Paolo Cirio | 20 Dec 03:44 2014
Picon

DailyPaywall.com Hacks major Financial Newspapers and Pays You To Read them - Press Release

Press Release, December 20th 2014. NYC - London.

Daily Paywall
http://DailyPaywall.com

Artist Paolo Cirio has hacked the paywalls of the most influential financial newspapers - Wall Street Journal, Financial Times, and The Economist - breaking through their checkpoints every day to liberate over 60,000 pay-per-view items published over the course of 2014.

Now, he redistributes this copyrighted content for free and pays everyone to read it.
His paid-to-read schema is a circular economic model in which profit generated from huge amounts of pirated content is invested into informing and educating the public about institutional crime and corruption, while offering rewards to critical journalists.
http://DailyPaywall.com/?/l/about

With the massive amount of appropriated content, the artist has created his own online and printed newspaper called Daily Paywall. He has edited 15 issues of his paper covering the main topics of our time. For each issue he has selected featured articles which expose major economic injustices and contradictions. Readers receive $1 for responding correctly to simple questions relating to these articles, thereby incentivizing analytical and critical thinking around the story.
http://DailyPaywall.com/?/l/issues
http://DailyPaywall.com/?/l/featured

The Daily Paywall newspaper is distributed on the Internet and in printed versions disseminated in undisclosed spots throughout NYC in unauthorized racks for free papers. See Daily Paywall newsracks in NYC.
http://paolocirio.net/work/daily-paywall/#pics

Beyond advocating the open circulation of knowledge, the project proposes a creative economic model designed for social and educational aims. The visionary concept behind the artistic performance and these socio-economic matters are introduced in his essay.
http://DailyPaywall.com/?/l/about/#essay

Don’t miss another recent project by Paolo Cirio, Global Direct, which outlines and campaigns for a new creative political philosophy:
http://GlobalDirect.today

A few shows featuring Paolo Cirio in 2015:
- Exhibition at Utah Museum of Contemporary Art in U.S.
- Lecture at FutureEverything in Manchester, UK
- Incubation at NEW INC. studio in NYC
- Exhibition at Centre Culturel Bellegard in Toulouse, France
- Solo Show at NOME, contemporary art gallery in Berlin, Germany
- Exhibition at Apexart gallery in NYC
- Exhibition at ISEA2015 in Vancouver, Canada

Current exhibitions with Paolo Cirio’s works:
- Open Society Foundation in NYC
- DOX Centre for Contemporary Art in Prague
- Palazzo del Governatore in Parma

Thank you.
Paolo Cirio.
http://PaoloCirio.net

Critical text about Daily Paywall by Paolo Cirio

A functional democracy needs an informed public. However, today access to knowledge is controlled by for-profit industry, while information is manipulated in its distribution and organization to maintain undemocratic orders.

Daily Paywall proposes a provocative and conceptual economic model for the media and publishing industry, in which the for-profit scheme of information selling and consumption is reversed for democratic and educational purposes, by paying readers to access and understand the news, while directly rewarding critical content creators through bypassing the interfering middleman’s agenda.

In creating Daily Paywall, tens of thousands of articles covering developments in finance, economy and business have been stolen from the mainstream corporate media in order to redistribute them for free, ultimately extracting their value for reinvesting into motivating socio-critical analysis. The articles are made available both online and in print to those who would not typically have access to or be exposed to such material, due to their inability to afford a subscription, or because of how the media ranks the articles or simply as a result of the exclusionary language employed by these news sources. At its core, Daily Paywall proposes that access to this content should be more horizontal and democratic in scope, encouraging and incentivizing consumption and participation by those who are struggling financially, or who occupy a lower class status, as economic volatility and increasing wealth disparity ultimately impacts them the most.

Beyond promoting open access to knowledge, the project also makes a direct provocation regarding the one-directional flow of capital in our current information economy. This is achieved by incentivizing readers to read, absorb, and respond to articles that expose flaws in corporations, governments or other institutional entities.

The newspaper, Daily Paywall, provides a window into our modern time of institutionalized economic exploitations, crimes and conflicts neutralized in the global complexity and super power stakes. The articles are often highly ideological and deceptive, yet they contain facts and details that aren’t presented in popular mainstream culture, showing once again how context can alter the intrinsic value and significance of information. This project, in fact, aims to reconfigure structures of knowledge to unleash new meanings, as well as their social and cultural functions.

By enticing citizens to become informed in exchange for money, Daily Paywall radically shifts the current media paradigm of economic exclusion by providing access and effectively engaging people in a form of public discourse, disrupting contemporary social, economic and media orders, and exploring alternatives to systems of distribution of knowledge. Besides alluding to the media’s role in informing the public, Daily Paywall also addresses the modern speculative industry of education, as paying high tuitions discourages citizens from educating themselves. In opposition, this new paid-to-learn model would empower everyone with financial means and knowledge for greater human progress.

Daily Paywall integrates the highly exploitative and precarious socio-economic order and radically reverses it with a visionary idea about reformulating access to education and motivating social change. As a direct provocation, with subtle ironies woven throughout, Daily Paywall does not seek to redefine the media business, but rather presents a constructive, artistic model for an alternative approach to the distribution of information, education, income and labor. Even though business model logic guides the structure of the project, sustainability and profit are not the goal and have been sacrificed or challenged in favor of ethical, philosophical and social revelations.

Today information flow is the means of exchange for valuing any economic and social entity. Knowledge as an asset and information as currency determine the current economic hegemony and social order. Thus, the creative reconfiguration of the information flow is the ultimate political and artistic practice which can transform and address modern society at large.

The Media Performance

The critical aspects of this experiment are recalled as a conflict over information and social control. This conflict is reenacted as a performance through the staging of a striking interaction amongst the actors that the artist involved in the artwork, the corporate targets, the readers, the journalists and the art world. During this temporary setting of the performance, the participants are left to confront and discuss the validity, legality and finality of the artwork.

With the proper timing and preparation, the performance eventually reaches its apex with the social conflict becoming unresolvable, ending with the dramatic suppression of the artwork itself which in turn reveals the real power structures in place. Here, the artistic provocation of Daily Paywall is most explicit and the media performance truly takes place, showing a powerful rupture to the current restrictions over information concerning the important issues that govern society.

Daily Paywall questions contemporary socio-economic dynamics and how they can be rearranged as a form of art practice. This project proposes a direct intervention into the power relations between corporations, media, authorities, individuals and communities. As a mode of engaging and participatory artistic performance, the project has the potential to create symbolic and veritable ruptures within the operations of the financial and information economies, and challenges our complicity with corruption and inequality. As such, the project carries the ability to impact society at large, which is what all socially engaged art, and we as citizens, must strive for.

