[rohrpost] CALL: Second Summit on New Media Art Archiving

[Oliver Grau]

Second Summit on New Media Art Archiving

ISEA2022 Barcelona

Call for Participation

In partnership with Ars Electronica, the Archive of Digital Art (ADA), the 
SIGGRAPH History Archive, the Electronic Language International Festival 
(FILE), and the ISEA Symposium Archives, ISEA2022 announces the Second Summit 
on New Media Art Archiving. It will be held during ISEA2022, the 27th 
International Symposium on Electronic Art and in co-operation with several 
major institutes in Barcelona.

Introduction
The need to preserve the history of the rapidly evolving field of new media 
arts has spurred the development of a wide variety of new media art archives 
throughout the world. Museums, cultural and educational institutions, as well 
as individuals with collections have developed, or are planning to create, 
physical and/or online archives in an effort to preserve important artifacts 
and document events and works. The Second Summit on New Media Art Archiving 
aims to facilitate critical discourse and collaboration amongst archivists, 
curators, and other parties interested in preserving the past. This summit will 
serve as an incubator of innovative ideas, production techniques, and 
infrastructure development as well as assist in connecting like-minded 
individuals in an effort to create a unified approach to solving the complex 
problem of preserving the history of new media artforms and events.

History
The initiative started with an ISEA round table discussion on new media 
archiving at ISEA2018 in Durban, South Africa and was followed by an enormously 
well-attended roundtable at ISEA2019 in Gwangju, South Korea. The First Summit 
on New Media Art Archiving was held during ISEA2020, (online from Montreal, 
Canada) featuring a keynote lecture, paper presentations, and break-out 
sessions. This Second Summit on New Media Art Archiving will build upon the 
results of the first summit and also include archiving physical artifacts, 
digitizing museum collections, and innovative approaches to archiving, as well 
as an emphasis on connecting new media art archives worldwide.

Information
The summit will take place during the first two days of ISEA2022, 10-11 June 
(subject to change), in parallel with the Workshops & Tutorials. Results of the 
summit will be presented during the ISEA2022 academic conference, June 12-16. 
The Second Summit on New Media Art Archiving will be a blended event, happening 
at a physical location in Barcelona (tba) and online.

The Topics of the Summit


  *   Museums and the integration of Digital Arts
  *   Communication and Coordination among Archivists Cooperation among Museums 
and New Media Art Archives
  *   Funding Initiatives
  *   Developing and Maintaining Physical Archives
  *   New Directions in Online Archiving
  *   New Technologies for Archiving (AI, VR/AR, Graph databases, other)

Proposals are invited for the following:


  *   Short Lightning Talks on Archives (1 page proposal)
  *   Short (2 pages) and Long (5 pages) Papers
  *   Panels (1 page proposal, including the panelists)
  *   Round Table discussions (1 page proposal)
  *   Workshop and Tutorial proposals  (1 page proposal, for 2 or 4 hours long 
sessions)
  *   Artworks related to archives or archival practises as well as data 
visualisation of archives (1 page proposal). This will be an online 
exhibition—we will be accepting works that can be displayed on a monitor at the 
symposium and also be available on the Internet.  Still images, video and 
animations, documentation of installations, interactive works, objects, 
performances, and other works will be considered.

Website open for Submissions: January 10, 2022 (including the templates that 
must be used)
Submissions (as of Jan 10, 2022) via: 
https://isea-archives.siggraph.org/second-summit-on-new-media-art-archiving-at-isea2022/

Deadline for Submissions: January 31, 2022

For inquiries contact i...@isea-archives.org


Links:

ISEA2022: https://isea2022.isea-international.org/
CCCB: https://www.cccb.org/en
ISEA Archives: http://www.isea-archives.org/ & 
https://isea-archives.siggraph.org/
ADA: https://www.digitalartarchive.at/nc/home.html
Ars Electronica Archive: https://archive.aec.at/
SIGGRAPH Art Show Archives: https://digitalartarchive.siggraph.org/
FILE: https://file.org.br/
Summit 2020: http://www.isea-archives.org/about_summit/

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[rohrpost] JOB: Wiss.Projektmitarbeit, "LeFo/ADA", Krems

[Oliver Grau]

Donau Universität Krems / Art & Digital Humanities Lab
Bewerbungsschluss: 21.11.2021

Wissenschaftliche_r Projektmitarbeiter_in / Post Doc (m/w/d)

Zur Verstärkung unseres Teams im Department für Kunst- und Kulturwissenschaften 
gelangt im Rahmen des Projekts Lehr- und Forschungsinfrastruktur für Digitale 
Künste an Hochschulen (LeFo) eine Position zur Besetzung. Das vom 
Bundesministerium geförderte Projekt hat in Zusammenarbeit mit den Partnern 
Universität für Angewandte Kunst Wien und Kunstuniversität Linz eine umfassende 
Erweiterung und multimediale Weiterentwicklung der Plattform „Archive of 
Digital Art (kurz: ADA, digitalartarchive.at)“ zum Ziel. Darunter fällt u.a. 
die Anwendung und Entwicklung verschiedener Forschungstools sowie Thesauri für 
Medienkunst.
Mehr Informationen finden Sie hier: Lehr- und Forschungsinfrastruktur für 
Digitale Künste an Hochschulen (LeFo) 
https://www.donau-uni.ac.at/en/research/project/U7_PROJEKT_4294970090

Inserat Nr. SB21-0176

Wissenschaftliche_r Projektmitarbeiter_in (m/w/d)

Ihre Aufgaben
- Mitarbeit im Projekt „Lehr- und Forschungsinfrastruktur für Digitale Künste 
an Hochschulen (LeFo)"
- Erarbeitung von Arbeitsabläufen zum Umgang mit Normdatenbanken in 
Bilddatenbanken am Beispiel „Archive of Digital Art"
- Erweiterung der Datenbank „Archive of Digital Art“
- Erstellen visueller Analysen und Anwendung von Datamining
- Vernetzung und Integration der Datenbank „Archive of Digital Art“ (auf Basis 
von API)

Ihr Profil
- abgeschlossenes Hochschulstudium (Master/Diplom/PhD) im Bereich 
Medienwissenschaften, Kunstgeschichte oder Digital Humanities, Computerscience
- wissenschaftliches Interesse an der Medienkunstforschung und der Vermittlung 
von Datenkompetenzen
- Erfahrung im Bereich Digital Humanities, speziell im Umgang mit relationalen 
Datenbanken (SQL)
- Projekterfahrung von Vorteil
- gute Deutsch- und gute Englischkenntnisse in Wort und Schrift (beides mind. 
B2)
- hohe kommunikative und organisatorische Kompetenz eigenverantwortliches 
Handeln und Teamfähigkeit

Ihre Perspektive
- Teilzeitanstellung (20,0h/Woche - Gleitzeit) vorerst befristet auf ein Jahr 
mit Option auf Verlängerung, bei einem Mindestgehalt von EUR 2.918,71 brutto 
für Master -AbsolventInnen, oder einem Mindestgehalt von EUR 3.400,- brutto für 
PhD AbsolventInnen, monatlich auf Vollzeitbasis (Einstufung gem. Dienst- und 
Besoldungsordnung in W3), Bereitschaft zur Überzahlung bei entsprechender 
Qualifikation und Berufserfahrung
- innovatives und modernes Arbeitsumfeld am Campus Krems
- Möglichkeit zum Home-Office abhängig von der jeweiligen Tätigkeit
- sehr gute Weiterbildungsmöglichkeiten im Rahmen der eigenen Studienprogramme, 
umfangreiches Angebot der betrieblichen Gesundheitsförderung sowie des Campus 
Sport, - eigene Kinderbetreuungseinrichtung „Campus Kids“

Wir freuen uns auf Bewerbungen von Menschen mit Behinderung, welche über das 
geforderte Profil verfügen.
Die Donau-Universität Krems sieht in der Diversität ihrer Mitarbeiter_innen 
hohes Innovationspotential und bekennt sich zur Vielfalt als leitendes Prinzip.

Bitte übermitteln Sie uns Ihre überzeugende Online-Bewerbung bis spätestens 
21.11.2021 durch unser Bewerbungstool: https://www.donau-uni.ac.at/jobs
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[rohrpost] New Publ.: Grau/Hinterwaldner (Eds.) Retracing Political Dimensions: Strategies in Contemporary New Media Art

[Oliver Grau]

Dear Colleagues, 

we would be delighted by your interest in our new collective work:
　
RETRACING POLITICAL DIMENSIONS: 
Strategies in Contemporary New Media Art
Edited by Oliver GRAU and Inge HINTERWALDNER
De Gruyter (Berlin/Boston) | Published: 23 Nov 2020 

With contributions by:
Elisa ARCA, Andrés BURBANO, Derek CURRY, Yael Eylat VAN ESSEN, Mathias
FUCHS, Jennifer GRADECKI, 
Oliver GRAU, Sabine HIMMELSBACH, Inge HINTERWALDNER, Ingrid HOELZL,
Katja KWASTEK, 
José-Carlos MARIÁTEGUI, Gerald NESTLER, Randall PACKER, Viola RÜHSE,
Chris SALTER.

At the beginning of the 21st century, new forms and dynamics of
interplay are constituted at the interfaces of media, art and politics.
Current challenges in society and ecology, like climate, surveillance,
virtualization of the global financial markets, are characterized by
hybrid and subtle technologies. They are ubiquitous, turn out to be
increasingly complex and act invasively. New media art utilizes its
broad range of expression in order to tackle the most urgent topics
through multi-sensorial, participatory, and activist approaches. This
volume shows how media artists address, with a political lens, the core
of these developments critically and productively.

https://www.degruyter.com/view/title/568504?rskey=MQ4hpn=7_body=overview
https://www.degruyter.com/view/title/568504


 
Pages 265, Ill. Color: 59, Euro: 33,95
Paperback: ISBN: 978-3-11-067094-3 
PDF: ISBN: 978-3-11-067098-1 



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[rohrpost] New Publ.: Grau/Hinterwaldner (Eds.) Retracing Political Dimensions: Strategies in Contemporary New Media Art

[Oliver Grau]

Dear Colleagues, 

we would be delighted by your interest in our new collective work:
　
RETRACING POLITICAL DIMENSIONS: 
Strategies in Contemporary New Media Art
Edited by Oliver GRAU and Inge HINTERWALDNER
De Gruyter (Berlin/Boston) | Published: 23 Nov 2020 

With contributions by:
Elisa ARCA, Andrés BURBANO, Derek CURRY, Yael Eylat VAN ESSEN, Mathias
FUCHS, Jennifer GRADECKI, 
Oliver GRAU, Sabine HIMMELSBACH, Inge HINTERWALDNER, Ingrid HOELZL,
Katja KWASTEK, 
José-Carlos MARIÁTEGUI, Gerald NESTLER, Randall PACKER, Viola RÜHSE,
Chris SALTER.

At the beginning of the 21st century, new forms and dynamics of
interplay are constituted at the interfaces of media, art and politics.
Current challenges in society and ecology, like climate, surveillance,
virtualization of the global financial markets, are characterized by
hybrid and subtle technologies. They are ubiquitous, turn out to be
increasingly complex and act invasively. New media art utilizes its
broad range of expression in order to tackle the most urgent topics
through multi-sensorial, participatory, and activist approaches. This
volume shows how media artists address, with a political lens, the core
of these developments critically and productively.

https://www.degruyter.com/view/title/568504?rskey=MQ4hpn=7_body=overview

https://www.degruyter.com/view/title/568504 

Pages 265, Ill. Color: 59, Euro: 33,95
Paperback: ISBN: 978-3-11-067094-3 
PDF: ISBN: 978-3-11-067098-1 

---

Univ.-Prof. Dr. habil. Oliver Grau, MAE
Department für Bildwissenschaften
Leitung Consortium Erasmus Joint Master in MediaArtsCultures
Lead Lehr- und Forschungsinfrastruktur für Digitale Künste an
Hochschulen
DONAU UNIVERSITÄT
Dr.-Karl-Dorrek-Strasse 30
3500 Krems, AUSTRIA
www.donau-uni.ac.at/dbw 
Graphische Sammlung Goettweig-Online www.gssg.at 
ADA – Archive of Digital Art www.digitalartarchive.at 



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[rohrpost] Media Art Preservation Institute - 5-day professional training - Dec 12-16, 2020

[Oliver Grau]

The Department for Image Science invites participation in the Media Art 
Preservation Institute held at the Danube University Krems, located 70km from 
Vienna in the UNESCO World Heritage Wachau region. 

Danube University is the leading public university in Europe specializing in 
advanced continuing education by offering
low-residency degree programs for working professionals and continuing 
education/advanced studies. The Media Art Preservation Institute provides 5 
ECTS of material in the MediaArtHistories, MA curriculum. 

The Media Art Preservation Institute takes place Saturday - Wednesday, December 
12-16, 2020. 

PROGRAM:

Saturday - Dec 12th , 2020 15:00 - 18:00
Challenges, Needs and Current State of Media Art Preservation

Sunday Dec 13th, 2020 9:30 - 18:00
Expanding Strategic Archiving and Documentation

Monday Dec 14th, 2020 9:30 - 18:00
Media Art Material Conservation from Analog to Digital

Tuesday Dec 15th, 2020 9:30 - 18:00
Developing Preservation Strategies Across Stakeholders

Wednesday Dec 16th, 2020 9:30 - 16:00
Results, Resources & Wrap-up

Lecturers: Patricia FALCAO, Andreas WEISSER, Laurent MIGNONNEAU,
Wendy COONES, Oliver GRAU


DESCRIPTION:
Media Art is in the process of entering museums and archives, galleries and 
private collections, and other more unexpected places. However, this art form 
is threatened by significant loss due to rapid technological obsolescence and 
insufficient documentation strategies. The special needs required to care for 
this valuable and fragile heritage is slowly becoming obvious. Understanding 
the tenets of media art preservation is no longer a niche, but useful skills 
and knowledge in an expanding field. 

To contribute to the development of this expertise the Danube University Krems 
is pleased to offer a professional training
institute introducing fundamental concepts for the preservation of media art. 
This workshop brings together knowledge and experience in conservation & 
documentation from experts in both academic, institutional and private 
practice. Interacting with a varied group of participants, the institute will 
facilitate a mix of clearly structured lectures, practical exercises and lively 
group discussions. Resource materials and deep investigation of case-studies 
enable future practical use. 

The activities will give participants the opportunity to learn about the 
materials of media art, the risks for their preservation, and the strategies 
available for some of the specific media, such as audio, video interfaces or 
software. Participants will also learn about different methods and aims of 
documentation, and some of the varied approaches being used in the field. The 
5-day institute brings together the critical mass of expertise with 
representation from Media Art historians, archivists, artists preserving 
collected works, and of course conservators and restoration specialists from 
both collecting institutions and freelance.

TARGET GROUP:
Anyone involved with cultural, collecting or archiving institutions. 
Conservators and conservation lecturers / grad students, AV
technicians, media artists, archivists, registrars, curators, collectors. 
Researchers in art history, media studies, media archeology or digital cultural 
heritage. 

APPLICATION: 
A maximum of 24 may participate in this professional training.

Staff at universities in Erasmus+ program countries may apply for Erasmus+ 
mobility funds. Please, contact the International Office at your home 
institution about staff training funds available for travel and accommodation.

www.donau-uni.ac.at/dbw/institute 



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[rohrpost] Department für Bildwissenschaften: Wissenschaftliche_r Mitarbeiter_in (m/d/w) - Postdoc

[Oliver Grau]

Donau-Universität Krems/Department für Bildwissenschaften
Wissenschaftliche_r Mitarbeiter_in (m/d/w) - Postdoc 31,0 Std.

Die Donau-Universität Krems ist die führende Universität für
Weiterbildung in Europa. Als einzige öffentliche Universität für
Weiterbildung im deutschsprachigen Raum ist sie spezialisiert auf die
Höherqualifizierung von Berufstätigen und widmet sich in Lehre und
Forschung der Bewältigung aktueller und zukünftiger gesellschaftlicher
Herausforderungen. Rund 8.000 Studierende aus über 80 Ländern sind
zurzeit in berufsbegleitenden Master-Studien sowie Kurzprogrammen
eingeschrieben.
Zur Verstärkung unseres Teams im  gelangt folgende Position zur
Besetzung:
Wissenschaftliche_r Mitarbeiter_in (m/d/w) - Postdoc
31,0 Std./Woche Inserat Nr. SB20-0140

Ihre Aufgaben
- Mitarbeit in Forschung und Lehre im Bereich Bildwissenschaften
- Assistenz im Bereich Department- und Forschungsmanagement
- aktive Mitarbeit im Studiengangsmanagement
- selbstständige Durchführung von Lehrveranstaltungen, Abhaltung von
Prüfungen und Betreuung bei der Erstellung von Masterthesen
- eigenständige Akquise, Konzeption und Durchführung von
Forschungsprojekten

Ihr Profil
- abgeschlossenes Hochschulstudium (Doktorat/PhD) im Bereich Kunst-,
Kultur-, Medien-, Bildwissenschaften oder Digital Humanities
- mind. zwei Jahre Berufserfahrung in der Betreuung wissenschaftlicher
Arbeiten
- mind. zwei Jahre Berufserfahrung in der Betreuung, Koordination und
Abwicklung wissenschaftlicher Projekte, idealerweise im Bereich
Medienkunst oder Digital Humanities
- Forschungserfahrung im Bereich der Medienkunst oder Digital
Humanities von Vorteil
- Berufserfahrung im Hochschulkontext von Vorteil
- sehr gute Englischkenntnisse in Wort und Schrift (mind. B2)

Ihre Perspektive
- Teilzeitanstellung (31h/Woche - Gleitzeit) vorerst befristet auf vier
Jahre bei einem Gehalt von EUR 3.376,99 brutto monatlich auf
Vollzeitbasis (Einstufung gem. Dienst- und Besoldungsordnung in W3/1,
inkl. Zulage), Bereitschaft zur Überzahlung bei entsprechender
Qualifikation und Berufserfahrung
- innovatives und modernes Arbeitsumfeld am Campus Krems
- sehr gute Weiterbildungsmöglichkeiten im Rahmen der eigenen
Studienprogramme, umfangreiches Angebot der betrieblichen
Gesundheitsförderung sowie des Campus Sport, eigene
Kinderbetreuungseinrichtung „Campus Kids“
- gute Verkehrsanbindung – Campus-Shuttlebus vom Bahnhof

Wir freuen uns auf Bewerbungen von Menschen mit Behinderung, welche
über das geforderte Profil verfügen.
Bitte übermitteln Sie uns Ihre überzeugende Online-Bewerbung bis
spätestens 01.09.2020 über unser Online-Tool:
https://www.donau-uni.ac.at/jobs 

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[rohrpost] ISEA2020 Online

[Oliver Grau]

ISEA2020 ONLINE: CONNECT. BREAK THE DISTANCE!

From October 13 to 18, 2020.

The 26th International Symposium on Electronic Art will address pressing
contemporary issues and present practice-based approaches to explore the
theme “Why Sentience?”.


ISEA2020 Online will be the first 100% online electronic art symposium:
a pioneering and unique experience that will bring together fellow
artists, scientists, scholars and researchers from around the world.

We hope to include the largest number, so we have considerably reduced
the registration fees (starting at CAD $ 69 Early bird student pass).
Register now (Early Bird rate ends on August 13):
http://isea2020.isea-international.org/registration/


Teaser ISEA2020 Online:
https://www.youtube.com/watch?v=MTHLtjoLZTo=youtu.be

ISEA2020’s online program:

http://isea2020.isea-international.org/isea2020-online-program

Erandy Vergara, PhD
ISEA2020
Programming Director & Artistic Chair


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[rohrpost] Updated version: CALL FOR PROPOSALS to host the 9th International Conference on the Histories of Media Art, Science and Technology: Re: 2022

[Oliver Grau]

-->> Proposals with inventive solutions for ecological sustainability,
engaging digital participation, and quality presence from the Global
South & North are highly encouraged.

CALL FOR PROPOSALS to host the 9th International Conference on the
Histories of Media Art, Science and Technology: Re: 2022The Media Art
Histories Board invites applications to host the 9th International
Conference on the Histories of Media Art, Science and Technology.

The international conference series, which was inaugurated in 2005 in
Banff, Canada, has since been held in several international venues
around the globe including Berlin in 2007, Melbourne 2009, Liverpool
2011, Riga 2013, Montreal 2015, Krems/Vienna 2017, and Aalborg 2019. A
significant MediaArtHistories stream will be held in Brazil at CIHA in
2021 and the call for proposals to host the 9th international conference
is open until Dec 1, 2020. The conference series aims to engage the
growing community of scholars from a range of disciplines including art
history, contemporary art practice, art theory, history of science,
history of technology, science and technology studies, media studies,
image science, visual studies, philosophy, cultural studies,
anthropology, architecture theory, sound studies, computer science among
others to develop and share new research and scholarship in the
intersecting fields of the histories of media art, science and
technology. The host of the conference in 2022 will have the opportunity
to continue to build on the impressive history of the conference series.
Proposals with inventive solutions for ecological sustainability,
engaging digital participation, and quality presence from the Global
South & North are highly encouraged.
　
CONFERENCE SERIES MISSION

“Recognizing the increasing significance of media art for our culture,
this conference series on the Histories of Media Art discusses … the
history of media art within the interdisciplinary and intercultural
contexts of the histories of art. Numerous individuals and institutions
collaborate to produce the international art history conference series
covering art and new media, art and technology, art-science interaction,
and the history of media as pertinent to contemporary art.“ (MAH Board)

GUIDELINES, SELECTION CRITERIA AND DEADLINES
Proposals to host the conference will include the following information:

1. Proposed Dates
2. Proposed Venues (including information on number, capacity and AV and
network capabilities of spaces)
3. Rationale for hosting the conference
4. Host Local Organizing Committee
5. Relevant previous experience (e.g., committee members, experience in
hosting conferences, events, etc.)
6. Publicity Plan
7. Funding / Sponsorship plan
8. Preliminary Budget

Those interested in making a bid to host the conference can download
GUIDELINES here
http://www.mediaarthistory.org/call-for-proposals-host-reconf

Deadline for final submission of proposals:
Dec 1, 2020
MAH Advisory Board’s decision for the 2022 Host will be announced early
2021.

***
MediaArtHistory Board (Steering Committee)

Andreas BROECKMANN, Leuphana Universität
Andres BURBANO, Universidad de los Andes
Sean CUBITT, Goldsmiths College, University of London
Oliver GRAU, Danube University
Inge HINTERWALDNER, Karlsruhe Institute of Technology
Erkki HUHTAMO, University of California Los Angeles
Machiko KUSAHARA, Waseda University, Tokyo
Katja KWASTEK, Vrije Universiteit Amsterdam
Gunalan NADARAJAN, University of Michigan
Chris SALTER, Concordia University and Hexagram, Montreal
Paul THOMAS, UNSW Sydney

emeriti members:
Dr. Linda HENDERSON, University of Texas
Prof. Dr. Douglas KAHN, National Institute for Experimental Arts (NIEA)
at UNSW
Prof. Dr. Martin KEMP, Oxford University
Prof. Tim LENOIR, Duke University

MAH Honorary Board: Martin KEMP, Jasia REICHARDT, Tim LENOIR, Itsuo
SAKANE,
Peter WEIBEL, Douglas KAHN, Linda HENDERSON, Douglas DAVIS †, Rudolf
ARNHEIM †

Wendy COONES, MAH HeadqMEDIA ART HISTORIES PLATTFORM 
http://www.mediaarthistory.org
ARCHIVE OF DIGITAL ART http://www.digitalartarchive.at
LIVERPOOL DECLARATION: http://www.mediaarthistory.org/declaration
CONFERENCE PUBLICATIONS
http://www.mediaarthistory.org/pub/mediaarthistories.html
http://www.mediaarthistory.org/pub/place_studies.html
http://mitpress.mit.edu/books/relive
https://www.degruyter.com/view/title/568504?language=en
 

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[rohrpost] CALL FOR PROPOSALS to host the 9th International Conference on the Histories of Media Art, Science and Technology: Re: 2022

[Oliver Grau]

CALL FOR PROPOSALS to host the 9th International Conference on the
Histories of Media Art, Science and Technology: Re: 2022
 
The Media Art Histories Board invites applications to host the 9th
International Conference on the Histories of Media Art, Science and
Technology.
 
The international conference series, which was inaugurated in 2005 in
Banff, Canada, has since been held in several international venues
around the globe including Berlin in 2007, Melbourne 2009, Liverpool
2011, Riga 2013, Montreal 2015, Krems/Vienna 2017, and Aalborg 2019. A
significant MediaArtHistories stream will be held in Brazil at CIHA in
2021 and the call for proposals to host the 9th international conference
is currently open. The conference series aims to engage the growing
community of scholars from a range of disciplines including art history,
contemporary art practice, art theory, history of science, history of
technology, science and technology studies, media studies, image
science, visual studies, philosophy, cultural studies, anthropology,
architecture theory, sound studies, computer science among others to
develop and share new research and scholarship in the intersecting
fields of the histories of media art, science and technology. The host
of the conference in 2019 will have the opportunity to continue to build
on the impressive history of the conference series.
　
CONFERENCE SERIES MISSION
*Recognizing the increasing significance of media art for our culture,
the conference series on the Histories of Media Art discusses... the
history of media arts within the interdisciplinary and intercultural
contexts of the histories of the arts. Numerous individuals and
institutions collaborate to produce the international art history
conference series covering the media arts, the arts and technology,
art-science interaction, and the history of media as pertinent to the
contemporary arts.*
 
GUIDELINES, SELECTION CRITERIA AND DEADLINES
Proposals to host the conference will include the following
information:
 
1. Proposed Dates
2. Proposed Venues (including information on number, capacity and AV
and network capabilities of spaces)
3. Rationale for hosting the conference
4. Host Local Organizing Committee
5. Relevant previous experience (e.g., committee members* experience in
hosting conferences, events, etc.)
6. Publicity Plan
7. Funding / Sponsorship plan
8. Preliminary Budget
 
Those interested in making a bid to host the conference can download
GUIDELINES here
http://www.mediaarthistory.org/call-for-proposals-host-reconf 
 
Deadline for final submission of proposals:  Dec. 1st 2020 

MAH Advisory Boards final decision for the 2021 host:  Spring 2021
 
***
MediaArtHistory Board (Steering Committee)
 
Andreas BROECKMANN, Leuphana Universität
Andres BURBANO, Universidad de los Andes
Sean CUBITT, Goldsmiths College, University of London
Oliver GRAU, Danube University
Inge HINTERWALDNER, Karlsruhe Institute of Technology
Erkki HUHTAMO, University of California Los Angeles
Machiko KUSAHARA, Waseda University, Tokyo
Katja KWASTEK, Vrije Universiteit Amsterdam
Gunalan NADARAJAN, University of Michigan
Chris SALTER, Concordia University and Hexagram, Montreal
Paul THOMAS, UNSW Sydney

MAH Honorary Board: Martin KEMP, Jasia REICHARDT, Tim LENOIR, Itsuo
SAKANE, 
Peter WEIBEL, Douglas KAHN, Linda HENDERSON, Douglas DAVIS †, Rudolf
ARNHEIM †
　
MEDIA ART HISTORIES PLATTFORM http://www.mediaarthistory.org
ARCHIVE OF DIGITAL ART http://www.digitalartarchive.at 
LIVERPOOL DECLARATION: http://www.mediaarthistory.org/declaration 
CONFERENCE PUBLICATIONS
http://www.mediaarthistory.org/pub/mediaarthistories.html 
http://www.mediaarthistory.org/pub/place_studies.html 
http://mitpress.mit.edu/books/relive 
 
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[rohrpost] Rescheduled: Media Art Preservation Institute - 5-day professional training - Dec 12-16, 2020

[Oliver Grau]

We are pleased to announce we have new dates for the rescheduled
event:
from June now to Dec 12-16, 2020

The Department for Image Science invites participation in the Media
Art
Preservation Institute 
held at the Danube University Krems, located 70km from Vienna in
the
UNESCO World Heritage Wachau region. 

Danube University is the leading public university in Europe
specializing in advanced continuing education by offering
low-residency
degree programs for working professionals and continuing education
/
advanced studies. The Media Art Preservation Institute provides 5
ECTS
of material in the MediaArtHistories, MA curriculum. 

The Media Art Preservation Institute takes place Saturday –
Wednesday
December 12-16, 2020. 

PROGRAM:

Saturday - Dec 12th , 2020 – 15:00 - 18:00
Challenges, Needs and Current State of Media Art Preservation

Sunday – Dec 13th, 2020 – 9:30 - 18:00
Expanding Strategic Archiving and Documentation

Monday – Dec 14th, 2020 – 9:30 - 18:00
Media Art Material Conservation from Analog to Digital

Tuesday – Dec 15th, 2020 – 9:30 - 18:00
Developing Preservation Strategies Across Stakeholders

Wednesday – Dec 16th, 2020 – 9:30 - 16:00
Results, Resources & Wrap-up


Lecturers: Patricia FALCAO, Andreas WEISSER, Laurent MIGNONNEAU,
Wendy
COONES, Oliver GRAU


DESCRIPTION:
Media Art is in the process of entering museums and archives,
galleries
and private collections, and other more unexpected places. However,
this
art form is threatened by significant loss due to rapid
technological
obsolescence and insufficient documentation strategies. The
special
needs required to care for this valuable and fragile heritage is
slowly
becoming obvious. Understanding the tenets of media art
preservation is
no longer a niche, but useful skills and knowledge in an expanding
field. 
To contribute to the development of this expertise the Danube
University Krems is pleased to offer a professional training
institute
introducing fundamental concepts for the preservation of media art.
This
workshop brings together knowledge and experience in conservation
&
documentation from experts in both academic, institutional and
private
practice. Interacting with a varied group of participants, the
institute
will facilitate a mix of clearly structured lectures, practical
exercises and lively group discussions. Resource materials and
deep
investigation of case-studies enable future practical use. 
The activities will give participants the opportunity to learn
about
the materials of media art, the risks for their preservation, and
the
strategies available for some of the specific media, such as
audio,
video interfaces or software. Participants will also learn about
different methods and aims of documentation, and some of the
varied
approaches being used in the field.
The 5-day institute brings together the critical mass of expertise
with
representation from Media Art historians, archivists, artists
preserving
collected works, and of course conservators and restoration
specialists
from both collecting institutions and freelance.
TARGET GROUP:
Anyone involved with cultural, collecting or archiving
institutions.
Conservators and conservation lecturers / grad students, AV
technicians,
media artists, archivists, registrars, curators, collectors.
Researchers
in art history, media studies, (media) archeology or digital
cultural
heritage. 

APPLICATION: 
A maximum of 24 may participate in this professional training.
Deadline to apply - Oct 1
Notification by Oct 12. 
Places made available after April 3rd will be given to those on
the
waiting list or given on a first come first serve basis. 
Staff at universities in Erasmus+ program countries may apply for
Erasmus+ mobility funds. Please, contact the International Office
at
your home institution about staff training funds available for
travel
and accommodation.

www.donau-uni.ac.at/dbw/institute 

  
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[rohrpost] Research Summit "Making Digital Heritage Multisensory" - Sarah KENDERDINE: Experimental Museology - Sculpting Cultural Data

[Oliver Grau]

Online now: 
Sarah KENDERDINE: Experimental Museology - Sculpting Cultural Data

Keynote held at Research Summit "Making Digital Heritage Multisensory"
Department for Image Science, Danube University Krems.

PROFESSOR DR. SARAH KENDERDINE researches at the forefront of
interactive and immersive experiences for galleries, libraries, archives
and museums. Her internationally exhibited and critically acclaimed
works amalgamate cultural heritage and new media in the fields of
interactive cinema, augmented reality and embodied narrative. Most
recently, Kenderdine was the founding director of the Expanded
Perception and Interaction Centre (EPICentre) at UNSW Australia, where
she pioneered new visualization frameworks for medicine, engineering and
the arts. In 2017, she was appointed Professor of Digital Museology at
the École  polytechnique fédérale de Lausanne (EPFL) where she is
building a new laboratory to explore the convergence of aesthetic
practice, visual analytics and cultural data.

https://www.youtube.com/watch?v=e-Ww4PuHOz8=161s

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[rohrpost] ISEA2020 :  Announcement: discover the preliminary programming of Artworks and Workshops!

[Oliver Grau]

>>> ISEA2020  14.04.2020 14:58 >>>
Be ready for ISEA2020 from October 13 to 18 2020!

Voir ce courriel dans le navigateur
(https://mailchi.mp/920fe853104f/announcement-discover-the-preliminary-programming-4131285?e=92f8f54b99)


** 26th International Symposium on Electronic Art

http://isea2020.isea-international.org/ 


**

PRELIMINARY PROGRAMMING
OF ARTWORKS AND WORKSHOPS!
ISEA2020 is pleased to present the preliminary programming of Artworks
and Workshops, October 13 to 18 in Montreal, with the theme: "WHY
SENTIENCE?".

Below is the list of accepted artists and workshops from the call for
submissions to ISEA2020.*Presenters are confirmed upon registration

PRELIMINARY PROGRAMMING HERE
(http://isea2020.isea-international.org/preliminary-programming/)
© Ana Rewakowicz

© Eunsu Kang, Jean Oh, and Robert Twomey

ARTWORKS

From October 13 to 18, the 26th International Symposium on Electronic
Art, brings together more than 50 artists, scholars, and activists
passionate about critically engaging new technologies and exploring the
relevance of being sentient now. Among the central themes are:
Animality; the Ecosophic World; Machinic Sense and Sensibility; Sentient
Difference; Matter’s Mattering; the Politics of Sentience; and the
Planetary.

WORKSHOPS

A range of exciting workshops will be offered during ISEA2020 on
October 16 and 17, facilitated by practitioners, artists and researchers
on techniques and themes of their expertise. Workshops are hands-on
training, experimentations, discussions or live explorations from data
gloves to artificial intelligence and bacterial growth.

Stay tuned for more details about the workshops and the artistic
programming!

REGISTRATION

ISEA2020, October 13 to 18, will bring together scientific, academic
and artistic research and practices that explore new technologies.
Don’t miss it!

EARLY-BIRD RATE ENDS ON MAY 1, 2020!
REGISTER HERE (http://isea2020.isea-international.org/registration/)
https://www.facebook.com/ISEA2020Montreal/ 
https://www.instagram.com/isea2020mtl/ 
https://twitter.com/PN_MTL 
https://www.youtube.com/channel/UC1mLpTYbqGWRQxf-L1mZgFg 
https://www.linkedin.com/company/10215153?trk=tyah=clickedVertical%3Acompany%2CclickedEntityId%3A10215153%2Cidx%3A3-1-3%2CtarId%3A1483914248879%2Ctas%3Aprintemps%20num

http://printempsnumerique.ca/ 
mailto:i...@printempsnumerique.ca 

Major events of Printemps numérique
* MTL connect: Montreal Digital week (http://mtlconnecte.ca/en/)
* ISEA2020 (http://isea2020.isea-international.org/)
* #intersections series
(https://www.printempsnumerique.ca/en/projects/project/intersections-vol-12/)
* Youth QC 2030
(https://www.printempsnumerique.ca/en/projects/project/youth-qc-2030/)


Contact
isea2...@printempsnumerique.ca 


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Contact us:
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[rohrpost] POSTPONEMENT NOTICE - ISEA2020 - NEW DATES: October 13 to 18, 2020

[Oliver Grau]

** 26th International Symposium on Electronic Art

http://isea2020.isea-international.org/ 


** POSTPONEMENT NOTICE - ISEA2020
New Dates: October 13 to 18, 2020


Montreal, March 23, 2020 — With the COVID-19 pandemic, the world is
facing an extraordinary situation. Following the measures announced by
the Government of Quebec and the Government of Canada, in a concerted
decision with its partners and collaborators, Montreal Digital Spring
(Printemps numérique) has decided to postpone ISEA2020
(http://isea2020.isea-international.org/) : WHY SENTIENCE? We are
looking forward to seeing you in Montreal, October 13 to 18 2020!

Our priorities are public health and high-quality programming, and we
will work hard during the spring and summer to ensure that the ISEA
community enjoys a memorable symposium! We thank you for your
understanding.

TICKETS

Any purchases already made will be automatically transferred to the new
dates. The new deadline for Early Bird registration
(http://isea2020.isea-international.org/registration/) , for
presenters to upload camera-ready papers and to fill in the Zone
Festival (https://form.zonefestival.com/?k=pnm_g3ls) form is May 1st,
2020 at 11:59 pm (GMT-5).

