DASH Archives - March 2006
criticalartware @ BUSKER on FRI 2006.03.10!
From: jonCates <joncates@CRITICALARTWARE.NET>
Date: Tue, 7 Mar 2006 10:46:04 -0600
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
"NOW SHOWING @ CRITICALARTWARE: DAN SANDIN!"
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Dan Sandin interview by criticalartware
++ a BLIT:SCREEN demo + introduction!
@ BUSKER
on FRI 2006.03.10
@ 8 PM
1087 N HERMITAGE AVE CHICAGO IL 60622
FREE + OPEN
join us as criticalartware screens our interview with Dan Sandin!
this interview will be followed by a demo of + introduction to
BLIT:SCREEN, a new decentralized media distribution system developed
by jake elliott, a criticalartware core developer + running on the
criticalartware [application/platform].
nfo ABOUT criticalartware's DAN SANDIN interview, criticalartware,
BLIT:SCREEN + BUSKER follows below.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
ABOUT criticalartware's DAN SANDIN interview:
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
since the late 1960's Dan Sandin has developed artware systems
integrating digitial + analog computers, customized circuits, home
{brewed|built}-hardware, video games + virtualReality.
Sandin, a professor @ the University of Illinois at Chicago, founded
the Electronic Visualization Lab (EVL), created the Sandin Image
Processor (I.P.), developed the CAVE virtual reality (VR) system +
various other [artware systems/technologies/projects/pieces]. Dan
Sandin's Image Processor (built from 1971 - 1973) offered artists
unprecedented abilities to [create/control/affect/transform] video +
audio data, enabling live audio video performances that literally set
the stage for current realtime audio video art praxis. to facilitate
the open release of the plans for the Image Processor as an [artware/
system/toolset], Sandin + Phil Morton created the Distribution
Religion. as a predecessor to the open source movement in the
tradition of free software, this approach allowed artists to engage
with these hardware systems + continues to [interest/inspire]
[artisits/developers]. in order to honor the innovative {recent
futures|parallel hystories} of the Image Processor + the Distribution
Religion, criticalartware has converted the deadTree Distribution
Religion into a single PDF file + a web-based version, for release to
the {criticalartware} community.
criticalartware interviews Dan Sandin, [discussing/illuminating] the
community + development of the early moments of video art in Chicago,
artware, performing live audio video, virtual reality, open source,
righteous NTSC outputs, the video revolution + the changes +
similarities that [bridge/differentiate] then && now.
http://criticalartware.net/int/dS
!!!!!!!!!!!!!!!!!!!!!!
ABOUT criticalartware:
!!!!!!!!!!!!!!!!!!!!!!
criticalartware is an [application/platform/concern] compiled at the
turn of the century to address the hystories of new media, [software-
as-art/art-as-software] and [connections/ruptures/dislocations]
between early moments of artware and Video Art. criticalartware seeks
to [map/portscan/realize] the as-yet-unfulfilled promises of
technology first proposed by entities such as Vannevar Bush, Gene
Youngblood, Ted Nelson, Buckminster Fuller, and the publication
"Radical Software."
By drawing [parallels/paths] between the [concepts/discourses] of the
early video art movement and the current [artware/newmedia] moment,
criticalartware hopes to [re]connect the current context to its
rightful past: a multitude of [personal/subjective] hyperthreaded
[her/hi/hy]stories.
http://criticalartware.net
!!!!!!!!!!!!!!!!!!
ABOUT BLIT:SCREEN:
!!!!!!!!!!!!!!!!!!
BLIT:SCREEN is a [webApp|system|artware] running on the
criticalartware platform. localized groups (collectives, clans,
classes, cabals etc.) sign up, register a mailing address + media
playback capabilities + then receive media from randomized sources
throughout the WWWorld. once a month, the BLIT:SCREEN system sends
each group an email with the mailing address of another group to
which to mail media. as a result, every group who participates in
this physical exchange receives a DVD-R or CD-R or VHS or VinylRecord
or any other media type delivered in any other appropriate format
from 01 other participating group every month. likewise every group
sends 01 instance of BLIT:SCREEN out to 01 group (whom BLIT:SCREEN
has suggested), thereby creating a deeply distributed + dynamic 01 to
01 network.