Essay by Paolo Cirio. 2014

<div>
<p dir="ltr">Press Release, December 20th 2014. NYC - London.</p>
<p dir="ltr">Daily Paywall<br><a href="http://DailyPaywall.com">http://DailyPaywall.com</a></p>
<p dir="ltr">Artist Paolo Cirio has hacked the paywalls of the most influential financial newspapers - Wall Street Journal, Financial Times, and The Economist - breaking through their checkpoints every day to liberate over 60,000 pay-per-view items published over the course of 2014. </p>
<p dir="ltr">Now, he redistributes this copyrighted content for free and pays everyone to read it. <br>
His paid-to-read schema is a circular economic model in which profit generated from huge amounts of pirated content is invested into informing and educating the public about institutional crime and corruption, while offering rewards to critical journalists.<br><a href="http://DailyPaywall.com/?/l/about">http://DailyPaywall.com/?/l/about</a></p>
<p dir="ltr">With the massive amount of appropriated content, the artist has created his own online and printed newspaper called Daily Paywall. He has edited 15 issues of his paper covering the main topics of our time. For each issue he has selected featured articles which expose major economic injustices and contradictions. Readers receive $1 for responding correctly to simple questions relating to these articles, thereby incentivizing analytical and critical thinking around the story. <br><a href="http://DailyPaywall.com/?/l/issues">http://DailyPaywall.com/?/l/issues</a><br><a href="http://DailyPaywall.com/?/l/featured">http://DailyPaywall.com/?/l/featured</a></p>
<p dir="ltr">The Daily Paywall newspaper is distributed on the Internet and in printed versions disseminated in undisclosed spots throughout NYC in unauthorized racks for free papers. See Daily Paywall newsracks in NYC.<br><a href="http://paolocirio.net/work/daily-paywall/#pics">http://paolocirio.net/work/daily-paywall/#pics</a></p>
<p dir="ltr">Beyond advocating the open circulation of knowledge, the project proposes a creative economic model designed for social and educational aims. The visionary concept behind the artistic performance and these socio-economic matters are introduced in his essay.<br><a href="http://DailyPaywall.com/?/l/about/#essay">http://DailyPaywall.com/?/l/about/#essay</a><br></p>
<p dir="ltr">Don&rsquo;t miss another recent project by Paolo Cirio, Global Direct, which outlines and campaigns for a new creative political philosophy:<br><a href="http://GlobalDirect.today">http://GlobalDirect.today</a></p>
<p dir="ltr">A few shows featuring Paolo Cirio in 2015:<br>
- Exhibition at Utah Museum of Contemporary Art in U.S.<br>
- Lecture at FutureEverything in Manchester, UK<br>
- Incubation at NEW INC. studio in NYC<br>
- Exhibition at Centre Culturel Bellegard in Toulouse, France<br>
- Solo Show at NOME, contemporary art gallery in Berlin, Germany<br>
- Exhibition at Apexart gallery in NYC<br>
- Exhibition at ISEA2015 in Vancouver, Canada</p>
<p dir="ltr">Current exhibitions with Paolo Cirio&rsquo;s works:<br>
- Open Society Foundation in NYC<br>
- DOX Centre for Contemporary Art in Prague<br>
- Palazzo del Governatore in Parma</p>
<p dir="ltr">Thank you.<br>
Paolo Cirio.<br><a href="http://PaoloCirio.net">http://PaoloCirio.net</a><br></p>
<p dir="ltr">Critical text about Daily Paywall by Paolo Cirio</p>
<p dir="ltr">A functional democracy needs an informed public. However, today access to knowledge is controlled by for-profit industry, while information is manipulated in its distribution and organization to maintain undemocratic orders. </p>
<p dir="ltr">Daily Paywall proposes a provocative and conceptual economic model for the media and publishing industry, in which the for-profit scheme of information selling and consumption is reversed for democratic and educational purposes, by paying readers to access and understand the news, while directly rewarding critical content creators through bypassing the interfering middleman&rsquo;s agenda. </p>
<p dir="ltr">In creating Daily Paywall, tens of thousands of articles covering developments in finance, economy and business have been stolen from the mainstream corporate media in order to redistribute them for free, ultimately extracting their value for reinvesting into motivating socio-critical analysis. The articles are made available both online and in print to those who would not typically have access to or be exposed to such material, due to their inability to afford a subscription, or because of how the media ranks the articles or simply as a result of the exclusionary language employed by these news sources. At its core, Daily Paywall proposes that access to this content should be more horizontal and democratic in scope, encouraging and incentivizing consumption and participation by those who are struggling financially, or who occupy a lower class status, as economic volatility and increasing wealth disparity ultimately impacts them the most. </p>
<p dir="ltr">Beyond promoting open access to knowledge, the project also makes a direct provocation regarding the one-directional flow of capital in our current information economy. This is achieved by incentivizing readers to read, absorb, and respond to articles that expose flaws in corporations, governments or other institutional entities. </p>
<p dir="ltr">The newspaper, Daily Paywall, provides a window into our modern time of institutionalized economic exploitations, crimes and conflicts neutralized in the global complexity and super power stakes. The articles are often highly ideological and deceptive, yet they contain facts and details that aren&rsquo;t presented in popular mainstream culture, showing once again how context can alter the intrinsic value and significance of information. This project, in fact, aims to reconfigure structures of knowledge to unleash new meanings, as well as their social and cultural functions. </p>
<p dir="ltr">By enticing citizens to become informed in exchange for money, Daily Paywall radically shifts the current media paradigm of economic exclusion by providing access and effectively engaging people in a form of public discourse, disrupting contemporary social, economic and media orders, and exploring alternatives to systems of distribution of knowledge. Besides alluding to the media&rsquo;s role in informing the public, Daily Paywall also addresses the modern speculative industry of education, as paying high tuitions discourages citizens from educating themselves. In opposition, this new paid-to-learn model would empower everyone with financial means and knowledge for greater human progress. </p>
<p dir="ltr">Daily Paywall integrates the highly exploitative and precarious socio-economic order and radically reverses it with a visionary idea about reformulating access to education and motivating social change. As a direct provocation, with subtle ironies woven throughout, Daily Paywall does not seek to redefine the media business, but rather presents a constructive, artistic model for an alternative approach to the distribution of information, education, income and labor. Even though business model logic guides the structure of the project, sustainability and profit are not the goal and have been sacrificed or challenged in favor of ethical, philosophical and social revelations. </p>
<p dir="ltr">Today information flow is the means of exchange for valuing any economic and social entity. Knowledge as an asset and information as currency determine the current economic hegemony and social order. Thus, the creative reconfiguration of the information flow is the ultimate political and artistic practice which can transform and address modern society at large. <br></p>
<p dir="ltr">The Media Performance </p>
<p dir="ltr">The critical aspects of this experiment are recalled as a conflict over information and social control. This conflict is reenacted as a performance through the staging of a striking interaction amongst the actors that the artist involved in the artwork, the corporate targets, the readers, the journalists and the art world. During this temporary setting of the performance, the participants are left to confront and discuss the validity, legality and finality of the artwork. </p>
<p dir="ltr">With the proper timing and preparation, the performance eventually reaches its apex with the social conflict becoming unresolvable, ending with the dramatic suppression of the artwork itself which in turn reveals the real power structures in place. Here, the artistic provocation of Daily Paywall is most explicit and the media performance truly takes place, showing a powerful rupture to the current restrictions over information concerning the important issues that govern society. </p>
<p dir="ltr">Daily Paywall questions contemporary socio-economic dynamics and how they can be rearranged as a form of art practice. This project proposes a direct intervention into the power relations between corporations, media, authorities, individuals and communities. As a mode of engaging and participatory artistic performance, the project has the potential to create symbolic and veritable ruptures within the operations of the financial and information economies, and challenges our complicity with corruption and inequality. As such, the project carries the ability to impact society at large, which is what all socially engaged art, and we as citizens, must strive for. </p>
<p dir="ltr">Essay by Paolo Cirio. 2014<br></p>
</div>
Paolo Cirio | 20 Dec 03:44 2014
Picon

DailyPaywall.com Hacks major Financial Newspapers and Pays You To Read them - Press Release

Press Release, December 20th 2014. NYC - London.

Daily Paywall
http://DailyPaywall.com

Artist Paolo Cirio has hacked the paywalls of the most influential financial newspapers - Wall Street Journal, Financial Times, and The Economist - breaking through their checkpoints every day to liberate over 60,000 pay-per-view items published over the course of 2014.

Now, he redistributes this copyrighted content for free and pays everyone to read it.
His paid-to-read schema is a circular economic model in which profit generated from huge amounts of pirated content is invested into informing and educating the public about institutional crime and corruption, while offering rewards to critical journalists.
http://DailyPaywall.com/?/l/about

With the massive amount of appropriated content, the artist has created his own online and printed newspaper called Daily Paywall. He has edited 15 issues of his paper covering the main topics of our time. For each issue he has selected featured articles which expose major economic injustices and contradictions. Readers receive $1 for responding correctly to simple questions relating to these articles, thereby incentivizing analytical and critical thinking around the story.
http://DailyPaywall.com/?/l/issues
http://DailyPaywall.com/?/l/featured

The Daily Paywall newspaper is distributed on the Internet and in printed versions disseminated in undisclosed spots throughout NYC in unauthorized racks for free papers. See Daily Paywall newsracks in NYC.
http://paolocirio.net/work/daily-paywall/#pics

Beyond advocating the open circulation of knowledge, the project proposes a creative economic model designed for social and educational aims. The visionary concept behind the artistic performance and these socio-economic matters are introduced in his essay.
http://DailyPaywall.com/?/l/about/#essay

Don’t miss another recent project by Paolo Cirio, Global Direct, which outlines and campaigns for a new creative political philosophy:
http://GlobalDirect.today

A few shows featuring Paolo Cirio in 2015:
- Exhibition at Utah Museum of Contemporary Art in U.S.
- Lecture at FutureEverything in Manchester, UK
- Incubation at NEW INC. studio in NYC
- Exhibition at Centre Culturel Bellegard in Toulouse, France
- Solo Show at NOME, contemporary art gallery in Berlin, Germany
- Exhibition at Apexart gallery in NYC
- Exhibition at ISEA2015 in Vancouver, Canada

Current exhibitions with Paolo Cirio’s works:
- Open Society Foundation in NYC
- DOX Centre for Contemporary Art in Prague
- Palazzo del Governatore in Parma

Thank you.
Paolo Cirio.
http://PaoloCirio.net

Critical text about Daily Paywall by Paolo Cirio

A functional democracy needs an informed public. However, today access to knowledge is controlled by for-profit industry, while information is manipulated in its distribution and organization to maintain undemocratic orders.

