Now accepting submissions for “Video Village: New Media Expeditions”

April 2 – 8, 2011 at INDEX Gallery

Accepting Video and Installation Work With an Emphasis on Digital, Experimental and Interdisciplinary New Media. This Includes: Video, Scul…

Regeneration.011
A Selection of The Web Biennial Revealing The Poetics and Politics of Net Art
20 January – 20 March 2011

Artists: Magda Bielesz, Alan Bigelow, Immo Blaese, Andrew Chee, Martin John Callanan, Andy Deck, Dimitrios Fotiou, Matthias Fr…

Sonic Social: Networking for Artists

Come meet other artists and talk all things sonic in a sociable atmosphere!

Date: 19 January · 19:00 – 21:00

Location: SoundFjord – Sonic Art Gallery and Research Unit | Unit 3b – Studio 28 | 28 Lawrence Road …

Rie Nakajima with Ken Bodden | I Can Hear It | 12.I.2011 – 29.I.2011 | Wed – Sat | noon – 6pm

Radio show | Framework:afield | Resonance 104.4FM / | Download here:

SoundFjord is delighted to present the work of Rie Nakajima working with Ken …

Description

Audio Screening | Tim Bamber and Jake Garber
Sunday 30 January 2011 | 6-8pm
Doors: 5:40pm

Welcome to SoundFjord’s purely listening event. Bring your ears to the gallery to explore the world of sound is all its facets and guises.

