[NetBehaviour] alanprint
alanprint http://www.alansondheim.org/ap.mp4 alanprint short video alanprint production alanprint solution alanprint product and branding alanprint marketing genius production alanprint short video solution alanprint charred marketing production alanprint charred marketing solution alanprint shard product branding alanprint shard production solution alanprint shared alanprint production alanprint shared alanprint solution ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Is the history of art repeating itself ? A geopolitical analysis and comparison of contemporary art and electronic art
We don't need a ranking of digital artists - but I think there is one. It's just a secret ;) best Simon On 2 Nov 2011, at 18:11, Eduardo Valle wrote: > Dear Simon, > > The interesting point about this site is not the ranking itself , but HOW > this ranking is made, what are the criterias ? > > How an artist "gets points" in this ranking ? > > For example, two years ago, when Cildo Meireles, the first brazilian > conceptual artist who had an retrospective in Tate , at that time he was > between the top 100. > > It is just an example how this ranking works. > > Art Power from Art Review is another criteria , HOW does it works ? > > Until now there is no ranking for digital art, as far as i know. > > Best Regards, > Duda > > From: si...@littlepig.org.uk > Date: Wed, 2 Nov 2011 17:45:30 + > To: netbehaviour@netbehaviour.org > Subject: Re: [NetBehaviour] Is the history of art repeating itself ? A > geopolitical analysis and comparison of contemporary art and electronic art > > Just looked myself up on this site. I didn't expect to be there - but I am. > My value is falling, from 8000ish in 2008 to 12000ish. The graph looks like > the value of the UK Pound against the Australian dollar. What a weird way to > think about artists and art. But I feel put in my place, that's for sure. I'm > nowhere's ville... > > For what it's worth, the top rated artist who routinely uses digital media is > probably Andreas Gursky at 32. However, he's not a digital artist as such. He > uses the computer as a tool, not a medium. I doubt he considers computational > processes as essential to the conceptual nature of his practice or the > resultant artefacts. Christian Marclay is similar, at 96, as is Muntadas at > 254. > > The highest ranking artist who I'd consider a practitioner who does emphasise > the computer in their practice is Peter Weibel at 358. But that is strange as > he is better known as an educator, administrator or curator than a > practitioner. Cao Fei is more like it, at 418. Lozano-Hemmer is at 751 and > Otto Piene at 843. But none of these artists are really digital artists in > the sense I understand that term. Manfred Mohr appears to be the top rated > artist who uses computation as central in his work, at 1119. So, it's nice to > know that a digital artist almost gets into the top 1000. That is reassuring. > Manfred gives us hope. > > Not sure why Ai Wei Wei is at 401 when he recently topped the art power list? > The list seems arbitrary, with major names quite far down and people I've > never heard of near the top (although I do not read art magazines anymore as > they are just full of advertising). Oh well, that was 15 minutes of my life > wasted - but it saves me reading the magazines, I hope. > > best > > Simon > > > On 2 Nov 2011, at 16:53, Eduardo Valle wrote: > > Dear Rob, > > Thanks for you comments. > > I agree that is a question of scale and also time, if you think that one of > the majors Festivals related to the digital art > is about 30 years old (Ars Eletronica), but the pattern is already repeating > on a diferent scale. > > About the data they came from sites on the web : > > the galleries dedicated to digital art and their casting : bitforms , Bryce > Wolkowitz, Postmastersart, Numeriscausa, Fabio Paris, DAM Berlin, DAM Cologne > and Island6 (Shangai) > > the data from Ars Eletronica - from the site of ars eletronica > > The data about artists ranking on the investor site: www.artfacts.net > > The data about collectors: www.artnews.com > > * Here is point obscure where i can find data about collectors on digital > art ? > > Fairs: ArtBasel and SP Arte - from their sites > > As you can see on the Conceptual Map: The Web of Art there are lot of others > instances and players to be explored in terms of data and i didnt analyse the > relationship > between them , i just showed some data about 5 instances and players. It is > also important to say that the data is not analysed in a scientific way (stat > tests, big samples) it was only a "scan". > > The work that i develop is about conceptual maps and in this case i separate > the one called The Web of Art and analyse that in geopolitical terms and made > a comparison about contemporary and electronic. Another important point is to > notice that in the two conceptual maps about The Fairs , is that i am showing > that what can be periphery in one place can be a center in another place. > > Looking forward to hear from you. > > best regards, Duda Valle > > > > > > > > > > Date: Tue, 1 Nov 2011 20:37:50 + > > From: r...@robmyers.org > > To: netbehaviour@netbehaviour.org > > Subject: Re: [NetBehaviour] Is the history of art repeating itself ? A > > geopolitical analysis and comparison of contemporary art and electronic art > > > > On 30/10/11 13:28, Eduardo Valle wrote: > > > You will find attach a presentation on the Rewire conference in Liverpoo
