P R O @ R T E C L I P
S
Boletim Eletronico do Projeto ProArte Brasil
Ano 6 N. 56 8/2002
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
PARTE 4: OPORTUNIDADES
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
@ "Dicionario de Filmes Brasileiros". Iniciativa pioneira resgata memoria do cinema no Brasil
==========================================
prazo/plazo/deadline: n/c
O cinema brasileiro ganha no mercado editorial um projeto enciclopedico de impressionante folego. E o "Dicionario de Filmes Brasileiros" para longas-metragens realizados a partir de 1908. Sao 3.883 verbetes com o raro registro de filmes desde os pioneiros mudos, incluindo ainda projetos inacabados ou ainda em producao ate o fechamento da sua edicao. O autor desta facanha sem qualquer suporte financeiro ou patrocinios e Antonio Leao da Silva Neto.
Fato notavel do livro de Leao e o minucioso detalhamento das fichas tecnicas de cada longa e uma sinopse com textos sempre elegantes e equidistantes. Sem preconceitos contra generos, regioes e periodos criativos do cinema brasileiro, o livro e uma grande licao de enciclopedismo. Um tratamento igual privilegia tanto o registro de producoes pornograficas canhestras como "O Bacanal na Ilha da Fantasia", de Hercules Breseguelo, uma producao de 1982 com sexo explicito, assim como "Central do Brasil", de Walter Salles, o maior sucesso do cinema brasileiro nos anos 90. Acresce, quando ha, premios nacionais e internacionais e comentarios tirados de outras publicacoes. E permite no final do livro uma classificacao dos filmes produzidos no Brasil ano a ano.
No prefacio assinado pelo critico Rubens Ewald Filho da-se "gracas a Deus pela existencia dos fas de cinema! " E Rubens Ewald prossegue: "Se nao fossem eles, a memoria do cinema e a propria Historia do Cinema seriam infinitamente mais pobres... Este livro que voces vao conhecer e, por mais absurdo que pareca, um caso unico na historia de nossa pesquisa brasileira."
"Parece incrivel, mas nao existia ate agora no Brasil um registro de titulos dos filmes produzidos e exibidos aqui... O trabalho de Antonio Leao da Silva Neto e unico, pioneiro e da mais notavel importancia."
E atencao a todos os interessados pelo importantissimo dicionario de Leao. A sua primeira edicao, como 944 paginas, teve uma modesta tiragem de apenas um mil exemplares. Quem nao correr perde. Os pedidos podem ser feitos atraves do sitio <http://www.2001video.com.br>www.2001video.com.br da Rede 2001 Video. Fred Botelho, um dos socios da 2001, esta envolvido no projeto do livro desde a sua fase de maturacao e destaca a importancia do lancamento num momento em que se comemora uma retomada e incremento do cinema no Brasil, tambem com boa repercussao internacional. Contatos como o autor, que sejam para felicita-lo, atraves do e-mail: leao.n@... .
fonte: Jornal da Mostra no 117
Leon Cakoff, para o jornaldamostra@...
@ Sala Roja. Convocatoria para Artistas (Argentina)
==========================================
prazo/plazo/deadline: n/c
El CENTRO DE ARTE MODERNO invita a todos los artistas plasticos, poetas, musicos y otros creadores a participar de esta publicacion digital realizada en CD-Rom, No 2 de "SALA". La unica consigna es que las obras sean pensadas y concebidas en formato digital.
Los trabajos deben enviarse en CD a:
CENTRO DE ARTE MODERNO
Dorrego 176
B1878YID Quilmes
Argentina
O por correo electronico a:
centroartemoderno@...
Archivos aceptados: ".dir", ".swf", ".wav", ".avi", ".mov", ".psd", ".jpg", ".gif".
@ Satellite Video Exchange Society (SVES) ==========================================
prazo/plazo/deadline: 26/09/2002
www.videoinstudios.com
Other names:
Video Out http://www.videoout.ca/
Video In http://www.video-in.com/
SVES (Satellite Video Exchange Society) (604-872-8337)
1965 Main Street
Vancouver, BC
V5T 3C1
604-872-8337
Fax: 604-876-1185
E-mail: videoin@...
Boletim Eletronico do Projeto ProArte Brasil
Ano 6 N. 56 8/2002
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
PARTE 4: OPORTUNIDADES
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
@ "Dicionario de Filmes Brasileiros". Iniciativa pioneira resgata memoria do cinema no Brasil
==========================================
prazo/plazo/deadline: n/c
O cinema brasileiro ganha no mercado editorial um projeto enciclopedico de impressionante folego. E o "Dicionario de Filmes Brasileiros" para longas-metragens realizados a partir de 1908. Sao 3.883 verbetes com o raro registro de filmes desde os pioneiros mudos, incluindo ainda projetos inacabados ou ainda em producao ate o fechamento da sua edicao. O autor desta facanha sem qualquer suporte financeiro ou patrocinios e Antonio Leao da Silva Neto.
Fato notavel do livro de Leao e o minucioso detalhamento das fichas tecnicas de cada longa e uma sinopse com textos sempre elegantes e equidistantes. Sem preconceitos contra generos, regioes e periodos criativos do cinema brasileiro, o livro e uma grande licao de enciclopedismo. Um tratamento igual privilegia tanto o registro de producoes pornograficas canhestras como "O Bacanal na Ilha da Fantasia", de Hercules Breseguelo, uma producao de 1982 com sexo explicito, assim como "Central do Brasil", de Walter Salles, o maior sucesso do cinema brasileiro nos anos 90. Acresce, quando ha, premios nacionais e internacionais e comentarios tirados de outras publicacoes. E permite no final do livro uma classificacao dos filmes produzidos no Brasil ano a ano.
No prefacio assinado pelo critico Rubens Ewald Filho da-se "gracas a Deus pela existencia dos fas de cinema! " E Rubens Ewald prossegue: "Se nao fossem eles, a memoria do cinema e a propria Historia do Cinema seriam infinitamente mais pobres... Este livro que voces vao conhecer e, por mais absurdo que pareca, um caso unico na historia de nossa pesquisa brasileira."
