is a tv star) 93 links from 87 sources
La Z di Zoro (tv, fun, personal) 86 links from 77 sources
Attentialcane (news, politics) 84 links from 66 sources
Lipperatura (literature - journalist from Repubblica) 61 links from 52 sources
"Sky TG24 Pianeta Internet (by Marco Montemagno) (media hacker, web/tech, blog - this is the blog of the TV show about Internet and blog on Sky TG24) 53 links from 39 sources
Deeario (il blog di Tony Siino) 33 links
e io che mi pensavo che la vita del blogger erano tutti fiorellini (personal, story and poetry-driven humour) 31 links from 27 sources
Alberto Mucignat (web stuffs) 29 link from 12 sources
Zartitmi (personal, literature) 12 links from 12 sources
Giuseppe Mayer's Blog (personal, tech, mktg) 11 links from 11 sources
Linnaea borealis 4 links from 4 sources

Blog è un termine creato nel 1999 come contrazione di web log ed indica un sito web che contiene un diario personale on line con riflessioni e hyperlink dell'autore e commenti dei lettori.Il blog è oggi un fenomeno di massa con più di cinque milioni di siti e con la nascita di un nuovo sito ogni sette secondi.Il social network è in sintesi la mappa di relazioni esistente tra le persone.L'analisi ha valutato per un campione di 100 blog, considerati rilevanti per la blogosfera italiana al 17 novembre 2004, i seguenti aspetti:
- I blog maggiormente linkati. Quali blog sono ritenuti più importanti dai blogger?- La dimensione della blogosfera. Quali sono le interconnessioni tra i blog delle blogosfera italiana?- I blog principali. Quali sono i blog che hanno le migliori interconnessioni nella blogosfera?- I blog al centro della blogosfera. Quali sono i blog che fanno da collante con gli altri e consentono di renderli facilmente raggiungibili?
Nell'analisi i nodi della rete sono i blog e i collegamenti, o link, sono i riferimenti reciproci.Gli attributi principali della rete composta dalla blogosfera sono il diametro e il clustering, o livello di interconnessione dei blog:
- il diametro della rete è di 2,39. Il mondo dei blog italiani ha di media due gradi di separazione. Questo significa che per passare da un blog della blogosfera italiana ad un altro mediamente si transita attraverso due siti
- Il grado di clustering del sistema è di 0,362, dove il valore 1 indicherebbe che ogni blog è interconnesso con ogni altro blog.

http://www.casaleggio.it/rapporto.asp?articleID=245&titolo=Focus:%20Il%20

A TV star is born on the Net on $20 a day

By Robert Mackey The New York Times -->

Amanda Congdon is a big star on really small screens--like the 4.5-inch window she appears in on computer monitors every weekday morning or the 2.5 inches she has to work with on the new video iPod.
Congdon, you see, is the anchor of a daily, three-minute, mock TV news report shot on a camcorder, edited on a laptop and posted on a blog called Rocketboom, which now reaches more than 100,000 fans a day.
In terms of subject matter, Rocketboom is actually quite a standard--one might even say traditional--Web log: Congdon comments on intriguing items she, and the site's producer, Andrew Baron, have found on the Web, and includes links to them which appear just below clear, smooth-playing video. The items tend to be developments in Internet culture (robots and flash mobs, say, or flash mobs of robots) with a sprinkling of left-leaning political commentary ( Congdon announced the posting of Rep. Tom DeLay's mug shot while wearing a party hat and blowing a noisemaker) and samples of Web video from around the world.
article : http://news.com.com/A+TV+star+is+born+on+the+Net+on+20+a+day/2100-1025_3-5990853.html?part=rss&tag=5990853&subj=news

link correlati
http://www.amandacongdon.com/
http://www.rocketboom.com/vlog/

Real virtuality -
how to talk about the spatial arts?
21/12/2005 , Basel

Talk #1 real virtuality - how to talk about the spatial arts?
Wednesday, December 21 2005
starting 6:30pm at Voltahalle Basel7:00 to 8.30pm
Discussion with Lev Manovich and Uwe Brückner (English).
Presentation: Vera Bühlmann
Followed by drinks and music with Dj's Stiebeltron Inc. and visuals byLev Manovich (Soft Cinema).
Real virtuality - how to talk about the spatial arts?Today most of our critical attention goes to either the arts of shapes and forms (architecture, design) or the arts of the image (photography, film, video, media art). But some of the most interesting creative practices today fall in between: scenogaphy, set design, media skins, experience design, exhibition design, interactive design. These practices use architecture, media, light, color, sound, transparency, interactivity, and human behaviors as their material. How can we talk about these new "spatial arts"?

Lev Manovich is Professor of Visual Arts at the University of California, San Diego, and Director of The Lab for Cultural Analysis at California Institute for Telecommunications and Information Technology. Lev Manovich is the author of Soft Cinema: Navigating the Database (The MIT Press, 2005), and The Language of New Media (The MIT Press, 2001). www.manovich.net

Uwe Brückner is Professor for Scenography at the University of Art and Design Basle, Institute Interior Design and Scenography. He is a member of the Art Directors Club Germany. His own studio atelierbrückner is located in Stuttgart, Germany and has realized a number of projects, to which belong the pavilion "viv(r)e les frontières" at the Swiss Expo.02, as well as the pavilion "CYCLEBOWL" at the German Expo 2000. www.atelier-brueckner.de

Vera Bühlmann is a researcher at the University of Art and Design Basle, as well as a PHD candidate at the University Basle, Institut for media studies.(For further information please contact:Vera Bühlmann, Lic. phil. IFachhochschule beider Basel FHBBHochschule für Kunst und Gestaltung Basel HGKKommunikationsstelle für anwendungsorientierte Forschung und Entwicklung aF&EVogelsangstrasse 15CH-4058 BaselTelefon +41 61 695 63 47Mobil +41 76 364 55 74
http://www.fhbb.chv.buehlmann@fhbb.ch

