Join in the Fight for Bloggers' Rights! (Can we apply this in HK?)

Electronic Frontier Foundation EFF is a donor-funded nonprofit group of passionate people—lawyers, technologists, volunteers, and visionaries — who depend on your support to continue successfully defending your digital rights. Litigation is particularly expensive; because two-thirds of our budget comes from individual donors, every contribution is critical to helping EFF fight —and win—more cases.

You Have the Right to Blog Anonymously. EFF has fought for your right to speak anonymously on the Internet, establishing legal protections in several states and federal jurisdictions, and developing technologies to help you protect you identity. With your support, EFF can continue to defend this right, conducting impact litigation to establish strict standards to unmask an anonymous critic in more jurisdictions.

You Have the Right to Keep Sources Confidential. In Apple v. Does, EFF is fighting to establish the reporter's privilege for online journalists before the California courts. With your support, EFF can defend news bloggers from subpoenas seeking the identity of confidential sources in more jurisdictions.

You Have the Right to Make Fair Use of Intellectual Property. In OPG v. Diebold, Diebold, Inc., a manufacturer of electronic voting machines, had sent out copyright cease-and-desist letters to ISPs after internal documents indicating flaws in their systems were published on the Internet. EFF established the publication was a fair use. With your support, EFF can help fight to protect bloggers from frivolous or abusive threats and lawsuits.

You have the Right to Allow Readers' Comments Without Fear. In Barrett v. Rosenthal, EFF is working to establish that Section 230, a strong federal immunity for online publishers, applies to bloggers. With your support, EFF can continue to protect bloggers from liability for comments left by third parties.

You Have the Right to Protect Your Server from Government Seizure. In In re Subpoena to Rackspace. EFF successfully fought to unveil a secret government subpoena that had resulted in more than 20 Independent Media Center (Indymedia) news websites and other Internet services being taken offline. With your support, EFF can hold the government accountable for investigations that cut off protected speech.

You Have the Right to Freely Blog about Elections. EFF has advocated for the sensible application of Federal Election Commission rules to blogs that comment on political campaigns. With your support, EFF can continue to protect political blogs from onerous campaign regulations.

You Have the Right to Blog about Your Workplace. EFF has educated bloggers on their rights to blog about their workplace and developed technologies to help anonymous whistle bloggers. With your support, EFF can help shape the law to protect workplace bloggers from unfair retaliation.

You Have the Right to Access as Media. EFF has educated bloggers on their right to access public information, attend public events with the same rights as mainstream media, and how to blog from public events. With your support, EFF can fight for bloggers' right to access as media.

Know Your Rights and Prepare to Defend Them. EFF has created the Legal Guide for Bloggers to give you a basic roadmap to the legal issues you may confront as a blogger and a guide on How to Blog Safely. With your support, EFF can expand and update these guides.

Final Call for papers: Network Culture

NEW NETWORK THEORY
International Conference

Location: Amsterdam
Dates: 28-30 June 2007

Organized by: Amsterdam School for Cultural Analysis, Institute of Network Cultures (Amsterdam Polytechnic, HvA), and Media Studies, University of Amsterdam.

New Network Theory, the 2007 ASCA International Conference, organized by the Amsterdam School for Cultural Analysis (ASCA), the Institute of Network Cultures (Amsterdam Polytechnic) and Media Studies at the University of Amsterdam, has issued its first call for papers. The conference, to be held on Thursday, 28 June to Saturday, 30 June, 2007, also includes a public program with renowned speakers.

Significant dates

Deadline for Submission of Paper Abstract (500 words) and Biography (100 words): 10 January 2007

Submit to: networktheory@networkcultures.org

Acceptance Notification: 1 March 2007

Further inquiries to: Dr. Eloe Kingma, Managing Director, Amsterdam School of Cultural Analysis, Oude Turfmarkt 147, Oude Turfmarkt 147, 1012 GC, Amsterdam, tel: +31 20 525 3874, asca-fgw@uva.nl.

Conference organizers:

Geert Lovink (Institute of Network Cultures/University of Amsterdam)
Sabine Niederer (Institute of Network Cultures)
Richard Rogers (University of Amsterdam)
Jan Simons (University of Amsterdam)

Locations: Pakhuis de Zwijger Media Warehouse (28 June), University of Amsterdam (29-30 June)

Invited Speakers and Facilitators: Katy Borner, Wendy Chun, Nosh Contractor, Florian Cramer, Mario Diani, Matthew Fuller, Martin Kearns, Valdis Krebs, Alan Liu, Noortje Marres, Anna Munster, Claudia Padovani, Jussi Parikka, Warren Sack, Ramesh Srinivasan, Rob Stuart, Tiziana Terranova, Kenneth Werbin. The speakers and facilitators are unconfirmed.

