Education = Video + Game

Just heard from a secondary school teacher that the final essay for General Studies required by the Examination Authority is 5,000 words. It is ridiculous if a BA course final essay is only 3,000 words. So the other option can be to produce a 20 + minutes video and a shorter essays. bUt that is equally ridiculous because for a good video essay especially 20 minutes long requires the effort of a team of TV professional, journalists, so I guess the quality of video writing is expected to be low or minimal.

I am thinking of the copyright issue and if there are suddenly over 100,000 videos produced, there will be many students:
1. buying camera
2. need help in editing
3. want to see the past project for reference

We are forced to leave the words and the poetry behind. Do we teach media literacy in General Studies ?

Last year I did a bit of research on how new media change educations and knowledge management and I was immediately attracted to teaching via gaming and here is a recent post in the Economist that talks about teaching thru video game.


and the video

Dorkbot:VAC

Dorkbot first appears in New York describing a group of artists (sound/image/movement etc), designers, students, scientists who meet monthly to discuss and to involve in the creation of electronic arts. Dorkbot is now made popular as a global movement of small, an autonomous gathering among people interested in the creation of arts which are inspired by technology. Under Dorkbot:VAC, Hong Kong Visual Arts Center will be transformed into a platform for active exchange, interaction and discussion of new media art through a series of art activities that suits people from all ages and backgrounds.

Having the honour of inviting Keith Lam, a rising star in the international new media art scene who has just won the prestigious PRIX Ars Electronica 2008 with the work — Moving Mario (2007-8), Keith will lead a series of activities which are inspired by the concepts and skills behind his creation in Dorkbot:VAC between May till October 2009.

High-technology is not necessarily the gist among Keith Lam's works. For Keith, the question of new media is to create works that can captivate his audience to think about the relationship between human and space, human and human or space and space. Hence his works such as Moving Mario (2007-8), Mobile Brush (2007) and His-story (2008) attests the artist's attempt to readjust the tension between human and technology, they alarm our over-reliance on technology is, in fact, manipulating the relationship between human and machines since the Modern Industrial Revolution and our flagging sensibility to the past, present and future.

Dorkboot:VAC will kick off with Dorkbot the Gadget from May, other programmes like Cross-disciplined New Media Workshop, Dorkbot Camp, Night Performance etc will then follow throughout this summer and autumn (details to be announced in July APO Newsletter). So stay tuned! Don't Miss it!
Date Toy Remark
24.5.2009
(Sunday) Analog Digital: Paper Musical Instrument Deadline of Application: 1.5.2009
14.6.2009
(Sunday) Viewable Sound Please state the session that you intend to participate on the application form.
12.7.2009
(Sunday) Electronic Body: Wearable Technology I *Stay tuned for detail of application in July APO Newsletter.
8.8.2009
(Saturday) Electronic Body: Wearable Technology II

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.

Make Art -FLOSS based Art

Make Art is an international festival dedicated to the integration of Free/Libre Open Source Software (FLOSS) in digital art. The third edition of make art - OpenOS - will take place in Poitiers (FR), from the 24th to the 30th of November 2008.

make art offers performances, presentations, workshops and an exhibition, focused on the blurred line between art and software programming.

The festival is currently seeking new, innovative FLOSS based works and projects: music and audiovisual performances, presentations, software
demos, and installations.

This year make art focuses on the *OpenOS*: artistic, free, creative use of the Operating System, hackability and modularity of FLOSS and GNU/Linux, scripts as digital glue between applications, enhanced possibilities for the technical expression of ideas, user empowerment and
artistic freedom.

For more details, please visit makeart.goto10.org/call

new media @VAC

VAC is very active in promoting new media art. In this month,the programme, Sense of a Place, will focus on works of US based new media artists - Sala Wong and Peter Williams. On 12 July @ 3:00pm they will give an Artist Talk on 'Locative Art' and, a
fun-filled interactive art demo (19 July @ 3:00pm) in which you will create
a piece of interactive work with the little help from a digital foto keyholder.

News from China :New Media art in Aution House

Via 根据瓦西里·康定斯基（1866年-1944年）由来已久的阐释，艺术家是时代的宠儿。因此，新的艺术家一代适应当代的科学技术，以及时代精神与形象的需要，就再正常不过了。二十世纪六十年代电视的风行唤起了艺术家对新媒体形式的关注，并为美国和欧洲的影像艺术提供了可能性。近乎半个世纪以来，艺术家一直在探索视频技术的品质，以便更有利于处理艺术形象，展现叙述权利和时间概念等。

