星期二, 9月 30, 2008

Just love Roy Andersson

Miserable is funny, comical, and so miserable. I think this is what "hyper-reality" means to the director of "song from the second floor " and "you, the living", Roy Andersson. He made ad for a living and here are some of them, still you can see "him" in the video

And here is a little the scene behind "you, the living".

NJP Centre opens

The Nam June Paik Art Center is located in Yongin, a city on the outskirts of Seoul. It is supported by the Gyeonggi Cultural Foundation and Gyeonggi Province. The center was discussed with Nam June Paik and is under development since 2001. The NJP Art Center opened its permanent building in April 2008. Under the current director, Young Chul Lee,(and Chief curator Tobias Berger, former Director of Para-Site HK) it aspires to reactivate the experimental and interventionist spirit of 20th century and contemporary art practices in order to become a locus where aesthetic, political and social potentialities contribute to questioning and redefining the relationships between art, philosophy, media and life.

I like the branding of the museum. It is said in the home page:
The enigmatic mathematical symbols used for the main logo image of Nam June Paik Art Center are derived from the numerical expression that Paik used in an article for the magazine De/collage No.3 in 1963 and re-used commemorating his 54th birthday, and they represent Paik's rich imagination and unique sense of humor. The logo image shows that when a question is reversed and transformed into a new question, endless transformations and recurrences take place: it incorporates the identity of Nam June Paik Art Center aiming to be an experimental space that doesn't cease to question established answers.

The first event : Now Jump
NOW JUMP, the festival's title, originates in an Aesop punchline: "Hic Rhodus, Hic saltus!" NOW JUMP is an appeal to exceed past achievements: NOW is always the time to act. An invitation or call to action, this festival also represents the ambition of the Nam June Paik Art Center to leap into the future through the NJP Festival.

NOW JUMP is organized according to the concept of 'Stations,' simultaneously encompassing a state of stillness and of motion or anticipation of motion. In our everyday experience these can be places where trains or buses regularly stop; broadcasting stations; power stations; research institutes; studios; local headquarters; habitats; social status or postures. For NOW JUMP five stations exist as concurrent initiatives: exhibitions, performances, and platforms to establish discourse.

Station_1 is a point of departure gathering Nam June Paik archival material and works, and combining it with that of his friends, colleagues and references. Recontextualizing the artist's work within the history of his own practice, that of Fluxus and other trends of the 1960s, it is an attempt to highlight the complexities of creativity and its social and political significance. Ultimately the goal is to renegotiate the influence of Nam June Paik within the practice of new generations of artists.

Station_2 is a state of anticipation - reintroducing the notion of potentiality into the actualized exhibition space and implanting an openness that the exhibition loses when it comes into being. Different forms of performance are given a platform from which they can be regarded and from which they can also look at each other. By producing their own space, time and durational place these works expose the circuits into which they are inserted and begin to expand into the realm of lived experience.

Station_3 is a journey that has already begun. Unlike Stations 1 and 2 which are mainly presented in the Art Center building, Station 3 intersperses artworks into a new private gallery and an existing high school gymnasium. The specific characteristics of these buildings create shifts in mood and tone. Whereas before the works were in dialogue with the past and the contemporary present, here the dialogue ranges from domestic and introspective to imposing and controlled, reminiscent of being in urban space. In this context, the practices presented dwell on creativity as an ability to open lines of flight from reductive definitions and restrictions.

Station_4 and Station_5 are spaces of transit offering temporary points of arrival, moments for reflection, and a place from which to embark on new departures. Respectively, they correspond to workshops, seminars and publications and to the establishment of the NJP Art Center prize.