Fifth i…

deCordova Sculpture Park and Museum<br />
51 Sandy Pond Road<br />
Lincoln, MA 01773<br />
<br />
FOR IMMEDIATE RELEASE<br />
Contact: Susie Stockwell, External Affairs Coordinator<br />
sstockwell@decordova.org, 781.259.3620 <br />
<br />
Drawing with Code: Works from the Anne and Michael Spalter Collection<br />
opens January 29, 2011 at deCordova<br />
<br />
Lincoln, MA, January 10, 2011 – DeCordova Sculpture Park and Museum is pleased to announce that director of the Boston Cyberarts Festival and former deCordova curator of New Media, George Fifield, will curate an exhibition of the earliest computer drawings, prints and animations by the field’s innovators. Curated from the Providence-based collection of Anne and Michael Spalter, Drawing with Code is one of the first American museum exhibitions to broadly document this early period of new media art. The exhibition will be on view from January 29 – April 24, 2011 to coincide with the 2011 Boston Cyberarts Festival. DeCordova has been supportive of new media artwork since the 1980s and, since its inception in 1999, has subsequently participated in every Boston Cyberarts Festival.<br />
<br />
Drawing with Code will feature computer-generated art from the 1950s to the mid-1980s alongside the more recent work of these early practitioners. Starting with the seminal Electronic Abstraction 4, 1952, by Ben Laposky, a silver gelatin print of an abstract image from an oscilloscope screen and possibly the earliest artwork in existence made using a computer, the exhibition will present the work of 33 pioneering artists, including Jean Pierre Hebert, Manfred Mohr, Vera Molnar, Mark Wilson, Stan VanDerBeek, Roman Verostko, and Edward Zajec, who had the foresight to see the creative possibilities of the dawning computer age. As our lives are becoming increasingly digital, it serves us well to remember a time when computers were clunkier—if not simpler—creatures. This was an era when, in the words of programmer and artist Harold Cohen, “You used card-punch machines to punch your program onto IBM cards… There was little chance you would get any results the same day, was a cryptic message saying that there was a missing comma on card seventy-three.” The prints and drawings in Drawing with Code represent some of the most elegant and innovative images from this bygone computer era.<br />
<br />
Drawing with Code provides a window into the past with some of the best examples of an incredibly productive collaboration between technology and art. In addition, the exhibition will present a group of the earliest computer animations produced at Bell Labs under the auspices of Ken Knowlton. Knowlton was a pioneer researcher in computer graphics at Bell Lab’s Murray Hill facilities in New Jersey and invited a number of artists to the lab, including Lillian Schwartz and the experimental filmmaker Stan VanDerBeek. While primitive by today’s standards, these animations revolutionized the field and paved the way for the wealth of computerized media we see today.<br />
<br />
Director Dennis Kois noted: “DeCordova has been an enthusiastic supporter of computer-generated art and new media since the 1980s—in 1994, George Fifield curated an exhibition at deCordova with now Deputy Director of Curatorial Affairs Nick Capasso entitled Computer in the Studio—and we are proud to now blaze a trail in documenting the history of the medium. The Spalter collection is among the most important troves of this early, and now rare, material in the world.”<br />
<br />
This exhibition is organized by guest curator George Fifield, independent curator of new media, founding director of Boston Cyberarts, Inc. and adjunct faculty at the Digital + Media Department at the Rhode Island School of Design. Fifield has a long-lasting relationship with not only the Sculpture Park and Museum, but also with Anne and Michael Spalter; Continuum, an exhibition featuring part of the Spalters’ extensive collection, was included in Fifield’s Cyberarts Festival 2009 and was comprised of experimental digital computer animations from the 1960s.<br />
<br />
Equally passionate about computer-generated art, Providence-based Anne and Michael Spalter are major collectors and boast the largest private collection of its kind. Work has been lent to leading institutions such as the Victoria and Albert Museum in London and the Museum of Modern Art in New York, which exhibits On Line: Drawing Through the Twentieth Century this fall, featuring work from the Spalter collection. In addition, Anne Spalter published The Computer in the Visual Arts (1999), “the first comprehensive work to combine technical and theoretical aspects of the emerging field of computer art and design,” according to artist and author James Faure Walker. Mrs. Spalter also combined math, science and design to create the first computer fine art courses at Brown University and Rhode Island School of Design.<br />
<br />
<br />
Educational Programming<br />
All programs are free with Museum admission unless otherwise stated.<br />
<br />
Artist Talks<br />
Meet some of the artists whose work is exhibited in Drawing with Code and hear the inside perspective on their work, process, and creative inspirations. Talks begin at 3pm in the 3rd Floor Lobby, and will be followed by a brief Q & A period.<br />
<br />
Manfred Mohr<br />
Saturday, February 5, 3pm<br />
<br />
Mark Wilson<br />
Saturday, March 12, 3pm<br />
<br />
Eye Wonder Family Program<br />
Sunday, March 6, 1–3pm<br />
<br />
<br />
Panel Discussion at MIT, moderated by John Maeda, President, Rhode Island School of Design <br />
<br />
Tuesday, March 8, 7pm<br />
Bartos Auditorium, MIT Campus<br />
Join deCordova and MIT for an evening event focused on how the computer has creatively influenced both the visual and literary arts in this panel discussion. Hear from Drawing with Code curator George Fifield, exhibiting artist Mark Wilson, and writers who employ computers in their creative practice as they discuss the history behind this fascinating intersection between science and art. Held in collaboration with MIT’s Purple Blurb series, this event is co-organized by deCordova and MIT.<br />
<br />
Curator Talk: Guest Curator, George Fifield with Douglas Dodds, Senior Curator, Word and Image Department, Victoria & Albert Museum, London.<br />
Saturday, April 23, 3pm<br />
<br />
Cell Phone Audio Tour<br />
Listen to artists explain how they manipulated early computers to create stunning works of art, hear collectors Anne and Michael Spalter discuss why they collect this compelling<br />
work, and learn how this show was curated and installed, from guest curator George Fifield.<br />
<br />
Family Gallery Guides<br />
Gallery Guides are available throughout the museum and provide information about<br />
Drawing with Code: Works from the Anne and Michael Spalter Collection in a family-friendly way.<br />
<br />
About deCordova<br />
DeCordova Sculpture Park and Museum was established in 1950 to educate the public about American contemporary art. DeCordova’s unique campus features both indoor and outdoor venues, allowing its visitors to celebrate and explore contemporary art across 35 acres. Inside, the Museum features a robust slate of rotating exhibitions and innovative interpretive programming. Outside, deCordova’s Sculpture Park hosts more than 60 works, the majority of which are on loan to the Museum. DeCordova also offers the largest non-degree granting studio art program in New England. DeCordova Sculpture Park and Museum attracts more than 100,000 visitors from New England and tourists from around the world to its campus each year and enrolls more than 3,000 students of all ages in its studio art program.<br />
<br />
General Information<br />
DeCordova is open Tuesday through Sunday, from 10am to 5pm and on selected Monday holidays. General admission during Museum hours is $12 for adults; $8 for senior citizens, students, and youth ages 6-12. Children age 5 and under, Lincoln residents, and Active Duty Military Personnel and their dependents are admitted free. The Sculpture Park is open year-round during daylight hours. Guided public tours of the Museum’s main galleries take place every Thursday at 1pm and Sunday at 2pm.<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/mgiMrtpIOq4" height="1" width="1"/>