BLIT:SCREEN is both a distribution system + a distributed archive. in
this way the system is grid distribution + grid archiving. nothing is
prescribed about participating groups; a group might be a hacker
collective living in a squat, an experimental television station [+/
or] a professor collecting + distributing student work. media
distributed through BLIT:SCREEN could include completed projects,
artworks, raw materials for production+remix, critical txts,
unearthed archives, shared cultural resources, &c&c. the BLIT:SCREEN
system assumes no prescriptions [+/or] standards as to what
participants do with the material they receive, however, screening
+discussion+archiving are encouraged. BLIT:SCREEN draws connections
from the hystories + technologies of bicycling physical video tapes
during the early video art moment, {sneaker|floppy|walk}-nets +
onLine {communication|development} [channels/paths] in demoscenes +
BBS culture as well as {highlighting|suggesting} contemporary
possibilities for the role of decentralized distribution modalities +
resource sharing.
http://blitscreen.criticalartware.net
!!!!!!!!!!!!!
ABOUT BUSKER:
!!!!!!!!!!!!!
Busker is a flexible, alternative, noncommercial, artist-run gallery
space in the East Village of Chicago commited to audio and visual
art. The purpose of Busker is to provide a venue optimized for sound,
moving images, and other new media arts for young and emerging
artists in the Chicago area. It is our goal to be able to provide
artists with a suitible space to show films or videos, as well as
perform live music, or sound pieces. We aim to reach out to the
growing art community in Chicago that is compelled by new media arts
and the implications that the hold in the contemporary art world.
Busker wants to accommodate to all those interested about this
artwork, as well as house projects and events corresponding to any
aspects of these mediums. In trying to establish a network of artists
and enthusiasts, Busker strives to connect artists with one another
in a common social environment.
http://www.buskerchicago.com
Press Release: "Digital resources" organisation to focus on Arts in 2006
From: Barry Smith <barry.smith@BTINTERNET.COM>
Date: Wed, 8 Mar 2006 11:18:38 -0000
Forwarding a recent press release, for information: - The DRH Steering Committee has recently agreed a small but significant intermediate name-change from 'DRH' to 'DRHA': Digital Resources in the Humanities and Arts. This name-change is intended to particularly encourage participation in this year's forthcoming Conference from practice-based artists and performers whose work incorporates or utilises various digital resources. The annual DRH Conference focuses on advanced research methods in the creation and use of digital resources in the humanities including arts. This year the conference at Dartington College of Arts in Devon UK (September 3rd-6th 2006) will be seeking to give a particular prominence to practice-based proposals where digital work plays a significant role in performances, exhibitions, recitals and studio-based demonstrations (dance, drama, theatre, film, music, sound, moving image, photography, media, visual arts, installations, Internet-based events, publishing, games etc). The call for proposals - including details of how to apply and facilities on offer at Dartington 2006 - will be issued shortly. The new emphasis will offer opportunities to artists and practitioners working in various digital areas in addition to the customary DRH range of academic papers addressing themes and strategic issues that engagement with digital resources brings to scholarly research in the arts and humanities. DRH annual conferences - addressing the most relevant issues in the recent and contemporary digital revolution in the arts and humanities - have occurred annually since 1996. Their goal is to bring together creators, users, distributors and custodians of digital resources in the arts and humanities. Please pass this notice on to likely interested parties and encourage them to respond to the call for proposals. Alastair Dunning, Secretary to DRHA Alastair Dunning Arts and Humanities Data Service King's College London 0207 848 1972 http://ahds.ac.uk/ ============
Fw: DRHA2006 "The call"
From: Barry Smith <barry.smith@BTINTERNET.COM>
Date: Wed, 8 Mar 2006 11:25:07 -0000