Artists List
Station_1: Allan Kaprow, Anzaï, Bas Jan Ader, Byungki Whang, Charlotte Moorman, Eunjoo Lee, George Brecht, George Maciunas, Hans G. Helms, Hermann Nitsch, Joe Jones, John Cage, Joseph Beuys, Karlheinz Stockhausen, Klaus Barisch, Kulim Kim, Kunyong Lee, Larry Miller, Manfred Leve, Manfred Montwé, Mary Bauermeister, Merce Cunningham, Nam June Paik, Naoki Ishikawa, Neungkyoung Sung, Otto Muehl, Peter Fischer, Peter Moore, Peter Weibel, Robert Filliou, Shiomi Meiko, Shuya Abe, Sukhi Kang, Sylvano Bussotti, Ulrich Bassenge, Wang Xingwei, William Gedney, Xiao Zhuang, Yiso Bahc, Yuji Takahashi

Station_2: Annie Vigier & Franck Apertet, Antonia Baehr, Boris Charmatz, Byungjun Kwon, Claudia Triozzi, Donghee Koo, Dora Garcia, Forced Entertainment, Guido van der Werve, Guillaume Désanges, Hwayeon Nam & Younggyu Jang, Hyoungmin Kim, Kris Verdonck, La Ribot, Peter Welz, Romeo Castellucci, Ryoji Ikeda, Rimini Protokoll, Toshiki Okada, Vincent Dupont, William Forsythe

Station_3: A kills B, André Gonçalves, Aurélien Froment, Bik Van der Pol , Bomin Kim, Changsub Choi, Choongsup Lim, Dujin Kim, Herwig Weiser, Hontoban – Anthony Bannwart, Jackson Hong, Jan Fabre, Joongki Geum, Jueun Lee, Kiyoshi Kuroda, Kyungwon Moon, Manon de Boer, Marjolijn Dijkman, MeeNa Park, Minsuk Cho, Namaiki, Paolo Soleri, Paul Granjon, Rene Daalder, Rostarr, Sasa [44], Sergio Prego, Seungmo Seo, Stephan Reusse, Stephen Smith/Neasden Control Centre, Susie Lim, Sulki & Min, Wolsik Kim, Yangachi, Zilvinas Kempinas

Station_4: A special project by castillo/corrales

NOW JUMP from October 8, 2008 to February 5, 2009


To find out more contact:
Nam June Paik Art Center
85 Sanggal-dong, Giheung-gu,
Yongin-si, Gyeonggi-do
Republic of Korea
T: + 82 (0) 31 201 8543
F: + 82 (0) 31 201 8515

星期日, 9月 28, 2008

Media Facades Festival Berlin 2008

Myths and Potentials of Media Architecture and Urban Screens

Artist Workshop: 2.-4. July 2008
Testscreening: 30. August, Lange Nacht der Museen

Exhibition: October 16 - December 12 2008
Conference: October 17 - 18, 2008
Urban Screenings: 17. October - 3. November 2008

Taipei Art Bienniel

I still miss the Taipei Biennial, it is interactive, energetic and touched on sensitive issues such as immigration, prostitution, homeless, poverty, cyberbully, artivists... etc
The side event is great, the "Tokyo Drift- an International Workshop for Art Academies 2008" posted in their blog
Again like Guangzhou Triennial, there is a multi cities discussions on "Dictionary of War" here. even that involves mainly around European Cities or should I said German sites, I think that informs not only what the artists are doing but also shifting an spectacle event into a humanistic discussion.
The site "Taipei drift" is cutie and provides a lot of readings. I am sure art students like it.

ZKM opens The Discreet Charm of Technology: Arts in Spain

After a long list of Shanghai earts festival news, seeing how new media relates to creative industry, investment and spectacle(I mean I am really happy to see how they openly ask for sponsorship for Stanley Kwan "s "Yellow River" also noted that the creative industry week that runs along with earts), I would enjoy this kind of academics and cultural exhibition for new media, for a break...from ZKM, well, it is just too long way to go from here to there.

Manuel Barbadillo, Enera, period 1968-1979, acrylic on canvas, 120 x 120 cm,
Jane Weber Collection, © J. Weber.

From ZKM :
Luis Buñuel made more than a hint at his ambiguous, ironic intent when he entitled one of his most memorable films "The Discreet Charm of the Bourgeoisie". Apart from making an acid social critique, the film also shows us the fragile boundaries that exist between different ways of acting on reality.

Exploring the ambiguous relationship between art and technology, this exhibition suggests the existence of another form and another content inherent in the practice of media art. Technology as an instrument gives way to technique as a procedure that artists use to create visual poetics, sensory and formal explorations, and conceptual developments. The discreet charm of media art lies precisely in this potential to blaze new trails.