Daily Paywall proposes a provocative and conceptual economic model for the media and publishing industry, in which the for-profit scheme of information selling and consumption is reversed for democratic and educational purposes, by paying readers to access and understand the news, while directly rewarding critical content creators through bypassing the interfering middleman’s agenda.

In creating Daily Paywall, tens of thousands of articles covering developments in finance, economy and business have been stolen from the mainstream corporate media in order to redistribute them for free, ultimately extracting their value for reinvesting into motivating socio-critical analysis. The articles are made available both online and in print to those who would not typically have access to or be exposed to such material, due to their inability to afford a subscription, or because of how the media ranks the articles or simply as a result of the exclusionary language employed by these news sources. At its core, Daily Paywall proposes that access to this content should be more horizontal and democratic in scope, encouraging and incentivizing consumption and participation by those who are struggling financially, or who occupy a lower class status, as economic volatility and increasing wealth disparity ultimately impacts them the most.

Beyond promoting open access to knowledge, the project also makes a direct provocation regarding the one-directional flow of capital in our current information economy. This is achieved by incentivizing readers to read, absorb, and respond to articles that expose flaws in corporations, governments or other institutional entities.

The newspaper, Daily Paywall, provides a window into our modern time of institutionalized economic exploitations, crimes and conflicts neutralized in the global complexity and super power stakes. The articles are often highly ideological and deceptive, yet they contain facts and details that aren’t presented in popular mainstream culture, showing once again how context can alter the intrinsic value and significance of information. This project, in fact, aims to reconfigure structures of knowledge to unleash new meanings, as well as their social and cultural functions.

By enticing citizens to become informed in exchange for money, Daily Paywall radically shifts the current media paradigm of economic exclusion by providing access and effectively engaging people in a form of public discourse, disrupting contemporary social, economic and media orders, and exploring alternatives to systems of distribution of knowledge. Besides alluding to the media’s role in informing the public, Daily Paywall also addresses the modern speculative industry of education, as paying high tuitions discourages citizens from educating themselves. In opposition, this new paid-to-learn model would empower everyone with financial means and knowledge for greater human progress.

Daily Paywall integrates the highly exploitative and precarious socio-economic order and radically reverses it with a visionary idea about reformulating access to education and motivating social change. As a direct provocation, with subtle ironies woven throughout, Daily Paywall does not seek to redefine the media business, but rather presents a constructive, artistic model for an alternative approach to the distribution of information, education, income and labor. Even though business model logic guides the structure of the project, sustainability and profit are not the goal and have been sacrificed or challenged in favor of ethical, philosophical and social revelations.

Today information flow is the means of exchange for valuing any economic and social entity. Knowledge as an asset and information as currency determine the current economic hegemony and social order. Thus, the creative reconfiguration of the information flow is the ultimate political and artistic practice which can transform and address modern society at large.

The Media Performance

The critical aspects of this experiment are recalled as a conflict over information and social control. This conflict is reenacted as a performance through the staging of a striking interaction amongst the actors that the artist involved in the artwork, the corporate targets, the readers, the journalists and the art world. During this temporary setting of the performance, the participants are left to confront and discuss the validity, legality and finality of the artwork.

With the proper timing and preparation, the performance eventually reaches its apex with the social conflict becoming unresolvable, ending with the dramatic suppression of the artwork itself which in turn reveals the real power structures in place. Here, the artistic provocation of Daily Paywall is most explicit and the media performance truly takes place, showing a powerful rupture to the current restrictions over information concerning the important issues that govern society.

Daily Paywall questions contemporary socio-economic dynamics and how they can be rearranged as a form of art practice. This project proposes a direct intervention into the power relations between corporations, media, authorities, individuals and communities. As a mode of engaging and participatory artistic performance, the project has the potential to create symbolic and veritable ruptures within the operations of the financial and information economies, and challenges our complicity with corruption and inequality. As such, the project carries the ability to impact society at large, which is what all socially engaged art, and we as citizens, must strive for.