L’interattività tra scena e nuovi media 17/12/2005 , Como
L’interattività tra scena e nuovi media seminario di studi sul rapporto tra multimedialità e il teatro per le nuove generazionia cura di Carlo Infante, docente di performing mediaintroduce Mario Bianchi, studioso di teatro per le nuove generazioniintervengono:Cristina Cilli, studiosa di teatro e nuovi mediaPaolo Atzori, architetto e scenografo multimediale Renzo Boldrini, attore-autore teatrale, regista di Giallo mare Minima Teatro
Da sempre il teatro rappresenta una delle migliori tecnologie per mettere in relazione il corpo con lo spazio, inventando forme di condivisione possibile. Un aspetto, questo, che acquista ancora più pregnanza quando si opera con le nuove generazioni e con quei piccoli che fanno di questa ricerca d’ambientamento una delle loro prime interrogazioni al mondo.Cosa credi ci sia dietro l’entusiasmo per una palla che rimbalza?O dietro il clic ad un’icona che risponde all’azione del mouse con un piccolo evento?E’ d’interattività che si tratta.Ecco parliamo di questo: come progettare le nuove forme di relazione tra corpo e nuovo spazio-tempo digitale. Il fatto che alcuni autori teatrali stiano concentrando la propria ricerca su questo aspetto, sondando le peculiarità psicologiche e percettive di questa inedita interazione, è importante e strategico.Non solo. Questa ricerca ha raggiunto ottime risoluzioni, teatrali e pedagogiche.Introduce una qualità di elaborazione formale e performativa di cui la ricerca teatrale, in particolare quella rivolta alle nuove generazioni, ha bisogno.Pratiche che s’inseriscono nell’ampia problematica di ciò che definisco l’Interaction Design, la progettazione delle nuove forme d’interazione digitale.In questo senso l’azione scenica nell’ambito multimediale si basa su una consapevolezza piena, assolutamente ludica, arrivando a contemplare una “drammaturgia dell’interattività” che risiede, ancor più che nell’automatismo del cliccare su pulsanti, sulla capacità di contemplare lo sguardo dello spettatore e le sue reazioni.Un’operazione che si basa su una semplicità, l’invenzione teatrale dell’azione nel raggio della videoproiezione, e su una necessità: la creazione di opportunità che dimostrino che la multimedialità non si gioca solo all’interno dello schermo di un computer, dove è facile perdere il senso del rapporto tra reale e virtuale.Le metamorfosi teatraliInterrogarsi sull’evoluzione delle arti coincide con le dinamiche evolutive che hanno scandito le mutazioni del rapporto tra noi, i nostri corpi, e il mondo esterno in una metamorfosi continua che la sensibilità teatrale ha per secoli interpretato. Tanto più oggi, in un modo pervaso dalle tecnologie. Ma senza dimenticare che l’origine dell’arte è inscritta nel concetto di “techne”, intesa come estensione fisica e cognitiva dell’uomo verso il mondo.Le protesi attraverso cui operiamo sono sia gli arnesi che le parole, entrambe tecnologie che ci estendono nello spazio esterno al corpo, così come gli occhiali o un mouse. In questo senso l’atlante ipermediale “E-motion. Movimenti elettronici” può rivelarsi come un buon modo per attivare una ricognizione teorica sull’interazione tra corpo e sistemi elettronici, sia per quanto riguarda l’interaction design sia le nuove forme della performance, individuando le caratteristiche dei dispositivi e delle condizioni che stabiliscono tali processi: dai motion-capture (l’impianto di sensori che rilevano il movimento fisico e lo traducono in forma digitale) agli ambienti interattivi in cui si sviluppano i climax per installazioni e performance di nuova sensibilità, fino al digital story-telling attraverso cui è possibile narrare utilizzando l’ambiente digitale per amplificare il senso e il racconto.Per quanto possa essere consapevole che l’opinione comune nei confronti del teatro è quella di un’arte tra le tante, se non la più debole e inattuale , insisto nel sostenere che alla radice del teatro c’è qualcosa che riguarda fortemente il modo attraverso cui ci siamo ambientati nel mondo, pensandolo e agendolo. E’ attraverso la tecnologia di rappresentazione chiamata teatro che si è infatti presa coscienza del mondo, fisico ed immaginario, grazie ad un sistema di simulazione che di fatto ha svolto una funzione educativa a tutti gli effetti, insegnandoci a condividere lo spazio comune nell’integrazione tra l’uso del corpo e della parola.Credo che una buona definizione di teatro possa essere quella di simulazione fisica di uno spazio mentale: portare fuori attraverso l’azione e l’espressione verbale qualcosa che risiede nella mente, sentimenti, stati d’animo, visioni mitiche. Questo portare fuori, rendendolo pubblico, ciò che sta esclusivamente all’interno della sfera privata, ha fatto che sì che si sviluppasse la mente pubblica, ciò che definiamo civiltà.Oggi, di fronte all’avvento della Società dell’Informazione, ci poniamo le stesse domande ma rivolte ad uno spazio pubblico fatto di bit, le unità minime dell’informazione digitale, attraverso cui transitano le nuove espressioni dell’interagire umano, dalle transazioni economiche all’empatia dei blog.E’ per questo che credo ai principi attivi del teatro come chiave per misurarci con la mutazione culturale oggi in atto: individuando in alcuni aspetti della post-avanguardia italiana che negli anni ottanta ha inventato il videoteatro l’inaugurazione del dibattito sul virtuale per procedere in una ricognizione tra le diverse forme della performance interattiva.Carlo Infante (per@carloinfante.info )CD-RomE-Motion. Movimenti ElettroniciAtlante ipermediale dell’interazione tra corpi e mondi virtuali a cura di Carlo Infante http://www.performingmedia.org

CORPI
La fisicità tradotta in forme e informazioni- la danza che modella figure virtuali : Ariella Vidach “E-Motions” (2000)-
I segnali elettrici dei muscoli si fanno input digitali: Stelarc “Heaven for every one” (1994)- L’atleta informa il software del videogame: Medialab “Motion del calciatore“ (1998)
- Il marionettista con il data-glove e il burattino digitale. S.Roveda/G.Verde “Info”(1997)
- Il teatro-danza della tradizione indiana che attraverso i “mudra” descrive la narrazione (disegni e foto tratte da “Anatomia del teatro” dell’ International School of Theatre Antropology , Casa Usher,1993)

MONDI ELETTRONICI
dalla scena immateriale alla realtà virtuale e aumentata- L’interazione sottile tra corpo, video e suono: Michele Sambin “VTR&J” (1978)-
l’ambiente artificiale del cromakey: Falso Movimento, “Tango Glaciale” (1982)-
l’interazione tra corpi e monitor video: Corsetti-Studio Azzurro, “Prologo” (1985)-
la realtà artificiale: Myron Krueger, sistema Videoplace, “Critter” (1984)-
la realtà virtuale immersiva: sistema Provision (1992)- hi-tech / hi-touch: “Contact Water”, Siggraph 2001- .Gli ambienti sensibili: Studio Azzurro, “Coro” (1995)-
l’azione nello scenario interattivo: Ariella Vidach, sistema Mandala System, “Exp”(1997)

MUTAZIONE
le metamorfosi del mondo digitale- Cybermartire: Marcel-li Antunez Roca, “Epizoo” (1994)- L’ibrido uomo-macchina: Stelarc, “Exoskeleton” (1999)-
L’infografia per la simulazione del corpo in azione: Thecla Schiphorst, “Life Forms” (1995)- L’animismo elettronico: Studio Azzurro “Giardino delle cose (1992)”-
Balla con i virus: vita artificiale degli agenti intelligenti: Knowbotic Research, Interscena (1997)

The art of war in digital gaming is worrisome By Pat Kane THE OBSERVER , LODON Sunday,

As the situation in Iraq gets bloodier and more uncontrollable, who would take on the task of promoting the idea of enlistment to America's youth? Step forward Colonel Casey Wardynski, who is deploying perhaps the most cost-effective recruitment method presently available to the US Army -- a war game.
Whereas television advertising costs between US$5 and US$10 per hour to get the US Army brand in front of each viewer, the program Wardnyski is supporting costs an average of US$0.10 per hour, based on the US$2.5 million annual running costs for the Web site where the game America's Army is available for free download.
And people are playing: 29 million have grabbed a copy, and there are 6.1 million active users.
But that's only the start. The whole purpose of America's Army, a first-person-shooter simulation of army training and combat whose development began in 1999 and which was launched in 2002 (on July 4, Independence Day, of course), is to recruit more soldiers.

read all http://www.taipeitimes.com/News/editorials/archives/2005/12/11/2003283966

Pat Kane is the author of The Play Ethic: A Manifesto for a Different Way of Living.

The Public Beta of Webcamtastic is an experimental project aimed at collecting manipulated webcam images from people around the world. Anyone with a webcam, and Flash Player 8 can have some fun and add their images to the gallery. We're still debugging and adding features and new creative tools will be added in the coming weeks. We'd appreciate any feedback you might have. Have Fun!
Requirements:To use the interactive tools you will need to have a web camera installed. If you don't have a web camera you can still access the gallery and view other people's creations.

http://www.webcamtastic.com/

VlogMap.org is an online resource which shows where participating vloggers are located around the world, along with links to key information about their video blogs. Anyone can submit info to VlogMap.org to be listed on the map, as long as you run a video blog.

http://www.vlogmap.org/


A vlog or video blog is a blog (short for weblog) which uses video as the primary content; the video is linked to within a videoblog post and usually accompanied by supporting text, image, and additional meta data to provide context.


http://michaelverdi.com/index.php/2005/02/20/vlog-anarchy/

Adrian Miles. Media Rich versus Rich Media (or why video in a blog is not the same as a video blog)
Adrian Miles "first vlog" 27-november-2000 http://hypertext.rmit.edu.au/vog/vog_archive/000082.html