"Parece incrivel, mas nao existia ate agora no Brasil um registro de titulos dos filmes produzidos e exibidos aqui... O trabalho de Antonio Leao da Silva Neto e unico, pioneiro e da mais notavel importancia."
E atencao a todos os interessados pelo importantissimo dicionario de Leao. A sua primeira edicao, como 944 paginas, teve uma modesta tiragem de apenas um mil exemplares. Quem nao correr perde. Os pedidos podem ser feitos atraves do sitio <http://www.2001video.com.br>www.2001video.com.br da Rede 2001 Video. Fred Botelho, um dos socios da 2001, esta envolvido no projeto do livro desde a sua fase de maturacao e destaca a importancia do lancamento num momento em que se comemora uma retomada e incremento do cinema no Brasil, tambem com boa repercussao internacional. Contatos como o autor, que sejam para felicita-lo, atraves do e-mail: leao.n@... .
fonte: Jornal da Mostra no 117
Leon Cakoff, para o jornaldamostra@...
@ Sala Roja. Convocatoria para Artistas (Argentina)
==========================================
prazo/plazo/deadline: n/c
El CENTRO DE ARTE MODERNO invita a todos los artistas plasticos, poetas, musicos y otros creadores a participar de esta publicacion digital realizada en CD-Rom, No 2 de "SALA". La unica consigna es que las obras sean pensadas y concebidas en formato digital.
Los trabajos deben enviarse en CD a:
CENTRO DE ARTE MODERNO
Dorrego 176
B1878YID Quilmes
Argentina
O por correo electronico a:
centroartemoderno@...
Archivos aceptados: ".dir", ".swf", ".wav", ".avi", ".mov", ".psd", ".jpg", ".gif".
@ Satellite Video Exchange Society (SVES) ==========================================
prazo/plazo/deadline: 26/09/2002
www.videoinstudios.com
Other names:
Video Out http://www.videoout.ca/
Video In http://www.video-in.com/
SVES (Satellite Video Exchange Society) (604-872-8337)
1965 Main Street
Vancouver, BC
V5T 3C1
604-872-8337
Fax: 604-876-1185
E-mail: videoin@...
Web: www.videoinstudios.com
Artist-run centre dedicated to media education and the promotion of non-commercial video. Video In delivers
workshops on production and post-production, and offers low-cost equipment to non-commercial producers. Exhibitions including screenings, lectures, and
panel discussions are held throughout the year. The reference library, open to the public, houses an international collection of non-commercial videotapes
and print materials. Facilities include computerized audio/video edit suites, Betacam online editing, multiformat dubstation, camera rentals, viewing room,
and a studio for production, exhibitions, and meetings. Video Out is an international distribution service for independently produced videotapes. Hours
are 11 am to 6 pm Monday to Saturday, and 11 am to 10 pm Thursdays.
Submissions
http://darren.neocodesoftware.com:8002/videoout/info_pages/submissions.html
Video Out accepts submissions for consideration on an ongoing basis, which are reviewed by a committee quarterly. All Submissions to Video Out will also be considered for inclusion in the Video In Library.
Video Out will only consider independently produced artwork on video or digital formats. Programs that use film footage will only be considered if it is available for distribution on video or digital formats only. While the collection is international in scope, the focus of the collection is on Canadian, West Coast work. Student projects may be submitted but it is encouraged that the
submissions be the result of a professional practice. Video Out strives to maintain a diversity of topics, styles and themes within the collection.
When Video Out represents an artist we strive to obtain their entire body of video work. While older works may not see a great deal of distribution we feel it is important to have them in the collection for archival and research
purposes.
Because Video Out strives to obtain all the video work by an artist, submissions to Video Out should reflect the scope of your video practice. We will review up to three video works which should be accompanied by descriptions, a bio, a CV and a cover letter. The descriptions and bio should only be three to four sentences long. It is helpful if the committee has an
understanding of the context of your work and how it relates to Video In, and how it would fit in to our current distribution collection.
If you have any questions please feel free to contact us.
The next submission deadline is: Sept. 26, 2002
@ Internship for the Digital Divide Network and the Digital Opportunity Channel (Washington D.C)
==========================================
prazo/plazo/deadline: n/c
The Benton Foundation's Digital Divide Network
(www.digitaldividenetwork.org) seeking two graduate-level interns to:
*Assist in the publication of Benton's daily online news-service,Communications-related Headlines, including reading daily publications,summarizing relevant stories, and posting stories to the Internet.
*Assist in the publication of the Digital Divide Network
(www.digitaldividenetwork.org), which focuses on digital divide issues in the United States, and its international sister site, the Digital Opportunity Channel (www.digitalopportunity.org). Work would include
collecting/posting of articles and Web resources, as well as writing of articles profiling digital divide initiatives and related issues.
*Assist in other programmatic activities, including the research and writing of reports and publications, attending and summarizing FCC and congressional
hearings, and the organizing of meetings and conferences.
Education, Skills and Qualifications:
*Graduate-level student
*Knowledge and interest in communications policy issues
*Excellent comprehension and written communication skills
*Ability to work with limited supervision
*Ability to meet deadlines and work under pressure
*PC and Internet literacy; basic knowledge of HTML
Journalism experience is preferred, though not required.
The internship is available for at least 20 hours/week, though morning hours (9am-12pm EST) are required.
Artist-run centre dedicated to media education and the promotion of non-commercial video. Video In delivers
workshops on production and post-production, and offers low-cost equipment to non-commercial producers. Exhibitions including screenings, lectures, and
panel discussions are held throughout the year. The reference library, open to the public, houses an international collection of non-commercial videotapes
and print materials. Facilities include computerized audio/video edit suites, Betacam online editing, multiformat dubstation, camera rentals, viewing room,
and a studio for production, exhibitions, and meetings. Video Out is an international distribution service for independently produced videotapes. Hours
are 11 am to 6 pm Monday to Saturday, and 11 am to 10 pm Thursdays.
Submissions
http://darren.neocodesoftware.com:8002/videoout/info_pages/submissions.html
Video Out accepts submissions for consideration on an ongoing basis, which are reviewed by a committee quarterly. All Submissions to Video Out will also be considered for inclusion in the Video In Library.