Essay by Paolo Cirio. 2014

<div>
<p dir="ltr">Press Release, December 20th 2014. NYC - London.</p>
<p dir="ltr">Daily Paywall<br><a href="http://DailyPaywall.com">http://DailyPaywall.com</a></p>
<p dir="ltr">Artist Paolo Cirio has hacked the paywalls of the most influential financial newspapers - Wall Street Journal, Financial Times, and The Economist - breaking through their checkpoints every day to liberate over 60,000 pay-per-view items published over the course of 2014. </p>
<p dir="ltr">Now, he redistributes this copyrighted content for free and pays everyone to read it. <br>
His paid-to-read schema is a circular economic model in which profit generated from huge amounts of pirated content is invested into informing and educating the public about institutional crime and corruption, while offering rewards to critical journalists.<br><a href="http://DailyPaywall.com/?/l/about">http://DailyPaywall.com/?/l/about</a></p>
<p dir="ltr">With the massive amount of appropriated content, the artist has created his own online and printed newspaper called Daily Paywall. He has edited 15 issues of his paper covering the main topics of our time. For each issue he has selected featured articles which expose major economic injustices and contradictions. Readers receive $1 for responding correctly to simple questions relating to these articles, thereby incentivizing analytical and critical thinking around the story. <br><a href="http://DailyPaywall.com/?/l/issues">http://DailyPaywall.com/?/l/issues</a><br><a href="http://DailyPaywall.com/?/l/featured">http://DailyPaywall.com/?/l/featured</a></p>
<p dir="ltr">The Daily Paywall newspaper is distributed on the Internet and in printed versions disseminated in undisclosed spots throughout NYC in unauthorized racks for free papers. See Daily Paywall newsracks in NYC.<br><a href="http://paolocirio.net/work/daily-paywall/#pics">http://paolocirio.net/work/daily-paywall/#pics</a></p>
<p dir="ltr">Beyond advocating the open circulation of knowledge, the project proposes a creative economic model designed for social and educational aims. The visionary concept behind the artistic performance and these socio-economic matters are introduced in his essay.<br><a href="http://DailyPaywall.com/?/l/about/#essay">http://DailyPaywall.com/?/l/about/#essay</a><br></p>
<p dir="ltr">Don&rsquo;t miss another recent project by Paolo Cirio, Global Direct, which outlines and campaigns for a new creative political philosophy:<br><a href="http://GlobalDirect.today">http://GlobalDirect.today</a></p>
<p dir="ltr">A few shows featuring Paolo Cirio in 2015:<br>
- Exhibition at Utah Museum of Contemporary Art in U.S.<br>
- Lecture at FutureEverything in Manchester, UK<br>
- Incubation at NEW INC. studio in NYC<br>
- Exhibition at Centre Culturel Bellegard in Toulouse, France<br>
- Solo Show at NOME, contemporary art gallery in Berlin, Germany<br>
- Exhibition at Apexart gallery in NYC<br>
- Exhibition at ISEA2015 in Vancouver, Canada</p>
<p dir="ltr">Current exhibitions with Paolo Cirio&rsquo;s works:<br>
- Open Society Foundation in NYC<br>
- DOX Centre for Contemporary Art in Prague<br>
- Palazzo del Governatore in Parma</p>
<p dir="ltr">Thank you.<br>
Paolo Cirio.<br><a href="http://PaoloCirio.net">http://PaoloCirio.net</a><br></p>
<p dir="ltr">Critical text about Daily Paywall by Paolo Cirio</p>
<p dir="ltr">A functional democracy needs an informed public. However, today access to knowledge is controlled by for-profit industry, while information is manipulated in its distribution and organization to maintain undemocratic orders. </p>
<p dir="ltr">Daily Paywall proposes a provocative and conceptual economic model for the media and publishing industry, in which the for-profit scheme of information selling and consumption is reversed for democratic and educational purposes, by paying readers to access and understand the news, while directly rewarding critical content creators through bypassing the interfering middleman&rsquo;s agenda. </p>
<p dir="ltr">In creating Daily Paywall, tens of thousands of articles covering developments in finance, economy and business have been stolen from the mainstream corporate media in order to redistribute them for free, ultimately extracting their value for reinvesting into motivating socio-critical analysis. The articles are made available both online and in print to those who would not typically have access to or be exposed to such material, due to their inability to afford a subscription, or because of how the media ranks the articles or simply as a result of the exclusionary language employed by these news sources. At its core, Daily Paywall proposes that access to this content should be more horizontal and democratic in scope, encouraging and incentivizing consumption and participation by those who are struggling financially, or who occupy a lower class status, as economic volatility and increasing wealth disparity ultimately impacts them the most. </p>
<p dir="ltr">Beyond promoting open access to knowledge, the project also makes a direct provocation regarding the one-directional flow of capital in our current information economy. This is achieved by incentivizing readers to read, absorb, and respond to articles that expose flaws in corporations, governments or other institutional entities. </p>
<p dir="ltr">The newspaper, Daily Paywall, provides a window into our modern time of institutionalized economic exploitations, crimes and conflicts neutralized in the global complexity and super power stakes. The articles are often highly ideological and deceptive, yet they contain facts and details that aren&rsquo;t presented in popular mainstream culture, showing once again how context can alter the intrinsic value and significance of information. This project, in fact, aims to reconfigure structures of knowledge to unleash new meanings, as well as their social and cultural functions. </p>
<p dir="ltr">By enticing citizens to become informed in exchange for money, Daily Paywall radically shifts the current media paradigm of economic exclusion by providing access and effectively engaging people in a form of public discourse, disrupting contemporary social, economic and media orders, and exploring alternatives to systems of distribution of knowledge. Besides alluding to the media&rsquo;s role in informing the public, Daily Paywall also addresses the modern speculative industry of education, as paying high tuitions discourages citizens from educating themselves. In opposition, this new paid-to-learn model would empower everyone with financial means and knowledge for greater human progress. </p>
<p dir="ltr">Daily Paywall integrates the highly exploitative and precarious socio-economic order and radically reverses it with a visionary idea about reformulating access to education and motivating social change. As a direct provocation, with subtle ironies woven throughout, Daily Paywall does not seek to redefine the media business, but rather presents a constructive, artistic model for an alternative approach to the distribution of information, education, income and labor. Even though business model logic guides the structure of the project, sustainability and profit are not the goal and have been sacrificed or challenged in favor of ethical, philosophical and social revelations. </p>
<p dir="ltr">Today information flow is the means of exchange for valuing any economic and social entity. Knowledge as an asset and information as currency determine the current economic hegemony and social order. Thus, the creative reconfiguration of the information flow is the ultimate political and artistic practice which can transform and address modern society at large. <br></p>
<p dir="ltr">The Media Performance </p>
<p dir="ltr">The critical aspects of this experiment are recalled as a conflict over information and social control. This conflict is reenacted as a performance through the staging of a striking interaction amongst the actors that the artist involved in the artwork, the corporate targets, the readers, the journalists and the art world. During this temporary setting of the performance, the participants are left to confront and discuss the validity, legality and finality of the artwork. </p>
<p dir="ltr">With the proper timing and preparation, the performance eventually reaches its apex with the social conflict becoming unresolvable, ending with the dramatic suppression of the artwork itself which in turn reveals the real power structures in place. Here, the artistic provocation of Daily Paywall is most explicit and the media performance truly takes place, showing a powerful rupture to the current restrictions over information concerning the important issues that govern society. </p>
<p dir="ltr">Daily Paywall questions contemporary socio-economic dynamics and how they can be rearranged as a form of art practice. This project proposes a direct intervention into the power relations between corporations, media, authorities, individuals and communities. As a mode of engaging and participatory artistic performance, the project has the potential to create symbolic and veritable ruptures within the operations of the financial and information economies, and challenges our complicity with corruption and inequality. As such, the project carries the ability to impact society at large, which is what all socially engaged art, and we as citizens, must strive for. </p>
<p dir="ltr">Essay by Paolo Cirio. 2014<br></p>
</div>
NK | 19 Dec 21:44 2014
Picon

Dec 20th DAVE PHILLIPS aka dp / BERND SCHURER / KRUBE. / HACKLANDER \ HATAM

hi everyone,

Tomorrow night we have a wonderful program of concerts at NK and hope that you can make it.

December 20th Doors 21:30 Concerts 22:00 Sharp! at NK Elsenstr. 52 2.HH 2.Etage 12059 Berlin http://nkprojekt.de  *DAVE PHILLIPS aka dp / BERND SCHURER / KRUBE. / HACKLANDER \ HATAM *Kindly supported by the INM dp's humanimalism is a concept that describes a developed humanoid existence that has overcome the erroneous religious, material and supremacist phases of evolution, recognises itself as part of a whole and has grown into an empathic, conscientious creature that has learned to allow emotion to be an equal part in decision-making as the intellect, with social and environmental senses as primary and inherent functions. sonic activist, composer, performer, researcher; solo-works as dave phillips/dp since 1987. part of SCHIMPFLUCH-GRUPPE since 1991. founder of OHNE in 2000. co-founder of hardcore-extremists FEAR OF GOD in 1986. oneman-doom-project DEAD PENI since 2004. etc.etc. http://www.davephillips.ch <http://www.davephillips.ch/> http://www.soundcloud.com/dave-phillips *Bernd Schurer* Bernd Schurer is a forward-thinking experimental multidisciplinary artist, musician and curator with a background that comes from conceptual art practices, noise, electroacoustic- and radical computer- music. His work discards all formal habits commonly associated to categorisation in favor of personal aesthetic idiosyncrasies. Particularly involved in the artistic research on psychoacoustics, spatialization and computational algorithmic art, he focuses on perceptual realizations of these phenomenological implications in his works. http://domizil.ch/ http://heterophenomenological.net/ *KRUBE.*Sound Artist, based in Berlin/Kreuzberg. Working under the Krube. moniker since 1999. https://soundcloud.com/krube-2 *Hacklander \ Hatam*: drums and computer music duo. - -- - - Formed spontaneously in Moscow during New Years 2013, the duo's first piece was WAR SOUNDS for the Ertz Festival #14 in Bera, Spain. Before converging as a duo, they each performed solo: Farah performed solo works such as 'Directions for Decomposition' and Colin, solo works such as 'Next time, die consciously.' Since their first show, the duo has created a 67-hour long piece for internet radio streaming for transmediale.de; collaborated with Swedish programming guru Fredrik Olofsson; performed at the Bucharest Philharmonic alongside Dumistrescu & Avram; and composed a chamber piece for the Hyperion Ensemble International, which premiered in October 2014 at the Tectonics Festival in Tel Aviv. http://hacklander-hatam.com/war.html http://vimeo.com/82218653


<!-- <at> page { margin: 0.79in } P { margin-bottom: 0.08in } A:link { so-language: zxx } --> -- www.nkprojekt.de
<div>
    <p>hi everyone,<br><br>
      Tomorrow
      night we have a wonderful program of concerts at NK and hope that
      you
      can make it.</p>
    December 20th Doors 21:30 Concerts 22:00 Sharp! 
at NK
Elsenstr. 52 2.HH 2.Etage
12059 Berlin
<a href="http://nkprojekt.de/">http://nkprojekt.de</a>

&nbsp;*DAVE PHILLIPS aka dp / BERND SCHURER / KRUBE. / HACKLANDER \ HATAM

*Kindly supported by the INM

dp's humanimalism is a concept that describes a developed humanoid existence that has overcome the erroneous religious, material and supremacist phases of evolution, recognises itself as part of a whole and has grown into an empathic, conscientious creature that has learned to allow emotion to be an equal part in decision-making as the intellect, with social and environmental senses as primary and inherent functions.

sonic activist, composer, performer, researcher; solo-works as dave phillips/dp since 1987. part of SCHIMPFLUCH-GRUPPE since 1991.

founder of OHNE in 2000. co-founder of hardcore-extremists FEAR OF GOD in 1986. oneman-doom-project DEAD PENI since 2004. etc.etc.