　　影像艺术开始于沃尔夫·福斯特尔，他曾经的工作圈子并不属于媒体艺术，他曾是激流派的成员之一，而且像雷蒙·安斯、维尔格雷和弗兰克斯·杜弗尼一样都是早期的招贴画家。出生在德国的福斯特尔，有79％的交易量在那里实现。紧接着是美国和英国，还有法国和西班牙也分别有 12%和5%的交易产生。他的作品具有普遍的购买性，因为90%的作品成交价都在5200欧元以下。此类影像装置在拍卖会上的稀缺性逐年递增：2007年 5月，Requiem在佳士得（巴黎）将竞价抬升到17000欧元，由此也创下了该艺术家的价格记录。

　　另外一位影像艺术的先驱白南准，他的盛名也为全球藏家所闻。他在美国和英国实现了40%的交易份额，另外45%的份额在法国、德国和瑞士完成。他于上世纪六十年代开始使用变形扭曲的形象进行艺术实验，并在1985年创作了带有监控的机器人。依据装置的体量和可监控功能，这些作品的平均落槌价在 2万欧元到10万欧元之间。2007年5月是影像艺术价格史上的一个节点，白南准早于福斯特尔四天实现了自己的最高卖价：在香港佳士得上拍的一件反映神、人同形同性的视频作品Baby Buddha，攀升至230万港币，约21.9万欧元。而另外一部分小型作品，如由摄像头和其它金属物件构成的机器人的拍卖价格为2654美元 (约合2180欧元，纽约菲利普斯拍卖会) 。

　　虽然，白南准在影像艺术史上占据领衔地位，但是他的价格水品却在小他九岁的诺曼·布鲁斯Bruce Nauman之下。诺曼·布鲁斯在当代艺术舞台上是备受追捧的艺术家。不少富有的藏家都打算拿出几百万美元收藏他的装置，他的作品也不总是借用影像的形式。例如，1997年11月，苏富比以200万美元卖掉了他的巨大的装置《好男孩，坏男孩》(37.5 x 349.5 x 548.5 cm)， 2007年5月，一位买家支付了约十分之一的价格就在纽约佳士得买下了与《好男孩，坏男孩》同名的影像作品。此件影像作品共发行了四十件，突破了4万至 6万美元的预估价而取得21万美元的成交高价。

　　此外，在使用综合媒介的年轻一代艺术家中，虽然现在的市场仍然稀缺他们的作品，但诸如皮皮劳蒂·里斯特Papilotti Rist、盖瑞·希尔Gary Hill、托尼·奥斯勒Tony Oursler、皮耶尔·修贺、贡扎雷斯-佛斯特、比尔·维奥拉Bill Viola或者皮埃里克·索兰的作品收益仍然比较微薄。例如，索兰创作的两件装置作品曾经憾然流拍；盖瑞·希尔、皮耶尔·修贺和贡扎雷斯 —佛斯特，他们的作品迄今为止拍卖的交易量都不足10件；相形之下，比尔·维奥拉Bill Viola显得稍微成功一些，他的作品2002年6月27日初次在拍卖会中亮相，其中的作品《繁殖》卖至6.22万欧元。同年，影像装置作品《Going Forth By Day》(2002)在纽约古根海姆博物馆展出，由此证明当影像艺术被艺术机构展出后也可以卖到高价。然而，在他的个人展览之后，人们或许需要等上20年之久才会在市场中找到他的作品，由此也看得出影像艺术和装置要进入市场领域的难度。

2007上海电子艺术节 Shanghai eARTS

Shanghai will host China's first – and the world's largest - eArts Festival this October.
The world's leading arts and media figures will gather in China's most dynamic city to showcase and share the best in digital arts, against the backdrop of Shanghai's vibrant cultural life.
Partners already confirmed include Centre Pompidou, MIT, Ars Electronica and ZKM.



Festival highlights include:

* New Vision E-concert (new commission in association with Ars Electronica, Shanghai Music Conservatory, China Academy of Arts, New Media Arts of Blue Phoenix and Shanghai Kunqu Opera Troupe)
* Interactive art installations across Shanghai
* Giant LED screens on the Bund
* International Opening Forum
* E-music concerts in partnership with ZKM (Centre for Art and Media Kahlsruhe)
* Ars Electronica exhibition at Shanghai Science and Technology Museum
* Fabrica：“Lex Yeux Ouverts”, Centre Pompidou at Shanghai Art Museum
* Open air screenings in Shanghai's parks, including winning films from the International Animated Film Festival in Annecy
* Group shows (in over 10 venues) including Shanghai MOCA Animamix Biennial in Central Shanghai
* Multi-disciplinary Media Lab symposium and exhibition, led by MIT's John Maeda
* "Shanghai - Paris" Animation - the Shanghai students creative program in collaboration with Gobelins film school and Supinfocom, Paris
* Graduate show with works from the New Media Department at the China Academy of Arts - showcasing China's first New Media Art graduates