-----

General Introduction: Rethinking Network Cultures

The object of study has shifted from the virtual community and the space of flows to the smart mob. When the object of study changes, so may the distinctions that dominate, particularly the schism between place-based space and place-less space, both organised and given life by networks. We would like to exploit the potential of writing contemporary network theory that suits and reflects the changes to the objects of study that come to define our understandings of network culture – a post-Castellsian network theory, if you will, that takes technical media seriously.

It is time to look for elements that can make up a network theory outside of post-modern cultural studies (which marvelled at the place-less place) and ethnographic social sciences (which reminded us of the ground). What network culture studies needs is a ‘language of new media,’ perhaps even signage, to speak in terms of Lev Manovich; what it currently has is a science-centered ‘unified network theory,’ to paraphrase the language of Albert-László Barabási.

Whilst it may come as no surprise to critical Internet scholars, the notion that networks are not random but have underlying structures remains the key insight for network scientists. Instead of posing new questions, the work that follows from that insight often seeks to confirm that structure and its accompanying patterns, across more and more network-like objects. The question remains which specific contribution critical Internet scholars and practitioners can make to opening up network thought. Such is the purpose of the network theory conference. How must we rethink network culture with a renewed emphasis on technical media and social software?

Suggested Topics:

Networks and Social Movements
Anomylous Objects, Parasites of the Net
Networking and Social Life
Social Software and Insider Networks
Network Policy
Network Governance / Organised Networks
Actor-Network Theory and the Assemblage
Gamers Contribute to Network Theory
Network Knowledge Production
Networks and Disengagement
Media Networks
The Link
Locative Media and Networks
Mapping Quests

Other topics may be suggested.

The Unseen Video

The Unseen Video, a weather controlled, dynamic music video for Mike Milosh's - You Make Me Feel.

The Unseen Video is much more than a normal, static music video. It is a video that is affected by the weather and local time from the position of the viewer.

We want to create new synergies between the music, the video and the surroundings of the viewer. Every little change in your environment ensures that you will never see the same video twice. The look of the video might slightly change within an hour, but will have a whole new character in a few months.

From the making of :

Technical implementation
The Project is realised in Flash MX 2004 (ActionScript 2). The communication between the flash movie and the database, where all weather and city information are stored, is programmed with php.

Persons
theunseenvideo is the final year project of Daniel Scheibel and Ferdinand Weinrother. The work was generated during the summer term of March-July 2005 at the Department of Design, University of Applied Sciences Augsburg, Germany.

The Digital Aesthetic 2 Conference: 16th - 17th March 2007

Does digital has the potential to change our perception of art?

The Digital Aesthetic 2 is a joint initiative between the Harris Museum and Art Gallery, Preston and the Electronic & Digital Art Unit at the University of Central Lancashire.

The Digital Aesthetic conference will take place on Friday 16th and Saturday 17th of March 2007 and will coincide with the opening of the Digital Aesthetic exhibition (March-May 2007). The conference and exhibition will bring together some of the most significant visual artists, theorists, curators and academics working in the international field of new media and digital imaging to highlight, explore and debate the issues and implications of new media work within the contemporary fine art context.

Speakers are older generation digital artists:
Like Gary Hill, Bill Seaman, Peter Appleton, The Vasulkas, Robert Cahen....
but it is good to see how they envision the future... if you have the money £176.25!!! wow.

New Media & Social Memory

on 18th Jan. 2007 : The UC Berkeley Art Museum and Pacific Film Archive is proud to present New Media & Social Memory, a public symposium to discuss strategies for preserving digital art at a time when digital technologies are evolving and becoming obsolete at an astonishingly rapid pace. While focussing on digital art, the symposium will also address larger concerns about the long-term conservation of our increasingly digital culture, including how we decide what digital content - from Web sites to video games - are worth saving.
Symposium Program

10:00-10:15
Introductions
Richard Rinehart, Digital Media Director & Adjunct Curator, BAM/PFA
Jane Metcalfe, Founder & Original Publisher, Wired Magazine, BAM/PFA Board

10:15-11:00
Stewart Brand, President, Long Now Foundation

11:10-12:00
Stewart Brand, President, Long Now Foundation, in conversation with
Kevin Kelly, Editor at Large, Wired Magazine
Jon Ippolito, Assistant Professor of New Media, University of Maine