The exhibition features 119 works produced in Spain and of exceptional aesthetic and historic value. In it, the 13th century is linked to the 21st through a modular approach that focuses on five key themes representative of the artistic condition: the formal code; the visual code; the sensory and space-time code; the body and the identity; and the construction of reality. The accent on Spanish works is not merely a question of geography; rather, the exhibition tries to establish a dialogue between creative practices and artists that had never before been brought together in the same space at the same time.

It is precisely these conceptual links between the works, and not the materials or the chronological connections, which weave the discursive thread in each module. Moreover, by interweaving the five essential themes together, the exhibition generates new narrative itineraries that can stimulate viewers into creating their own personal interpretations.


In the Middle Ages, Ramon Llull, an eminent Catalan philosopher, designed a binary and combinatory system for coding language. Conceptually, this was a precursor of today’s binary computer code. His "disc apparatus" was the first attempt to examine the human-machine relationship from the point of view of knowledge automation. Various 20th-century theories based on new technology, such as Cybernetics, also have a bearing on this relationship.

In the 1960s artists who were influenced by Cybernetics, such as Barbadillo or Alexanco, applied combinatorics (the mathematics of combinations and permutations) to their work and used computers and programming — for the first time in Spain — to create artistic forms automatically, paving the way for generative art. The jump from programming computers to reflecting on the art of the code was made by artists such as Leandre and Marino, who investigated programming from the artistic point of view.


Instruments for seeing what is not immediately visible have been widely used by science to overcome the limitations of the human eye. Microscopes and microphotography helped Ramón y Cajal, an eminent Spanish scientist, to examine nerve tissue and to formulate his neuron theory, which revolutionised neuroscience. Up to the present day, this theory continues to influence many fields of knowledge, ranging from artificial intelligence and telematic networks to art.

The invisible side of the visible is being explored in art using the latest technology. The new capabilities open up surprising possibilities for perception and for understanding and interpreting the world. Furthermore artists can use them to undertake the journey from the exterior to the interior world. This concept generates new models of visual exploration and changes the way artists work.


The analysis of space, time and the position of the spectator were masterfully investigated by Velázquez who knew how to dismantle the dichotomy between fiction and reality and how to go beyond the limits of the canvas. His influence can still be seen today in the works of Dalí, Pujol and Eguillor. The use of audiovisual, IT and telecommunication techniques increases the ways of representing space-time dimensions linked to the construction of reality.

The great achievement of José Val del Omar was to make sensorial signals visible, the immaterial tangible and to give space-time substance. He envisioned cinema as an all-encompassing experience that would communicate with all the spectator's senses simultaneously and called this "plurisensorial supervision". His ideas opened new paths for audiovisual exploration and they have been re-examined by contemporary artists such as Sistiaga, Balcells, and Garhel.


The furthest and most intimate recesses of our minds and bodies — our interface to the world — are beyond our reach. Thus, identity is not completely under our control. It is encoded and decoded through deliberate strategies designed by ourselves and by society. This uneasy situation is frequently examined by contemporary art. Perhaps such questions reflect our growing desire to define our place in the world.

The works in this section of the exhibition are different approaches to the various aspects of this situation. They include the role of our bodies in the life-death relationship, interior-exterior worlds; the influence of external conditions on the construction of identity and the way in which gender codes underpin conventional ideas of femininity and masculinity. Other works explore the concept of the body as a place where everything we have experienced is written; the use of masks and unstable identity; and macrostructural control of individuals.


The notion of reality depends on what is observed and how it is observed. New media are increasingly replacing the in situ experience of reality with prefabricated images of this "reality" on a screen. We humans no longer live exclusively "in" the world or express ourselves "in" language (an essential skill of existence) but "in" images: in the images we make and in the images that we receive through technical media. Fiction and reality are fused together. This process encourages hedonism and fun-morality, which debilitate any sense of justice and equality.

The artists in this section tackle these questions in their work from the perspective of the individual and also of the family (where individuals forge parallel realities). Others make reference to public space or the mass media, where consensus or confrontations arise about the explanation of reality.