----- Original Message ----- From: Barry Smith To: Yacov Sharir Sent: Wednesday, March 08, 2006 2:59 AM Subject: DRHA2006 "The call" Following the recent Press Release regarding widening of focus of the "DRH" Conference in 2006, I'm forwarding/attaching the invitation and "call" for papers, events, demonstrations etc. b. Barry Smith ========= March 2006 An international invitation and call for participation in a major conference for practitioners and scholars working with digital resources in the Humanities and Arts. DIGITAL RESOURCES IN THE HUMANITIES AND ARTS * * CONFERENCE 2006 * * DARTINGTON COLLEGE OF ARTS, UK SEPTEMBER 3-6, 2006 for further details see http://www.dartington.ac.uk/drha06/index.asp and http://www.ahds.ac.uk/drha2006/index.php?cf=5 This year the renamed DRHA Conference - Digital Resources in the Humanities and Arts - is choosing to bring a new dimension into its standard range of digital projects and interests across the major disciplines of the humanities (archaeology, history, literature, languages, linguistics...) by offering an exceptional invitation to practitioners and scholars working with digital media across the creative, visual, performing and media arts (music, performance, dance, visual arts, gaming, media...). This development is intended to draw upon and give greater opportunity to consider changes that have occurred through the various applications of digital resources across multi-media platforms and practice-based and practice-led arts research. This development offers an opportunity to all participants involved in either the arts or the humanities to present, witness, experience and exchange knowledge and applications of accessible digital resources, and to appreciate how the collaborative practices of everyone involved with digital resources has a considerable potential to inform and influence other disciplines. If you are working with digital processes and resources in any discipline in the arts or the humanities or allied subjects, you are warmly invited to consider making a presentation about your work or to articulate your perspective on the key themes of Conference 2006 which will be considering digital strategies, engagements and developments both as of now and in the future. This significant and unique opportunity for an exchange of views, experience, approaches and knowledge across all the disciplines of both the humanities and the arts involved with digital resources, will be held at Dartington College of Arts (Totnes, Devon, UK) from Sunday September 3rd to Wednesday September 6th, 2006. The history and environment of Dartington College of Arts make it the perfect location for this Arts and Humanities Conference 2006. Well known as a place of special beauty and seclusion, the performance studios and exhibition facilities are equally superlative and include the 14th Century Great Hall, The Barn Theatre, The Gallery, plus several 'black-box' and 'white-box' studios equipped with highly sophisticated computer installations appropriate for music, sound, theatre, dance, media, exhibition, installation, screenings, demonstrations and presentations of both completed digital works and work in progress; comfortable well-equipped seminar rooms complement these facilities for the presentation of academic papers, panels sessions and debates; outdoor events are possible in the extensive gardens and estate grounds. You can visit Dartington College of Arts online at: http://www.dartington.ac.uk/space/index.asp For this Conference two websites have been commissioned to give expanded up-to-date Conference details and to provide opportunities for making proposals and registering online. The Dartington venue website is at http://www.dartington.ac.uk/drha06/index.asp and the DRHA2006 website (providing further details and facilities for making online proposals and checking the overall Programme as it develops) is at http://www.ahds.ac.uk/drha2006/index.php?cf=5 On these websites and also duplicated below you will find more detailed information on: * key themes for Conference 2006; * how you can participate and make proposals for presentations; * the variety of presentation formats available; * additional notes for practitioners with particular technical requirements; * key dates; * points of contact for further information. DRHA Conferences are never less than inspirational for those working with digital resources in the arts and humanities. The conference series has established itself firmly in the UK and international calendar as a major forum bringing together scholars, practitioners, artists, innovators, curators, archivists, librarians, postgraduates, information scientists and computing professionals in an unique and positive way, to share ideas and information about the creation, exploitation, use, management and preservation of digital resources in the arts and humanities and to analyse the all-important contemporary issues surrounding them. With the advent of DRHA this conference series enters a new decade (the first DRH Conference was at Somerville College, University of Oxford in 1996) and begins an exploration of new horizons in digital resources. I hope you will feel a sense of anticipation and be inclined to join this significant and exceptional Conference 2006 in order to participate in its presentations and debates and to contribute to and further its fine traditions of scholarly, artistic and cultural endeavours and exchange . Further details on how to participate are available on the websites and duplicated below for convenience and easy reference. I look forward to welcoming you to Dartington and DRHA2006. Barry Smith Programme Chair, DRHA Conference 2006 barry.smith@bristol.ac.uk Encl.: further details on DRHA Conference 2006 (below). FURTHER DETAILS ON DRHA CONFERENCE 2006 Please find below more detailed information on: 1. key themes for Conference 2006; 2. how you can participate and make proposals for presentations; 3. the variety of presentation formats available; 4. additional notes for practitioners with particular technical requirements; 5. key dates; 6. contacts for further information. 