Re: [NetBehaviour] Why Models Are Always Wrong
Hi Rob, I have been pondering and wondering along this line of thought for a while too. We watched Copenhagen a couple of nights ago - a play by Michael Frayne that takes as its basis, the mystery surrounding the wartime meeting of Niels Bohr and Werner Heisenberg. In the play Heisenberg says something like... 'applying maths to people is always interesting. 1+1 can equal so many different kinds of 2.' I note in all large institutions a move towards measuring things because they can be measured - the data is then often presented as if there is only one kind of '2'. (the equations lend great swagger potential). Diagrams (I suppose some of these are just another expression of equations) are just as dangerous. I got myself- continue to get myself into all kinds of trouble taking network topologies too literally. After all most social networks are not flat. A node is not a node is not a node and the links between nodes have different resistances and qualities (again whether social or material). > Even if you have a perfect economic model with perfect data, calibrating the model doesn't have a single answer. So even in a perfect world, economic models can and will give incorrect answers.. < My feeling is that economists understand this very well and that their models are systems for gaining and maintaining temporary advantage- just keep moving fast, inventing new refinements of the tools that only you have access to. is it that scary? : ? Ruth btw ps. if anyone has a copy of the Copenhagen play I'd really like the exact quote. On 31/10/2011 20:18, Rob Myers wrote: > As a child I could never work out what a + b = c meant. I mean what > should a and b and c *be*? Of course the answer is that they have any > number of possible values. That's the power of equations. But when you > are trying to fit equations to reality, it can be a problem: > > http://www.scientificamerican.com/article.cfm?id=finance-why-economic-models-are-always-wrong > > Even if you have a perfect economic model with perfect data, calibrating > the model doesn't have a single answer. So even in a perfect world, > economic models can and will give incorrect answers. > > Bear in mind that both the financialized, high-frequency-trading, casino > capitalism side of the economy and the > government-management-of-the-economy side are based on ever more complex > models. > > And I think there's a more general problem that this illustrates. > Presumably it's not just economics but philosophy, politics, theology, > aesthetics, any kind of quantitative model of reality will suffer from > this problem. > > Which is a scary thought. > > - Rob. > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] LONDON SONIC ARTS GROUP GIRRLS
Open call out to join the London Sonic Arts group GIRRLs Interest area: Composition Digital Electronic Experimental Film Installation Interdisciplinary Live Art Multi Media Performance Public Art Sound art Voice Deadline: 1 February 2012 Website: http://www.girrl-girrlsound-digitalgirrl.org/ Part of GIRRL (international) Open Call Out for London Sonic Arts Group Girrls GIRRL [girrlsound : digitalgirrl]. It's an international organization for women working in the sonic and digital arts. Girrl?s aim is to provide linkages, discussion, feedback/reviews, present research findings, offer networking, exhibition space, testing and showcasing of work in progress, initiate collaborations, and support to women curating, reviewing, making, theorizing and working in the digital and sonic arts. Girrl supports women embracing artistic innovation, taking risks and testing boundaries. Girrl is designed for and made up of artists, curators, undergrad and postgraduate students and academics from a wide variety of disciplines within the sonic arts ( sound artists, composers, performers, teachers & technologists) who have an interest in, are making, or supporting sound art practices. Girrls will be recruiting a team to form the UK arm of this organisation. We're looking for all sorts of talents... Researchers Media (bloggers etc) Reviewers Promoters, Artists Technologists Or anything else your good at and would like to contribute... use the space for your own professional development etc... Get in touch at atomeyemu...@live.co.uk if you'd like to chat about joining the London Girrls team. Majena Mafe majenam...@iprimus.com.au Independent New Media and Sonic Arts Professional Founder GIRRL [girrlsound : digitalgirrl] Doctorate of Philosophy post/transdisciplinary visual art/sound/literature/theory (ongoing). Creative Industries, Queensland University of Technology, Brisbane, Australia ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] remains of the day
