P R O @ R T E C L I P S
Boletim Eletronico do Projeto ProArte Brasil
Ano 9 N. 86+87 6/2005
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
PARTE 4: OPORTUNIDADES
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
@ Olhar Brasil. Secretaria do Audiovisual do MinC incentiva a criacao
de Nucleos de Producao Digital
==========================================
prazo/plazo/deadline: 29 JUL 2005

Lancado no 9o Cine PE Festival do Audiovisual, em Recife, no mes de
abril, pelo secretario do Audiovisual Orlando Senna, o programa preve
a criacao dos Nucleos de Producao Digital, que se constituirao em
espacos de criacao e reflexao de conteudos cinematograficos regionais.

O objetivo e fomentar a producao independente e a formacao tecnica e
artistica dos produtores de audiovisual no pais. Desse modo, a
Secretaria do Audiovisual avanca ainda mais em direcao a politica de
regionalizacao da producao cultural, que vem sendo desenvolvida pelo
Ministerio da Cultura, e que ja deu frutos como os projetos DocTV e
Revelando os Brasis.

Orcado em R$ 1,5 milhao na primeira fase, o Olhar Brasil e mais uma
iniciativa concreta no sentido de potencializar a producao regional
no Brasil , como afirma Orlando Senna. A ideia e consolidar uma rede
de producao, capacitacao e reflexao do audiovisual brasileiro. Para o
secretario, alem de democratizar o processo de criacao audiovisual, o
programa provocara um movimento de articulacao de parcerias publicas
regionais.

O periodo de inscricoes para o recebimento de propostas do Olhar
Brasil vai de 16 de maio a 29 de julho de 2005 e o edital publico
estara disponivel nos proximos dias no site do Ministerio da Cultura.

@ Burning Man Contact Improvisation camp (Black Rock dessert in Nevada, USA)
==========================================
prazo/plazo/deadline: N/C

CI at Burning Man Festival, Aug 28 - Sep 4

Plans are underway this year for a camp based around
contact improvisation at the Burning Man Festival in
the Black Rock dessert in Nevada, USA

Dates August 29-September 4

The Burning Man Festival is an annual gathering where
for a week, we let go of money economy and just give
of ourselves and our art. Last year, some 40,000
people gathered to make a small city of creative
givingS visual art, dance, music, performance, events,
discussion, chance meetings, spontaneous ritual,
lightness and depth, silliness and meaningS check out
the web site for details

www.burningman.com

There has for many years been a contact improvisation
presence at burning man, with a daily jam at Center
Camp. When classes have been offered, the reception
has been fantastic! This year, we plan on organizing
a camp to share the practice more actively, with open
daily classes and jams, and focused labs for more
experienced contactersS a mini-festival of contact in
the wild atmosphere of burning man.

If you are interested in participating or being a part
of the camp or for more details, goto the evolving web
page at

www.toishou.org/burningcontact.html

or write to Claudia at ci_bman@... -- (Claudia
Anfuso is currently our electronic coordination
queen.)

peace
Burning Man CI crew
As of May 30, Burning Man CI camp crew is Anna
Landauer (US), Claudia Anfuso(Italy/US), Daniel
Ayers(Canada), Hailie Aldrich(US), Isabelle
Kyrouac(Canada), Karl Frost(US), Kay Ceredwin
Bachman(US), Laurel Levasheff(US), Louise Woollen(US),
Michelle Arvin(US), Naomi Claire(UK), Pepper
Yelton(US), Rick Milligan(Canada), Samantha Beers(US),
Satya Curcio(US) for sure, plus a score of others in
the loop from around the globeS maybe you too?


Some detailsS.
Vision for Burning Man Contact Improv S

For most, the vision of contact that we bring will be
obvious, but for clarity s sake, we really want to
focus on contact as physical investigation and art
form, as opposed to simple free movement spaceS
Celebrating it as an open space of exploration, but
also holding space for the specificity of its
reference point in the studies and play of the physics
of bodies moving through weight and contact.