New series of new media art programme @ VAC

re:place 2007

The Second International Conference on the Histories of Media, Art, Science and Technology
Berlin, 15 - 18 November 2007
Introduction

re:place 2007, the Second International Conference on the Historiesof Media, Art, Science and Technology, will take place in Berlin from 15 - 18 November 2007 as a project of Kulturprojekte Berlin GmbH in cooperation with Haus der Kulturen der Welt. This conference is a sequel to 'Refresh!', the first in this series, chaired by Oliver Grau and produced by the Database of Virtual Art, Leonardo, and Banff New Media Institute, and held at the Banff Center in Canada in September 2005, which brought together several hundred artists, scientists, researchers, curators and theoreticians of different disciplines.

re:place 2007 will be an international forum for the presentation and the discussion of exemplary approaches to the rapport between art, media, science and technology. With the title, 're:place', we propose a thematic focus on locatedness and the migration of knowledge and knowledge production in the interdisciplinary contexts of art, historiography, science and technology.

The re:place 2007 conference will be devoted to examining the manifold connections between art, science and technology, connections which have come into view more sharply through the growing attention to media art and its histories over the past years. It will address historical contexts and artistic explorations of new technologies as well as the historical and contemporary research into the mutual influences between artistic work, scientific research and technological developments. This research concerns such diverse fields as cybernetics, artificial intelligence, robotics, nano-technology, and bio-technology, as well as investigations in the
humanities including art history, visual culture, musicology, comparative literature, media archaeology, media theory, science studies, and sociology.

Registration
Abstracts and CV of participants

New Media Art @ Osage

10.10 to 18.11 with Kaola Yip (City SCM) Chris Lau (Emergency Lab), Samson Young (musician) and John Wong (Zuni), plus two overseas artists.

Conflux : September 13 — 16, 2007

Conflux is the annual New York festival for contemporary psychogeography, the investigation of everyday urban life through emerging artistic, technological and social practice.

The Village Voice describes Conflux as a “network of maverick artists and unorthodox urban investigators… making fresh, if underground, contributions to pedestrian life in New York City, and upping the ante on today’s fight for the soul of high-density metropolises.”

Participants in Conflux share an interest in psychogeography. Projects presented range from interpretations of the classical approach developed by the Situationists to new methods being developed today in cities throughout the world.

At Conflux, participants, along with attendees and the public, put their investigations into action on the city streets. The city becomes a playground, a laboratory and a space for the development of new networks and communities.

Conflux is produced by Glowlab.
Event Information
Thursday September 13, 2007
10am — 6pm

The Change You Want to See
84 Havemeyer Street
Brooklyn
NY 11211

CALL FOR PAPERS: GAZING INTO THE 21st CENTURY : CONFRONTING IMAGE NAIVETÉ

The DEPARTMENT FOR IMAGE SCIENCE (DIS) at DANUBE UNIVERSITY is pleased to announce the second international Goettweig conference on Image Science.

Never before has the world of images changed so fast, have we been exposed to so many different image forms and never before has the way images are produced transformed so drastically. Images are advancing into new domains: Television became a global zapping field of thousands of channels; projection screens enter our cities, and cell phones transmit micromovies in real time. We are witnessing the rise of the image into a virtual spatial image. Science, politics and entertainment profit from new dimensions in the creation of images and their emotive effects. Since the 60s, arts and sciences are connected in the fundamental research media art undertakes, whose roots lie in partially unknown traditions.

A multitude of new possibilities in producing, projecting and distributing individual images has led to the formation of new image genres. The spiral movement of image history from innovation, understanding and iconoclasm results in the 21st Century in a global interweaving. These major transformations have hit society to a large extent unprepared and as we gradually start to recognize the demand to address the current knowledge explosion appropriately, we face the challenge to expand our forms of visualization, our “orders and systems of visibility”, and to reflect critically and scientifically on them. While our written culture has produced a differentiated and dedicated paedagogy, our society still lacks a conscious education concerning images - up to a degree that we can speak of visual illiteracy.

A central problem of current cultural policy, aside from poor knowledge on image procedures, stems from serious lack of knowledge about the origins of the audiovisual media. This stands in complete contradistinction to current demands for more media and image competence. The conference therefore explores the thinking space and the utopias, which were initiated by artists again and again - now on the expanded terrain of image science - and searches for the inspirations these new worlds receive from the arts. What influence does the medium have on the iconic character of the image? What chances and challenges do museums and image dealers face with the “liquidity” of the image?

The interdisciplinary conference aims to step up to the challenge of building a “visual inventory”. One goal of the Conference therefore is to build cross disciplinary exchange between the Humanities AND the Natural Sciences.


