P R O @ R T E C L I P
S
Boletim Eletronico do Projeto ProArte Brasil
Ano 6 N. 54+55 7/2002
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
PARTE 4: OPORTUNIDADES
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
@ 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)
Boletim Eletronico do Projeto ProArte Brasil
Ano 6 N. 54+55 7/2002
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
PARTE 4: OPORTUNIDADES
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
@ 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
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.
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
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@...
@ Llamado a Concurso: Extensiones Perifericas. Hack the Borderline 3.0
==========================================
prazo/plazo/deadline: 25/07/2002
- Borderhack es un festival/campamento que forma parte de la cadena de bordercamps "Kein mensch ist illegal" y que tiene como sede la ciudad de Tijuana, en la delegacion de Playas de Tijuana, frente a la barda fronteriza, justo donde se sumerge al mar. Durante tres dias , 16, 17 y 18 de Agosto del 2002 se montara un campamento donde se realizaran diversas actividades como conferencias, platicas, talleres, exposiciones fotograficas, arte digital e interactivo multimedia, proyecciones de documentales y peliculas, asi como un area de computo, donde por medio de la red el festival estara en contacto con el resto del mundo transmitiendo algunas de las actividades y colocando informacion diaria en la pagina de internet del evento -
Si a principios
de la decada pasada, se pensaba, ingenuamente que tras de una
seguidilla de dictaduras militares, las instituciones democraticas
latinoamericanas iban a consolidarse como plataformas para solucionar
problemas sociales, politicos y economicos, estas al final solo
sirvieron para desvelar limites impuestos desde el interior de las
clases gobernantes
Fronteras de Orden Psicologicas
Los vladivideos permitieron mostrar tramas opacas implicitas entre los organismos de seguridad y la camara de representantes del Peru anulando asi, la imagen del heroe naconal inducida, mediada y espectacularizada del ex - gobernante Fujimori, hacia la opinion publica
Fronteras de Orden Social
El truncado golpe de estado muestra a una sociedad venezolana dividida en dos facciones una gran parte analfabeta y otra altamente mezquina
Fronteras de Orden Simbolico
La postergada version de la Bienal de Sao Paulo ah dejado como saldo la mitificacion turistica de un pais cuyos productos de importaciones solamente son exotismos, los que se dividen entre: las teleseries y su exposicion Brazil Profundo
> 1
> Se invita a participar a la elaboracion de un proyecto a las personas que residan en el espacio geografico - Latinoamerico y el Caribe -
>
> 2
> El proyecto se remitira a intervenciones fisicas dentro del contexto metropolitano.
> 2.1
> Estas intervenciones, tendran que desvelar fronteras de orden simbolicas, de orden social y de orden psicologico.
>
> 3
> Los proyectos tendran que ser enviados via correo postal a:
> Ignacio Nieto
> Ipacarai 1450, Vitacura
> Santiago, Chile
>
>
> 3.1
> Estos tendran que estar compuestos de:
> a) Proyecto (Descrpcion, fundamentacion y objetivos del proyecto)
> b) Diagrama que explique graficamemente su realizacion
> c) Curriculum Vitae
> d) Catalogos de exposiciones o fotografias o de obras que hayan sido realizado por el participante
>
> 4.
> La fecha limite para enviar el proyecto sera el dia 25 de Julio del 2002. Todos los trabajos llegados despues de esa fecha no seran admitidos
>
> 5
> Los proyectos seran revisados y seleccionados. Los elegidos seran notificados via email el dia 5 de Agosto para la inclusion en el programa de Borderhack 3.0.
> 5.1
> Debido a que Borderhack es una muestra independiente y sin fines de lucro, el material enviado no sera devuelto
>
> 6
> Las intervenciones elegidas tendran que ser hechas los dias 16, 17, 18 de Agosto, sincronizadamente con el festival realizado en Tijuana
>
> 7
> Los intervenciones publicas tendran que ser registrados mediante videos y fotografias o diapositivas.