We will have something in the calender of Burning Man
describing contact, which will read something like the
followingS

Contact Improvisation is a body-based art, a physical
investigation of the possibilities of bodies moving
through contactS weight, structure, momentum, balance
and off-balance, falling, touch, forces, physics,
skin, muscle, and bone are our starting places, and
from there our curiosities takes us where they will.
We experiment, observe, take risks, play. While the
investigation can move to many different places it has
a reference point in awareness of physics in motion,
bodies in contact, and delight in the unknown. As a
practice, Contact is flexible, taking on whatever
forms the curiosity of the practitioners discover
togetherS athletic and wild or quiet and meditative.
The pleasure of contact comes of this active
investigation. (feedback on the description
appreciated.)

If you want to help make this vision happen, get in
touch. The extent to which this will happen depends
on people getting involved and making it happen. The
space we create will be a collaboration based on this
shared vision.

We are looking for people to join the crew who 1)
want to help make the project happen through camp set
up/breakdown, and event assistance whether you live at
the camp or not. 2) are interested in being part
of the living experiment of the camp

as well as wanting people to simply participate in
events. In other words, looking for people to
participate in the co-creation of the event, whether
living at CI Camp or elsewhere on the Playa.

The Camp

We are aiming for a camp of about 40 50 people.
We ll have two or three public spacesS one or two work
spaces and a smaller chill-out space for tea and
conviviality. These will be domes/circus tents with
carpets and pillows. We will also have a camp kitchen
and shower and a basic food/water supply. We are
hoping to be located in a quieter zone, ideally near
Hushville and Heebeegeebee.

For camping with us, we are looking for people who are
willing to work as part of a team to make camp happen,
but who also are happy with autonomyS we ll probably
have one or two camp meetings during the week, but
outside of that, we aim to create a space that
supports all of our explorations and independence,
rather than create a binding scheduleS people will be
encouraged to collaborate on meals, but there won t be
a specific schedule to adhere to. There will be basic
food stock provided, but people are encouraged to
supplement that with the things they desire to bring
and share. While we will each commit to being there
for a few of the classes/jams to make them happen, we
are not expected by any means to be there for all of
them.

Events

The main things as a camp that we will be
collaborating on creating areS

Daily classes in contact (ideally 2 per day). A few
scheduled open jams, both silent and with dj d sonic
atmosphere An open space for contact improvisation
when things aren t scheduled A daily Jam at Center
camp

Also if there is energy and space for it, people will
be encouraged to create and collaborate on ci related
events like

Closed labs for those with experience Performances
(Axolotl, Karl Frost s blind-fold participatory
performance event will be one such event) CI related
classes/labs

TeachingS

If you are an experienced teacher of contact and would
like to offer a class, get in touch, and let s talk
about it. Open classes will primarily focus on basic
skills for beginners that give people some ins into
jamming. Owhich route in is up to the teacher.

Being There S

If you would like to help make events happen, we are
looking for people to sign up and commit to being
there for specific jams and classes. We want to make
a welcoming space for newcomers, so we hope to have
people with a bit of experience both inviting people
in to participate and also just doing it and being in
their investigation so that people get a feel for what
possibilities there are. With that in mind, we look
to have some people committed to be there for each jam
to hold the space and for classes to help explain to
people what is going on and to assist. Help

We are looking for lots of kinds of help S physical
help setting up structures and cleaning up camp
afterwards, material help with structures (large
tents/domes for work spaces, carpets and wood for
floor, propane space heaters, or anything you think
might help make such a camp work), and of course
financial help in getting the structures together). If
you have other ways you could offer something that
haven t been named, again, feel free to write.

Peace

The Burning Man CI Camp team CI_bman@...

PS Deadlines if you come to burning man, we would be
delighted by your spontaneous participation. If you
want to make it happen though, we need to know
earlier. How big and well it happens depends on how
many put energy into it. Some relevant deadlinesS

We need to have our camp map to the burning man
organizers by the end of June and events list for the
calender by mid July. We hope to have our camp 80%
set by then, and our open class/jam/event schedule 90%
set by then, so if you want to be involved in making
it happen, best to be in dialogue with us by late
June.