PROPOSALS are welcome to the following topics and fields:

NEW IMAGE FORMS AND TECHNIQUES
(New visualization techniques in Nano-, Bio-, Neurosciences, Architecture, Photography, Digital Collections Management, etc.)

NEW STRATEGIES IN VISUAL ARGUMENTATION
(in the Arts, Sciences and Humanities, Politics, Advertising, Comics, Diagrams & Models, Visual Music, etc.)

NEW PRACTICES OF IMAGE TRANSFER
(Global economy, Tagging, Micromovies, Flickr, Second Life, You Tube, Google Earth etc.)


DEADLINE PROPOSALS : October 21st 2007
Conference Languages: German/English.


PAPERS
One-page abstract or complete paper must be submitted by email. Upon acceptance, complete papers must be submitted by March 21, 2008 as PDF to andrea.kaufmann@donau-uni.ac.at. All rights will remain with the author. Papers will be selected for presentations. Proposals for panel discussions are encouraged and individual papers may be grouped by the Department for Image Science in panel discussion format. Panel proposals should include names of prospective panelists and topics, which should address the general themes of the symposium.

The DEPARTMENT FOR IMAGE SCIENCE is situated near Vienna in the UNESCO World Heritage Wachau, in the Goettweig Monastery. The DIS is housed in part of the fourteenth century castle. It is the platform for the international projects: Database of Virtual Art, Goettweig Database of the Graphic Print Collection, MediaArtHistory.org


ADVISORY BOARD MEMBERS OF THE DEPARTMENT
FOR IMAGE SCIENCE (DIS) AND ITS PROJECTS

* DIS * VirtualArt.at * MediaArtHistory.org *

Carl, AIGNER (St. Pölten), Roy ASCOTT (Plymouth), Sean CUBITT (Melbourne), Brigitte FELDERER (Wien), Felice FRANKEL (Boston), Beryl GRAHAM (Newcastle), Erkki HUHTAMO (Los Angeles), Douglas KAHN (Davis/California), Martin KEMP (Oxford), Harald KRÄMER (Bern), Machiko KUSAHARA (Tokyo), Jorge LAFERLA (Buenos Aires), Timothy LENIOR (Duke), Gunalan NADARAJAN (Penn State), Christiane PAUL (New York), Götz POCHAT (Graz), Martin ROTH (Dresden), Wolf SINGER (Frankfurt), Christa SOMMERER (Linz), Paul THOMAS (Western Australia), Wolfgang WELSCH (Jena), STEVE WILSON (San Francisco)

* * *
www.donau-uni.ac.at/dis/bildtage

Two New Media Art Show in Shanghai Sculpture Centre

The exhibition 'Body Media" opens on July 15-August 12 (closed on Mondays) at Shanghai Sculpture Center, 570 Huaihai Rd 淮海西路近虹桥路，可轻轨3、4号线“虹桥路站”下，顺淮海西路东行约5分钟即见大门。此地儿又名“红坊”创意园云云。门票40元 “身体·媒体———国际互动艺术展”以其极具个性的展览风格和极强的互动性吸引大量观众，每日参观人次突破上海城市雕塑艺术中心的参观纪录。为满足市民提出的延后闭馆时间的要求，自今天起，每周六、周日增开夜场，从下午四点延长至晚上八点闭馆。
Now, 11 artists from nine countries and regions, including Japan, Austria, the United States, Germany, France and Sweden, and the Netherlands, are bringing their works to China's first International Interactive Art Exhibition, organized by Fudan University's Visual Art Institute and the Shanghai Sculpture Center. It aims to raise awareness of the new art and technology, starting from Sunday to August 12.

"Technology is a means of civilization, an illusion of control over our environment, what we called 'nature'," notes Kurt Hentschlaeger (from Granular Synthesis), who brought his latest installation piece "Karma" ("Destiny") to the Shanghai exhibition. "People create a second nature, which is supposed to control the original nature. This is certainly impossible."

"Karma" is an artwork that comes "alive" by using procedural techniques, in particular the real-time synthesis of sound, 3D animation, often seemingly unwell, trembling and oscillating.

The 3D characters are presented as puppets on strings, instilled with a familiar yet ambiguous sense of human life, resulting in an indefinite dance of the almost living dead.

Each 3D character moves and creates sound in the same frame, yet each of them has their own will to an extent that their actions and movements cannot be predicted within the space.

However, at the same time, the characters live in a very confined environment, and are equally controlled from the outside.

As such, "Karma" raises a question in a contradictory way - who is in control in people's life?

According to the Austrian artist Hentschlaeger, from the Western modern perspective, people believe they can control their life by their own will. However, the old perspective contains more mythological and religious thinking on that question. It holds that there is a life path that people cannot avoid, that is what people called "destiny," also called karma by some.