> 7.1
> Cada participante escogido invitara a una persona a que escriba un texto referente a su intervencion.
> 7.2
> Ademas se tendra que confeccionar un plano en donde la intervencion fue realizada
(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@...
@ Llamado a Concurso: Extensiones Perifericas. Hack the Borderline 3.0
==========================================
prazo/plazo/deadline: 25/07/2002
- Borderhack es un festival/campamento que forma parte de la cadena de bordercamps "Kein mensch ist illegal" y que tiene como sede la ciudad de Tijuana, en la delegacion de Playas de Tijuana, frente a la barda fronteriza, justo donde se sumerge al mar. Durante tres dias , 16, 17 y 18 de Agosto del 2002 se montara un campamento donde se realizaran diversas actividades como conferencias, platicas, talleres, exposiciones fotograficas, arte digital e interactivo multimedia, proyecciones de documentales y peliculas, asi como un area de computo, donde por medio de la red el festival estara en contacto con el resto del mundo transmitiendo algunas de las actividades y colocando informacion diaria en la pagina de internet del evento -
Fronteras de Orden Psicologicas
Los vladivideos permitieron mostrar tramas opacas implicitas entre los organismos de seguridad y la camara de representantes del Peru anulando asi, la imagen del heroe naconal inducida, mediada y espectacularizada del ex - gobernante Fujimori, hacia la opinion publica
Fronteras de Orden Social
El truncado golpe de estado muestra a una sociedad venezolana dividida en dos facciones una gran parte analfabeta y otra altamente mezquina
Fronteras de Orden Simbolico
La postergada version de la Bienal de Sao Paulo ah dejado como saldo la mitificacion turistica de un pais cuyos productos de importaciones solamente son exotismos, los que se dividen entre: las teleseries y su exposicion Brazil Profundo
> 1
> Se invita a participar a la elaboracion de un proyecto a las personas que residan en el espacio geografico - Latinoamerico y el Caribe -
>
> 2
> El proyecto se remitira a intervenciones fisicas dentro del contexto metropolitano.
> 2.1
> Estas intervenciones, tendran que desvelar fronteras de orden simbolicas, de orden social y de orden psicologico.
>
> 3
> Los proyectos tendran que ser enviados via correo postal a:
> Ignacio Nieto
> Ipacarai 1450, Vitacura
> Santiago, Chile
>
>
> 3.1
> Estos tendran que estar compuestos de:
> a) Proyecto (Descrpcion, fundamentacion y objetivos del proyecto)
> b) Diagrama que explique graficamemente su realizacion
> c) Curriculum Vitae
> d) Catalogos de exposiciones o fotografias o de obras que hayan sido realizado por el participante
>
> 4.
> La fecha limite para enviar el proyecto sera el dia 25 de Julio del 2002. Todos los trabajos llegados despues de esa fecha no seran admitidos
>
> 5
> Los proyectos seran revisados y seleccionados. Los elegidos seran notificados via email el dia 5 de Agosto para la inclusion en el programa de Borderhack 3.0.
> 5.1
> Debido a que Borderhack es una muestra independiente y sin fines de lucro, el material enviado no sera devuelto
>
> 6
> Las intervenciones elegidas tendran que ser hechas los dias 16, 17, 18 de Agosto, sincronizadamente con el festival realizado en Tijuana
>
> 7
> Los intervenciones publicas tendran que ser registrados mediante videos y fotografias o diapositivas.
> 7.1
> Cada participante escogido invitara a una persona a que escriba un texto referente a su intervencion.
> 7.2
> Ademas se tendra que confeccionar un plano en donde la intervencion fue realizada
> 7.3
> Textos, registros y planos seran enviados para un futuro catalogo y para ser puestos en una pagina web. Esto tendran que ser enviados a la siguiente direccion:
>
> Ignacio Nieto
> Ipacarai 1450, Vitacura
> Santiago, Chile
>
> 7.3.1
> La fecha limite para mandar el registro del proyecto y los textos, sera el dia 5 de Septiembre
>
> Extensiones Perifericas
> Borderhack 3.0
> Ignacio Nieto
> Ipacarai 1450 Vitacura
> Santiago Chile
> Movil 095114452
> igcionito@...