P2S Even if you are not planning on coming to Burning
Man, if you want to help make it happen, that would be
delightful. We are looking for useful things to make
camp happen, ranging from kitchen equipment to
tents/shelters to carpets and pillows for flooring.
Of course, financial donations to help spread the
gospel also appreciated. Anything you think might
help, feel free to contact us.

@ Estancias para artistas en el De Ateliers (Amsterdam)
==========================================
prazo/plazo/deadline: 31 DEZ 2005

Convocante: De Ateliers. Solicitud: Stadhouderskade, 86, 1073 AT
Amsterdam. The Netherlands. Plazo: 31/12/05. Dotacion: asignacion sin
especificar; alojamiento. Dirigidas a: jovenes artistas que esten al
inicio de su carrera profesional y quieran realizar estancias en el
De Ateliers, instituto independiente para artistas, para conseguir
desarrollo y motivacion bajo la supervision de profesionales.

Encontrareis informacion mas detallada consultando nuestra base base
de datos a texto completo.

fonte: www.estudiasotrabajas.com.

@ Global Indigenous Media: Cultures, Practices, and Politics:
==========================================
prazo/plazo/deadline: 1 AGO 2005

We are seeking contributions to a collection that will address the
role of indigenous media in societies around the world, with
particular emphasis on the ways in which the increased access by
indigenous peoples to new
media technologies for production and distribution of media work has
raised the profile of indigenous aesthetic perspectives and
cultural/political issues both in the mainstream and in new venues
for indigenous media expression. This collection will pay careful
attention to
the diversity of this expression by incorporating discussions of the
full range of production: feature film, documentary, video art,
multimedia works, television programs, radio broadcasts, internet
activism, and
journalism. Clearly, growing international and national support has
multiplied the outlets for cultural expression: combating
discrimination, preserving indigenous cultures and environments, and
advocating for cultural rights, such as the right to one's own
language, protection of indigenous traditional knowledge and
sufficient provision of resources to indigenous peoples and their
media to promote indigenous language use.
Given the expansiveness of the category of indigenous media, we would
like to encourage contributions that think across the divides of
geographies, technologies (film, television, radio, internet),
cultures, and politics.
Moreover, we would like this collection to reflect the
interdisciplinarity of indigenous media studies. We thus welcome
contributions from Native American studies, cinema and television
studies, visual anthropology,
cultural studies, art history, journalism, and communication. We will
include historical research, local case studies, interviews with
producers, cross-cultural analyses,international perspectives, as
well as
metacritical work.

Submitted essays will be grouped in the following sections:
*Histories
*Contemporary Practices, Technologies, Industries, & Politics
*Producers-Interviews, Manifestos, Portraits and Monographs
*Local Case Studies
*Connections: Indigenous Media in a Global Perspective
*Indigenous Media Practices and Political
Activism-Supranationalism,Group Rights, Sovereignty
*Festival Networks
*Activist and Artist Networks
*The State of the Field

SUBMISSION DEADLINE: August 1, 2005
Please send submissions (abstracts or essays in MLA format) to the co-editors:

Dr. Michelle Stewart
Assistant Professor of Cinema Studies and Literature
SUNY-Purchase College
Michelle.stewart@...

and

Dr. Pamela Wilson
Associate Professor of Communication
Director of International Studies
Reinhardt College
Psw@...

@ LABS. Base de datos de tesis sobre arte, ciencia y tecnologia.
#Artnodes/UOC, el Pomona College y Leonardo/International Society of
Art,Science and Technology, de MIT press
==========================================
prazo/plazo/deadline: 30 JUN 2005

#Artnodes/UOC, el Pomona College y Leonardo/International Society of
Art,Science and Technology, de MIT press, crean LABS, una base de
datos que recoge en Internet resumenes de tesis doctorales, tesinas o
trabajos de final de masters que traten la interseccion emergente
entre arte, ciencia y tecnologia. Todas las personas interesadas
pueden enviar el resumen de su tesis doctoral o acceder a LABS y leer
todos los resumenes disponibles.