We believe in free speech: in protecting the right to speak -- and the right to listen. We believe in universal access to the tools of speech.
To that end, we seek to enable everyone who wants to speak to have the means to speak -- and everyone who wants to hear that speech, the means to listen to it.
Thanks to new tools, speech need no longer be controlled by those who own the means of publishing and distribution, or by governments that would restrict thought and communication. Now, anyone can wield the power of the press. Everyone can tell their stories to the world.
We seek to build bridges across the gulfs that divide people, so as to understand each other more fully. We seek to work together more effectively, and act more powerfully.
We believe in the power of direct connection. The bond between individuals from different worlds is personal, political and powerful. We believe conversation across boundaries is essential to a future that is free, fair, prosperous and sustainable - for all citizens of this planet.
While we continue to work and speak as individuals, we also seek to identify and promote our shared interests and goals. We pledge to respect, assist, teach, learn from, and listen to one other.
We are Global Voices.
Retrieved from "http://cyber.law.harvard.edu:8080/globalvoices
Global_Voices_Draft_Manifesto"
Global Voices 2005: Attendees
Andrew Heavens - Ethiopia Blogger at Meskel SquareAndrew Nachison - Media Center
Anthony Barnett - Opendemocracy.net
Becky Hogge - Opendemocracy.net
Ben Paarmann - Eurasia Blog
Benjamen Walker - Podcaster and Berkman Ctr. Affiliate
Beth Kanter - Boston/Cambodia
Boris Anthony - GV Web Architect
Brendan Greeley - Radio Open Source
Bun ThaRum - Cambodian blogger
Catherine Bracy - Berkman Center
Cecile Landman - Amsterdam-based. http://streamtime.org (Iraq audio blogs)
Charlie Nesson - Berkman Center founder
Colin Macaulay - Berkman Center Managing Director
Dan Gillmor - “We the Media” author
David Sasaki - GV Americas Editor
David Schlesinger - Reuters Global Managing Editor
Dina Mehta - Indian blogger
Eman Abu-Khadra - Tunisian blogger
Enda Nasution - Indonesian blogger
Ethan Zuckerman - Global Voices Co-FounderFred Andon Petrossians - Iranian blogger
Fatma Karama - Tanzanian blogger
Georgia Popplewell -Trinidad and Tobago
Haitham Sabbah - GV Middle East/N.Africa Editor
Henrik Schneider - Hungarian blogger
Hossein Derakshan - Iranian blogger
Hugh Macleod - Gapingvoid
Iria Puyosa - Venezuelan blogger
Jake Shapiro - Public Radio Exchange (prx.org)
Jane Perrone - Deputy News Editor, The Guardian Unlimited
Jeff Ooi - GV Contributing Editor & Malaysian Blogger
Jeremy Druker - Transitions Online (Eastern Europe & former Soviet Block)
Jon Ungphakorn - Senator from Thailand
Jonas Galvez - BlogamundoJonathan Bracken - MacArthur Foundation
Jonathan Palfrey - Berkman Center Executive Director
Jonathan Zittrain - Berkman Center Founder
Jordan Seidel - Polish blogger
Kevin Anderson - BBC “World Have Your Say”
Kevin Wallen - Jamaica Voices Project
Kevin Wen - Chinese blogger (Bokee.com)
Kitty Arie - Freelance journalist & AlertNet contributor
Lisa Goldman - Israeli blogger
Loic Lemeur - SixApart France
Lucy Hooberman - BBC
Luke Razzell - i-together.net
Mark H Jones - Reuters AlertNet
Martin Lucas - CUNY (media studies)
Marvin Hall - Jamaica Voices Project
Mary Joyce - Demologue.com
Mary Page - MacArthur Foundation
Michelle Levesque - Open Net Initiative
Mohamed Marwen Meddah - Tunisian blogger
Neha Viswanathan - GV South Asia Editor
Nick Moraitis - Amnesty International & TakingITGlobal
Noelle McAfee - Ctr. for Social MediaObiora Orjiekwe - Nigerian blogger
Onnik Krikorian - Armenian blogger
Ory Okolloh - Kenyan blogger
Pat Hall - Blogamundo (blog translation project)
Paul Kihwelo - Open University of TanzaniaPeter Emerson - Harvard University
Rebecca MacKinnon - Global Voices Co-FounderRichard Dreyfuss - guest of Peter Emerson
Roba Al Assi - Jordanian blogger
Robert Scoble - Microsoft
Roby Alampay - South East Asian Press Association
Rohin Francis - Pickledpolitics.com
SJ Klein - Wikipedia
Sokari Ekine - GV Sub-Saharan Africa Editor
Ndesanjo Macha - Tanzanian bloggerTerry Fisher - Berkman Center
Tian Sun - (London-based) Chinese blogger
Tihomir Loza - Transitions Online (Bosnia)Tim Morley - Linguist
Tom Steinberg - Pledgebank.com
Urs Gasser - Berkman Center
Xiao Qiang - Chinadigitalnews.net
Zephyr Teachout - Berkman Center Fellow
Sharon Hom, Human Rights in ChinaShirley Hao, Human Rights in ChinaFern Nesson, guest of Charles NessonJohn Thomas Hall, BlogamundoNart Villeneuve, Citizen LabJulian Wolfson, Citizen LabSameh Saeid, Amnesty Intl’ Arabic sectionPeter Allden, BBCSilver Meikar, Estonian bloggerPeter Leonars, bloggerDarius Cuplinskas - Open Society InstituteIsabel Hilton - openDemocracy.netKaty Pearce - Blogrel
(total: 93)
PARTICIPATING VIA VIDEOCONFERENCE:
Chris Ahearn - President, Reuters Media
Dean Wright - Reuters SeniorVice President and Managing Editor for Consumer Services
PARTICIPATING VIA IRC:
Ahmed - Saudi Blogger
Angelo Embuldeniya - (Bahrain-based) SEA-EAT/South Asian Disaster Relief Blogger
Deborah Dilley - expert on Turkish and Kurdish blogs
Eduardo Avila - Bolivian blogger
Jose Manuel Tesoro - GV East Asia Editor
“Mr. Behi” - Iranian blogger
Nathan Hamm - GV Russia/Eastern Europe/Central Asia/Caucaus Editor
(incomplete)

CFP: Culture, Creativity and Technology - a special issue of HumanTechnology

Guest editors:Mark Blythe, University of York
Ann Light, Queen Mary, University of London
Shaleph O'Neill, University of Dundee

Advances in interactive computing technology have blurred the linebetween art, social studies and science.
The age of digital reproductionis making radical changes in how art is created, distributed andperceived. Recent work from the humanities and arts has constructivelycritiqued traditional Interaction Design theory and practice. Studies ofexperience with technology can provide new insights into the potentialof interactivity in contemporary arts and performance, as well as newtools for creativity. This special issue will provide a forum for radically interdisciplinaryanalysis of digital technology. It will focus on the role of technologyin enhancing culture and creativity. It will seek critical andreflective approaches to the design and analysis of interactivetechnology. Contributions will be welcomed from the Arts and Humanitiesas well as the Sciences. Contributions can take the form of academicpapers but also less traditional creative presentation formats such asmultimedia, digital artwork and sound.Areas of Interest:
Arts and HCI
New Media and Genres
Re-mediation
Technology and Experience
Enabling Creativity
Performance Arts
Entertainment and Leisure
Identity Politics
Collaborative approaches
Approaches of Interest:Interaction design, computer science, engineering, architecture,cultural studies, media studies, literary studies, critical theory,aesthetics, performance arts, digital art, psychology, socio-technicalstudies.

This special issue on "Culture, Creativity and Technology" will appearin Human Technology: An Interdisciplinary Journal on Humans in ICTEnvironments: www.humantechnology.jyu.fi
papers to mblythe@cs.york.ac.uk by February 24th 2006.

Lichtkunst aus KunstlichtZKMZentrum für Kunst und MedientechnologieKarlsruhee


Curatorial concept
The visible world and the world of sight, as is well known, is the world of light. Art as the field of the visible - as painting shows - has always been bound to the universe of light. Albert Einstein solved the mystery of light's essence in 1905 through wave-particle duality. Light is both an electromagnetic wave and a current of particles. It is a form of energy that in a vacuum would travel at a speed of 299,792,458 meters per second. When light hits a prismatic structure it divides into different wavelengths that are visible as colors. Its brightness is measured in lux and lumen describes the stream of light, or the amount of light that is emitted from a source of light.
Painting has concentrated primarily on the depiction of natural light and the wave phenomena that are known from optics and other areas. It is only since Heinrich Hertz discovered in 1889 in Karlsruhe, »that electric waves reproduce exactly like optical waves« [Max Planck, 1894] and have the same speed, i.e., that there is a real and symbolic relationship between light and electricity, that a universe of artificial light has had its influence on all of us.