<a href="http://www.davephillips.ch/">http://www.davephillips.ch</a> <a href="http://www.davephillips.ch/">&lt;http://www.davephillips.ch/&gt;</a>
<a href="http://www.soundcloud.com/dave-phillips">http://www.soundcloud.com/dave-phillips</a>

*Bernd Schurer*

Bernd Schurer is a forward-thinking experimental multidisciplinary artist, musician and curator with a background that comes from conceptual art practices, noise, electroacoustic- and radical computer- music. His work discards all formal habits commonly associated to categorisation in favor of personal aesthetic idiosyncrasies. Particularly involved in the artistic research on psychoacoustics, spatialization and computational algorithmic art, he focuses on perceptual realizations of these phenomenological implications in his works.

<a href="http://domizil.ch/">http://domizil.ch/</a>
<a href="http://heterophenomenological.net/">http://heterophenomenological.net/</a>

*KRUBE.*Sound Artist, based in Berlin/Kreuzberg. Working under the Krube. moniker since 1999.
<a href="https://soundcloud.com/krube-2">https://soundcloud.com/krube-2</a>

*Hacklander \ Hatam*: drums and computer music duo.

- -- - -

Formed spontaneously in Moscow during New Years 2013, the duo's first piece was WAR SOUNDS for the Ertz Festival #14 in Bera, Spain.
Before converging as a duo, they each performed solo: Farah performed solo works such as 'Directions for Decomposition' and Colin, solo works such as 'Next time, die consciously.'

Since their first show, the duo has created a 67-hour long piece for internet radio streaming for transmediale.de; collaborated with Swedish programming guru Fredrik Olofsson; performed at the Bucharest Philharmonic alongside Dumistrescu &amp; Avram; and composed a chamber piece for the Hyperion Ensemble International, which premiered in October 2014 at the Tectonics Festival in Tel Aviv.

<a href="http://hacklander-hatam.com/war.html">http://hacklander-hatam.com/war.html</a>
<a href="http://vimeo.com/82218653">http://vimeo.com/82218653</a>

    <p>
      <br></p>

	&lt;!--
		 <at> page { margin: 0.79in }
		P { margin-bottom: 0.08in }
		A:link { so-language: zxx }
	--&gt;
	-- 
<a class="moz-txt-link-abbreviated" href="http://www.nkprojekt.de">www.nkprojekt.de</a>
  </div>
Yoana Pavlova | 19 Dec 12:17 2014
Picon

Like for Truffaut, share for Godard

Dear Spectres,

I would like to invite all of you who write professionally on cinema
(journalists, critics, scholars, academics, researchers) to take part
in Festivalists' survey. To commemorate the end of 2014, we at
Festivalists would like to look into the way cinephiles by vocation
construct and inhabit their own social media environment.

The survey consists of 20 questions and is accessible online until
January 5th, 2015:
http://festivalists.com/post/105274043526/2014survey

Festivalists.com is a playform for independent film criticism that was
launched at the end of 2012 by Yoana Pavlova, a Bulgarian journalist
and researcher based in Paris. The purpose of this project is to
challenge film critics and academics out of their comfort zone as well
as explore new methods of collaboration in the context of web 2.0

Thank you!

Cordialement,
Yoana Pavlova

Yoana Pavlova,
Festivalists.com
+33.6.70786551
YoanaPavlova@...

Marinos Koutsomichalis | 19 Dec 09:06 2014

Mapping and Visualisation workshop, Amsterdam

Hello, 

please book your place as soon as possible if you are interested in this - it’s limited to 15 participants only !  

Mapping the Vortex

January 17th, 2015 11:00 am until January 18th, 2015
STEIM Concertspace, Utrechtsedwarsstraat 134, Amsterdam

Mapping and visualization with SuperCollider. This two­ day intensive workshop by Marinos Koutsomichalis welcomes participants of any discipline who are already familiar with SuperCollider and who wish to expand their technical and practical knowledge in the fields of mapping and visualization.

DETAILS:
DATE: 17th & 18th of January, 2015
TIME: 11:00 – 17:00
COST: €70
REGISTRATION: http://steim.org/event/mapping-the-vortex/ (15 participants max) 
LOCATION: STEIM Concertspace, Utrechtsedwarsstraat 134, Amsterdam

Mapping the Vortex

The material of the workshop is based on the instructor’s latest book ‘Mapping and Visualization with SuperCollider’. Topics to be discussed and elaborated upon include:
- 2D computer graphics
- fractals
- particle systems
- complex encodings/mappings
- audio/data analysis
- waveform/spectra synthesis
- sophisticated visualization/sonification techniques.

Following their particular interests, the participants will then be guided into designing their own audiovisual applications.

About SuperCollider

SuperCollider has established itself as probably the most powerful programming environment for real time sound synthesis, algorithmic/generative music and all sorts of other audio­related applications. It is widely used by artists and scientists alike for both research and actual artistic creation. It features a powerful state­-of­-the­-art sound engine and an easy to learn fully featured object oriented language. More, it is open­source and totally free of charge. http://supercollider.sourceforge.net

About the Instructor:

Marinos Koutsomichalis (Athens, 1981) is an artist and researcher. Via sound and a wide range of other media he interrogates the specifics of perception, technology and material and by means of a hypermedia, project­based and site­responsive methodology. His work has been widely presented internationally in all sorts of milieus ranging from leading museums and acclaimed art festivals to industrial sites and from underground venues to churches or scientific conferences. He has worked as an artist in various institutions worldwide. His academic career has hitherto involved a research fellowship in the University of Turin, a lectureship at the faculty of Music Technology and Acoustics of the Technical University of Crete, and leading Contemporary Music Research Center’s (CMRC­KSYME) course in Electronic Music and Sound Synthesis since. He has being responsible for numerous publications in scientific journals/conferences, for numerous workshops/talks worldwide and for writing the Mapping and Visualization with SuperCollider book. He is a PhD candidate in Music, Sound and Media Art at the De Montfort University and he also holds a MA by research in composition with digital media from the University of York. www.marinoskoutsomichalis.com

<div>Hello,&nbsp;<div class=""><br class=""></div>
<div class="">please book your place as soon as possible if you are interested in this - it&rsquo;s limited to 15 participants only ! &nbsp;</div>
<div class="">check here too:&nbsp;<a href="http://steim.org/event/mapping-the-vortex/" class="">http://steim.org/event/mapping-the-vortex/</a>
</div>
<div class=""><br class=""></div>
<div class="">
<h1 class="entry-title">Mapping the Vortex</h1>
<div class="secondary_content"><div class="eventinfo">January 17th, 2015 11:00&nbsp;am&nbsp;until&nbsp;January 18th, 2015<br class="">STEIM Concertspace, Utrechtsedwarsstraat 134, Amsterdam<br class="">
</div></div>
<div class="entry-content">
<h3 class="">Mapping and visualization with SuperCollider. This two&shy; day intensive workshop by Marinos Koutsomichalis welcomes participants of any discipline who are already familiar with SuperCollider and who wish to expand their technical and practical knowledge in the fields of mapping and visualization.</h3>
<p class=""><a href="http://steim.org/wp/wp-content/uploads/2014/12/9677OS-07-04.png" class=""></a></p>
<p class="">DETAILS:<br class="">DATE: 17th &amp; 18th of January, 2015<br class="">TIME: 11:00 &ndash; 17:00<br class="">COST: &euro;70<br class="">REGISTRATION:&nbsp;<a href="http://steim.org/event/mapping-the-vortex/" class="">http://steim.org/event/mapping-the-vortex/</a>&nbsp;(15 participants max)&nbsp;<br class="">LOCATION: STEIM Concertspace, Utrechtsedwarsstraat 134, Amsterdam</p>
<h1 class="">Mapping the Vortex</h1>
<p class="">The material of the workshop is based on the instructor&rsquo;s latest book &lsquo;Mapping and Visualization with SuperCollider&rsquo;. Topics to be discussed and elaborated upon include:<br class="">- 2D computer graphics<br class="">- fractals<br class="">- particle systems<br class="">- complex encodings/mappings<br class="">- audio/data analysis<br class="">- waveform/spectra synthesis<br class="">- sophisticated visualization/sonification techniques.</p>
<p class="">Following their particular interests, the participants will then be guided into designing their own audiovisual applications.</p>
<h1 class="">About SuperCollider</h1>
<p class="">SuperCollider has established itself as probably the most powerful programming environment for real time sound synthesis, algorithmic/generative music and all sorts of other audio&shy;related applications. It is widely used by artists and scientists alike for both research and actual artistic creation. It features a powerful state&shy;-of&shy;-the&shy;-art sound engine and an easy to learn fully featured object oriented language. More, it is open&shy;source and totally free of charge.&nbsp;<a title="supercollider" href="http://supercollider.sourceforge.net/" target="_blank" class="">http://supercollider.sourceforge.net</a></p>
<h1 class="">About the Instructor:</h1>
<p class=""><span class="">Marinos Koutsomichalis</span>&nbsp;(Athens, 1981) is an artist and researcher. Via sound and a wide range of other media he interrogates the specifics of perception, technology and material and by means of a hypermedia, project&shy;based and site&shy;responsive methodology. His work has been widely presented internationally in all sorts of milieus ranging from leading museums and acclaimed art festivals to industrial sites and from underground venues to churches or scientific conferences. He has worked as an artist in various institutions worldwide. His academic career has hitherto involved a research fellowship in the University of Turin, a lectureship at the faculty of Music Technology and Acoustics of the Technical University of Crete, and leading Contemporary Music Research Center&rsquo;s (CMRC&shy;KSYME) course in Electronic Music and Sound Synthesis since. He has being responsible for numerous publications in scientific journals/conferences, for numerous workshops/talks worldwide and for writing the Mapping and Visualization with SuperCollider book. He is a PhD candidate in Music, Sound and Media Art at the De Montfort University and he also holds a MA by research in composition with digital media from the University of York.&nbsp;<a title="marinos" href="http://steim.org/event/mapping-the-vortex/www.marinoskoutsomichalis.com" target="_blank" class="">www.marinoskoutsomichalis.com</a></p>
</div>
</div>
</div>
info | 18 Dec 16:59 2014
Picon