URL: http://www.uoc.edu/artnodes/leonardolabs

Barcelona, 05/04/2005

LABS se dirige sobretodo a aquellas personas que hayan recibido
titulaciones avanzadas en artes (visuales, sonoras, escenicas,
textuales) informatica, en ciencias o tecnologia y que de alguna
manera investigan aproximaciones filosoficas, historicas, criticas o
aplicaciones de la ciencia y la tecnologia a las artes; se les invita
a enviar los resumenes de sus tesis en esta base de datos. Un Peer
Review Panel (PRP) formado por academicos y artistas y coordinado por
Pau Alsina, director de #Artnodes, revisara estos resumenes.

El PRP Iberoamericano para el periodo 2005-2006 esta formado por:

Rodrigo Alonso, profesor de la Universidad de Buenos Aires; Pau
Alsina, profesor de la Universitat Oberta de Catalunya; Laura
Baigorri, profesora de la Universidad de Barcelona; Jose Luis Brea,
profesor de la Universidad de Castilla la Mancha; Karin
Ohlenschlanger, co-directora del Medialab Madrid;
Rafael Lozano-Hemmer, artista.

Todos los resumenes se publicaran en esta base de datos, y una
seleccion de los mismos, escogidos por el PRP por su especial
relevancia, sera publicada cuatrimestralmente en Leonardo Electronic
Almanac -la revista electronica de Leonardo-, o en el espacio en
linea #Artnodes. Los autores con mas puntuacion otorgada por el PRP
seran invitados a enviar un articulo completo para que sea
considerada su publicacion en la revista de Leonardo de la editorial
del MIT, en ingles, o en la revista de #Artnodes en castellano.

+ INFO:

Leonardo, es una iniciativa de la International Society of Art,
Science and Technology que sirve a la comunidad internacional
dedicada a las artes, promocionando y documentando proyectos que
tratan la interseccion entre las artes, las ciencias y la tecnologia.
Publica el trabajo de artistas y creadores multimedia,
implementadores de desarrollos tecnologicos asi como difunde la
estetica mas experimental. Contiene escritos de artistas que trabajan
con la ciencia y la tecnologia como base de sus practicas artisticas,
y desde 1968 se ha convertido en una publicacion internacional de
referencia. Actualmente, Leonardo continua su tarea por medio de
periodicos impresos, colecciones de libros y CD, una web y otras
actividades, todo publicado por la editorial del MIT.

#Artnodes es el espacio sobre las intersecciones entre arte, ciencia
y tecnologia de la UOC. Esta formado por un portal de informacion
dirigido a la comunidad iberoamericana y con caracter internacional,
una revista digital especializada, un proyecto de investigacion
asociado al Internet Interdisciplinary Institute (IN3), y una serie
de eventos que se van organizando puntualmente como espacio de
encuentro para contribuir al estudio y debate entorno a estas
intersecciones y las formas de creacion emergente entre arte, ciencia
y tecnologia.


Enlaces relacionados

LABS Iberoamericano:
http://www.uoc.edu/artnodes/leonardolabs

#Artnodes:
http://www.uoc.edu/artnodes

Pomona College:
http://www.pomona.edu

Leonardo:
http://mitpress2.mit.edu/e-journals/Leonardo/index.html

@ LEA Special Issue: Wild Nature and the Digital Life
* Worldwide Call for Submissions *
==========================================
prazo/plazo/deadline: 8 JUL 2005

Guest Editors: Sue Thomas and Dene Grigar
digitalwild@...
http://mitpress2.mit.edu/e-journals/LEA/LEA2004/authors.htm#digiwild

The Leonardo Electronic Almanac (ISSN No: 1071-4391) is inviting
papers [and artworks] themed around Wild Nature and the Digital Life.