1: CONFERENCE THEMES 2006: The Conference will continue to address the key emerging themes and strategic issues that engagement with ICT (Information Communications Technology) brings to scholarly research and artistic practice. In 2006 it will be particularly concerned to address such issues as: * the benefits of digital resources for creative work, teaching, learning, scholarship; * the application, creative use and development of digital resources; the problems associated with scale and sustainability; * new insights arising from the integration and cross-fertilisation of digital resources in the arts/humanities/sciences; * the achievement and further development of global networks across the arts and humanities and the strategies for change this situation merits; the socio-political impact of engagement with global ICT. The Conference will seek to answer such questions as: * What have been the advantages of the digital developments of the last decade on humanities and creative arts processes (including publishing and broadcasting)? What new benefits will be on offer for the future? * What have been the effects of digital developments of the last decade on the range of cultural industries (including design, fashion, gaming etc) and what are the implications for future research cultures? * What changes will further technological advances and social trends a) make possible and b) demand? * What can scholars in the humanities using visualisation and digital rendering methods learn from computing developments in the creative, visual, performing and media arts and what developments might be advantageous vice-versa? * What have been and what will in the future be the influence of digital media on scholarly and practice-based research in the arts and humanities? * How has technology and working with technologists changed the way practitioners and scholars work in the arts and humanities? * What is the potential for fruitful digital resource-based relationships between academia and business, creative and professional development, investment and professional opportunities? * How are new advantages best exploited and any conceptual and infrastructural problems brought in the wake of new technologies best overcome? * What are the differences and what the similarities between knowledges produced mainly through material contact and those produced solely through digital media? * What are the consequences of digital resources on education at all levels and what parameters exist and should exist to encourage e-learning? * How have e-learning, e-science and the range of distributed social network technologies impacted on research in the arts and humanities and what strategic changes might they bring in the future? 2. HOW YOU CAN PARTICIPATE AND MAKE PROPOSALS FOR PRESENTATIONS: DRHA is currently accepting proposals for the 2006 Conference: individual papers, panel sessions, workshops and poster presentations, work in progress, performances, exhibitions, demonstrations. The online system for submitting a proposal is now operational at: http://www.ahds.ac.uk/drha2006/index.php?cf=5 Deadline: Proposals should be submitted by 15th April 2006. Please note: all proposals will be peer-reviewed before being accepted and all participants, whether or not making a presentation, are expected to meet conference registration costs. 3. THE VARIETY OF PRESENTATION FORMATS AVAILABLE: The conference will consist of a lively mix of papers, demonstrations, events, keynotes, "posters", debates and panel sessions. The Programme Group undertake to timetable accepted proposals to achieve this mix and in order to facilitate this you are requested to present your proposal in one of the formats outlined below: · Presentations of ARTWORKS or WORK IN PROGRESS (in most appropriate form) having particular regard to digital resources. Contributions may vary from live or recorded performances (music, dance, theatre), exhibitions (visual arts, photography), screenings (film, video formats, media), mixed-media arts, installations and video games, writing, text and online publishing to demonstrations and excerpts outlining the key ICT and digital aspects contributing to the