Video Out will only consider independently produced artwork on video or digital formats. Programs that use film footage will only be considered if it is available for distribution on video or digital formats only. While the collection is international in scope, the focus of the collection is on Canadian, West Coast work. Student projects may be submitted but it is encouraged that the
submissions be the result of a professional practice. Video Out strives to maintain a diversity of topics, styles and themes within the collection.
When Video Out represents an artist we strive to obtain their entire body of video work. While older works may not see a great deal of distribution we feel it is important to have them in the collection for archival and research
purposes.
Because Video Out strives to obtain all the video work by an artist, submissions to Video Out should reflect the scope of your video practice. We will review up to three video works which should be accompanied by descriptions, a bio, a CV and a cover letter. The descriptions and bio should only be three to four sentences long. It is helpful if the committee has an
understanding of the context of your work and how it relates to Video In, and how it would fit in to our current distribution collection.
If you have any questions please feel free to contact us.
The next submission deadline is: Sept. 26, 2002
@ Internship for the Digital Divide Network and the Digital Opportunity Channel (Washington D.C)
==========================================
prazo/plazo/deadline: n/c
The Benton Foundation's Digital Divide Network
(www.digitaldividenetwork.org) seeking two graduate-level interns to:
*Assist in the publication of Benton's daily online news-service,Communications-related Headlines, including reading daily publications,summarizing relevant stories, and posting stories to the Internet.
*Assist in the publication of the Digital Divide Network
(www.digitaldividenetwork.org), which focuses on digital divide issues in the United States, and its international sister site, the Digital Opportunity Channel (www.digitalopportunity.org). Work would include
collecting/posting of articles and Web resources, as well as writing of articles profiling digital divide initiatives and related issues.
*Assist in other programmatic activities, including the research and writing of reports and publications, attending and summarizing FCC and congressional
hearings, and the organizing of meetings and conferences.
Education, Skills and Qualifications:
*Graduate-level student
*Knowledge and interest in communications policy issues
*Excellent comprehension and written communication skills
*Ability to work with limited supervision
*Ability to meet deadlines and work under pressure
*PC and Internet literacy; basic knowledge of HTML
Journalism experience is preferred, though not required.
The internship is available for at least 20 hours/week, though morning hours (9am-12pm EST) are required.
Internships will commence during the first week of September and must run at least 10 weeks.
Candidates must be able to work out of our Washington DC office; the Benton Foundation will not be able to pay for candidates relocating to the DC area.
Please send cover letter and resume to Rachel Anderson at rachel@....
@ Estancias para artistas De Ateliers.
==========================================
prazo/plazo/deadline: 31/12/2002
Convocante: De Ateliers. Solicitud: Stadhouderskade, 86 - 1073 AT Amsterdam. The Netherlands. Plazo: 31/12/02. Dotacion: asignacion sin especificar; alojamiento. Dirigidas a: jovenes artistas que esten en el inicio de su carrera profesional, preferiblemente menores de 27 anos, y que tengan dominio del ingles.
@ RESIDENCY in Woonsocket, RI
==========================================
prazo/plazo/deadline: 31/08/2002
July 31, 2002 ARTIST RESIDENCY. Award-winning neighborhood redevelopment agency seeks community-friendly professional artist for year-long RESIDENCY in Woonsocket, RI. All media welcome to apply:
visual arts, theatre, storytelling, dance, poetry/writing, folk,
crafts, etc. Live rent-free in your own spacious (three-bedroom), newly renovated apartment, in exchange for five hours/weekly working on art with local kids. The Woonsocket Neighborhood Development Corporation (WNDC) has won national attention (from, among others, the Wall Street Journal) for its outstanding work bringing a devastated working-class city community back to life. Arts play a role. At WNDC, "We believe in the importance and transformative power of the arts as part of a comprehensive community revitalization effort." For an
application, call executive director Joe Garlick at 401-762-0993. Or visit the WNDC Web site at www.wndc.org, where you can see pictures of the residence and community, and where you can download the application. Woonsocket is located 45 minutes from Boston and just 20 minutes from arts-friendly Providence, RI. Residency begins in the fall 2002. Can be renewed for up to three years. Deadline for application: August 31, 2002.
@ CALL FOR PAPERS: The Velvet Light Trap
==========================================
prazo/plazo/deadline: 15/09/2002
A Critical Journal of Film & Television
Number 52, Fall 2003
*** SCIENCE FICTION AND THE FANTASTIC ***
From Georges M li s to The Matrix, The Twilight Zone to The X-Files, the closely related genres of science fiction and fantasy have had a significant impact on the histories of film and television. In recent years, the spectacular qualities of these genres, along with their capacity to appeal to both mass audiences and smaller fan cultures, have made them central to what has been called the "New Hollywood" and to syndicated and cable television.
The iconography, language, and ideas of science fiction, filtered to us through the media, have been appropriated by fashion designers, politicians, tabloid talk show guests, and scientists alike, while the culture and technology that science fiction has helped shape is, in turn, constantly feeding the genre with new ideas and new images. The fantastic, magical, and unreal can be seen almost anytime we turn on a television set or make the trip to the nearest multiplex, in forms familiar to genre
aficionados (e.g. Lord of the Rings) and in such arenas as television comedies (as in Ally McBeal and Scrubs) and documentaries on imaginary creatures.
The Velvet Light Trap invites papers exploring cultural, industrial, textual, and audience-centered questions about science fiction and the fantastic in the media from both contemporary and historical perspectives.
Possible topics include (but are not limited to):
B Historical-contextual analyses of films and television shows
B UFOs (e.g. The X-Files, Independence Day, subcultures of UFO-watchers)
B Robots (Metropolis, Bicentennial Man, Battlebots, Robot Wars, etc.,)
B Cyborgs (both fictional and real)
B Monsters and other fantastic creatures (e.g. Dr. Frankenstein's monster,Ewoks, The Addams Family, The X-Men or The Fly)
B Aliens (e.g. Alien Nation, Earth Girls Are Easy, The Andromeda Strain)
B Scientific
and social experiments (e.g. The Fly, The Day of the Triffids, Escape
From New York, 1984)
B Science-fiction and new technologies (e.g. Gattaca and genetic engineering, Tron and computer animation, etc.)