Wild nature has traditionally been perceived as the preserve of the
physical world and may seem to have little to do with the abstract
spaces of the digital. But what can be described as wild nature at
a time when much of the earth s land is being annexed by cities,
brought into production, and turned into tourist meccas or
eco-excursions? How are humans reinventing the wild digitally?
What is the relationship between humans and wild nature, and has it
changed with the advent of the computer technology? Is the notion of
wild nature limited to the physical world, and if not, then where
else can we find it? How do those who are most immersed in the
digital integrate it with the physical?

While a critical response to these questions is highly encouraged, we
are equally interested in the wide-angle view and in the intimate.
Specifically, we welcome essays, interviews, reports and other genres
of writing that speak to the ways in which we reconcile and integrate
the relationship between wild nature and the digital life; that
address the part that wild nature plays in our work; looks at the
ways the functionality of our body in the digital compares with the
way it works in the mountains, in the ocean, or other physical
spaces; and explores the changes that the wired life has brought
about to our domestic and professional habitat, how it may have
changed our health, or shifted our understanding of ecosystems and of
other species on this planet and elsewhere.

Topics of interest might include (but are not limited to):
- Projects combining art and natural history
- Art and nature collaborations
- Telematics and consciousness
- Historical context
- Connectedness studies
- Embodiment theory
- Emergence studies
- Anthropology and social networks
- Ecology and the environment
- Natural magic and spirituality

The twin conceptual territories of bits and atoms are closer than
they may at first seem. This call invites papers and works that
explore ways in which the wired sensibility has led us full circle
towards an enhanced engagement with wild nature.

LEA encourages international artists / academics / researchers /
students / practitioners / theorists to submit their proposals for
consideration. We particularly encourage authors outside North
America and Europe to send proposals for essays / artists statements.

As part of this special, LEA is looking to publish:

- Critical Essays
- Artist Statement/works in the LEA Gallery
- Bibliographies (a peer reviewed bibliography with key
texts/references in Digital Life)
- Academic Curriculum (LEA encourages academics conducting course
programmes in this area to contact us)

Expressions of interest and outline should include:

- A brief description of proposed text (300 words)
- A brief author biography
- Any related URLs
- Contact details

In the subject heading of the email message, please use Name of
Artist/Project Title: LEA Wild Nature and Digital Life Date
Submitted . Please cut and paste all text into body of email (without
attachments). Detailed editorial guidelines at:
http://mitpress2.mit.edu/e-journals/LEA/submit

Deadline for expressions of interest: 8 July 2005

Timeline (please note the timeline is subject to changes)

8 July 2005 - submission of abstracts
22 July 2005 - short-listed candidates informed
2 September 2005 - contributors to submit full papers for peer review
3 30 September 2005 Peer Review Process
1 21 October 2005 Authors to make changes
November 2005 Ready to publish papers

Please send proposals or queries to:
Sue Thomas and Dene Grigar
digitalwild@...

and
Nisar Keshvani
LEA Editor-in-Chief
lea@...

http://lea.mit.edu

@ BECAS KARRVAZ EN RESIDENCIA 2005-2006 (ESPANA)
==========================================
prazo/plazo/deadline: 31 DEZ 2005

Requisitos: Dirigido a todos artistas y creativos profesionales o
aficionados, estudiantes de arte, escritores, poetas, periodistas,
guionistas de cine y TV y todo aquel que quiera trabajar y convivir
con artistas o disfrutar de su propia soledad en un entorno natural
de incomparable belleza, cualquiera que sea su edad, nacionalidad y
residencia, quienes no tengan conocimientos suficientes para trabajar
con soltura con las maquinas y herramientas de los talleres, deberan
realizar un cursillo previo en el propio Centro.

Dotacion: 3000 euros.

No Becas: 100

Fecha cierre: 31/12/2005

Duracion: Entre 7 y 90 dias fechas a elegir durante un ano natural
desde la fecha de concesion. Para extranjeros, especialmente de otros
continentes se puede ampliar hasta 6 meses.