work. Proposals to present an artwork should be made via the standard online procedures with a statement of approximately 500 words about the piece plus details of space and technical requirements. In addition practitioners proposing presentation of artworks are advised to read the additional notes below, "Additional notes for practitioners". · PAPERS: Proposals to present papers on any aspect of digital resources in the arts and humanities (including innovations, investigative research, archives and digitisation, language translation, AI applications etc) should be of approximately 500 words. Papers will be allocated 30 minutes for presentation, including questions. · "SESSIONS": Sessions (90 minutes) take the form of either: . THREE PAPERS. The session organiser should submit a 500 word statement describing the proposed session topic, and include abstracts of approximately 500 words for each paper. The session organiser must also indicate that each author is willing to participate in the session; or . A PANEL of four to six speakers. The panel organiser should submit an abstract of approximately 1000 words describing the panel topic, how it will be organized, the names of all the speakers and how they might be expected to contribute to the topic, and an indication that each speaker is willing to participate in the session. · POSTER Presentations: Poster presentations may include computer technology and project demonstrations. Poster presentations may be the most suitable way of presenting late-breaking results or significant work still in progress and, in acknowledgement of the special contribution made by Poster Presentations, the Programme Committee will once again make a "Poster Presentation" award. 4. ADDITIONAL NOTES FOR PRACTITIONERS: Practitioners may wish to show/demonstrate their work on one occasion but introduce and/or invite discussion about it at a separate session before or after the production/demonstration, as most appropriate. This configuration is encouraged but the organisers request any such explanatory session should fit into one of the structures outlined above (i.e. paper/s or panel). Artists and practitioners will doubtless also want to ensure that technical requirements are fully discussed and agreed beforehand and are requested to include full technical requirements with their proposals. 5. KEY DATES From March 1st 2006 proposals can be submitted via the electronic submission form at the conference website: http://www.ahds.ac.uk/drha2006/index.php?cf=5 Saturday 15th April 2006: Deadline for submission of proposals/abstracts. Monday 1st May 2006: * Notification of acceptance of proposals. * Registration opens (early booking advised, restricted to a maximum of 250 persons). * Provisional programme announced. CONFERENCE DATES: From Sunday September 3rd to Wednesday September 6th, 2006. 6. CONTACTS FOR FURTHER INFORMATION: The Local Organising Committee at the Dartington College of Arts is headed by Chris Pressler: C.Pressler@dartington.ac.uk Please contact the local organisers with any questions about registration or conference arrangements at Dartington: drhaconf@dartington.ac.uk The 2006 Programme Chair is Barry Smith who will be pleased to answer any questions about submitting proposals or the reviewing process: barry.smith@bristol.ac.uk = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
The 12hr ISBN-JPEG Project
From: { brad brace } <bbrace@ESKIMO.COM>
Date: Wed, 8 Mar 2006 04:53:10 -0800
_ |__ __| | /_ |__ \| | | __| | | | (_) | | __/ (__|
|_ __ | | | | | | __/ | |/ /_| | | | | _ | | | '_ \ / _ \ | | /
/| '_ \| '__|
The 12hr-ISBN-JPEG Project >>>> posted since 1994 <<<< _ | | |
'_ \ / _ \ | | / /| '_ \| '__| -_ | | | |__ ___ | | ) | |__
_ __
You begin to sense the byshadows that stretch from the awe of
global dominance. How the intersecting systems help pull us
apart, leaving us vague, drained, docile, soft in our inner
discourse, willing to be shaped, to be overwhelmed -- easy
retreats, half beliefs. Works of art are complex formal
interventions within discursive traditions and their myriad
filiations. These interventions are defined precisely by
their incomparable capacity to trace the dynamics of
historical process in paradoxical gestures of simultaneously
prognostic and mnemonic temporalities.
_ | __ \ (_) | | _| |__) | __ ___ _ ___ ___| |_
|_ ___/ '__/ _ \| |/ _ \/ __| __| |_| _ |_| \___/| |\___|\___|\__|
_ _/ | _ |__/
> > > > Synopsis: The 12hr-ISBN-JPEG Project began December 30, 1994.
A `round-the-clock posting of sequenced hypermodern imagery from
{ brad brace }. The hypermodern minimizes the familiar, the known,
the recognizable; it suspends identity, relations and history. This
discourse, far from determining the locus in which it speaks, is
avoiding the ground on which it could find support. It is trying to
operate a decentering that leaves no privilege to any center.
