Hidrazone

ARTECH 2008 - 4a Conferência International de Arte Digital

2008-01-09T14:49:00.001Z

Quoted from http://artes.ucp.pt/artech2008/:

ARTECH 2008 - 4a Conferência International de Arte Digital

4th International Conference on Digital Arts
7, 8 | November
Portuguese Catholic University | Porto

Artech 2008 is the fourth international workshop held in Portugal and Galicia on the topic of Digital Arts. It aims to promote contacts between Iberian and International contributors concerned with the conception, production and dissemination of Digital and Electronic Art. Artech 2008 brings the scientific, technological and artistic community together, promoting the interest in the digital culture and its intersection with art and technology as an important research field, a common space for discussion, an exchange of experiences, a forum for emerging digital artists and a way of understanding and appreciating new forms of cultural expression.

Main Topics
Main areas are related with sound, image, video, music, multimedia and other new media related topics, in the context of emerging practice of artistic creation. Although non exclusive, the main topics of the conference are:

Art and Science

Audio-Visual and Multimedia Design

Creativity Theory

Electronic Music

Generative and Algorithmic Art

Interactive Systems for Artistic Applications

Media Art history

Mobile Multimedia

Net Art and Digital Culture

New Experiences with New Media and New Applications

Tangible and Gesture Interfaces

Technology in Art Education

Virtual Reality and Augmented Reality

Important Dates

Submission deadline: 2 June 2008

Notification of submission decision: 7 July 2008

End of early registration: 31 September 2008

ARTECH: 7, 8 November 2008

dislocate : dislocate07

2007-12-07T20:35:00.001Z

Quoted from http://www.dis-locate.net/dislocate07.htm#Trampoline50:

dislocate : dislocate07

Undercurrent
Undercurrent brings together sound and visual artists based in the UK and China in a cross-continental collaboration. The project feeds from a pool of audio, video and photographic material collected by D-Fuse from cities in both countries. This is being re-interpreted in response to questions of urban architecture, economic and social change as well as our personal relations to the space that surrounds us. Undercurrent is a multi-screened, immersive environment of high-resolution video/images and sound. Locations: Shanghai, Guangzhou + Chongqing London, Liverpool + Sunderland D-FUSE D-Fuse are artists working in a trans-disciplinary method with cutting edge technology, across wide range of creative media from the Web, Print, TV, Film, Art and Architecture, to Live A/V Performances and Mobile Media. CONTRIBUTING ARTISTS 8gg, Actop, B6, D-Fuse [Michael FAULKNER + Matthias KISPERT], Ariane GEIL, Haus M Commune, LIN Zhiying, Davide QUAYOLA, Barney STEEL, Axel STOCKBURGER , THOM Chin, WAN G Geezer, XU Cheng, ZHONG Minjie, Zip Design Project Producer - Keri Elmsly Project partner and Sunderland component commission - /sLab [Keith Whittle + Marian Downes] Project representation - powers of 2 Supported by Arts Council England, Visiting Arts, British Council and /sLab

www.dfuse.com

NeMe: Subtle Technologies Festival 2008

2007-11-05T12:27:00.001Z

Quoted from http://neme.org/main/726/subtle-technologies-festival-2008:

NeMe: Subtle Technologies Festival 2008
Call 05 November 2007 DEADLINE: 31 December 2007 (1 month 3 weeks)
light

Recognized internationally as a unique forum that encourages new insights and collaborations, Subtle Technologies challenges its participants to contemplate how art and science act upon one another and reshape perspectives.

Throughout four days of presentations, we cover a wide variety of subjects. It is the unexpected threads that are woven between the various presentations that make the Festival a unique experience.

The 11th Subtle Technologies Festival investigates light as our theme. Studied as long as recorded history, light continues to inspire and mystify us. Either visible or invisible, a particle or a wave, as nourishment, heat, and energy, molecules to complex organisms respond to and are affected by light. The speed of light defines our physics. It has held great spiritual significance for many cultures.

We invite submissions that focus on light as a tool, subject of inquiry, and source of inspiration for disciplines related to both the arts and sciences, including the visual, performance, moving image arts; architecture and design; the engineering and natural sciences; and historians, anthropologists, cultural theorists.

We are interested in looking at light that occurs in fabricated and natural systems having physical, chemical, and biological origins. Some possible topics we would like to explore in this year’s festival include but are not limited to:

light in medicine

light in artforms

light’s relationship to astronomy

perception and psychological effects of light

circadian rhythm

light as a source of energy

physics of light

light in dance, theatre and performance

light as an architectural or urban planning element

light in biology

light’s relationship to spirituality

light as a communication medium

optics

light’s relationship to film, photography and video

light and the environment

We are currently seeking submissions for our symposium, exhibitions, poster session, and film and video evening.