All applications and supporting materials must be received by January 21, 2011 for the MFA Computer art department. Incomplete applications will not be reviewed.<br />
<br />
The MFA Computer Art department is dedicated to producing digital artists of the highest caliber. This is accomplished through a progressive curriculum; a faculty comprised of well-known artists, curators and working professionals; state-of-the-art facilities and our location in New York. Students follow a broad curriculum, including studio work, art history and programming. Each student’s curriculum is individually tailored from our over forty course offerings per semester. While multidisciplinary in nature, areas of specialization include animation, motion graphics, video art, interactive media, installation and digital fine art and performance. Graduate student creative work has appeared in many international venues, including the Student Academy Awards, SIGGRAPH Electronic Theater, Art Show and Screening Room, Prix Ars Electronica, Whitney Biennial, Annecy, Ottawa and the New York Animation Festival. Students come from all over the world geographically and bring diverse cultural heritages and artistic influences to their studies. It is expected that graduates of this program will become leaders in redefining the computer art field and be instrumental in charting its future course.<br />
<br />
To apply to the MFA Computer At department at SVA visit the following link:<br />
https://www.applyweb.com/apply/svag/<br />
<br />
Contact:<br />
Rebecca Adorno – rebecca@mfaca.sva.edu<br />
Hsiang Chin Moe – hsiang@mfaca.sva.edu<br />
<br />
Visit our website:<br />
http://mfaca.sva.edu/<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/nk-fc7jm12A" height="1" width="1"/>

For now I am , Destroyer of All the Worlds(*) (3x)

You are but a hungry Fly
Feasting on a dead Horse’s Eye

For now I am God, Destroyer of All the Worlds

Written as a remembrance to the Saba massacre in West Beirut 1982

Listen:

(*) Inspired by Cu…

Call for entries<br />
Deadline: 1 March 2011<br />
——————————————–<br />
CologneOFF 2011 – videoart in a global context<br />
is a world wide unique nomadic festival project by<br />
– Cologne International Videoart Festival -<br />
starting on 1 January 2011 and lasting until 31 December 2011<br />
simultaneously in physical & virtual space.<br />
<br />
It’s goal is to show during one year at many venues around the globe<br />
the diversity of the creative potential of “art and moving images”<br />
transported via the global medium of “video”.<br />
<br />
The videos can be submitted only online.<br />
Selected works will be featured on CologneOFF individually online<br />
and will become later in 2011 the<br />
7th edition of CologneOFF – Cologne International Videoart Festival.<br />
<br />
More info about CologneOFF 2011<br />
http://maxx.nmartproject.net/?p=153<br />
<br />
CologneOFF 2011 is inviting creators in the field of “art and moving images” -<br />
this may be experimental forms of film and video art – to submit up to 3 works –><br />
<br />
Please find the entry details and form on<br />
http://www.nmartproject.net/netex/?p=2729<br />
<br />
<br />
<br />
——————————————–<br />
CologneOFF – Cologne International Videoart Festival<br />
http://coff.newmediafest.org<br />
<br />
is powered by<br />
<br />
artvideoKOELN<br />
the curatorial initiative "art & moving images"<br />
http://video.mediaartcologne.org<br />
<br />
2011 (at) coff.newmediafest.org<br />
——————————————–<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/na1jBUrECYk" height="1" width="1"/>

Michael Alan//The Living Installation<br />
<br />
BODY ISSUES<br />
Saturday February 5th, 2011|9pm-2am<br />
Bushwick Project for the Arts<br />
304 Meserole Street<br />
Brooklyn NY 11206<br />
*L to Meserole, 1 block from train<br />
TICKETS $17 online, $20 at the door<br />
<br />
The obsessions of our culture have led to universal body issues — from commercial images, propaganda, television, sports, porn, beauty ideals. Everyone at some point in their life has or is dealing with being uncomfortable in their own skin. They are affected by perception, imagination, emotions, physical sensations and environment. How do we change this?<br />
<br />
Featuring live music by DECREPIT JAW & EPILEPTIC PEAT<br />
<br />
PERFORMERS//RAQUEL MAVECQ/TEDDI ROGERS/LAURA AREND/DAVID MODELLO/STEVE PEREZ // MICHAELALANART.COM<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/3ehBbUOTC68" height="1" width="1"/>

MFA Computer Art, School of Visual Art
School of Visual Arts , New York, NY

All applications and supporting materials must be received by January 21, 2011 for the MFA Computer art department. Incomplete applications will not be reviewed.