B Inner/outer world explorations (e.g. Inner Space, news/documentary coverage of space exploration, Journey to the Center of the Earth)
B Media technologies as the fantastic (e.g. Videodrome, Poltergeist, The Purple Rose of Cairo)
B Animation for adults and children (anime, computer animation, The Jetsons, Futurama, Transformers)
B National identity (e.g. The Invasion of the Body Snatchers, Cold War B-Movies like Them, Independence Day, Star Trek, the Space Race)
B Masculinity & femininity (e.g. The Terminator, Xena, Barb Wire, Tetsuo)
B Design/art/fashion influences (e.g. Space Age design)
B The tabloid press and television talk shows (alien abductees, excessive bodies)
B Paranormal activities or presences (e.g. hauntings, E.S.P, telekinesis)
B Generic (de)valuation of science-fiction and the fantastic (e.g. categorizing it as adolescent, the split between hard sci-fi and the fantastic)
B Cyberpunk (fiction, as an influence on film and television style, as an aesthetic)
B Fan fictions and fan cultures (e.g. Trekkies, Whovians, Star Wars fans)
B International science-fiction (e.g. Solaris, anime, Dr.Who, Blake's 7)
B Parodies (e.g. Space Balls, Dark Star, Young Frankenstein)
B Genre mixing (e.g. Galaxy Quest, Predator, Little Shop of Horrors)
B Adaptations (e.g. Solaris, Total Recall, Bladerunner, A.I., Minority Report, Lord of the Rings)
B Anthologies (e.g. The Outer Limits, The Twilight Zone, Amazing Stories)
B Imitations and cycles (e.g. giant monster films, space operas, barbarian films)
B Film series and serials (e.g. Buck Rogers in the 25th Century, Flash Gordon, Superman)
B Re-makes (e.g, The Thing, Rollerball, Planet of the Apes, Dracula)
B Merchandising & tie-ins
B The importance of science fiction and fantasy for syndication (Xena, Beastmaster, Andromeda)
B Interactions between literary science fiction and film/TV (trends and subgenres, cyberpunk, science fiction authors working in TV/film--e.g. Ray Bradbury)
B Nostalgia (both in the texts e.g. Star Wars, Back to the Future, and in distribution, e.g. S2001: A Space Odyssey, E.T.)
B Ecology (e.g. Soylent Green, Road Warrior, Waterworld)
B Utopias/dystopias (e.g. Cocoon, Road Warrior)
B Mythology and the mythic (e.g. the Star Wars series, Mists of Avalon)
B Video games as source material (e.g. Tomb Raider, Resident Evil) and the cinematic in science fiction video games (e.g. Resident Evil)
B Stars and actors (Schwarzenegger, Charlton Heston)
Papers should be approximately 7500 words (roughly 20-25 pages double-spaced) plus bibliography and endnotes in MLA style. Please submit three copies of the paper, plus a one-page abstract with each copy, in a
format suitable to be sent to a reader anonymously. Papers should be accompanied by a cover page that includes the author's name and contact information. All submissions will be refereed by the journal's Editorial
Advisory Board.
For more information or to ask questions, please contact Mobina Hashmi (mhashmi@..., 608-263-3998), Bill Kirkpatrick (mwkirkpa@..., 608-238-6656), or Billy Vermillion (bbvermillion@..., 608-263-3997). Submissions are due by Monday, 15 September 2002, and should be sent to:
The Velvet Light Trap
University of Wisconsin-Madison
Department of Communication Arts
821 University Avenue
Madison, Wisconsin USA 53706-1497
The Velvet Light Trap is an academic, peer-reviewed journal of film and television studies. The journal is published biannually in March and September by the University of Texas Press. The Editorial Advisory Board
includes such notable scholars as Charles Acland, Donald Crafton, Alexander Doty, Herman Gray, Heather Hendershot, Walter Metz, Charles Musser, Hamid
B Science-fiction and new technologies (e.g. Gattaca and genetic engineering, Tron and computer animation, etc.)
B Inner/outer world explorations (e.g. Inner Space, news/documentary coverage of space exploration, Journey to the Center of the Earth)
B Media technologies as the fantastic (e.g. Videodrome, Poltergeist, The Purple Rose of Cairo)
B Animation for adults and children (anime, computer animation, The Jetsons, Futurama, Transformers)
B National identity (e.g. The Invasion of the Body Snatchers, Cold War B-Movies like Them, Independence Day, Star Trek, the Space Race)
B Masculinity & femininity (e.g. The Terminator, Xena, Barb Wire, Tetsuo)
B Design/art/fashion influences (e.g. Space Age design)
B The tabloid press and television talk shows (alien abductees, excessive bodies)
B Paranormal activities or presences (e.g. hauntings, E.S.P, telekinesis)
B Generic (de)valuation of science-fiction and the fantastic (e.g. categorizing it as adolescent, the split between hard sci-fi and the fantastic)
B Cyberpunk (fiction, as an influence on film and television style, as an aesthetic)
B Fan fictions and fan cultures (e.g. Trekkies, Whovians, Star Wars fans)
B International science-fiction (e.g. Solaris, anime, Dr.Who, Blake's 7)
B Parodies (e.g. Space Balls, Dark Star, Young Frankenstein)
B Genre mixing (e.g. Galaxy Quest, Predator, Little Shop of Horrors)
B Adaptations (e.g. Solaris, Total Recall, Bladerunner, A.I., Minority Report, Lord of the Rings)
B Anthologies (e.g. The Outer Limits, The Twilight Zone, Amazing Stories)
B Imitations and cycles (e.g. giant monster films, space operas, barbarian films)
B Film series and serials (e.g. Buck Rogers in the 25th Century, Flash Gordon, Superman)
B Re-makes (e.g, The Thing, Rollerball, Planet of the Apes, Dracula)
B Merchandising & tie-ins
B The importance of science fiction and fantasy for syndication (Xena, Beastmaster, Andromeda)
B Interactions between literary science fiction and film/TV (trends and subgenres, cyberpunk, science fiction authors working in TV/film--e.g. Ray Bradbury)
B Nostalgia (both in the texts e.g. Star Wars, Back to the Future, and in distribution, e.g. S2001: A Space Odyssey, E.T.)