关锦鹏最新作品黄梅音乐剧《长河》Stanley Kwan directs opera"Yellow River"

一、 艺术家组合
1、 导演:关锦鹏(中国香港)
2、 作曲:鲍比达(菲律宾)
3、 人物造型:张叔平(中国香港)
4、 编舞:金星(中国大陆)
5、 主演:马兰(中国大陆)

二、 剧情片断

三、 投资前景
1、 此剧将在今年12月首演于上海大剧院,然后展开国内外巡回演出。无论是延伸时间还是延伸空间,都远远超越一般剧目;
2、 由于国际艺术家群体的奇特组合,又由于这种组合是此剧总策划编剧余秋雨先生为了合力打造中国戏曲音乐剧的一次创新,已经足以引起中外媒体长时间、多焦点的强烈关注。而且,这种关注具有探索和创新的文化深度,而不流于浅薄;
3、 投资者可以在海报、票务网站以及巡回演出中制作相应广告,也可以在媒体报道此剧时附带广告并使之超值;
4、 投资者可以参加该剧的新闻发布会、研讨会和酒会,参于与导演、演员的互动,并获赠戏票和CD;
5、 投资者可以享有对本剧进行产业化运作的优先权。

earts festival 策展人工作坊

开始时间: 9月29日 周一 11:00
结束时间: 9月29日 周一 16:00
地点: 上海 大拇指广场,浦东芳甸路199弄28号
发起人: 证大艺术馆
   该工作坊由上海证大现代艺术馆和澳大利亚新南威尔士大学当代艺术与政治研究中心联合主办,由皇甫秉惠女士和Jill Bennett女士共同担任策划和主持。
  1. 展览不是简单地呈现现有的文化思潮,还将催生新的社会网络和可能性。
  2. 策划当代艺术展不受地域人种的限制,旨在让不同地区的作品产生互动。
  3. 艺术不是展示现成的观念状态,而是作为一种渠道,与日常生活发生联系。艺术的这一功能是如何体现的?
  4. 对话是如何通过美学术语呈现的?一个展览的动态空间有哪些社会因素构成?
  5. 跨学科实践是否正朝着改变、颠覆原有学科和领域的方向发展?还是说这种跨学科实践是对原有学科和领域的扩大、延伸?
  6. 这是否是连接艺术与公众的一种新方式?或者它促进了各类艺术文化更加固守其原来的形式?

Using your own iphone for performance

  在19日晚的演出中来自日本的电子艺术巨匠“赤松正行 Masayuki Akamatsu”将为您带来半小时名为“云彩”的演出。
  “云彩” 是为现场观众随身带来的iPhone 手机而设计的视频/音频演出。每一个iphone都会化身为演出者,共同呈现一场庞大宛如交响乐般的华丽盛会。

Workshop in earts- 数字天地——电子艺术基地

For English

开始时间: 9月8日 周一 20:00
结束时间: 10月25日 周六 23:00
地点: 上海 徐汇路石龙路395号 电子艺术基地
  (A) Fabrica:“设计思想”工作坊
  法国的Visual System将为“电子艺术基地”现场创作和展示三项装置作品并邀您参加一个以手机为媒介的游戏项目。VS的优秀艺术家和新媒体专业的学生们将以讲座等方式为工作坊的参与者们解析他们的创作理念,并与大家一道体验城市空间内的新媒体游戏。

bTWEEN“影像打水漂” 照片征集

上海电子艺术节eARTS08 浦东跨界展演节目之一——
  私影像 x 户外公共大屏幕
  1. 从你拍的照片中挑出你认为有“城市化风景”含义的照片(精度不限);
  2. 将照片打包成一个zip或rar文件;
  3. 邮件的正文写上每张照片的英文关键字(如照片1:street, happy;照片2:friend, festival, birthday)。如果你的英文不熟,可用中文,我们帮你翻译;
  4. 邮件署名(真名或网名都可)
  5. 将邮件发到 btween2cultures@gmail.com
  6. 截止日期:2008年10月18日
  1. 将你的“城市化风景”的照片(精度不限)上传到你的flickr空间;
  2. 记得每张照片要维护tag(英文)。并且每张照片的tag必须含有UL (活动代码);维护好的tags可以在每张照片的右边栏看到。例如这张:http://www.flickr.com/photos/take10/141772774/
  3. 截止日期:2008年10月19日
  时间:2008年10月19日晚7点到8点,10月20日 – 22日晚8点到9点
  上海电子艺术节 http://www.shearts.org/

The Burden of Interconnectedness

During HKIAFF, 3-7 Oct at HK Convention and Exhibition Centre, Hall 3. there is an interesting talk, not to be missed.
Presented by:October Contemporary
Date:5 Oct, 2008.
Speaker: Ms. Pamela Kember
Topic:"The Burden of Interconnectedness"
Pamela will be talking about "delinking" in art and cultural politics.