ARTISTS
A · Vito Acconci · Franz Ackermann · Dennis Adams · Marc Adrian · Yaacov Agam · Giovanni Anceschi · Giovanni Anselmo · Stephen Antonakos · Siegrun Appelt · John M Armleder · B · Werner Bauer · Julien Berthier · Thomas Beth · Joseph Beuys · Alberto Biasi · Thomas Berger · Bigert & Bergström · Vladimir Bonacic · Ecke Bonk · Davide Boriani · Jonathan Borofsky · Martin Boyce · Erich Buchholz · Angela Bulloch · Pol Bury · C · Nino Calos · Chryssa · Jürgen und Nora Claus · Victoria Coeln · Gianni Colombo · Tony Conrad · Waltraut Cooper · Martin Creed · D · Björn Dahlem · Gabriele De Vecchi · Koenrad Dedobbeleer · Hugo Rudolfo Demarco · Jürgen Drescher · Sven Drühl · Chiara Dynys · E · Fred Eerdekens · Viking Eggeling · Olafur Eliasson · Elmgreen/Dragset · Tracey Emin · Manfred Erjautz · F · Spencer Finch · Berta Fischer · Oskar Fischinger · Fischli/Weiss · Dan Flavin · Joachim Fleischer · Sylvie Fleury · Ceal Floyer · Lucio Fontana · Peter Friedl · G · Horacio Garcia-Rossi · Alberto Garutti · Kendall Geers · Klaus Geldmacher · Karl Gerstner · Walter Giers · Imi Giese · Paul Gittins · Dominique Gonzalez-Foerster · Felix Gonzalez-Torres · Gun Gordillo · Gerhard von Graevenitz · Tue Greenfort · Helga Griffiths · Bruno Gronen · Gruppo MID · Brian Gysin · H · Zaha Hadid · Mark Handforth · Daniel Hausig · Werner Haypeter · Klaus Heider · Jeppe Hein · Christian Herdeg · Diango Hernandez · Georg Herold · Lori Hersberger · Nic Hess · Christoph Hildebrand · Noritoshi Hirakawa · Hofstetter Kurt · Carsten Höller · Jenny Holzer · Berthold Hörbelt · Stephan Huber · Markus Huemer · J · Alfredo Jaar · Birgit Jensen · Dieter Jung · K · Yoshiaki Kaihatsu · Claudia Kapp · Kazuo Katase · Peter Keene · Mike Kelley · Stefan Kern · Jon Kessler · Martin Kippenberger · Astrid Klein · Gyula Kosice · Joseph Kosuth · Brigitte Kowanz · Dieter Krieg · Ferdinand Kriwet · Mischa Kuball · Hans Peter Kuhn · Vollrad Kutscher · Susanne Kutter · Swen Kuttner · L · Thorbjörn Lausten · Bertrand Lavier · Julio Le Parc · Claude Leveque · Golan Levin · Benita Liebel · Alexander Lieck · David Lieske · Won Ju Lim · Thomas Locher · Sarah Lucas · Adolf Luther · M · Heinz Mack · Frank Joseph Malina · Bernhard Martin · Manfredo Massironi · Anthony McCall · Paul McCarthy · Christian Megert · Isa Melsheimer · Mathieu Mercier · Mario Merz · Tatsuo Miyajima · Volker Möllenhoff · Simon Dybbroe Møller · László Moholy-Nagy · Achim Mohné · Jonathan Monk · François Morellet · Leonardo Mosso · Reinhard Mucha · Christian Philipp Müller · Jörn Müller-Quade · Matt Mullican · Bruno Munari · Jan van Munster · N · Maurizio Nannucci · Bruce Nauman · Tim Noble · O · Germano Olivotto · Tony Oursler · P · Jorge Pardo · Zdenĕk Pešánek · Goran Petercol · Finnbogi Pétursson · Rudolf Pfenninger · Daniel Pflumm · Otto Piene · Jack Pierson · PIPS:lab · Hermann Pitz · Fabrizio Plessi · Riccardo Previdi · R · Patrick Raynaud · Martial Raysse · Nikolaj Recke · Erwin Redl · Tobias Rehberger · Anselm Reyle · Jason Rhoades · Hans Richter · Rivka Rinn · Daniel Roth · Tim Otto Roth · Pierre Rovère · Gerhard Rühm · Walter Ruttmann · S · Michael Sailstorfer · Sarkis · Michael Schmid · Ruth Schnell · Nicolas Schöffer · Patrick Schumacher · Michael Schuster · Kurt Schwerdtfeger · Marie Sester · Paul Sharits · Jessica Shaw · Damir Sokić · Keith Sonnier · Stefan Sous · Aleksandar Srnec · Simon Starling · Katja Strunz · T · Gerold Tagwerker · Yuji Takeoka · Paul Thek · Jan Timme · Jean Tinguely · Rikrit Tiravanija · Rosemarie Trockel · Joëlle Tuerlinckx · James Turrell · U · Günther Uecker · Giuseppe Uncini · V · Gregorio Vardanega · Grazia Varisco · Woody Vasulka · Michel Verjux · W · Shugang Wang · Robert Watts · Sue Webster · Peter Weibel · Franz West · Pae White · James Whitney · John Whitney · Thomas Wilfred · Dominique Willoughby · Wolfgang Winter · Claudia Wissmann · Johannes Wohnseifer · Manfred Wolff-Plottegg · Teres Wydler · Cerith Wyn Evans · Y · Haegue Yang · Penny Yassour · Z · Joseph Zehrer · Giancarlo Zen · Chen Zhen · Heimo Zobernig · Gilberto Zorio · Christof Zwiener · http://www.zkm.de/lichtkunst/

One person's trash is another's poignant mixed-media artwork
Marianne Costantinou



A man who rummages in the trash could be called a lot of things.
Mark Faigenbaum calls himself an artist. And anyone who has seen the creations he's built from his found treasures would have to agree.
His kind of mixed-media artwork goes by a lot of names: salvage art, scavenger art, found art, recycled art, assemblage, collage -- and, yes, even junk -- but for Faigenbaum, 46, it's a way to preserve the past in a modern way.

http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/12/10/DDGQ1G51FD1.DTL

y.ah.oo!
We're proud to announce that del.icio.us has joined the Yahoo! family. Together we'll continue to improve how people discover, remember and share on the Internet, with a big emphasis on the power of community. We're excited to be working with the Yahoo! Search team - they definitely get social systems and their potential to change the web. (We're also excited to be joining our fraternal twin Flickr!)
We want to thank everyone who has helped us along the way - our employees, our great investors and advisors, and especially our users. We still want to get your feedback, and we look forward to bringing you new features and more servers in the future.
I look forward to continuing my vision of social and community memory, and taking it to the next level with the del.icio.us community and Yahoo!

http://blog.del.icio.us/blog/2005/12/yahoo.html

Newspaper Journalists' New Job: VideoThe future of print journalism is ... video! OK, so that'snot an entirely new thought. But it is a trend that's picking up steam.In the U.K., the Press Association is undertaking a big project to help convert many regional newspaper journalists into video-journalists, reports David Dunkley Gyimah, senior lecturer at the University of Westminster, who has been doing some of the training for the program. He explains: "It's the newspapers' answer to thwart the BBC's plans to introduce what's termed ultralocal television.""The results for the first batch have been tremendous," he says. He's building a video-journalism website which among other things will showcase some of the video work being done by newspaper journalists.

http://www.poynter.org/column.asp?id=31&aid=93350

The Future of News According to Digg

The Future of News According to DiggEverything seems to have been said about Google News and other automated news tools. But what of mass human-powered news selection? Is the wisdom of the masses dead just because Wikipedia got some bad press lately? I don't think so. It might prove its real power on other sites shortly.Take the young but popular tech-news site Digg.com as an example. It's somehow similar to Slashdot.org but has a different philosophy: "Digg is a technology news website that employs non-hierarchical editorial control. With Digg, users submit stories for review, but rather than allowing an editor to decide which stories go on the homepage, the users do." It is gaining popularity rapidly. Business Week Online recently featured its founders.An interesting aspect is that Digg.com is considering expanding its range of topics, which has caused quite a bit of discussion among its users. Perhaps this system indeed could work with breaking news better than anything we know yet. Thousands of users who push a story to the front page might scoop all the wires and automated systems that take time to crawl the Web.