The answers to most of your questions can be found in the FAQ
(http://isea2020.isea-international.org/faq/) . If you have a
specific question, contact us at the following emails:

Regarding academic papers, panels, institutional presentations and
artist talks, contact: isea.acade...@printempsnumerique.ca
(mailto:isea.acade...@printempsnumerique.ca)

For artworks, contact: isea.artis...@printempsnumerique.ca
(mailto:isea.artis...@printempsnumerique.ca)

For workshops, contact: sylva...@printempsnumerique.ca
(mailto:sylva...@printempsnumerique.ca)

For general public, contact: isea2...@printempsnumerique.ca
(mailto:isea2...@printempsnumerique.ca)

See you in Montreal in October!


**


AVIS DE REPORT - ISEA2020
Nouvelles dates : Du 13 au 18 octobre 2020

Montréal, le 23 mars 2020  —  Avec la pandémie due au COVID-19, le
monde fait face à une situation hors du commun. Suite aux mesures
annoncées par le Gouvernement du Québec et le Gouvernement du Canada
récemment, en concertation avec ses partenaires et collaborateurs, le
Printemps numérique a pris la décision de reporter ISEA2020
(http://isea2020.isea-international.org/fr/)  : WHY SENTIENCE?  Nous
vous donnons rendez-vous à Montréal du 13 au 18 octobre 2020 !

Nos priorités sont la santé publique et la qualité de la programmation.
Nous allons oeuvrer au cours des prochains mois pour assurer un
symposium mémorable ! Nous vous remercions de votre compréhension.

BILLETTERIE
Tout achat, déjà effectué, sera automatiquement transféré aux nouvelles
dates. À cet effet, la date limite pour l’enregistrement au tarif
lève-tôt (http://isea2020.isea-international.org/fr/billetterie/) ,
ainsi que pour les soumissions des articles (camera-ready papers) et du
formulaire Zone Festival (https://form.zonefestival.com/?k=pnm_g3ls) est
reportée au 1er mai 2020 à 23h59 (GMT-5).

Les réponses à la plupart de vos questions se trouvent dans notre
section FAQ (http://isea2020.isea-international.org/fr/faq/) . Si vous
avez une question spécifique, contactez-nous aux courriels suivants :

Pour les articles académiques, les panels, les présentations
institutionnelles et les exposés d'artistes, contactez :
isea.acade...@printempsnumerique.ca
(mailto:isea.acade...@printempsnumerique.ca)

Pour les projets artistiques, contactez :
isea.artis...@printempsnumerique.ca
(mailto:isea.artis...@printempsnumerique.ca)

Pour les ateliers, contactez : sylva...@printempsnumerique.ca
(mailto:sylva...@printempsnumerique.ca)

Pour les participants en général, contactez :
isea2...@printempsnumerique.ca
(mailto:isea2...@printempsnumerique.ca)

Rendez-vous cet automne !
https://www.facebook.com/ISEA2020Montreal/ 
https://www.instagram.com/isea2020mtl/ 
https://twitter.com/PN_MTL 
https://www.youtube.com/channel/UC1mLpTYbqGWRQxf-L1mZgFg 
https://www.linkedin.com/company/10215153?trk=tyah=clickedVertical%3Acompany%2CclickedEntityId%3A10215153%2Cidx%3A3-1-3%2CtarId%3A1483914248879%2Ctas%3Aprintemps%20num

http://printempsnumerique.ca/ 
mailto:i...@printempsnumerique.ca 

Major events of Printemps numérique
* MTL connect: Montreal Digital week (http://mtlconnecte.ca/en/)
* ISEA2020 (http://isea2020.isea-international.org/)
* #intersections series
(https://www.printempsnumerique.ca/en/projects/project/intersections-vol-12/)
* Youth QC 2030
(https://www.printempsnumerique.ca/en/projects/project/youth-qc-2030/)


Contact
isea2...@printempsnumerique.ca 

isea2020.isea-international.org
(http://isea2020.isea-international.org/)


Copyright © 2020 Printemps numérique. All rights reserved.

Contact 

[rohrpost] WM (Postdoc) Projekt Lehr- und Forschungsinfrastruktur für Digitale Künste

[Oliver Grau]

Das Department für Bildwissenschaften der Donau-Universität Krems hat
gemeinsam mit der Universität für künstlerische und industrielle
Gestaltung Linz und der Universität für Angewandte Kunst Wien 1,2
Millionen Euro vom österreichischen Bundesministerium für Bildung,
Wissenschaft und Forschung zur Durchführung des Projektes „Lehr- und
Forschungsinfrastruktur für Digitale Künste an Hochschulen (LeFo)“
erhalten.
LeFo beinhaltet den Auf- und Ausbau einer innovativen Lehr-und
Forschungsinfrastruktur, wobei der Fokus auf dem Ausbau eines Archivs
und der Herstellung eines internationalen Netzwerks von Archiven der
Medienkunst liegt als auch auf der Entwicklung von Prototypen
zukunftsorientierter Dokumentationsformen der digitalen Kunst gerichtet
ist. Das Archive of Digital Art (ADA), das international umfassendste
Archiv des Feldes, wird zu einer ko-kreativen Open
Science-Dateninfrastruktur für Studierende, Lehrende und Forschende an
Universitäten, Akademien und Kunsthochschulen ausgebaut, um die im
digitalen Zeitalter notwendige Wissensbasis für das Studium der
digitalen Kunstformen anzubieten. Im Projekt werden auch Möglichkeiten
virtueller Begehbarkeit und immersiver Erfahrungsräume digitaler Archive
mittels Augmented Reality, Virtual-Reality-Headsets und interaktivem
360-Grad-Fulldome-Environment entwickelt. Das Archiv wird als potenziell
haptisch erfahrbarer interaktiver Raum gedacht, wobei das Projekt
historisch gewachsene Dokumentationsformen als auch zukünftige Szenarien
bedenkt.

Für weitere Informationen zum Projekt, siehe unsere Homepage:
www.donau-uni.ac.at/dbw 
 
Donau-Universität Krems

Die Donau-Universität Krems ist die führende Universität für
Weiterbildung in Europa. Als einzige öffentliche Universität für
Weiterbildung im deutschsprachigen Raum ist sie spezialisiert auf die
Höherqualifizierung von Berufstätigen und widmet sich in Lehre und
Forschung der Bewältigung aktueller und zukünftiger gesellschaftlicher
Herausforderungen. Rund 8.000 Studierende aus über 90 Ländern sind
zurzeit in berufsbegleitenden Master-Studien sowie Kurzprogrammen
eingeschrieben.

Zur Verstärkung unseres Teams in der Fakultät für Bildung, Kunst und
Architektur/Department für Bildwissenschaften gelangt folgende Position
zur Besetzung:

Wissenschaftliche/r Mitarbeiter/in (Postdoc)
20 Std./Woche   Inserat Nr. SB20-0022

Ihre Aufgaben
●   Arbeiten im Forschungsprojekt „Lehr- und Forschungsinfrastruktur
für Digitale Künste an Hochschulen (LeFo)“
●   Verantwortung für die Entwicklung von Exploratory Data Analysis
und Visualisierung für das „Archive of Digital Art“
●   technische Weiterentwicklung des Media Art Research Thesaurus

Ihr Profil
●   abgeschlossenes Hochschulstudium (Doktorat/PhD) im Bereich IT,
Data Studies oder Digital Humanities
●   vorliegende kompatible Forschungen (Projekte, Publikationen oder
Vorträge) zur Medienkunstforschung/Archive of Digital Art
●   Erfahrung im Bereich Digital Humanities, speziell im Umgang mit
relationalen Datenbanken (SQL), Knowledge Organization Systems
computational data analysis
●   Publikations- und Lehrerfahrung
●   sehr gute Englischkenntnisse in Wort und Schrift (mind. B2)
●   hohe kommunikative und organisatorische Kompetenz
●   eigenverantwortliches Arbeiten und Teamfähigkeit
●   Bereitschaft in einem interdisziplinären, internationalen Team
zu arbeiten
●   Programmierkenntnisse von Vorteil (z.B. Python, R)

Ihre Perspektive
●   Teilzeitanstellung (20h/Woche - Gleitzeit) für zunächst ein Jahr
mit Option auf Verlängerung bis 31.03.2024 bei einem Mindestgehalt von
EUR 3.600,- brutto monatlich auf Vollzeitbasis mit Bereitschaft zur
Überzahlung bei entsprechender Qualifikation und Berufserfahrung
●   innovatives und modernes Arbeitsumfeld am Campus Krems
●   sehr gute Weiterbildungsmöglichkeiten im Rahmen der eigenen
Studienprogramme, umfangreiches Angebot der betrieblichen
Gesundheitsförderung sowie des Campus Sport, eigene
Kinderbetreuungseinrichtung „Campus Kids“ 
●   gute Verkehrsanbindung –  Campus-Shuttlebus vom Bahnhof

Wir freuen uns auf Bewerbungen von Menschen mit Behinderung, welche
über das geforderte Profil verfügen.

Wir freuen uns auf Ihre überzeugende Online-Bewerbung bis spätestens
06.04.2020 über unser Online-Tool: https://www.donau-uni.ac.at/jobs 


Univ.-Prof. Dr. habil. Dr. h.c. Oliver Grau, MAE
Chair Department for Image Science
Chair Consortium Erasmus Joint Master in MediaArtsCultures
Chair "Infrastructure for Digital Arts at Art Schools and
Universities"
DANUBE UNIVERSITY
Dr.-Karl-Dorrek-Strasse 30
3500 Krems, AUSTRIA www.donau-uni.ac.at/dbw 
Graphische Sammlung Goettweig-Online  www.gssg.at 
ADA – Archive of Digital Art  www.digitalartarchive.at 



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[rohrpost] Extention of CFP Deadline (14.1.): Archiving, Collecting and Preserving Digital Art Summit at ISEA2020

[Oliver Grau]

Archiving, Collecting and Preserving Digital Art Summit at ISEA2020
*Announcement & Call for Participation*
Extention of Deadline 14.1.2020

The Liverpool Declaration currently has more than 500 leading experts and the 
most influential institutions in the field of new media and electronic arts as 
signatories to "MEDIA ART NEEDS GLOBAL NETWORKED ORGANISATION & SUPPORT" 
http://www.mediaarthistory.org/declaration 

Functioning as a mission statement, the Liverpool Declaration serves as a 
foundation for further action that was already being discussed at the 25^th 
International Symposium on Electronic Art (ISEA2019), in Gwangju, Republic of 
Korea. A group of like-minded colleagues discussed approaches towards the 
problems and potential of the archiving of new media art. The overwhelming 
attendance to this meeting stressed the growing need for collaboration, 
structure and funding.

As a next step, at ISEA2020 (Montreal, Canada, May 19-24), a full day 
networking summit will be coordinated by the ISEA online Symposium Archives, 
the Archive of Digital Art, the Ars Electronica Archive, and SIGGRAPH Digital 
Art Show Archive. The definite date for the Summit is still being discussed and 
maybe the day preceding the actual ISEA symposium, on Monday May 18th. *Aims of 
this summit are to discuss roads towards realizing the Liverpool Declaration 
goals related to Media Art Archiving collaboration, funding and formats.*

1: Presentation of Liverpool Declaration and remarks on general state of affairs
2: Impulse Presentations (10 minutes each) of Case Studies, Infrastructures, 
international support
3: Breakout groups to discuss: Collaboration, Funding, Formats
4: Rapport of group discussions.
5: Plenary for creation of structured road map and concrete proposals. 
6: Conclusions and directions.

(It is planned to have all sessions live-streamed to enable virtual attendance 
of multiple archiving entities)
We invite to join the Summit and participate.
Deadline for Submissions: Jan 14, 2020

Email PDF proposals (maximum of 1 page each) to i...@isea-archives.org 
<mailto:i...@isea-archives.org> with:
Name and email address of Presenter
Name of Organization (if applicable)
Select which category the submission relates to (you may select more than 1):

1.Case Study (collection / preservation)
2.Infrastructures (new strategies & technology or documentation & archiving)
3.International / intercontinental support and project structures

The proposals will be evaluated in January by representatives of the 4 involved 
organisations (Oliver Grau, Wendy Coones, Veronika Liebl, Bonnie Mitchell & Wim 
van der Plas). The outcome will be communicated in February.

   * *Oliver Grau* & *Wendy Coones*, Archive of Digital Art,
 www.digitalartarchive.at 
   * *Veronika Liebl*, Ars Electronica Archives, http://archive.aec.at/ 
   * *Bonnie Mitchell*, SIGGRAPH Digital Art Show Archives & ISEA Online
 Symposium Archives https://digitalartarchive.siggraph.org/ &
 https://isea-archives.siggraph.org/ (under construction)
   * *Wim van der Plas*, ISEA Online Symposium Archives
 http://www.isea-archives.org/ 



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[rohrpost] Media Arts Cultures - call for applications - 2020 Intake with Erasmus+ 19 scholarships

[Oliver Grau]

MEDIA ARTS CULTURES – 2020-2022
Erasmus Mundus Joint Master Degree
Erasmus+ - European Master of Excellence 
KREMS / AALBORG / LODZ / SINGAPORE
19 full scholarships, 5+ partial scholarships 

Intake Media2020
Call for applications with submission for Erasmus+ Scholarships
Deadline January 7, 2020
www.mediaartscultures.eu 
~
Media Arts Cultures is organized jointly by: Danube University Krems
(Austria, lead) Aalborg University (Denmark) University of Lodz (Poland)
and Lasalle College of the Arts (Singapore).

Associated Partners: Archive of Digital Art, Ars Electronica Linz,
ArtSciMuseum, DAM, Europeana, FACT, Het Nieuwe Instituut, Instrument
Inventors Initiative, imai, Impakt Festival, MOCAK, monochrome, Neural
Magazine, SPEKTRUM, WRO Art Center, ZKM

The language of instruction is English and includes taught semesters,
internship, and a master thesis supervised by lecturers from the partner
universities.

MediaAC faculty include: Andreas BROECKMANN, Andres BURBANO, Jon CATES,
Wendy COONES, Palle DAHLSTEDT, Marian DÖRK, Steven DIXON, Patricia
FALCAO, Francesco FRANCO, Dmitry GALKIN, Oliver GRAU, Jens HAUSER,
Elizabeth JOCHUM, Sarah KENDERDINE, Ryszard W. KLUSZCZYŃSKI, Lev
MANOVICH, Roger MALINA, Wolfgang MUENCH, Frieder NAKE, Maciej OŻÓG,
Christiane PAUL, Ana PERAICA, Katarzyna PRAJZNER, Tamiko THIEL, Jeffrey
SHAW, Morten SØNDERGAARD, Audrey WONG, 
~
Media Arts Cultures is a 2-year mobility program, enabling students to
study across Europe and in Asia. Students spend three semesters at
different universities, complete an internship at a Consortium
Associated Partner, and write a Master Thesis at the best-suited partner
during the final semester. Upon completion, students receive a 120 ECTS
joint master degree in Media Arts Cultures from three universities.
Graduates may further pursue a PhD within Europe or other international
higher education regions as well as choose to enter the world of work in
the Creative and Cultural Sector.

Securing your early acceptance to the program enables applicants to
submit materials to the various scholarship opportunities: 
External-funding scholarships, Erasmus+ fully-funded scholarships, and
MediaAC Consortium scholarships with Erasmus+ mobility bursaries. 

The MediaAC Consortium invites dedicated and energetic applicants from
all countries and all relevant fields of study and experience to apply.
~
MediaAC is one of the few culture-centered Erasmus Mundus programs, and
the only program connecting culture to the media arts. Digital media art
plays a major role at international festivals and in contemporary
culture. But, in part due to the obsolescence of presentation equipment
and storage formats, media art has not yet fully arrived in archives and
museums. The collection, exhibition and conservation strategies of
digital art, as well as their mediation, are necessary for the
modernization of the Creative and Cultural Sector.

The joint Master of Arts MediaAC aims to generate a better
understanding of the image revolution. It addresses the needs of the
evolving fields related to the futures and histories of Media Art
Cultures. MediaAC provides education and training for future specialists
in Media Arts Cultures and prepare them for emerging careers in the
creative and cultural sectors, research and academia. 

Selected topics like Media Cultural Histories, Digital Heritage,
Archiving, Experience Design, Media Arts Theory, New Media Aesthetics,
Infrastructures of Digital Cultures, Long Time Preservation, Curating &
Arts Management, Data Studies & Visualization, or Media Arts Futures
provide students both internationally-advanced theoretical as well as
practical knowledge in the Media Arts, through a singular combination of
pedagogical foci, trans-disciplinary approaches, and critical thinking
in connection to the needs of both academic and non-academic
stakeholders.
~~
Contact: Media Arts Culture Consortium 
www.mediaartscultures.eu
mediaac(at)donau-uni.ac.at


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[rohrpost] Glowing Globe 2019, Science-Fiction-Art, Rijeka

[Oliver Grau]

International exhibition, symposium, screenings and artists talks 

Glowing Globe 2019, Science-Fiction-Art,
Rijeka 13.-23. November 2019

Please see the whole program: 
https://cim.apuri.hr/en/exhibitions/glowing-globe-2019-science-fiction-art/



*CENTAR ZA INOVATIVNE MEDIJE*

*CENTER FOT INNOVATIVE MEDIA*

c...@apuri.hr 

https://cim.apuri.hr 

FB Center for Innovative Media



Program Leader
Ingeborg Fülepp
Cell +385 (0) 99 3974 718
University of Rijeka, Academy of Applied Arts (APURI)
Slavka Krautzeka 83, 51000 Rijeka

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[rohrpost] New Publ.: Digital Art through the Looking Glass:

[Oliver Grau]

NEW PUBLICATION (free e-book download)
Oliver GRAU, Janina HOTH and Eveline WANDL-VOGT(eds.):

Digital Art through the Looking Glass:
New strategies for archiving, collecting and preserving in Digital
Humanities

ISBN: 978-3-903150-51-5, tredition press, Edition Donau-Universität,
Austrian Academy of Sciences Press, Hamburg/Krems/Vienna 2019, 316
pages.

With contributions by:
Frieder Nake, George Legrady, José R. Alcalá Mellado /Beatriz Escribano
Belmar, Anne-Marie Duguet, Howard Besser, Giselle Beiguelman, Wendy
Coones, Sarah Kenderdine, Marianne Ping-Huang, Raphael Lozano Hemmer,
Annet Dekker, Janina Hoth, Laura Leuzzi, Diego Mellado, Oliver Grau,
Goki Miyakita/Keiko Okawa, Sabine Himmelsbach, Francesca Franco,
Patricia Falcão.

Digital art challenges archiving, collecting and preserving methods
within and outside of gallery, library, archive and museum (GLAM)
institutions. By its media, art in the digital sphere is processual,
contextual, modular and ephemeral, and its creative process is
collaborative. From artists, scholars, technicians and conservators –
to preserve this contemporary art is a transdisciplinary task. This book
brings together leading international experts from digital art theory
and preservation, digital humanities, collection management,
conservation and media art histories. In a transdisciplinary approach,
theoretic and practice-based research from these stakeholders in art,
research, education and exhibition are presented to create an overview
of present preservation methods and discuss demands and opportunities
for the future. Finally, the need for a new appropriate museum and
archive infrastructure is shown to preserve the art of our time.

www.donau-uni.ac.at/dbw 

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[rohrpost] CFP: MediaArtHistories at CIHA 2020 world congress, Pao Paulo

[Oliver Grau]

CIHA world congress 2020, Sao Paulo with MediaArtHistories Session

Migration, Climate, Surveillance – What does Media Arts Complexity
want?
(Sess. 5)

Chairs:
Giselle BEIGUELMAN, Universidade de São Paulo, São Paulo
Oliver GRAU, Danube University, Austria
Nara Cristina SANTOS, Universidade Federal de Santa Maria, Santa Maria

MediaArtHistories is an interdisciplinary field of research that
explores the current
developments as well as the history and genealogy of new media art,
digital art, and
electronic art. (GRAU 2007, DOMINGUES 2009). On the one hand, media
art
histories address the contemporary interplay of art, technology, and
science. (WILSON 2010,
HENDERSON 1983) It aims to reveal the historical relationships and
aspects of the
‘afterlife’ (Aby Warburg) in new media art by means of a historical
comparative approach.
This strand of research encompasses questions of the history of media
and perception, of so-
called archetypes, as well as those of iconography and the history of
ideas. Moreover, one of
the main agendas of media art histories is to point out the role of
digital technologies for
contemporary, post-industrial societies and to counteract the
marginalization of according art
practices and art objects as pointed out in the Liverpool Declaration:
″Digital technology has

fundamentally changed the way art is made. Over the last fifty years,
media art has become a
significant part of our networked information society. Although there
are well-attended
international festivals, collaborative research projects, exhibitions
and database
documentation resources, media art research is still marginal in
universities, museums and
archives. It remains largely under-resourced in our core cultural
institutions (5a) Hence,
scholars stress that the technological advances in current media
cultures are best understood
on the backdrop of an extensive media and art history. Contributions to
this field are
widespread and include researchers who have disciplinary focuses such
as the history of
science (Lorraine Daston), art history and image science (Oliver Grau,
Barbara Stafford,
Jonathan Crary), media studies and media archaeology (Friedrich
Kittler, Erkki Huhtamo,
Siegfried Zielinski), sound studies (Douglas Kahn), film studies (Sean
Cubitt, Jorge La
Ferla), media art aesthetics (Christiane Paul, Giselle Beiguelman, Lev
Manovich), archives
(Grau, Beiguelman).

The term new media art itself is of great importance to the field. The
focus of new
media art lies in the cultural, political, and social implications as
well as the aesthetic
possibilities – more or less its ‘media-specificity’ – of
digital media. Furthermore, the field of
new media art is increasingly influenced by new technologies that
surmount a traditional
understanding of (art) media. The list of genres that are commonly
subsumed under the label
of new media art illustrates its broad scope and includes, among
others, virtual art,
Software Art, Internet Art, Glitch Art, Telematic Art, Bio Art /
Genetic Art, Interactive
Art, computer animation and graphics, Urban Media Art, Mobile Art,
Hacktivism and Tactical Media. These latter two ‘genres’ in
particular have a strong focus on
the interplay of art and (political) activism. Recently, with the
development with
Artificial Intelligence, there is also an emerging trend exploring its
aesthetics.
The diversity of fields makes clear that digital art with its histories
is a complex
system, which is not only complicated but has rapidly-accelerating
complexity. With the
Algorithmic, Computational and even Post-digital turn over recent
decades, the digital image
is becoming contextual, ephemeral, immersive, interactive and
processual, made as it is out
of many technologies.

This session addresses the role Media Art plays in today’s
sociopolitical issues such
as migration, climate, virtual finance, and surveillance society. We
welcome going beyond
state-of-the-art analytic methods in the humanities, combining for
example qualitative close-
gaze (of critical visual analysis) and the quantitative distant-reading
(from computer-assisted
data analysis/empirical research). A main session outcome is added
value for the humanities
with “a socio-political iconography of the present”, and discussion
of a new “way of seeing”,
of “thinking with pictures”, and asking “what do complex images
want?” in the Digital Age.
Therefore, this session welcomes as well proposals for adequate
research
infrastructures following the Liverpool Declaration, which was signed
by scholars and artists
based at institutions all over the globe to develop systematic
strategies to fulfill the task that
digital culture and its research demands in the 21st Century
(http://www.mediaarthistory.org/declaration).

This session focuses on an evaluation of the status of the
meta-discipline
MediaArtHistories today. Immersed in both contemporary and
historiographical aspects of
the digital world, we explore the most immediate socio-cultural
questions

[rohrpost] MAH 2019: RE:SOUND, Aalborg Denmark 20-23 August

[Oliver Grau]

PIEDRAHITA (MX).


**MediaArtHistories Conference Series Board (Steering Comittee)**
Andreas BROECKMANN (Leuphana Universität, DE), Sean CUBITT (Goldsmiths,
UK), Andres BURBANO (Universidad de los Andes, CO), Oliver GRAU (Danube
University, AT), Prof. Dr. Inge HINTERWALDNER (Karlsruhe Institute of
Technology GER), Erkki HUHTAMO (University of California, US), Machiko
KUSAHARA (Waseda University, JP), Gunalan NADARAJAN (Ann Arbor School of
Art, US), Katja KWASTEK, Vrije Universiteit Amsterdam NL), (Paul
THOMAS (University of New South Wales, AU), Chris SALTER, (Concordia
University and Hexagram, Montreal CA) 

Headquarter Wendy COONES (DanubeU)

MAH-HONORARY BOARD
Rudolf ARNHEIM†, Douglas DAVIS†, Jasia REICHARDT, Itsuo SAKANE, Peter
WEIBEL

Venues:
The RE:SOUND conference will be held at the CREATE Campus of Aalborg
University, located in the heart of this great city in Northern Denmark.
CREATE is a spacious modern building housing the Aalborg University
Department of Architecture, Design, and Media Technology. It contains a
large auditorium that seats 249 persons where the main keynotes and
conference presentations will be held. CREATE also consists of a large
open hall with big glass front that overlooks the beautiful Aalborg
waterfront and Limfjord. It contains a canteen area where coffee breaks
and lunch will be available. The CREATE Campus of Aalborg University is
a rich and vibrant environment filled with creative students and student
projects that will complement the energy and excitement surrounding the
RE:SOUND conference.

**PARTNERS: **
AALBORG UNIVERSITY, Denmark // VisitAalborg // STRUER TRACKS // CatCh
// RELATE – Research Laboratory for Art and Technology // DanubeU /
ADA-Archive for Digital Art

**SPONSORS AND FUNDING**
// CARLSBERG FOUNDATION // Novo Nordisk Fonden // GN Group Denmark /
Dep. for Image Science, DanubeU 


**
http://www.mediaarthistory.org/resound
**

MediaArtHistories Master: www.mediacultures.net/mah/
Archive for Digital Art: www.digitalartarchive.at


 

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[rohrpost] 19 full Scholarships in MediaArtsCultures, DanubeU/Aalborg/Lodz/Singapore

[Oliver Grau]

DanubeU/Aalborg/Lodz/Singapore, start: September 01, 2019
Application deadline: Feb 6, 2019

19 full Scholarships

Media Arts Cultures
Erasmus Mundus Joint Master Degree
Erasmus+ - European Master of Excellence

With support for the MediaAC 2014-2019 program extended to 3.7 million
Euro, the European master of excellence program "Media Arts Cultures –
Media AC" will broaden in 2019-2024. This distinctive award is based on
offering high-quality international learning opportunities for students
in an emerging field and also affirms the importance of Media Art
research and practice for the cultural and educational future of
Europe.

Media Arts Cultures is a 2-year mobility program, enabling students to
study across Europe and in Asia. Students spend three semesters at
different universities, complete an internship at a Consortium
Associated Partner, and write a Master Thesis at the best-suited partner
during the final semester. Upon completion, students receive a 120 ECTS
joint master degree in Media Arts Cultures from three universities
allowing graduates to further pursue a PhD within Europe or other
international higher education regions.

Each year, 19 of the best EU and non-EU candidates will be offered
Erasmus+ fully-funded scholarships for the duration of the program.
Other funding from the MediaAC Consortium and external-sources are also
available. The MediaAC Consortium invites dedicated and energetic
applicants from all countries and all relevant fields of study or
experience to apply.

 
MediaAC is one of the few culture-centered Erasmus Mundus programs, and
the only program connecting culture to the digital arts. Digital media
art plays a major role at international festivals and in contemporary
culture. But, in part due to the obsolescence of presentation equipment
and storage formats, media art has not yet fully arrived in archives and
museums. The collection, exhibition and conservation strategies of
digital art, as well as their mediation, are necessary for the
modernization of art institutions.

Selected topics like Media Art Histories & Heritage, Archiving,
Experience Design, Media Arts Theory, New Media Aesthetics, Curating &
Arts Management, or Media Arts Futures provides students both
internationally-advanced theoretical as well as practical knowledge in
the Media Arts, through a singular combination of pedagogical foci,
trans-disciplinary approaches, and critical thinking in connection to
the needs of both academic and non-academic stakeholders.

—

Media Arts Cultures is organized jointly by:
Danube University Krems (Austria, lead)
Aalborg University (Denmark)
University of Lodz (Poland) and
Lasalle College of the Arts (Singapore)

Associated PARTNERS: Archive of Digital Art, Ars Electronica Linz,
ArtSciMuseum, DAM, Europeana, FACT, Het Nieuwe Instituut, Instrument
Inventors Initiative, imai, Impakt Festival, MOCAK, monochrome, Neural
Magazine, SPEKTRUM, WRO Art Center, ZKM

The language of instruction is English and includes taught semesters,
internship, and master thesis supervised by lecturers from the partner
universities. MediaAC FACULTY include: Andreas Broeckmann, Wendy Coones,
Palle Dahlstedt, Steven Dixon, Oliver Grau, Jens Hauser, Elizabeth
Jochum, Ryszard W. Kluszczyński, Wolfgang Muench, Maciej Ożóg,
Christiane Paul, Ana Peraica, Katarzyna Prajzner, Jeffrey Shaw, Morten
Søndergaard, Audrey Wong and many others.


Contact:
Media Arts Culture Consortium
www.mediaartscultures.eu 
mediaac(at)donau-uni.ac.at

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[rohrpost] Call for Nominations: MediaArtHistories International Award

[Oliver Grau]

Aalborg / Krems 
Deadline: Feb. 10, 2019

MediaArtHistories International Award: Call for Nominations

On the occasion of its 8th Bi Annual Conference Re:Sound, the Media Art

Histories Conference Board is pleased to announce its call for 
nominations for the Media Art Histories Award for Outstanding 
Achievement!

"This award will be conferred upon an individual scholar working in
any
language in recognition for an innovative and inspirational
contribution 
to the field of Media Art Histories, sustained development 
of the global community and research program of Media Art, and for 
scholarly excellence at the highest level.

Previous MediaArtHistories Award winners are:
- Prof. Dr. Barbara STAFFORD, University of Chicago, and
- Prof. Werner NEKES †, Collection Mülheim and Academy of the Arts
https://www.youtube.com/watch?v=SqrHkTlreeI

Presentation of the 3nd Media Art Histories Award will take place at
the Re:Sound 2019 Conference on the Histories of Media Art, Science and

Technology, to be held in August 2019 in Aalborg, Denmark. 
The individual awarded will also be recognized at all future 
conferences, as well as in the Media Art Histories Archive and on the 
Conference Series social media forums.

www.mediaarthistory.org 

The Media Art Histories Board asks for your nominations. Please submit

proposals of approximately 500 words describing the nominee's merits
and achievements in scholarship in the histories of the media arts, the

arts and science and/or the arts and technology, and related fields.

The time for nominations will close on Feb 10, 2019. Please submit 
your proposals to coordination(at)mediaarthistory.org A committee of 
board and non-board members will select the MediaArtHistories Award 
winner.

Initiated by the Media Art Histories Board: 
(Steering Committee)
 
Andreas BROECKMANN, Leuphana Universität
Andres BURBANO, Universidad de los Andes
Sean CUBITT, Goldsmiths College, University of London
Oliver GRAU, Danube University
Inge HINTERWALDNER, Karlsruhe Institute of Technology
Erkki HUHTAMO, University of California Los Angeles
Machiko KUSAHARA, Waseda University, Tokyo
Katja KWASTEK, Vrije Universiteit Amsterdam
Gunalan NADARAJAN, University of Michigan
Chris SALTER, Concordia University and Hexagram, Montreal
Paul THOMAS, UNSW Sydney


MISSION MAH Conference Series
"Recognizing the increasing significance of media art for our culture,

this conference for the Histories of Media Art Histories discusses the

history of media art within the interdisciplinary and intercultural 
contexts of the histories of art, media, science and technology." 
(Villa Vigoni 2004)

Media Art History Conference Series and Archive
www.mediaarthistory.org 
MediaArtHistories – Advanced, MA
www.mediacultures.net/mah 
Archive of Digital Art
www.digitalartarchive.at 
LIVERPOOL DECLARATION: 
http://www.mediaarthistory.org/declaration 
CONFERENCE PUBLICATIONS
http://www.mediaarthistory.org/pub/mediaarthistories.html 
http://www.mediaarthistory.org/pub/place_studies.html 
http://mitpress.mit.edu/books/relive 

***







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[rohrpost] LIVERPOOL DECLARATION: "MEDIA ART NEEDS GLOBAL NETWORKED ORGANISATION & SUPPORT"

[Oliver Grau]

MEDIA ART NEEDS GLOBAL NETWORKED ORGANISATION & SUPPORT –
International Declaration
http://www.mediaarthistory.org/declaration
 
LIVERPOOL DECLARATION
State of Affairs

Digital technology has fundamentally changed the way art is made. Over
the last forty years, Media Art has become a significant part of our
networked information society. Although there are well-attended
international festivals, collaborative research projects, exhibitions
and database documentation resources, Media Art research is still
marginal in universities, museums and archives. It remains largely
under-resourced in our core cultural institutions.

As a result of rapid changes in technology, many major works made even
10 years ago can no longer be shown or are disappearing without a trace.
If this situation is not addressed, we face losing an art form that is a
central part of our post-industrial digital culture. To date, systematic
global preservation and documentation campaigns do not exist.

Many important online documentation and research projects are also
disappearing from the web. As they falter, we risk losing their valuable
material forever. Contemporary scientific research relies on access to
shared data. The same is true of the Arts and Humanities, which lack a
concerted international policy for sustainability and support of the
digital heritage, such as exists partly in the natural sciences.

Several science disciplines have developed large collective projects to
address the challenges and opportunities of our time by way of networked
digital environments, based on a sustainable and international support
structure. International Media Art research needs similar global
organisation and collaboration.

Goals

a.) Establish international and sustainable funding structures

Therefore it is essential to establish international and sustainable
funding structures that can guarantee the persistence of these valuable
resources, and to make use of networked collaboration to archive key
data in a cooperative process of knowledge transfer between artists,
institutions and researchers internationally. While many nations are
devoting funds for interdisciplinary e-research, we urgently need global
networked collaboration in Media Art research.

Such an international structure/alliance needs the actively supported
membership of media art organisations, archives and individuals. It
should be supported with adequate funding and expertise from the
existing networks of funding agencies, archives, online initiatives and
research institutions.

b.) Supporting an International Association/Institution for Shared
Data

We urgently need global networked collaboration in Media Art research
across the aforementioned networks. We need as many bridges into society
as possible: archives, conferences, text repositories, collective
database documentation, and preservation.

This alliance will promote collaboration and advocate the
sustainability, understanding and appreciation of media art heritage
by:

·  Recognizing and building upon existing knowledge and resources

·  Providing and fostering channels of communication

·  Enabling the international research community to
create/upload/access data to be shared.

·  Encouraging peer exchange and addressing the new challenges of
Media Art

·  Developing scientific technologies for documentation and
preservation of Media Art

·  Providing inspiration and resources for curators, artists,
scholars, educators and audiences

·  Supporting the Media Art History network, its conference series,
text repositories and scientific publications

·  Promotion of new ways of understanding media art, science,
technology and its histories

Only when we develop systematic strategies to address these challenges
will we be able to fulfill the task that digital culture and its
research demands of us in the 21st Century.

Governments, universities, research institutions, researchers, artists,
academics, funding agencies, foundations, libraries, museums, archives,
learned societies and professional associations who share the vision
expressed in this Declaration are invited to join the signatories that
have already signed the Declaration.
http://www.mediaarthistory.org/declaration
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[rohrpost] International Conference: VIOLENCE IN THE DIGITAL AGE (Tyumen State University, Russia)

[Oliver Grau]

Forwarded by the vice-director for international relations at the
Institute of
Social Sciences and Humanities, Tyumen State University, Ekaterina
Sechenova:


VIOLENCE IN THE DIGITAL AGE (Tyumen State University, Russia)

October 11

9:30 - 10:00Registration
10:00 - 11:00  Introduction
*Valery Falkov (Rector), Igor Chubarov (Director)*

11:00 - 14:00  First panel discussion
*Lev Manovich* Artificial Intelligence, Aesthetics and Future of Taste
* Oliver Grau* Media Art Histories and a Political Iconography of
Information Societies
* Maurizio Ferraris* Documental violence
*Jan Krasni *Dispositif of Digital Violence. Theoretical Reflections
and
Implications of Digital Turn

15:00 - 17:00  Reproduction of military discourse: old and new media I

* Aireen Grace Andal* Coercive non-violence? Revisiting the rights of
children in conflict with the law in the Philippines
* Anna Baskakova* Metaphysical grounding of Violence: Walter Benjamin
and
Simone Weil
* Tatyana Vorozheva* Gazliding as a hidden form of violence (by the
example
of military propaganda of 1914-1918)
* Anna Davletshina* The concept of war in the reflection of the Soviet
and
Austrian Jewish intellectuals between world wars
* Elena Zykova* Violence on prisoners of war: Representation in the
Media
on the Example of Abu Ghraib and Guantanamo
* Inna Kruglova* The nature of the sacrificial act: J. Bataille, J.
Baudrillard, R. Girard

Visualisation of Violence and Media Art I

* Panos Kompatsiaris, Yiannis Mylonas* The rise of Nazism and the Web:
Social Media as Platforms of Racist Discourses in the Context of the
Greek Economic Crisis
* Elena Mikhalkova, Irina Pupysheva* Humor as a Tool and Object of
Manipulation in the Digital Age
* Ksenia Fedorova* Affects of coding. Ethical in the Art of Closed
Chains
* Dmitry Bezuglov* "The ship left to die" Forensic Architecture:
"Raft"
Medusa "from media art
* Matthias Meindl* Why punk prayer is not hate speech?