"Through 'Karma,' the two concepts clearly clash in the modern world," says Hentschlaeger. "Who is in charge of our life? There is no certain answer."

This is also the question for the new media artist, when he or she is creating his work - who is in charge, technology or the human being?

Most of the 11 artists invited to the show probably believe that people have an obsession with technology since all their installations and art works are realized through the support of high technology.

"Obviously the world we are living in is not obsessed with philosophy, but people are deeply addicted to technology," comments Hentschlaeger, who is deeply convinced by the theory that human beings can ultimately control their destiny and the world through technology. "The way I started living with technology became part of my way of looking at the world."

In this new media art exhibition, the theme "Body Media" stands out as a feature of interactive art as a part of new media art. It refers to the idea of human exchange or interaction with a technological artwork. As a user's actions and reactions are monitored, the outer environment will change and do something in interaction.

Curator Gong Yan, who proposed the idea of "Body Media," says the new media is a relatively young art form in its own history. It is not very well known by the Chinese public.

"With more and more young and old artists exploring this new art form, we are just wondering how long it could last for a single piece of new media artwork," she says. "This show aims to promote this new art form in a way that has various possibilities."

However, it is an over-estimation to call most of the work "interactive," says Hentschlaeger, since mostly it is just reactive. An interactive art work should be a strong and meaningful work that can process the reaction (the idea and sound raised) by an audience."

This exhibition is divided into three parts: the body as an actor or revelation of the artwork; the body represented in the artwork; and the body as an artwork itself.
三大部分

·身体激活作品
杰弗里·邵（Jeffrey SHAW） (澳大利亚)
约翰·米歇尔·布鲁耶尔（Jean-Michel BRUYERE） (法国)
杜震君 (中国)
厄尔夫·朗翰里切（Ulf LANGHEINRICH ） (奥地利)
朱里安·迈尔（Julien MAIRE） (法国)
TIME’S UP (奥地利)
米盖拉·罗斯切尔德（Miguel ROTSCHILD） (阿根廷)

·身体在作品中
粒子合成（Granular Synthesis） (奥地利)
科特·亨斯克拉奇（Kurt HENTSCHLAGER） (美国)
Dumb type(日本)
克里斯蒂安·巴托斯（Christian PARTOS） (瑞典)

·身体即作品
戴欧·杨森Theo JANSEN (荷兰)
Artworks by Jeffrey Shaw who created the world's first interactive cinema will be on exhibit. Besides, the innovator of "beach animals," Theo Jansen from the Netherlands, who believes "art is evolving," will also attend.


The new media artworks are often associated with virtual reality as if traditional art had nothing virtual about it. It is interesting to see that over and above the natural verticality any other art form, electronic arts and modern technologies do allow for a greater physical involvement of the audience and the "truth" of their own bodies.

At the age of 47, Hentschlaeger had experienced the twists and turns in the new media art field for more than 20 years. He started his art career in photography and painting, what people called "traditional fine art." He shifted to new media art in Vienna 20 years ago out of pure curiosity.

He found that the classical fine art world and the new media art world are really separate since there is very little connection between them and because new media art is difficult to sell.

"What we need in the future is a 3D real time environment," notes the artist, who believes new media art is a "time-based art. It is a virtual 3D space where you can combine all the media, including the cultural part, visual art, sound and interactive part into one coherent media."

Japan Media Arts Festival in Shanghai 2007 will open at Shanghai Sculpture Space on 19th-26th,Aug,2007.

Japanese persepect to express "Japan with happy culture" to Chinese audience by about one hundred cartoons, games and art works. Japanese plan the exhibition withe Shanghai to celebrate 35 anniversary of normalization of relations between China and Japan.

The exhibition will divide into three parts named "Earth","Tokyo" and "Expression".

2007 上海 日本新多媒体动漫艺术展
会 期：8月19日(星期天)在8月26日(星期天)
会 場：上海城市雕塑艺术中心
主 催：上海市文化広播影視管理局、文化庁
共 催：上海市対外文化交流協会、CG-ARTS協会
後 援：中华人民共和国文化部、在上海日本国总领事馆
協 力：上海城市雕塑艺术中心
感 謝：上海紅坊文化发展有限公司、全日空、日本通運、凸版印刷

Taipei, MOCA opens New Media Art Show on 10 Aug 07

必看“美丽新世界 ：日本之当代文化”北京+廣州

“美丽新世界 ：日本之当代文化”将分3个部分展出：1.“美丽的真实世界”，2.“新环境”和 3.“终极世界及未来世界”。这些分支展将透过 ‘美丽’和‘新世界’深层审视国际间的艺术价值体系及创造力。由于这次展览将设在北京并由多个会场组成，多个分支展览的体系及（或）设计将共同促成统一的视觉及空间的完整性。展期间，一些在户外公共空间展出的装置作品也将做为整体战略的分支并以此支持整体计划。