remains of the day http://www.alansondheim.org/matrices.jpg = upcoming 3d printer models http://www.alansondheim.org/lastdaylight01.jpg http://www.alansondheim.org/lastdaylight02.jpg http://www.alansondheim.org/lastdaylight03.jpg http://www.alansondheim.org/lastdaylight04.jpg http://www.alansondheim.org/lastdaylight05.jpg http://www.alansondheim.org/lastdaylight06.jpg http://www.alansondheim.org/lastdaylight07.jpg http://www.alansondheim.org/lastdaylight08.jpg http://www.alansondheim.org/lastdaylight09.jpg http://www.alansondheim.org/lastdaylight10.jpg ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Is the history of art repeating itself ? A geopolitical analysis and comparison of contemporary art and electronic art
Dear Simon, The interesting point about this site is not the ranking itself , but HOW this ranking is made, what are the criterias ? How an artist "gets points" in this ranking ? For example, two years ago, when Cildo Meireles, the first brazilian conceptual artist who had an retrospective in Tate , at that time he was between the top 100. It is just an example how this ranking works. Art Power from Art Review is another criteria , HOW does it works ? Until now there is no ranking for digital art, as far as i know. Best Regards, Duda From: si...@littlepig.org.uk Date: Wed, 2 Nov 2011 17:45:30 + To: netbehaviour@netbehaviour.org Subject: Re: [NetBehaviour] Is the history of art repeating itself ? A geopolitical analysis and comparison of contemporary art andelectronic art Just looked myself up on this site. I didn't expect to be there - but I am. My value is falling, from 8000ish in 2008 to 12000ish. The graph looks like the value of the UK Pound against the Australian dollar. What a weird way to think about artists and art. But I feel put in my place, that's for sure. I'm nowhere's ville... For what it's worth, the top rated artist who routinely uses digital media is probably Andreas Gursky at 32. However, he's not a digital artist as such. He uses the computer as a tool, not a medium. I doubt he considers computational processes as essential to the conceptual nature of his practice or the resultant artefacts. Christian Marclay is similar, at 96, as is Muntadas at 254. The highest ranking artist who I'd consider a practitioner who does emphasise the computer in their practice is Peter Weibel at 358. But that is strange as he is better known as an educator, administrator or curator than a practitioner. Cao Fei is more like it, at 418. Lozano-Hemmer is at 751 and Otto Piene at 843. But none of these artists are really digital artists in the sense I understand that term. Manfred Mohr appears to be the top rated artist who uses computation as central in his work, at 1119. So, it's nice to know that a digital artist almost gets into the top 1000. That is reassuring. Manfred gives us hope. Not sure why Ai Wei Wei is at 401 when he recently topped the art power list? The list seems arbitrary, with major names quite far down and people I've never heard of near the top (although I do not read art magazines anymore as they are just full of advertising). Oh well, that was 15 minutes of my life wasted - but it saves me reading the magazines, I hope. best Simon On 2 Nov 2011, at 16:53, Eduardo Valle wrote:Dear Rob, Thanks for you comments. I agree that is a question of scale and also time, if you think that one of the majors Festivals related to the digital art is about 30 years old (Ars Eletronica), but the pattern is already repeating on a diferent scale. About the data they came from sites on the web : the galleries dedicated to digital art and their casting : bitforms , Bryce Wolkowitz, Postmastersart, Numeriscausa, Fabio Paris, DAM Berlin, DAM Cologne and Island6 (Shangai) the data from Ars Eletronica - from the site of ars eletronica The data about artists ranking on the investor site: www.artfacts.net The data about collectors: www.artnews.com * Here is point obscure where i can find data about collectors on digital art ? Fairs: ArtBasel and SP Arte - from their sites As you can see on the Conceptual Map: The Web of Art there are lot of others instances and players to be explored in terms of data and i didnt analyse the relationship between them , i just showed some data about 5 instances and players. It is also important to say that the data is not analysed in a scientific way (stat tests, big samples) it was only a "scan". The work that i develop is about conceptual maps and in this case i separate the one called The Web of Art and analyse that in geopolitical terms and made a comparison about contemporary and electronic. Another important point is to notice that in the two conceptual maps about The Fairs , is that i am showing that what can be periphery in one place can be a center in another place. Looking forward to hear from you. best regards, Duda Valle > Date: Tue, 1 Nov 2011 20:37:50 + > From: r...@robmyers.org > To: netbehaviour@netbehaviour.org > Subject: Re: [NetBehaviour] Is the history of art repeating itself ? A > geopolitical analysis and comparison of contemporary art and electronic art > > On 30/10/11 13:28, Eduardo Valle wrote: > > You will find attach a presentation on the Rewire conference in Liverpool. > > > > If this is not the correct procedure and if the subject is not relevant > > in this list , please let me know. > > It's entirely correct and relevant. :-) Thank you for sending this. > > The complaint that digital artists always make about the difference > between the contemporary and digital artworlds is that there is > precisely no money in the digital artworld. Looking at your presenta