17:30 - 20:00  Reproduction of military discourse: old and new media
II

*Andrei Menshikov* “Confrontation of Principles”: the First World
War in
the philosophical pamphlets of 1914-1917.
* Ekaterina Nemenko* Violence as an absolute event in the structure of
everyday life (for example, the TV series "Twin Peaks")
* Alena Rusova* Picture of a woman on a military patriotic poster of
1914-1925
* Diana Satybaldina* Reproduction of the militaristic discourse of the
First World War on the example of sports media of the beginning of the
20th century
* Ekaterina Cherepanova* Newspaper as the personification of the new
era in
the works of K. Jaspers and G. Broch of the interwar period
* Ekaterina Kirsanova* Habitualization of war: patriotic graffiti and
visualization of militaristic discourse.
* Olga Yazovskaya* Nationalist rhetoric in Japanese literature of the
first
half of the twentieth century: the emergence of new trends, wartime
discussions

Visualisation of Violence and Media Art II

* Maxim Alyukov* Taming Information Tide: Political Cognition and
Conflict
in Media
* Vladimir Bogomyakov* Soft Violence in the Digital Age
* Sergey Grigorishin* Expropriation of physical space as an example of
digital violence
* Daria Antipova* Aesthetics of screen violence as a result of the
development of virtual technologies
* Marina Chistyakova* Bio-art as violence
* Kirill Yandulov *Rebuilding Violence: A Version of Art & Science

October 12

10:00 - 13:00 Second panel discussion

*Petar Bojanic* What is the police? About universal institution
* Massimo Palma* Observation on violence and domination in Max Weber's
"Economy and Society"

13:00 - 15:00 Archeology and Genealogy of Violence I

* Daria Khokhlova* Ghost in the Shell: becoming a cyborg as a strategy
for
escape
* Olga Zakharova* Why Mumu was drowned again: axiom of repressive act
* Irina Pupysheva, Alexey Ivanov* Maps, Meeples, Two Cubes: Violence
in
Games and Violence of Games
* Igor Muravyov *Aesthetic and Religious Terrorism
* Ksenia Ivanova* Online protests: the new ethics of the information
society or its mutations
* Mikhail Vitushko* The Topology of MediaReality: Understanding a
Media
Subject in "Flowing Spatiality"

Social and Political Aspects of Violence I

* Olga Andreeva* Films and series about maniacs: psychological
characteristics of perception in the audience of the age category
20-28
years.
* Maria Bogdanova* Violence and gender: the impact of Monster High
dolls on
the self-perception of girls
* Elina Gavrikova, Natalya Kaiser-Danilova* Translingual as a sign of
liminal culture
* Alexey Deev, Svetlana Chernomorchenko* Trolling: psychological
violence
and inversion of discourse
* Alexey Loginov* Aporia of violence: war and harmony
* Angelina Mitryasova, Sergey Lysov* Violence and Tolerance
* Julia Murzina *Genealogy of violence: a psychological approach to
the
problem
* Svetlana Obolkina* Ontological ultim

[rohrpost] SOUND: MAH2019 / Media Art Histories 20-23 August 2019 - Call for Participation

[Oliver Grau]

On Behalf of: Morten Søndergaard
mailto:morten...@hum.aau.dk>>

Dear Friends and Collegues,

Please consider and share this call for participation:
http://www.mediaarthistory.org/resound 
RE:SOUND
Sound, Media and Art – Theories, Histories, Practices.

August 20-23, 2019
Deadline, first call for participation: 15 August 2018

The histories of art are saturated by sonic experiments and expressions
(Kahn, Weibel). Yet, the occurrence of sound in art throughout the 18th,
19th and 20th century remains heavily under-theorized and
-contextualized, just as it is all but missing in existing archives
(with few important, albeit resent, exceptions).

These experiments and expressions can be seen as indexes of the
technology and electronic media implied when we use the term ‘media
art’; Moreover, the histories of sound also contain important
corrections to, on the one side, the traditional ‘art history’,
where the reduction of art to more or less fixed genres with specific
sensibilities seem to be accelerating; On another side, it contains
promising and crucial perspectives on the great variety of conceptions
feeding into the constructed field of ‘Media Art’: art and science
relations, cybernetics, transdisciplinary research, post-human studies,
digital humanities, art-based research, media archaeology, STS, and the
fields of robotic art, biotech art, and network and audio-based
practices,to name a few.

This, the ‘matter’ of sonic saturation and its interlinked
under-theorized situation, does not only concern the musicologists and a
small specialized field of sound researchers; it is, or should be, the
matter and concern of the whole media arts field: It speaks to its very
foundation in transmedia issues and different understanding of the
plurality of the histories contextualizing technologically mediated
art.

Through its techno-resonating immersion, media art reverberates in all
cultural and societal matters on a pervasive scale. Re:sound will
address this techno-resonance, trans-mediality, and cultural and social
reverberation of media art, in general: It’s histo-ecologies,
-geologies, and -archeologies. As well as focusing on a wide range of
the field’s practitioners, producers and creators – past, present
and future.

In particular, Re:Sound will take a specific interest on the theories,
practices, histories etc of art and technology which are focusing on,
concerned with, reflecting on, including, mobilising and/or working with
sound, as a main component or an integral part.
More info and details about the call here:
http://www.mediaarthistory.org/resound 



--
Morten Søndergaard
MA, PhD. Associate Professor & Media Art Curator. RELATE – Research
Laboratory of Art & Technology.
School of Communication, Art & technology, Aalborg University
Contact:  morten...@hum.aau.dk | ☎ 9940
2552  |
A.C. Meyers Vænge 15, 3.sal, DK-2450 Copenhagen.
___





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[rohrpost] LIVE STREAM : The last day of Re:Trace

[Oliver Grau]

LIVE STREAM from the last day of Re:Trace—7th International Conference
on the Histories of Media Art, Science and Technology
November 25, 2017
Austrian Academy of Sciences, Vienna.

Following Banff 2005, Berlin 2007, Melbourne 2009, Liverpool 2011, Riga
2013 and Montreal 2015, the Media Art History Boards and Co-Chairs
invite you to attend Re:Trace 2017 in Krems/Göttweig/Vienna in person or
virtually.
You will have access to the live streaming via the conference website
(http://www.mediaarthistory.org/retrace ) or department website
(www.donau-uni.ac.at/dis ).

Saturday, November 25, 2017 (Austrian Academy of Sciences, Vienna) 

4am NY / 10am Austria / 4pm Bangkok / 8pm Sydney
Sarah KENDERDINE (École Polytechnique Fédérale de Lausanne, CH):
Postdigital Pasts

noon NY / 6pm Austria / midnight (Sunday) Bangkok / 4am (Sunday) Sydney
Martin KEMP (Oxford University, UK): Computerising Leonardo: A Visual
Dialogue from 1988 to Now

More information about the keynote lectures–including presenter bios and
presentation abstracts–can be found on the RE:TRACE homepage
(http://www.mediaarthistory.org/keynote_speakers ).

Other live streaming sessions and presenters
(daily 5–11am NY, 11am–5pm Austria, 5–11pm Bangkok, 9pm–3am Sydney)
Dariah Connectivity Part I: Collection - Archiving – Preservation
(Francesca Franco, Giselle Beiguelman, Janina Hoth, Annet Dekker);
Dariah Connectivity Part II: Preservation strategies: Dynamic archiving
(George Legrady, Ann-Marie Duguet)

Followed by a  Round Table with Giselle BEIGUELMAN (BR), Oliver GRAU
(AT), Sarah KENDERDINE (CH), Marianne PING HUANG (DK), Christoph
THUN-HOHENSTEIN (AT), Howard BESSER (US), Patricia FALÇAO (UK)  Chair:
Wendy Coones (US/AT)

The entire online program with speakers and presenters from more than 50
nations is available here:
http://www.mediaarthistory.org/retrace/program

Conference Co-Chairs: Oliver Grau and Inge Hinterwaldner
Re:Trace partners: Austrian Academy of Sciences, Vienna / Lower Austria
/ Humboldt University, Berlin / Archive of Digital Art / DARIAH-EU /
Erasmus Mundus Media Arts Cultures / Academia Europaea / Leonardo /
Kunsthalle Krems
Re:Trace host: The Department for Image Science at Danube
University–located in the UNESCO world heritage Wachau–is an
internationally unique institution for research and innovative teaching
with an international faculty, with 120 scholars from various
disciplines (www.donau-uni.ac.at/dis). The innovative approach of the
Department for Image Science with the close connection to practice has
developed the Archive of Digital Art and in 2006 founded the
low-residency MediaArtHistories-Advanced, MA (www.donau-uni.ac.at/mah),
and the low-residency Exhibition Development, CP
(www.donau-uni.ac.at/exhibit)

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Re: [rohrpost] TRACE, International Conference on the Histories of Media Art, Science and Technology (Program)

[Oliver Grau]

RE:TRACE - International Conference on the Histories of Media Art,
Science and Technology

KREMS | GÖTTWEIG | VIENNA, Austria - November 23 - 25, 2017
** Registration **  http://www.mediaarthistory.org/retrace 

The 7th International Conference on the Histories of Media Art, Science
and Technology - RE:TRACE -  will be hosted by the Department for Image
Science and held jointly at Danube University, Göttweig Abbey and the
Austrian Academy of Sciences, Vienna. Following Banff 2005, Berlin 2007,
Melbourne 2009, Liverpool 2011, Riga 2013 and Montreal 2015, the Media
Art History Boards and Co-Chairs invite you to attend Re:Trace 2017 in
Krems/Göttweig/Vienna.



MediaArtHistories RE:TRACE Conference: Day 1, 23.11.2017
(Danube-University Krems)


09:00 Official Opening  Welcome Conference Chairs Oliver GRAU (Danube
U) and Inge HINTERWALDNER (HU Berlin)

09:20 Keynote Ryszard KLUSZCZYŃSKI (University of Łodz, PL): Monument
as Archive: artistic strategies from anti- to meta-memorial 

10:45 Session: Cybernetics, computing and the question of
representation in art, Chair: Giselle BEIGUELMAN

Steve DIXON (UK): Understanding Media Art as Cybernetic-Existentialism
Andres BURBANO (CO): The MONIAC and the Arts
Kevin HAMILTON (US): Beyond Visualization: Genealogies of Unmapped
Complexity in Media Art and Technology
Gerald NESTLER (AT): Aesthetics of Resolution

10:45 Session: Early experimental strategies in the
image-sound-complex, Chair: Wendy COONES

Jungmin LEE (US): Scroll as Virtual Media: Kinetic Abstraction and
Projection circa 1920
Stefanie BRÄUER (CH): Electronic Oscillography in Early 1950s
Experimental Film
Ashley SCARLETT/Martin ZEILINGER(CA): Art, Technology and Affordance
Soojung YI (KR): When 'new media art' became the solution to endow
cultural identity to its community? The history of new media art in
South Korea since 1980s


10:45 Session: Generative Art, Chair: Ksenia FEDOROVA

Frieder NAKE (DE): Georg Nees & Harold Cohen. Retracing Origins
Caroline MENEZES (UK): From Painting to Coding: The Art of Harold
Cohen
Sjoukje van der MEULEN (NL): Rethinking Painting:  Nechvatal’s
Computer Virus Project
Robin OPPENHEIMER (US): You have been processed! Exploring Early
Artists' & Engineers' Collaborations with Video Processing Machines

12:15 Lunch Break & POSTER SESSION of Media Art & Digital Humanities
projects 

13:45 Session: Politics - Ambitious goals with tactical media, Chair:
Katharina GSÖLLPOINTNER

Dmitry GALKIN (RU): Art, Science and Technology in Russia: current
affairs and ambitions for the future
Rania GAFAAR (DE): Crisis as Critical Practice in the MENA
Chandrika ACHARYA (IN): Mediating Resistance: Indian New Media Art
Polonia TRATNIK (SI): Media art and Politics: The Question of Tomorrow


13:45 Session: Sound Art, Chair: Ana PERAICA

Biljana LEKOVIĆ (RS): History/Practices of Sound Art in Serbia
Michelle LEWIS-KING (UK): Pulse Project: Listening Across Disciplines
and Cultures
Joo Yun LEE (US): Speculative-sensible Experience in Ryoji Ikeda’s
Audiovisual Installation and Performance Inside and Outside of the White
Cube
Gabriela Aceves Sepúlveda SEPÚLVEDA (CA): Towards an alternative
history of Electronic Music: Latin American Women Composers, 1888-1980


13:45 Session: From Trans-Local to Telematic, Chair: Jon CATES

Rod BANTJES (CA): Governing Publics: the Politics of Optical media in
18th-century England and America
Patrick LICHTY (AE): the world, Another 24 Hours: Practice-Based
Research and the works of Robert Adrian X & Bill Bartlett
Paul SERMON/Claire MCANDREW (UK): 3x4: a telematics/architectural
hypersurface
Joanna GRIFFIN (IN): Creative Encounters and Subaltern Aesthetic in the
Early Years of the Indian Space Program


15:45 Session: Politics - Ecology, politics, and aesthetics I, Chair:
Andres BURBANO

Aaron BURTON (AU): Ecological intimacy and unmanned photography:
drones, GoPros, and satellites
Jens HAUSER (DK): Toward Greenness Studies: Materials – Metaphors –
Media – Misunderstandings
Yvonne VOLKART (CH): Re-Tracing Aesthetic Strategies in Times of
Electronic Waste
Viola RÜHSE (AT): Facebook's symbolic headquarter MPK20 by Frank Gehry


15:45 Session: Modulating sensory perception with media cross-over,
Chair: Sjoukje van der MEULEN

Katharina GSÖLLPOINTNER (AT): Digital Kinesthesia. Kinesthetic modes of
media aesthetics in digital art
Chris SALTER (CA): Sensed Selves: The (expanded) Sensorium in Media Art
History
Nina SOSNA (PT)/Ksenia FEDOROVA (RU): Connective tissues in media
interferences
Aura BALANESCU (RO): Media Art: Trans-Perception, Trans-Repräsentation,
Trans-Consciousness


15:45 Session: Soft and Fluid Media, Chair: Katja KWASTEK

Jonas JØRGENSEN (DK): From Soft Sculpture to Soft Robotics: Retracing a
Physical Aesthetics of Bio-Morphic Softness
Hava ALDOUBY (IL): Shifting Sands: Sand as Medium in Israeli New Media
Art
Laura BELOFF (DK): Observing Evolution and Techno-Organic Practices –
in Art and Design
Falk HEINRICH (DK)

[rohrpost] Professur Medientheorien in Linz

[Oliver Grau]

Professur in Linz
https://ufgonline.ufg.ac.at/ufg_online/wbMitteilungsblaetter.display?pNr=195260 
Siehe Punkt 869 !


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[rohrpost] Chance und Herausforderung fuer Medienkunst (Muenchen, 20 Apr 17)

[Oliver Grau]

Digitalität, Virtualität, Immersion. Chance und Herausforderung für 
Medienkunst

Eine Veranstaltung von KINO DER KUNST in Kooperation mit ARRI Media 
GmbH und der Kunsthalle München
20.04.2017, 10.00 – 16.30 Uhr

Die Digitalität gehört zu den prägendsten Neuerungen der letzten 
Jahrzehnte. Sie hat sich zu einer Revolution entwickelt, der gegenüber

man sich bewusst verhalten muss, da sie fortwährend neue Fortschritte 
zu präsentieren scheint. Das interdisziplinäre Symposium „Digitalität,

Virtualität, Immersion. Chance und Herausforderung für Medienkunst“ 
richtet deshalb den Blick auf das Verhältnis von Medienkunst zu 
Digitalität, virtuellem Raum und Immersion.

Dabei soll aus heutiger Perspektive analysiert werden, wie sich die 
Konzeption und Wahrnehmung der Digitalität durch jüngste Erfindungen 
verändert haben und welchen Möglichkeiten und Problemen Medienkünstler,

Kuratoren, Restauratoren und Sammler bei der Präsentation von 
Kunstwerken mit digitalen, bewegten Bildern gegenüberstehen. Darüber 
hinaus widmet sich das Symposium innovativen Ansätzen der Erlebbarkeit

von Medienkunst im virtuellen Raum. Mit der verbindenden Idee der 
Immersion werden aktuelle Entwicklungen vorgestellt, die losgelöst vom

ortsgebundenen Kunstwerk gedacht sind und so neue künstlerische, aber 
auch rezeptions- und vermittlungsbezogene Möglichkeiten vorschlagen.

Das Symposium findet bis auf den Vortrag von Ian Cheng auf Deutsch 
statt. Ausführliche Informationen zum Programm finden Sie unter 
http://www.kinoderkunst.de/web/de/programm/kino-der-kunst-2017/symposium.html.

Bitte nutzen Sie zur Anmeldung das Formular, das auf der Website zum 
Download bereit steht, oder schicken Sie eine Mail an 
sympos...@kinoderkunst.de. Die Anmeldung ist bis zum 13. April 2017 
möglich.

Tagungsort:
Kunsthalle München
Theatinerstraße 8
(in den Fünf Höfen)
80333 München

Programm

09.00 – 10.00 
Anmeldung

10.00 – 10.15
Begrüßung

1. Chancen und Herausforderungen der Digitalität für Medienkunst

10.15 – 11.00
Prof. Dr. Oliver Grau, Lehrstuhlinhaber für Bildwissenschaften an der 
Donau-Universität, Krems
Verlust der (digitalen) Gegenwartskunst. Visuelle Komplexität und 
Impact für Archiv, Wissenschaft und Museumslandschaft

11.00 – 11.45
Andreas Weißer, Doerner Institut, München
Time based media art

11.45 – 12.00
Diskussion

2. Immersion als Ansatz: Ausstellung und Virtualität

12.00 – 12.45
Sabine Himmelsbach, Direktorin des HeK, Haus der elektronischen Künste

Basel
Die ungerahmte Welt

12.45 – 13.45 
Mittagspause

13.45 – 14.30
Dr. Jesús Muñoz Morcillo und Dr. Florian Faion, Karlsruher Institut für

Technologie (KIT)
Wenn das Virtuelle der Struktur der Realität ähnlich ist – Zwischen 
mimetischer Materialikonologie und Kunstmetamorphose

14.30 – 15.15
André Rittner, ARRI Media GmbH, München
Virtuelle Räume. Der Kunstraum oder der Raum zur Kunst?

15.15 – 15.30 
Diskussion

3. Live Simulations

15.30 – 16.15 
Ian Cheng (tbc.), Künstler, New York
Live Simulations

16.15 – 16.30
Abschlussdiskussion

16.30 
Ende des Symposiums



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[rohrpost] Call for Nominations: MediaArtHistories International Award

[Oliver Grau]

MediaArtHistories International Award: Call for Nominations

On the occasion of its 7th Biannual Conference Re:Trace, the Media Art
Histories Conference Board is pleased to announce its call for
nominations for the Media Art Histories Award for Outstanding
Achievement! 

This award will be conferred upon an individual scholar working in any
language in recognition for their innovative and inspirational
contribution to the field of Media Art Histories, sustained development
of the global community and research program of Media Art, and for
scholarly excellence at the highest level. 

Two years ago, Dr. Barbara Maria STAFFORD, University of Chicago,
received the inaugural award for her achievements in imaging arts,
optical sciences, and performance technologies.  


Presentation of the 2nd Media Art Histories Award will take place at
the Re:Trace 2017 Conference on the Histories of Media Art, Science and
Technology, to be held in early December 2017 in Krems and Vienna,
Austria. The individual awarded will also be recognized at all future
conferences, as well as in the Media Art Histories Archive and on the
Conference Series social media forums. 

www.mediaarthistory.org 

The Media Art Histories Board asks for your nominations. Please submit
proposals of approximately 500 words describing the nominee's merit and
achievements in scholarship in the histories of the media arts, the arts
and science and/or the arts and technology, and related fields.

The time for nominations will close on April 10, 2017.
Please submit your proposals to coordination(at)mediaarthistory.org
A committee of board and non-board members will select the
MediaArtHistories Award winner.


Initiated by the Media Art Histories Board:
Prof. Dr. Sean CUBITT (Deputy Head of Department & PhD Tutor / Media
and Communications / Goldsmiths University of London / UK), Univ.-Prof.
Dr. habil. Dr.h.c. Oliver GRAU (Head of Dept & Chair Professor in Image
Science / Danube University / AT), Dr. Linda Dalrymple HENDERSON (David
Bruton, Jr. Centennial Professor in Art History / Dept of Art + Art
History / University of Texas at Austin / US), Dr. Andreas BROECKMANN
(Professur Theorie und Geschichte gegenwärtiger Medien, Universität
Oldenburg / GER), Prof. Dr. Erkki HUHTAMO (Departments of Design Media
Arts, and Film, Television, and Digital Media / University of California
Los Angeles / US), Prof. Dr. Douglas KAHN (Professor of Media and
Innovation / National Institute of Experimental Arts (NIEA) / University
of New South Wales, Sydney / AU),  Prof. Dr. Martin KEMP (Emeritus
Professor of the History of Art / Oxford University / UK), Prof. Dr.
Machiko KUSAHARA (School of Letters, Arts and Sciences / Waseda
University / Tokyo, Japan), Prof. Dr. Tim LENOIR (Kimberly J. Jenkins
Chair for New Technologies in Society / Duke University / US), Prof. Dr.
Gunalan NADARAJAN (Dean / Stamps School of Art & Design / University of
Michigan / US), Prof. Dr. Paul THOMAS (Director / Fine Arts at College
of Fine Art / University of New South Wales /AU)


MISSION MAH Conference Series
"Recognizing the increasing significance of media art for our culture,
this conference for the Histories of Media Art Histories discusses the
history of media art within the interdisciplinary and intercultural
contexts of the histories of art, media, science and technology." (Villa
Vigoni 2004)



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[rohrpost] 2 WM Stellen Digital Humanities am Department für Bildwissenschaften

[Oliver Grau]

Stellenausschreibung Digital Humanities I

Zur Verstärkung unseres Teams in der Fakultät für Bildung, Kunst und
Architektur/ Department für Bildwissenschaften suchen wir ab August
vorerst
befristet auf drei Jahre eine/n engagierte/n
Wissenschaftliche/n Mitarbeiter/in
20 Std./W. Inserat Nr. 1628_Bild

Ihre Aufgaben
· wissenschaftliche Assistenz des Universitätsprofessors für
Bildwissenschaften
· Unterstützung der Projektleitung bei der Durchführung von
Forschungsprojekten im Feld der Digital Humanities
· Pflege und Entwicklung des sozialen Online-Archivs
· Mitarbeit an der weiteren Entwicklung des Departments Ihr Profil
· abgeschlossenes Studium im Bereich Kunstgeschichte oder
Medienwissenschaften
· Kenntnisse im Feld Digital Humanities und Medienkunstforschung
· Projekterfahrung von Vorteil
· ausgezeichnete MS-Office Kenntnisse
· sehr gute Englischkenntnisse in Wort und Schrift
· hohe kommunikative und organisatorische Kompetenz
· eigenverantwortliches Handeln und Teamfähigkeit

Ihre Perspektive:
Es erwartet Sie eine anspruchsvolle Tätigkeit mit guten
Entwicklungsmöglichkeiten 
in einem leistungsorientierten, kreativen und hoch motivierten Team.
Menschen mit Behinderung, die die geforderten Qualifikationskriterien
erfüllen,
werden ausdrücklich zur Bewerbung aufgefordert und besonders
berücksichtigt.
Die Mindesteinstufung liegt entsprechend der Dienst- und
Besoldungsordnung der
Donau-Universität Krems (W3/1) für 20 Stunden/Woche.

Wir freuen uns auf Ihre überzeugende Bewerbung bis spätestens
03.06.2016.
Ausführliche Informationen zur Bewerbung finden Sie unter:
http://www.donau-uni.ac.at/de/aktuell/jobs/index.php 

--
Stellenausschreibung Digital Humanities II

Zur Verstärkung unseres Teams in der Fakultät für Bildung, Kunst und
Architektur/ Department für Bildwissenschaften suchen wir ab sofort
vorerst
befristet bis August 2019 eine/n engagierte/n
Wissenschaftliche/n Mitarbeiter/in
20 Std./W. Inserat Nr. 1627_Bild

Ihre Aufgaben
· wissenschaftliche Assistenz des Universitätsprofessors für
Bildwissenschaften
· Unterstützung der Projektleitung bei der Durchführung von
Forschungsprojekten im Feld der Digital Humanities
· Antragswesen für drittmittelfinanzierte Projekte
· Mitarbeit an der weiteren Entwicklung des Departments

Ihr Profil
· abgeschlossenes Studium im Bereich Kunstgeschichte oder
Medienwissenschaften
· Kenntnisse im Feld Digital Humanities und Medienkunstforschung
· Erfahrung im internationalen Antragswesen
· Projekterfahrung von Vorteil
· ausgezeichnete MS-Office Kenntnisse
· sehr gute Englischkenntnisse in Wort und Schrift
· hohe kommunikative und organisatorische Kompetenz
· eigenverantwortliches Handeln und Teamfähigkeit

Ihre Perspektive:
Es erwartet Sie eine anspruchsvolle Tätigkeit mit guten
Entwicklungsmöglichkeiten 
in einem leistungsorientierten, kreativen und hoch motivierten Team.
Menschen mit Behinderung, die die geforderten Qualifikationskriterien
erfüllen,
werden ausdrücklich zur Bewerbung aufgefordert und besonders
berücksichtigt.
Die Mindesteinstufung liegt entsprechend der Dienst- und
Besoldungsordnung der
Donau-Universität Krems (W3/1) für 20 Stunden/Woche.

Wir freuen uns auf Ihre überzeugende Bewerbung bis spätestens
03.06.2016.
Ausführliche Informationen zur Bewerbung finden Sie unter:
http://www.donau-uni.ac.at/de/aktuell/jobs/index.php 




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[rohrpost] Final Call for Applications- Intake 2016: European Excellence Master in MEDIA ARTS CULTURES

[Oliver Grau]

Dear List members, Please share.

 ~
 MEDIA ARTS CULTURES
 Erasmus Mundus Joint Master Degree
 Erasmus+ supported - European Program of Excellence
 CALL FOR APPLICATIONS OPEN 
 www.mediaartscultures.eu 
 ~
deadline April 29, 2016 (non-EU)
deadline June 1, 2016 (EU citizens and residents)
www.mediaartscultures.eu/mediaac/application
~

 We are pleased to announce the call for applications for the Erasmus
Mundus Joint Master of Arts Degree in Media Arts Cultures, organized
jointly by Danube University (Austria), Aalborg University (Denmark),
University of Lodz (Poland) and City University of Hong Kong (China).

 Associated partners: Ars Electronica, DAM, FACT, monochrom, Laboratory
of Research in Art and Techno Science, transmediale, ZKM

 This new masters of arts program supported by the European Union is
recognized as a European Master of Excellence. This distinction is based
on offering high-quality learning opportunities for students in an
emerging field and also signifies the importance of Media Arts for the
cultural and educational future of Europe.
 ~
 The objective of this joint master program is to provide education and
training for future specialists in Media Arts Cultures and prepare them
for emerging careers research & academia, as well as the creative &
cultural sectors.

 Students from European or non-European countries will study as a group
and in individually chosen modules on selected topics like Media
Cultural Heritage, Archiving, Experience Design, Media Arts Theory, New
Media Aesthetics, Curating & Arts Management, or Media Arts Futures. The
language of instruction is English. As part of the program, students
will complete an internship at one of the consortium's full or
associated partners and complete a master's thesis supervised by
lecturers from the partner universities. MediaAC faculty include: Ana
PERAICA, Christiane PAUL, Falk HEINRICH, Harald KRAEMER, Andreas
BROECKMANN, Irina ARISTARKHOVA, Jane PROPHET, Jeffrey SHAW, Maciej OZÓG,
Margit ROSEN, Morten SONDERGAARD, Oliver GRAU, Ryszard W. KLUSZCZYZSKI,
Sean CUBITT, Wendy COONES and many others…

Media Arts Cultures is a mobility program, enabling students to study
across Europe and in Asia. During the two-year program, each student
will spend three semesters in at least three universities, and choose
among the EU partners for the final semester. After completing the
program, students will receive a joint master degree in Media Arts
Cultures from the universities they have attended. The program is 120
ECTS and allows graduates to further pursue a PhD within Europe or other
international higher education regions.
 ~
 For more information on the program, please visit:
 www.mediaartscultures.eu/ 
 ~
 

 　

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Antw: Re: Antw: Re: [rohrpost] 5.2.16, Podiumsdiskussion "Wie - Gegenwartskunst?" am ZfL Berlin

[Oliver Grau]

it laufen viele
"Medienkünstler" alter Schule ins offene Messer ihrer eigenen scharf
gestellten, aber leider altmodischen Ansprüche, und sie  sperren sich
nach wie vor selbst in eine eigens errichtete "gated community", die vor
allem eines auszeichnet: eben jene hoffnungslose Antiquiertheit und
vielleicht die naive Vorstellung, durch Lötworkshops den Lebensunterhalt
sichern zu können - sorry, aber man kann doch nach wie vielen Jahren ZKM
oder Rhizome nicht mehr so denken! Anderseits, positiv gewendet, lächelt
man über die entblößende Naivität mit der komplette protofeudalistische
Kunstmarkt auch dort aufscheint.

Leider, leider kann ich die Veranstaltung mit Rebentisch und Düttmann
nicht besuchen, aber sie steht aus meiner Sicht pars pro toto. Es macht
heute keinen Sinn mehr, wie damals in der Moderne, zwischen den
Gattungen zu trennen. Die Debatte ist fast schon zehn Jahre alt, als
Stefan Heidenreich und Inke Arns für einen expansiven Medienkunstbegriff
in der kostenlosen Publikumsgazette namens Kunstzeitung, die in beinahe
jedem Ausstellungsinstitut ausliegt, argumentierten. Also wie viel
Publizität und Mainstream braucht es eigentlich noch, um in der
Gegenwart anzukommen? So what, meine Damen und Herren. Diese Debatte ist
durch. Es gibt kein Alleinstellungsmerkmal für Medienkunst. Es gibt nur
noch intelligente, herausragende, aufregende Kunst, und alles andere ist
alles andere. Die eingesetzte Technik spielt dabei keine Rolle mehr.

In diesem Sinne, Glückauf

Euer Fausto

Am 14.01.2016 um 14:16 schrieb Oliver Grau:
> Nun, bei diesen Personen sind es wohl Seilschaften, Galerie-Netzwerke
> auch Unkenntnis..
> 
> ... aus unserer Konferenz "Challenges of Digital Arts for our
> Societies" im Museum für Moderne Kunst, Wien, MUMOK, vom letzten Monat
> hier der Vortrag von Christiane Paul zum Thema: 
> https://www.youtube.com/watch?v=283LtZNmy5M
> 
> Beste Grüße,
> Oliver
> 
>  
>>>> Geert Lovink  14.1.2016 13:50 >>> 
> 
>> On 14 Jan 2016, at 12:02 pm, Margarete Vöhringer
>  wrote:
>>
>> Fr, 05.02.2016 
>> 18.00 Uhr
>>
>> Öffentliche Podiumsdiskussion
>>
>> Wie – Gegenwartskunst?
>>
>> ZfL, Schützenstr. 18, 10117 Berlin, 3. Et., Trajekte-Tagungsraum
>> Programm
>>
>> mit Alexander García Düttmann (UdK Berlin) und Juliane Rebentisch
> (HfG Offenbach).
>> Moderation: Eva Geulen (ZfL/HU Berlin) und Peter Geimer (FU Berlin)
>>
>> Ist nicht jede Kunst immer auch Gegenwartskunst? Oder mindestens
> einmal gewesen? Nein, behaupten Juliane Rebentisch und Alexander
Garcia
> Düttmann, Gegenwartskunst ist ein besonderer Name, mit dem sich die
> Kunst unserer Zeit von der modernen Kunst und ihren vergangenen
> Gegenwarten unterscheidet. Darüber herrscht Einigkeit zwischen der
> Kunstphilosophin und dem Kunstphilosoph. Aber weit auseinander gehen
> ihre Meinungen bei der anschließenden Frage nach den Kriterien, der
> Bedeutung und Bewertung der Unterschiede zwischen dieser
Gegenwartskunst
> und der Kunst, die ihr voranging. Während Rebentisch eine kritische
> Selbstüberwindung der Moderne am Werk sieht, befürchtet Dütt> sich die 
> Gegenwartskunst in ein Abseits manövriert hat und dort
> feststeckt. 
> 
> OK… Aber sogar hier wird das Digitale, neue Medienkunst, Internet,
> Post-Internetkunst, new aesthetics, post-digitale Kunst und so weiter
> nicht mal erwaehnt… Warum? Was ist daran so schwer? Welche Hemmungen
und
> Tabus gibt es da, bei Alexander und Juliane, die Organisatoren usw.?
> Denkverbote? Schuldkomplexe? Komputerängste?
Verblendungszusammehaenge?
> Was, um Gotteswillen, macht es so schwer die durchdigitalisierte und
> vernetzte Techno-Gegenwart zu betrachten—und die Negation
> voranzutreiben, statt immer nur so zu tun alsob es ganze gar nicht
> gibt.
> 
> Geert
> 
> 
> 
> 
> 
> 





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Antw: Re: [rohrpost] 5.2.16, Podiumsdiskussion "Wie - Gegenwartskunst?" am ZfL Berlin

[Oliver Grau]

Nun, bei diesen Personen sind es wohl Seilschaften, Galerie-Netzwerke
auch Unkenntnis..

... aus unserer Konferenz "Challenges of Digital Arts for our
Societies" im Museum für Moderne Kunst, Wien, MUMOK, vom letzten Monat
hier der Vortrag von Christiane Paul zum Thema: 
https://www.youtube.com/watch?v=283LtZNmy5M

Beste Grüße,
Oliver

 
>>> Geert Lovink  14.1.2016 13:50 >>> 

> On 14 Jan 2016, at 12:02 pm, Margarete Vöhringer
 wrote:
> 
> Fr, 05.02.2016 
> 18.00 Uhr
> 
> Öffentliche Podiumsdiskussion
> 
> Wie – Gegenwartskunst?
> 
> ZfL, Schützenstr. 18, 10117 Berlin, 3. Et., Trajekte-Tagungsraum
> Programm
> 
> mit Alexander García Düttmann (UdK Berlin) und Juliane Rebentisch
(HfG Offenbach).
> Moderation: Eva Geulen (ZfL/HU Berlin) und Peter Geimer (FU Berlin)
> 
> Ist nicht jede Kunst immer auch Gegenwartskunst? Oder mindestens
einmal gewesen? Nein, behaupten Juliane Rebentisch und Alexander Garcia
Düttmann, Gegenwartskunst ist ein besonderer Name, mit dem sich die
Kunst unserer Zeit von der modernen Kunst und ihren vergangenen
Gegenwarten unterscheidet. Darüber herrscht Einigkeit zwischen der
Kunstphilosophin und dem Kunstphilosoph. Aber weit auseinander gehen
ihre Meinungen bei der anschließenden Frage nach den Kriterien, der
Bedeutung und Bewertung der Unterschiede zwischen dieser Gegenwartskunst
und der Kunst, die ihr voranging. Während Rebentisch eine kritische
Selbstüberwindung der Moderne am Werk sieht, befürchtet Düttmann, dass
sich die Gegenwartskunst in ein Abseits manövriert hat und dort
feststeckt. 

OK… Aber sogar hier wird das Digitale, neue Medienkunst, Internet,
Post-Internetkunst, new aesthetics, post-digitale Kunst und so weiter
nicht mal erwaehnt… Warum? Was ist daran so schwer? Welche Hemmungen und
Tabus gibt es da, bei Alexander und Juliane, die Organisatoren usw.?
Denkverbote? Schuldkomplexe? Komputerängste? Verblendungszusammehaenge?
Was, um Gotteswillen, macht es so schwer die durchdigitalisierte und
vernetzte Techno-Gegenwart zu betrachten—und die Negation
voranzutreiben, statt immer nur so zu tun alsob es ganze gar nicht
gibt.