Informacion: Documentacion: Declaracion de Artista, Curriculum y 5
fotografias de obra reciente o una direccion web donde se puedan ver.
Cumplimentar la solicitud oficial y enviar a la direccion:
fundacion@....
http://www.karrvaz.com/
http://www.institutoruraldearte.tk

Observaciones: El Instituto Rural de Arte Hoz del Jucar, tiene como
objetivo la realizacion de la persona a traves del arte, en el Centro
trabajan y conviven artistas y creativos de todo el mundo en un
ambiente de colaboracion y mutuo respeto.
Pretende que artistas y creativos de todo el mundo trabajen, convivan
e intercambien experiencias en un enclave natural de incomparable
belleza, lo cual estimula los sentidos y desarrolla la vision
espacial. Trabajar lejos de su entorno habitual, sin la presion
laboral y familiar de la vida cotidiana, en un ambiente tranquilo y
relajado, favorece la fluidez de ideas y contribuye a desarrollar la
capacidad artistica y creativa innata de los artistas.


Correo Electronico: becas@...
fundacion@...



@ EST MULOS AUTOM TICOS PARA LA PARTICIPACI N EN FESTIVALES DE
PELICULAS COLOMBIANAS. FONDO PARA EL DESARROLLO CINEMATOGR FICO
(COLOMBIA)
==========================================
prazo/plazo/deadline: N/C

El Fondo para el Desarrollo Cinematografico otorgara en 2005
estimulos automaticos a aquellas peliculas colombianas que hayan sido
seleccionadas en los festivales de cine mas importantes del mundo. La
convocatoria ya se encuentra abierta y el listado lo componen los
siguientes festivales y eventos:

FESTIVALES INTERNACIONALES CLASE A: Seccion Oficial (Estimulos hasta
de veinte millones de pesos por largometraje): Cannes (Francia),
Berlin (Alemania), San Sebastian (Espana) Venecia (Italia), Mar del
Plata (Argentina), Moscu (Rusia), Locarno (Suiza), y Tokio (Japon).

FESTIVALES INTERNACIONALES CLASE A: Secciones Paralelas Oficiales
(Estimulos hasta de diez millones de pesos por largometraje): Cannes
(Una Cierta Mirada, Quincena de Realizadores, La Semana de la
Critica), Berlin (Panorama y Forum del Nuevo Cine), San Sebastian
(Zabaltegui), Venecia (Mezzonotte), y Mar del Plata (La Mujer y el
Cine).

FESTIVALES REGIONALES, ESPECIALIZADOS O NO COMPETITIVOS: (Estimulos
hasta de cinco millones de pesos por largometraje): Toronto (Canada),
La Habana (Cuba), Valladolid (Espana), Toulouse (Francia),
Independiente de Buenos Aires (Argentina), Camerimage (Polonia),
Sundance (Estados Unidos), Biarritz (Francia), Huelva (Espana),
Guadalajara (Mexico), Montreal (Canada), Festival Internacional de
Miami (USA), Festival Latino de Chicago (USA), y San Francisco
International Film Festival (USA).

FESTIVALES PARA DOCUMENTAL (Estimulos hasta de cinco millones de
pesos por documental): Cinema du reel (Francia), Fidmarselle
(Francia), Visions du reel:Nyon's (Suiza), Festival Latino de Chicago
(USA), San Francisco International Film Festival (USA), Human Rights
Watch (USA), Buenos Aires (Argentina), Docavid (Israel), Jerusalen
(Israel), Input (USA), Hot Docs (Canada), Silverdocs-AFI/Discovery
Channel (USA), IDFA (Holanda), Sundance (USA), Bilbao (Espana), e
International Film Festival de Sao Paulo (Brasil).