B Ecology (e.g. Soylent Green, Road Warrior, Waterworld)
B Utopias/dystopias (e.g. Cocoon, Road Warrior)
B Mythology and the mythic (e.g. the Star Wars series, Mists of Avalon)
B Video games as source material (e.g. Tomb Raider, Resident Evil) and the cinematic in science fiction video games (e.g. Resident Evil)
B Stars and actors (Schwarzenegger, Charlton Heston)
Papers should be approximately 7500 words (roughly 20-25 pages double-spaced) plus bibliography and endnotes in MLA style. Please submit three copies of the paper, plus a one-page abstract with each copy, in a
format suitable to be sent to a reader anonymously. Papers should be accompanied by a cover page that includes the author's name and contact information. All submissions will be refereed by the journal's Editorial
Advisory Board.
For more information or to ask questions, please contact Mobina Hashmi (mhashmi@..., 608-263-3998), Bill Kirkpatrick (mwkirkpa@..., 608-238-6656), or Billy Vermillion (bbvermillion@..., 608-263-3997). Submissions are due by Monday, 15 September 2002, and should be sent to:
The Velvet Light Trap
University of Wisconsin-Madison
Department of Communication Arts
821 University Avenue
Madison, Wisconsin USA 53706-1497
The Velvet Light Trap is an academic, peer-reviewed journal of film and television studies. The journal is published biannually in March and September by the University of Texas Press. The Editorial Advisory Board
includes such notable scholars as Charles Acland, Donald Crafton, Alexander Doty, Herman Gray, Heather Hendershot, Walter Metz, Charles Musser, Hamid
Naficy, Chon Noriega, Lisa Parks, Lynn
Spigel, and Chris Straayer.
@ CULTURE MACHINE 5
==========================================
prazo/plazo/deadline: 01/10/2002
February, 2003
http://culturemachine.tees.ac.uk
The e-issue
Editor for this issue: Gary Hall
In Archive Fever, in what in just a few years has already become one of the most frequently referred to passages in his oeuvre, Jacques Derrida suggests that electronic media technologies are not only transforming the process of analysing, communicating and conserving knowledge, they are transforming the very nature of knowledge. It is some of the effects of media communications technologies on knowledge, both its form and content, that we would like to explore in this ee-issuei of Culture Machine.
The example Derrida gives in Archive Fever concerns psychoanalysis (although he also refers to literature, philosophy and love letters in a related passage in The Post Card), but contributions might examine the effects of different electronic technologies on a variety of fields -
cultural studies, gender studies, politics, history, science, law, medicine, biology, anthropology, art history - as well as on ideas of the book, the letter, the university, the library, the art gallery and the museum, as well as, of course, the archive.
Do telephones, the cinema, radios, portable tape recorders, CDs, VCRs, DVDs, cell phones, computers, printers, faxes, televisions, teleconferences, communications satellites, the Internet, the World Wide
Web, hyper-text, e-mail, the e-book, Bluetooth et al produce
possibilities for prosthetically eimprovingi the performance of our current disciplinary fields and forms of knowledge (in terms of the amount of material that can be stored, the speed of production, the ease of information retrieval, the range of distribution, reductions in reproduction, distribution and staffing of posts)? Or does our present ediscourse networki, to borrow Friedrich Kittleris term, contain the potential to bring such fields and forms to an end? What happens to teaching, writing and research when the academic gift economy -
recognised through peer-to-peer computing (P2P), open source, freeware or shareware - is taken as a model for the communication, publication and exchange of ideas? Or when, as has already been the case with some contributions to Culture Machine
http://culturemachine.tees.ac.uk/Cmach/Backissues/j001/Test/index.htm
http://culturemachine.tees.ac.uk/Articles/art_kolb/Introduction_143.htm
http://culturemachine.tees.ac.uk/art.harn.htm)
digital publications stop trying to merely transfer print aesthetics into an electronic form and start producing texts which are 'born digital': texts which are not restricted to the book or essay format but which, as Lev Manovitch maintains, take the database as the 'new symbolic form of [the] computer age', and consequently 'do not tell
storiesO don't have beginning or end; in factO don't have any development, thematically, formally or otherwise which would organise their elements into a sequence'; or are produced as 'codework', in which the technical and cultural practices of electronic writing are combined.
Contributions that take advantage of and explore the effects of electronic media technologies in their form, as well as content, are of course welcomed. So, too, are those which experiment with the way in which electronic media technologies may place the very legitimacy of certain forms of knowledge in question.
Deadline for submissions: October 2002.
Contact:
Gary Hall
School of Arts
Middlesex University
White Hart Lane
London N17 8HR
UK
E-mail: g.hall@...
gary.hall@...
Contributing to Culture Machine
Culture Machine publishes new work from both established figures and up-and-coming writers. It is interactive, fully refereed, and has an International Advisory Board which includes Robert Bernasconi, Lawrence Grossberg, Peggy Kamuf, Alphonso Lingis, Meaghan Morris, Paul Patton, Avital Ronell and Nicholas Royle.
Culture Machine welcomes material from Britain, Australia and the United States, and is particularly interested in acquiring contributions from those working outside the usual Anglo/Australian/American nexus that
@ CULTURE MACHINE 5
==========================================
prazo/plazo/deadline: 01/10/2002
February, 2003
http://culturemachine.tees.ac.uk
The e-issue
Editor for this issue: Gary Hall
In Archive Fever, in what in just a few years has already become one of the most frequently referred to passages in his oeuvre, Jacques Derrida suggests that electronic media technologies are not only transforming the process of analysing, communicating and conserving knowledge, they are transforming the very nature of knowledge. It is some of the effects of media communications technologies on knowledge, both its form and content, that we would like to explore in this ee-issuei of Culture Machine.
The example Derrida gives in Archive Fever concerns psychoanalysis (although he also refers to literature, philosophy and love letters in a related passage in The Post Card), but contributions might examine the effects of different electronic technologies on a variety of fields -
cultural studies, gender studies, politics, history, science, law, medicine, biology, anthropology, art history - as well as on ideas of the book, the letter, the university, the library, the art gallery and the museum, as well as, of course, the archive.