Geert




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[rohrpost] CHALLENGES OF DIGITAL ART FOR OUR SOCIETIES – Internationale Konferenz

[Oliver Grau]

CHALLENGES OF DIGITAL ART FOR OUR SOCIETIES – Internationale
Konferenz
MUMOK - Museum moderner Kunst Wien, 4. Dezember 2015

Welche Museen braucht die (digitale) Kunst unserer Zeit?

Digitale Technologien und Digitale Kunst haben unsere Wahrnehmung und
Interaktion mit Bildern grundlegend verändert. Die internationale Tagung
„Challenges of Digital Art for our Societies“ greift diesen Wandel des
Ausdrucksvermögens zeitgenössischer Medienkunst auf. Auf mittlerweile
200 Biennalen und über 100 gut besuchten Medienkunstfestivals
thematisieren renommierte Medienkünstler mit zahlreich ausgezeichneten
Werken unser sich veränderndes Weltbild zu zentralen gesellschaftlichen
Themen wie Klimawandel, Bild- und Medien (R-)evolution, Globalisierung,
Zukunft der Körper und Überwachungsgesellschaft bis hin zur
Virtualisierung der Finanzmärkte. Gesellschaftlich und kulturell
brisante Fragen unserer Zeit werden in herausragenden Kunstwerken
thematisiert und doch gelangen diese aufgrund der Speicherproblematik
und der technisch noch inadäquaten Strukturen der Museen und Archive
unserer Gesellschaft nicht in die Sammlungen.

Derzeit geht diese zentrale Kunst unserer Zeit vollständig verloren, da
der Museumssektor bislang nicht in die Lage versetzt wurde, seinem
gesetzlichen Auftrag zur Sammlung, Erforschung und Erschließung der
zeitgenössischen Medienkunst nachzukommen. Die Ausblendung der
Medienkunst und ihrer Themen aus dem öffentlich finanzierten
Museumssektor führt mittlerweile – so die Forschung – zu einer
demokratiepolitischen Problematik, der entgegengewirkt werden sollte.

Die Wissenschaft ist herausgefordert, die digitalen Kunstwerke zu
dokumentieren und zu analysieren und Lösungsvorschläge für dieses
zentrale Dilemma der Kunstpolitik unserer Zeit zu unterbreiten: Auf
diese allgemeine Dringlichkeit einer besseren Erhaltung, Archivierung
und internationalen Erforschung von Medienkunst wird in der u.a. von
Prof. Grau mitinitiierten „Liverpool Erklärung“ hingewiesen, die
bislang von 500 WissenschaftlerInnen und MuseumsdirektorInnen aus über
40 Ländern unterzeichnet wurde
(http://www.mediaarthistory.org/declaration). Hier setzt die
Konferenz an. Insbesondere die Neuausrichtung der Ausbildung zukünftiger
Kuratoren und Archivare im Kunstbereich sowie die Schaffung von
nachhaltigen Forschungsinfrastrukturen für Medienkunst werden
fokussiert. Die Forschungen der Wissenschaftler im Bereich der Digital
Humanities spielen hierfür eine zentrale Rolle.

International ausgewiesene Medienkunstexperten - Prof. Dr. Lev MANOVICH
(New York CityU), Prof. Dr. Sean CUBITT (Goldsmiths), Prof. Dr.
Christiane PAUL (New School New York, Whitney Museum) und Prof. Dr.
Oliver GRAU (Donau Universität) - diskutieren am 4. Dezember 2015 von
13-19 Uhr im MUMOK - Museum moderner Kunst Wien (Museumsplatz 1, 1070
Wien) Lösungsmöglichkeiten und Verbesserungsstrategien.


PROGRAMM

13:00   
Begrüßung und Eröffnung

13:15-14:15 
Univ.-Prof. Dr. Christiane PAUL (New School NY, Whitney Museum NY):  
>From Archives to Collections: Digital Art in/out of Institutions

14:15-15:15 
Univ.-Prof. Dr. Lev MANOVICH (City University of New York, CUNY):  
Archiving and analyzing digital art the scale of big data

15:15-15:45 – PAUSE

15:45-16:45 
Univ.-Prof. Dr. Sean CUBITT (Department of Media and Communications,
Goldsmiths, London): 
Aesthetics and Anaesthetics: Eudaimonism and Melancholia in the
Archive

16:45-17:45 
Univ.-Prof. Dr. Oliver GRAU, MEA (Department für Bildwissenschaften,
Donau Universität): 
Political Iconography of Digital Arts, it's Archive and a Museum
Infrastructure for the 21 Century

17:45-18:30 
Diskussion

Ab 18:30Wein & Co.


VORTRAGENDE

Lev MANOVICH ist Professor am CUNY Graduate Center, USA, Direktor der
Software Studies Initiative am California Institute for
Telecommunications and Information Technology (http://manovich.net/). Er
ist Autor von Soft Cinema: Navigating the Database (MIT Press, 2005) und
Software Takes Command (Bloomsbury, 2013). Sein bereits legendäres Buch
The Language of New Media (2001) erhielt über 50 Rezensionen in der
Fachpresse und platziert die Neuen Medien „in der ansprechendsten und
weitreichendsten Medienhistorie seit Marschall McLuhan“ (Telepolis).
Aktuell beschäftigt er sich u.a. mit Visualisierungen von Big Data zu
Forschungszwecken. Er stand auf der Liste "50 Most Interesting People
Building the Future" (2014). 

Sean CUBITT ist Professor für Film und Television am Goldsmiths,
Universität London; Fellow an der University Melbourne und
Honorarprofessor Professor an der University Dundee. Seine Publikationen
umfassen Videography: Video Media as Art and Culture (Palgrave, 1993),
Timeshift: On Video Culture (Routledge, 2003), Simulation and Social
Theory (SAGE, 2001), The Cinema Effect (MIT Press, 2005), EcoMedia
(Rodopi, 2005), Digital Aesthetics (Sage, 2009) und The Practice of
Light: A Genealogy of Visual Technology from Prints to Pixels (MIT
Press, 2014

[rohrpost] CONF: RE-CREATE – THEORIES, METHODS AND PRACTICES OF RESEARCH-CREATION IN THE HISTORIES OF MEDIA ART, SCIENCE AND TECHNOLOGY

[Oliver Grau]

CONF: RE-CREATE – THEORIES, METHODS AND PRACTICES OF RESEARCH-CREATION
IN THE HISTORIES OF MEDIA ART, SCIENCE AND TECHNOLOGY

Montréal, 5-8 November 2015

Université du Québec à Montréal, Agora Hydro-Québec, Coeur des
Sciences, 175, avenue du Président-Kennedy, Montréal
Exhibition openings and reception on November 5 at Concordia 
University, E.V. building, 1515 Ste-Catherine West, Montréal

REGISTRATION is still OPEN!  
http://www.mediaarthistory.org/recreate-2015 

Re-Create conference focuses on six core thematic questions:
1). Theoretical Currents: How do the Senses, Animals and the Apocalypse
inform research-creation practices ?
(2). Sites: How have sites of research and practice evolved in Latin
America, Eastern Europe, Japan, Sweden and Indigenous Cultures?
(3). Histories of the Studio Lab: How have Australian, British,
Canadian and American artists historically worked in academia, industry
and generative art?
(4). New Methods: What can the concept of co-production (STS),musique
concrète,intersectionality theory and critical race studies, as well as
the debates about the “practice turn” in higher education provide to
the historical and critical positioning of practice?
(5). Digital Humanities and Critical Practices: What are the challenges
and the future of transdisciplinary collaboration? What can media
archeology do for the humanities and contemporary academic culture? How
has failure impacted practice-led research?
(6). Curatorial Actions and Practices: How have philosophy, industrial
creation, feminism, sound and “imageness” historically entered into
curatorial practices?
Program Chair: Dr. Christopher Salter, Co-Director, Hexagram; Associate
Professor Design and Computation Arts, Faculty of Fine Arts, Concordia
University
Co-Program Chair: Gisèle Trudel, Professor, School of Visual and Media
Arts, Arts Faculty, University of Québec at Montreal. Trudel is the
former Director of Hexagram-UQAM (2011-13) and Co-Director of Hexagram
(2012-15).

Emerging Researchers’ (ER) Symposium des Chercheurs Émergents
04.11.2015 ER Programme here: 
http://www.mediaarthistory.org/recreate-2015/programme-overview-emerging-researchers-symposium

EVENT OVERVIEW

Thursday/jeudi 5.11.2015
DAY/JOUR 1 Media Art Histories Re-CREATE 2015


13h-15h30  OPENING ADDRESS/DISCOURS D’OUVERTURE

Chris SALTER, Concordia University
Oliver GRAU, Media Art Histories, Danube University


SESSION 1 – Setting the Stage : Overview and Precedents

“Pathways to Innovation in Digital Culture” Revisited 
Michael CENTURY, Rensselaer Polytechnic Institute

Regard transversal sur des pratiques inter- et trans- 
Louise POISSANT, FRQSC

Art-Science: A lab for discerning modes and logics of
interdisciplinarity
Georgina BORN, Oxford University

Weaving Strands: Research-creation practices in universities, cultural
institutions and artist-run culture in Montreal

Gisèle TRUDEL, Université du Québec à Montréal + Cheryl SIM, DHC/ART
Foundation for Contemporary Art
17h – Concordia University, EV building


FOFA Gallery
Biomateria + Contagious Matters
Exhibition – WhiteFeather HUNTER + Tristan MATHESON, Concordia
University

Mangling Methodologies in Biological Art and Display Practices
Discussion Panel – FREE, OPEN TO PUBLIC

Jens HAUSER, University of Copenhagen, White Feather HUNTER, Concordia
University, Tristan MATHESON, Concordia University, Andrew PELLING,
University of Ottawa


FOFA Gallery – York Vitrine
Tourmente
Interactive Public Screens – Jean DUBOIS, Université du Québec à
Montréal

Hexagram BlackBox
Copacabana Machine Sex: Behind the Scene 
Robotics installation in process – Bill VORN, Concordia University


KEYNOTE 1
Joan JONAS, Artist, New York
18h-23h – Pavillon Président-Kennedy, UQAM

Irradiate. Drawing electromagnetic frequencies with wind. Projection
architecturale modulée par données environnementales (vent et ondes
électromagnétiques). Ælab (Gisèle Trudel) with Guillaume Arseneault,
Université du Québec à Montréal


Friday/vendredi 6.11.2015 DAY/JOUR 2 Media Art Histories Re-CREATE
2015

9h-10h30 Session 2A – Methodological Entanglements

La méthode de Pierre Scheaffer
Yan BREULEUX, Université du Québec à Chicoutimi

Post-digital Circulationism. On- and Offline Intermedia Discourse in
Contemporary Art and Scholarship, Katja KWASTEK, VU, University
Amsterdam

Discourse-analytical aesthetics for digital cultures
Martina LEEKER + Irina KALDRACK, Leuphana University

Practices and Languages of Art
Sally Jane NORMAN, University of Sussex


Session 2B – Practices : Histories of the StudioLab

Fallout and Spinoffs: Commercializing the Art-Technology Movement.
Patrick McCRAY, University of California at Santa Barbara

Jozef Stanislaus Ostoja-Kotkowski, an Australian artist between Art,
Industry, Science and the Academy. Martyn JOLLY and Anthony OATES,
Australian National University

Multimedia artists and fieldwork (1960-80s)
Jelena MARTINOVIC, Geneva University of Art and Design


11h-12h KEYNOTE 2
Christine VAN ASSCHE, Chief Curator

Antw: Re: [rohrpost] Aufruf zur Teilnahme an Künstler: Auf der Flucht!

[Oliver Grau]

Der Wettbewerb ist natürlich sehr zu begrüßen, doch den grausigen
Kolonialismus allein verantwortlich machen,
scheint doch etwas zu kurz analysiert. Wie wäre bei diesem monokausalen
Erklärungsansatz der eindrucksvolle
Aufstieg Chinas zu erklären, dass nun wirklich unter allen
existierenden Kolonialmächten schwer gelitten hat?
Wie wäre der Aufstieg der "Kleinen Tiger" zu erklären, denen es ebenso
erging (Vietnam etwa war erst franz. Kolonie, später
Opfer des US-Imperialismus) ? 

Sollten wir nicht als Erklärung auch die US-Ölkriege (Irak, Libyen) und
die Anti-Terror/Russland-Einkreisung Kriege 
(Afghanistan, Syrien, Jemen etc.) als für die Entstehung der
Flüchtlingsströme heranziehen?? und zugleich sehen,
dass sich die Bevölkerung und Arbeitsuchenden in der
Hauptflüchtlingsregion im Verlauf der letzten Hundert Jahre etwa
Verzehnfacht hat..?

Beste Grüße,
O.



>>> -g-  10/19/2015 12:45  >>>
10 things you need to consider if you are an artist – not of the
refugee and asylum seeker community- looking to work with our
community:

http://riserefugee.org/10-things-you-need-to-consider-if-you-are-an-artist-not-of-the-refugee-and-asylum-seeker-community-looking-to-work-with-our-community/


falls noch nicht bekannt
-g-
georg klein - sound | video | media artist
atelier klangquadrat
rungestr. 20 / 4  10179 berlin
www.georgklein.de 

> Am 19.10.2015 um 12:32 schrieb Wilfried Agricola de Cologne
:
> 
> Abgabefrist: Montag 21 Dezember 2015
> Aufruf zur Teilnahme
> 
> 
> AUF DER FLUCHT!
> 
> artvideoKOELN sucht künstlerische Videos zum Thema "Flüchtlinge" für
ein im
> Jahr 2016 und später zu realiserendes Ausstellungsvorhaben.
> 
> Gegenwärtig sind mehr als 60 Millionen Menschen weltweit auf der
Flucht.
> Ohne jegliche Lebensperspektive sind sie gezwungen, ihre Heimat zu
> verlassen auf Grund von Verfolgung, Gefahr für Leib und Leben, Krieg
und
> Bürgerkrieg, aber auch materieller Not, Hunger und Armut.
> 
> Man spricht in Europa gegenwärtig von einer "Flüchtlingskrise" und
stellt
> es gerne so dar, als sei dieses Gott gegeben. Fakt jedoch ist, daß
Europa,
> bzw. die ehemailigen europäischen Koloniamächte, das sind in erster
Linie
> Großbritannien und Frankreich, aber auch Spanien und Portugal oder
> Deutschland in einem geringeren Umfang, den fruchtbaren Boden für all
die
> gegenwärtigen Konflikte vorbereitet haben, ob im Nahen Osten, Afrika
oder
> Asien, ohne aber heute der Verantwortung dafür gerecht zu werden..
Als die
> Kolonialmächte von der Weltbühne abtraten, wurden sie jedoch,
insbesondere
> nach dem 2,. Weltkrieg durch andere imperiale Mächte, USA und
Sovjetunion
> ersetzt, welche die alten Machtspiele auf Kosten der lokalen
Bevölkerung
> bis heute fortsetzten. Sie waren es auch, die die gegenwärtigen
lokalen
> Islam dominierten Mächte des Nahen ud Mittleren Ostens zu Macht und
Geltung
> verhalfen, dazu gehört auch der durch diese geförderte Terrorismus.
Die
> gegenwärtige Krise resultiert daraus, und Europa - mittlerweile zu
einer
> fast unbedeutenden Regionalmacht geschrumpft - schaut stillschweigend
zu!
> Mit all den fatalen Folgen,  das sind der Terrorismus und die daraus
> resultierenden Flüchtlingsstöme.
> 
> Man sagt, die gegenwärtige Flüchtlingskrise sei die größte seit Ende
des 2.
> Weltkrieges, doch die Wanderbewegung von "Völkern" stellt kein
neuartiges
> Phänomen in der Geschichte menschlicher Zivilisation dar, sondern
diese
> läuteten -  immer auf Gruind ähnlicher auslösender Momente in Gang
gesetzt
> -  immer wieder durch eine Weiterentwicklung menschlicher
Zivilisation ein
> neues Zeitalter ein. Ganz offensichtlich ist es wieder einmal
soweit!
> 
> Dieser Aufruf möchte  Künstler und Videomacher einladen, dabei die
> menschlichen Dimension zu beleuchten, die vielfältigen Gründe und
> Motivationen, warum Menschen sich überhaupt auf die Flücht zu
begeben, die
> Heimat für eine zeitlich begrenzte Periode oder aber  für immer zu
> verlassen,. um Schutz, ein neues Zuhause und Perspektiven zum
Überleben
> anderswo zu suchen. Finden sie oder haben sie das von ihnen ersehnte
Ziel
> tatsächlich gefunden?
> 
> Die Einreichbedingungen und -formular sind zu finden auf
> http://netex.nmartproject.net/?p=6772 
> 
> ---
> artvideoKOELN international
> http://artvideo.koeln 
> artvideoko...@gmail.com 
> -- 
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[rohrpost] The ARCHIVE OF DIGITAL ART features SEAN CUBITT and accepts new scholar applications

[Oliver Grau]

The ARCHIVE OF DIGITAL ART features SEAN CUBITT
www.digitalartarchive.at 

Scholar, curator and writer SEAN CUBITT is currently Joint Head of
Department Media and Communications at Goldsmiths University of London.
His research focuses on the history of visual technologies, media art
history, and relationships between environmental and post-colonial
criticism of film and media. His last publications The practice of light
(2014) and Digital Light (2015, edited together with Daniel Palmer and
Nathaniel Tkacz) investigate light, as material and practice and its
manipulation through visual technologies. A new book Ecomediations
focusing on the environmental impacts of digital media is in
preparation.

His major publications include EcoMedia (2005), The Cinema Effect
(2004), Simulation and Social Theory (2001), Digital Aesthetics, Theory,
Culture  Society (1998), Videography: Video Media as Art and Culture
(1993) and Timeshift: On Video Culture (1991). 

CUBITT held talks and keynotes at conferences all over the world and
co-curated exhibitions such as Arte y Optica at Espacio Fundación
Telefónica in Lima, 2013 and The World is Everything That Is The
Case, the Australian Representation at ISEA2011 in Istanbul. He is on
the editorial boards of a number of journals including Screen, Cultural
Politics, Animation, International Journal of Cultural Politics, Visual
Communications, Futures, Time and Society, fibreculture, MIRAJ and The
New Review of Film and television Studies, moreover he is series editor
for Leonardo Books, MIT Press.  

Find out more about SEAN CUBITT 
https://www.digitalartarchive.at/database/scholar-detail/artist/cubitt.html


*** ARTISTS and SCHOLARS are invited to join the community and set up
their own archive pages and become a featured scholar ***
Please register here:
https://www.digitalartarchive.at/support/account-request.html 


ADA: THOUSANDS OF ARTWORKS
Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former
Database of Virtual Art) has grown to be the most important online
archive for digital art. In cooperation with established media artists,
researchers and institutions it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science and technology. 

COLLABORATIVE ARCHIVING OF DIGITAL ART
The large assortment of information on Sean CUBITT and hundreds of
other leading scholars and artists were carried out by the scholars and
artists themselves in assistance with members of the ADA community. The
new ADA web tool allows members to archive artist statements, works
descriptions, literature, information on exhibitions, high resolution
images, blueprints, videos etc. Artists and scholars are invited to
contribute actively to the archive and to work collaboratively on the
documentation and analysis of digital art. 

EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at risk
for becoming extinct without an adequate documentation. Therefore, the
ADA is based on an expanded concept of documentation, which takes
account of the specific conditions of digital art. 

SHARE YOUR RESEARCH AND NEWS WITH PEERS AND THE COMMUNITY
The community can upload publications and PDFs, announce upcoming
events, post comments, document exhibitions, conferences and other
relevant news. 

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne ANKER,
Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO,
Charlotte DAVIES, FLEISCHMANN  STRAUSS, Masaki FUJIHATA, Ken GOLDBERG,
Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken
RINALDO, KNOWBOTIC RESEARCH, Lev MANOVICH, George LEGRADY, Golan LEVIN,
Rafael LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY,
Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS, SOMMERER 
et al.

ADVISORY BOARD: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO,  Gunalan
NADARAJAN, Martin ROTH, et. al.

ADA team: Oliver GRAU
Michaela SEISER (Editor, Community Admin)
Sebastian HALLER, Janina HOTH, Valerie KUMMER, Viola RÜHSE, 
Wendy COONES, Ann-Christin RENN (Editorial Team)

digitalart.edi...@donau-uni.ac.at 
www.digitalartarchive.at 









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[rohrpost] Medien im Krieg e-book Hg. v. Florian Rötzer, Telepolis

[Oliver Grau]

Neues e-book 
Medien im Krieg: Krise zwischen Leitmedien und ihren Rezipienten
Verlag Heinz Heise
ca. 400 Seiten
978-3-95788-025-3
http://www.heise.de/tp/ebook/ebook_17.html

Die Berichterstattung zur Krise in der Ukraine und die
Berichterstattung zu Russland haben zu einem offenen Schlagabtausch
zwischen den etablierten Medien und einem nicht unerheblichen Teil ihrer
Rezipienten geführt.


Inhaltverzeichnis:

Reinhard Jellen: Worunter wir gerade in den Chefetagen am meisten
leiden, ist Charaktermangel Interview mit Tom Schimmeck über Macht und
Ohnmacht der Medien

Marcus Klöckner: Einen 'Schweigepakt' kann ich mir nur schwer
vorstellen
Fragen zu den Bilderberg-Konferenzen

Marcus Klöckner: Notwendig wäre aus meiner Sicht hier ein sauberer
investigativer Journalismus Fragen zu den Bilderberg-Konferenzen II

Marcus Klöckner: Journalismusforschung: Ganz auf Linie mit den
Eliten
Eine neue Studie analysiert die Berichterstattung von deutschen
Spitzenjournalisten

Sascha Pommrenke: Ausgezeichneter Journalismus. Der Fall Mollath und
die Krise des Pressewesens

Marcus Klöckner und Paul Schreyer: Chaos bei Zeit Online: Mal gilt der
Ethik-Kodex, mal gilt er nicht Redaktion trennt sich von Autor, der für
Russland Heute geschrieben hat - und misst mit zweierlei Maß

Malte Daniljuk: Die wahrhaften Putin-Versteher. In den
deutschsprachigen Medien entwickelte sich die Krim-Krise zur
One-Man-Show eines bösen, bösen Präsidenten

Paul Schreyer: Auf Kriegsfuß mit den Lesern. Die Leitmedien verlieren
in der Russland-Berichterstattung den Kontakt zur Bevölkerung - und
wundern sich nun darüber. Was steckt hinter dem seltsamen Bruch mit dem
eigenen Publikum?

Malte Daniljuk: Meinungskluft um die Ukraine. Der Umgang mit der Krise
um die Ukraine entwickelt sich zur Götterdämmerung des deutschen
Auslands-Journalismus. Die nicht abreißende Kritik von großen Teilen des
Publikums fordert von Journalisten neue Bewältigungsstrategien

Marcus Klöckner: Blutbad am Maidan: Wer waren die Todesschützen?
Monitor-Reporter Stephan Stuchlik über seine Recherchen, wer am 20.
Februar auf Demonstranten und Polizisten geschossen hat und warum die
ukrainische Regierung und die Medien nicht an Aufklärung interessiert
sind

Paul Schreyer: Auf Kriegsfuß mit den Lesern. Die Leitmedien verlieren
in der Russland-Berichterstattung den Kontakt zur Bevölkerung - und
wundern sich nun darüber. Was steckt hinter dem seltsamen Bruch mit dem
eigenen Publikum?

Paul Schreyer: Neue Feindsender? Zeit Online misst bei seinem
Ethik-Kodex offenbar weiterhin mit zweierlei Maß. Und auch andere Medien
haben derzeit Probleme mit der Transparenz. Was ist los mit der Presse?

Paul Schreyer: In einer anderen Welt. Die Tagesschau als Spiegel einer
kollektiven Bewusstseinsverwirrung

Stefan Korinth: Die nützliche Erfindung der Pro-Russen. Seit Beginn
des Ukraine-Konflikts zeigen die deutschen Medien mit dem Finger auf
Moskau. Innerukrainische Erklärungen für den Konflikt spielen hingegen
kaum eine Rolle. Als nützlichste Medien-Erfindung erweisen sich dabei
die Pro-Russen

Marcus Klöckner: Leitartikler und Machteliten. Herausgeber der ZEIT
beschwert sich beim ZDF - Satire-Sendung Die Anstalt erhält
Unterlassungserklärungen

Paul Schreyer: Mit dem gebotenen Hohn Zeit-Herausgeber Josef Joffe
äußert sich zum Vorwurf der zu engen Vernetzung mit den Eliten,
Medienwissenschaftler Uwe Krüger antwortet auf die Kritik Joffes

Malte Daniljuk: Nachrichten von der Front. Der Krieg macht die
Berichterstattung aus Israel und Palästina schwieriger, aber die
Heimatredaktionen fordern vor allem eins: Aktualität, möglichst blutig

Florian Rötzer: Endlich einmal etwas Handfestes gegen die Schuldigen
unternehmen
Deutsche Medien fordern entschlossenes Vorgehen gegen den Feind
Russland und konstruieren (wie in der FAZ) Verschwörungstheorien

Uwe Krüger:  Journalisten als politische Lobbyisten?
Journalismusforscher Uwe Krüger zum Rechtsstreit zwischen der
Zeit-Redaktion und der ZDF-Satiresendung Die Anstalt

Stefan Korinth:  Maidan: Der verklärte Aufstand. Die
Euromaidan-Bewegung gilt als zivilgesellschaftlicher, friedlicher
Aufstand für eine Annäherung an die EU. Doch dies ist zum großen Teil
Legende

Stefan Korinth: Kriegspropaganda: Eine Kiewer Ente im deutschen
Blätterwald
Hiesige Leitmedien bringen eine offensichtliche Falschmeldung von Petro
Poroschenko über einen zerstörten russischen Panzerkonvoi

Marcus Klöckner: Die Berichterstattung unterscheidet sich kaum von den
Statements der Politik. Friedensforscher Lutz Schrader über den
Journalismus in Zeiten geopolitischer Konflikte

Stefan Korinth: Déjà-Vu nach 13 Jahren. Ein Kommentar zu den Parallelen
im öffentlichen Umgang mit 9/11 und dem Ukraine-Konflikt

Malte Daniljuk: Ukraine-Konflikt: ARD-Programmbeirat bestätigt
Publikumskritik
Fragmentarisch, tendenziös, mangelhaft und einseitig: Der
Programmbeirat teilt über weite Strecken die Publikumskritik an der
Berichterstattung

Manuel Schumann: Rudeljournalismus schadet unserer Demokratie

[rohrpost] CALL FOR PROPOSALS to host the 7th International Conference on the Histories of Media Art, Science and Technology.

[Oliver Grau]

CALL FOR PROPOSALS   to host the 7th International Conference
on the Histories of Media Art, Science and Technology: Re:2017

The Media Art Histories Board invites applications to host the 7th
International Conference on the Histories of Media Art, Science 
and Technology. 

The international conference series, which was inaugurated in 2005 
in Banff, Canada, has since been held in several international venues 
around the globe including Berlin in 2007, Melbourne 2009, Liverpool
2011, 
Riga 2013 and will be held this fall in Montreal. 
The conference series aims to engage the growing community of scholars
from
a range of disciplines including art history, contemporary art
practice,
art theory, history of science, history of technology, science and
technology studies, media studies, image science, visual studies,
philosophy, cultural studies, anthropology, architecture theory, sound
studies, computer science among others to develop and share new
research
and scholarship in the intersecting fields of the histories of media
art, science and technology. The host of the next conference in 2017
will have the opportunity to continue to build on the impressive
history
of the conference series.


CONFERENCE SERIES MISSION
*Recognizing the increasing significance of media art for our culture,
the conference series on the Histories of Media Art will discuss the
history of media arts within the interdisciplinary and intercultural
contexts of the histories of the arts. Numerous individuals and
institutions collaborate to produce the international art history
conference series covering the media arts, the arts and technology,
art-science interaction, and the history of media as pertinent to the
contemporary arts.*

GUIDELINES, SELECTION CRITERIA AND DEADLINES
Proposals to host the conference will include the following
information:

1. Proposed Dates
2. Proposed Venues (including information on number, capacity and AV
and network capabilities of spaces)
3. Rationale for hosting the conference
4. Host Local Organizing Committee
5. Relevant previous experience (e.g., committee members* experience
in
hosting conferences, events, etc.)
6. Publicity Plan
7. Funding / Sponsorship plan
8. Preliminary Budget

Those interested in making a bid to host the conference can download
GUIDELINES here
(http://www.mediaarthistory.org/mah-conf-series/call-re2015) and are
encouraged to write to Wendy Coones at wendy.coones(at)donau-uni.ac.at
with an expression of interest prior to submitting a formal proposal.

Deadline for final submission of proposals:  April 29th, 2015
MAH Advisory Board’s final decision for the 2015 host: July 31,
2015.

***
MediaArtHistory Board (Steering Committee)

Sean CUBITT – Goldsmiths College, University of London
Jorge LAFERLA – University of Buenos Aires
Oliver GRAU – Danube University
Linda HENDERSON, University of Texas, Austin
Erkki HUHTAMO University of California Los Angeles
Douglas KAHN – University of New South Wales
Martin KEMP – Oxford University
Timothy LENIOR – Duke University
Machiko KUSAHARA – Waseda University, Tokyo
Gunalan NADARAJAN – University of Michigan
Paul THOMAS – UNSW Sydney


MEDIA ART HISTORIES PLATTFORM  www.mediaarthistory.org 

ARCHIVE OF DIGITAL ART  www.digitalartarchive.at 

LIVERPOOL DECLARATION: http://www.mediaarthistory.org/declaration 

CONFERENCE PUBLICATIONS
http://www.mediaarthistory.org/pub/mediaarthistories.html 
http://www.mediaarthistory.org/pub/place_studies.html 
http://mitpress.mit.edu/books/relive 


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[rohrpost] 20th International Conference on Virtual Systems Multimedia City University, Hong Kong

[Oliver Grau]

20th International Conference on Virtual Systems  Multimedia

City University of Hong Kong, Run Run Shaw Creative Media Centre, 9th
to 12th December 2014

The International Conference on Virtual Systems and Multimedia (VSMM)
is a premier world forum for the presentation of research on 3D
acquisition, multimedia visualization, interaction technologies and
their applications. Known for its multidisciplinary approach, VSMM has
become a bridge between technology, art, history, science and
engineering. Held since 1995, VSMM 2014 will be the 20th gathering of
the VSMM Society and will be hosted for the first time in Hong Kong.
 
VSMM 2014, will be co-hosted by the School of Creative Media, City
University of Hong Kong in partnership with the Centre for Creative
Content and Digital Innovation, (CCCDI), University of Malaya.
 
Hosting the 2014 conference this year at City University of Hong Kong
enables participants to benefit from a world-leading venue for
innovative research in the creative media. City University of Hong Kong
has many pioneering research and display projects aligned to the vision
of VSMM and the conference theme - most notably in the utilisation of
ultra-high definition digital images, innovation in large screen and
stereoscopic projection technologies, motion capture and motion capture
annotation, as well as research into the future of the museum archive
and visitor experiences - all of which will be showcased through
workshops and exhibitions.
 
The theme for VSMM 2014 is ‘Image  Archive’.  Archives serve as
basic tools for social accountability, the preservation and
dissemination of historical memory, and the development of a richer
understanding of cultural, social and political forces in an
increasingly digital and networked world. Image  Archive focuses on
technical aspects of the digital image and, on the numerous ways in
which digital archives have become sources for innovation and
dissemination. 

Over the last decade technical advances including diverse areas in
imaging technologies have allowed us to capture the world at
increasingly high resolutions and contributed to vast reservoirs of
data. New developments in social media and crowdsourcing have resulted
in online archives of great diversity and application. Cultural
collections are increasingly becoming sources for new methods in
knowledge-based visualisation and, advances in web protocols make this
data increasingly discoverable. There are rapidly emerging demands for
theses digital resources to be analysed and ‘designed’ while
simultaneously they become sources material for creative and artistic
applications.

The aim of the conference is to discuss the concept that fresh research
and public engagement initiatives should be integral to ultra-high
resolution scanning projects, and to examine the notion that the archive
must be further reconfigured for the purposes of successful digital
consumption.

The program includes 60 presentations from authors from 25 countries,
as well as 4 international Keynote speakers who have been selected for
their extensive experience and expertise in ‘Image  Archive’, the
theme being explored at this year's conference.

Keynote Speakers: 

●   Prof. Oliver GRAU, Danube University, (Thurs, 11.12.14 –
9.00:10:00)

●   Tatjana DZAMBOZOVA, Autodesk, USA (Thurs, 11.12.14 –
13:30-14:30)

●   Mark HOLZBACH, Zebra Imaging, USA (Fri, 12.12.14 –
9:00-10:00)

●   Prof. Harold THWAITES, University of Malaya (Fri, 12.12.14 –
15:30-16:30)

Conference presentations will be held on Thursday, 11th and Friday,
12th December with workshops and tours taking place on Tuesday, 9th and
Wednesday, 10th December and the exhibitions are open to the public and
will be open all week.

Registration is required: http://www.vsmm2014.org/#!registration/c17e3


For more information visit: www.vsmm2014.org or email
vsmm2...@gmail.com 





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[rohrpost] Philosophy of Art Today, International Conference, Moscow, Nov. 27-29th

[Oliver Grau]

International Conference Philosophy of Art Today, Moscow, November
27-29th, 2014


Organized by the Polytechnic Museum and Art Foundation Moscow Biennale. 
Venue: State Pushkin Museum of Fine Arts.


What would a systematic philosophy of art look like today - in an epoch
of technological transformation and establishing close relationships of
artists and curators with the specific scientific fields of expertise?
Given the dispersion of the arts, the multiplicity of their practices
and technologies, and their shifting institutional and socio-historical
frameworks, is such a thing at all feasible? What is the interrelation
of the classical art history with the new media, technological and
scientific art? A philosophy that takes its point of departure in the
specificity of the arts, or even attempts to develop its concepts out of
the encounter with singular artworks, may risk losing sight of the
general issues of the contemporary world, which could be solved by
approaching philosophy of technology and science. On the other hand,
theories starting from concepts that seem to promise universality, such
as judgment, or the idea of a specificity of aesthetic experience, often
end up in general claims that have little connection to the arts and
artworks. If such a philosophy, which would bring together the universal
and the particular, were at all possible, from where would it draw its
tools and concepts? Consider the ontological status of art, technology
and science in general as poly-structural system? And how would it
locate itself in relation to our own historical moment, and to the
problem of the historicity of concepts, which seems to foreclose
definitions that are not themselves part of the historically changing
forms of art?


Speakers include: Oliver GRAU (Austria/Germany), Timothy DRUCKREY (US),
Nina MÖNTMANN (Germany), Erkki HUHTAMO (Finnland, US), Alexander
GARCIA-DUTTMANN (Germany), Matthew KENYON (US), Maria LIND (Sweden),
Olga KISSELEVA (Russia), Christopher FYNSK (US, UK), Sven-Olov
WALLENSTEIN (Sweden), Irina ARISTARKHOVA (Russia/US), Joseph BACKSTEIN
(Russia).

Detailed schedule and online registration: 
http://polymus.ru/en/museum/pros/calendar/filosofiya-iskusstva-segodnya/


Besides the daytime professional sessions, evening public lectures will
be hold within the conference Philosophy of Art Today.


Participation in the conference is free. Pre-registration is required.


The conference is supported by the Embassy of France and the Embassy of
Finland in Russia.


Polytechnic Museum in Moscow is one of the oldest science museums in the
world and the biggest museum of science and technology in Russia. A
large-scale state-level innovative program of the Polytechnic Museum
modernization was started in 2010. In the framework of the project a
principally new museum and educational centre comprising the greatest
scientific, technical and societal achievements based on the advanced
museum technologies will be constructed by 2018. In 2014 Polytechnic
Museum launched of the Polytech.Science.Art program, dedicated to one of
the most significant phenomenon of contemporary culture -
interdisciplinary collaboration between artists, scientists and
technology specialists. The program started with a series of workshops
and lectures of international and Russian experts, and will be developed
in the following years through exhibitions, artist-in-residency program,
conferences and special projects. It is curated by Natalia Fuchs
(MediaArtHistories, Donau Universität/Cultural Management, University of
Manchester), she is also in charge of interdisciplinary projects of the
Polytechnic Museum.