展览地点和时间

北京 2007年9月25日 —— 2007年10月22日（嘉宾前展：2007年9月24日下午5点）

广州 2007年12月25日 —— 2008年1月20日

展览会场

北京 长征空间，东京画廊

中央美术学院（做为研讨会场等）

广州 广东美术馆

广州美术学院（做为研讨会场等）

参展艺术家（未定）

1. 美丽的真实世界 ［北京：长征空间］

这个部分的展览将重新审视“美丽”和“真实”的定义，同时深入观察和研究源于和逐渐背离这两个概念的表达方式。对于“美丽”的定义，展览作品将展示女性时尚当中美的价值观，同时思考不断转变的价值观和从属与美学的感知能力，以及多种多样的甚至相互矛盾的观点。这个部分的展览将同时思考日本传统技艺中的美学在当代艺术作品中的运用。

对于这个系列作品的选择，主办方将基于考察被刻画在日本漫画和动画中的，由性别区分下形成的男孩儿和女孩儿的不同世界、日本独特的“可爱”（kawaii)文化，以及由这些文化促成的高度私人化空间和高度聚焦的个人世界。

[艺术家・作品例]

八谷和彦 Hachiya Kazuhiko ……….jetboard

小谷元彦 Odani Motohiko ……….Wood-curving sculpture / Rompers (video)

会田? Aida Makoto ……….Painting

やなぎみわ Yanagi Miwa ……….Phograph

渡辺豪 Watanabe Go ……….Emo (animation)

小沢剛 Ozawa Tsuyoshi ……….[new commission]

金氏徹平 Kaneuji Teppei ……….[new commission]

島袋道浩 Shimabuku ……….[new commission]

パラモデル Paramodel ……….Installation

田中功起 Tanaka Koki ……….Video installation

エキソニモ exonimo ……….Disorder / tank (installation)

山本高之 Yamamoto Takayuki ……….spoon bending (new lesson)

さわひらき Sawa Hiraki ……….Video

村山留里子 Murayama Ruriko ……….Sculpture/installation

鴻池朋子 Konoike Tomoko ……….Painting

西山美な子 Nishimaya Minako ……….Painting/installation

岡崎京子 Okazaki Kyoko ……….Comic

横山裕一 Yokoyama Yuichi ……….Animation

宇治野宗輝 Ujino Muneteru ……….Rotators (sound installation/performance)

2. 新环境：［北京： Inter Arts Center］

[艺术家・作品例]

池田亮司 Ikeda Ryoji ……….Datamatics (sound /video installation + live)

市川創太 Ichikawa Sota ……….Corpora (architectural space with GPS)

藤幡正樹 Fujihata Masaki ……….off-sense (installation) & workshop

山中俊治 Yamanaka Toshiharu ……….robots

アトリエ・ワン Atelier Bow-wow ……….Manga Pod (installation/furniture)

藤浩志 Fuji Hiroshi ……….Workshop

坂茂 Ban Shigeru ……….Pavilion or extension

3. 终极世界和未来世界 [北京：B.T.A.P]

这一部分的展览作品将体现由社会和城市中的不稳定因素引起的系列问题，例如自然灾害以及一系列对死亡的恐惧。这一切都影射着人类对未来城市空间的启示与抱负，这也根深蒂固于日本的社会与文化。参展作品中还蕴涵着永久和持续的观念。与此同时，这些作品也将透过对建筑和时尚中的生态学观念和对环保的实施的调查，以此来检验人类与城市环境和自然之间的关系。一个视觉感极强的终极世界（世界末日）景观，将由漫画作品被放大后像壁纸一样覆盖在墙壁上来展示。

[艺术家・作品例]

奈良美智＋graf Nara Yoshitomo + graf ……….[new commission]

宮本隆司 Miyamoto Ryuji ……….Kau Lun Shing Chai (photograph)

ヤノベケンジ Yanobe Kenji ……….Atom suits / Viva Riva Project - New Deme-

畠山直哉 Hatakeyama Naoya ……….Zeche Westfahlen I/II (installation)

米田知子 Yoneda Tomoko ……….scene series (photograph)

大友克洋 Otomo Katsuhiro ……….Akira (comic)

富野由悠季 Tomino Yoshiyuki ……….Gundam (comic/animation)

押井守 Oshii Mamoru ……….Tokyo Scanner

大巻伸嗣 Omaki Shinji ……….[new commission]