Do telephones, the cinema, radios, portable tape recorders, CDs, VCRs, DVDs, cell phones, computers, printers, faxes, televisions, teleconferences, communications satellites, the Internet, the World Wide
Web, hyper-text, e-mail, the e-book, Bluetooth et al produce
possibilities for prosthetically eimprovingi the performance of our current disciplinary fields and forms of knowledge (in terms of the amount of material that can be stored, the speed of production, the ease of information retrieval, the range of distribution, reductions in reproduction, distribution and staffing of posts)? Or does our present ediscourse networki, to borrow Friedrich Kittleris term, contain the potential to bring such fields and forms to an end? What happens to teaching, writing and research when the academic gift economy -
recognised through peer-to-peer computing (P2P), open source, freeware or shareware - is taken as a model for the communication, publication and exchange of ideas? Or when, as has already been the case with some contributions to Culture Machine
http://culturemachine.tees.ac.uk/Cmach/Backissues/j001/Test/index.htm
http://culturemachine.tees.ac.uk/Articles/art_kolb/Introduction_143.htm
http://culturemachine.tees.ac.uk/art.harn.htm)
digital publications stop trying to merely transfer print aesthetics into an electronic form and start producing texts which are 'born digital': texts which are not restricted to the book or essay format but which, as Lev Manovitch maintains, take the database as the 'new symbolic form of [the] computer age', and consequently 'do not tell
storiesO don't have beginning or end; in factO don't have any development, thematically, formally or otherwise which would organise their elements into a sequence'; or are produced as 'codework', in which the technical and cultural practices of electronic writing are combined.
Contributions that take advantage of and explore the effects of electronic media technologies in their form, as well as content, are of course welcomed. So, too, are those which experiment with the way in which electronic media technologies may place the very legitimacy of certain forms of knowledge in question.
Deadline for submissions: October 2002.
Contact:
Gary Hall
School of Arts
Middlesex University
White Hart Lane
London N17 8HR
UK
E-mail: g.hall@...
gary.hall@...
Contributing to Culture Machine
Culture Machine publishes new work from both established figures and up-and-coming writers. It is interactive, fully refereed, and has an International Advisory Board which includes Robert Bernasconi, Lawrence Grossberg, Peggy Kamuf, Alphonso Lingis, Meaghan Morris, Paul Patton, Avital Ronell and Nicholas Royle.
Culture Machine welcomes material from Britain, Australia and the United States, and is particularly interested in acquiring contributions from those working outside the usual Anglo/Australian/American nexus that
currently seems to dominate so much of
Cultural Studies. Appropriate unsolicited articles of any length from
academics, post-graduates and non-academics will all be accepted for
publication, as will contributions which respond to or seek to engage
with work previously
published in Culture Machine. So-called einter-activei texts are also welcomed, as are any forms of contribution that take advantage of and explore the uses and limitations of digital technology.
Culture Machine publishes one edition of the journal each year, with Culture Machine 5 appearing at the beginning of 2003. All contributions to the journal are refereed anonymously. Authors should follow the
Culture Machine Style Manual in preparing their articles
(http://culturemachine.tees.ac.uk).
Anyone with material they would like to submit to the journal for publication is invited to contact the editors:
Dave Boothroyd
Department of Social Policy and Sociology
University of Kent
Canterbury
UK
e-mail: d.boothroyd@...
Gary Hall
School of Arts
Middlesex University
White Hart lane
London N17 8HR
UK
e-mail: g.hall@...
@ M/C: A Journal of Media and Culture ==========================================
prazo/plazo/deadline: 26/08/2002
http://www.media-culture.org.au
M/C is currently seeking submissions for the “Self” issue, to be
published in September 2002.
Me? "I" am everywhere. Philosophers, social scientists, behavioural and medical scientists have been investigating the existence and significance of individual consciousness, self-perception, self-promotion and other notions of "the self" for centuries.
The 'self' permeates contemporary culture. Through capitalist individualism and conservative politics 'self' must be considered first above the needs of the group - "looking after no. 1". In therapeutic, religious and consumerist discourses of self- improvement, self-help or self-actualisation, 'self' is obscured; an entity which needs to be sought and found, changed or accommodated, an entity which one needs to become "in touch with". Within these permutations "self" carries the assumption of its own existence, as either a stable, unchanging entity or as a contextually sensitive and
dynamic identity. Either way, self is individuality - one's own interests.
'Self' is commonly a prefix which expresses an action done to one's self (self-hatred, self-discipline) or which describes an attribute of an entity (self-concerned, self-contained). It can also be a suffix, which carries a level of self-reflexivity (myself, yourself).
The editors of M/C invite submissions of no more than 2000 words on the subject of "self", and welcome various interpretations of the term. Possible topics include, but should not be limited to "the first person era", first person media and Reality TV, 'factual' depictions of self in various media; notions of "true selves" within auto/biographical acts such as in writing, personal Webpages or documentary, the cultural celebration of self-awareness and autonomy, ideas relating to subjectivity and identity politics, social language behaviour such as im/politeness and its effects on 'self'; identity play in different media, the contextual variability and multiplicity
of 'self', conflicting identities - for instance "immigrants against further immigration" groups and gay christians.
But enough navel gazing, send your submissions to M/C!
Editors Felicity Meakins dacnth-westling@... and
Kate Douglas jk.douglas@...
Article deadline: 26 August 2002
@ Call for Submissions. The Experience of Displacement
==========================================
prazo/plazo/deadline: 15/10/2002
Emmedia invites video, audio and new media artists to submit proposals for a thematic screening event developed by guest curator Kay Burns. The theme of the event is 'The Experience of Displacement'. Proposed works should examine this theme and related issues.
Deadline: 15 October 2002
Info: info@...
http://www.emmedia.ca
@ Call for net art submissions
Istanbul Contemporary Art Museum
==========================================
published in Culture Machine. So-called einter-activei texts are also welcomed, as are any forms of contribution that take advantage of and explore the uses and limitations of digital technology.
Culture Machine publishes one edition of the journal each year, with Culture Machine 5 appearing at the beginning of 2003. All contributions to the journal are refereed anonymously. Authors should follow the
Culture Machine Style Manual in preparing their articles
(http://culturemachine.tees.ac.uk).