Guidelines for Proposals:

We strongly urge those interested in submitting a proposal to acquaint themselves with our history of programming.

The festival is open to the public and presentations must be accessible to a non-specialized audience.

Each presentation must fill 45 minutes including a question and answer session.

We encourage demonstrations, and can accommodate / provide technical support for almost any type of presentation.

All presenters receive an honorarium and their festival registration fees are waived.

CRACKED CITIES ON TOUR

2006-11-06T21:33:00.000Z

CRACKED CITIES
An Exhibition of Photographs and Digital Art Work
By
Julian Konczak

The start of nationwide tour of images created around the world linked by themes of decay.

The show combines film and digital technologies and uses print and screen based presentation. The artist explores a space beneath the global uniformity of high rise glass and metal and finds a mildewed world of broken cityscapes. The images link decaying continents across the cities of London, Tokyo, Kathmandu and New York. The digital work accesses a database of over 100 images: a slideshow allows us to eavesdrop on the comments of a virtual audience, while a digital book tantalizingly flicks the images in front of our eyes.

Tower - Winchester 6th June to 7th July 2006

Light Gallery - Southampton 10th September to October 7th 2006

Third Floor Arts - Portsmouth 9th October to 30th October 2006

South Hill Park - 25th November to 28th January 2006

Havant Arts Centre - 1st February to 28th February 2007

Ashcroft Arts Centre - 12th March to 9th April 2007

Material on which the show is based is exhibited and venues are also listed on http://www.hidrazone.com/artists/julian_konczak/cracked_cities/installation.html and was awarded first prize in the 2005 Ephemoral Cities on-line exhibition.

Also featured on BBC website
http://www.bbc.co.uk/hampshire/content/articles/2006/06/27/cracked_cities_feature.shtml

twonoten-digital art exhibition

2006-11-06T21:19:00.000Z

20th October - 15th December 2006
eXHiBiTioN

Friday 20 October—15 December

The main exhibition, hosted at the Bargate Monument Gallery will last for eight weeks and features digital artworks from a number of artists from the UK and Internationally. Some of the artists and works featured in the exhibition are shown on this page.

The Bargate is the main landmark of the city of Southampton. It is located at the top of the high street, right in the middle of the main shopping precinct.

Kenneth A Huff - Contemplations: 2005.2

Today’s frenetic, rapid-cut popular media serves as foil to the intent of Contemplations, a series of animated works exploring patterns and forms inspired by the intricate complexities and rhythms of nature. This work from the series, 2005.2, shows slowly-evolving solid and transparent forms. With no set beginning or end, the work allows the viewer to become lost in the complex, organically-shifting details and provides an engaging, calming point of contemplation.

www.kennethahuff.com

Julian Konczak - 25-URBAN

The work is a slice of urban archeology - it moves through visual representations of the city and its tendency to continually renew itself. Regeneration, peeling paint, marginal areas, zones ear-marked for demolition all form part of this global urban tapestry. We are given a continual vision of a pockmarked rubble, harsh strong colours that have over-spilled from graffiti remind us how the urban zone is both subject to the forces of nature and the appropriation of spaces by sub-cultures.
25 Series website

James Roper - Anime Abstracts

The compositions in the 'Anime Abstracts' series are constructed using cut-outs sourced from Manga and Anime that are then reassembled to form a body built from a swarming mass of parts that either stretches across a monochrome void or engulfs the picture completely.

www.jroper.co.uk

Jeremy Gardiner - Purbeck Light Years

Purbeck Light Years is a three dimensional temporal arena which evokes a calm, receptive state of mind. A mixture of both old and new, hybrid techniques that combine characteristics of painting and drawing, computer animation and immersive VR. Inside this virtual space is re-imagined a whole world, a topographical landscape modelled in three dimensions, silent and secret, a place of accumulated history.

www.jeremygardiner.co.uk

Simon Whetham - Dark Light Audio Tracks

'Dark Light Audio Tracks' is an audio work, composed using field recordings, which began life as a soundtrack to visual work as part of a project called ‘A Dark Light’. This body of work comprises paintings and photography from, and informed by, a trip to Iceland in the winter of 2005.

www.simonwhetham.co.uk

Richard Vickers - 15 x 15

15 x 15 uses Andy Warhol's famous statement 'in the future, everyone will be famous for five minutes', and advances it into the 21st century with new media technology. Anyone can contribute to the work with a mobile phone and be famous, for 15 seconds.

www.15x15.org

Karen Reed - Integrity versus Despair

Integrity versus Despair is a mobile phone film, that deals with how ubiquitous technology really influences our lives. The cultural changes that have occurred particularly with regard to what is private vs. public. The film involves the artist’s parents and family all trying to bridge the generation gap with regard to using this ubiquitous technology.

www.karenreedart.com

Elisabeth Clark - Project 24/25

What if time was slowed down? What if a fraction of a second was gained every second? What if our daily cycle consisted of 25 rather than 24 hours?