After Januar…

Call & Response presents:<br />
<br />
Converging Objects <br />
<br />
A set of workshops for musicians who improvise and use live electronics with<br />
Robert van Heumen & Anne La Berge <br />
<br />
11th & 12th February, 10am-5pm<br />
<br />
Venue: 113 Dalston Lane, London. E8 1NH<br />
<br />
Cost: £120<br />
<br />
Converging Objects is a hands-on workshop aimed at acoustic musicians who improvise and use live electronics, those who play with other musicians using electronics, or musicians and programmers who improvise and work with acoustic players. <br />
<br />
Participants will explore ways to use technology as an intimate and/or integrated partner for acoustic instruments, designing hybrid or purely electronic instruments and ways in which to engage and integrate performers bodies as real-time creative forces. The focus will be on improvising skills as well as developing approaches to using live electronics. <br />
It is anticipated that the range of participants using electronics will encompass those just simply amplifying themselves to those using sophisticated computer programs.<br />
Software explored will include Abelton Live, Max/MSP, LiSa and, Supercollider. <br />
<br />
No previous experience of coding or use of programming environments is necessary.<br />
The course will conclude with a performance by participants and Anne and Robert.<br />
Bookings:<br />
Please e-mail to hello@callandresponse.org.uk to reserve a place. We will then e-mail you payment instructions.<br />
Please note places are limited to 15 and should be booked well in advance. Participants should bring their own laptops and instruments.<br />
Information about the artists:<br />
Robert van Heumen uses the laptop combined with various controllers to create sound worlds. As musician he uses STEIM’s live sampling software LiSa and realtime audio-syntheses software SuperCollider controlled by MIDI controllers and a joystick. Van Heumen is performing regularly with Shackle (with electro-flutist Anne LaBerge), ABATTOIR (with cellist/vocalist Audrey Chen), the audio-visual trio SKIF++ (with Jeff Carey & Bas van Koolwijk) and Davis/VanHeumen (with bass clarinetist Gareth Davis). He worked for 9 years at the Studio for Electo-Instrumental Music (STEIM) in Amsterdam as project manager, curator of the Local Stop concert series and member of the artistic committee.<br />
<br />
Anne La Berge’s career as flutist/improviser/composer stretches across international and stylistic boundaries. Her most recent performances bring together the elements on which her international reputation is based: a ferocious and far-reaching virtuosity, a penchant for improvising delicately spun microtonal textures and melodies, and her wholly unique array of powerfully percussive flute effects, all combined with electronic processing.<br />
<br />
http://www.annelaberge.com<br />
http://www.hardhatarea.com<br />
<br />
http://www.callandresponse.org.uk<br />
http://www.113dalstonlane.com<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/KS4qlnYc28w" height="1" width="1"/>

Festival Miden – Call for entries 2011

Video Art Festival Miden invites all video artists and video creators to participate in this year’s events, which will take place, like the past years, in public spaces at the Historic Centre of the city of Kal…