Re: [NetBehaviour] Is the history of art repeating itself ? A geopolitical analysis and comparison of contemporary art and electronic art
Just looked myself up on this site. I didn't expect to be there - but I am. My value is falling, from 8000ish in 2008 to 12000ish. The graph looks like the value of the UK Pound against the Australian dollar. What a weird way to think about artists and art. But I feel put in my place, that's for sure. I'm nowhere's ville... For what it's worth, the top rated artist who routinely uses digital media is probably Andreas Gursky at 32. However, he's not a digital artist as such. He uses the computer as a tool, not a medium. I doubt he considers computational processes as essential to the conceptual nature of his practice or the resultant artefacts. Christian Marclay is similar, at 96, as is Muntadas at 254. The highest ranking artist who I'd consider a practitioner who does emphasise the computer in their practice is Peter Weibel at 358. But that is strange as he is better known as an educator, administrator or curator than a practitioner. Cao Fei is more like it, at 418. Lozano-Hemmer is at 751 and Otto Piene at 843. But none of these artists are really digital artists in the sense I understand that term. Manfred Mohr appears to be the top rated artist who uses computation as central in his work, at 1119. So, it's nice to know that a digital artist almost gets into the top 1000. That is reassuring. Manfred gives us hope. Not sure why Ai Wei Wei is at 401 when he recently topped the art power list? The list seems arbitrary, with major names quite far down and people I've never heard of near the top (although I do not read art magazines anymore as they are just full of advertising). Oh well, that was 15 minutes of my life wasted - but it saves me reading the magazines, I hope. best Simon On 2 Nov 2011, at 16:53, Eduardo Valle wrote: > Dear Rob, > > Thanks for you comments. > > I agree that is a question of scale and also time, if you think that one of > the majors Festivals related to the digital art > is about 30 years old (Ars Eletronica), but the pattern is already repeating > on a diferent scale. > > About the data they came from sites on the web : > > the galleries dedicated to digital art and their casting : bitforms , Bryce > Wolkowitz, Postmastersart, Numeriscausa, Fabio Paris, DAM Berlin, DAM Cologne > and Island6 (Shangai) > > the data from Ars Eletronica - from the site of ars eletronica > > The data about artists ranking on the investor site: www.artfacts.net > > The data about collectors: www.artnews.com > > * Here is point obscure where i can find data about collectors on digital > art ? > > Fairs: ArtBasel and SP Arte - from their sites > > As you can see on the Conceptual Map: The Web of Art there are lot of others > instances and players to be explored in terms of data and i didnt analyse the > relationship > between them , i just showed some data about 5 instances and players. It is > also important to say that the data is not analysed in a scientific way (stat > tests, big samples) it was only a "scan". > > The work that i develop is about conceptual maps and in this case i separate > the one called The Web of Art and analyse that in geopolitical terms and made > a comparison about contemporary and electronic. Another important point is to > notice that in the two conceptual maps about The Fairs , is that i am showing > that what can be periphery in one place can be a center in another place. > > Looking forward to hear from you. > > best regards, Duda Valle > > > > > > > > > > Date: Tue, 1 Nov 2011 20:37:50 + > > From: r...@robmyers.org > > To: netbehaviour@netbehaviour.org > > Subject: Re: [NetBehaviour] Is the history of art repeating itself ? A > > geopolitical analysis and comparison of contemporary art and electronic art > > > > On 30/10/11 13:28, Eduardo Valle wrote: > > > You will find attach a presentation on the Rewire conference in Liverpool. > > > > > > If this is not the correct procedure and if the subject is not relevant > > > in this list , please let me know. > > > > It's entirely correct and relevant. :-) Thank you for sending this. > > > > The complaint that digital artists always make about the difference > > between the contemporary and digital artworlds is that there is > > precisely no money in the digital artworld. Looking at your presentation > > that looks like a simple product of relative scale. Do you think that's > > right? > > > > I'm very interested in analysing art and the artworld using data at the > > moment. Did you use any particular sources for your statistics or are > > they the product of trawling through the paperwork? > > > > - Rob. > > ___ > > NetBehaviour mailing list > > NetBehaviour@netbehaviour.org > > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Is the history of art repeating itself ? A geopolitical analysis and comparison of contemporary art and electronic art