12:00-1:00
Lunch break

1:10-2:00
Alexander Rose, Executive Director, Long Now Foundation
Kurt Bollacker, Digital Research Director, Long Now Foundation

2:10-3:00
Marisa Olsen, Editor and Writer, Rhizome.org
Michael Katchen, Archivist, Franklin Furnace

3:10-4:00
Jeff Rothenberg, Computer Scientist
Richard Rinehart, Digital Media Director & Adjunct Curator, BAM/PFA

4:10-5:00
Bruce Sterling, Author, Founder, Dead Media Project

5:00-7:00
Public reception

Merging Sex and tech- teledildonics

"....a product suite from her Japan-based company (NSFW) that is the latest entry into consumer-level teledildonics. It's an example of what happens when folks from diverse disciplines combine their skills to create new ways to merge sex and tech -- and then introduce the result to the adult industry.

In this case, it's a collaboration between software developers and a product designer with a background in medical devices. And it moves teledildonics in an interesting direction.

Unlike HighJoy (NSFW) and Sinulator (NSFW), which connect two people's sex toys in real time over the internet, the Segment system combines video and tactile input into a single file that your fans -- or your lovers -- can play back at their leisure.

The input device, called Run, is an onyx shaft with a bulb on one end and sensors spaced along its surface. You use it in tandem with a webcam or camcorder and the Segment software. When you stroke the device with your hands, or lips, or whatever, the software captures the placement and pressure of each touch and embeds the signals into the video.

During playback, those signals are translated and sent to another USB device, Segment's Takumi toy. The Takumi is a soft sheath surrounded by nine motors and encased in a plastic shell that looks like a chrome bowling pin. ("So it is more discreet sitting there on your desk," Emi explains.)

The sensors on the Run correspond to the motors in the Takumi. Touching one end of the input device activates the motor near the opening of the sheath. Touching the other end of the stick activates motors deeper inside the sheath.

Segment is marketing the system to webcam actresses and porn stars as a shared-revenue proposition. Record a few videos, upload them to the Segment website, promote yourself like crazy, and collect 40 percent of the profits whenever your videos sell.

Certainly, if you already have a following as a webcam performer, offering archived videos with this additional touch seems like a simple way to increase your income. Assuming enough men will purchase the Takumi to make it worth your while.

And yet my first thought as I recorded and played back a video of myself was not about adult entertainment but rather about the opportunities for lovers.

At first, I was annoyed that the stimulation is one-way, from the stick to the sleeve. But then I realized that the Takumi is a man's answer to the Je Joue sensual massager.

The Je Joue comes with software that enables you to create custom stimulation patterns -- swirls and twirls, up and down, vibration -- at various speeds and intensities. You download the pattern to the handset, disconnect it from the USB cable, and take yourself off to play.

Men and women can both create the patterns. But the massager itself is designed for women; it is a rare man who would find it a satisfying physical experience...."

「好玩場」一個香港／錄像／行為／裝置／藝術展

（Playground: A Hong Kong/Video/Performance/Installation/Art Event）
【活動日期：】 2006/12/21 - 2007/1/21
■《地點：》高苑科技大學 藝文中心 Kao Yuan Art Center（高雄縣路竹鄉中山路 1821 號）
■《主辦：》高苑科技大學 Kao Yuan University
■《策劃：》文晶瑩 MAN Chingying Phoebe ( Curator of Playground )
■《網址：》http://km.kyu.edu.tw/art/
■《聯絡方式：》
時間：週一到週五 9:00 – 17:00
電話：（07）607-7840
傳真：（07）607-7841
電郵：artcenter@cc.kyu.edu.tw
怎麼形容新一代的香港藝術？策劃「好玩場」的文晶瑩說：「玩」可以是一個可行的形容詞！本場活動將於高苑科技大學藝文中心展出到本月 21 日，或許能讓你明白其中一二。

愛玩是天性，目的是尋找樂趣。所有生物天生都懂得玩、也愛玩，像是剛出生的小狗，牠們喜歡咬來咬去，完全懂得怎麼玩、什麼是攻擊，玩的時候也不會咬傷對方。香港藝術家的創作對市場的考慮較少，或許心態上也比較自然，由個人的趣味所驅動，自訂遊戲規則的種種特色，恰與遊戲的精神不謀而合。