October contemporary is an annual month-long curated platform that promotes contemporary visual art and artists in Hong Kong. Inaugurated in 2007, October Contemporary has quickly become one of Hong Kong's leading cultural events through its dedication to presenting timely and insightful contemporary arts-related events centered around a cohesive curatorial theme. This year's curatorial discourse, "Attr/Attraction," was selected as a response to the large scale public events such as biennials and the Olympics that have peopled Asia this fall. The curatorial theme seeks to analyze the political and social processes that inform these events' public reception through a series of lectures, exhibitions, workshops and screenings.

The opening reception for October Contemporary Tuesday, September 30, 8 pm - 12 am at the Hong Kong Art Museum and will include a special screening and live performances.

Art and the New Culture City: Hong Kong, China and the World Art System

Friday, October 3, 2008
Leavey Library Auditorium, University of South California
association with the visit of artist Choi Yan-chi, this one-day symposium examines the current rise of international interest in Chinese contemporary art in relation to the politics of its contexts of production in the new art spaces and studio districts at the core of China’s economic transformation.

Panel 1:
"HK 97+10': Art and the City In-Between"
Speaker: Choi Yan-chi, Artist, Co-founder, Hong Kong Baptist University, Provost's Distinguished Visitor, USC
"Beyond Beyond"
Speaker: Matthew Turner, Professor of Design, School of Creative Industries, Napier University

Panel 2:
"Rise of China as an Aesthetic Question"
Speaker: Richard Kraus, Professor of Political Science, University of Oregon
"Multicentric Themes in Chinese Time-based Art"
Speaker: Meiling Cheng, Associate Professor of Theatre/Critical Studies and English, USC

Panel 3:
Visual Presentation: "Hong Kong Art Outside the Limelight'"
Speaker: Choi Yan-chi, Artist, Co-founder, Hong Kong Baptist University, Provost's Distinguished Visitor, USC

Panel 4:
"When East Really is West: A Look at Some Models of Cultural DupliCities"
Speaker: Henry Tsang, Artist; Head, Critical & Cultural Studies, Emily Carr University of Art & Design
"The Struggle to Make Space for Art in an Era of Creative Industry"
Speaker: Carolyn Cartier, Associate Professor of Geography, USC

Panel 5:
"Emergence: Contemporary Chinese Art in Beijing and LA"
Speaker: Karon Morono, Co-owner, Morono Kiang Gallery, Los Angeles
"Hybridity as Cultural Capital"
Speaker: Jenny Lin, Doctoral Student, Department of Art History, UCLA

"Competition of Making Flowers"

Choi Yan-chi
Artist, Co-founder, Hong Kong Baptist University, Provost's Distinguished Visitor, USC

Thursday & Friday, October 2nd and 3rd, 2008
9:00am-5:00pm Exhibit
Lindhurst Gallery, USC School of Architecture, 2nd Floor

Sponsored by the East Asian Studies Center, Provost's Distinguished Visitor's Program, U.S.-China Institute and USC College Visual Studies program, and made possible by a generous grant from the Freeman Foundation.

Please rsvp to eascrsvp@usc.edu.

Sponsored by the East Asian Studies Center, Provost's Distinguished Visitor's Program, and Visual Studies

星期五, 9月 26, 2008

Liverpool Biennial TV

TVC advertisement of an art festival can be done without cutting and mixing excerpts of artists' video and images, not new but would required a much higher skill from the production. I am wondering what is the standard and how is it related to the branding of the festival.

The festival site
2008 Theme : Make up, an exploration of artistic imagination

If you could be a ___ what would you be ?

The Joyful Tree
Diller Scofidio + Renfro's Arbores Laetae (Joyful Trees) launched on 20/08/08 before a delighted crowd. The fantastic work is a trailblazer for MADE UP - this year's International 08 exhibition which opens on 20 September. Rick Scofidio, visiting from New York, officially opened the work, describing it as "beautiful, wonderful and a little bit frightening."