Dear Rob, Thanks for you comments. I agree that is a question of scale and also time, if you think that one of the majors Festivals related to the digital art is about 30 years old (Ars Eletronica), but the pattern is already repeating on a diferent scale. About the data they came from sites on the web : the galleries dedicated to digital art and their casting : bitforms , Bryce Wolkowitz, Postmastersart, Numeriscausa, Fabio Paris, DAM Berlin, DAM Cologne and Island6 (Shangai) the data from Ars Eletronica - from the site of ars eletronica The data about artists ranking on the investor site: www.artfacts.net The data about collectors: www.artnews.com * Here is point obscure where i can find data about collectors on digital art ? Fairs: ArtBasel and SP Arte - from their sites As you can see on the Conceptual Map: The Web of Art there are lot of others instances and players to be explored in terms of data and i didnt analyse the relationship between them , i just showed some data about 5 instances and players. It is also important to say that the data is not analysed in a scientific way (stat tests, big samples) it was only a "scan". The work that i develop is about conceptual maps and in this case i separate the one called The Web of Art and analyse that in geopolitical terms and made a comparison about contemporary and electronic. Another important point is to notice that in the two conceptual maps about The Fairs , is that i am showing that what can be periphery in one place can be a center in another place. Looking forward to hear from you. best regards, Duda Valle > Date: Tue, 1 Nov 2011 20:37:50 + > From: r...@robmyers.org > To: netbehaviour@netbehaviour.org > Subject: Re: [NetBehaviour] Is the history of art repeating itself ? A > geopolitical analysis and comparison of contemporary art and electronic art > > On 30/10/11 13:28, Eduardo Valle wrote: > > You will find attach a presentation on the Rewire conference in Liverpool. > > > > If this is not the correct procedure and if the subject is not relevant > > in this list , please let me know. > > It's entirely correct and relevant. :-) Thank you for sending this. > > The complaint that digital artists always make about the difference > between the contemporary and digital artworlds is that there is > precisely no money in the digital artworld. Looking at your presentation > that looks like a simple product of relative scale. Do you think that's > right? > > I'm very interested in analysing art and the artworld using data at the > moment. Did you use any particular sources for your statistics or are > they the product of trawling through the paperwork? > > - Rob. > ___ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] The beginning of the end
The beginning of the end #!/usr/bin/perl end while start; -- * Pall Thayer artist http://www.this.is/pallit * ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Impossible Screenshot
This screenshot is impossible. It is a combination of two subtly different screen shots edited into one (and scaled to 50%). http://jwm-art.net/art/image/impossible_screenshot.png -- http://jwm-art.net/ image/audio/text/code/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Power/field compilation #3 - Call for Submissions
Power/field compilation #3 - Call for Submissions deadline Jan 1 2012 Recordings wanted for the third edition of the Power/field compilation. This series is dedicated to recordings made "in the field" with processing on-site - ie pedals, laptops, or strange acoustic phenomena in the intersection of power and environment. No post-processing besides basic trim edits and gain Traditional field recording captures ambient sound in various locations via microphone without any effects. Power/field recordings are field recordings made with effects processing units used on-site. The intent is to take experimental music practices outside of their traditional operating venues (composing studios and performance venues) and into the “field” (anywhere you don’t normally compose/record/perform music). Aesthetically speaking, anything goes - drone, microsound, synth, ambient, harsh noise. The recordings can come from a wide variety of musical practices, and can be made with electronic, electrical, mechanical, and acoustic means. Harnessing the existing sound in a space is preferred over generating sound within a space - but the latter can work when the results align within the perspective of the series. It is suggested for all to listen to the first edition (link below) for examples of successful submissions. Typical scenarios for successful works: microphone feeding into a pedal; contact mic fed into a laptop; sounds played in an environment and recorded via mics; lathe records, cassettes, and circuit boards left outside all winter long, then recorded in their deteriorated condition outside, a microphone rubbed against subway walls, a microphone set inside the whirlwind funneling into an air conditioner. Typical unsuccessful scenarios: recorded freak folk / alt rock / post-war classical jams in someone's living room or an underground chamber. Please listen to the tracks from the first edition to get a sense of the aesthetic intent behind the project. There is an honor system on the basic rules: the