Anyone with material they would like to submit to the journal for publication is invited to contact the editors:
Dave Boothroyd
Department of Social Policy and Sociology
University of Kent
Canterbury
UK
e-mail: d.boothroyd@...
Gary Hall
School of Arts
Middlesex University
White Hart lane
London N17 8HR
UK
e-mail: g.hall@...
@ M/C: A Journal of Media and Culture ==========================================
prazo/plazo/deadline: 26/08/2002
http://www.media-culture.org.au
M/C is currently seeking submissions for the “Self” issue, to be
published in September 2002.
Me? "I" am everywhere. Philosophers, social scientists, behavioural and medical scientists have been investigating the existence and significance of individual consciousness, self-perception, self-promotion and other notions of "the self" for centuries.
The 'self' permeates contemporary culture. Through capitalist individualism and conservative politics 'self' must be considered first above the needs of the group - "looking after no. 1". In therapeutic, religious and consumerist discourses of self- improvement, self-help or self-actualisation, 'self' is obscured; an entity which needs to be sought and found, changed or accommodated, an entity which one needs to become "in touch with". Within these permutations "self" carries the assumption of its own existence, as either a stable, unchanging entity or as a contextually sensitive and
dynamic identity. Either way, self is individuality - one's own interests.
'Self' is commonly a prefix which expresses an action done to one's self (self-hatred, self-discipline) or which describes an attribute of an entity (self-concerned, self-contained). It can also be a suffix, which carries a level of self-reflexivity (myself, yourself).
The editors of M/C invite submissions of no more than 2000 words on the subject of "self", and welcome various interpretations of the term. Possible topics include, but should not be limited to "the first person era", first person media and Reality TV, 'factual' depictions of self in various media; notions of "true selves" within auto/biographical acts such as in writing, personal Webpages or documentary, the cultural celebration of self-awareness and autonomy, ideas relating to subjectivity and identity politics, social language behaviour such as im/politeness and its effects on 'self'; identity play in different media, the contextual variability and multiplicity
of 'self', conflicting identities - for instance "immigrants against further immigration" groups and gay christians.
But enough navel gazing, send your submissions to M/C!
Editors Felicity Meakins dacnth-westling@... and
Kate Douglas jk.douglas@...
Article deadline: 26 August 2002
@ Call for Submissions. The Experience of Displacement
==========================================
prazo/plazo/deadline: 15/10/2002
Emmedia invites video, audio and new media artists to submit proposals for a thematic screening event developed by guest curator Kay Burns. The theme of the event is 'The Experience of Displacement'. Proposed works should examine this theme and related issues.
Deadline: 15 October 2002
Info: info@...
http://www.emmedia.ca
@ Call for net art submissions
Istanbul Contemporary Art Museum
==========================================
prazo/plazo/deadline:
25/08/2002
http://www.istanbulmuseum.org
Istanbul Contemporary Art Museum (ISCAM), is looking for exceptional artists and their projects in order to include them in it's virtual gallery.
Artists are invited to submit the URL(s) of their projects, and net based art work. A selection of the best submissions will be included in these series. There are no limitations concerning the used media, subjects and size.
Send your submission, i.e the URL (s) completed with your name, email address, CV and one screen shot (.jpg or .gif) of the project(s) to istanbulmuseum@...
Deadline: August 25 2002
Attention to Ms.Hayal Pozanti
@ Calls for papers: Surveillance & Society
==========================================
prazo/plazo/deadline: 31/09/2002
Surveillance & society <www.surveillance-and-society.org> is the new, independent, fully-peer-reviewed, international, transdisciplinary journal of surveillance studies.
Calls for papers
- issue 2: work
publication date: january 2003
submission deadline: september 31st 2002
the editors invite submissions from all disciplines relating to work and surveillance: surveillance in/of the workplace; workers and surveillance; surveillance as work; management, organisation and surveillance; etc.
this issue will be co-ordinated by Dr Kirstie Ball
<k.s.ball@...>.
- issue 3: foucault and the panopticon
publication date: end april 2003
submission deadline: january 31st 2003
The editors invite submissions from all disciplines responding to Foucault's writings on surveillance and social control, analysing his contribution to surveillance studies, extending, critiquing or challenging his analysis, or critically examining previous and current interpretations of foucault and the panopticon.
For submission guidelines and more, see:
www.surveillance-and-society.org/call.htm
@ Ayudas de residencia Bellagio. The Rockefeller Foundation.
==========================================
prazo/plazo/deadline: 26/8/2002
Convocante: Bellagio Center Office. The Rockefeller Foundation. Solicitud: 420 Fifth Avenue - New York, NY 10018-2702. EUA. Plazo: 26/08/02. Dotacion: alojamiento y espacio de trabajo. Dirigidas a: doctores o jovenes profesionales con experiencia profesional, procedentes de disciplinas artisticas, la musica y el arte dramatico.
Mas informacion: http://www.estudiasotrabajas.com/cas/z1/index5.html
@ Estancias para artistas de la Sacatar Foundation (Brasil) ==========================================
prazo/plazo/deadline: 31/8/2002
Convocante: Sacatar Foundation. Solicitud: Quinta Pitanga. Rua da Alegria, 10 - Itaparica BA 44460-000, Brasil. Plazo: 31/08/02. Dotacion: alojamiento; dietas; y estudio para trabajar. Dirigidas a: artistas altamente cualificados, formados en cualquiera de las artes, sin limitaciones de edad, raza, creencias o sexo.
Mas informacion: http://www.estudiasotrabajas.com/cas/z1/index5.html
@ PLATAFORMAK
==========================================
prazo/plazo/deadline: 31/08/2002
<http://www.plataformak.org>
Bases de participacion
Podran participar artistas nacidos entre 1960 y 1984
Se podra presentar cualquier modalidad artistica y cada persona podra presentar un maximo de dos obras.
El plazo de presentacion vencera el 31.08.02.
Las propuestas deberan ser redactadas con una extension maxima de mil palabras. Se debera incluir: una imagen o grafico explicativo en relacion al proyecto, titulo, ficha tecnica, datos personales, D.N.I., direccion, curriculum vitae y presupuesto aproximado del proyecto.
Las propuestas deberan ser enviadas via mail a esta direccion estelasolana@... .