Moscow Biennale is one of the most representative events in the sphere
of contemporary art and culture in Eastern Europe. The last edition of
Moscow Biennale curated by Catherine de Zegher took place on September
20 – October 20, 2013. In previous years Moscow Biennale was curated by
Nicolas Bourriaud, Rosa Martinez,  Iara Boubnova, Daniel Birnbaum, Hans
at offering not only an important visual experience but also a space for
discussions and theoretical research. Therefore talks, conferences and
symposiums are an integral part of its program. Among the speakers of
this philosophical conference in previous years were such distinguished
scholars as Giorgio Agamben, Jacques Rancière, Saskia Sassen, Christoph
Menke and many others.


More information:


Natalia Fuchs / Наталья Фукс
Interdisciplinary Projects Curator
Polytech.Science.Art: Наука.Искусство.Технологии 
Polytechnic Museum, Moscow, Russia
Cell: +79104320152
Email: nfu...@artypical.com
http://www.polymus.ru; http://artypical.com
http://www.facebook.com/polytechscienceart






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[rohrpost] THE ARCHIVE OF DIGITAL ART (ADA) FEATURES SCENOCOSME

[Oliver Grau]

THE ARCHIVE OF DIGITAL ART (ADA) FEATURES SCENOCOSME

Check it out: www.digitalartarchive.at 

The ARCHIVE OF DIGITAL ART (ADA) features the artist duo SCENOCOSME 
(Gregory LASSERRE  Anais MET DEN ANCXT), known for their inimitable 
poetic language of visualization and sonification of interrelations 
between humans and nature. The collective explores (invisible) energy 
flows between living beings and/or between humans and their 
environments by means of technology and make them perceptible for
spectators. Their interactive artworks and choreographic collective 
performances make attendees share extraordinary sensory experiences.

“Lights Contacts” (2010), “Akousmaflore” (2007), “Alsos*”
(2006) or 
“SphèrAléas” (2004) are remarkable immersive environments and 
acousmatic soundscapes reflecting on connectivity and alternative ways
of communication. At the intersection of art and science the artists 
explore sensor technologies and develop complex software transforming 
“natural energy” like static, heat or breath into sound and light 
installations.  


Evelyn TSITAS: “Lights Contacts invites people to touch another to
create 
sound and light according to the intensity of their electrostatic
energy. 
The work perfectly illustrates […] connectivity in the age of
technology.”

Peter WEIBEL: “Technology is nature made by humans. Scenocosme 
makes the man-made voice of nature visible and audible.”  
[Technik ist vom Menschen gemachte Natur. Scenocosme macht 
sichtbar und hörbar, wie die vom Menschen gemachte Stimme der 
Natur klingt.]

Catherine MASON: “Scenocosme have been exploring ‘energetic 
coherence between living beings and their environment’ in their art
for 
the last few years. By contrasting the relationship between the natural

world and the man-made Scenocosme’s art highlights the challenges
facing our planet and our human responses to it”


COLLABORTIVE ARCHIVING OF DIGITAL ART
The large assortment of information on SCENOCOSME and hundreds
 of other leading artists and their artworks were carried out by the 
artists themselves in assistance with members of the ADA community. 
The new ADA web tool allows members to archive artist statements, 
works descriptions, literature, information on exhibitions, high
resolution
images, blueprints, videos etc. Artists and scholars are invited to 
contribute actively to the archive and to work collaboratively on the 
documentation and analysis of digital art. 

EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART
Due to the processual, ephemeral, interactive, technology-based and
fundamentally context-dependent character of digital art, it is at
risk
for becoming extinct without an adequate documentation. Therefore, the
ADA is based on an expanded concept of documentation, which takes
account of the specific conditions of digital art. 

THE ARCHIVE OF DIGITAL ART – PIONEER IN THE FIELD
Since its foundation in 1999, the Archive of Digital Art (former
Database of Virtual Art) has become the most important scholarly
online
archive for media art. In cooperation with established media artists,
researchers, and institutions, it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and contains today a selection of thousands of artworks at the
intersection of art, science, and technology. 

ARTISTS represented, among many others: Rebecca ALLEN, Suzanne 
ANKER, Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN,
Paolo CIRIO, Charlotte DAVIES, FLEISCHMANN  STRAUSS, Masaki 
FUJIHATA, Ken GOLDBERG, Agnes HEGEDÜS, Lynn HERSHMAN LEESON,
Ryoji IKEDA, Eduardo KAC, Ken RINALDO, KNOWBOTIC RESEARCH, 
Lev MANOVICH, George LEGRADY, Golan LEVIN, Rafael 
LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David
ROKEBY, Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS, 
SOMMERER  MIGNONNEAU, STANZA, Nicole STENGER, THOMSON  
CRAIGHEAD, Peter WEIBEL, et al.

Advisory board: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan
NADARAJAN, Martin ROTH, et. al.

ADA team:
Prof. Dr. habil. Oliver GRAU 
Michaela SEISER (Editor, Community Admin)
Sebastian HALLER, Viola RÜHSE, Wendy COONES, Ann-Christin RENN
(Editorial Team)
digitalart.edi...@donau-uni.ac.at 
www.digitalartarchive.at 


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[rohrpost] PORTABLE REALITY : Symposium - Performances - Workshops

[Oliver Grau]

PORTABLE REALITY
Symposium - Performances - Workshops

Die digitalen Medien und deren kulturelle Nutzung stehen mit den
technischen Fortschritten vor grossen Herausforderungen: Das Schaffen
neuer Welten in Form von virtuellen und erweiterten Realitäten lässt
neue Beziehungen zwischen digitaler Kultur, Theater und Kunst entstehen
und verändert das Rezeptionsverhalten kultureller Nutzer grundlegend.
Die interdisziplinäre Veranstaltungsreihe «Portable Reality»
thematisiert diese Entwicklungen und präsentiert Projekte an der
Schnittstelle von virtuellem und realem Erleben. Ein zweitägiges
Symposium gibt mit renommierten Gästen aus Theater, Tanz, Kunst und
Wissenschaft einen Einblick in die gegenwärtige Forschung zum
Themenkomplex aus einer künstlerischen, kunstwissenschaftlichen sowie
medientheoretischen Perspektive.

Einen besonderen Schwerpunkt legt die Veranstaltungsreihe auf die
belgische Künstlergruppe CREW, die sich auf dem Gebiet der virtuellen
Erzählweisen zu einem international führenden Kollektiv entwickelt hat.
Mit einer interaktiven Technologie erforscht die Gruppe einzigartige
Formate und spielt mit der menschlichen Wahrnehmung. Sowohl die
Performances von CREW als auch weitere partizipative Projekte wie Jan
Torpus’ «lifeClipper», «Die Welt steht Kopf» oder Christina Kubischs
«Electrical Walks Basel» laden den Zuschauer ein, in einzigartige
Simulationswelten und virtuelle Realitäten einzutauchen.


SYMPOSIUM
Museum Tinguely / in Deutsch  Englisch / Eintritt frei / ohne
Anmeldung

Freitag, 26.9.
20:15 Eröffnungsvortrag: «Impact und Ausdruckspotential erweiterter
digitaler Bildwelten: Werden wir uns jemals an Immersion gewöhnen?», 
↦  Prof. Dr. Oliver GRAU (D/A), Lehrstuhl Bildwissenschaften, Donau
Universität Krems, Leitung Archiv Digitale Kunst
(www.digitalartarchive.at)
↦  Moderation und Einführung: Dr. Inge Hinterwaldner (I/CH),
wissenschaftliche Assistentin für neuere Kunstgeschichte, Universität
Basel

Im Anschluss Filmvorführung: Harun Farocki (D), «Ernste Spiele», 2009
– 2010

Samstag 27.9.
THEATER – MEDIEN
10.00-10.30 Uhr Begrüssung und Einführung / Moderation: Sandra Noeth
(A),
Tanzwissenschaftlerin, Kuratorin  Autorin
10:30 –12:30 Vorträge:
↦  Scott de LAHUNTA (GB), Forsythe Company: Augmenting Perception: a
question of legitimate legibility
↦  Eric JORIS (B), CREW: Transitional spaces: negotiating presence
↦  Dominic HUBER (D), Rimini Protokoll: Über «Situation Rooms». Eine
Multiplayer-Videoinstallation
↦  Evelyn HRIBERSEK (D), Künstlerin: O.R.pheus — Kunstinstallation,
Musiktheater, Real-Life-Game

KUNST – MEDIEN
14:00 – 14:30 Begrüssung und Einführung / Moderation: Dr. Doris
Agotai (CH), stv. Leiterin des Instituts für 4D-Technologien,
Departement Informatik, Hochschule für Technik, FHNW
14:30 – 16:30 Vorträge
↦  Petko Dourmana (BG), Künstler: Freestanding 2011 / The Ranking
Project 2013 / Yellow Paper Boat 2014
↦  Tamiko THIEL (D), Künstlerin: Body. Gaze. Site. Exploratory
encounters with augmented place and site
↦  Bjørn MELHUS (D), Künstler: Der virtuelle Ort: Gate X. Eine
ortsspezifische AR-App als Kunst am Bau
↦  Jan TORPUS (CH), Künstler: Exploring Mixed Realities

SYNTHESE
17:00  – 18:00 Moderation: Inge HINTERWALDNER, Sandra NOETH, Doris
AGOTAI
18:00 – 18:30 Anschliessendes QA

Das Symposium wird gemeinschaftlich kuratiert von HeK (Haus der
elektronischen Künste Basel), Kaserne Basel und Museum Tinguely.


PERFORMANCES

CREW (B) «Terra Nova» CH-Premiere!
Mi 24.– Sa 27.9. / jew. 17.30  21 Uhr / Kaserne Basel, Reithalle /
Virtual-Reality-Theater / Tickets CHF 35.–/20.– an der Abendkasse
oder über www.kaserne-basel.ch 

CREW (B) «C.a.p.e.»
So 28.9. / 12 – 17.30 Uhr / Museum Tinguely / Audiovisuelle
Performance / Start für je 3 ZuschauerInnen alle 25 Minuten / Dauer: 25
Minuten / Tickets CHF 15.– (ab 8 Jahren) / Treffpunkt: Museumskasse /
Reservation erforderlich: www.kasernebasel.ch 


EXPERIENCES

Jan TORPUS: Lifeclipper
So 28.9. / 10 – 12  13.30 – 17 Uhr / St. Johanns-Park, Treffpunkt:
Tramhalte stelle St. Johanns-Tor (Tramlinie 11) / Reservation:
vermittl...@hek.ch / Das Projekt findet nur bei schönem Wetter statt,
Info betreffend Durchführung ab Sa 27.9.: www.hek.ch / Eintritt frei

Die Welt steht Kopf – Und wir sind dabei
So 28.9. / 12 – 18 Uhr / Start: alle 30 Min / Museum Tinguely /
Treffpunkt:
Museumskasse / Kosten: Museumseintritt

Christina KUBISCH: Electrical Walks Basel
So 28.9. / 12 bis 18 Uhr / Ausleihe der Kopfhörer im Museum Tinguely /
Reservation: vor Ort oder vermittl...@hek.ch / Eintritt frei


Adressen:

Kaserne Basel, Klybeckstr. 1b, 4005 Basel
T: +41 61 66 66 000, F: +41 61 66 66 011, bu...@kaserne-basel.ch 
Tram Nr. 8 Ab Bahnhof SBB bis «Kaserne» (Richtung Kleinhüningen)
www.kaserne-basel.ch 

Museum Tinguely, Paul Sacher-Anlage 2, 4002 Basel
Busstation «Museum Tinguely» )Nr. 31 / 36 / 38)
www.tinguely.ch 

St. Johanns Park, 4056 Basel
Tramstation «St. Johanns-Tor» (Nr. 11)

HeK Haus der elektronischen Künste Basel, Oslostr. 10,
4023 Basel/Münchenstein

[rohrpost] The ARCHIVE OF DIGITAL ART 2.0 is online!

[Oliver Grau]

The ARCHIVE OF DIGITAL ART 2.0 is online! 

Since its foundation in 1999, the Archive of Digital Art (former
Database of Virtual Art) has become the most important scholarly online
archive for media art. In cooperation with established media artists,
researchers, and institutions, it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and today contains a selection of thousands of artwork at the
intersection of art, science, and technology.

A New Tool Enables Collaborative Archiving 
With two large international grants, the archive is evolving into a web
2.0 environment. The idea is to provide community features and
user-oriented applications to enable a collective scientific exchange
between artists, researchers and the public to foster interdisciplinary
and global collaborative analysis and a proactive process of knowledge
transfer.

Meta-Thesaurus Cross-links Media Art with Art History 
Furthermore the archive’s rich data collection - based on a
‘concept of expanded documentation’ for media art - will be
semantically cross-linked with classical art from the Renaissance to the
present by a newly developed meta-thesaurus. This innovative tool will
expedite the contextualisation of media art in art history and enable
large-scale comparative image studies. The aim is to foster a better
understanding and systematic integration of media art in scientific
studies and cultural institutions.

Content Meets High Academic Standards 
The collaboratively-compiled data gives a broad and vivid picture of
the multifarious developments in digital art. ADA allows the upload of
high resolution images, videos, academic texts, literature, and
information on exhibition, technology etc. More than 500 artists
selected from 5000 applicants offer the best selection of high quality
work. To ensure the high academic and artistic level of the
contributions, the prerequisite for becoming become a member is a
minimum of five exhibitions and/or publications. The Advisory Board,
represented by Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan
NADARAJAN, Martin ROTH a.o. guarantees the high standards of the
archive. ADA already contains thousands of high quality artworks from
most renowned artists such as: 

Rebecca ALLEN, Suzanne ANKER, Cory ARCANGEL, Roy ASCOTT, Louis BEC,
Maurice BENAYOUN, Paolo CIRIO, Charlotte DAVIES, FLEISCHMANN  STRAUSS,
Masaki FUJIHATA, Ken GOLDBERG, Agnes HEGEDÜS, Lynn HERSHMAN LEESON,
Ryoji IKEDA, Eduardo KAC, Ken RINALDO, KNOWBOTIC RESEARCH, Lev MANOVICH,
George LEGRADY, Golan LEVIN, Rafael LOZANO-HEMMER, Joseph NECHVATAL,
Michael NAIMARK, David ROKEBY, Jeffrey SHAW, Julius v. BISMARCK, Paul
SERMON, Karl SIMS, SOMMERER  MIGNONNEAU, STANZA, Nicole STENGER,
THOMSON  CRAIGHEAD, Peter WEIBEL etc..

Check it out: www.digitalartarchive.at 

ADA is hosted by Danube University and is partner of the World
Conference Series on MediaArtHistories. www.mediaarthistory.org 



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[rohrpost] The ARCHIVE OF DIGITAL ART 2.0 is online!

[Oliver Grau]

The ARCHIVE OF DIGITAL ART 2.0 is online! 

Since its foundation in 1999, the Archive of Digital Art (former
Database of Virtual Art) has become the most important scholarly online
archive for media art. In cooperation with established media artists,
researchers, and institutions, it has been documenting the rapidly
evolving world of digital art and its related fields for more than a
decade and today contains a selection of thousands of artwork at the
intersection of art, science, and technology.

A New Tool Enables Collaborative Archiving 
With two large international grants, the archive is evolving into a web
2.0 environment. The idea is to provide community features and
user-oriented applications to enable a collective scientific exchange
between artists, researchers and the public to foster interdisciplinary
and global collaborative analysis and a proactive process of knowledge
transfer.

Meta-Thesaurus Cross-links Media Art with Art History 
Furthermore the archive’s rich data collection - based on a ‘concept of
expanded documentation’ for media art - will be semantically
cross-linked with classical art from the Renaissance to the present by a
newly developed meta-thesaurus. This innovative tool will expedite the
contextualisation of media art in art history and enable large-scale
comparative image studies. The aim is to foster a better understanding
and systematic integration of media art in scientific studies and
cultural institutions.

Content Meets High Academic Standards 
The collaboratively-compiled data gives a broad and vivid picture of the
multifarious developments in digital art. ADA allows the upload of high
resolution images, videos, academic texts, literature, and information
on exhibition, technology etc. More than 500 artists selected from 5000
applicants offer the best selection of high quality work. To ensure the
high academic and artistic level of the contributions, the prerequisite
for becoming become a member is a minimum of five exhibitions and/or
publications. The Advisory Board, represented by Christiane PAUL, Roy
ASCOTT, Erkki HUHTAMO, Gunalan NADARAJAN, Martin ROTH a.o. guarantees
the high standards of the archive. ADA already contains thousands of
high quality artworks from most renowned artists such as: 

Rebecca ALLEN, Suzanne ANKER, Cory ARCANGEL, Roy ASCOTT, Louis BEC,
Maurice BENAYOUN, Paolo CIRIO, Charlotte DAVIES, FLEISCHMANN  STRAUSS,
Masaki FUJIHATA, Ken GOLDBERG, Agnes HEGEDÜS, Lynn HERSHMAN LEESON,
Ryoji IKEDA, Eduardo KAC, Ken RINALDO, KNOWBOTIC RESEARCH, Lev MANOVICH,
George LEGRADY, Golan LEVIN, Rafael LOZANO-HEMMER, Joseph NECHVATAL,
Michael NAIMARK, David ROKEBY, Jeffrey SHAW, Julius v. BISMARCK, Paul
SERMON, Karl SIMS, SOMMERER  MIGNONNEAU, STANZA, Nicole STENGER,
THOMSON  CRAIGHEAD, Peter WEIBEL etc..

Check it out: www.digitalartarchive.at 

ADA is hosted by Danube University and is partner of the World
Conference Series on MediaArtHistories. www.mediaarthistory.org 






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[rohrpost] CFP: 20th International Conference on Virtual Systems Multimedia (VSMM 2014)

[Oliver Grau]

20th International Conference on Virtual Systems  Multimedia (VSMM
2014) 

Run Run Shaw Creative Media Centre, City University of Hong Kong
9th to 12th December 2014


Theme: 'Image  Archive'


CALL FOR PARTICIPATION EXTENSION ANNOUNCEMENT

NEW DEADLINE - THURSDAY, 4TH SEPTEMBER 2014

The Organising Committee wish to inform you that the deadline has now
been extended for the  for the 20th International Conference on Virtual
Systems and Multimedia to be held at City University of Hong Kong, 9th
to 12th December 2014.

Please  before Thursday, 4th September 2014.

Download the  or visit the  for more details. 

The theme for the 2014 conference is ‘Image  Archive’. Archives
serve as basic tools for social accountability, the preservation and
dissemination of historical memory, and the development of a richer
understanding of cultural, social and political forces in an
increasingly digital and networked world. Image  Archive focuses on
technical aspects of the digital image and, on the numerous ways in
which digital archives have become sources for innovation and
dissemination. Over the last decade technical advances including diverse
areas in imaging technologies have allowed us to capture the world at
increasingly high resolutions and contributed to vast reservoirs of
data. New developments in social media and crowdsourcing have resulted
in online archives of great diversity and application. Cultural
collections are increasing becoming sources for new methods
in knowledge-based visualisation and, advances in web protocols make
this data increasingly discoverable. There are rapidly emerging demands
for theses digital resources to be analysed and ‘designed’ while
simultaneously they become sources material for creative and artistic
applications. 

Image  Archive addresses numerous topics including:

Archival Science – Artificial Intelligence – Augmented, Mixed and
Virtual Reality – Critical Theory – Cultural Heritage – HCI –
Imaging Science (including Robotics) – Information Science – New
Museology – Philosophy – Photography – Remote Sensing – Semantic
Web – Social Media – Teaching and Learning – Visual Analytics –
Visualization

The aim of this conference is to discuss the concept that fresh
research and public engagement initiatives should be integral to
ultra-high resolution scanning projects, and to examine the notion that
the archive must be further reconfigured for the purposes of successful
digital consumption.

In choosing this theme, VSMM 2014 can best exhibit ground breaking work
in relation to wide research and criticism in these fields.

The Conference Tracks for papers and presentations are:

·   Track 1 - Image Science
·   Track 2 - Information Visualization
·   Track 3 - Advances in Technology
·   Track 4 - Culture  Heritage
·   Track 5 - Creative Arts  Design 


ABOUT VSMM SOCIETY

The International Society for Virtual Systems and Multimedia is a
unique cross-disciplinary organization for the exchange of cutting edge
research in new media and virtual and augmented reality applied to
everything from art to architecture, medicine to engineering, and
archaeology to cultural heritage.  We take pride in bringing academia
and industry together with policy makers.  We bridge computer scientists
and artists, engineers and historians, policy makers and philosophers,
archaeologists and architects, doctors and librarians, roboticists and
cultural officials, and more.

VSMM was born in Japan in 1995 by Professor Takeo Ojika. It was
arguably the first international VR conference and has remained a
leading venue for cross-disciplinary scholarly research and exchange in
new media and virtual systems.

The VSMM Society has held annual conferences for 19 years now, bringing
leading researchers in the application of new media, mobile, and virtual
and augmented reality technology together with users.  In partnership
with the IEEE Society the majority of VSMM Conference proceedings are
available on IEEE Xplore. 

ABOUT CITY UNIVERSITY OF HONG KONG, SCHOOL OF CREATIVE MEDIA

City University of Hong Kong’s School of Creative Media is recognized
to be an international hub for discovery and innovation in Asia. Here
creativity is nurtured as a cornerstone of Hong Kong’s social and
economic advancement in the 21st Century. It is a place where students
from across the globe can encounter the wealth of opportunity afforded
by digital media, and where graduates attain those artistic,
intellectual and technical skills that enable them to take positions of
creative leadership in a global society. 

At the School of Creative Media state-of-the-art teaching and research
facilities are brought together in a one-of-a-kind building designed by
the world-renowned architect Daniel Libeskind. Mentored by an
internationally renowned faculty at the forefront of their craft,
hands-on creativity is combined within a critical theoretical framework
to give students the competence they need to become the innovators of

[rohrpost] Neues Masterprogramm DATA STUDIES ... für kritischen Umgang mit Daten

[Oliver Grau]

Donau–Universität: DATA STUDIES, MSc
Berufsbegleitendes Studium im UNESCO Kulturerbe, internationale
Faculty

Das Department für Bildwissenschaften startet ab November 2014 das neue
berufsbegleitende Master-Studienprogramm DATA STUDIES (MSc). Sein Fokus
zielt auf die steigende Nachfrage in Geisteswissenschaften und
Kulturindustrie nach einem systematischen und kritischen Umgang mit
Daten. Studienziel ist, die Kompetenz, Potentiale und Veränderungen
neuer Entwicklungen einzuschätzen und diese für die eigenen Ziele
produktiv zu nutzen. DATA STUDIES bietet daher neben dem kritischen
Verständnis von Datenanalyse und –visualisierung und Kenntnissen ihrer
Entwicklung auch praxisorientierte Ansätze, die zugleich –
international vergleichslos - das explizite Wissen ausbauen. 

Die Faculty besteht aus international renommierten Wissenschaftlern und
ExpertInnen wie David M. BERRY (London), Axel BRUNS (Sydney), Carolin
GERLITZ (Amsterdam), Warren SACK (Santa Cruz), Lev MANOVICH (NY),Regine
BUSCHAUER (Basel), Theo RÖHLE (Braunschweig), Annika RICHTERICH
(Maastricht), Oliver GRAU (Donau-Universität) und Ramón REICHERT (Wien);
hinzu kommen ausgewiesene Praktiker, wie Johannes JURANEK (CMS
Reich-Rohrwig Heinz), Wolfgang GRAF (Kulturplaner) und Wolfgang RICHTER
(RegioPlan).

Kern von DATA STUDIES (MSc), das von Prof. REICHERT geleitet wird, ist
die Vermittlung von DIGITAL LITERACY in Theorie und Best Practice:
Einblicke in DIGITAL HUMANITIES, COMPUTERPHILOLOGIE, DATENKRITIK,
KULTUR- und MEDIENGESCHICHTE, DIGITALE METHODEN, HISTORISCHE
FACHINFORMATIK, COMPUTERLINGUISTIK, VISUELLE KULTUR, DATENSCHUTZRECHT,
INFORMATIONSMANAGEMENT sowie die SAMMLUNG und VERMARKTUNG VON DATEN
werden erstmals kompakt studiert.

Big Data Analysen ermöglichen uns eine neue Sicht auf die Welt. Große
Datenmengen eröffnen uns Möglichkeiten Strukturen zu erkennen.
Internationale ExpertInnen vermitteln systematische Anwendungen von
datenbasierten Verfahren, demonstrieren und entwickeln mit den
Studierenden Projektformate und Analysemodelle. Darüber hinaus werden
rechtliche und wirtschaftliche Aspekte behandelt.

Ein Teil des Programms findet im Zentrum für Bildwissenschaften / Stift
Göttweig (UNESCO Kulturerbe) statt. Das Bauwerk aus dem 14. Jahrhundert
wurde für seine neue Bestimmung anspruchsvoll renoviert, mit moderner
Technik ausgestattet und bietet eine vergleichslose Studienatmosphäre. 

DATA STUDIES(MSc) ist berufsbegleitend ausgelegt und nutzt einen
Blended-Learning-Ansatz, um, verteilt über 2 Jahre, die Anzahl der
Präsenzzeiten auf insgesamt 35 Vollzeittage zu begrenzen. Jedes der 8
Module besteht zudem i.d.R. aus einer Vor- und Nachbereitungsphase mit
abschließender Leistungsfeststellung. Das neue Studienprogramm kann in
zwei Semestern mit Zertifikat, in drei Semestern als akademische/r
ExpertIn oder in fünf Semestern mit dem Master of Science abgeschlossen
werden. 


Weitere Informationen: www.donau-uni.ac.at/datastudies 

Kontakt: Wendy Jo Coones 
Telefon: +43 (0)2732 893-2543, Fax: +43 (0)2732 893-4551 
E-Mail: wendy.coo...@donau-uni.ac.at 



FACULTY-MITGLIEDER ZUM NEUEN STUDIENGANG DATA STUDIES:

Big data is transforming every area of human knowledge. Some
disciplines were already affected, but for many, the transformation is
just getting started. Experts in this area will have an amazing
opportunity to redefine what it means to know something, and how to
create this knowledge from data.
Lev MANOVICH 

“There is an urgent need in the humanities and social sciences for
interdisciplinary research training programs that build the practical,
critical and theoretical competencies required to meet the challenges of
our increasingly data-saturated society.” 
Jean BURGESS

Data processing has become an ubiquitous cultural technique.
Understanding its history and archaeology is crucial for data studies.
Shintaro MIYAZAKI 

“Humanities learning -- the theoretical and interpretative insights
of data studies -- promises to complement the machine learning
techniques of data science.  Data science is rudderless without data
studies.”
Warren SACK


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[rohrpost] Conf: All About Imaging: Transactions (London, 22-23 May 14)

[Oliver Grau]

All About Imaging: Transactions (London, 22-23 May 14)

University of Westminster, Harrow Campus, London, HA1 3TP, May 22 - 23,
2014

All About Imaging: Transactions

Co-Chairs: Sophie Triantaphillidou, Heather Barnett

Transactions is an interdisciplinary symposium exploring new directions
in contemporary imaging from the perspectives of art, science and
technology. The symposium will bring together academics, artists,
students and professionals working in contemporary imaging, to create
opportunities for knowledge exchange, demonstration and discussion.
Transactions aims to traverse discursive boundaries between disciplines,
to build shared vocabularies, mutual understanding and new synergies.

Programme

Thursday 22 May

9:25 Symposium Opening
Sophie Triantaphillidou (Transactions Co-Chair, Faculty of Media, Arts
and Design) Derek Birch (President, RPS), Kerstin Mey (Dean, Faculty of
Media Arts and Design)

9:40-11:00 Session 1 Chair: Eugenie Shinkle
Oliver Grau, Danube University: Complex expressions in digital arts
imagery (keynote)
Kerstin Mey, University of Westminster: Vision and visuality: On the
work of AES+F

11:30-1:00 Session 2 Chair: Heather Barnett Susan Aldworth, Artist:
Transience
Andrew Carnie, Artist: Data embodiment Howard Boland, C-LAB: Living
mirror

1:00-2.00 Lunch + demos + imagery

2:00-3:30 Session 3 Chair: Aleka Psarrou
Carrina Parraman, University of the West of England: 2.5D printing
Vicente Morell, University of Alicante: Contributions to 3D data
processing Matthieu Chavent, University of Oxford: Under the scientific
picture

4:00-5:30 Session 4 Chair: John Smith
Francis Ring, University of South Wales: Imaging the invisible in
medicine
Gary Evans, Science Photo Library: A chemical adventure in high-speed
imaging Afzal Ansary, The Royal Photographic Society: Scientific imaging
- an essential tool

5:30 PRS International Images for Science 2103 exhibition opening
Heather Barnett, (Transactions Co-Chair, Faculty of Media, Arts and
Design) London Gallery West, University of Westminster, Harrow Campus

Friday 23 May

9:25 Opening
Sophie Triantaphillidou (Transactions Co-Chair, Faculty of Media, Arts
and Design)

9:30-11:00 Session 1 Chair: Ralph Jacobson
Lindsay MacDonald, UCL: Perceptual transactions: simulating real
appearance
John Jarvis, University of Westminster: Sensitivity to shape and detail
in complex images
Sabine Susstrunk, Polytechnic of Lauzanne: Computational aesthetics

11:30-12:30 Session 2 Chair: Sophie Triantaphillidou
Chaker Larabi, University of Poitier: Is today's cinema different from
yesterday's one
Karsten Hacker, Framestore: The making of 'Gravity' - colour
considerations

12:30-2:00 Lunch + demos + workshop

2:00-3:30 Session 3 Chair: Silke Lange
David Bate, University of Westminster: The technologies of the selfie
Jacqueline Butler, University of Manchester: The photograph as haptic
and virtual object
Joanna Zylinska, Goldsmiths: Curating / Open / Images

4:00-5:00 Session 4 Chair: Liz Allen
Rainer Usselman, Happy Finish: Photography Vanishes
Jonathon Shaw, Coventry School of Art  Design: NewFotoScapes

5:00-5:45 Panel discussion, Whatever happened to photography? Chair:
John Smith

5:45 Symposium Close
Heather Barnett (Transactions Co-Chair, Faculty of Media, Arts and
Design)
Demos: Anabelle King (Fractals in nature), Howard Boland (Living
mirror), Workshop: Fotis Begklis (Wishing tree interactive story
telling), Imagery: Andre Pinkowski

Symposium Fee (2 days including lunch)
General: £65. Students, Concessions, RPS members: £45

Registration  info
Email Helen Cohen (h.cohe...@westminster.ac.uk), subject All About
Imaging

Related exhibitions (All About Imaging delegates are invited)
RPS International Images for Science 2013 exhibition
London Gallery West, University of Westminster, Harrow Campus, HA1 3TP
23 May-16 June
Private View 22 May, 5:30-8pm
Broad Vision - Future Human
GV Art gallery, 49 Chiltern Street, London W1U 6LY 6-28 June
Private View Thursday 5 June, 6-9pm


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[rohrpost] White Canvas

[Oliver Grau]

Video Art Event, V-th edition 
White Canvas
http://videoartevent.wordpress.com/white-canvas/ 
http://www.visualcontainer.org/wordpress/en/portfolios/white-canvas-videoart-event-oradea-romania/

http://allevents.in/milan/video-art-event,-v-th-edition,-white-canvas/229896380534024

http://www.modernism.ro/2014/05/15/video-art-event-white-canvas-salile-cladirii-fostei-garnizoane-a-orasului-oradea/

http://kmt.partium.ro/hu/hirek/white-canvas-video-art-event 
 
White
Canvas: video art project that will be held within the halls of the
former
military garrison of  Oradea;
at present, the building is to be rearranged to shelter the collections
of the TariiCrisurilorMuseum. The venue was
chosen due to its neutrality as a basis for the curatorial concept: the
support,
the fundament and the context where the artistic act sets and develops
itself.
In its attempt to move from the pictural
canvas to the profecting screen, the concept of White Canvas aims at
applying a new frame: the idea of
film-painting.
-  The sequential and temporal dimension of the film image
will be borrowed from the static feature of the painting ( and vice
versa).
-The support issue brings along the problem of
intensifying the virtual artistic content that will populate the screen
as a
consequence to the assumed artistic decision; this will endow the
artistic act
with an apparently unlimited freedom but will lso appeal to both
abstract and
sensorial reasoning. 
 -Video art as art manifesto explores the real mostly in a
critical way,
with its own means; it has  as basic
static support the place of the artist as related to the artistic
object. 
-Thus, the support issue brings into discussion the
issue of the context of the artist’s perspective, a fact that leads
to the
introspective aspect of questioning the creative act. The virtual
space, the
white space of innocence, perfection, honesty, purity, neutrality,
light and
exactness will be contaminated by the personal aesthetic experiences
expressed
through his perspective.
The reason for discussing the concept of White Canvas is to propose
video images
that will open a whole new interrogative horizon for the viewer and
where he
stands in relation with the video art and the world to which this art
is
related.  
 Curator׃Univ. Prof.
Assoc.Dr. Gabriela-Diana Bohnstedt Gavrilas
Video Art Event, V-th edition
White Canvasvideo art
event will be presented from 15
th to 16 th May 2014from
18-21 PM within the days of Ţǎrii Crişurilor Museum in
Oradea,University of Oradea – Departmentof Visual
Arts, Faculty of Arts, Romania
and on June in Italy at  Visual Container,  box Videoart Project Space
Milan
visualcontainerorg, visualcontainertv, dotboxit
Organizers:   University din Oradea Faculty
of Arts– Departmentof Visual Arts, (Romania)
 
http://vizual.arte-oradea.ro/info/white-canvas-festival-video/ 
  Visual Container, Milano (Italia),  
www.visualcontainer.org 
www.visualcontainer.tv 
www.dotbox.it 
Conflux Oradea(Romania) http://videoartevent.wordpress.com/.
 The Museum of MuzeulŢării Crişurilor .
Oradea(Romania) http://www.mtariicrisurilor.ro/ 

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[rohrpost] re: BIG DATA - Christmas Message by Edward SNOWDEN

[Oliver Grau]

re: BIG DATA - Christmas Message by Edward SNOWDEN: 
On Defending our Privacy. 
Cheers. 

http://www.youtube.com/watch?v=siy8RP2Vo4A



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[rohrpost] RENEW 2013: Media-Art-Histories (Riga, 8-11 Oct 13)

[Oliver Grau]

 of interactive generative artworks by British artist Ernest
Edmonds, 1980?s – 2000?s
Joanna WALEWSKA, Phonograph as a Double Agent: Bronislaw Pilsudski’s

research on the native people of Siberia
Julia MORITZ, The Occurrence of Rolling the Television Program the 
tenth of January 1976. Institutional Critique and Modernist (Mass)
Media
Magnus ERIKKSON, The “Hot Line Riots” as Media Archaeological
Artefact
Stacey SEWELL. Bodily Fragments
Steven MATIJCIO, Nothing Left to See: The Denial of the Image in Media
Art
Gabriela Galati, Amos Bianchi: The Threshold
Maryam Bolouri, Rethinking Post Media Aesthetics: Tracing the Visual 
Evolution and changes in Media Arts
Matthew EPLER, ReCode Project
Chiara PASSA, The widget art gallery


THURSDAY, OCTOBER 10, 2013

9.30 – 11.00
ARCHIVING – PLENARY SESSION

Bartek KORZENIOWSKI, Static and active archiving – strategies of 
re-presenting new media artworks
Oliver GRAU, Contemporary (Media) Arts  the Humanities in our
Democracies 
Annet DEKKER, The value of authenticity for net art, a call for
authentic alliances
Hannah Barbara HOLLING, Versions, variations, and variability. 
Possibilities and potentialities in the preservation of computer based
art


11.15-13.00
ARCHIVING – PANEL A

Magdalena NOWAK, KwieKulik Archive: Documenting and Preserving Art in
Communist Poland
Morten SONDERGAARD, The Media Artist as Functionary: Show-Bix, Århus
1968-71
Leila TOPIC, From New Tendencies to new tendencies: Media art 
Collection of the Zagreb Museum of Contemporary Art
Grahame WEINBREN, Isaac DIMITROVSKY, Showing Artist’s Cinema in the
22nd Century
Ayca BAYARK, Rethinking Museums and the Role of New Media in
Represention
Tjarda de HAAN, Project: re:DDS, a case study of webarchaeology 
Kathy Rae HUFFMAN, The archive as a personal exploration
Kristian LUKIC, Media Art, Commons and Artificial Scarcity


13.45-15.15
PARADIGM SHIFT: PANEL B

Ilva SKULTE, Poetry is/or Art
Marialaura CHIDINI, Where the work is. Discussing post-media conditions

after renewed approaches to online artistic production
Damien CHARRIERAS, The gamification of New Media Arts? The 
effictivities of video game engines in new media arts worlds
Emit SNAKE-BEINGS, DiY participatory culture: Allowing space for 
inefficiency, error and noise
Laurent FENTON, A Garden of Machines: human/technological entanglement

and the emergence of robotic art


ARCHIVING – PANEL B ( t.b.a.)