>
> Personas que han participado en versiones anteriores
> Florian Schneider // Dj Spooky // Micro radio Aztlan // Robin Rimbaud aka // Scanner // Cristine Wang // JODI // Rtmark // Mark Dery // Ricardo Dominguez // Geert Lovink // Douglas Rushkoff // Apsolutno // Antonio Alvarado // Arcangel Constantini // Raul Ferrera Balanquet // Pedro Jimenez // Andreja Kuluncic // OG Mass T. Lander // Pavu.com // Francesca Da Rimini // Trebor Scholz // Ventsislav Zankov // Dan Arenzon // David Casacuberta // Quim Gil // Pacho // Jenny Marketou // Klub Radio // Sarah Lewinson Rafael Lozano Hemmer // Larry Shaw // Alex Rivera // La place // Natalie Bookchin // Osfavelados Fiambrera(espana)/CalArts // Ford Proco // Eddo Stern // Gloria
> Marti // Arturo Fuentes
@ 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 applications NISNMA 2002
==========================================
prazo/plazo/deadline: 19/07/2002
23 Sept - 11 Oct
Adelaide, Australia
ANAT, Australia's peak network and advocacy body for artists working with art, technology and science, is now inviting Indigenous artists to apply for the second National Indigenous School in New Media Arts
(NISNMA). The school, to be held in Adelaide from 23 September to 11 October, will provide 15 Indigenous artists from across Australia with training in internet and multimedia disciplines, including graphics, web design, video, sound and webcasting. The course will also inform students about exhibiting and promoting new media art and bring them into contact with a network of other artists and support organisations. The cost of NISNMA 2002 is A$450 per student. Some travel, accommodation and fee subsidies will be available.
> Textos, registros y planos seran enviados para un futuro catalogo y para ser puestos en una pagina web. Esto tendran que ser enviados a la siguiente direccion:
>
> Ignacio Nieto
> Ipacarai 1450, Vitacura
> Santiago, Chile
>
> 7.3.1
> La fecha limite para mandar el registro del proyecto y los textos, sera el dia 5 de Septiembre
>
> Extensiones Perifericas
> Borderhack 3.0
> Ignacio Nieto
> Ipacarai 1450 Vitacura
> Santiago Chile
> Movil 095114452
> igcionito@...
>
> Personas que han participado en versiones anteriores
> Florian Schneider // Dj Spooky // Micro radio Aztlan // Robin Rimbaud aka // Scanner // Cristine Wang // JODI // Rtmark // Mark Dery // Ricardo Dominguez // Geert Lovink // Douglas Rushkoff // Apsolutno // Antonio Alvarado // Arcangel Constantini // Raul Ferrera Balanquet // Pedro Jimenez // Andreja Kuluncic // OG Mass T. Lander // Pavu.com // Francesca Da Rimini // Trebor Scholz // Ventsislav Zankov // Dan Arenzon // David Casacuberta // Quim Gil // Pacho // Jenny Marketou // Klub Radio // Sarah Lewinson Rafael Lozano Hemmer // Larry Shaw // Alex Rivera // La place // Natalie Bookchin // Osfavelados Fiambrera(espana)/CalArts // Ford Proco // Eddo Stern // Gloria
> Marti // Arturo Fuentes
@ 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 applications NISNMA 2002
==========================================
prazo/plazo/deadline: 19/07/2002
23 Sept - 11 Oct
Adelaide, Australia
ANAT, Australia's peak network and advocacy body for artists working with art, technology and science, is now inviting Indigenous artists to apply for the second National Indigenous School in New Media Arts
(NISNMA). The school, to be held in Adelaide from 23 September to 11 October, will provide 15 Indigenous artists from across Australia with training in internet and multimedia disciplines, including graphics, web design, video, sound and webcasting. The course will also inform students about exhibiting and promoting new media art and bring them into contact with a network of other artists and support organisations. The cost of NISNMA 2002 is A$450 per student. Some travel, accommodation and fee subsidies will be available.