The Keyholder Residency Program offers emerging artists free 24-hour access to printmaking facilities to develop new work and foster their artistic careers. Residencies are one year long, starting on April 1, 2010, and take place in the Printshop’s shared Artists’ Studio. Facilities are available for intaglio, relief, monoprint, waterbased silkscreen, digital processes, and other techniques that employ the tools at hand.<br />
<br />
Keyholders work independently, in a productive atmosphere alongside other contemporary artists. Artists from all disciplines are eligible to apply; printmaking skills are not required, but some familiarity with the medium is recommended. Basic instruction in printmaking is provided for new Keyholders. Technical assistance is not included in the program, but is available at additional cost. <br />
<br />
Participation is limited and competitive. Applications are evaluated by a committee of artists, curators, critics, and art professionals based on the quality of submitted artwork. Artists currently without a studio space are encouraged to apply.<br />
<br />
Keyholder Residency includes:<br />
• 24-hour studio access<br />
• $500 stipend<br />
• storage space<br />
• basic supplies (newsprint, blotters, solvents, cleaners)<br />
• one free class in printmaking and consultations with Master Printers<br />
• 20% discount on all Printshop classes<br />
• free career development workshops<br />
• free digital documentation of selected works produced during the residency<br />
• inclusion in the Printshop’s permanent collection<br />
• opportunities to show new work in exhibitions, open studios, and other public events presented by the Printshop<br />
<br />
Eligibility:<br />
• Only legal US residents may apply (i.e., Social Security cardholders) <br />
• Students enrolled in any kind of degree program at the time of the residency are not eligible<br />
• Keyholder Residencies are limited to emerging artists only. The Printshop defines emerging artists as under-recognized and under-represented artists at early stages in their careers<br />
<br />
DEADLINE: March 1, 2011<br />
Drop off or postmark, no exceptions. Send to:<br />
Lower East Side Printshop, Inc.<br />
306 West 37th Street, 6th Floor<br />
New York, NY 10018<br />
212-673-5390<br />
<br />
Please go to http://printshop.org/web/Create/KeyholderResidences/index.html <br />
for more information, or email Christine Walia, Programs Director at Christine@printshop.org or info@printshop.org<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/fIKOBMxQ3dE" height="1" width="1"/>

For time and the world do not stand still. Change is the law of life. And those who look only to the past or the present are certain to miss the future. <br />
John F. Kennedy <br />
<br />
On the heels of a global recession and the ever increasing concerns over climate change, population and energy, ACA is inviting artists to take a role in visioning the future. <br />
<br />
Introduction:<br />
<br />
The remote microcosm of Allenheads, in the High Forest Area of the west Allen Valley with a population of around 200 might seem a curious place to be considering the subject of ‘The Future’. Until the mid-90’s there was little or no television reception in the village, no broadband or mobile phone reception, all of which heightened a feeling of isolation, a sense of being caught in a time capsule. <br />
<br />
The local community has grown over the past two decades, as people from urban areas have moved into the region restoring the old and some derelict buildings to create their personal, romantic, rural idyll and improve their quality of life. They also introduced more diverse expectations of the countryside transforming the rural lifestyle.<br />
<br />
This period coincided with technological advances becoming more mainstream and attainable to remote rural communities; broadband, mobile phone reception and crucial for comfort and economy at home, renewable energy; budgeted for at early stages of planning a rebuild and illustrating a more prosperous economy.<br />
<br />
Unlike the heritage industry which selectively looks back at narrow periods of time, with the likes of Beamish Museum describing itself as ‘a superb living, working experience of life in the Great North,’ Allenheads and the surrounding High Forest area with its naturally evolving community, provide a truly ‘living’ thought-provoking insight into the past and present while offering a rich platform for the conception of imaginative, predictive visualisations of what might be.<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/D39DipOQm-0" height="1" width="1"/>

Morally speaking, the “cold society” is not a good or a bad society. It can run like clockwork, because it ritually confirms the familiar and remains true to it. So the question is not “what real results the cold societies achieve”, but “what permanent intention directs them; because the image they have of themselves are an essential part of their reality.” (Claude Lévi-Strauss, The Savage Mind)<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/c7ymJLfT-S0" height="1" width="1"/>