recording must be made outside of the studio or the stage; no overdubs except on-site; no re-processing; no edits besides cutting off the beginning or end. The submission can be an excerpt of a longer take, and basic normalizing of the levels is fine. Track length 3-15 min preferred, multiple short tracks are fine to submit. Previously released tracks will not be considered. The final project will be released March 2012 in an edition of 200. The first 2 editions each had 2x CDrs, as there were a ton of great submissions. Traditionally the discs are housed in screen-printed cardboard sleeves. A digital edition will be created in addition to the physical one. The entire contents of the previous editions can be found here: vol 1: http://anarchymoon.com/sounds/powerfield (p.s. the first track of Disc 1 is titled "\\\" but the slashes don't come out right in an online directory) vol 2: http://anarchymoon.com/sounds/powerfield2 Please submit everything online by Jan 1 2012. To prevent wasted CDrs, please upload your recordings (mp3s in the first round) to your own website, to a file sharing service such as yousendit, or soundcloud. I can also provide an FTP address if you aren’t able to upload it yourself. Once the final choices are made, I’ll need full resolution files (WAV / AIFF) uploaded by Jan 31 2012. Send track(s), title(s), site location(s), equipment list(s), pictures of your setup environment, and any other info about yourself to: bob_AT_halfnormal_DOT_com More info: http://halfnormal.com/powerfield.html ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] MINA Mobile Creativity and Innovation Symposium
The Mobile Innovation Network Aotearoa [MINA] is a network project, which aims to create a dialogue between the creative industry, artists, designer and filmmakers working with mobile devices. MINA explores the possibilities of interaction between people, content and the emerging mobile industry. MINA Mobile Creativity and Innovation Symposium 26th November 2011 Massey University, Wellington, NZ Executive Seminar Suite (5B 14) Registration and program for MINA Symposium 2011 [$ 30 including lunch] http://mina2011.eventbrite.com/ The MINA symposium will provide a platform to debate the prospect of wireless, mobile and ubiquitous technologies in a changing art and design environment and the transforming creative industries. >From the 23rd to the 26th November 2011, MINA presents the International >Mobile Innovation Screening 2011 at the Film Archive in Wellington, which will >showcase more than 55 international short films and four feature films >produced on mobile devices. The program will also feature selected mobile >short films from the Mobilefest (Brazil), Mobile Screenfest International >(Australia), Heartbeat Festival (Russia) and Ohrenblick (Germany). The program >is curated by the Mobile Innovation Network Aotearoa [MINA] and presents these >works for the first time in New Zealand. Tickets for the screenings can be purchased at the Film Archive, Wellington. For a detailed screening program see www.mina.pro MINA is supported by the College of Creative Arts, Massey University. For further information contact: m...@mina.pro -- Empfehlen Sie GMX DSL Ihren Freunden und Bekannten und wir belohnen Sie mit bis zu 50,- Euro! https://freundschaftswerbung.gmx.de ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] DA FACT newsletter, November 2011
DA FACT newsletter | November 2011 http://www.dafact.com If you can't see the newsletter below click here: http://www.dafact.com/newsletter/NL-2011-11.html - Streamline project in Serbia: http://streamlineproject.blogspot.com/ Streamline project team, including karlax player Jean-Christophe Potvin, will present HiddenSession #6 at MSUV of Novi Sad, on 5th November. - DA FACT and new technologies at Intel Party: http://newsroom.intel.com/community/fr_fr/blog/tags/geek_so_in DA FACT will introduce Karlax at the biannual party hosted by Intel in Paris, on 15th November. - Karlax and MAX/MSP at Ircam: http://forumnet.ircam.fr/ Jean Lochard and Tom Mays will present their work with Karlax and Max at the Ircam Forum, on thursday, November 17th. - Check out the video of the demonstration of Karlax: http://www.youtube.com/watch?v=muIcRI1oklM Rémi Dury introduced Karlax for the HubForum at Espace Pierre Cardin in Paris. - Tom Mays explains his work: http://vimeo.com/30555870 Check out the video. He presented his work with Karlax and Max before leaving for the Cycling'74 expo. - Rémi Dury was at Modularsquare meeting: http://www.flickr.com/photos/modularsquare/sets/72157627736176329/with/62299 28951/ Rémi Dury introduced Karlax at the meeting hosted by MESI Store. Check out the pictures. - DA FACT showroom: http://www.dafact.com/lang-en/showroom.php If you wish to discover and try Karlax, don't hesitate to contact us to make an appointment. Like Facebook page or subscribe to Twitter account of Karlax to be informed about presentations and performances of the community. - Karlax blog: http://www.karlax.com - Facebook page: http://www.facebook.com/pages/Karlax/179489555407182 - Twitter: http://www.twitter.com/da_fact DA FACT sponsored by Parrot ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