Deadline: 19 July
Info:
Caroline Farmer, ANAT
PO Box 8029
Station Arcade
SA 5000
(08) 8231 9037
manager@...
http://www.anat.org.au
@ 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
@ Call for participation: RADIOTOPIA
==========================================
prazo/plazo/deadline: n/c
Radioactive Communi(ty)cation
on air - on line - on site
on air: OE1 Kunstardio, Radio Oesterreich International (SW), Radio 1476 (MW) and others...
September 8th, 11:05 pm CEST
September 10th, 11:05 pm CEST - 05:00 am CEST
on line: http://www.aec.at/radiotopia
http://kunstradio.at
on site: September 8th - 12th, Ars Electronica Festival,
Klangpark@Brucknerhaus, Linz, a.o.
Radiotopia will be, literally, a radio-place; instead of the
homogenized drone of corporatized globalization, Radiotopia will be the sound of a varied world, emanating from people engaged in widely diverse cultural practices. Initiated by the AEC and coproduced with OE 1 KUNSTRADIO, RADIOTOPIA proposes to create a temporary network aimed at linking disparate parts of the globe on many realtime and virtual levels, creating a multi-media network grounded in radio
transception (both sending and receiving), culminating in a large open-air installation and an overnight broadcast (Long Night of Radio Art) during the Ars Electronica Festival 2002.
Artists of all fields and from all over the world are invited to become participants/nodes in this network.
More information:
ORF Kunstradio
Argentinierstr. 30a
A - 1040 Vienna
Austria
Phone. ++431 50101 18277 or ++43 732 7272 60
Fax: ++431 50101 18065
Email: kunstradio@...
http://kunstradio.at
http://www.aec.at/radiotopia
@ 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
@ Call for proposals: CDDC hosting project
==========================================
prazo/plazo/deadline: n/c
The Center for Digital Discourse and Culture <http://www.cddc.vt.edu> (cddc) in the College of Arts and Sciences at Virginia Polytechnic Institute and State University is accepting proposals for hosting
artistic, critical, literary and other projects.
The CDDC has been in operation since 1998, and it publishes hypertext journals, hosts digital research archives, and cooperates with many international cyberculture organizations.
As an entirely digital point-of-publication, the cddc is seeking from individuals and groups, proposals of artistic or academic merit for use of our server space. The main focus of the cddc is to explore the new communicative potentials of hypertext, hypermedia, and web-centered publication. the review processes will be as extensive as
those experienced in print academic outlets, but it too will be conducted in a fully on-line format.
To propose a publication project, or to get more information, contact the center for digital discourse and culture at cddc@...
http://www.cddc.vt.edu
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
@ Call for proposals: CDDC hosting project
==========================================
prazo/plazo/deadline: n/c
The Center for Digital Discourse and Culture <http://www.cddc.vt.edu> (cddc) in the College of Arts and Sciences at Virginia Polytechnic Institute and State University is accepting proposals for hosting
artistic, critical, literary and other projects.
The CDDC has been in operation since 1998, and it publishes hypertext journals, hosts digital research archives, and cooperates with many international cyberculture organizations.
As an entirely digital point-of-publication, the cddc is seeking from individuals and groups, proposals of artistic or academic merit for use of our server space. The main focus of the cddc is to explore the new communicative potentials of hypertext, hypermedia, and web-centered publication. the review processes will be as extensive as
those experienced in print academic outlets, but it too will be conducted in a fully on-line format.
To propose a publication project, or to get more information, contact the center for digital discourse and culture at cddc@...
http://www.cddc.vt.edu
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