Sorry for any crosspostings<br />
<br />
<br />
Digicult presents:<br />
<br />
Digimag 60 – December 2010/January 2011<br />
http://www.digicult.it/digimag_eng/<br />
<br />
<br />
"…The history of code in culture has followed a line of increased access since the first digital computers. Now, for the first time, we have a large group of artists, designers, and architects who code extremely well, but who aren’t programmers by profession. They are first and foremost artists, designers, and architects, but they use code as an integral part of how they think and make. (The same is true in the sciences and academic humanities.) We’re excited about the emergence of a programming culture that’s unique to the visuals arts. The arts have borrowed too much of the tools and culture from the sciences, the birthplace of computers. The arts rely too heavily on the constrained software tools produced by companies like Adobe. We hope to see new ways of thinking about code and new tools that map better to how people in the visual arts think and make. Perhaps the sciences and other disciplines will be able to gain a new understanding of software by looking at how it is used in the arts; learn from how artists articulate and approach problems in different ways.."<br />
<br />
Casey Reas & William McChandler, from "The Machine that makes Art. Form+Code in art, design and architecture" – by Sabina Barcucci & Bertram Niessen<br />
<br />
. . . . . . . . . . . . . . . . . . . . . . . .<br />
<br />
:<br />
<br />
THE MACHINE THAT MAKES ART <br />
FORM+CODE IN ART, DESIGN AND ARCHITECTURE<br />
http://www.digicult.it/digimag/article.asp?id=1963<br />
by Sabina Barcucci & Bertram Niessen<br />
<br />
THE LOST CEMETERY OF IMAGES <br />
A CONVERSATION WITH CARLOS CASAS <br />
http://www.digicult.it/digimag/article.asp?id=1964<br />
by Pia Bolognesi<br />
<br />
THE RULES OF IMPROVISATION <br />
RUTH BARBERAN AND THE CATALAN SCENARIO<br />
http://www.digicult.it/digimag/article.asp?id=1955<br />
by Barbara Sansone<br />
<br />
GOB SQUAD <br />
NEVERENDING LIVE CINEMA<br />
http://www.digicult.it/digimag/article.asp?id=1951<br />
by Claudio Musso<br />
<br />
MEMEFEST: OLIVER VODEB <br />
CRITICAL AND RADICAL COMUNICATION<br />
http://www.digicult.it/digimag/article.asp?id=1957<br />
by Bertram Niessen<br />
<br />
. . . . . . . . . . . . . . . . . . . . . . . .<br />
<br />
:<br />
<br />
PAIN IS NOT THE GAME <br />
VIRTUAL AND REAL IN VIDEOGAME ART<br />
http://www.digicult.it/digimag/article.asp?id=1962<br />
by Mathias Jansson<br />
<br />
"TRACING" INFRA-SPACES <br />
COMPLICATED BEGINNINGS & ELLIPTICAL ENDS<br />
http://www.digicult.it/digimag/article.asp?id=1952<br />
by Eugenia Fratzeskou<br />
<br />
NECESSITY OR TABOO <br />
HOW TO EVALUATE ART & SCIENCE PROJECTS?<br />
http://www.digicult.it/digimag/article.asp?id=1953<br />
by Silvia Casini<br />
<br />
ORDER NUMBER TWO<br />
MAJAKOVSKIJ AND THE CULTURE OF MACHINE<br />
http://www.digicult.it/digimag/article.asp?id=1954<br />
by Pasquale Napolitano<br />
<br />
TO FEEL LIKE VOICES<br />
VOCAL EXPRESSION: SOUND OF THE SUBJECT<br />
http://www.digicult.it/digimag/article.asp?id=1956<br />
by Simone Broglia<br />
<br />
. . . . . . . . . . . . . . . . . . . . . . . .<br />
<br />
:<br />
<br />
PASSAGES<br />
TRAVELS IN HYPERSPACE<br />
http://www.digicult.it/digimag/article.asp?id=1959<br />
by Domenico Quaranta<br />
<br />
SMART MISTAKES<br />
THE SIXTH EDITION OF SHARE FESTIVAL<br />
http://www.digicult.it/digimag/article.asp?id=1961<br />
by Loretta Borrelli<br />
<br />
DIGITAL ART IN FINLAND<br />
CHRONICLES OF A TRAVELLING WEEK<br />
http://www.digicult.it/digimag/article.asp?id=1958<br />