The 12-hour ISBN JPEG Project
-----------------------------
since 1994
Pointless Hypermodern Imagery... posted/mailed every 12 hours... a
spectral, trajective alignment for the 00`s! A continuum of
minimalist masks in the face of catastrophe; conjuring up
transformative metaphors for the everyday... A poetic reversibility
of exclusive events...
A post-rhetorical, continuous, apparently random sequence of
imagery... genuine gritty, greyscale... corruptable, compact,
collectable and compelling convergence. The voluptuousness of the
grey imminence: the art of making the other disappear. Continual
visual impact; an optical drumming, sculpted in duration, on the
endless present of the Net.
An extension of the printed ISBN-Book (0-9690745) series...
critically unassimilable... imagery is gradually acquired, selected
and re-sequenced over time... ineluctable, vertiginous connections.
The 12hr dialtone...
[ see http://www.eskimo.com/~bbrace/netcom/books.txt ]
KEYWORDS: >> Disconnected, disjunctive, distended, de-centered,
de-composed, ambiguous, augmented, ambilavent, homogeneous,
reckless and venerable... >> Multi-faceted miscegnation: oblique,
obsessive, obscure, obdurate... >> Promulgated, personal, permeable,
prolonged, polymorphous, provocative, poetic, plural, perverse,
potent, prophetic, pathological, pointless... >> Emergent, evolving,
eccentric, eclectic, egregious, exciting, entertaining, evasive,
entropic, erotic, entrancing, enduring, expansive...
Every 12 hours, another!... view them, re-post `em, save `em, trade
`em, print `em, even publish them...
Here`s how:
~ Set www-links to -> http://www.eskimo.com/~bbrace/12hr.html
-> http://bbrace.laughingsquid.net/12hr.html
-> http://bbrace.net/12hr.html
-> http://noemata.net/12hr/
Look for the 12-hr-icon. Heavy traffic may require you to specify
files more than once! Anarchie, Fetch, CuteFTP, TurboGopher...
~
Download from -> ftp.rdrop.com /pub/users/bbrace
Download from -> ftp.eskimo.com /u/b/bbrace
Download from -> hotline://artlyin.ftr.va.com.au
Download from -> ftp://bjornmag:Sobject@kunst.no/12hr/
* Remember to set tenex or binary. Get 12hr.jpeg
~
E-mail -> If you only have access to email, then you can use
FTPmail to do essentially the same thing. Send a message with a body
of 'help' to the server address nearest you:
ftpmail@ccc.uba.ar ftpmail@cs.uow.edu.au
ftpmail@ftp.uni-stuttgart.de ftpmail@ftp.Dartmouth.edu
ftpmail@ieunet.ie ftpmail@src.doc.ic.ac.uk
ftpmail@archie.inesc.pt ftpmail@ftp.sun.ac.za
ftpmail@ftp.sunet.se ftpmail@ftp.luth.se ftpmail@NCTUCCCA.edu.tw
ftpmail@oak.oakland.edu ftpmail@sunsite.unc.edu
ftpmail@decwrl.dec.com ftpmail@census.gov bitftp@plearn.bitnet
bitftp@dearn.bitnet bitftp@vm.gmd.de bitftp@plearn.edu.pl
bitftp@pucc.princeton.edu bitftp@pucc.bitnet
**
~ Mirror-sites requested! Archives too! The latest new jpeg will
always be named, 12hr.jpeg Average size of images is only 45K.
~ Perl program to mirror ftp-sites/sub-directories:
src.doc.ic.ac.uk/packages/mirror
~ Postings to usenet newsgroups: alt.12hr alt.binaries.pictures.12hr
alt.binaries.pictures.misc alt.binaries.pictures.fine-art.misc
* * Ask your system's news-administrator to carry these groups!
(There are also usenet image browsers: TIFNY, PluckIt, Picture Agent,
PictureView, Extractor97, NewsRover, Binary News Assistant, EasyNews)
~ ~ This interminable, relentless sequence of posted imagery began
in earnest on December 30, 1994. The basic structure of the
project has been over three decades in the making. Each 12-hour
posting is like the turning of a page; providing ample time for
reflection, interruption, and assimilation.