MADATAC 06 CONCLUSIONS

Dear Spectres.

We want to thank "viva voce" to all the artists selected and participating, to the members of the jury, to the guests, to the public, to the media, as well as to all those who have made possible that this MADATAC sixth edition demonstrated once again that it is not only a bright, actual and innovative international audiovisual digital new media art festival reference, but the most experimental and avant-garde.

The video installations will remain in exhibition until January 11, 2015 at CentroCentro Cibeles_Madrid.

Will leave you with the videos of the winning works:
http://madatac.es/en/awards-06/

MADATAC Staff
------------------------------------------------------
WEB: www.madatac.es
FACEBOOK: http://www.facebook.com/MADATAC
TWITTER: https://twitter.com/madatac06
PROMO: www.vimeo.com/madatac
info-Tc6au8BX0JPe5aOfsHch1g@public.gmane.org
<div>
    <span class="userContent">Dear Spectres.<br><br>
      We want to thank "viva voce" to all the artists selected and
      participating, to the members of the jury, to the guests, to the
      public, to the media, as well as to all those who have made
      possible that this MADATAC sixth edition demonstrate<span class="text_exposed_show">d once again that it is not only a
        bright, actual and innovative international audiovisual digital
        new media art festival reference, but the most experimental and
        avant-garde.<br><br>
        The video installations will remain in exhibition until January
        11, 2015 at CentroCentro Cibeles_Madrid.<br><br>
        Will leave you with the videos of the winning works: </span></span><a class="moz-txt-link-freetext" href="http://madatac.es/en/awards-06/">http://madatac.es/en/awards-06/</a><br><br>
    MADATAC Staff<br>
    ------------------------------------------------------ <br>
    WEB: <a class="moz-txt-link-abbreviated" href="http://www.madatac.es">www.madatac.es</a>
    <br>
    FACEBOOK: <a class="moz-txt-link-freetext" href="http://www.facebook.com/MADATAC">http://www.facebook.com/MADATAC</a>
    <br>
    TWITTER: <a class="moz-txt-link-freetext" href="https://twitter.com/madatac06">https://twitter.com/madatac06</a>
    <br>
    PROMO: <a class="moz-txt-link-abbreviated" href="http://www.vimeo.com/madatac">www.vimeo.com/madatac</a><br><a class="moz-txt-link-abbreviated" href="mailto:info@...">info@...</a>
  </div>
Image Science | 18 Dec 15:38 2014
Picon

THE ARCHIVE OF DIGITAL ART (ADA) FEATURES TAMIKO THIEL

THE ARCHIVE OF DIGITAL ART (ADA) FEATURES TAMIKO THIEL

Check it out: www.digitalartarchive.at 

Tamiko Thiel is internationally renowned for her impressive and
politically-engaged virtual and augmented reality installations. 
She visualizes thoughts and concepts with digital means in a sensitive
way and combines it with real world places, objects and settings. 
This approach allows her to provide a non-western perspective on
western
culture, to reminds us of historical events right in the places where
they 
happened or shows us how our neighborhoods could look like in the
future.

MATTHEW WILSON SMITH
>Like her creation Mariko Horo,[...] Tamiko Thiel is a border-crosser 
and an explorer of virtual space. […] It recalls Thiel’s work in
showing
how the concrete and the virtual, the bounded and the streaming, the
grid and the fold are now not only inseparable, but mutually
reinforcing<

OLIVER GRAU
>Art, that connects innovatively and playfully contemporary digital
culture
with social, societal and ecological issues, was developed by Tamiko
Thiel
in the last 20 years. Particularly  internationally renowned is her 
Memorial Art, that impressively recalls the Berlin Wall or the
Californian 
internment camps in an unprecedented way.<

CHRISTIANE PAUL
>Beyond Manzanar (2000)  [...] illustrates a chasm of cultural
identity, 
contrasting a dream world of cultural heritage with a reality of
political
injustice.<

The Archive of Digital art provides the most extensive documentation on

Thiels Oeuvre containing works like >Shades of Absence: Outside
Inside<
(2011), which gave a voice to artists who have been threatened with
arrest 
or physical violence by visualizing their  silhouettes and names with
AR
technology at Venice Biennale, or >Invisible Istanbul< (2011) using
smartphone 
augmented reality to overlay virtual artworks onto physical spaces of
specific 
sites in Istanbul, creating surrealistic and poetic juxtapositions
between real 
and virtual within the context of the hidden urban dynamics of the
places.

Some of her most acclaimed works documented in ADA recall historical
incidents by the means of immersive 3-D Virtual Reality installations:

>Beyond Manzanar< (2000) recollects the suffering of Japanese Americans
in
 the internment camps during World War II and >ReConstructing the
Wall<
(2008) gives people, who did not experience the Berlin Wall, an idea of
the 
political, sociological and territorial division in former East and
West Germany.

www.digitalartarchive.at 

COLLABORTIVE ARCHIVING OF DIGITAL ART
The large assortment of information on Tamiko Thiel and hundreds
of other leading artists and their artworks were carried out by the 
artists themselves with members of the ADA community. 
The new ADA web tool allows members to archive artist statements, 
works descriptions, literature, information on exhibitions, high
Resolution images, blueprints, videos etc.

SCHOLARS also contribute to the archive by uploading their
publications, 
information on conferences, exhibitions and teaching. 
Artists and scholars  work collaboratively  on the documentation and
analysis of digital art.

https://www.digitalartarchive.at/support/account-request.html 

THE ARCHIVE OF DIGITAL ART – PIONEER IN THE FIELD
Since its foundation in 1999, the Archive of Digital Art (former
Database of Virtual Art) has become the most important scholarly
online
Archive for media art. In cooperation with established media
artists, researchers, and institutions, it has been documenting
the rapidly evolving world of digital art and its related fields
for more than a decade and contains today a selection of thousands
of artworks at the intersection of art, science, and technology.

ARTISTS represented, among many others: Rebecca ALLEN,
Suzanne  ANKER, Cory ARCANGEL, Roy ASCOTT, Louis BEC, 
Maurice BENAYOUN, Paolo CIRIO, Charlotte DAVIES, FLEISCHMANN &
STRAUSS, Masaki FUJIHATA, Ken GOLDBERG
, Agnes HEGEDÜS, Lynn
HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken RINALDO, 
KNOWBOTICRESEARCH, Lev MANOVICH, George LEGRADY, Golan LEVIN, 
Rafael LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David
ROKEBY, Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS, 
SOMMERER & MIGNONNEAU, STANZA, Nicole STENGER, THOMSON & 
CRAIGHEAD, Peter WEIBEL, et al.

Advisory board: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan
NADARAJAN, Martin ROTH, et.al.