宮島達男 Miyajima Tatsuo ……….Installation

FINAL HOME FINAL HOME ……….Sculpture/fashion design

户外展览（的可能性）

由于这次展览将由北京的多个会场组成，多个分支展览的体系及（或）设计将共同促成统一的视觉及空间的完整性。想法之一是邀请建筑师坂茂（ Ban Shigeru) 为这三个会厂的正面建造伸展区，以统一展览的主旨。举办方也希望通过这个想法来展现展览第三部分的概念：生态与环保。

另外，在798艺术区的整体布展和对户外公共空间的整体利用，将使由感性划分开来的区域拥有概念上的一致性。

草間弥生 Kusama Yayoi ……….气球

杉本博司 Sugimoto Hiroshi ……….户外大型招贴广告牌

组织体制

主办： 独立行政法人国际交流基金

策展人： 片岡真実（森美术馆资深策展人，日本）

住友文彦（东京现代美术馆策展人，日本）

Kim Sunjung(独立策展人，韩国)

中方展览组织负责人： 李振华（独立策展人，北京）

中方合作方： 各个展览和活动会场

办公室 ：独立行政法人国际交流基金 艺术交流部造型美术科

负责人： 古市保子

New Statesman New Media Awards

Call for entries!
The New Statesman is once again looking for entries for its New Media Awards. Running annually since 1998, the awards celebrate the positive impact that digital media can have on society, democracy, politics and culture.
Last year’s winners included: PledgeBank.com, openDemocracy.net, BBC Backstage, Love Lewisham and WriteToThem.com.
With so many exciting things happening in the digital technology space in the UK at the moment, the New Media Awards set out to recognise and reward the best ideas, best projects and best people making a difference and using new media for good. This year a new category has entered the ring, The Young Innovator. It is open to everyone under the age of 22, and the winner will receive a cash prize of £500. Do you know someone who deserves such recognition?
The list of categories in this year’s awards is as follows: Contribution to civic society Modernising government Elected representative Education Information and openness Advocacy Young Innovator Entering the awards is a matter of simply filling in the online form here: The last day to enter is 31 May 2007. Winners will be announced in July. For further details go to http://www.newstatesman.com/newmedia or contact Charlotte Eisenhart: charlotte@newstatesman.co.uk

Artist Talk from Right Click

RIGHT CLICK: Open Source New Media Exhibition
Artist Seminars

Venue: GuLLDY, 9/F, Fu Tak House, 367 Hennessy Road, Wan Chai

Date:25/5/2007 (FRI)

Time:



6:00pm (Micro+Playground)
7:00pm (Joshua Minor)

2007 國際新媒體藝術節，帶您穿越奇境、想望科技 （Traversing Fantasy: International New Media Arts Festival 2007）

■《地點：》國立台灣藝術大學（板橋市大觀路一段 59 號）、台中國美館（台中市西區五權西路一段 2 號）、打開－當代藝術工作站（板橋市民權路 202 巷 8 弄 6 號）
■《主辦：》國立台灣藝術大學、澳洲國家大學（ANU）、國立台灣美術館、國立台南藝術大學、國立台北藝術大學、澳洲葛里菲斯大學（GU）
■《策劃：》國立台灣藝術大學（設計學院、美術學院、多媒體動畫藝術學系、美術系／所、造形藝術研究所、視覺傳達設計學系和藝術博物館）、國立台北藝術大學關渡美術館、駐澳大利亞代表處文化組
■《網址：》http://ma.ntua.edu.tw/maa/NewMediaArts/seminar.htm
■《聯絡方式：》

論　壇：5 月 28、5 月 29 日
研討會：5 月 29、30 日「大師講座工作坊」
　　　　5 月 31、6 月 1 日「國際學術研討會」
藝術展：5 月 28 日 ~ 6 月 9 日 台灣藝術大學 國際展覽廳
　　　　6 月 5 日 ~ 7 月 8 日 台北藝術大學 關渡美術館
工作坊：5 月 30 日 ~ 6 月 2 日
電話：（02）2272-2181 ext. 2154, 2155
電郵：d30@mail.ntua.edu.tw
報名：http://ma.ntua.edu.tw/maa/NewMediaArts/register.htm
三年前，教育部與澳洲舉辦首次的台澳研討會，以此為兩國的藝術教育搭起了交流橋樑；去年雙方為促使交流更加務實，選定「新媒體藝術」主題而合辦「2006 台澳新媒體藝術論壇」。今年，更在文建會與教育部指導下，國內首度整合三大藝術大學與多所私立院校之資源與師生投入，將原本的「台澳新媒體藝術論壇」擴大為「2007 國際新媒體藝術節」（Traversing Fantasy: International New Media Arts Festival 2007），活動自 5 月 28 日起到 7 月 8 日，期間同時舉行多項新媒體藝術的作品演映、論壇、研討會與工作坊講座等，熱鬧展開，邀請您來共同參與！