星期三, 9月 24, 2008

The 3rd digital Art Festival Taipei 2008

Date:12th September ~9th November ,2008
Place: Museum of Contemporary Art, Taipei.
39 ChangAn West Road Taipei 103, Taiwan ROC

This year, with the theme "Trans", the festival highlights include: International digital art exhibition, Performances, Artist Forum, and Digital Art Awards. A "digital art platform" will be presented through the festival, as an exploration and integration of art and technology, opening a new prospect for digital art world.

Video of international artists.


Experimenta is seeking a curator to drive its exhibition, touring and project activities. The ideal candidate will have experience in the curation and commissioning of media art, and more broadly, contemporary art, production management experience in the hosting of large scale exhibitions and events and the ability to create exceptional curatorial projects.
Closing date: 3rd October 2008, 17:00 hrs Australian Eastern Standard Time

Google 10th anniversary

As part of their 10 year anniversary – in 1998, Andy Bechtolsheim made out a $100,000 check to Google Inc. – Google released an interactive time line of the company history........

Google also starts off something called Project 10100, a contest in which you should submit your idea of how to help the most people in the world. You need to assign a category to your idea, like community, energy, health and education. Later on, 100 selected ideas will be voted on publicly to find 20 semi-finalists, of which 5 will then be selected as finalists, and Google promises to commit "$10 million to implement these projects" (what you win is not a prize for yourself but, as Google puts it, "the satisfaction of knowing that your idea might truly help a lot of people"). The deadline for submitting an idea is October 20th....

星期二, 9月 23, 2008

Urban Screen Melbourne 08

Urban Screens Melbourne 08 is hosted by Fed Square Pty Ltd, and is the third international conference and multimedia exhibition in a series of worldwide Urban Screens events. It will also mark the official launch of the International Urban Screens Association, taking place 3-8 October at Federation Square, Melbourne.

Conference: Mobile Publics 3-5 October 2008 Full Program

What caught me are the case studies from Manray Hsu :
2008 Taipei Biennial - A case study

Urban screens have become a kind of meta-architecture. Through their ubiquity and fluidity, these screens, especially the large ones, constantly redefine the spatial relationships of the urban environment. They are new defining architectures of architecture. The 2008 Taipei Biennial utilized some of these screens as part of its venue for showing video-based works. On the one hand, this presents both an opportunity for more unpredictable encounters between art and urban space users, and offers challenges for the recontextualization of these works. On the other, it also poses the question of whether art is able to destabilize a public space generated and maintained by these meta-architectures, to add ambiguities to the certainty of information, of the social dream of the capitalist society. Aside from these curatorial and artistic aspects, my presentation will also touch on practical and technical aspects such as the technology of display, timing and encountering.

and also from Andreas Broeckmann

'Intimate Publics. Memory, Performance, and Spectacle in Urban Environments'
Cities are sites of spectacle. We walk around, looking into faces, checking out shop windows, posters, screens and facades, scanning for the new, the unexpected, the beautiful, and the wicked. The 'screen' of the city is cluttered with surfaces and items, vying for attention. A barely distinguishable mix of mediated messages we either look for - whether as street signs, clues we want to find again, or maybe as oversized TV screens during a popular sports event - while other items we barely notice, or learn to ignore. What does it mean to 'look' in public space? Are we being cheated, or caressed, by the empty billboards whose surface time no advertiser has rented? Do the large video screens testify to the triumph of a post-urban anonymity, or are they mere signs of a failed attempt at competing with the intimate media that vibrate in back pockets, and that cocoon the gaze and the listening mind? What does Josef Robakowski's 1978 video, From My Window, tell us about the multiple layers of public and private observations, about the interlacing of personal curiosity, voyeurism, and state surveillance? Who are the subjects of viewing in public space? And what does it mean to perform the city space, furrowed with surveillance technology, like those people in Noise (1998) who left their anonymous video messages to the recording box that Zoran Todorovic placed in the streets of Belgrade? The view from the window of Berlin's Staatsbibliothek cafeteria in 1998, out onto the wasteland of Potsdamer Platz, before the fall of the Wall, an age before the construction of the Sony Center: a personal memory, shared by many, a lost image reflected in Wim Wenders' movie, Wings of Desire (1987), that has Curt Bois stumbling across what used to be Potsdamer Platz, unable to find a real equivalent for his half-century old memories of the city's face. Each city, wherever people live, is rife with such imaginations, a cultural stage, and a container of mediated memories.