http://www.poynter.org/column.asp?id=31

You are invited to anonymously contribute a secret to a group art project. Your secret can be a regret, fear, betrayal, desire, confession or childhood humiliation. Be brief. Be legible. Be creative."



http://postsecret.blogspot.com/ is now a book PostSecret : Extraordinary Confessions from Ordinary Lives by Frank Warren

blog precedenti http://weblogart.blogspot.com/2005/12/corazon-quaderno-errante.html

http://oddjapan.blogspot.com

Photos: Creative uses for dead computers
http://techrepublic.com.com/2300-10877_11-5842915-8.html

call for entries videoex 2006

Videoex is Pleased to announce the call for entries for the 2006 edition of the Festival
------------------------------------------------------------------
VIDEOEX invites you to submit your work for the
international & swiss competition (entry deadline 3 February 2006).
VIDEOEX International Experimentalfilm & Video Festival
18- 28 MAY 2006 Zurich Switzerland
We are looking for:
experimental films (8mm/16mm/35mm),
videos, (experimental, videoart, ...)
innovative animation,
experimental digital & graphic productions(to be screened),
experimental documentaries,
experimental music videos
entry deadline 3 February 2006
For Details download entry form & rules www.videoex.ch
(PDF Files to open with acrobat reader)
or send a e-mail to [EMAIL PROTECTED]
no entry fee
Send tapes & entry form & brief description to:
VIDEOEX
Kanonengasse 20
8026 zurich
switzerland
---------------------------------------------------------------------- -------
VIDEOEX
18 - 28 Mai 2006
Experimentalfilm & Video Festival
Zurich Switzerland
Kanonengasse 20
8004 zurich
switzerland
tel 0041-43-3220813
fax 0041-43-3220815
e-mail: [EMAIL PROTECTED]
www.videoex.ch
---------------------------------------------------------------------- ------- ---------------------------------------------------------------------- --
COMPETITION RULES
We are looking for:
Experimental films (35mm / 16mm / 8mm), videos,
innovative animations, experimental digital &
graphic productions (to be screened),
experimental documentaries & innovative music videos.
1.
The purpose of the Videoex festival is to promote video and experimental film works.
2.
Videoex 2006 will include an international competition.
The total price amount to CHF 6000.- (aprox. USD 4000.-).
3.
The festival will make a subjective choice, based on criteria of quality and originality in both form and content.
4.
The following formats are accepted for the competition:
(Screened in Original Format)
- 35mm, 16mm, S8mm films
- U-Matic (pal, secam, ntsc)
- Beta SP (pal, secam)
- Mini DV (pal / ntsc) / DVD
- S-VHS (pal only) / VHS (pal / ntsc)
(projections with separate soundtracks are not possible)
5.
Maximum duration is 60 min (exceptions may apply).
No feature films will be accepted.
6.
Participants may submit a maximum of 3 works.
7.
To take part of the competition participants must submit a
preview copy of their work. Accepted preview formats:
VHS (pal, ntsc), mini DV (pal, ntsc), DVD
8.
All preview tapes must be accompanied by a filled out entry form and the author's video- / filmography. German, French, Italian & English are accepted. They must arrive in Zurich no later then the 3 February 2006.
9.
All preview tapes will be sent at the expense and sole risk of the candidates, who hereby discharge the Videoex 2006 from any liability. 10.
Works being shown at the festival will be insured at the cost of the copy during the festival. 11.
Only works produced after 1st October 2004 are applicable.
12.
The entry implies full acceptance of the rules.
13.
Preview material will remain in the Videoex archive, if you wish to have the preview material returned please send international postage stamps for the equivalent of the postage fee
(USD 20.- for international mail).
The other works will remain in the Videoex archive.
14.
Shipment must be declared as:
''art work for cultural purpose only"
"no commercial value''
15.
All entrants will be notified by 10th April 2006
Videoex Zurich Switzerland
Kanonengasse 20 / CH - 8004 Zurich / Switzerland
Tel +41 433220813 / Fax +41 433220815
www.videoex.ch / [EMAIL PROTECTED]

Make a bid

Jason Deans, broadcasting editorFriday December 9, 2005
The editorial staff of the Western Daily Press are offering the services of journalists about to be made redundant by owner Northcliffe up for auction on eBay.

from mediaguardian

link to net art on www.wikipedia.org

Artists and projects
A-D
Ada'Web - an important early gallery of internet art, now part of the permanent collection of the Walker Art Center.
Arctic Circle - a Net-critical cyber-roadmovie through the Canadian Arctic and along the Infobahn from 1995 by Philip Pocock and Felix Stephan Huber.
a star is mighty good company - an online poetry and art collection.
BetaSpace.org - is an evolving venue for new media artists and artwork.
Bram.org - Being Human : low tech mood mutators / not immersive : work by Annie Abrahams
Buyorbeware.com - An examination of corporations and consumption in the age of the internet.
Computer Fine Arts - online netart collection.
ctrlaltdel.org - contains all net based art projects from 1995 by Peter Luining.
Dispatx.com - Independent organisation curating, developing & promoting contemporary art and literature.
DocumentaX - the first international art event including internet art, now as an archive.
E-H
Entropy8Zuper! - Auriea Harvey & Michaël Samyn
Erational - generative interface and software art.
Fin del Mundo - launched in 1996. Net art projects from Buenos Aires, Argentina. Created by Gustavo Romano, Belen Gache, Jorge Haro y Carlos Trilnik.
Furtherfield - since 1997 Furtherfield has been an online platform for the creation, promotion, and criticism of adventurous digital/net art work for public viewing, experience and interaction.
Humbot - a 'Kohonen SOM 'movie-mapping' collaboration by Daniel Burckhardt, Gruppo A12, Udo Noll, Philip Pocock, Florian Wenz, Wolfgang Stehle.
I-N
Images Without Information - exactly what it sounds like. An early example of a metacatena.
Internet Art movies - created by Dania Tsamoutali Volioti The water of the island [1], Inner world is mirrored in the face [2] - [3], Living with pills [4] - mailto:internet.art@gmail.com.
Interversion - Version : exhibitions on digital and video art held in Geneva Switzerland.
Irational.org - founded in 1995, irational.org creates work that pushes the boundaries between the corporate realms of business, art and engineering. Core members are heath bunting, rachel baker, minerva cuevas, daniel garcía andújar and marcus valentine.
Jaka Zeleznikar - mostly on-line art/language works that further the traditions of conceptual art and traditions of visual/concrete, combinatory, generative and interactive poetry.
JODI - Joan Heemskerk (the Netherlands) and Dirk Paesmans (Belgium), are among the most well-known Internet artists. Since the mid-1990s they create web projects, absurd software, game hacks and physical installations using archaic computer screen imagery, references to computer viruses, crashes and error messages. The irrational navigation principles in their works are quite confusing; they try to construct an 'anti-interface.'
Low-fi - net art locator - launched 2000. low-fi is an art collective collating, commissioning and commenting on net art.
Machfeld - net-based and interactive art since 1999
Michaelmedia.org - A polyphonic chronicle, all (net based) art projects since 1995 by Michiel Knaven
Move.mention - Mez's Internet Art repository for her hybrid networked language mezangelle, 1995 - 2005+.
Museums of the Mind - a web project by Dr. Hugo Heyrman (Belgium): exploring the telematic future of art and mind. Online since 1995.
Mysterious Yanick D - Eletronic work by french Canadian artist Yanick Desrosiers since 1997 .
No Memory - a net-conceptual art production from 1995 by Valéry Grancher.
O-T
PaintMyWords.net Pseudo-monochromes created by the words of netizens. An artistic experience proposed by Perceval (the painter).
ØtherLands aka 'Equator' - the earliest database-driven online hypercinema collaboration produced by documenta x with Philip Pocock, Florian Wenz, Udo Noll, Felix Stephan Huber and Øthers. It began a series of 'situative' cyber+realspace public installations.
poietic-generator - since 1986, real time collective interaction, art & science research on collective phenomena.
Pleine-peau.com - since 1994, the french net art revue of international reputation.
SITO - internet art since 1993. Special focus on collaborative projects.
Terraza - Terraza is an art collective in Buenos Aires, Argentina.
The ArtBoom - an on-going family tree of the art world started by Yucef Merhi in 1999 using the prototype of the first wristwatch-camera.
The story of net art - an open-source list of net art projects organized by year of creation, 1994-2000.
Today's Spam - Generative Spam Art Blog: word patterns culled from each full day of spams, with weekly MP3/JPG summaries.
Site Específico - Brazilian collective of virtual artists working on internet art, new media and cultural experimentation.
Turbulence - Turbulence.org commissions and exhibits internet art. Founded in 1996, it is now one of the preeminent sites for Internet art.
rent-a-negro.com a web site using satire to explore race relations
Teleferique - Teleferique independant and collective downloading server from 1999 to 2005. Based in France, core members are Sonia Marques, Robin Fercoq, Etienne Cliquet, Makoto Yoshihara and erational.
Teleportacia - Olia Lialina
U-Ž
UNMOVIE - python/flash datoid-base cinema, a 'stage' of bots 24/7 online co-writing the Script with users, connecting to a 'stream', streaming since 10.11.2002, of poetically indexed 'found' net-videos. collaboration with Axel Heide, onesandzeros, Philip Pocock, Gregor Stehle and Øthers.
Web Stalker - created by the London-based artist group I/O/D in 1998 - an alternative, simple browser which creates maps of websites instead of displaying separate pages.
0-9
0waldo geometric art - Original (a)symmertical art by Walter Muncaster - since 1996.