五項主要活動為「Boom！快速與凝結新媒體的交互作用－台澳新媒體藝術展」、「看鮮動畫秀」、「媒體無限－台澳新媒體藝術論壇」、「想望科技︰新媒體藝術國際學術研討會」和「藝數工作坊」，此一系列活動邀集了台灣與澳洲、德國、法國等地，數十位學者、領域專家及創作人，齊聚一堂作相關主題發表和交流，具體展現「新媒體藝術」的時代樣貌，盛況非常。


展映觀賞之餘，5 月 28、29 日舉辦的「媒體無限－台澳新媒體藝術論壇」，以及 5 月 29 和 30 日「大師講座工作坊」將由 La French Touch 代表藝術家 Guillaume PARIS、法國藝術與影像科技介面理論權威 Edmond COUCHOT、巴黎第八大學藝術與影像科技教授 Marie-Helene TRAMUS、出身自澳洲的德國卡爾斯魯厄藝術及媒體中心高階研究員 Jeffrey SHAW∕ZKM 來台與大家分享他們的創作與研究經驗，地點分別是 5 月 30 日於台灣藝術大學和 5 月 31 日「打開－當代藝術工作站」進行。


5 月 31 日及 6 月 1 日北部舉行的兩天「想望科技︰新媒體藝術－國際學術研討會」實況，將採用即時視訊於台中的國美館同步轉播！論壇與研討會各開放一百多位參加名額，欲知更多訊息或報名詳情，請上活動網站。

藝術文學，非常串聯：「2007 台北國際藝術博覽會」與「超級平台」 （Art Taipei 2007 & Outra Fair: Alliance, Art and Literature ）

圖：林偉民「迴流」－方尚瀚作品。
今年，台北國際藝術博覽會（Art Taipei 2007）將於 5 月 25 日到 29 日在台北展演二館（原世貿二館）開展，以「藝術與文學」（Art and Literature）為題，充滿著文人藝術的復古東風。展覽劃分為經典展區、當代展區、電子錄像區、年度藝術家展區、戶外裝置藝術展區－超級平台（Outra Fair）和藝術出版展區六大子題。


本屆最新奇的，尤以 5 月 24 日到 6 月 2 日開放在華納威秀中庭、新光三越徒步區露天展出的「超級平台」，可說是當代藝術家的另類舞台，不以面積或隔板定義，而是由藝術家創作的「場域」來呈現。平台主體由五位藝術家李明則、何孟娟、林偉民、邱昭財、劉時棟架設，引介出他所推荐的藝術家而形成一個共同體，以此體現藝術家本人對當代藝術生態的觀察，也標出了自己在藝術上的座標。


「超級平台」內容有李明則「我和我的鄰居們－聚落平台」以其創作型式「皮影戲」搭戲台作開場，串聯了南台灣多位藝術工作者。何孟娟「我和我的非常廟－結盟平台」作品「非常廟」是一個觀眾可以穿透，充滿未來感的發光科技體，現場吧台提供群眾與藝術家對話空間。林偉民作品「迴流，我和我的學生們－學院平台」以起士（cheese）這種多孔隙的造型特色表現不同藝術家作品的多樣性。


邱昭財「我和我的100% LOADING－網路平台」互動裝置，供現場群眾隨意分解、組合，呈現他們所提出的一個創作方法，透過平台分享 PIPI BEAR 的意念原型，匯聚眾多創意，形成一個能讓創意公開交流展現的網絡。劉時棟的作品「不累 Play，我和我的朋友們－共業平台」，在繽紛的塗鴉與嬉戲生活的經驗中，呈現有翅膀的行動藝術車。


初夏週末，無論是趣味、復古或奇妙的藝術連結，裝置互動的新體驗，以及經典的藝術人文遊賞，都將給您很不一樣的藝文風潮。

【2007 台北國際藝術博覽會】
展期：5 月 25 日 ~ 29 日 12:00~20:00（29 日至 18:00）
酒會：5 月 24 日 18:30 ~ 21:00
展館：台北展演二館 台北市松廉路 3 號（原世貿二館）


【戶外裝置藝術展區－超級平台 Outra Fair】
展期：5 月 24 日 ~ 6 月 2 日
展區：信義華納威秀中庭、新光三越 A9、A11 香榭大道

ISEA 2008 Artist -in-residence

ISEA Call for AIR: http://www.isea2008.org/air.html

Residencies of up to 3 months in duration can be supported, and must be
completed before July 2008. Financial support from NUS is available for:

- Economy airfare to and from the artist/designers country of residence,
- University housing while the artist is in Singapore,
- A monthly allowance of S$2000,
- Materials cost of up to S$1000.

Symposium Themes
http://www.isea2008.org/themes.html
Deadline 30 June