by Annamaria Monteverdi<br />
<br />
COLORITO<br />
AN INTERACTIVE RENAISSANCE OF COULOUR<br />
http://www.digicult.it/digimag/article.asp?id=1960<br />
by Lorenzo Taiuti<br />
<br />
. . . . . . . . . . . . . . . . . . . . . . . .<br />
<br />
:<br />
<br />
- CLUB 2 CLUB 2010<br />
THE X SUPERSTITION<br />
http://www.digicult.it/digimag_eng/allegato.html<br />
by Giulia Baldi<br />
<br />
: <br />
<br />
Aaron Koblin – Flight Patterns<br />
<br />
. . . . . . . . . . . . . . . . . . . . . . . .<br />
<br />
:<br />
<br />
DIGICULT is an online/offline Italian platform, created to spread digital <br />
art and culture worldwide. It focuses on the impact of new technologies and <br />
modern sciences on art, design, culture and contemporary society. DIGICULT<br />
is based on participation of quite 50 professionals, representing a wide <br />
Italian Network of critics, curators and journalists in the field. DIGICULT <br />
is the editor of the magazine DIGIMAG, which focuses on some cultural and<br />
artistic issues like internet art, hacktivism, electronica, video art, <br />
audiovideo, art & science, design, new media, software art, performing art<br />
<br />
. . . . . . . . . . . . . . . . . . . . . . . .<br />
<br />
:<br />
<br />
Marco Mancuso (Digicult project Director and Teacher at New Academy of Fine <br />
Arts / Naba of Milan) ; Claudia D’Alonzo (International Doctorship in <br />
Audiovisual Studies, University of Udine) ; Bertram Niessen (Researcher at<br />
Sociology Deparment of Statale University Milan – Bicocca) ; Lucrezia <br />
Cippitelli (Phd at Sapienza University Rome and Teacher at Fine Arts Academy <br />
of L’Aquila)<br />
<br />
:<br />
<br />
Luca Restifo (Technical Consultancy) ; Claudia D’Alonzo (Press Office) ; <br />
Giovanni Damiola (Web Strategies & Social Networks) ; Giuseppe Cordaro <br />
(Podcast Editing) ; Riccardo Vescovo (Graphic Design) ; Laurea Magistrale in <br />
Traduzione Specialistica, Università IULM di Milano (Website Translations) ; <br />
Francesca Lattanzi – Henriette Vittadini – Stefano Avola – Andrea Cariello – <br />
Jessica Williams ; Hannah Cooper (Magazine Translations)<br />
<br />
:<br />
<br />
Tatiana Bazzichelli ; Bertram Niessen ; Teresa De Feo ; Luigi Ghezzi ; <br />
Giulia Baldi; Domenico Quaranta ; Massimo Schiavoni ; Monica Ponzini ; <br />
Annamaria Monteverdi; Valentina Tanni ; Lucrezia Cippitelli ; Silvia Bianchi <br />
; Claudia D’Alonzo; Barbara Sansone ; Giulia Simi ; Silvia Scaravagg ; <br />
Alessio Galbiati ; Antonio Caronia ; Clemente Pestelli ; Donata Marletta ; <br />
Stefano Raimondi ; Loretta Borrelli ; Carla Langella ; Marco Riciputi ; <br />
Elena Gianni ; Francesco Bertocco ; Silvia Casini ; Jeremy Levine ; Serena <br />
Cangiano ; Micha Cardenas , Mark Hencock , Pasquale Napolitano ; Simona <br />
Fiore ; Zoe Romano ; Enrico Pitozzi ; Eugenia Fratzeskou ; Mattia Casalegno <br />
; Robin Peckam ; Sabina Barcucci ; Silvia Bertolotti ; Simone Broglia ; <br />
Claudia Maina ; Elena Biserna ; Maria Chatzichristodoulou ; Felipe Zuniga ; <br />
Mathias Jannson ; Neva Pedrazzini ; Alexandra Purcaru ; Lorenzo Taiuti ; Pia <br />
Bolognesi<br />
<br />
. . . . . . . . . . . . . . . . . . . . . . . .<br />
<br />
<br />
The Digicult Archive: past issues, articles and interviews<br />
http://www.digicult.it/en/Archive/<br />
<br />
The Digicult Board:<br />
http://www.digicult.it/digimag_eng/board.asp<br />
<br />
The Digicult website:<br />
www.digicult.it/en<br />
<br />
The Art-Agency Digimade:<br />
www.digicult.it/agency<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/hWQKLtzYevs" height="1" width="1"/>