Project 24/25 questions our notion of time and the speed at which it travels. The “performance” (sound piece) records the second-hand beat of a clock, in the artist's conceptualised “25 hour day”.

Anthony Head - Metamorphosis 2

Metamorphosis 2 is an interactive kinetic virtual sculpture. The audience can explore the shape, physicality and form of this mathematically created object. The sculpture constantly evolves into different shapes and reacts to the viewer's prodding via a touchscreen.

Can this flesh-like virtual object really being 'touched'?

www.cockneydog.com

Geska Helena Andersson & Robert Brecevic - Kids on the Slide

Children. You never know where they are. And when they appear, they always seem to be out of context. ‘Kids on the Slide’ is a responsive film installation that tells the little tales of kids that “come out and play” in urban settings that have rarely been depicted as playgrounds.

Working with large screens, cameras and sensors ‘Kids on the Slide’ centres around movement and reflection. It challenges the notion of ‘the performer’: who is conjuring who?

Warren Garland - Inside Reality

Based on an idea, by the social theorist, Jean Baudrillard, that identities were previously formed through an interaction between the subject, a private sphere, and the object, a public sphere, Garland’s work relies on our constructing a sense of self from the realities of the outside world, today projected into our private space via electronic media.

This confusion of public and private space forms a foundation for this piece, a documentation of a series of films created from an accumulation of footage of various rooms in Garland’s house.

TELENESIA - call for work/papers

2006-07-10T17:43:00.000Z

HIDRAZONE -call for digital art and papers on the theme of TELENESIA.

Ever since the medium of television took on a global dominance artists have created works that both celebrate and critique the power of the ubiquitous TV screen. Reaching its zenith in the global village of 100 channels of satellite TV has it imploded in the face of laptop viewing and downloadable/interactive programming?

To commemorate the demise of the medium and to celebrate its mutated new forms we are looking for artworks that reconfigure the role of television:

sculptural installation, computational narrative, video for handheld, games. multi screen work, expanded television, live performance, video sampling

WWW.HIDRAZONE.COM - An internationally profiled online journal for digital art and related writing is currently looking for work for its THIRD edition. Following the success of ISSUE 1-RANDOMNESS and ISSUE 2-PERFORMATIVITY, the EDITORS are putting a call out for material for ISSUE 3-TELENESIA launching in December 2006.

GUIDELINES

Work submitted can take the form of the piece itself and/or video, photographic or audio documentation of an event. We are looking for work which is strongly contextualised - this can be from a critical, technical, academic or philosophical perspective.

SUBMISSIONS

The next issue is TELENESIA

DEADLINE for submissions is NOVEMBER 30TH 2006.

Please view the site and style of the site to ensure that material sent is suitable. Potential media includes: Flash, Director Shockwave, Quicktime, Podcast, Java and other software based art work. The art work must be capable of functioning in an online environment aimed at a 512kb broadband user.

All proposals should be submitted electronically via email to editor@hidrazone.com

and include the following:

1. SUBJECT

"TELENESIA"

2. MAIN BODY OF EMAIL

A short paragraph describing the content of the submission

the following declaration:

"I have reproduction rights over the work submitted and give permission for editors to feature attached material on HIDRAZONE.COM"

NOTE: All artists work remain the intellectual property of the author(s).

3. ATTACHMENT

a ZIP file of following material.

a name of artists, email addresses
b short biography/CV/artist statement (not more than 400 words) for artists index
c description of work or technical/critical/academic context
d work (and/or documentation)

PERFORMATIVITY

2006-07-10T14:15:00.000Z

HIDRAZONE.COM are pleased to announce that the 2nd edition of the on-line
digital arts journal has gone live with the theme PERFORMATIVITY. This work
is also accessible via VODCAST - go to www.hidrazone.com for link.

Incorporating work that cuts across a number of disciplines, the 12 artworks
featured ask you to re examine the nature of performance in a post-digital
world.