Electronic Literature Online
Sunshine 69 by Robert Arellano (Bobby Rabyd)
The Ballad of Sand and Harry Soot” by Stephanie Strickland.
Hegirascope by Stuart Moulthrop
Alternumerics by Paul Chan
Exhale by Orit Kruglanski and Raquel Paricio
What We Will broadband interactive drama by John Cayley et al.
Varicella by Adam Cadre (file is a PC executable that must be installed)
Poems That Go Ingrid Ankerson and Megan, eds. (see below selections)
V by Stephanie Strickland
Him and Help by Dane
Superstitious Appliances and Nine Attempts to Clone a Poem by Jason Nelson
e-poets Book of Voices Kurt Heintz, producer (see below selections)
The Doll Games by Shelley and Pamela Jackson
The Intruder by Natalie Bookchin (text by Jorge-Luis Borges)
Blue Company by Rob Wittig
Email Lit by Alan Sondheim
-][selec][text: co][deP][l][oetry] _ by Mez

Articles Online
Hypertext/Cybertext/Poetext by John Cayley
Cybertext Killed the Hypertext Star by Nick Montfort, including excerpts from "Deadline" and "Eliza"
Introduction: Codework by Alan Sondheim
Entries on Interactive Cinema in START HERE> by Michelle Citron

site http://loki.stockton.edu/~rettbers/nmsf03/readings.html

The tenth annual Communication Arts Interactive Design Competition

Deadline: January 20, 2006.

Enter the most prestigious design competition for interactive media, the tenth annual Communication Arts Interactive Design Competition. Any interactive project created for digital distribution on the World Wide Web, CD-ROM, interactive kiosk or handheld device is eligible.
Selected by a nationally representative panel of distinguished programmers, interface designers and creative directors, the winning entries will be published in the September/October Interactive Annual of Communication Arts and on our Web site. Over 70,000 copies will be distributed worldwide, assuring important exposure to the creators of these outstanding projects.
View Previous Winners
Entry RequirementsInformation on eligibility, fees and preparation of entries.
Interactive Annual FAQsFrequently Asked Questions about applications and file formats.
Download Interactive Annual 2006 Entry Form You can download a PDF version of our entry form that can be viewed and printed with Acrobat Reader (108K file size).
If you don’t have a copy of Acrobat Reader, go to the Adobe Web Site and see the instructions for downloading a free copy of the necessary software.
Request Entry FormsE-mail us at competition@commarts.com and request that we fax the entry forms to you.

http://www.commarts.com/CA/magazine/comp/



Part of the Commarts Network, The Communication Arts site is the online counterpart of Communication Arts magazine and is owned by Coyne & Blanchard, Inc., the parent company of Communication Arts magazine. Directed toward designers, art directors and students, the site includes content from each issue, purchase information and entry forms for the competitions. Founded in 1959, Communication Arts is the leading trade journal for visual communications. It's the largest design magazine in the world and showcases the top work in graphic design, advertising, illustration, photography and interactive design. Each year includes eight issues of creative excellence. The magazine has an audited paid circulation of 74,834. Communication Arts was the first major design publication to launch a Web presence in 1995. Several redesigns later, we realized that the most popular areas of our site had grown to where they could easily stand on their own. So, we decided to divide the content into three distinct sites. commarts.com is an extension of the magazine; designinteract.com focuses on multimedia and technology and creativehotlist.com is a dedicated career site for creative professionals.

Linux Multimedia Hacks (Hacks) by Kyle Rankin
InDesign Production Cookbook by Alistair Dabbs, Anne-Marie Concepcion, Ken McMahon, Keith Martin

Head First HTML with CSS & XHTML
by Eric Freeman, Elisabeth Freeman

AsUnit is an Open-Source, Unit Test Framework for Macromedia Flash ActionScript. It is fully integrated into the Macromedia Flash MX 2004 Professional IDE, but its primary features require minimal interaction with the Flash Environment. As of version 2.5, the AsUnit Framework now also supports Flex Development!
The AsUnit framework is bundled with a number of relevant utilities (primarily written in C and JSFL) that make the development of Rich Internet Applications in Flash MX 2004 far more efficient. If you have any questions or problems please post to the mailing list.
Features
AsUnit is deployed as a cross-platform, self-installing, Macromedia Extension File (.mxp) but the sources should work with any fully compatible ActionScript compiler. Because ActionScript is basically platform agnostic, the AsUnit framework is also.Some features include:
Full-Featured Unit Test Framework: For creating Automated Unit Test Harnesses in ActionScript that can be executed in any deployment of the Flash 6.0 player and up. This includes the Test Movie Player, the Browser Active-X control, the Mozilla Player, and even Macromedia Central.
Simple Installation: Uses the Macromedia Extension file format so that developers can get going as quickly as possible.
Custom AsUnit Panel: Custom Test Result Panel shows real-time results for tests, includes detailed text output for failures and green/red (pass/fail) bar for instant clarity. Any failing test includes a direct link to the TestCase.as file in question.
Sys.println: Will capture output using Sys.println("message"); and present to the "Local Output Panel" (inside your Flash Application), in the "AsUnit UI" Custom Panel, or directly to the Flash IDE Output Panel - all without changing any of your system code.
Create Class Command: Automatically create a fully qualified Class file and the associated TestCase based on editable, human-readable templates.
Build Test Suites Command: Automatically recurse through packages and create AllTests.as files to aggregate Test Cases into Test Suites.
Flash 6.0 Player Support: Supports and runs in applications that target the Flash 6.0 Player environment.
Flex 1.5: We're Proud to announce that with AsUnit version 2.5 we now support the Flex Compiler. (More robust Flex support is coming soon!)
Learning Resources:
We would really like to grow this section of our project, if you are interested in contributing, please let us know!
Unit Testing en ActionScript 1-4 (French)by Eric Priou
Unit Testing with FAMES (and AsUnit)by Aral Balkan
Unit Testing with AsUnitby Mark Daggett
TestCase/Suite templates for FAMES developmentby Keith Peters

http://www.asunit.org/

Realising the Full Potential of the Web
Tim Berners-Lee, Director of the World-Wide Web Consortium
Based on a talk presented at the W3C meeting, London, 1997/12/3

Abstract
The first phase of the Web is human communication though shared knowledge. We have a lot of work to do before we have an intuitive space in which we can put down our thoughts and build our understanding of what we want to do and how and why we will do it. The second side to the Web, yet to emerge, is that of machine-understandable information. As this happens, the day-to-day mechanisms of trade and bureaucracy will be handled by agents, leaving humans to provide the inspiration and the intuition. This will come about though the implementation of a series of projects addressing data formats and languages for the Web, and digital signatures.