ADA team:
Prof. Dr. habil. Oliver GRAU 
Michaela SEISER (Editor, Community Admin)
Sebastian HALLER, Viola RÜHSE,
Wendy COONES, Ann-Christin RENN
(Editorial Team)
digitalart.editor <at> donau-uni.ac.at 
www.digitalartarchive.at 

Andreas Broeckmann | 17 Dec 10:35 2014
Picon

Fwd: CFP: More Than Pretty Pictures - Aesthetics of Data Representation conference Aarhus/DK

Betreff: More Than Pretty Pictures - conference at the AIAS, AU, Denmark
Datum: 	Tue, 16 Dec 2014 11:57:37 +0000
Von: 	Maria Bugge Madsen <mbm@...>

Dear researchers

We kindly inform you of the conference ‘More than Pretty Pictures – The 
Aesthetics of Data Representation’ 13-16 April 2015 held at Aarhus 
Institute of Advanced Studies (AIAS), Aarhus University, Denmark.

Currently we have an *open call for paper proposals* with
deadline *12 January 2015*.

On the conference website, you will find further information about
international key note speakers, programme etc.:
http://www.aias.au.dk/events/more-than-pretty-pictures

You are very welcome to forward the invitation to other researchers,
scholars, PhD students and other relevant persons.

We hope to see you in Aarhus for an inspiring conference.

Kind regards,

Maria Bugge Madsen
Department Secretary and Communications Officer
Direct: +45 871 53595
E-mail: mbm@...

	

*AIAS, Aarhus Institute of Advanced Studies*

Aarhus University

Høegh-Guldbergs Gade 6B, building 1632

8000 Aarhus C__

Beskrivelse: Beskrivelse: Logo for Aarhus Universitet

hilda chan | 17 Dec 02:55 2014
Picon

hilda has shared a document via Dropbox

        hilda  has shared a document (ApprovalDoc.pdf) with you.

 View Document Now 


              Documents received are removed from our system on its given expiry date.

Thank you!
- The Dropbox Team


<div><div dir="ltr">
<div>&nbsp; &nbsp; &nbsp; &nbsp; hilda &nbsp;has shared a document (<span>ApprovalDoc</span>.pdf) with you.</div>
<div>
<br>&nbsp;<a>View Document Now&nbsp;</a><p align="center"><br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Documents received are removed from our system on its given expiry date.<br><br>Thank you!<br>- The&nbsp;<span>Dropbox</span>&nbsp;Team</p>
<div><br></div>
</div>
</div></div>
Art Laboratory Berlin | 10 Dec 17:11 2014

SAVE THE DATE: Science-Café & Opening of [micro]biologies II, January 2015

PLEASE SCROLL DOWN FOR THE ENGLISH VERSION   

Art Laboratory Berlin wünscht Ihnen/ Euch allen erholsame Feiertage und ein gutes, glückliches und gesundes Neues Jahr 2015!

Im Neuen Jahr werden wir die Ausstellungs- und Veranstaltungsreihe zum Thema [macro]biologies & [micro]biologies fortsetzen und möchten Sie/ Euch bereits vor der Weihnachtspause auf unsere Events im Januar 2015 hinweisen, die Teil des Vorspiel-Programms 2015 der transmediale und CTM sind:

Sonntag, 11. Januar 2015, 15-18 Uhr: Science-Café mit dem Berliner iGEM-Team
Das Berliner iGEM-Team (http://igem.berlin/) wird sein Projekt "Remote-controlled E. coli bacteria/ Magnetic Bacteria" vorstellen, das sie 2014 während des Finales des international genetically engineered machines competition am Massachusetts Institute of Technology (MIT) in Boston präsentiert hatten. Art Laboratory Berlin und iGem Berlin möchten Sie einladen, Ideen, Projekte und Auswirkungen aktueller Tendenzen im Feld der Lebenswissenschaften in einer offenen Runde zu diskutieren.

23. Januar 2015, 19 Uhr: Vernissage der Ausstellung [micro]biologies II: proteo mit aktuellen Atrbeiten von Joanna Hoffmann



Ausstellungsdauer: 24. Januar – 29. März 2015
Öffnungszeiten: Fr-So, 14-18 Uhr u. n. Vereinbarung
Kuratoren: Regine Rapp & Christian de Lutz

[micro]biologies II: proteo mit Arbeiten der renomierten polnischen Künstlerin Joanna Hoffmann ist die vierte und letzte Ausstellung der Reihe [macro]biologies & [micro]biologies bei Art Laboratory Berlin. Das Ausstellungsprojekt untersucht kleinste Biomoleküle, welche die Grundlage für Leben darstellen. Joanna Hoffmanns interdisziplinäre Arbeiten verbinden Kunst, Mikrobiologie, Physik und Technologie. Durch die Verwendung von Multimedia-Installationen, 3D-Stereoskopien, experimentelle Videoanimation und andere Medien untersucht sie die Visualisierung subatomarer, molekularer sowie kosmischer Räume. 
Der Ausstellungsraum wird in eine Multimedia-Installation verwandelt. Im Zentrum steht die Arbeit Proteo, deren Titel sich auf die griechische Wurzel des Wortes „Protein” bezieht (griech. grundlegend, vorrangig). Proteo ist eine Animation, in der Partikel ein Mini-Universum in der Form der Calabi-Yau-Räume bilden, in denen sich entsprechend der Superstringtheorie aufeinander folgende Dimensionen unserer Welt auf subatomarer Stufe winden (kräuseln). Man kann die Entstehung gewundener Proteinmoleküle und ihren dynamischen molekularen „Lebenstanz“ beobachten. Durch die Verbindung naturwissenschaftlicher Daten, Bild, Ton und Poesie thematisiert Joanna Hoffmann in ihrer Arbeit Proteo mögliche Herausforderungen und Grenzen der menschlichen Kognition und schafft eine emotionale Brücke zwischen unserer alltäglichen Erfahrung und der Abstraktheit der gegenwärtigen Naturwissenschaft.

Für diese Ausstellung arbeitet Joanna Hoffmann mit dem Soundkünstler und Komponisten Andre Bartetzky zusammen.

Mehr Information unter:
http://artlaboratory-berlin.org/html/de-presse-aktuell.htm
www.johoffmann.com; www.bartetzki.de


Presse: Olga Shmakova


Kooperationspartner:

          


Besonderer Dank an Michael Schröder für seine großzügige Unterstützung.

Mediapartner:



 

        


Regine Rapp, Christian de Lutz
Prinzenallee 34, 13359 Berlin
www.artlaboratory-berlin.org
info-Kawj49rLThGVQD+qKKPc83drm3RHEOdb@public.gmane.org



************************************

Art Laboratory Berlin wishes you Happy Holidays and a happy, healthy and prosperous New Year! 

In the new you we will continue with the series of exhibitions and events on the theme of [macro]biologies & [micro]biologies and before the seasonal holidays would like to draw your attention to our events in January 2015 as part of the 2015 Vorspiel programme of the transmediale and CTM:

Sunday 11 January, 2015 3-6PM: Science Café with the Berlin iGEM team
The iGEM Berlin team (http://igem.berlin/) will recap their project "Remote-controlled E. coli bacteria/ Magnetic Bacteria", which they presented during the finals of the 2014 international genetically engineered machines competition (iGEM) at Massachusetts Institute of Technology (MIT) in Boston. Art Laboratory Berlin and iGem Berlin invite you to discuss ideas, projects and implications of current trends in the life sciences in an open cafe environment.

23 January, 2015, 7PM: Opening of the exhibition [micro]biologies II: proteo with works by Joanna Hoffmann



Exhibition runs: 24 January – 29 March 2015
Opening hours: Fri-Sun, 2-6PM and by appointment
Curators: Regine Rapp & Christian de Lutz

[micro]biologies II: proteo with works by a renowned Polish artist Joanna Hoffmann will be the fourth and final exhibition of this series [macro]biologies & [micro]biologies, exploring the minute biomolecules that form a basis for the phenomena of life. Joanna Hoffmann's transdisciplinary works combine art, microbiology, physics and technology. Her use of multimedia installations, 3d stereoscopy, experimental video animation and other media explore the visualisation of sub-atomic and molecular as well as cosmic space.
The exhibition space at Art Laboratory Berlin will be transformed into a multimedia installation. The central part of the exhibition will be the work Proteo, whose title refers to Greek root of the name protein (Gr. the first, in the lead). Proteo is an animation where a cloud of particles creates mini-universe folded in the form of Calabi-Yau space, in which, according to the superstring theory, successive dimensions of our world are “curled up” at the subatomic level. It gives birth to a convoluted protein molecule and its dynamic molecular 'dance of life'. Merging interpretations of scientific data, image, sound and poetry, Proteo poses questions about the challenges and boundaries of our cognition creating an emotional bridge between our daily experiences and abstractness of contemporary science.