~ The sites listed above also contain information on other cultural
projects and sources.
~ A very low-volume, moderated mailing list for announcements and
occasional commentary related to this project has been established at
topica.com /subscribe 12hr-isbn-jpeg
--
The image was to make nothing visible but their connection with
one another by space and air, yet each surrounded by the unique
aura that disengages every deeply seen image from the world of
irrelevant relationships and calls forth a tremor of astonishment
at its fateful necessity. Thus from artworks of dead masters,
over-life-size strangeness whose names we do not know and do not
wish to know, look out at us enigmatically as symbols of all
being.
--
This project has not received government art-subsidies. Some
opportunities still exist for financially assisting the publication
of editions of large (33x46") prints; perhaps (Iris giclees) inkjet
duotones or extended-black quadtones. Other supporters receive rare
copies of the first three web-offset printed ISBN-Books.
Contributions and requests for 12hr-email-subscriptions, can also be
made at http://bbrace.laughingsquid.net/buy-into.html, or by mailed
cheque/check: $5/mo $50/yr. Institutions must pay for any images
retained longer than 12 hours.
--
ISBN is International Standard Book Number. JPEG and GIF are types of
image files. Get the text-file, 'pictures-faq' to learn how to view
or translate these images. [http://www.eskimo.com/~bbrace/netcom/
pictures-faq.html]
--
(c) Credit appreciated. Copyleft
1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006
Open Call - Heterotopien | Orte der Andersheit
From: Paul Brown <paul.brown.art.technology@GMAIL.COM>
Date: Sun, 12 Mar 2006 18:29:02 +1000
Other spaces - For an archival aesthetics Design2context, the institute for design research at the School of Art and Design Zurich is starting a generative archive-project in cooperation with formatLabor Berlin and Andres Bosshard (Music & soundscape architecture). We are looking for aesthetic approaches in the field of "Heterotopia": other spaces / transformed spaces / spaces without function / utopian spaces / spaces of interim use and redefinition - legal and illegal. The project will be presented in June 2006 at the School of Art and Design Zurich. An exibition and publication will follow. We would like to invite all interested designers, artists, scientists and researchers to get actively involved in the construction of the archive. The emerging archive will enable collective production by using specific software. It will also promote differentiated communication and offer a platform for presentation of one´s own projects. The team looks forward to receiving your contributions or further suggestions. Contact: Ulrike Felsing: ulrike.felsing@hgkz.net http://www.design2context.ch/ Deadline for submission: 15th April 2006. Please forward this e-mail to other interested persons. Thank you! Forwarded from: SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
AHDS Performing Arts Survey on Use of Digital Collections
From: Daisy Abbott <D.Abbott@HATII.ARTS.GLA.AC.UK>
Date: Mon, 13 Mar 2006 14:22:09 -0000
Creation and use of digital collections is a core characteristic of 21st century behaviour. The Arts and Humanities Data Service promotes the development, preservation and use of such collections, some of which have become key resources in arts and humanities scholarship. In the area of performing arts however, digital collections development seems to have lingered behind, despite the flourishing and innovative performing arts communities that exist both in and out of higher education. AHDS Performing Arts is working towards developing a greater understanding of how the higher education community uses digital resources and how we can offer new opportunities for research in music, theatre, dance, film, television, and radio. To do this, we need your help to inform our scoping study which will determine the development of AHDS Performing Arts. Please take five minutes of your time to fill in this short questionnaire: http://www.ahds.ac.uk/performingarts/survey.htm The results will help to shape the future of digital resource development and preservation in the performing arts and will also be made available to the Arts and Humanities Research Council. Thank-you in advance, Daisy Abbott Services and Outreach Officer, AHDS Performing Arts Sheila Anderson Director, Arts and Humanities Data Service Professor Seamus Ross Director, HATII Director of Services, DCC ****** Apologies for cross-posting. Find out more about AHDS Performing Arts: http://www.ahds.ac.uk/performingarts/