The original dream
The Web was designed to be a universal space of information, so when you make a bookmark or a hypertext link, you should be able to make that link to absolutely any piece of information that can be accessed using networks. The universality is essential to the Web: it looses its power if there are certain types of things to which you can’t link.
There are a lot of sides to that universality. You should be able to make links to a hastily jotted crazy idea and to link to a beautifully produced work of art. You should be able to link to a very personal page and to something available to the whole planet. There will be information on the Web which has a clearly defined meaning and can be analysed and traced by computer programs; there will be information, such as poetry and art, which requires the full human intellect for an understanding which will always be subjective.
And what was the purpose of all this? The first goal was to work together better. While the use of the Web across all scales is essential to the concept, the original driving force was collaboration at home and at work. The idea was, that by building together a hypertext Web, a group of whatever size would force itself to use a common vocabulary, to overcome its misunderstandings, and at any time to have a running model - in the Web - of their plans and reasons.
For me, the forerunner to the Web was a program called ‘Enquire’, which I made for my own purposes. I wrote it in 1980, when I was working at the European Particle Physics Lab (CERN), to keep track of the complex web of relationships between people, programs, machines and ideas. In 1989, when I proposed the Web, it was as an extension of that personal tool to a common information space.
When we make decisions in meetings, how often are the reasons for those decisions (which we so carefully elaborated in the meeting) then just typed up, filed as minutes and essentially lost? How often do we pay for this, in time spent passing on half-understandings verbally, duplicating effort through ignorance and reversing good decisions from misunderstanding? How much lack of co-operation can be traced to an inability to understand where another party is ‘coming from’? The Web was designed as an instrument to prevent misunderstandings.
For this to work, it had to be not only easy to ‘browse’, but also easy to express oneself. In a world of people and information, the people and information should be in some kind of equilibrium. Anything in the Web can be quickly learned by a person and any knowledge you see as being missing from the Web can be quickly added. The Web should be a medium for the communication between people: communication through shared knowledge. For this to work, the computers, networks, operating systems and commands have to become invisible, and leave us with an intuitive interface as directly as possible to the information.
Re-enter machines
There was a second goal for the Web, which is dependent on the first. The second part of the dream was that, if you can imagine a project (company, whatever) which uses the Web in its work, then there will be an map, in cyberspace, of all the dependencies and relationships which define how the project is going. This raises the exciting possibility of letting programs run over this material, and help us analyze and manage what we are doing. The computer renters the scene visibly as a software agent, doing anything it can to help us deal with the bulk of data, to take over the tedium of anything that can be reduced to a rational process, and to manage the scale of our human systems.
Where are we now?
The Web you see as a glorified television channel today is just one part of the plan. Although the Web was driven initially by the group work need, it is not surprising that the most rapid growth was in public information. Web publishing, when a few write and many read, profited most from the snowball effect of exponentially rising numbers of readers and writers. Now, with the invention of the term ‘intranet’, Web use is coming back into organisations. (In fact, it never left. There have always been since 1991, many internal servers, but as they were generally invisible from outside the companies’ firewalls they didn't get much press!). However, the intuitive editing interfaces which make authoring a natural part of daily life are still maturing. I thought that in 12 months we would have generally available intuitive hypertext editors. (I have stuck to that and am still saying the same thing today!)
It is not just the lack of simple editors that has prevented use of the Web as a collaborative medium. For a group of people to use the Web in practice, they need reliable access control, so that they know their ideas will only be seen by those they trust. They also need access control and archival tools that, like browsing, don't require one to get into the details of computer operating systems.
There is also a limit to what we can do by ourselves with information, without the help of machines. A familiar complaint of the newcomer to the Web, who has not learned to follow links only from reliable sources, is the about the mass of junk out there. Search engines flounder in the mass of undifferentiated documents that range vastly in terms of quality, timeliness and relevance. We need information about information, ‘metadata’, to help us organise it.
As it turns out, many of these long-term needs will hopefully be met by technology, which for one reason or another is being developed by the technical community, and agreed upon by groups such as the World-Wide Web Consortium (W3C), in response to various medium-term demands.

The World Wide Web Consortium - W3C
The Consortium exists as a place for those companies for whom the Web is essential to meet and agree on the common underpinnings that will allow everyone to go forward. (There are currently over 230 member organisations.)
Whether developing software, hardware, networks, information for sale, or using the Web as a crucial part of their business life, these companies are driven by current emerging areas such as Web publishing, intranet use, electronic commerce, and Web-based education and training. From these fields medium-term needs arise and, where appropriate, the Consortium starts an Activity to help reach a consensus on computer protocols for that area. Protocols are the rules that allow computers to talk together about a given topic. When the industry agrees on protocols, then a new application can spread across the world, and new programs can all work together as they all speak the same language. This is key to the development of the Web.

Where is the Web Going Next?
Avoiding the World Wide Wait
You've heard about it, you may have experienced it, but can anything be done about it?
One reason for the slow response you may get from a dial-up Internet account simply follows from the ‘all you can eat’ pricing policy. The only thing which keeps the number of Internet users down is unacceptable response, so if we were to suddenly make it faster, there would almost immediately be more users until it was slow again. I've seen it: when we speeded up an overloaded server by a factor of five, it once again rose to 100% utilisation as the number of users increased by a factor of five.
Eventually, there will be different ways of paying for different levels of quality. But today there some things we can do to make better use of the bandwidth we have, such as using compression and enabling many overlapping asynchronous requests. There is also the ability to guess ahead and push out what a user may want next, so that the user does not have to request and then wait. Taken to one extreme, this becomes subscription-based distribution, which works more like email or newsgroups.
One crazy thing is that the user has to decide whether to use mailing lists, newsgroups, or the Web to publish something. The best choice depends on the demand and the readership pattern. A mistake can be costly. Today, it is not always easy for a person to anticipate the demand for a page. For example, the pictures of the Schoemaker-Levy comet hitting Jupiter taken on a mountain top and just put on the nearest Mac server or the decision Judge Zobel put onto the Web - both these generated so much demand that their servers were swamped, and in fact, these items would have been better delivered as messages via newsgroups. It would be better if the ‘system’, the collaborating servers and clients together, could adapt to differing demands, and use pre-emptive or reactive retrieval as necessary.

Data about Data - Metadata
It is clear that there should be a common format for expressing information about information (called metadata), for a dozen or so fields that needed it, including privacy information, endorsement labels, library catalogues, tools for structuring and organising Web data, distribution terms and annotation. The Consortium's Resource Description Framework (RDF) is designed to allow data from all these fields to be written in the same form, and therefore carried together and mixed.
That by itself will be quite exciting. Proxy caches, which make the Web more efficient, will be able to check that they are really acting in accordance with the publisher's wishes when it comes to redistributing material. A browser will be able to get an assurance, before imparting personal information in a Web form, on how that information will be used. People will be able, if the technology is matched by suitable tools, to endorse Web pages that they perceive to be of value. Search engines will be able to take such endorsements into account and give results that are perceived to be of much higher quality. So a common format for information about information will make the Web a whole lot better.

The Web of trust
In cases in which a high level of trust is needed for metadata, digitally signed metadata will allow the Web to include a ‘Web of trust’. The Web of trust will be a set of documents on the Web that are digitally signed with certain keys, and contain statements about those keys and about other documents. Like the Web itself, the Web of trust does not need to have a specific structure like a tree or a matrix. Statements of trust can be added exactly so as to reflect actual trust. People learn to trust through experience and though recommendation. We change our minds about who we trust for different purposes. The Web of trust must allow us to express this.
Hypertext was suitable for a global information system because it has this same flexibility: the power to represent any structure of the real world or a created imagined one. Systems that force you to express information in trees or matrices are fine so long as they are used for describing trees or matrices. The moment you try to use one to hold information that does not fit the mold, you end up twisting the information to fit, and so misrepresenting the situation. Similarly, the W3C's role in creating the Web of trust will be to help the community have common language for expressing trust. The Consortium will not seek a central or controlling role in the content of the Web.