Computer Music: Theory and Practice of new Music and Sound Art
Linz-Austria

On the 8th of February Labor-Linz in collaboration with servus.at starts with a permanent class about Computer Music. As part of the servus Campus program this class covers …

New Media, MFA Degree Candidates<br />
School of Visual Arts (SoVA)<br />
Penn State University, University Park, PA<br />
<br />
APPLICATION DEADLINES:<br />
<br />
January 15 – Graduate Admissions deadline and for consideration for Graduate Teaching Assistantships. Priority consideration given for admissions.<br />
<br />
(materials uploaded on or before January 15, 2011 will be considered for Fall 2011 admission)<br />
<br />
The New Media area in the School of Visual Arts at Penn State consists of a dynamic BA, BFA, and MFA program. The program encompasses a wide range of approaches to new media creation, authoring, and publishing including: 3D Modeling and Animation, Gaming, Video Art, Web/Net Art, Interactive Installation, Physical Computing and Sonic Arts.<br />
<br />
New Media graduate students receive studios and access to state of the art facilities which include: (3) Powermac fully equipped mac labs, a/v editing stations, vinyl cutter and large format printers, 3d scanning and rapid prototyping equipment/facilities, wood/metal shop, the physical computing lab and more.<br />
<br />
Most graduate students in the School of Art can expect support in the form of a scholarships (http://www.sova.psu.edu/gradstudio.html), or teaching or research assistantships. There are also scholarships offered through the University (http://www.gradsch.psu.edu/fellowships)<br />
<br />
For the coming academic year (starting Fall 2011), we are expanding the MFA program and seeking applicants that have a strong interest in any of the above and/or related new media fields.<br />
<br />
MORE INFO:<br />
<br />
Program Website: https://www.sova.psu.edu/academics/studio_art/new_media/index.html<br />
<br />
School of Visual Arts Website: http://www.sova.psu.edu<br />
<br />
College of Art and Architecture: http://www.artsandarchitecture.psu.edu<br />
<br />
TO APPLY:<br />
<br />
Applicants to the program may apply online-for further information on application procedures and forms, visit: <br />
https://www.sova.psu.edu/apply_psu_sova/studio_art_graduate_application_procedures/studio_art_graduate_application_procedures<br />
<br />
CONTACT:<br />
<br />
For specific information and how to apply to the graduate school at Penn State’s School of Visual Art, visit: http://www.sova.psu.edu/gradapp.html or contact Matt Kenyon at mck16@psu.edu<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/46KiOb6HqJY" height="1" width="1"/>

New Media, MFA Degree Candidates<br />
School of Visual Arts (SoVA)<br />
Penn State University, University Park, PA<br />
<br />
APPLICATION DEADLINES:<br />
<br />
January 15 – Graduate Admissions deadline and for consideration for Graduate Teaching Assistantships. Priority consideration given for admissions.<br />
<br />
(materials uploaded on or before January 15, 2011 will be considered for Fall 2011 admission)<br />
<br />
The New Media area in the School of Visual Arts at Penn State consists of a dynamic BA, BFA, and MFA program. The program encompasses a wide range of approaches to new media creation, authoring, and publishing including: 3D Modeling and Animation, Gaming, Video Art, Web/Net Art, Interactive Installation, Physical Computing and Sonic Arts.<br />
<br />
New Media graduate students receive studios and access to state of the art facilities which include: (3) Powermac fully equipped mac labs, a/v editing stations, vinyl cutter and large format printers, 3d scanning and rapid prototyping equipment/facilities, wood/metal shop, the physical computing lab and more.<br />
<br />
Most graduate students in the School of Art can expect support in the form of a scholarships (http://www.sova.psu.edu/gradstudio.html), or teaching or research assistantships. There are also scholarships offered through the University (http://www.gradsch.psu.edu/fellowships)<br />
<br />
For the coming academic year (starting Fall 2011), we are expanding the MFA program and seeking applicants that have a strong interest in any of the above and/or related new media fields.<br />
<br />
MORE INFO:<br />
<br />
Program Website: https://www.sova.psu.edu/academics/studio_art/new_media/index.html<br />
<br />
School of Visual Arts Website: http://www.sova.psu.edu<br />
<br />
College of Art and Architecture: http://www.artsandarchitecture.psu.edu<br />
<br />
TO APPLY:<br />
<br />
Applicants to the program may apply online-for further information on application procedures and forms, visit: <br />
https://www.sova.psu.edu/apply_psu_sova/studio_art_graduate_application_procedures/studio_art_graduate_application_procedures<br />
<br />
CONTACT:<br />
<br />
For specific information and how to apply to the graduate school at Penn State’s School of Visual Art, visit: http://www.sova.psu.edu/gradapp.html or contact Matt Kenyon at mck16@psu.edu<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/46KiOb6HqJY" height="1" width="1"/>