The Urban screen community is the development of Mirjam Struppek whose blog has been inspiring for almost a decade.

星期二, 9月 09, 2008

“如何成为失败者?”,“成功者失去了什么?”What have Winners Lost?


“如何成为失败者?”,“成功者失去了什么?”What have Winners Lost? "is the work by qiu zhijie 邱志杰 in front of the GDMoA for the Guangzhou Triennial.

Two thumb for the work! bravo Qiu Zhijie. (you can link to them on the links on the side of this blog)

Metacafe and Microcinema International Launch MetaFest 2008

Juried Online-Offline Film Festival Presenting the Best in International Creative and Contemporary Short-Form Video Entertainment
www.metacafe.com/metafest for call for entries and information


Grand Jury Prize - US$5,000 cash and more

Short-Short Award for outstanding work in a video of 3 minutes or less:$2,000 cash and more

Online Audience-Choice Award, as selected by Metacafe.com viewers:$1,000 cash and more Offline Audience-Choice Award, as selected by attendees of the San Francisco theatrical screening: ·$1,000 cash and more

Honorarium Pool: ·The creator of each film selected for the MetaFest offline program will receive a cash honorarium of $50 presented by Microcinema International.

Producer Rewards® Earnings:

All filmmakers whose MetaFest submissions meet the eligibility criteria for the Metacafe Producer Rewards® program are invited to submit their work to the program. Those accepted will be paid for their work at the rate of $5/1,000 views, receiving the first payment after the video is viewed 20,000 times.

星期六, 9月 06, 2008

Software art on iphone

Yellowtail on iPhone from Lee Byron on Vimeo.
Yellowtail originally is a project from Golan Levin now it is playable in the multi touch iphone by Lee Byron.
I like this project for last.fm from Lee. Music defines mood now, it is part of the machine memory for us.

星期四, 9月 04, 2008

media_city seoul 2008

The 5th Seoul International Media Art Biennale
September 12 - November 5, 2008

Theme : Turn and Widen
Opening Event: September 11, 2008
Venue: Seoul Museum of Art
Director: Ilho Park
Curators: Maarten Bertheux,
Andreas Broeckmann, Raúl Zamudio, Tohru Matsumoto

Seoul Museum of Art
30 Misulgwan-gil (37 Seosomun-dong)
Jung-gu, Seoul (100-813)

The 5th Seoul International Media Art Biennale (media_city seoul 2008) will be held in Seoul Museum of Art from September 12 to November 5, 2008. Seoul International Media Art Biennale has continued and prospered the event and its quality through the past four Biennale since 2000, being much recognized both domestically and internationally as a notable media art festival.

Especially, this 5th Biennale is significant in retracing prior exhibitions for the preparation of the next decade. Therefore it aims at asking fundamental and essential questions, such as “What is media art?” “What is the difference between traditional art and media art?” “What change in art has been caused from this?” and “What kind of effects will this bring?” and it will also attempt to find out the answers of these questions through the exhibition of various media artworks.

The theme of this Biennale is Turn and Widen and it consists of three categories; Section of Light, Section of Communication and Section of Time. The 5th Seoul International Media Art Biennale will be showing artworks by 70 teams from 26 countries. International Symposium, media_city seoul Archive and Matrix S will be held as related events of the Biennale.

星期三, 9月 03, 2008

A swarm of angles : Worlds will shatter

After the "one world one dream" unfaithfulness in Olympics, I am pleased to see the "worlds will shatter" open source trailer video from A Swarm of Angels, an open source collaborative feature film project started by the UK filmmaker Matt Hanson.

Worlds Will Shatter - The Unfold trailer from Nine Orders on Vimeo.

I have been tracking this project on this blog and am looking foreward to the finish work. It sure comes a long way from 2006 to phase 3 here. 1 million pound is not easy but Matt made it.

GNU is 25 years today.

Founder Stephen Fry made this video on this 25th birthday for GNU project that develop free software OS. "Freedom !! " Why is it so important and how you can help.