Todos los participantes formaran parte de un mailing, recibiendo un comunicado a partir de la seleccion de las obras, ademas de informacion relativa al encuentro.
Condiciones tecnicas
El jurado, profesional cualificado sera presentado en plataformak.org antes de la seleccion. Su fallo que sera inapelable, se dara a conocer en la website.
Una vez realizada la seleccion de los proyectos, se precisara documentacion
grafica, tecnica y especifica haciendo llegar a cada artista una serie de condiciones tecnicas y economicas.
http://www.istanbulmuseum.org
Istanbul Contemporary Art Museum (ISCAM), is looking for exceptional artists and their projects in order to include them in it's virtual gallery.
Artists are invited to submit the URL(s) of their projects, and net based art work. A selection of the best submissions will be included in these series. There are no limitations concerning the used media, subjects and size.
Send your submission, i.e the URL (s) completed with your name, email address, CV and one screen shot (.jpg or .gif) of the project(s) to istanbulmuseum@...
Deadline: August 25 2002
Attention to Ms.Hayal Pozanti
@ Calls for papers: Surveillance & Society
==========================================
prazo/plazo/deadline: 31/09/2002
Surveillance & society <www.surveillance-and-society.org> is the new, independent, fully-peer-reviewed, international, transdisciplinary journal of surveillance studies.
Calls for papers
- issue 2: work
publication date: january 2003
submission deadline: september 31st 2002
the editors invite submissions from all disciplines relating to work and surveillance: surveillance in/of the workplace; workers and surveillance; surveillance as work; management, organisation and surveillance; etc.
this issue will be co-ordinated by Dr Kirstie Ball
<k.s.ball@...>.
- issue 3: foucault and the panopticon
publication date: end april 2003
submission deadline: january 31st 2003
The editors invite submissions from all disciplines responding to Foucault's writings on surveillance and social control, analysing his contribution to surveillance studies, extending, critiquing or challenging his analysis, or critically examining previous and current interpretations of foucault and the panopticon.
For submission guidelines and more, see:
www.surveillance-and-society.org/call.htm
@ Ayudas de residencia Bellagio. The Rockefeller Foundation.
==========================================
prazo/plazo/deadline: 26/8/2002
Convocante: Bellagio Center Office. The Rockefeller Foundation. Solicitud: 420 Fifth Avenue - New York, NY 10018-2702. EUA. Plazo: 26/08/02. Dotacion: alojamiento y espacio de trabajo. Dirigidas a: doctores o jovenes profesionales con experiencia profesional, procedentes de disciplinas artisticas, la musica y el arte dramatico.
Mas informacion: http://www.estudiasotrabajas.com/cas/z1/index5.html
@ Estancias para artistas de la Sacatar Foundation (Brasil) ==========================================
prazo/plazo/deadline: 31/8/2002
Convocante: Sacatar Foundation. Solicitud: Quinta Pitanga. Rua da Alegria, 10 - Itaparica BA 44460-000, Brasil. Plazo: 31/08/02. Dotacion: alojamiento; dietas; y estudio para trabajar. Dirigidas a: artistas altamente cualificados, formados en cualquiera de las artes, sin limitaciones de edad, raza, creencias o sexo.
Mas informacion: http://www.estudiasotrabajas.com/cas/z1/index5.html
@ PLATAFORMAK
==========================================
prazo/plazo/deadline: 31/08/2002
<http://www.plataformak.org>
Bases de participacion
Podran participar artistas nacidos entre 1960 y 1984
Se podra presentar cualquier modalidad artistica y cada persona podra presentar un maximo de dos obras.
El plazo de presentacion vencera el 31.08.02.
Las propuestas deberan ser redactadas con una extension maxima de mil palabras. Se debera incluir: una imagen o grafico explicativo en relacion al proyecto, titulo, ficha tecnica, datos personales, D.N.I., direccion, curriculum vitae y presupuesto aproximado del proyecto.
Las propuestas deberan ser enviadas via mail a esta direccion estelasolana@... .
Todos los participantes formaran parte de un mailing, recibiendo un comunicado a partir de la seleccion de las obras, ademas de informacion relativa al encuentro.
Condiciones tecnicas
El jurado, profesional cualificado sera presentado en plataformak.org antes de la seleccion. Su fallo que sera inapelable, se dara a conocer en la website.
Una vez realizada la seleccion de los proyectos, se precisara documentacion
grafica, tecnica y especifica haciendo llegar a cada artista una serie de condiciones tecnicas y economicas.
Se realizaran varias partes en el encuentro, habiendo una parte permanente y otra en la que se realizaran diversas actividades culturales. De esta forma la organizacion utilizara el material enviado del modo mas conveniente para el desarrollo del encuentro, informando siempre al participante.
Finalizado el evento se devolveran las obras a la direccion facilitada en los datos adjuntos. Si esta fuera incorrecta no nos hacemos cargo de los retrasos de su devolucion.
Aceptacion
El plazo de presentacion sera prorrogable en caso de que la organizacion asi lo decida, en tal caso se realizara un comunicado en la web.
Plataformak se compromete a utilizar vuestras propuestas exclusivamente en este encuentro de arte contemporaneo de Guadalupe, Hondarribia, verano de 2003.
Cualquier duda o consulta podeis remitirla al siguiente enlace estelasolana@...
La participacion en el certamen supone la aceptacion de las bases.
@ Studio Residencies. Studio XX
Deadline: Ongoing
Studio XX is accepting applications for creative, self-directed residencies by women artists and collectives working with new medias and technologies. The residencies are 6 weeks in length (maximum) and offer an a unique opportunity to explore and create new works.
Artists are invited to submit a completed application form (available on-line July 25th at http://www.studioxx.org/residence/residency.html ), including a project description, letter of intent and technical requirements.
All proposals are reviewed by a selection committee.
Deadline: October 15, 2002
The real relations of women to technology reflect their ongoing rapports to public and political spheres. With electronic progress and the consequent dominance of economic and financial flux, the arena of 'important' work shifts once again to the home, a territory still associa! ted with women.
However, if there have been social, cultural and political transformations and a certain disintegration of the frontiers between private and p--============_-1182001480==_ma============--
Sin conexión 
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