‘Oh, yeah?’
So, signed metadata is the next step. When we have this, we will be able to ask the computer not just for information, but why we should believe it. Imagine an ‘Oh, yeah?’ button on your browser. There you are looking at a fantastic deal that can be yours just for the entry of a credit card number and the click of a button. "Oh, yeah?", you think. You press the ‘Oh, yeah?’ button. You are asking your browser why you should believe it. It, in turn, can challenge the server to provide some credentials: perhaps, a signature for the document or a list of documents that expresses what that key is good for. Those documents will be signed. Your browser rummages through with the server, looking for a way to convince you that the page is trustworthy for a purchase. Maybe it will come up with an endorsement from a magazine, which in turn has been endorsed by a friend. Maybe it will come up with an endorsement by the seller's bank, which has in turn an endorsement from your bank. Maybe it won't find any reason for you to actually believe what you are reading at all.

Data about things
All the information mentioned above is information about information. Perhaps the most important aspect of it is that it is machine-understandable data, and it may introduce a new phase of the Web in which much more data in general can be handled by computer programs in a meaningful way. All these ideas are just as relevant to information about the real world: about cars and people and stocks and shares and flights and food and rivers.
The Enquire program assumed that every page was about something. When you created a new page it made you say what sort of thing it was: a person, a piece of machinery, a group, a program, a concept, etc. Not only that, when you created a link between two nodes, it would prompt you to fill in the relationship between the two things or people. For example, the relationships were defined as ‘A is part of B’ or ‘A made B’. The idea was that if Enquire were to be used heavily, it could then automatically trace the dependencies within an organisation.
Unfortunately this was lost as the Web grew. Although it had relationship types in the original specifications, this has not generally become a Web of assertions about things or people. Can we still build a Web of well-defined information?
My initial attempts to suggest this fell on stony ground, and not surprisingly. HTML is a language for communicating a document for human consumption. SGML (and now XML) gives structure, but not semantics. Neither the application, nor the language, called for it.
With metadata we have a need for a machine-understandable language that has all the qualities we need. Technically, the same apparatus we are constructing in the Resource Description Framework for describing the properties of documents can be used equally well for describing anything else.

A crying need for RDF
Is there a real need for this metadata and is there a market in the medium term that will lead companies to develop in this direction? Well, in the medium term, we see the drivers already - web publishing, education and training, electronic commerce and intranets.
I have mentioned the vicious circle that caused the Web to take off initially. The increasing amount of information on the Web was an incentive for people to get browsers, and the increasing number of browsers created more incentive for people to put up more Web sites. It had to start somewhere and it was bootstrapped by making ‘virtual hypertext’ servers. These servers typically had access to large databases - such as phone books, library catalogues and existing documentation management systems. They had simple programs which would generate Web pages ‘on the fly’ corresponding to various views and queries on the database. This has been a very powerful ‘bootstrap’ as there is now a healthy market for tools to allow one to map one's data from its existing database form on to the Web.
Now here is the curious thing. There is so much data available on Web pages, that there is a market for tools that ‘reverse engineer’ that process. These are tools that read pages, and with a bit of human advice, recreate the database object. Even though it takes human effort to analyse the way different Web sites are offering their data, it is worth it. It is so powerful to have a common, well defined interface to all the data so that you can program on top of it. So the need for well defined interface to Web data in the short term is undeniable.
What we propose is that, when a program goes out to a server looking for data, say a database record, that the same data should be available in RDF, in such a way that the rows and columns are all labelled in a well-defined way. That it may be possible to look up the equivalence between field names at one Web site and at another, and so merge information intelligently from many sources. This is a clear need for metadata, just from looking at the trouble libraries have had with the numbers of very similar, but slightly different ways of making up a catalogue card for a book.

Interactive Creativity

I want the Web to be much more creative than it is at the moment. I have even had to coin a new word - Intercreativity - which means building things together on the Web. I found that people thought that the Web already was ‘interactive’, because you get to click with a mouse and fill in forms! I have mentioned that better intuitive interfaces will be needed, but I don’t think they will be sufficient without better security.
It would be wrong to assume that digital signature will be mainly important for electronic commerce, as if security were only important where money is concerned. One of my key themes is the importance of the Web being used on all levels from the personal, through groups of all sizes, to the global population.
When you are working in a group, you do things you would not do outside the group, You share half-baked ideas, reveal sensitive information. You use a vernacular that will be understood; you can cut corners in language and formality. You do these things because you trust the people in the group, and that others won't suddenly have access to it. To date, on the Web, it has been difficult to manage such groups or to allow one to control access to information in an intuitive way.

Letting go
So, where will this get us? The Web fills with documents, each of which has pointers to help a computer understand it and relate it to terms it knows. Software agents acting on our behalf can reason about this data. They can ask for and validate proofs of the credibility of the data. They can negotiate as to who will have what access to what and ensure that our personal wishes for privacy level be met.
The world is a world of human beings, as it was before, but the power of our actions is again increased. The Web already increases the power of our writings, making them accessible to huge numbers of people and allowing us to draw on any part of the global information base by a simple hypertext link. Now we image the world of people with active machines forming part of the infrastructure. We only have to express a request for bids, or make a bid, and machines will turn a small profit matching the two. Search engines, from looking for pages containing interesting words, will start indexes of assertions that might be useful for answering questions or finding justifications.
I think this will take a long time. I say this deliberately, because in the past I have underestimated how long something will take to become available (e.g. good editors in 12 months).
Now we will have to find how best to integrate our warm fuzzy right-brain selves into this clearly defined left-brain world. It is easy to know who we trust, but it might be difficult to explain that to a computer. After seeding the semantic Web with specific applications, we must be sure to generalise it cleanly, leaving it clean and simple so that the next generation can learn its logical concepts along with the alphabet.
If we can make something decentralised, out of control, and of great simplicity, we must be prepared to be astonished at whatever might grow out of that new medium.
It’s up to us

One thing is certain. The Web will have a profound effect on the markets and the cultures around the world: intelligent agents will either stabilise or destabilise markets; the demise of distance will either homogenise or polarise cultures; the ability to access the Web will be either a great divider or a great equaliser; the path will either lead to jealousy and hatred or peace and understanding.
The technology we are creating may influence some of these choices, but mostly it will leave them to us. It may expose the questions in a starker form than before and force us to state clearly where we stand.
We are forming cells within a global brain and we are excited that we might start to think collectively. What becomes of us still hangs crucially on how we think individually.

http://www.w3.org/1998/02/Potential.html

As the festive season gets under way, Letitia and Dr Mark discuss ways to party smart in this week's Sunday Surgery. Get the facts on drugs & alcohol and play Excess All Areas to find out how much is too much. Tell us how you're celebrating on the message board.

Excess All Areas e' un gioco in flash che permette di visualizzare gli effetti delle droghe scegliendo tra cannabis, extacy, alchool, ecc. per capire quando e' troppo.
Potete poi lasciare un messaggio della vostra esperienza sul forum.

http://www.bbc.co.uk/radio1/onelife/fun/health/excess/drop_test.html

CORAZON
Il sottotitolo, quaderno errante, dice tutto: si tratta di un quaderno (più o meno grosso, più o meno simile ad un’agenda… ancora dobbiamo individuarlo) che errerà in giro per l’Italia e, se qualcuno lo vorrà, all’estero.
Un quaderno che passerà di mano in mano, di cassetta della posta in cassetta della posta e che metterà in contatto gli utenti del blog e quelli che ne faranno richiesta.



Esiste una versione simile in inglese
The 1000 Journals Project is an ongoing, collaborative experiment attempting to follow 1000 journals throughout their travels.

The goal is to provide a method for interation and shared creativity. If you ask a kindergarten class how many of them are artists, they'll all raise their hands. Ask the same question of 6th graders, and maybe one third will respond. Ask high school grads, and few will admit to it. (explained in Orbiting the Giant Hairball)

What happens to us growing up? We begin to fear criticism, and tend to keep our creativity to ourselves. Many people keep journals, of writing or sketching, but not many share them with people. (when was the last time a friend invited you to read their diary?) You will not be judged here. And you will have company. This is for you. For everyone.

http://madprofessor.net/index.html