John HOPKINDS, The Energy of Archive
Paul FEIGELFELD, Friedrich Kittler’s Source Code as Media-Historica
Source
Frieder NAKE, Recording and Recoding
Anne LAFORET, Net art preservation: expiration date vs network 
eternity, using Jodi’s OSS/ as case study


EE-HISTORIES – PANEL A  (t.b.a.)

Andy SMIRNOV, Music out of Noise, Light and Paper
Adair ROUNTHWAITE, Document to Destroy? Traces of the 
Exhibition-Actions of the Grupa Sestorice Autora
Aneta PANEK, Paris-Berlin-Warsaw. Experimental Film in France, in 
Germany, and in Poland in the 1970s and the 1980s. Experiment, Autonomy

and Subversion
Silva KALCIC, Architecture and New Media Art / Media facades, video and

light-installations in the context of Croatian Contemporary Arts
Vytautas MICHELKEVICIUS, Mapping and Archiving Lithuanian Media Art: 
Regional Failures and Achievements since 2000s


15.30 – 17.00
ARCHIVING – ON CONSERVATION (in museums and in academia)

Joanna PHILLIPS, Sustaining Media Art Collections: A New Focus in
Conservation
Patricia FALCAO, Managing Inherent Change
Martina PFENNINGER, Extending Contemporary Art Conservation
Agathe JARCZYK, Building the Foundations for a New Conservation
Speciality


EE-HISTORIES – PANEL B

Agnieszka JELEWSKA, The Algorithms of New Democratization. Polish Art
in Digital Era
Slavo KREKOVIC, Tracing Discontinuities: Writing Histories of 
Experimental Sound-based Media in Slovakia and Central/Eastern Eruope
Andrew PATERSON, Contextual Media Experiments: Locative axis between
Finland and Latvia
Ravio KELOMEES, Constructing Narrative in Interactive Documentaries

17.00-18.00
ARCHIVING – PANEL C

Francesca FRANCO, Re:shaping new challenges – the origins and future
of 
a series of interactive generative artworks b British artist Ernest
Edmonds, 1980s – 2000s
Aurelie HERBERT, Immaterial art stock project: conservation challenges

and issues of digital art works carried out in online immersive
platforms
Laura LEUZZI, Italian video art centres and archives: a treasures yet
to discover
Angela BARTHOLOMEW, Chronicling Closure: Digital Initiatives and 
Virtual Visibility at the Stedelijk Museum (2004-20011)
Geoff COX, Joasia KRYSA, Nicolas MALAVE, Michael MURTAUGH, Acting 
on/with the Archive: its potential as computational form
Clarisse BARDIOT, A video-annotation software to document digital
performances
Sandra FAUCONNIER: The CD-ROM Cabinet: a non-institutional 
documentation and preservation initiative
Ianina PRUDENKO, Ukrainian media art. Experience of archiving Ricardo 
Dal FARRA: e-arts conservation: between ethical concerns and practical
strategies
Grayson COOKE

[rohrpost] Chaos Computer Club ruft zur Demonstration für die Wiedereinführung von Grundrechten auf

[Oliver Grau]

Chaos Computer Club ruft zur Demonstration für die Wiedereinführung von
Grundrechten und Rechtsstaatlichkeit auf
Gegen Massenüberwachung
Durch den Whistleblower Edward Snowden wurde in den vergangenen Wochen
der mit Abstand umfangreichste weltweite Überwachungsskandal aller
Zeiten nachgewiesen. Neben offensiver politischer Spionage und
großflächiger Wirtschaftspionage gegen Europa und insbesondere
Deutschland durch Geheimdienste der USA, Großbritanniens und weiterer
Staaten wurde ein Netz der Massenüberwachung offenbart, dessen Ausmaß
für die meisten Menschen völlig unfaßbar ist.
Dabei ist die Kommunikation aller Menschen betroffen. Jeder ist in den
Augen der Geheimdienste verdächtig. Die Unschuldsvermutung, ein
Grundpfeiler des Rechtsstaats, wird dadurch ins Gegenteil verkehrt.
In der Folge der Enthüllungen zeichnet sich zunehmend ein
erschreckendes Bild der deutschen Regierung ab, die weder Kompetenz in
der Sache noch Fähigkeit oder Willen zum Handeln erkennen läßt. Der
angeblich mit der Aufklärung des Überwachungsskandals beauftragte
Innenminister beschwichtigt, vertuscht, lügt und trägt die ihm auf dem
Pflichtbesuch bei den Erziehungsberechtigten in den USA mit auf den Weg
gegebenen Hohlphrasen brav der heimatlichen Presse vor. Die ihm
unterstellten Geheimdienste sind offensichtlich so stark abhängig von
den illegal beschafften Bespitzelungsdaten der US-amerikanischen
Geheimdienste, daß er nicht in der Lage ist, sich auch nur pro forma ein
wenig öffentlich zu entrüsten.
Vom Außenminister  und noch schlimmer  dem Kanzleramtschef, die beide
qua Amt ebenfalls zuständig wären, ist weit und breit nichts zu sehen
und zu hören. Die Kanzlerin badet in gefällig vorgetragener Inkompetenz
und entlarvt dabei selber ihre vorgebliche Moderationskraft als
Führungsunfähigkeit. Daß sie sich in schöner Kontinuität mit den
letzten Regierungen am Verrat am Grundgesetz beteiligt, macht den
Skandal zur Systemkrise.
Gegen diese Verletzung der Freiheitsrechte der gesamten Bevölkerung,
die Schädigung unserer Unternehmen und die fehlende politische und
juristische Aufarbeitung protestieren in über fünfzig Städten weltweit
Bürgerinnen und Bürger, die nicht weiter bereit sind, eine staatliche
Vollüberwachung und Verletzung ihrer Menschenrechte hinzunehmen.
Die Demonstrationen werden von verschiedenen zivilgesellschaftlichen
Bündnissen dezentral initiiert und durchgeführt.
Die gemeinsamen Forderungen lauten:
Schluß mit Massenüberwachung,
Asyl und politischer Schutz für Edward Snowden,
Stop PRISM,
Stop Tempora,
keine Vorratsdatenspeicherung (VDS),
keine Bestandsdatenauskunft (BDA),
vollständige Aufarbeitung der Vollüberwachung von EU-Bürgerinnen
und -Bürgern durch die Geheimdienste,
internationale Abrüstungsverhandlungen für Überwachung.
Die darüber hinausgehenden Forderungen des CCC sind:
Strafrechtliche Konsequenzen der Bespitzelung auf
internationaler und europäischer Ebene, Strafverfolgung aller
zuständigen Mitwisser, Täter und Profiteure in Justiz und Exekutive
und aller Amtsträger in Deutschland, deren Aufgabe es gewesen wäre, uns
vor ausländischer Spionage zu schützen,
Abschaffung der Geheimdienste,
Sofortiger politischer Druck auf die US-amerikanische und
britische Regierung, die Datenschutzbestimmungen europäischer Länder zu
achten,
Auflösung des Safe Harbor-Feigenblatt-Abkommens mit den USA,
Verhandlungen eines zielführenden Abkommens inklusive unangekündigter
Besuche unabhängiger Inspektoren,
Maßnahmen zur zukünftigen Sicherung der Rechtsstaatlichkeit: Wer
im Namen Deutschlands internationale Abkommen oder EU-Richtlinien
zuläßt, die die Grundrechte von Menschen nachhaltig gefährden, muß
mit einer Verurteilung wegen Landesverrats rechnen.
Link:
Aufruf: Stop Watching Us  We are all Edward Snowden, bundesweiter
Aktionstag am 27. Juli 2013:
http://demonstrare.de/demonstrare/27-07-stopwatchingus-deutschlandweite-proteste-gegen-prism-und-tempora

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[rohrpost] RENEW: International Conference on the Histories of Media Art, Science and Technology, RIGA

[Oliver Grau]

Media Art Histories 2013: RENEW
The 5th International Conference on the Histories of Media Art, Science
and Technology

RIGA, Latvia - October 8 - 11, 2013

The 5th International Conference on the Histories of Media Art, Science
and Technology - RENEW, will be hosted by RIXC in partnership with the
Latvian Academy of Arts, Stockholm School of Economics and Danube
University’s Center for Image Science. Following Banff 2005, Berlin
2007, Melbourne 2009 and Liverpool 2011, the Media Art History Boards
and Renew Co-chairs invite you to attend Renew in Riga 2013.

Renew will host three days of keynotes, panels and poster sessions on
the histories of networked digital, electronic and technological media
arts.

SESSIONS:
:: Histories of networked art and media technologies, 
:: Archiving, preserving and representing new media art,
:: Multifarious potential of expression in media art - 'new imagery' of
our times,
:: Media archaeology,
:: Paradigm shift - from new media to post-media conditions in art,
:: Writing histories of media art across Eastern Europe and the
Baltics,
:: Revising the geospatial aspects - for writing comparative media art
histories,
:: Resilient networks and emerging 'techno-ecological' art practices,
:: Art and Science,
:: and Paradigm shifts - in media art education.
With special emphasis being given to current tendencies in
sustainability, discussing approaches in the issues of producing,
preserving and representing media artworks - how to 'renew' them through
both - tools and histories. 

KEYNOTES:
Prof. Errki HUHTAMO / University of California, Los Angeles
Prof. Lev MANOVICH / The City University of New York
Prof. Edward A. SHANKEN / University of Washington

CONFERENCE CO-CHAIRS: 
Rasa SMITE and Raitis SMITS

SPEAKERS:
Kuai SHEN AUSON, Vanni BRUSADIN, Richard BARBROOK, Dusan BAROK, Giselle
BEIGUELMAN, Erich BERGER, Ilze BLACK, Roberta BUIANI, Brogan BUNT,
Annick BUREAUD, Charlotte BYDLER, Michael CENTURY, Venzha CHRIST, Damien
CHARRIERAS, Ana Carolina DA CUNHA, Nina CZEGLEDY, Tjarda DE HAAN, David
Maulen DE LOS REYES, Mario DE VEGA, Brian DEGGER, Annet DEKKER, Sophia
DRAKOPOULOU, Alejo DUQUE, Ernest EDMONDS, Branislav EGIC, Patrick ELLIS,
Jonatan Habib ENGQVIST, Patrícia FALCO, Ksenia FEDOROVA, Paul
FEIGELFELD, Lauren FENTON, Bronac FERRAN, Alberto FRIGO Darko FRITZ,
Marialaura GHIDINI, Gabriel MENOTTI GONRING, Oliver GRAU, Yara GUASQUE,
Kevin Chris HALES, HAMILTON, Marta HEBERLE, Jay HETRICK, Vanina HOFMAN,
Nanette HOOGSLAG, John HOPKINS, Hanna Barbara HÖLLING, Kathy Rae
HUFFMAN, Roddy HUNTER, Agathe JARCZYK, Agnieszka JELEWSKA, Timo KAHLEN,
Douglas KAHN , Silva KALCIC, Eva KEKOU, Raivo KELOMEES, Olga KISSELEVA,
Ryszard W. KLUSZCZYNSKI, Rudi KNOOPS, Saskia KORSTEN, Bartek
KORZENIOWSKI, Mirjana KOVACEVIC, Slavo KREKOVIC, Katja KWASTEK,
Guilherme KUJAWSKI, Anne LAFORET, Paul LANDON, William LOCKETT, Richard
LOWENBERG, Alessandro LUDOVICO Kristian LUKIA, Jungyeon MA, Gavin
MACDONALD, Damián PERALTA MARI?ELARENA, Victor MAZON, Armin MEDOSCH,
Vytautas MICHELKEVICIUS, Frieder NAKE, Magdalena NOWAK, Rachel O'DWYER,
Margret Elisabet OLAFSDOTTIR, Maciej OZOG, Aneta PANEK, Jussi PARIKKA,
Martina PFENNINGER, Christiane PAUL, Eva PASCOE, Andrew PATERSON,
Valentina MONTERO PE?A, Joanna PHILLIPS, Julian PRIEST, Andrew PRIOR,
Mikhel PROULX, Perttu RASTAS, Adair ROUNTHWAITE, Ashley SCARLETT, Ilva
SKULTE, Andrey SMIRNOV, Brian Reffin SMITH, Emit SNAKE-BEINGS, Morten
SONDERGAARD, Josephine STARRS, Stahl STENSLIE, Daniel TEMKIN, David
THOMAS, Paul THOMAS, Leila TOPIC, Marc TUTERS, Pau WAELDER, Clea T.
WAITE, James WERNER, Florian WIENCEK, Artemis WILLIS, Wessel VAN
RENSBURG, Gabriel VANEGAS, Erandy VERGARA, Helene VON OLDENBURG, 
Dietmar UNTERKOFLER 

SESSION CHAIRS: 
Douglas KAHN, Christiane PAUL, Dieter DANIELS, Frieder NAKE, Tatiana
BAZZICHELLI, Armin MEDOSCH, Nishant SHAH, Oliver GRAU, Wendy COONES,
Darko FRITZ, Inke ARNS, Raivo KELOMEES, Nina CZEGLEDY, Machiko KUSAHARA,
Gediminas URBONAS, Andrew PATERSON, Shu Lea CHEANG

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - -
Registration is open now – early bird available until August 1,
2013:
www.mediaarthistory.org/renew/registration 

Preliminary program:
www.mediaarthistory.org/renew 
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - -

The RENEW conference will be complemented by a variety of affiliated
events, including the ART+COMMUNICATION festival, with SAVE AS - a
thematically related media art exhibition, receptions, workshops, live
performances and concerts.

--

Special thanks to MAH boards for their expertise and support.

Honorary Board: 
Jasia REICHARDT, Itsuo SAKANE, Peter WEIBEL, Douglas DAVIS, Robert
ADRIAN

Renew Conference Advisory Board: 
Erik KLUITENBERG, Armin MEDOSCH, Inke ARNS, Andrey SMIRNOV, Jussi
PARIKKA, Edwin van der HEIDE, Mark TRIBE, Gediminas URBONAS, Marko
PELJHAN, Nishant SHAH, Edward SHANKEN, Darko FRITZ, Tatiana

Antw: [rohrpost] Kontrollraum Internet

[Oliver Grau]

Sehr guter und wichtiger Artikel, wenngleich der Cafifornische Traum
in der europäischen Medienkunstdebatte ja eigentlich nie eine grosse
Rolle spielte und schon anno 92 oder so verabschiedet wurde..

Wie abstrus diese Utopie war, veranschaulicht ein interaktives Tool der
Süddeutschen. Bei 42 Billionen Aktenschränken der NSA wären selbst STASI
und GESTAPO  Co nicht mehr mitgekommen:
http://www.sueddeutsche.de/politik/stasi-versus-nsa-akten-bis-oman-1.1713311



 
 Tilman Baumgärtelm...@tilmanbaumgaertel.net 5.7.2013 1:13  
Kontrollraum Internet
Das Ende der Utopie
http://www.nzz.ch/aktuell/feuilleton/uebersicht/das-ende-der-utopie-1.18110281

-- 
Dr. Tilman Baumgärtel
m...@tilmanbaumgaertel.net

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[rohrpost] MediaArtHistories Master - DanubeU; Riga Immersion Fall 2013

[Oliver Grau]

MediaArtHistories Master - DanubeU; Riga Immersion Fall 2013

The MediaArtHistories MA at Danube University is the only international
Master of Arts program focusing on preparing art professionals and
researchers through a deep exploration of the diverse histories of Media
Art, Science and Technology.  The program is a two-year low-residency,
either 90 or 120 ECTS Master’s degree offered in English.  In addition
to individual study and project work at your home location, students
gather twice a year for two-week seminars with internationally noted
media artists and scholars.  These intense and enriching sessions take
place at Danube University or another European location relevant to the
community of media art, such as Linz, Austria, Berlin, Germany, and
Riga, Latvia.

Since its beginnings in 2006, Danube University’s MAH program has
offered its students both a deeper critical comprehension and a
practical orientation regarding the most important developments of
contemporary art, by building on its faculty network of renowned
international theorists, artists, and curators.  The connections and
community that are formed during the two-week modules are maintained
with online networking and project collaboration throughout the year.

== BRAIN TRUST – Faculty of the MediaArtHistories program have
included: Erkki HUHTAMO, Lev MANOVICH, Christiane PAUL, Roger MALINA,
Jens HAUSER, Jeffrey SHAW, Jussi PARIKKA, Sean CUBITT, Paul SERMON,
Oliver GRAU, Christa SOMMERER, Edward SHANKEN,  Frieder NAKE, Machiko
KUSAHARA, Nat MULLER, Gunalan NADARAJAN, Monika FLEISCHMANN, Margit
ROSEN, Knowbotic Research, Andreas LANGE, Christopher SALTER, Darko
FRITZ, Irina ARISTARKHOVA, and others.

== CONTENT - Media Art History offers a basis for understanding
evolutionary history of audiovisual media, from historic examples such
as the Laterna Magica of the 17th century to the algorithmic art of
recent decades.  Key approaches and methods from Image Science, Media
Archaeology and the History of Science  Technology are explored in
depth. Courses cover subjects such as computer animation, net art,
interactive, telematic and genetic art as well as the most recent
reflections on nano art, bio art, video games as art, and digital gender
theory.

== DANUBE UNIVERSITY - located 70km from Vienna in the UNESCO world
heritage Wachau region, Danube University is the only public university
in Europe specializing in advanced continuing education by offering
low-residency degree programs for working professionals and life-long
learners.  The University’s Center for Image Science is housed in the
Göttweig Monastery, a 14th century building remodeled to fit the needs
of modern media arts research in singular surroundings.   

== STUDENTS - MediaArtHistories coursework is held in English, and
students can be accepted throughout the year on a rolling basis.
Acceptance into the program requires either a Bachelor’s degree (or
higher), or equivalent relevant work experience.  Students may travel to
Europe twice a year for 2-week blocks of study, or can be eligible for
student visas for year-round residency. Thus, working professionals can
maintain their usual employment, and students entering directly after a
Bachelor’s degree will have opportunity to gain valuable career
experience while they study.  International students to our program have
come from locations including Canada, Hong Kong, Ukraine, USA, Japan,
Brazil, Iceland, Russia, Egypt, Germany, Austria, Korea and Mexico. 

== MODULES – Oct 1-11, 2013 (taking place immersed in Riga,
including the 3-day MediaArtHistories conference Renew) – April 24-May
3, 2014 - November 21 – December 1, 2014, April 16 – 25, 2015

== APPLICATION (digital) - application form, a letter of motivation,
copies of previous degree(s), copy of passport and a Europass CV. An
application interview is required, which may be conducted in person or
through internet videoconferencing. 

www.donau-uni-ac.at/mah
www.mediaarthistory.org/maharchive
www.virtualart.at
http://www.donau-uni.ac.at/en/studium/medienkunstgeschichte/10365/index.php





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[rohrpost] Wtrlt: Critical Cartography: Registration Open

[Oliver Grau]

We are very pleased to invite you to the 1st International Conference
“Critical Cartography of Art and Visuality in the Global Age”, that
will
take place the 26 and 27 April 2013 at the Aula Magna at the Faculty
of
Geography and History, University of Barcelona, and the Auditorium at
the
MACBA (Museum of Contemporary Art, Barcelona).

We have as keynote speakers: Oliver Grau (Donau Universität Krems),
Jonathan Harris (University of Southampton), Angela Dimitrakaki
(University
of Edinburgh) and T.J. Demos (University College London); as well as
the
participation of Carles Guerra (Universitat Pompeu i Fabra; MACBA),
Anna
Maria Guasch (Universitat de Barcelona), Juan Vicente Aliaga
(Universidad
Politécnica de Valencia) and Joaquín Barriendos (Columbia University).
The
full program is attached.

You may register for the event through the attached Registration Form,
which must be filled out and sent to the email address
artglobal...@gmail.com before the 26 April.

Greetings from Barcelona,


Art, Globalization, Interculturality

http://artglobalizationinterculturality.com/

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[rohrpost] IKK-Lecture Series 2013-14 (Copenhagen, Apr-Nov 13)

[Oliver Grau]

IKK-Lecture Series 2013-14 (Copenhagen, Apr-Nov 13)

University of Copenhagen, 12.04. - 22.11.2013

[Please scroll down for English version]

IKK-Vortragsreihe 2013/14
Universität Kopenhagen

„Bildwissenschaft und Visual Culture“ ist eine Vortragsreihe, die in
Zusammenarbeit mit dem Institut für Kunst-und Kulturwissenschaften in
Kopenhagen (IKK) entwickelt wurde. Ziel ist es in den Jahren 2013 und
2014 paradigmatische Positionen und aktuelle Überlegungen zur Frage
des bildwissenschaftlichen Dialogs vorzustellen. Der Vortragsreihe
wird ergänzt durch die Unterstützung von Publikationen zur
Medienkunst. In diesem Zusammenhang wurde eine Strategic Partnership
in Arts and Culture zwischen dem Goethe-Institut Dänemark und der
Universität Kopenhagen geschlossen.

In einem von Kunstgeschichte, Media-, Critical-, Performance- und
Cultural Studies sowie anderen verwandten Disziplinen stark umworbenen
Lehr- und Forschungsumfeld stehen sich die heutige deutschsprachige
Bildwissenschaft und die angelsächsisch geprägte Visual Culture
gegenüber. Die Erschaffung eines optimalen methodischen Modells für
die Untersuchung von Bildern aller Art sind wichtige Desiderata
unterschiedlicher, weltweit formulierter Programme. Die gegenwärtige
Konstellation von ineinander greifenden Zuständigkeiten der Visual
Culture auf der einen Seite und der Bildwissenschaften auf der anderen
Seite geben die Möglichkeit einer Neuausrichtung der bildbezogenen
Wissenschaften. Die Vortragsreihe verfolgt deshalb das Ziel der
Etablierung eines interdisziplinären und interkulturellen Austausches
zwischen den bislang weitestgehend getrennt geführten Diskussionen.

Die Reihe beginnt mit einem Vortrag von Oliver Grau: „Strengthen the
Humanities. MediaArtHistories, Image Science  the Archive 2.0”.

Vorträge in Übersicht
(Universität Kopenhagen, Institut für Kunst- und Kulturwissenschaften
/ HUM Campus)

Oliver Grau 
12.04.2013, Freitag, 15-17 Uhr
24.4.01

Norbert Schneider
4. 10.2013, Freitag, 15-17 Uhr 
Auditorium 23.0.50

Horst Bredekamp
15.11.2013, Freitag, 15-17 Uhr 
Auditorium 23.0.50

Whitney Davis
22.11.2013, Freitag, 15-17 Uhr 
Auditorium 23.0.50

Im Anschluss an alle öffentlichen Vorträge stehen die ReferentInnen
für Fragen und Diskussionen zur Verfügung.

Links zur Vortragsreihe
http://kunstogkulturvidenskab.ku.dk/bildwissenschaft/ 
http://www.goethe.de/ins/dk/kop/ver/de1044v.htm 

—

Bildwissenschaft  Visual Culture
IKK-Lecture Series 2013-14
HUM-Campus, Copenhagen

The Department of Art and Cultural Studies (IKK) of the University of
Copenhagen provides an important framework for international research
and high education within the areas of Art History and Visual Culture,
Theatre Studies, Dance Studies, Modern Culture, Literature and
Musicology. These curricula build an accumulation of core competences,
the most of which are tightly linked to the concepts and practices of
the Image, Visiblity and Visuality in their widest sense.
In 2013 and 2014, the Department of Art and Cultural Studies organizes
a lecture series 'Bildwissenschaft  Visual Culture' as a starting
point of the newly established Strategic Partnership in Arts and
Culture between the Goethe-Institut Dänemark  and the Department for
Art and Cultural Studies (IKK).

Today´s German-language visual studies or Bildwissenschaft on one hand
and the Anglo-Saxon Visual Culture on the other are standing before
the substantial challenges after their ca. 2 decades-long history. In
particular the creation of a new academic environment has remained an
important desideratum of the ambitiously formulated programs to
provide an optimal methodological model for the study of images of all
kinds. The lecture series has therefore set a goal to deepen an
interdisciplinary and intercultural dialogue between the two cultures
of image-oriented studies by presenting the paradigmatic positions and
discussing the current thinking focused on Images, Visiblity and
Visuality.

The lecture series begins with a lecture of Oliver Grau: “Strengthen
the Humanities. MediaArtHistories, Image Science  the Archive 2.0”.

Programme-overview:
(University Copenhagen, The Department of Art and Cultural Studies
(IKK) / HUM Campus, Copenhagen)

Oliver Grau
12. April 2013, Friday, 15-17.00
24.4.01

Norbert Schneider
4. October 2013, Friday, 15-17.00
Auditorium 23.0.50

Horst Bredekamp
15. November 2013, Friday, 15-17.00
Auditorium 23.0.50

Whitney Davis
22. November 2013, Friday, 15-17.00
Auditorium 23.0.50

After each public talk the speakers will be available for questions
and discussion.

Links for the lecture series:
http://kunstogkulturvidenskab.ku.dk/bildwissenschaft/ 
http://www.goethe.de/ins/dk/kop/ver/de1044v.htm 



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[rohrpost] CONF: Bilder im Medientransfer (Regensburg, 18-20 Apr 13)

[Oliver Grau]

CONF: Bilder im Medientransfer (Regensburg, 18-20 Apr 13)

Regensburg, Haidplatz 8 (Thon-Dittmer-Palais, Auditorium, 2. OG), 
18. - 20.04.2013
Registration deadline: Apr 18, 2013

Rund zwei Jahrzehnte nach dem von der Kunstwissenschaft ausgelösten
iconic turn bzw. pictorial turn stellt sich die Aufgabe nach einer
aktualisierten Positions- und Kursbestimmung einer transdisziplinären
Bildwissenschaft:

Wie lassen sich im Zeichen des Transfers ästhetische Kontexte aufrufen
und soziologische wie moralische Verhältnisse analysieren, die
grundlegend sind für eine belangreiche Kunst- und Bilderfahrung? Wie
lassen sich hybride Bildformen und ihre bildkünstlerischen Methoden
adäquat beschreiben? Es reicht nicht, das Zusammenspiel
unterschiedlichster Medien beschreibend nachzuvollziehen, neue Zeichen
und Systeme klassifizierend einzuordnen oder den Begriff der
Interpikturalität in Stellung zu bringen. Vielmehr gilt es danach zu
fragen, wie die performative Kraft und der informative Gehalt von
Bildern gerade an medialen Schnittstellen eingesetzt wird.

Film und Fotografie haben nicht nur den Blick auf die klassischen
Künste, sondern den Bildbegriff und die Frage nach den
Wahrnehmungsprozessen grundlegend verändert.

Die Tagung Bilder im Medientransfer bietet ein interdisziplinäres
Forum, diese neue Perspektiven der Bildwissenschaft zu diskutieren.

Programm:

Donnerstag, 18.4.2013

14.00 Begrüßung Udo Hebel Rektor der Universität Regensburg
Einführung Christoph Wagner Vorstand der Gesellschaft für
interdisziplinäre Bildwissenschaft (GiB)

14.30 Christoph Wagner (Regensburg)
Bewegte Bilder: Brauchen wir eine neue Bildwissenschaft?

15.15 Martina Sauer (Basel)
Zur Analogie von Gestaltungsprinzipien und Wahrnehmungsweisen. Ein
Beitrag zur zeitgemäßen Erkenntnis des Bildes im Medientransfer

16.30 Elke Katharina Wittich (Hamburg)
Off the records. Stichpublikationen der Zeit um 1800 oder die
Verweiskraft bildgestalterischer Verfahren

17.15 Philipp Stoellger (Rostock)
Können Bilder retten? Möglichkeiten und Unmöglichkeiten ikonischer
Heilsmedien

18.30 Mitgliederversammlung der Gesellschaft für interdisziplinäre
Bildwissenschaft (GiB)
 
Freitag, 19.4.2013

9.15 Patrick Rupert-Kruse (Kiel)
Kinematografische Äquilibration. Zur Strukturierung des bewegten
Bildes zwischen Transfer und Synthese

10.00 Fabienne Liptay (München)
Zu einer Medienarchäologie postkinematografischer Bilder Leos Carax’
Holy Motors

11.15 Thomas Meder (Mainz)
Appropriation? die Kunst der filmischen Aneignung

12.00 Hans-Dieter Huber (Stuttgart)
Materialität, Präsenz und Migration. Vom analogen Film zum digitalen
Video

14.00 Mark W. Greenlee (Regensburg)
Bewegte Bilder: Neuronale Korrelate der Bewegungswahrnehmung

14.45 Robin Rehm (Zürich)
Bild und Ereignis. Herzog  de Meuron

15.30 Peter Krieger (Mexiko)
Medientransfer: Bilder der Stadtlandschaft in der mexikanischen
Hochebene

16.45 David Kaller (Paderborn)
Bilder des blauen Meeres: Evidenz und Entzug des Medialen in der
Satellitentechnologie: Oceans von Andreas Gursky

17.30 Peter Schneemann (Bern)
Kopie und Dokumentation als Reflexion über Betrachtungsmodi

18.15 Besuch der aktuellen Ausstellung im Kunstforum Ostdeutsche
Galerie (Dr.-Johann-Maier-Str. 5) 
 
Samstag, 20.4.2013

9.15 Tilman Lenssen-Erz (Köln)
Andreas Pastoors (Mettmann)
Dekontextualisierung von Bildern? Prähistorische Kunst und die Macht
entfremdender Diskurse

10.00 Doris Gerstl (Erlangen-Nürnberg)
Kornblumen in der Politik? Zum Transfer floraler Symbole

11.15 Sarah Sandfort (Bochum)
Von Messdaten zu Visualisierungen: Der menschliche Körper und die
Grenzen seiner Darstellung in der Diagnostischen Radiologie

12.00 Christian Wolff (Regensburg)
Visualität digitaler Medien im Wandel: Von den Hilfsmetaphern zum
Leitmedium

13.00 Ende der Tagung

Eintritt frei.

Anmeldung: j...@jasmin-kirschner.de
Kontakt: christoph.wag...@ur.de

Teilnehmer und Gäste sind eingeladen, sich mit Textbeiträgen 
aInternet-Diskussionsforum im ejournal (ISSN 1868-0542)zu neuen
Perspektiven der Bildwissenschaft zu beteiligen.

Kontakt: j...@jasmin-kirschner.de

http://www.kunstgeschichte-ejournal.net/ueber-die-zeitschrift.html
 
http://www.uni-regensburg.de/philosophie-kunst-geschichte-gesellschaft/kunstgeschichte/aktuelles/index.html




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[rohrpost] Fwd: In response to Caymans authorities and concerned public of Loophole4All.com - Press Release

[Oliver Grau]

 Paolo Cirio i...@paolocirio.net 03/11/13 3:20 AM 
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Helvetica; letter-spacing: 0.5px; line-height: 19px; } a { font-size:
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{ font-size : 10px; font-family: Arial, Helvetica } div.emailfooter a{
font-size : 10px; font-family: Arial, Helvetica }Press Release.
March, 10th 2013, NYC.
 A response to the statements of the Cayman Islands senior official
registrar Donnell Dixon, interviewed by the Caymanian Compass newspaper
about Loophole4All.com, a hack and leak of the Caymans Company Register
website. The full interview on Caymans newspaper:

http://www.compasscayman.com/caycompass/2013/02/20/Artist-sells-fake-Cayman-company-certificates
 The video breaking news on Caymans national TV:
 http://www.cayman27.com.ky/2013/02/18/hacker-claims-cayman-breach
 On the 15th February 2013, Paolo Cirio Ltd. published Loophole4All.com,
an art project with 200,000 Caymans companies ready to be hijacked. It
generated international attention from the press, concerned locals, and
a new peculiar community of pirates of offshore businesses. 
 Paolo Cirio, spokesman for Paolo Cirio ltd., responds to the Caymans
press
 Mr. Dixon’s statements are false and he is scamming people. Mr. Dixon,
his colleagues, and the Caymans government sell incorporation of fake
shell companies, whose main purpose is to defraud the rest of world,
causing onshore budget deficits and ever-growing impoverishment. Mr.
Dixon’s work must be considered illegal, shameful, and the biggest tax
scam in the world,” as the U.S. President Barack Obama described Caymans
activity in 2008.
 Mr. Dixon lies when he states that the information of companies
registered in the Caymans is public. Simple access to the list of
Caymans companies is granted only by request of a password, under legal
disclaimers and with limited search functionality. Then, for no more
detail than the names, the public must pay $35 for each additional
entity, to reveal only a mailbox address and the date of incorporation.
It would cost the public more than $7 million to get even a blurry
picture of all the bogus companies falsely based in the Caymans islands.
This “public” data is yet another fraud Mr. Dixon sells. 
 The Caymanian Compass reports that there are only 92,000 companies
registered in the Cayman Islands. However, the Loophole4all project
discovered 215,880 companies. Many of them had suspicious notes attached
to their names, showing how the Cayman Registry is nothing near an
honest, public account, but has been corrupted by multinational firms
and local lawyers. 
 Liberating information means moving data from a locked platform and
distributing it in a form that unveils and builds new knowledge. That is
why here for the first time ever, you can download the entire list of
Caymans companies:
 http://Loophole4All.com/press/cayman_companies_db.csv
 Now with it you can conduct your own investigations, make new art, or
whatever you want to do without the need to ask permission from Mr.
Dixon. However data is not enough. Get informed about the offshore
centers through the video documentary produced for this project:
 http://Loophole4All.com/doc.php
 
 In response to the Bermuda concerned about being the next target
 http://www.royalgazette.com/article/20130221/BUSINESS02/702219958
 Loophole4all won't reveal the country that it will attack next. Before
that, though, everyone is invited to shop on Loophole4All.com to
crowd-fund the next attack by the pirates of the treasure islands in the
dark international waters of legal loopholes.
 In response to the local businesses of the Cayman Islands that
complained
 You can request to be removed from Loophole4All.com if you provide
proof that you’re an honest and real local business. However, first you
should ask for more transparency from the Caymans Registry (as someone
of you already did) to be sure that no one else could hijack your
business. As long as it's hard to verify your real information, it will
be in danger. 
 In response to the many pirates that brought and stole offshore
companies
 We cannot confirm that you can withdraw money at offshore bank branches
using a certificate of incorporation as identification. However, it may
work as valid documentation, since the owners of the companies are
anonymous. A clarification for those who asked about the legality of the
project: to steal the identity of a Caymans company is illegal only in
the Cayman Islands, and Caymans court orders have very little
credibility abroad. Avoiding taxes by registering a company in the
Cayman Islands is legal everywhere. However, remember that hijacking
offshore business is here mainly promoted as a form of protest and not
to 

[rohrpost] Call: MEDIA ART HISTORIES 2013: ReNew : Extended deadline

[Oliver Grau]

MEDIA ART HISTORIES 2013: ReNew
The 5th International Conference on the Histories of Media Art, 
Science and Technology
Riga, October 8 - 11, 2013

The 5th International Conference on the Histories of Media Art, 
Science and Technology, Renew, will be hosted by RIXC and held in 
Riga, Latvia, October 8 - 11, 2013, coinciding with the international 
festival for new media culture Art+Communication. It will host three 
days of keynotes, panels and poster sessions on the histories of 
networked digital, electronic and technological media arts.

Confirmed keynote speakers include:

Prof. Dr. Peter WEIBEL, ZKM
Prof. Dr. Erkki HUHTAMO, UCLA
 t.b.a.

Besides general topics of the call, the theme of Renew, Media Art 
History 2013 addresses current tendencies in sustainability quests 
from various perspectives. As media art is based on increasingly 
out-dating technology and it is dependent on energy (electricity) the 
conference will discuss sustainable approaches towards the issues of 
producing, preserving and representing media  artworks - how to 
'renew' them through both - tools and histories. By focusing on 
networked media arts, the Renew conference will cover a broad range 
of topics to include early communication art (mail, fax, radio, 
satellite, etc.), net.art and net.radio, open source and network 
culture, locative media and wireless communities, hybrid networks and 
electromagnetic art, and last but not least - artistic investigations 
in sustainability, and future visions of art within the convergence 
of information and energy technologies.