International artists' work featured: LA based Anita Pontin playfully
eroticises a camera phone movie in Happy Slap, NYC based Sarah Oppenheimer
toys the performance of an art lecture audience, Swedish Interactive
Institute artists Geska Helena Andersson and Robert Brecevic examine sexual
identity in a series of public installations, UK digital artists Russell
Richards and Julian Konczak profile their computational installation of
pedestrian performance of Shibuya Crossing in Mass Production, The Institute
for Infinitely Small Things perform Corporate Commands, From France Philippe
Chollet creates an interactive tableau of Hardwar, India, Birth and Decay
invites the user to invoke the generative processes of nature, UK based
Boredomresearch investigate machines that perform artificial life, USA -
Carole Kim creates dance performances that reconfigure the relationship
between performer and audience. London based Igloo artists Ruth Gibson and
Bruno Martelli combine movement with the user interaction of a games engine,
Shea Craig creates database psychogeography of suburban America, Pia Lindman
creates work at MIT performing human and robot behaviour.

HIDRAZONE is a space for practitioners and writers in the field of digital
and interactive arts. We seek to encourage practical and theoretical
research into a wide variety of digital art (new media art) such as net art,
interactive art, software art, digital painting, and computational video.
Our main goal is to provide a forum for encouraging aesthetic quality in
digital and interactive arts practice, as well as promoting critical
discourse and theoretical commentary in this emerging field.

CRACKED CITIES ON TOUR

2006-05-22T10:43:00.000Z

MASS PRODUCTION

2006-05-22T10:42:00.000Z

AtCalls online database of art calls and more

2006-03-15T15:22:00.000Z

A free service listing fine art, new media art and theory.

Compiled by carlos.katastrofsky[at]gmx[dot]net.

http://atcalls.blogspot.com/

Exhibition Exploring the Orgasm

2006-02-24T14:06:00.001Z

Orgasmos

WHO: internet artists.
WHAT: exhibition exploring the orgasm.
WHERE: online.
WHEN: from 10 April.
FEE: prizes for winning works.
TO APPLY: submit a URL with the name of the work plus a 300 word statement by email only. There is also a disclaimer that needs to be pasted into your email stating ownership of the work.
CONTACT: submit@tosoma.org www.tosoma.org
DEADLINE: 10 March

Phoenix Digital

2006-02-24T14:06:00.000Z

WHO: artists to work with partners from across the city.
WHAT: five new digital arts commissions.
FEE: commissions range in value from £2,000 to £3,500 and are to be delivered in autumn.
INFORMATION FROM: 0116 224 7700, admin@phoenix.org.uk www.phoenix.org.uk
DEADLINE: 28 February

Call for Internet based Work on the Theme of Memory

2006-02-24T14:03:00.000Z

online festival.
-throughout 2006.
-projects remain online.
-application format available online and all applications can be emailed. Each artist can submit up to three projects/works and have to be submitted as URL.
http://rrf2006.newmediafest.org http://netex.nmartproject.net/index.php?cat=55 rrf2006@newmediafest.org
1 March

HIDRAZONE -call for digital art and papers on the theme of performance.

2006-02-14T12:03:00.000Z

WWW.HIDRAZONE.COM - An internationally profiled online journal for digital art and related writing is currently looking for work for its second edition. Following the success of ISSUE 1-RANDOMNESS, the EDITORS are putting a call out for material for ISSUE 2-DIGITAL PERFORMANCE launching in May 2006. We welcome material from across the globe and work may incorporate sound, image movement or scupltural elements.

GUIDELINES

The editorial panel are looking for digital art projects that have been installed or performed for an audience. Projects submitted can take the form of the work itself and/or video, photographic or audio documentation of the event. We are looking for work which is contextualised - this can be from a critical, technical, academic or philosophical perspective.

SUBMISSIONS

The next issue is DIGITAL PERFORMANCE

DEADLINE for submissions is MARCH 30TH 2006.

Please view the site and style of the site to ensure that material sent is suitable. Potential media includes: Flash, Director Shockwave, Quicktime, Podcast, Java and other software based art work. The art work must be capable of functioning in an online environment aimed at a 512kb broadband user.

All proposals should be submitted electronically via email to editor@hidrazone.com

and include the following:

1. SUBJECT

"PERFORMANCE"

2. MAIN BODY OF EMAIL

A short paragraph describing the content of the submission

the following declaration:

"I have reproduction rights over the work submitted and give permission for editors to feature attached material on HIDRAZONE.COM"

NOTE: All artists work remain the intellectual property of the author(s).

3. ATTACHMENT

a ZIP file of following material.

a name of artists, email addresses
b short biography/CV/artist statement (not more than 400 words) for artists index
c description of work or technical/critical/academic context
d work (and/or documentation)