去年，香港藝術家舉辦多場以「玩」為題的展演，如葉旭耀策劃的「實驗錄像計劃」、羅海德的「微波國際媒體藝術節」、黎肖嫻的「好一個玩字了得─出入錄像創作的玩耍民族誌」。關於遊戲、有互動性質的作品，如梁寶山邀請觀眾與她互動的「單打裝置＋表演系列」、吳子昆的「聲音互動裝置」、石明輝的「互動數碼遊戲」、黃照達的「網上互動作業」、黃志恆的「土產座標」，以及曾德平掛上紙製攝影機和遊客互動的「行為藝術」、「我自己的網上互動地圖設計」等。

此展邀集了上述多位藝術家的裝置作品和表演行為藝術之外，並放映葉旭耀所策劃的「Play＞實驗錄像遊戲計劃」；同時舉辦講座，邀請台灣的學者和藝術家一起交流，加深兩地彼此的認識。

(報導：瑪亞）

Writing machine again

Writing & Machine as Sites

Writing Machine Collective 2nd Edition [WMC_e2] aims at presenting accessible, and yet quality works with a strong research impulse to the public to illustrate one kind of possibility for new media art. This involves a new experience of writing via computer-programming-based machine capabilities.

In this edition, we particularly focused on a dialogue with Generative Art, a form of art that has been extensively explored in 20th-century fine arts and experimental literature, and more recently in media arts that involve code-based programming. In addition, we seek to ensure the works selected to shed light on our banal everyday life setting and popular cultural elements as much as possible.

All the exhibited works are interaction-based, and some highlight real-time performance. Compared with works in WMC_e1 (2004), next to the idea of machine, and the materiality of writing, we have placed a much stronger emphasis on interface design in order to strengthen the installation art quality of these works.

The interests and individual strength of the 11 artists (or teams) pertain to very different possibilities of the future development of the “Writing Machine,” and only a full assemblage of them helps to illustrate to the public the richness and diversity of this rather less attended aspect of new media arts. Along with the exhibition, a broad range of educational activities will be carried out to bring the project to fruition, including lectures, workshops, and an on-line virtual parallel exhibition, all of which will cover a six-month period.

From the perspective of research impulses, WMC_e2 is essential for further clarification of the theoretical issues and creative impulses involved in the play with technology. WMC_e2 embraces long-term multi-disciplinary enquiry, and therefore it should be more than just an exhibition of finished works.

---Curator: Linda Lai

文字機器創作集（第2輯）旨在展出探索性、平易近人且具質素的作品，透過電腦程式的機器特性，引進創新的寫作體驗，演繹新媒體藝術的種種可能。是次展覽特別注重對「衍生藝術」的探討：衍生藝術曾廣泛被二十世紀的美術及實驗文學視為研究對象，而近年冒起的媒體藝術亦有透過電腦程式來探索衍生藝術的趨勢。同時，我們亦希望參展作品能突顯普及文化中的各種元素，為日常生活的平凡景象帶來生氣。

所有參展作品均以互動為大前提，其中亦有一些作品以實時表演的形式進行。展覽延續了文字機器創作集第1輯（2004）的精神，強調對「機器」概念及寫作本身的關注。然而，相較於第一輯，是次的參展作品特別著重介面設計，以突出其裝置藝術的質素。

十一個參展藝術單位各施其法各顯所長，他們對於「文字機器」未來的發展亦提供了多方面的可能性。由於「文字機器」為新媒體藝術領域上相較地不被重視的發展方向，因此只有把所有作品一拼展出才得以勾勒其豐富與多樣性。為使整個文字機器創作集（第2輯）計劃更趨全面，我們將於未來半年間舉行多項富教育意味的活動，當中包括講座、工作坊及網上展覽。

在學術研究的層面上，文字機器創作集著實擔當了重要的角色。「文字機器」除進一步闡釋了挪玩科技所涉及的理論及創作問題外，長遠地更力求達致一跨學科的研究精神。因此，文字機器創作集的意義絕非單一場展覽所能演繹過來。

---策展人：黎肖嫻

參展藝術家 Participating Artists:

‧ CHAN Chi-hang, Ray 陳志恆 / LAM Yan-kit, Keith 林欣傑 (Wii Writes What Wii Moves)
‧ CHIU Yee-ling, Gabbie 趙綺鈴 / LEE Nga-chung, Venda 李雅頌 / TO Yip-sang, Told 涂業生 / YIP Kai-chun 葉啟俊 (Body Language)
‧ CHOI Chi-yeung, Lawrence 蔡智揚 / LAI Chiu-han, Linda 黎肖嫻 (Who is Singing? –Donald, can you hear me?)
‧ FOXALL, Nick (Untitled Announcements)
‧ HO Lok-ka, Coco 何樂家 (de - code x re- write)
‧ RODRIGUEZ, Hector 羅海德 (Station)
‧ SIU Chi-man, Eric 蕭子文 (grARTphicator)
‧ TO Yip-sang, Told 涂業生 (Genetic Text)
‧ WONG, Chiu-tat, Justin 黃照達 (Typing Machine)
‧ WONG Wing-fat, Morgan 黃榮法 (Alliance)
‧ WONG Kit-shun, Reine 王潔淳 (ARound)

Physical Exhibition
Opening: 12 January 2007, 7pm
Date: 12 January to 8 February 2007
Venues: 1a space and Videotage
Address: Units 13 and 14, Cattle Depot Artists Village, 63 Ma Tau Kok Road, To Kwa Wan, Kowloon, Hong Kong.

Seminar-lecture: 20 January 2007, 2:30pm
Topic: “Artificial Language”
Speaker: Dr. Hector Rodriguez
Artist Forum: 27 January and 3 February 2007, 2:30pm

Opening Hours
1 a space: Tuesday to Sunday, 2pm to 8 pm (Closed on Mondays and public holidays)
Videotage: Monday to Friday, 11am to 6pm (Closed on Saturdays, Sundays and public holidays)

Virtual Exhibition
Date: from 14 January 2007 onwards
Website: http://www.writingmachine-collective.net/virtual

It's that time of year again-- the Fo Tan Open Studios!

29+ studios this Saturday evening, Jan 13, 3pm-8pm (or Sun 14, Sat 20, Sun 21 at the
same time).

Plus special event:
「匣－權衡」
STABLE - the balance of power

at Embassy Projects
伙炭工作室開放計劃 2007 節目
part of Fotanian 2007 Open Studios

地點：火炭黃竹洋街15-21號華聯工業中心4樓19室．可從 Block A 或 Block B 到達
Venue: Wah Luen Industrial Center, 15-21 Wong Chuk Yeung St, Fo Tan ( Unit 19, 4/F, access from Block A or Block B )

展期：一月十三至十四及二十至二十一日（星期六及星期日）下午二時至八時
開幕酒會：一月十三日（星期六）晚上六時
Exhibition Dates: Sat. and Sun. 13,14 & 20,21 January 2pm - 8pm
Reception: Sat. 13 January 6pm

「匣－權衡」 包括一眾本地及海外藝術家，在迷宮般的展場展出超過三十件橫額及錄像作品。透過在特定空間的不同活動：權力遊戲和操控的技倆，展示平衡時的不同形態，及當今社會如何利用規訓機制去保持權力的平衡。
「匣－權衡」 透視微觀權力架構和空間與其主體的複雜關係，檢驗我們每天所經驗到但未必察覺到，與權力周旋應對的場景。參展藝術家利用多種自我規訓的過程去製造一個物理與心理上均保持平均的空間。三十多件橫額及錄像作品，透過在特定空間的不同活動：權力遊戲和操控的技倆，展示平衡時的不同形態，及當今社會如何利用規訓機制去保持權力的平衡。 「匣－權衡」 的展場由匣狀的迷宮構成，在細小的號子中，參觀者能感受到他們與封閉空間的關係。

藝術家 / Artists：Abramovic/Ulay, Joseph Beuys, Monica Bonvicini, 段建宇 Duan Jian Yu, 古儒郎 及 林海華 Gutierrez + Portefaix, 何兆基 Ho Siu Kee, 胡向前 Hu Xiang Qian, 黃小鵬 Huang Xiao Peng, Jakob Kolding, 林一林 Lin Yi Lin, 馬瓊珠 Ivy Ma, Andrew McLeod, Erkka Nissinen, Marcel Odenbach, 白雙全 Tozer Pak, Santiago Sierra, Sean Synder, 杜子卿 Hiram To, 曾德平 Kith Tsang, Urbanus and 王浩然 Adrian Wong

策展人 / Curator ：Tobias Berger & 李綺敏 / Christina Li

A new art database in Hong Kong: APART

We are APART, your digital and interactive platform of all things creative in Hong Kong.

An art database for all local and global viewers, our website includes a calendar of art events, a directory of creative resources, and a yellow pages of local artists. What makes APART special? Well, YOU (yes, you!) do. Anyone can use APART to promote any art events, creative news, artists, and all things art in Hong Kong. All you need to do? Submit to us at APART.