Proposed topics:

* Histories of networked art and media technologies
* Archiving, preserving and representing new media art
* Media archaeology
* Paradigm shift - from new media to post-media conditions in art
* Writing histories of media art across Eastern Europe and the Baltics
* Revising the geospatial aspects - for writing comparative media art histories
* Resilient networks and emerging 'techno-ecological' art practices
* Multifarious potential of expression in media art - 'new imagery' 
of our times

* * *
EXTENDED DEADLINE for abstracts: February 15, 2013.
Notification of acceptance will be announced by March 25, 2013.

Individual proposals should consist of a 250-word abstract with title.
Proposals and inquiries regarding submissions should be made on
www.mediaarthistory.org web-site.

Call for papers SUBMISSION PAGE: 
http://moodle.donau-uni.ac.at/renew/openconf.php

* * *
Selected papers from the conference will be published in Acoustic 
Space and other venues. Founded in 1998 by E-Lab as artistic journal 
for sound art, networked audio experiments and new media culture, 
since 2007 Acoustic Space comes out as peer-reviewed journal for 
transdisciplinary research on art, science, technology and society, 
published by RIXC  Art Research Lab of Liepaja University.

* * *
The conference will be complemented by a variety of affiliated 
events, including the Art+Communication festival, with a thematically 
related media art exhibition, experimental film and video screening 
programme, live performances, concerts and workshops.

* * *
MAH 2013 Renew Conference Chairs: Rasa SMITE and Raitis SMITS

Honorary Board: Jasia REICHARDT, Itsuo SAKANE, Peter WEIBEL, Douglas 
DAVIS, Robert ADRIAN

Renew Conference Advisory Board: Eric KLUITENBERG, Armin MEDOSCH, 
Inke ARNS, Andrey SMIRNOV, Jussi PARIKKA, Edwin van der HEIDE, Mark 
TRIBE, Gediminas URBONAS, Marko PELJHAN, Nishant SHAH, Edward 
SHANKEN, Darko FRITZ, Tatiana BAZZICHELLI, Frieder NAKE

MAH Conference Series Board: Erkki HUHTAMO, Tim LENOIR, Machiko 
KUSAHARA, Gunalan NADARAJAN, Oliver GRAU, Douglas KAHN, Linda 
HENDERSON, Sean CUBITT, Martin KEMP and Paul THOMAS

http://rixc.lv/2013


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[rohrpost] CFP: Media Art Histories 2013: RENEW

[Oliver Grau]

Call for Papers:

Media Art Histories 2013: RENEW
The 5th International Conference on the Histories of Media Art, 
Science and Technology

Riga, October 8 - 11, 2013

The 5th International Conference on the Histories of Media Art, 
Science and Technology, Renew, will be hosted by RIXC and held in 
Riga, Latvia, October 8 - 11, 2013, coinciding with the international 
festival for new media culture Art+Communication. It will host three 
days of keynotes, panels and poster sessions on the histories of 
networked digital, electronic and technological media arts.

Besides general topics of the call, the theme of Renew, Media Art 
History 2013 addresses current tendencies in sustainability quests 
from various perspectives. As media art is based on increasingly 
out-dating technology and it is dependent on energy (electricity) the 
conference will discuss sustainable approaches towards the issues of 
producing, preserving and representing media  artworks - how to 
'renew' them through both - tools and histories. By focusing on 
networked media arts, the Renew conference will cover a broad range 
of topics to include early communication art (mail, fax, radio, 
satellite, etc.), net.art and net.radio, open source and network 
culture, locative media and wireless communities, hybrid networks and 
electromagnetic art, and last but not least - artistic investigations 
in sustainability, and future visions of art within the convergence 
of information and energy technologies.


Proposed topics:

* Histories of networked art and media technologies

* Archiving, preserving and representing new media art

* Media archaeology

* Paradigm shift - from new media to post-media conditions in art

* Writing histories of media art across Eastern Europe and the Baltics

* Revising the geospatial aspects - for writing comparative media art histories

* Resilient networks and emerging 'techno-ecological' art practices

* Multifarious potential of expression in media art - 'new imagery' 
of our times


* * *

DEADLINE for abstract proposals: January 25, 2013.
Notification of acceptance will be announced in March 25, 2013.

Individual proposals should consist of a 250-word abstract with title.
Proposals and inquiries regarding submissions should be made on 
www.mediaarthistory.org web-site.

* * *

Selected papers from the conference will be published in Acoustic 
Space and other venues. Founded in 1998 by E-Lab as artistic journal 
for sound art, networked audio experiments and new media culture, 
since 2007 Acoustic Space comes out as peer-reviewed journal for 
transdisciplinary research on art, science, technology and society, 
published by RIXC  Art Research Lab of Liepaja University.

* * *

The conference will be complemented by a variety of affiliated 
events, including the Art+Communication festival, with a thematically 
related media art exhibition, experimental film and video screening 
programme, live performances, concerts and workshops.

* * *

MAH 2013 Renew Conference Chair:  Rasa SMITE and Raitis SMITS

Honorary Board: Jasia REICHARDT, Itsuo SAKANE, Peter WEIBEL, Douglas 
DAVIS, Robert ADRIAN

Renew Conference Advisory Board: Erik KLUITENBERG, Armin MEDOSCH, 
Inke ARNS, Andrey SMIRNOV, Jussi PARIKKA, Edwin van der HEIDE, Mark 
TRIBE, Gediminas URBONAS, Marko PELJHAN, Nishant SHAH, Edward 
SHANKEN, Darko FRITZ, Tatiana BAZZICHELLI, Frieder NAKE

MAH Conference Series Board:  Erkki HUHTAMO, Tim LENOIR, Machiko 
KUSAHARA, Gunalan NADARAJAN, Oliver GRAU, Douglas KAHN, Linda 
HENDERSON, Sean CUBITT, Martin KEMP and Paul THOMAS

--

More info:
http://www.mediaarthistory.org/renew 
http://rixc.lv/13 

Contact:
Rasa Smite r...@rixc.lv 

--

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[rohrpost] Deadline Reminder : Leonardo Scholarship for MediaArtHistories

[Oliver Grau]

= Friendly deadline reminder : July.31.2012 =
 
LEONARDO SCHOLARSHIP FOR MEDIA ART HISTORIES
= First International Master of MediaArtHistories 
(low-residency, English language, international faculty)
 
In affiliation with a driving force leading the field, Leonardo/ISAST, The 
Center for Image Science is pleased to announce their continued cooperation 
with a half-tuition scholarship for the Master of Arts (MA) course in 
MediaArtHistories, for the start in November 2012.
 
= LEONARDO SCHOLARSHIP FOR MEDIA ART HISTORIES
The scholarship is planned to answer the critical challenges of the 21st 
century, which require mobilization and cross-fertilization among the domains 
of art, science and technology by supporting the studies of a new researcher or 
artist.
 
The postgraduate program MediaArtHistories conveys the most important 
developments of contemporary art through a network of renowned international 
theorists, artists and curators like: Erkki HUHTAMO, Lev MANOVICH Christiane 
PAUL, Roger MALINA Jens HAUSER, Jeffrey SHAW, Jussi PARIKKA Gerfried STOCKER, 
Christa SOMMERER  Laurent MIGNONNEAU, Sean CUBITT, Paul SERMON, Oliver GRAU, 
Edward SHANKEN, KNOWBOTIC RESEARCH,  Frieder NAKE, Machiko KUSAHARA, Nat 
MULLER, Gunalan NADARAJAN, Monika FLEISCHMANN, Margit ROSEN, Andreas LANGE, 
Christopher SALTER, Darko FRITZ, Irina ARISTARKHOVA, and others.
 
Historical derivations that go far back into art and media history are tied in 
intriguing ways to digital art. Key approaches and methods from Image Science, 
Media Archaeology and the History of Science  Technology will be discussed. 
Media Art History offers a basis for understanding evolutionary history of 
audiovisual media, from the Laterna Magica to the Panorama, Phantasmagoria, 
Film, and the Virtual Art of recent decades. Using online databases and other 
modern aids, knowledge of computer animation, net art, interactive, telematic 
and genetic art as well as the most recent reflections on nano art, CAVE 
installations, augmented reality and wearables are introduced. Artists and 
programmers give new insights into the latest software and interface 
developments.
 
= DANUBE UNIVERSITY KREMS - located in the UNESCO world heritage Wachau, 70km 
from Vienna, is the only public university in Europe specializing in advanced 
continuing education by offering low-residency degree programs for working 
professionals and life long learners. The Center in Monastery Goettweig, where 
most MediaArtHistories courses take place, is housed in a 14th century 
building, remodeled to fit the needs of modern research in singular 
surroundings. 
 
= STUDENTS - The course is held in English and is low-residency with rolling 
admissions. Acceptance into the program requires a previous degree at or above 
the Bachelors level, or the equivalent through relevant work experience. 
International students come from countries like Canada, Hong Kong, Ukraine, 
USA, Japan, Brazil, Iceland, Russia, Egypt, Germany, Austria  Korea and Mexico.
Testimonials: 
http://www.donau-uni.ac.at/de/studium/medienkunstgeschichte/10365/index.php 
 
= LEONARDO/ISAST - Leonardo creates opportunities for the powerful exchange of 
ideas between practitioners in art, science and technology. Through 
publications, initiatives and public forums, Leonardo/ISAST facilitates 
cross-disciplinary research in these fields, seeking to catalyze fruitful 
solutions for the challenges of the 21st century. 
 
Application documents (digital): application form, a letter of motivation, 
copies of your previous degree(s), copy of your passport and a Europass CV 
 
Application Deadline: July 31, 2012
 
Further Information:
www.donau-uni.ac.at/mah-scholar 
www.donau-uni.ac.at/mah 
www.leonardo.info 
www.virtualart.at 
www.mediaarthistories.org 
 
Contact:  
Wendy Coones
Center for Image Science
Danube University Krems
Dr.-Karl-Dorrek-Str. 30, A-3500 Krems
Tel: +43(0)2732 893-2543 
wendy.coo...@donau-uni.ac.at  
www.donau-uni.ac.at/cis 




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[rohrpost] Leonardo Electronic Almanac - Call for Papers

[Oliver Grau]

Call for Papers

The Culture of Digital Education: Innovation in Art, Design, Science
and Technology Practices - Leonardo Electronic Almanac

Senior Editors for this volume: Lanfranco Aceti, Nina Czegledy and
Oliver Grau
Editor: Wendy Coones
Junior Editor: Manuelle Freire

In an era of fast technological growth and transforming art forms
there is an increasing need for educational flexibility by academic
institutions. It is essential to keep in mind that the profile of
higher education in the 21st century is going to be very different to
what it used to be.

What is our role in this changing environment and how do we proceed?

Deliberations on the prevalent trends and the future of education
indicate that “innovation” combined with breakthrough partnerships are
considered keys to the future.

The Leonardo Electronic Almanac (LEA) is inviting proposals from
academics, critical theorists and artists for this special issue
investigating the changes and innovation in the new culture of digital
education. Relevant areas of interest addressed by the issue’s
contributors could include, but are by no means limited to:

• Education, art, science and technology
• Education and social media
• Innovation at the intersection of interdisciplinary teaching and
learning practices
• Crisis in the digital classroom?
• e-learning: give me that video link of your recorded lecture and let
me be!
• Learning and teaching in interdisciplinary and transdisciplinary
practices
• Ownership and copyrights of learning materials
• Economic crisis and classroom crisis: rethinking the economy of
learning
• Brain Gain/Brain Drain: who gains and looses in the contemporary
classroom
• Emerging countries, emerging universities and emerging
interdisciplinary practices
• Hacktivist class: the class as research center
• Hybrid educational models
• Tactical Media and its progeny
• Histories of classroom methodologies and contemporary innovative
approaches

For further information please go to :

http://www.leoalmanac.org/the-culture-of-digital-education-lea-call-for-papers/

Abstract deadline November 1, 2012


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[rohrpost] CFP: Transdisciplinary Imaging Conference, Melbourne

[Oliver Grau]

The Second International Conference on Transdisciplinary Imaging at the
Intersections between Art, Science and Culture.

Takes place on 22 * 23, June at Victorian College of the Arts,
Federation Hall, Grant Street, Southbank, Melbourne 3006
Call for papers: Interference strategies for art
Deadline for Abstracts:  March 30, 2012

The Transdisciplinary Imaging Conference seeks papers that explore the
theme of *Interference* within practices of contemporary image
making. Today we*re saturated with images from all disciplines,
whether it*s the creation of *beautiful visualisations* for
science, the torrent of images uploaded to social media services like
Flickr, or the billions of queries made to vast visual data archives
such as Google Images. These machinic interpretations of the visual and
sensorial experience of the world are producing a new spectacle of media
pollution. Machines are in many ways the new artists.

The notion of *Interference* is posed here as an antagonism between
production and seduction, as a redirection of affect, or as an untapped
potential for repositioning artistic critique. Maybe art doesn*t have
to work as a wave that displaces or reinforces the standardized
protocols of data/messages, but can instead function as a kind of signal
that disrupts and challenges perceptions. *Interference* can stand
as a mediating incantation that might create a layer between the
constructed image of the *everyday* given to us by science,
technological social networks and the means of its construction.

The Transdisciplinary Imaging Conference wants papers that ask:


·  Can art interfere with the chaotic storms of data visualization
and information processing, or is it merely eulogizing contemporary
media?


·  Can we think of *interference* as a key tactic for the
contemporary image in disrupting and critiquing the continual flood of
constructed imagery?



·  Are contemporary forms and strategies of interference the same
as historical ones? What kinds of similarities and differences exist?



The conference will explore areasrelated to: Painting, Drawing, Film,
Video, Photography, Computer visualization, Real-time imaging,
Intelligent systems, Image Science.
Participants are asked to address at least one the following areas in
their abstract: -
*  Expanded image
*  Remediated image
*  Hypermediacy
*  Expanded film
*  Imaging science
*  Computer Vision
*  Networked Image
*  Immersion

Proposals
You are invited to submit an abstract for an individual paper relevant
to the conference theme as described above. The deadline for abstracts
is March, 2012. Abstracts for individual papers should be no longer than
250 words. Please provide full contact details with your abstract.
Refereeing of papers will be processed by members of an expert review
panel (to Australian DEST refereed conference paper standards). All
selected peer reviewed papers will be published in the online conference
proceedings.
Please submit by email to conference organizer Andrew Varano 
transimagec...@gmail.commailto:transimagec...@gmail.com
Conference chairs:
Professor Su BAKER Associate Professor Paul THOMAS
Conference Committee
Brad BUCKLEY :: Brogan BUNT :: Ted COLLESS :: Vince DZIEKAN :: Donal
FITZPATRICK :: Petra GEMEINBOECK:: JulianGODDARD :: Ross HARLEY ::
Martyn JOLLY :: Leon MARVELL :: Anna MUNSTER :: Daniel MAFE :: Darren
TOFTS ::
Timeline
March 30th deadline call for abstracts; April 30th peer reviewed
abstracts notified; June 22- 23 Final papers for conference 3000 words.

Conference Partners

National Institute of Experimental Art, College of Fine Art, University
of New South Wales;  Victorian College of Art, University of
Melbourne,.

Conference Sponsors

Australian National University, CurtinUniversity, Deakin University;
Monash University; Queensland College of Art, Gold Coast Griffith
University; Queensland University of Technology, RMIT University,
Swinburne University; University of Sydney, Sydney College of the Arts,
University of Technology Sydney, University of Wollongong.

http://blogs.unsw.edu.au/tiic/

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[rohrpost] Media Art needs global networked Organisation Support : Sign the Declaration

[Oliver Grau]

After Re:Wire the forth international Media Art History Conference held
this October in Liverpool
International Artists and Scholars published a Declaration for
international and sustainable 
Support for Media Art Research, Documentation and Preservation  
  

To add your signature go to  www.mediaarthistory.org


MEDIA ART NEEDS GLOBAL NETWORKED ORGANISATION  SUPPORT – International
Declaration

State of Affairs

Digital technology has fundamentally changed the way art is made. Over
the last forty years, Media Art has become a significant part of our
networked information society. Although there are well-attended
international festivals, collaborative research projects, exhibitions
and database documentation resources, Media Art research is still
marginal in universities, museums and archives. It remains largely
under-resourced in our core cultural institutions.

As a result of rapid changes in technology, many major works made even
10 years ago can no longer be shown or are disappearing without a trace.
If this situation is not addressed, we face losing an art form that is a
central part of our post-industrial digital culture. To date, systematic
global preservation and documentation campaigns do not exist.
Many important online documentation and research projects are also
disappearing from the web. As they falter, we risk losing their valuable
material forever. Contemporary scientific research relies on access to
shared data. The same is true of the Arts and Humanities, which lack a
concerted international policy for sustainability and support of the
digital heritage, such as exists partly in the natural sciences.

Several science disciplines have developed large collective projects to
address the challenges and opportunities of our time by way of networked
digital environments, based on a sustainable and international support
structure. International Media Art research needs similar global
organisation and collaboration.

Goals

a.) Establish international and sustainable funding structures
Therefore it is essential to establish international and sustainable
funding structures that can guarantee the persistence of these valuable
resources, and to make use of networked collaboration to archive key
data in a cooperative process of knowledge transfer between artists,
institutions and researchers internationally. While many nations are
devoting funds for interdisciplinary e-research, we urgently need global
networked collaboration in Media Art research.
Such an international structure/alliance needs the actively supported
membership of media art organisations, archives and individuals. It
should be supported with adequate funding and expertise from the
existing networks of funding agencies, archives, online initiatives and
research institutions.

b.) Supporting an International Association/Institution for Shared Data
We urgently need global networked collaboration in Media Art research
across the aforementioned networks. We need as many bridges into society
as possible: archives, conferences, text repositories, collective
database documentation, and preservation.

This alliance will promote collaboration and advocate the
sustainability, understanding and appreciation of media art heritage by:
·  Recognizing and building upon existing knowledge and resources
·  Providing and fostering channels of communication
·  Enabling the international research community to
create/upload/access data to be shared.
·  Encouraging peer exchange and addressing the new challenges of
Media Art
·  Developing scientific technologies for documentation and
preservation of Media Art
·  Providing inspiration and resources for curators, artists,
scholars, educators and audiences
·  Supporting the Media Art History network, its conference series,
text repositories and scientific publications
·  Promotion of new ways of understanding media art, science,
technology and its histories
Only when we develwill we be able to fulfill the task that digital culture and 
its
research demands of us in the 21st Century.
 
Signing Instructions
Governments, universities, research institutions, researchers, artists,
academics, funding agencies, foundations, libraries, museums, archives,
learned societies and professional associations who share the vision
expressed in this Declaration are invited to join the signatories that
have already signed the Declaration.

Chair. Prof. Dr. Sean CUBITT, Winchester School of Art, Southampton, UK
Chair. Prof. Dr. Oliver GRAU, Image Science, Danube University Krems,
Austria
Chair. Prof. Dr. Ross HARLEY, COFA, University of New South Wales,
Sydney, Australia
Prof. Dr. Christiane PAUL,The New School, New York, USA
Prof. Dr. Diana DOMINGUES, Universidade de Brasília, Brazil
Prof. Lanfranco ACETI, Goldsmiths and Sabanci University, UK / Turkey
Prof. Dr. Frieder NAKE, University of Bremen, Germany
Prof. Dr. h.c. Peter WEIBEL, Chairman and CEO ZKM | Center

[rohrpost] MobilityShifts: An International Future of Learning Summit, The New School in NYC

[Oliver Grau]

CALL FOR REGISTRATIONS

MobilityShifts: An International Future of Learning Summit
The New School in NYC
October 10-16, 2011

The New School presents the second event in its Politics of Digital
Culture conference series MobilityShifts: An International Future of
Learning Summit. Comprised of a conference, hands-on workshops,
project
demonstrations, exhibitions and a theater performance featuring youth
and educators from New York City and Chicago, MobilityShifts is a
week-long summit in October 2011. MobilityShifts makes unexpected
international connections between the theories of Jacques Rancière and
Ivan Illich, learning projects outside the bounds of schools and
universities, mobile platforms, and the Open Web. Stop, reflect,
listen,
discuss, and build with artists, media scholars, policy makers,
students, technologists, teachers, librarians, legal scholars and
learning activists from 21 countries.

http://www.mobilityshifts.org 
http://mobilityshifts.org/conference/program/ 

REGISTRATION
To attend MobilityShifts you must register.
The early bird rate ends on September 15th. 

http://www.mobilityshifts.org/register1 
http://www.mobilityshifts.org/register1 

Participants include: Eduardo Ochoa, Hal Plotkin, Cathy Davidson,
Michael Wesch, Oliver Grau,  Mimi Ito, Henry Jenkins, Anya Kamenetz,
Geert Lovink, Shin Mizukoshi, John Palfrey, Irit Rogoff, Juliana
Rotich,
Benjamin Bratton, Katie Salen, Shveta Sarda, Molly Steenson, Elizabeth
Losh, Tony Conrad, Lev Manovich, Torsten Meyer, Jan Schmidt, Tomi
Ahonen, Beth Coleman, John Willinsky, Siva Vaidhyanathan, Alexander
Halavais, Giselle Beiguelman, David Carroll, Tania Bustos, Kate
Crawford, Chris Csikszentmihalyi, Sean Dockray, Rolf Hapel, Juan
Manuel
Lopez Garduno, Daria Ng, Chris Lawrence, Josie Fraser, David Theo
Goldberg, Marisa Jahn, Sam Gregory, Shravan Goli, Manu Kapur, Edward
Keller, Eric Kluitenberg, Jairo Moreno, Michael Pettinger, Michael
Preston, Daniela Rosner, Richard Scullin, Ramon Sanguesa, Elaine
Savory,
Luis Camnitzer, Nishant Shah, Janek Sowa, Dan Visel, Nitin Sawhney and
many others. 
http://mobilityshifts.org/conference/participants 

Summit Chair
Trebor Scholz

Co-Chairs: Edward Keller, Elizabeth Losh, Matthew K. Gold, David Theo
Goldberg , Karen DeMoss, Sean Dockray
Producer: Jennifer Conley Darling 
Associate Producers: Caroline Buck, Liz Carlson 
Summit Steering Committee: Arien Mack, Katie Salen, McKenzie Wark

Selected workshops: http://mobilityshifts.org/workshops/ 
(Workshops require an additional reservation at no extra cost).

This summit builds on two previous events: Mozilla's Drumbeat Festival
in Barcelona (2010) and Digital Media and Learning in Los Angeles
(2011). MobilityShifts is sponsored by The John D.  Catherine T.
MacArthur Foundation, The New School and the Mozilla Foundation. We
gratefully acknowledge our partners: American University of Paris,
Carnegie Mellon University, Eyebeam Art  Technology Center,
Goethe-Institut, HASTAC, Japan Society, MetaMute, Prezi, School of the
Art Institute of Chicago, SocialText, UC San Diego’s Sixth College,
and
University of Pennsylvania.


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[rohrpost] Wtrlt: Call for papers - VIRAL - due 10 september

[Oliver Grau]

Junctures issue 15: Viral
Full papers due: 10th September
Publication date: December 2011

Parallel discourses of the viral have generated a space where attempts
to contain and drive contagions continue to influence and determine
relationships between people, animals, technologies and ecologies. In
the 1980s and 1990s the virus was seen as a replication machine that
forced a questioning of the boundaries of bodies (whether carbon or
silicon) and the hybrid borders of identity.
At 11.59 on December 31 1999 some held their breath, waiting for an
error in computer clocks that would potentially instigate a mass shut
down; others anticipated the Y2K bug*s destruction of the nascent
networked computer environment. Ever since we were gripped by this
proactive hysteria, viral movements and their oppositional protection
systems have led to an increasingly fluent, yet potentially more
vulnerable, digital and social environment.
In the organic world viral systems penetrate species boundaries at a
nano scale, enacting dystopic and cyborgian fantasies through
inter-species connections, bringing human closer to ape, swine and bird.
Whether described in physical, social or technical terms the virus
shares its distribution, scale and risk with internal powers that
reorientate our definitions of nature (and matter).
This issue seeks speculative writing from the humanities, visual, sonic
and performing arts, social sciences, law, education, medicine, and
*hard* sciences that address relationships and contact, moments
of transformation, replication, growth, and resistance. Topics might
include:
* relationships between species
* disease and protection
* proactive marketing campaigns
* viral language
* the hive
* epidemics
* computer viruses
* fear and recognition of difference
* exponential scales
..


Regards
Pam McKinlay


Pam McKinlay
Editorial Assistant
Junctures: The Journal for Thematic Dialogue
Otago Polytechnic Te Kura Matatini ki Otago
Dunedin
email: junctu...@op.ac.nz

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[rohrpost] Rewire 2011: Fourth International Conference on the Histories of Media Art, Science and Technology

[Oliver Grau]

Rewire 2011: Fourth International Conference on the Histories of Media
Art, Science and Technology

LIVERPOOL, 28-30 September 2011

Hosted by FACT (Foundation of Art and Creative Technology) at Liverpool
John Moores University

In partnership with LJMU; AND (Abandon Normal Devices); Crumb at the
University of Sunderland; Lancaster University; Site Gallery; University
of Sussex; University of the West of Scotland; Universiteit van
Amsterdam; and the Database of Virtual Art at the Department for Image
Science, Danube University

The Media Art History Board and Rewire Co-chairs would like to invite
you to attend the latest international media art history conference,
following Banff 2005; Berlin 2007; and Melbourne 2009. Rewire will
increase the voltage and ignite key debates within the internationally
distributed network of histories, and will illuminate the global
phenomena of media art.   by discussing new paradigms for media art
histories including Science and Technology Studies and Cybernetics, the
connections between such histories and those of new technologies and
computing, the relations between media art and craft, media archaeology,
and institutional and curatorial responses to media art. 

Rewire will be supplemented with performances, book launches, workshops
and special events, and runs concurrently with the AND Festival which
will be hosted at numerous sites across Liverpool.

Chair: Mike STUBBS, Director at FACT
Co-chairs: Paul BROWN, Sarah COOK; Juan CRUZ, Charlie GERE, Andy MIAH,
Ed SHANKEN, Laura SILLARS 

Keynotes:
●   Professor Andrew PICKERING of Exeter University, an
internationally-known figure in Science and Technology Studies and
author of The Mangle of Practice (Chicago University Press, 1995), and
The Cybernetic Brain (University of Chicago Press, 2010)
●   Professor Tanya HARROD, leading historian of the history of
craft and author of The Crafts in Britain in the Twentieth Century (Yale
University Press, 1999)
●   Steve KURTZ and Shady EL NOSHOKATY.  Kurtz is a founding member
of the pioneering media art collective Critical Art Ensemble.  El
Noshokaty is an artist and academic.

Speakers: 
Trish ADAMS, Alessandro ALFIERI, Jamie ALLEN, Patrick ALLEN, Pau
ALSINA, Rosanne ALTSTATT, Perry BARD, Clarisse BARDIOT, Dorothy
BARENSCOTT, Penelope BOYER, Victoria BRADBURY, Jo BRIGGS, Christoph
BRUNNER. Patricia BUENO-DELGADO, Andrew BURRELL, Glòria Munilla
CABRILLANA, Jackie CALDERWOOD, Vito CAMPANELLI, Natalia CANTÓ, Jon
CATES, Karen CHAM, Paolo CIRIO, Kathy CLELAND, Leon CMIELEWSKI, Felicity
COLMAN, Leonie COOPER, Sean CUBITT, Nina CZEGLEDY, Adson DA ROCHA,
Michael DARROCH, Hamda DARWISH, Katie DAY GOOD, Annet DEKKER, Emile
DEVEREAUX, Sara DIAMOND, Michael DIETER, Zara DINNEN, Diana DOMINGUES,
Denise DOYLE, Vince DZIEKAN, Ernest EDMONDS, Francesca FRANCO, Darko
FRITZ, Charlotte FROST, Gabriela GALATI, Antonio Bonome GARCIA, Petra
GEMEINBOECK, Paul GIRARD, Michael GODDARD, Meredith GODLEY, Monika
GÓRSKA-OLESINSKA, Susan GRABOWSKI, Beryl GRAHAM, Simone GRISTWOOD,
Charlie GULLSTROM, Markus HAFNER, Simon HAGEMANN, Orit HALPERN, Ben
HALSALL, Graham HARWOOD, Thomas HENSEL, Inge HINTERWALDNER, Nadav
HOCHMAN, Vanina HOFMAN, Lissa HOLLOWAY-ATTAWAY, Kristen HUTCHINSON,
Sharon IRISH, Robert JACKSON, Janis JEFFERIES, Alice Ming Wai JIM, Nigel
JOHNSON, Stephen JONES, Marina Soler JORGE, Aleksandra KAMINSKA, Eva
KEKOU, Gail KENNING, Jörn KETELSEN, Ji-hoon KIM, Harald KLINKE, Saskia
KORSTEN, Guilherme KUJAWSKI, Machiko KUSAHARA, Katja KWASTEK, Maria
LAKKA, Nicholas LAMBERT, Caroline LANGILL, Venus LAU, Stephanie LAUKE,
Christophe LECLERCQ, Mike LEGGETT, Jonathan LESSARD, Jacob LILLEMOSE,
Ana Gabriela Godinho LIMA, William LOCKETT, Alessandro LUDOVICO,
Jung-Yeon MA, Elena MARCEVSKA, Janine MARCHESSAULT, Armin MEDOSCH, Chris
MEIGH-ANDREWS, Gabriel MENOTTI, Cristiano MIOSSO, Kasia MOLGA, Rosana
MONTEIRO, Josei NAGAYASSU, Frieder NAKE, Rachel O’DWYER, Elaine
O’HANRAHAN, Margrét ÓLAFSDÓTTIR, Robin OPPENHEIMER, Karen
O’ROURKE, Christian OYARZUN, Camille PALOQUE BERGES, Abraham
PAREDES, Jussi PARIKKA, Karen PATTERSON, Christiane PAUL,Robin PECKHAM,
Valentina PEÑA, Jeremy PILCHER, Morgan QUAINTANCE, Peter RICHARDSON, Ben
ROBERTS, Janice ROBERTSON, Axel ROCH, Rebecca ROUSE, Rie SAITO, Chris
SALTER, Rob SAUNDERS, Margaret SCHAVEMAKER, Jens SCHRÖTER, Theresa
SCHUBERT MINSKI, Adele SENIOR, Mark SMITH, Morten SØNDERGAARD, Josephine
STARRS, Jenny STEELE, Wanda STRAUVEN, David TEH, Daniel TEMKIN, Sarah
THOMPSON, Jenny TILLOTSON, Heidi TIKKA, Sarah TODD, John TONKIN,
Magdalena TYZLIK-CARVER, Rebecca UCHILL, Tomohiro UESHIBA, Eduardo
VALLE, Silvana VASSALLO, Sander VEENHOF, Erandy VERGARA-VERGAS, Natasha
VITA-MORE, Lioudmila VOROPAI, Pau WAELDER, Birk WEIBERG, Nina WENHART,
Florian WIENCEK, Ewa WÓJTOWICZ,Ian WOJTOWICZ, Suzette WORDEN, Maria X,
Andrea ZAPP

Special thanks to our International Advisory Committee and the Media
Art History Board for their expertise and support

Further information can be found 

[rohrpost] Visual Archives in the Digital Age

[Oliver Grau]

CONF: Visual Archives in the Digital Age (Bremen, 14.-15. Jun 11)

Campus Center, Jacobs University Bremen, June 14-15, 2011

Symposium Visual Archives in the Digital Age

Wann: 14./15. Juni 2011
Wo: Campus Center, Jacobs University Bremen

Das Symposium „Visual Archives in the Digital Age“ findet im Kontext

des vom BMBF-geförderten Forschungsprojekts „Bild-Film-Diskurs: ein 
neuer integrativer Ansatz“ statt, an dem Forscher der Jacobs
University 
und der Universität Bremen zusammenarbeiten. Im Zentrum dieses 
Projektes steht die Idee, die zumeist textbasierte digitale Suche nach

visuellem Material durch eine Motiv-basierte Suche für Standbilder bzw.

einer automatisierten Erkennung von narrativen Strukturen in Filmen zu

ergänzen.

Ziel des Symposiums ist es, den interdisziplinären Austausch von 
Praktikern und Wissenschaftlern rund um das Thema der visuellen Archive

und ihrer Digitalisierung zu fördern und zu ermöglichen und unsere 
Forschungsergebnisse aus dem Projekt „Bild-Film-Diskurs“ in einem 
internationalen Fachkontext zu präsentieren. Der Fokus liegt hierbei 
insbesondere – aber nicht ausschließlich – auf Bildarchiven für 
Standbilder. Thematische Schwerpunkte der Tagung sind am ersten Tag die

Geschichte und Entwicklung von Paradigmen der Bildarchivierung und 
deren Anpassungen im Zuge der Digitalisierung von Bildarchiven, auch im

Hinblick auf ihre zukünftige Nutzung. Der zweite Tag widmet sich zwei 
großen Themen: Panel 2 thematisiert den Übergang von analogen Archiven

zu Datenbanken und behandelt vor allem die technischen und 
archivpolitischen Herausforderungen, Konsequenzen aus und Lösungen für

die Digitalisierung von Bildarchiven und stellt innovative Lösungen für

Zugang zu und der Interaktion mit digitalen Bilddaten am Beispiel von 
konkreten Projekten vor. Panel 3 widmet sich ganz den „Digital 
Humanities“ und stellt insbesondere zwei innovative Ansätze zur
Analyse 
von großen visuellen Datenkorpora vor.

Das Programm finden Sie unter 
https://www.jacobs-university.de/shss/visual-archives/program 

Hinweise zur Teilnahme:
Dieses Symposium ist als Expertensymposium für eingeladene Teilnehmer 
konzipiert. Ausnahmen bilden der Keynote Vortrag von Martin Warnke (Di,

14.06.2011, 20:00 Uhr) sowie das Panel 3 mit dem Schwerpunkt auf 
Digital Humanities (Mi, 15.06.2011, 14:30), die auch für interessiertes

Fachpublikum offen sind.

Es steht nur noch eine begrenzte Anzahl an Plätzen zur Verfügung, 
insofern melden Sie sich bitte bei Interesse per Email an.

Kontakt/Anmeldung:
Florian Wiencek
Jacobs University Bremen gGmbH
School of Humanities and Social Sciences
Tel.: +49 (0)421 200-3046
Fax: +49 (0)421 200-3303
E-Mail: f.wien...@jacobs-university.de 

Weitere Informationen:
http://www.jacobs-university.de/shss/visual-archives 

Diese Konferenz wird vom BMBF gefördert.



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[rohrpost] ..weitere Konferenz Immersion in Kiel

[Oliver Grau]

Zweite interdisziplinäre Konferenz illusion-immersion-involvement 2011

28. - 29. Oktober 2011 auf dem Campus der Fachhochschule Kiel

http://www.fh-kiel.de/index.php?id=7555



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[rohrpost] Wtrlt: CONF: Immersion (Muenchen, 16-18 Jun 11)

[Oliver Grau]

Immersion kommt nach München :




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[rohrpost] New University Program : EXHIBITION DESIGN MANAGEMENT

[Oliver Grau]

E X H I B I T I O N   D E S I G N   MANAGEMENT (Certified Program) 
INTERNATIONAL PROGRAM in ENGLISH * Start April 16, 2011
 
The modularized, low-residency certified program *Exhibition Design
and Management* focuses on the conception and management of
exhibitions with a special eye on experiential worlds and immersive
exhibition strategies, and imparts the fundamental competencies of
contemporary exhibition practice. 
 
= IN ENGLISH - After being offered 4 successful years in German, the
program will now step into the European scene and be offered for the
first time in English.  
 
= EXPERTS - With a faculty of international experts: Prof. Herbert
LACHMAYER (Staging Knowledge; U.- Arts  Design, Linz), Gerfried
STOCKER
(director; Ars Electronica), Frank den OUDSTEN (designer, teacher,
writer, performer), Lutz ENGELKE (founder; Triad- Berlin), Martin
FRITZ
(curator, consultant, writer), Dr. Harald GRÜNDL (founder; EOOS *
Vienna), Pat MUNRO (exhibition evaluator), Dr. Dieter BOGNER (museum
planner), Prof. Jorge WAGENSBERG (scientific director; Fundacio *la
Caixa*, Barcelona, Becky GILBERT (board member; European Fundraising
Association), Dr. Dieter RONTE (art museum director; Hannover, Bonn,
Krems) and others. Case-studies and best-practice examples from today
and tomorrow will be shown for their far-reaching insights into the
contemporary varieties of exhibiting.
 
= PROGRAM - The certified program is a part of the post-graduate
masters program at the Department for Image Science, under the
direction
of the American exhibition developer Wendy Jo COONES, M.Ed., who has
been a part of the realization of 60 international exhibitions. Based
on
the needs and schedules of the students, the credits earned in
Exhibition Design and Management can be combined with other programs
to
upgrade to an academic expert or masters degree.
 