FESTIVALES PARA CORTOMETRAJE (Estimulos hasta de tres millones de
pesos por cortometraje): Huesca (Espana), Oberhaussen (Alemania),
Clermont-Ferrand (Francia), Bilbao (Espana), e International Film
Festival de Sao Paulo (Brasil). En la categoria 2 de esta
convocatoria, denominada Participacion Internacional de Proyectos de
Largometraje en Encuentros, estan homologados los siguientes eventos:
Cinemart-Festival de Cine de Rotterdam (Holanda), Foro Iberoamericano
de Coproduccion Audiovisual de Huelva (Espana), Encuentros de
Mannheim (Alemania), Cine en Construccion-San Sebastian (Espana),
Cine en Construccion-Toulouse (Francia), y Festival Internacional de
Miami (USA). Adicionalmente, en la categoria 3 de la convocatoria,
llamada Participacion Internacional en Talleres de Formacion y
Asesoria de Proyectos, estan avalados los siguientes eventos: Union
Latina (Curso anual), Sundance (USA), Talent Campus (Alemania),
Talent Campus (Argentina), Sundance Institute (Mexico), y Casa de
America (Espana).

mas infos:
http://www.proimagenescolombia.com/docs/convocatorias/acuerdo011_pelifest.doc
cine@...


@ ESTIMULOS PARA ARTISITAS (INCLUYENDO CREADORES AUDIOVISUALES)
MINISTERIO DE CULTURA DE COLOMBIA
==========================================
prazo/plazo/deadline: N/C

El Portafolio de Convocatorias del Ministerio de Cultura se encuentra
abierto y ofrece, entre varias opciones para los creadores
audiovisuales, las Pasantias Nacionales, cuyas inscripciones estan
abiertas hasta el 15 de Abril. Son Once (11) pasantias por una
cuantia de $7'000.000 cada una, en las siguientes areas: Artes
Visuales / Danza: coreografia e interpretacion / Literatura: cuento,
ensayo, poesia, novela / Medios Audiovisuales: edicion, guion,
preservacion y conservacion del patrimonio audiovisual / Musica:
direccion y composicion / Artes y oficios: orfebreria, tejidos,
fundicion, ceramica, cesteria, joyeria, madera (pirograbado y talla),
marroquineria, metales, vitrales, gastronomia / Teatro: dramaturgia y
actuacion. Hay dos modalidades para estas pasantias:

Modalidad 1 para formacion: Estimulo que se otorga a los artistas y/o
investigadores en las areas convocadas para que se formen a traves de
cursos, talleres, o seminarios en instituciones, o con grupos
artisticos o maestros calificados, en un lugar de Colombia diferente
al de su residencia, durante un periodo de tiempo consecutivo de
minimo una (1) semana, maximo cuatro (4) meses, durante el segundo
semestre del 2005.

Modalidad 2 para formadores: Estimulo otorgado a los profesionales en
las areas convocadas, para que viajen a un lugar de Colombia
diferente al de su residencia, con el fin de capacitar, instruir,
ensenar o dirigir a un grupo artistico, o de estudiantes de una
institucion, durante un periodo de tiempo consecutivo de minimo una
(1) semana, maximo cuatro (4) meses, durante el segundo semestre del
2005.
<http://www.mincultura.gov.co/portafolioconvocatorias>


@ CONVOCATORIA AUDIOVISUAL PARA EL PROYECTO ALTAS FRECUENCIAS
==========================================
prazo/plazo/deadline: N/C

Se convoca a todos los realizadores audiovisuales jovenes de
Sudamerica a participar en el proyecto ALTAS FRECUENCIAS; Programa de
television que abordara la problematica sudamericana de los artistas
jovenes emergentes de Chile, Argentina, Peru, Ecuador, Colombia,
Venezuela y demas paises
interesados en participar.

El Programa saldra al aire a partir de Julio de 2005 por television
abierta con senal internet on-line de cobertura mundial y cuenta con
la direccion general del destacado realizador y artista audiovisual
Rafael Perez-Araya.

Interesados solicitar mas info en:

perezaraya.productora@...


Afectuosamente: Staff Perez-Araya Produccion Artistica
<http://www.perez-araya.ar.gs>


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