Our goal? To build an extensive and diverse network of Hong Kong's creative force, while providing a useful service for everyone in the art community, from emerging and established artists to galleries and museums, to promote themselves, their works, and their events.

What happens next? Coming soon to APART will be exciting new features and projects to cover even more of what Hong Kong's creative force is about! If you have any artful ideas or contributions in mind, let us know.

Thank you for supporting HK's creative force. Queries? Ready to be a part of creativity? Please visit us and send us your creative thoughts at info@apart.hk.

The APART Crew
January 2007


I am not sure if they have any editorial selection or preference because I cannot see any people responsible for the database.

Tank TV: I Am Future Melancholic

This show presents moving images by artists whose practice reflects a vision of tomorrow. The structures and systems of reality are examined to reveal glimpses into what we call 'the future'. This ineffable and intangible concept, that constantly haunts the present, here provokes a wealth of musings and imaginings.

tank.tv announce in addition to its online exhibition a screening at the Tate Modern, 20 January. The Artist Mathieu Delvaux, Matthieu Laurette and Susanne Bürner with musician Steve Trafford (ex member of the Fall / member of Tycoons Follies), will also be present to introduce their work.

In 'Bruxelles 4023', Mathieu Delvaux & Xavier van Huffel perform street interviews to ask the public what they think Brussels might be like in 4023. The answers, as varied as the people themselves, reveal the concept of the future as a screen for hopes, fears and fantasy. Astarting point into an exploration of tomorrow...

Challenging, doubt-inducing and transformative aspects of 'the future' can be perceived in Vito Acconci's repetitive acts, recorded in a super8 film 'Break-Through' or in Philippe Meste's detonative video 'LHRB'. Rachel Reupke's 'Infrastructure' is born of a fascination with movie special effects and narrative devices. And Carsten Höller's 'One minute of doubt' and 'Punktefilm' induct a representation of our 'timeless everyday', and magically echo the playful nature of his present turbine hall insta llation. Laurent Montaron shows us a fictive exploration of time and travel through his `Readings', while Matthieu Laurette's impressive cocktail of celebrity lookalikes brings us into confusion at a blured vision of the limits between performance and observation. Mai Yamashita and Naoto Kobayashi's star, in 'When I wish Upon a Star' gives us time we need to wish upon.
Artists include: Erwin Wurm, Haris Epaminonda, Xavier Veilhan, Carsten Höller, Philippe Meste, Susanne Bürner, Laurent Montaron, Chris Cornish, Mathieu Delvaux & Xavier Van Huffel, Bernard Gigounon, Matthieu Laurette, Rachel Reupke, John Latham, Vito Acconci and Mai Yamashita & Naoto Kobayashi.

"I am Future Melancholic" is at Tate Modern at 7pm on Saturday 20 January 2007 and online on www.tank.tv from 15 January to 28 February 2007.
Curated by Anne-Sophie Dinant and Laure Prouvost

"Intermedia" exhibition

Engaging 'Intermedia'
In the mid-sixties, Fluxus artists began using the term 'intermedia' to describe work that was both interdisciplinary and composed of multiple media. The term highlights the intersection of artistic genres and has gradually emphasized performative work and projects that employ new technologies. The exhibition 'Engaging Technology: A History and Future of Intermedia,' on view through March 11 at Muncie, Indiana's Ball State Museum of Art, offers an art-historical survey of such activity. Artists Richard Bloes, Hans Breder, Adam Brown, Gary Hill, Dick Higgins, Jenny Holzer, Golan Levin, Nam June Paik, and Alan Rath show work that explores 'intersections between electronic media and various modes of art making--video, poetry, sculpture, performance, sound, typography, music, and installation.' Organizers John Fillwalk and Tania Schuler worked to explore the etymology of the term 'intermedia,' while emphasizing the practice of artists who 'are particularly interested in the! relationship between a viewer and a work of art.' Fillwalk's curatorial statement argues that, 'In encountering that threshold of engagement, the viewer can enter into a partnership with the artist in shaping the direction of the work.' The implication is that these pioneering pieces have an ongoing legacy and flexible trajectory. Meanwhile, the show is a refreshing look back at the history of new media. If you can't visit it in person, check out the online video tour. - Marisa Olson
Ball state University:
2000 W. University Ave.
Muncie, IN 47306

'Engaging Technology: A History and Future of Intermedia' on view.
Video tour intoduced by guest curator John Filwak.