= MODULES
Module 1: From Theory to Practice: competent planning and organization
of exhibitions 16. - 24. April 2011
 
Module 2: From the Practice to Preparation: professional realization
of
exhibitions 05.11.2011 -17.11.2011
 
= CONTENT OF TEACHING - In our modern knowledge society, exhibitions
are more than just presentations of artifacts; they enable experiences
to take place in special staged spaces with a variety of purposes.
Exhibitions inform, entertain and animate. Whether for a museum, theme
park, science center, exhibit hall, or experimental world * a
harmonious visitor experience can only be accomplished through
sensible
implementation of design and organizational knowledge. 
 
= FACTS - The program addresses anyone who needs current skills and
competencies for handling the realization of exhibition projects. For
example: Staff in museums, collections and similar institutions,
promoters and curators of science or art/ culture, and staff in
tourist,
fair or theme park establishments. 
 
More information on the program and application
www.donau-uni.ac.at/exhibit 
 
 
= DANUBE UNIVERSITY KREMS - located in the UNESCO world heritage
Wachau, 70 km from Vienna, is the only public university in Europe
specializing in advanced continuing education by offering
low-residency
degree programs for working professionals and lifelong learners. Our
students  faculty members come across Europe and beyond. Without
interrupting their career, students have the opportunity to learn
through direct experience, social learning in small groups and
contacts
with institutions and specialists. 
The Center in Monastery Goettweig, where most Exhibition Design and
Management courses take place, is housed in a 14th century building,
remodeled to fit the needs of modern research in singular
surroundings.

 
= Contact  
Andrea Haberson
Department for Image Science
Danube University Krems
Dr.-Karl-Dorrek-Str. 30, A-3500 Krems
Tel: +43(0)2732893-2569 
andrea.haber...@donau-uni.ac.at  
www.donau-uni.ac.at/dis 


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[rohrpost] Wtrlt: [CAS] Stephen Wilson

[Oliver Grau]

A big loss for the MediaArtHistories community..

 Paul Brown p...@paul-brown.com 1/11/2011 12:11  
Forwarded from the empyre list:

I'm sorry to say I heard today that Stephen Wilson, author of a number of
key books in the area of new media arts and a pioneer artist in the field,
passed away in San Francisco. I understand it was quiet and he was with his
family. Stephen's passing is a great loss as he has always contributed so
much energy to the new media arts. Steve was a net contributor to our
community, part of what helped define it and hold it together. He was also a
very nice guy with a great sense of humour.

Simon


Simon Biggs
si...@littlepig.org.uk 
http://www.littlepig.org.uk/ 

s.bi...@eca.ac.uk 
http://www.elmcip.net/ 
http://www.eca.ac.uk/circle/ 



Edinburgh College of Art (eca) is a charity registered in Scotland, number 
SC009201


___
empyre forum
emp...@lists.cofa.unsw.edu.au 
http://www.subtle.net/empyre

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[rohrpost] US-Justizministerium verlangt Zugriff auf Twitter-Daten

[Oliver Grau]

US-Justizministerium verlangt Zugriff auf Twitter-Daten (mglw. auch
Google, Facebook und Amazon)

Online-Durchsuchung per Geheimverfahren: Ein US-Gericht hat angeordnet,
dass Twitter dem Justizministerium sämtliche Benutzerdaten von
prominenten WikiLeaks-Unterstützern geben muss. Betroffene erfahren erst
jetzt von der Entscheidung - sie haben zehn Tage zur Gegenwehr.

http://www.spiegel.de/netzwelt/netzpolitik/0,1518,738447,00.html

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[rohrpost] Julian Assange t o d a y in an in depth interview

[Oliver Grau]

Julian Assange  t o d a y  in an in depth interview :
http://www.youtube.com/watch?v=U6mcSXge4Qofeature=player_embedded



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Antw: Re: [spectre] Re: [rohrpost] Person of the Year

[Oliver Grau]

TIME traut sich nicht (oder darf es nicht) Julian Assange, der 20x mehr
Stimmen als Zuckerberg bekam, zur Person des Jahres auszurufen..
-- na ja, er steht ja auch auf der Todesliste der Republikaner und es
heißt, es seien 120 Agenten (US only) auf Wikileaks angesetzt..


 kontakt | florian kuhlmannkont...@floriankuhlmann.com 12/15/2010
5:11  

Am 11.12.2010 um 12:06 schrieb kontakt | florian kuhlmann:

 WIKILEAKS' founder Julian Assange is leading an online poll to be  
 named Time magazine's Person of the Year

 http://www.time.com/time/specials/packages/completelist/ 
 0,29569,2028734,00.html

 will somebody spend a globalized round of http://freebeer.org when  
 he wins the race? :-)

http://www.heise.de/tp/blogs/6/148940 

no http://freebeer.org :-(

cheers
fk




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[rohrpost] N A K E D E Y E von Sylvia ECKERMANN im Kunstraum Bernsteiner

[Oliver Grau]

N A K E D   E Y E
eine intermediale Rauminstallation von SYLVIA ECKERMANN

im Kunstraum BERNSTEINER, Schiffamtsgasse 11, Wien

1. Dezember 2010 - 9. Jänner 2011
Öffnungszeiten: 1. - 4. und 7. - 11. Dezember 14h - 19h
http://syl-eckermann.net/nakedeye/index.html


Für Naked Eye verwandelt Sylvia Eckermann den White Cube des kunstraum
BERNSTEINER in einen choreographierten Raum aus Text, Bild, Farbe und
installativen Elementen. Der Ausstellungsraum ist von außen nicht
einsehbar. Die Glasscheiben der vier Eisentore sind mit einer
spiegelnden Oberfl äche überzogen, die den Raum nahezu blickdicht
abschirmt. Leerstellen im Spiegelraster ergeben ein Zeichenmuster, das
von außen kaum dekodierbar ist. Wenn man den Raum betritt, befi ndet man
sich in einem Ensemble, das sich durch die Spiegelung verdoppelt und der
nun lesbare Text * ein von Alfred Adler, dem Begründer der
Individualpsychologie, stammendes Zitat * überlagert sich mit der von
Eckermann arrangierten Rauminstallation: An der dem Eingang
gegenüberliegenden Wand sind Bildträger im Stil der Petersburger
Hängung platziert. Durch ihre Materialpräsenz und die spezielle
Oberfl ächenbehandlung thematisieren sie einerseits den Anspruch des
Bildes auf Autonomie, dienen andererseits als Projektionsfl ächen einer
Bild-Choreografi e, die via programmierter Beamer auf diese Objekte
projiziert wird, und sie damit erst in Licht taucht. Projektionswand und
Bodenbelag sind in derselben Farbe ausgeführt. Eine Audioebene
(Komposition: szely) schwebt bodennah im Raum.

In Sylvia Eckermanns Ausstellung Naked Eye * dem Blick mit bloßem
Auge * lösen sich die Kategorien einer narrativen Erzählung auf und
erlauben einen Blick auf und durch die Materialien der Kunst. In einem
2008 erschienenen Interview in Art  Research. A Journal of Ideas,
Contexts and Methods spricht Jacques Rancière dieses Thema im Rückblick
auf eine Diskussion an, die das damals neue Medium Film im Kontext der
Kunst (und der Leinwand) betrachtete: *Für die Theoretiker der 1920er
Jahre war der Film die Kunst, die gekommen war, die alten narrativen und
psychologischen Erzählformen abzulösen, um stattdessen das Ereignis der
Stoffl ichkeit der Materie zu erschließen * das Leuchten der
Lichtatome auf der Leinwand. Es war die Kunst der Maschine, die uns von
der klassischen Figur des Künstlers befreien und durch die wir uns von
den klassischen Figuren und Formen der Narration und Psychologie
abwenden sollten. Die Kunst des Lichts und die Kunst der Bewegung
sollten für sich sprechen. Es zeigte sich aber, dass das Kino etwas ganz
anderes tat, weil es psychologische Erzählformen, die anderweitig
bereits zuvor zerstört worden waren und sogar die Einteilung in Genres
wiedereinführte.* *

Naked Eye überführt diesen Kontext in den zeitgenössischen Diskurs über
das Dispositiv *Ausstellung*. Der Screen dehnt sich über die
eigentliche Leinwand aus, der gesamte Raum wird *Projektion*, wird zum
Empfänger der taktilen Spur von Licht und Bewegung. Die *Rede* im
Zitat Alfred Adlers könnte sich hier auf die Kunst umdeuten lassen:
*Wenn Ihnen das, was der Patient sagt, widersprüchig und verwirrend
vorkommt, dann schließen Sie die Ohren und öffnen Sie weit die Augen.
Schauen Sie ihm genau beim Reden zu, und Sie werden auf einmal ganz
genau verstehen, was er Ihnen nicht sagt.*

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[rohrpost] Person of the Year

[Oliver Grau]

WIKILEAKS' founder Julian Assange is leading an online poll to be named Time 
magazine's Person of the Year

http://www.time.com/time/specials/packages/completelist/0,29569,2028734,00.html



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[rohrpost] Internationaler Haftbefehl

[Oliver Grau]

http://bazonline.ch/ausland/europa/Geht-es-bei-der-angeblichen-Vergewaltigung-nur-um-ein-geplatztes-Kondom/story/20158936

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[rohrpost] Media Art History 2011 - REWIRE - Call for Papers now open

[Oliver Grau]

Media Art History 2011 - Rewire 
Fourth International Conference on the Histories of Media Art, Science and 
Technology
Liverpool, 28th September - 1st October 2011
Call For Papers now open - Deadline Monday, January 31st 2011


http://www.mediaarthistory.org

Host: FACT (Foundation for Art and Creative Technology), Liverpool
In collaboration with academic partners: Liverpool John Moores
University, CRUMB at the University of Sunderland, the Universities of
the West of Scotland and Lancaster, and the Database of Virtual Art at
the Department for Image Science.

Following the success of Media Art History 05 Re:fresh in Banff, Media
Art History 07 Re:place in Berlin and Media Art History 09 Re:live in
Melbourne, Media Art History 11 Rewire will host three days of keynotes,
panels and poster sessions.

Media Art History 2011 - Rewire will increase the voltage and ignite
key debates within the internationally distributed network of histories,
which takes account of the questions surrounding documentation and
methodologies, materiality, and agency. Rewire aims to up the current to
illuminate the British contribution to media art, and by looking at our
industrial heritage and contribution to the history of computing
technologies themselves, we will open the discussion to how these
contributions are manifested internationally. Considering the
International scope of the histories of media art, science and
technology, Rewire is also listed as part of the McLuhan in Europe
programme, and will take place concurrently with The Asia Triennial in
Manchester and Abandon Normal Devices, the North West's festival of new
cinema and digital culture which returns to Liverpool in September 2011.
The reviewers especially welcome proposals for presentations that
resonate thematically with these events.

We are looking for original research on:

* The relations between art, science, technology and industry, both
historically and now
* New paradigms and alternative discourses for media art and media
art history, such as, for example, craft, design, social media, or
cybernetics
* Local histories and practices of media art, including (but not
limited to) Britain
* Colonial experiences and non-Western histories of media art,
science and technology
* Media art history in relation to the biological, biomedical and
ecological sciences
* Relations between the histories of media art and those of computing
and new technologies
* Writing art history in a technologised and scientific culture,
including the documentation of media art and how it is changed in a
technologised and scientific culture
* How the field of science and technology studies (STS) can offer
useful models for new paradigms for art history

General papers will be accepted. The conference will be delivered in a
range of formats, from panel discussions to Pecha Kucha sessions and
video poster presentations, as well as a small number of invited
speakers. The programme will include competitively selected,
peer-reviewed individual papers, panel presentations, and poster
sessions, as well as a small number of invited speakers. Keynote
Lectures, by internationally renowned, outstanding theoreticians and
artists, will deliberate on the central themes of the conference and
will include the Roy Stringer Memorial Lecture, held annually by FACT in
memory of Roy Stringer, an early pioneer of digital media, champion of
multimedia industries in the North West and Liverpool, and former Chair
of the Board at FACT. The conference will also include dedicated forum
sessions for participants to engage in more open-ended discussion and
debate on relevant issues and questions.

For the full Call for Papers, and to submit an abstract, please visit:
http://www.mediaarthistory.org/rewire



Chaired by Professor Mike Stubbs, Director of FACT, the panels at
Rewire will be led by co-chairs - Paul Brown (Sussex, Deakin), Dr. Sarah
Cook (CRUMB), Colin Davies (LJMU), Dr. Charlie Gere (Lancaster), Prof.
Andy Miah (UWS), Prof. Ed Shanken (UvA) - on areas of their own
expertise, and submissions will be juried by the co-chairs together with
Rewire's International Advisory Committee of leading academics, artists
and industry professionals.

International Advisory Committee:
Steven BALL, Tatiana BAZZICHELLI, Stuart COMER, Sean CUBITT, Dieter
DANIELS, Sara DIAMOND, Vince DZIEKAN, Charles ESCHE, Sarah FISHER, Jean
GAGNON, Graham HARWOOD, Erkki HUHTAMO, Nick LAMBERT, Debbi LANDER, Tapio
MAKELA, Chris MEIGH-ANDREWS, Frieder NAKE, Taylor NUTTALL, Steve
PARTRIDGE, Christiane PAUL, Ned ROSSITER, Paul SERMON, Jinsuk SUH, Brett
STALBAUM, Julian STALLABRASS, Atau TANAKA, Andrea ZAPP








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[rohrpost] Wtrlt: VISUAL ARTS FESTIVAL DAMASCUS

[Oliver Grau]

VISUAL ARTS FESTIVAL DAMASCUS
Opening  
Sunday 17 October, 7pm / Zeitouneh area, Bab Sharqi, Medhat Pasha,
Damascus, Syria

AIN (Association IN) presents a visual arts project comprising video
art, photography, installations, a lecture and a workshop. 
The first edition explores different aspects of contemporary life in
the city by presenting events in several locations in Damascus. It is an
invitation to reflect on the collective memory of the city and the
relations between art(ists) and the city.

Curators: Charlotte Bank, Delphine Leccas, Omar Berkadar.


Program

*Close Encounters* curated by Charlotte Bank
*Video installations by Bass Breche (Lebanon), Gheith Al-Amine
(Lebanon), Mohanad Yacoubi (Palestine), Christophe Katrib (Lebanon),
Ghassan Halwani (Lebanon), Marwa Arsanios (Lebanon), Siska
(Lebanon/Germany), Salah Saouli (Lebanon/Germany) 
17 October, 7pm / 17- 31 October from 4 to 9pm / Zeitouneh area, old
city
*Experimental music and video performance by Raed Yassin (Lebanon) 
17 October, 8:30 pm / Finnish Institute, Zeitouneh area, old city

*Installation by Omar Berakdar (Syria)/ Photographs from studio
photographers' archives 
*Photo-media installation by Fassih Keiso (Syria)
*Video exhibition by Annelies Strba (Switzerland)
*Media art installation with students of the Faculty of Fine Arts in
Damascus proposed by TheGreenEyl (Germany)
17 October, 7pm / 17-31 October from 4 to 9pm / Zeitouneh area, old
city  
 
* *Contemporary Art in the Digital Age*/lecture by Oliver Grau
(Germany)
Tuesday 19 October, 12pm / Faculty of Fine Arts, Baramkeh

*Video selected from European Media Art Festivals (Osnabrueck,
Germany)
18 and 19 October, 7pm / Goethe-Institut Damascus, Malki

*Installation by Patricia Lambertus (Germany) 
17 October, 6pm / 17 -31 October /  Goethe-Institut Damascus, Malki

*Photography exhibition by Laila Muraywid (Syria/France)
10 November, 7:30pm / 10 November-2 December / French Cultural Centre,
Bahsa



For further press information please contact:
associatio...@gmail.com 


 
The festival is presented under the patronage of the Ministry of
Culture


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[rohrpost] CALL FOR PROPOSALS to host the 5th International MediaArtHistories Conference

[Oliver Grau]

CALL FOR PROPOSALS to host the 5th International Conference on the
Histories of Media Art, Science and Technology

The Media Art Histories Board invites applications to host the 5th
International Conference on the Histories of Media Art, Science and
Technology. This international conference series, which was inaugurated
in 2005 in Banff, Canada, has since been held in several international
venues including Berlin in 2007, Melbourne in 2009 and will be held in
Liverpool in 2011. The conference series aims to engage a growing
community of scholars from a range of disciplines including art history,
contemporary art practice, art theory, history of science, history of
technology, science and technology studies, media studies, sociology,
philosophy, cultural studies, anthropology, architecture theory, music
history, information sciences, image science, visual studies and
critical theory among others, to develop and share new research and
scholarship in the intersecting fields of the histories of media art,
science and technology. The host of the next conference in 2013 will
have the opportunity to continue to build on the impressive history of
the conference series.

MISSION
*Recognizing the increasing significance of media art for our
culture, the conference series on the Histories of Media Art will
discuss the history of media arts within the interdisciplinary and
intercultural contexts of the histories of the arts. Numerous
individuals and institutions collaborate to produce the international
art history conference series covering the media arts, the arts and
technology, art-science interaction, and the history of media as
pertinent to the contemporary arts.*

Proposals to host the conference should consist of the following
information:

1. Proposed Dates
2. Proposed Venues (including information on number, capacity and AV
and network capabilities of spaces)
3. Rationale for hosting the conference
4. Host Local Organizing Committee
5. Relevant previous experience (e.g., committee members* experience
in hosting conferences, events, etc.)
6. Publicity Plan
7. Funding / Sponsorship plan
8. Preliminary Budget

Those interested in making a bid to host the conference are encouraged
to write to Oliver Grau at oliver.g...@donau-uni.ac.at with an
expression of interest prior to submitting a formal proposal. Deadline
for final submission of proposals is September 30, 2010 and the MAH
Advisory Board will make its final decision on the next host for the
conference by December 17, 2010. 

 
MediaArtHistory Board (Steering Committee)
www.mediaarthistory.org/

Sean CUBITT - University of Melbourne
Jorge LAFERLA - University of Buenos Aires
Oliver GRAU - Danube University
Linda HENDERSON, University of Texas, Austin
Erkki HUHTAMO UC Los Angeles
Douglas KAHN - UC Davis
Martin KEMP - Oxford University
Timothy LENIOR - Duke University
Machiko KUSAHARA - Waseda University, Tokyo
Gunalan NADARAJAN - MICA
Paul THOMAS - UNSW Sydney

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[rohrpost] Wtrlt: Emergency protests today

[Oliver Grau]

 
 
 Jewish Voice for Peace i...@jewishvoiceforpeace.org 5/31/2010 7:33 PM  
Join us on:
FacebookTwitter

Jewish Voice for Peace condemns Israel's attack and killing of members of the 
Freedom Flotilla aiming to bring much needed aid to the besieged Gaza Strip.

Before the flotilla was attacked, Yigal Palmor, an Israeli foreign ministry 
spokesman, said,

If we let them throw egg at us, we appear stupid with egg on our face. If we 
try to prevent them by force, we appear as brutes.

Israel has more than egg on its face. Israel has blood on its hands. At least 
10 passengers have been killed by Israel and about 30 wounded in international 
waters. This is just another deadly escalation of Israel's harsh repression of 
nonviolent protests against the occupation, paid with American tax-dollars.

The White House has stated that it deeply regrets the loss of life and 
injuries sustained, and is currently working to understand the circumstances 
surrounding this tragedy. This is not enough.

We should not lose sight of the original intent of the flotilla: to bring aid 
and relief to the Gaza Strip, still under siege.

Join local activist in your area

EMERGENCY PROTESTS TODAY

NY: 3 PM TODAY, Times Square.  Assemble at 47th St. and 7th Ave.  Look for the 
JVP banner to join our contingent.

SAN FRANCISCO: 12noon TODAY. Israeli Consulate (456 Montgomery St.) and march 
to Union Square, Memorial Day. Please be there! Bring your own sign! 1 pm at 
Market and Powell.

DC: 3pm TODAY: Assemble at the Israeli Embassy, 3514 International Drive NW  
(Van Ness Metro Stop), moving to the White House at 5pm.

SEATTLE: 1:00 pm TODAY. 5th Avenue and Broad St, Seattle Center near the 
Experience Music Project.

MIAMI: 5pm-7pm TODAY, at Torch of Friendship (Downtown)

Additional protests here: 
http://gazafreedommarch.org/cms/en/flotilla/protest.aspx

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Contact us directly at Jewish Voice for Peace. 1611 Telegraph Avenue, Suite 
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[rohrpost] Visual Culture Studies in Europe Conference (February 5th 2010)

[Oliver Grau]

Visual Culture Studies in Europe Conference (February 2010)Date: Friday 5 
February 2010, 10am
Place: University of Westminster, London
This conference is a collaboration between established and emergingscholars, 
curators, educators, and editors from across a number ofEuropean universities 
and cultural institutions with a commitment toVisual Culture Studies in Europe, 
and the study of visual culture.
Featuring Joachin Barriendos (Curator, Santa Monica Art Centre, Barcelona, 
Spain), Jose Luis Brea (Editor of Estudios Visuales, Madrid, Spain), Iain 
Chambers (University of Naples, Italy), Anna Maria Guasch (University of 
Barcelona, Spain), Oliver Grau (Danube University Krems, Austria), Joanne Morra 
(Central Saint Martins, University of the Arts London, England), Almira 
Ousmanova (European Humanities University Belarus/Lithuania), Kresimir Purgar 
(Center for Visual Studies Zagreb, Croatia), Vivian Rehberg (Parsons Paris 
School of Art + Design, France), Marquard Smith (University of Westminster, 
England), Oyvind Varges (University of Bergen, Norway), and Nina Lager Vestberg 
(Norwegian University of Science and Technology Trondheim, Norway).
http://www.journalofvisualculture.org/2009/12/visual-culture-studies-in-europe-conference-february-2010/

Location: Room 2.05c, 4-12 Little Titchfield Street, University of Westminster, 
London W1W 7UW
Cost: £20/£10 concs.

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[rohrpost] Axel Roch: Claude E. Shannon: Spielzeug, Leben und die geheime Geschichte ...

[Oliver Grau]

Weiterleitung:

N E U E R S C H E I N U N G

Claude E. Shannon: Spielzeug, Leben und die geheime Geschichte seiner
Theorie der Information von Axel Roch, Hardcover, 117 Abb., 256 Seiten,
gegenstalt Verlag, Berlin 2009, ISBN 978-3-9813156-0-8

Das Buch erzählt erstmals die geheime Geschichte der
Informationstheorie Claude Shannons und enthält zwei Kapitel über Shannons
Spielzeuge. Geheim, da Informationstheorie und Kryptologie
Auftragsarbeiten des Pentagons waren. Spielzeuge, da diese 
Metaphern der Steuerung und Balance bei Shannon sind.

Zugleich ist die Publkation Katalog der Shannon-Ausstellung im
Heinz NixdorfMuseumsForum (HNF) in Paderborn.

http://hnf.de/Shannon/index.asp
http://hnf.de/Shannon/Daten_und_Fakten.asp#Buch
http://hnf.de/Shannon/Roch-Buch.pdf

Interview zur Neuerscheinung mit Florian Rötzer:

Auf die Einräder Ihr Medienphilosophen!
http://www.heise.de/tp/r4/artikel/31/31616/1.html

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[rohrpost] Fwd: TImelapse Opening at the National Art Museum of China, Nov. 24 2009

[Oliver Grau]

 z zhan...@namoc.org 11/17/2009 4:20 pm 
  For immediate release


The National Art Museum of China is pleased to announce the opening of 

the exhibition Timelapse curated by Zhang Ga. The first installment of 

this Chinese and Swiss media art exhibition will open on November 25, 

2009, in Beijing and will travel to Biel, Switzerland, in March 2010.

In the summer of 2008, the National Art Museum of China (NAMOC)  
successfully staged Synthetic Times: Media Art China 2008,  
International New Media Art Exhibition. The exhibition showcased the  
latest trends in global media art development, establishing Beijing as 

a platform for international dialogue in the field of new media art  
and providing an opportunity for a Chinese audience to recognize and  
appreciate rich and multifaceted artistic visions of the twenty-first 

century. Timelapse is the result of NAMOC*s continued commitment to 

exhibit media art.

Time-lapse describes a cinematographic technique in which pictures are 

taken with long intervals between each frame. Time-lapse as a process 

of delaying or prolongation constructs an obviously accelerated  
artificial effect when synchronized at a twenty-four-frame-per-second 

playback speed, which typically creates the illusion of real-time  
movement in human visual perception. Time-lapse therefore manipulates 

an illusionary reality to achieve yet another level of syntheticity *
 
a virtual reality as opposed to the *reality* arrived at by
simulation.

Time represents itself by movement, which is the continuous covering  
of space. In space where movement unfolds, abound the actions and  
happenings of distinct progression, that of heterogeneity. In time- 
lapse, through the drastic slowing down of speed in space, in between 

the delays and elongation for the finale of speediness and continuity, 

elasticity metamorphoses into virtuality, transcending ordinary  
perception of the temporal and the spatial, creating memory in a  
succession of variations.

By metaphorically invoking photographic terminology in the spirit of  
Bergsonian / Deleuzian time-movement interpretation as inspiration,  
the exhibition Timelapse in which a dozen artists from both  
Switzerland and China will participate, attempts to examine the  
fundamental constituent of digital media: the concept of time and its 

embodiment in space, its evocation of passage and memory, its movement 

of differentiation and its state of representation in diverse formal  
grammars to reveal the social implications of the fast in the disguise 

of the slow, the multiplicity in temporality, and disparity in  
spatiality, both psychologically and geographically. The exhibition  
scrutinizes the nuances and ramifications of cultural being within the 

disparate frameworks of time in distance and space in locality, and  
the potential collapse of a time-space duality.

Participating artists:
Peter Aerschmann, Cao Fei, Chen Shaoxiong, Arthur Clay, Hervé
Graumann,
Alexander Hahn, Hu Jieming, Jin Jiangbo, Timo Loosli, Qiu Zhijie,  
Valentina Vuksic, Zhang Peili, Daniel Werder

The exhibition is a project of NAMOC*s Media Art China 2009, co- 
organized by the National Art Museum of China and CentrePasquArt (Biel 

Contemporary Art Museum) in Switzerland, and in partnership with Pro  
Helvetia, the Swiss Arts Council, as part of the exchange and  
cooperation program Swiss Chinese Cultural Explorations , which aims 

to support a rapprochement between the two countries on a cultural  
level, placing importance on establishing long-term relationships  
between artists and institutions from Switzerland and China. The  
exhibition is also supported by Presence Switzerland and Swissnex  
Shanghai, Switzerlands*s Outpost for Science, Technology and Culture 

in China.


National Art Museum of China, Beijing, China
November 25, 2009 * December 19, 2009

CentrePasquArt, Biel, Switzerland
March 28, 2010 * May 30, 2010

Catalogue designed by: Project Projects, New York


  

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[rohrpost] CHArt TWENTY-FIFTH ANNUAL CONFERENCE: OBJECT AND IDENTITY IN A DIGITAL AGE

[Oliver Grau]

CHArt TWENTY-FIFTH ANNUAL CONFERENCE

OBJECT AND IDENTITY IN A DIGITAL AGE

Thursday 12 - Friday 13 November 2009

Birkbeck, University of London, Clore Lecture Theatre, Clore Management
Centre, Torrington Square, London, WC1 7HX.

THEME

This year's CHArt conference engages with the idea of object and
identity in relation to art practice, production, consumption,
representation and display. The conference will explore new notions of
the identity of the artist, including those involving collaboration and
anonymity; new conceptions and ontologies of the art object, as
processual, virtual, or hybrid; new means of consumption and reception,
whether in galleries and museums, in public spaces, or over networks of
broadcast and narrowcast; and the challenges these transformations bring
to the display of art and to its curation and access.

Places are limited so early booking is recommended.

The booking form is available online on www.chart.ac.uk.  Conference
fees (pounds sterling) - include coffee/tea breaks and lunch.


PROGRAMME

THURSDAY 12 NOVEMBER

KEYNOTE - Frieder Nake, University of Bremen, Germany.
Only Artist. Only Engineer. Only Critic. Transcending Disciplines in
Early Digital Art.


SESSION 1

Patterns of Movement in Live Languages.
Alex McLean, Geraint Wiggins, Goldsmiths, University of London.

The Software in Art.
Ernest Edmonds, University of Technology Sydney.

Interfaces of Performance.
Maria Chatzichristodoulou (Maria X), University of Hull; Janis
Jefferies, Goldsmiths, University of London; Rachel Zerihan, Queen Mary
University of London.

The Screaming Head: Making the Most of the Random Attributes of Sensors
in the Construction of a Virtual Performer.
Mary Oliver, University of Salford.


SESSION 2

Making Connections: Children, Objects, Meanings and Museums.
Helena Tomlin and Irit Narkiss, The Manchester Museum.

Art and Orphan Works:  Ownership and Discovery.
Annette Ward, University of Dundee; Annsley Merelle Ward, Gallant
Macmillan LLP; James Stevenson, Victoria and Albert Museum; Stephen
McKenna, Ian Ricketts, University of Dundee.


Emergent questions: Digitisation, Cultural Heritage and the Social
Agency of Images.
Devorah Romanek, The British Museum.

Cut and Paste Art History: Image Manipulation as Spurious Art
Historical Proof of the Face of Shakespeare.
Marcus Risdell, Garrick Club.


SESSION 3

Re-Materialisation of the Art Object.
Dew Harrison, University of Wolverhampton.

Puppeteers, Performers or Avatars: A Perceptual Difference in Telematic
Space.
Paul Sermon, University of Salford.

The Work of Art in the Age of Virtual Production.
Andrew Sempere, IBM Watson Research.

The Creative Use of Online Social Networking Sites to Increase Public
Engagement and Participation in the Professional Arts Through
Collaborative Involvement in Creative Practice.
Sophy Smith, De Montfort University, Leicester.


(The CHArt Annual General Meeting will take place at the end of day 1)


FRIDAY 13 NOVEMBER


SESSION 4

The Role of Art in Computer Game Design.
Colin B. Price, June S. Moore, University of Worcester.

The Artist as Designer, the Artist as User: Developing a Collaborative
Framework for Artistic Engagement in ICT Design.
Frederik Lesage, London School of Economics and Political Science.

Big Bird is Watching You! Art, Activism and Technology in the Public
Arena.
Denitsa Petrova, Edinburgh College of Art.

Are You Clean? Parasitic Art and Privacy.
Jeremy Pilcher, Lancaster University.


SESSION 5
The Case of Liberation Aesthetics Versus Digital Identit(ies).
Timothy Allen Jackson, Savannah College of Art and Design, USA.

Performing Information.
Christoph Klütsch, Savannah College of Art and Design, USA.

Exhibition Design as High-Level Programming
Gabriel Menotti Gonring, Goldsmiths, University of London.



SESSION 6

Art and Software Entropy.
Wayne Clements, Chelsea College of Art and Design.

Databasing the Arts:The Enactment of Art Objects in Networked
Infrastructures.
Sarah de Rijcke, Royal Netherlands Academy of Arts and Sciences.

ArtLog: An Electronic Archive of Artistic Process
Yvonne Desmond, Dublin Institute of Technology, Ireland.

Try to Get that Kindle Signed: The Comic Book as Cultural Interface
Ernesto Priego, University College London.



BOOKING FEE

CHArt Member: TWO DAYS £120 
CHArt Member: ONE DAY £80 
Non-member: TWO DAYS £160 
Non-member: ONE DAY £110 
CHArt Student Member: TWO DAYS £65
CHArt Student Member: ONE DAY £45 
Student Non-member: TWO DAYS £85 
Student Non-member: ONE DAY £55 




..
Hazel Gardiner
Centre for Computing in the Humanities
King's College London
26-29 Drury Lane
London
WC2 5RL

hazel.gardi...@kcl.ac.ukmailto:hazel.gardi...@kcl.ac.uk

+44 020 7848 2013

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[rohrpost] Fwd: ACM Computers in Entertainment (CiE) New Editors in Chief and Call for Papers 2010

[Oliver Grau]

 Shika Ismail idm...@nus.edu.sg 10/1/2009 8:52 am 
Dear Sir/Mdm ,

Call for Papers, Deadline: October, 30, 2009
 6|5January 2010 Issue of ACM Computers in Entertainment (CiE) 
6|5http://www.acm.org/pubs/cie/ 6|5
The ACM Computers in Entertainment (CiE) is delighted to announce its
new Editors-in-Chief. Effective from January 2010, the new
co-editors-in-chief are Prof. Adrian David Cheok of National University
of Singapore  Keio University and Prof. Masa Inakage of Keio
University. Cheok is an expert in Interactive Embodied Media,
Entertainment Computing, Mixed Reality and Cultural Computing; Inakage
is an expert in Entertainment Design, Media Art, Digital Cinema, and
Computer Graphics. With these appointments, the ACM Computers in
Entertainment strengthens and expands its commitment to publication of
high quality articles in all areas of entertainment.

**We would like to thank Newton Lee for founding the CiE and the great
work and stewardship he gave for building up the publication** said
Adrian Cheok and Masa Inakage. They further said **It is a vital part of
the entertainment industry to link academia to the professional practice
of Entertainment Computing. We plan to make a further announcement of
ACM CiE expansion project with Dr. Newton Lee in the near future.**.
 6|5== 6|5Call for Papers: January 2010 Issue
6|5== 6|5The focus of CiE 2010 January issue is
to gather researchers and practitioners from academia and industry whom
are working in multi-disciplinary areas within the computer
entertainment field and demonstrate their new contributions. Considering
the unexpected high demand for academic paper publications in computer
entertainment, we would like to focus a full academic paper segment to
preserve the quality of such publications for the 2010 January issue.
The academic papers will be subjected to rigorous reviewing process, and
be seen as the absolute leading academic publication in the field that
creates new genres of entertainment.
Topics of interest include but are not limited to:
 6|1Accessibility
 6|1Aesthetics
 6|1Affective Computing
 6|1Ambient Intelligence
 6|1Animation Techniques
 6|1Attention
 6|1Augmented / Mixed Reality
 6|1Avatars and Virtual Community
 6|1Community
 6|1Cultural Computing
 6|1Digital Entertainment and Sports
 6|1Digital Broadcasting/Podcasting
 6|1Digital Cinema
 6|1Elderly Entertainment
 6|1Empathy
 6|1Entertainment Design Theory
 6|1Experience Design
 6|1Funology
 6|1Graphics Techniques
 6|1Human-Robots Interaction
 6|1Interaction Design
 6|1Interactive Computer Graphics
 6|1Interactive Theatre
 6|1Internet Networking Media
 6|1Learning and Children
 6|1Location-Based Entertainment
 6|1Metaverse
 6|1Mixed Media
 6|1Mobile Entertainment
 6|1Multimodal Interaction
 6|1Narratives / Digital Storytelling
 6|1New Gaming Audiences
 6|1Novel interfaces
 6|1Pervasive and Online Games
 6|1Physical Computing
 6|1Robotic Love and Affection
 6|1Simplicity
 6|1Situativity
 6|1Smart Gadgets and Toys
 6|1Social Impact
 6|1Social Networking
 6|1Sound and Music
 6|1Synesthetic Entertainment
 6|1Tangible Interfaces
 6|1User Interfaces
 6|1Visual Effects
 6|1Virtual Reality
NEW FOR 2010!
Apart from high-quality academic papers, we plan to have a section for
multimedia submissions to be published as a separate on line segment.
One page abstract should be provided with all the multimedia
submissions. However, a strict reviewing protocol will be administered
for the following topics:
 6|1Novel / research game submission (submission of fully completed
and running games)
 6|1Game art submissions (entertainment art works in mixed media
formats)
 6|1New sounds or music related to entertainment computing
 6|1Video papers - video showing new research or work (using video
as the new genre for expressing research works)
Authors
The Magazine*¯s focus is to provide a forum for researchers from
academia and industry-researchers who are working in multi-disciplinary
areas within the field of computer entertainment to publish their new
contributions. The authors for the magazine will include computer
scientists, academic scholars, technology strategists, interaction
designers, and anyone working on computer technology in the field of
entertainment computing. 6|5
Guideline for Authors
Papers and multimedia submissions should be submitted to the
editors-in-chief online via the ACM manuscript management system at
http://mc.manuscriptcentral.com/cie. Manuscripts should contain no
more than 15,000 words. Multimedia submission should contain one page
extended abstract. Submissions should include the submission title,
abstract, keywords, classification and general terms (refer to
http://www.acm.org/class/1998/ for details), name of authors, their