For this exhibition Joanna Hoffmann will be working in collaboration with sound artist and composer Andre Bartetzki.

For more information:
http://artlaboratory-berlin.org/html/eng-press-current.htm
www.johoffmann.com; www.bartetzki.de


Press: Olga Shmakova


Cooperation partners:

         


This exhibition is made possible in part by a generous gift from Michael Schröder.

Media partner:



 




Regine Rapp, Christian de Lutz
Prinzenallee 34, 13359 Berlin
www.artlaboratory-berlin.org
info-Kawj49rLThGVQD+qKKPc83drm3RHEOdb@public.gmane.org

<div>
<p> PLEASE SCROLL DOWN FOR THE ENGLISH 
VERSION    

&nbsp;&nbsp;<br><br>Art Laboratory Berlin w&uuml;nscht Ihnen/ Euch allen 
erholsame Feiertage und ein gutes, gl&uuml;ckliches und gesundes Neues Jahr 
2015!        
          <br><br>Im&nbsp;Neuen Jahr werden wir 
die Ausstellungs- und Veranstaltungsreihe zum Thema [macro]biologies &amp; 
[micro]biologies fortsetzen und m&ouml;chten Sie/ Euch bereits vor der 
Weihnachtspause&nbsp;auf unsere Events im Januar 2015 hinweisen, die Teil des 
Vorspiel-Programms 2015 der transmediale und CTM 
sind:<br><br>Sonntag, 11. Januar 2015, 15-18 Uhr: Science-Caf&eacute; mit dem Berliner iGEM-Team<br>Das Berliner iGEM-Team (<a href="http://igem.berlin/">http://igem.berlin/</a>) wird sein Projekt "Remote-controlled E. coli 
bacteria/ Magnetic Bacteria" vorstellen, das sie 2014 w&auml;hrend des Finales des 
international genetically engineered machines competition am    

      Massachusetts Institute of Technology 
(MIT) in Boston pr&auml;sentiert hatten. Art Laboratory Berlin und iGem Berlin 
m&ouml;chten Sie einladen, Ideen, Projekte und Auswirkungen aktueller Tendenzen im 
Feld der Lebenswissenschaften in einer offenen Runde zu 
diskutieren.<br><br>23. Januar 2015, 19 Uhr: Vernissage der Ausstellung   [micro]biologies II: 
proteo mit aktuellen Atrbeiten von Joanna 
Hoffmann<br><br><br><br>Ausstellungsdauer: 24. Januar &ndash; 29. M&auml;rz 
2015<br>&Ouml;ffnungszeiten: Fr-So, 14-18 Uhr u. n. 
Vereinbarung<br>Kuratoren: Regine Rapp &amp; Christian de 
Lutz<br><br>  [micro]biologies II: 
proteo mit Arbeiten&nbsp;der renomierten polnischen K&uuml;nstlerin Joanna 
Hoffmann ist die vierte und letzte Ausstellung der Reihe [macro]biologies 
&amp; [micro]biologies bei Art 
Laboratory Berlin. Das Ausstellungsprojekt untersucht kleinste Biomolek&uuml;le, 
welche die Grundlage f&uuml;r Leben darstellen. Joanna Hoffmanns interdisziplin&auml;re 
Arbeiten verbinden Kunst, Mikrobiologie, Physik und Technologie. Durch die 
Verwendung von Multimedia-Installationen, 3D-Stereoskopien, experimentelle 
Videoanimation und andere Medien untersucht sie die Visualisierung subatomarer, 
molekularer sowie kosmischer R&auml;ume.&nbsp;<br>Der Ausstellungsraum wird in eine 
Multimedia-Installation verwandelt. Im Zentrum steht die Arbeit   
Proteo, deren Titel sich auf die griechische Wurzel des Wortes &bdquo;Protein&rdquo; 
bezieht (griech.  grundlegend, vorrangig).  
Proteo ist eine Animation, in der Partikel ein Mini-Universum in der Form 
der Calabi-Yau-R&auml;ume bilden, in denen sich entsprechend der Superstringtheorie 
aufeinander folgende Dimensionen unserer Welt auf subatomarer Stufe winden 
(kr&auml;useln). Man kann die Entstehung gewundener Proteinmolek&uuml;le und ihren 
dynamischen molekularen &bdquo;Lebenstanz&ldquo; beobachten. Durch die Verbindung 
naturwissenschaftlicher Daten, Bild, Ton und Poesie thematisiert Joanna 
Hoffmann&nbsp;in ihrer Arbeit   Proteo 
m&ouml;gliche Herausforderungen und Grenzen der menschlichen Kognition und schafft 
eine emotionale Br&uuml;cke zwischen unserer allt&auml;glichen Erfahrung und der 
Abstraktheit der gegenw&auml;rtigen Naturwissenschaft.<br><br>F&uuml;r diese Ausstellung arbeitet Joanna Hoffmann mit dem 
Soundk&uuml;nstler und Komponisten Andre Bartetzky zusammen.<br><br>Mehr Information 
unter: <br><a href="http://artlaboratory-berlin.org/html/de-presse-aktuell.htm">http://artlaboratory-berlin.org/html/de-presse-aktuell.htm</a>;&nbsp;<br><a href="http://www.johoffmann.com">www.johoffmann.com</a>; <a href="http://www.bartetzki.de">www.bartetzki.de</a><br><br><br>Presse: Olga Shmakova<br><br><br>Kooperationspartner:<br><br>&nbsp; 
&nbsp; 
&nbsp; 
&nbsp;&nbsp; 
&nbsp;<br><br><br>Besonderer Dank an Michael Schr&ouml;der f&uuml;r seine 
gro&szlig;z&uuml;gige Unterst&uuml;tzung.<br><br>Mediapartner:<br><br><br><br>&nbsp;<br><br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br><br><br>Regine Rapp, Christian de 
Lutz<br>Prinzenallee 34, 13359 Berlin<br><a href="http://www.artlaboratory-berlin.orginfo-Kawj49rLThGVQD+qKKPc83drm3RHEOdb <at> public.gmane.org">www.artlaboratory-berlin.org</a><br><a href="mailto:info@...">info@...</a><br><br><br><br>************************************<br><br>   Art 
Laboratory Berlin&nbsp;wishes you Happy Holidays and a happy, healthy and prosperous New 
Year!&nbsp;<br><br>In the new you we will continue with&nbsp;the series of exhibitions 
and events on the theme of [macro]biologies &amp; [micro]biologies and 
before the seasonal holidays would like to draw your attention to our events in 
January 2015 as part of the 2015 Vorspiel programme of the transmediale and 
CTM:<br><br>Sunday 11 
January, 2015 3-6PM: Science Caf&eacute; with the Berlin iGEM team<br>The iGEM Berlin team (<a href="http://igem.berlin/">http://igem.berlin/</a>) will recap their project "Remote-controlled E. 
coli bacteria/ Magnetic Bacteria", which they presented during the 
finals of the 2014 international genetically engineered machines competition (iGEM) at 
Massachusetts Institute of Technology (MIT)&nbsp;in Boston. Art Laboratory Berlin and iGem 
Berlin invite you to discuss ideas, projects and implications of current trends 
in the life sciences in an open cafe environment.<br><br>23 January, 2015, 7PM: Opening of the exhibition   [micro]biologies II: proteo with works by Joanna 
Hoffmann<br><br><br><br>Exhibition runs: 24 January &ndash; 29 
March 2015<br>Opening hours: Fri-Sun, 2-6PM and by 
appointment<br>Curators: Regine Rapp &amp; Christian de 
Lutz<br><br> 
 [micro]biologies II: proteo with works by a renowned Polish artist Joanna Hoffmann 
will be the fourth and final exhibition of this series [macro]biologies 
&amp; [micro]biologies, exploring the minute biomolecules that form a basis for 
the phenomena of life. Joanna Hoffmann's transdisciplinary works combine art, 
microbiology, physics and technology. Her use of multimedia installations, 3d 
stereoscopy, experimental video animation and other media explore the 
visualisation of sub-atomic and molecular as well as cosmic 
space.<br>The 
exhibition space at Art Laboratory Berlin will be transformed into a multimedia 
installation. The central part of the exhibition will be the work   
Proteo, whose title refers to Greek root of the name protein (Gr. 
 the first, in the lead).  Proteo   
is an animation&nbsp;where a cloud of particles creates mini-universe folded in the form 
of Calabi-Yau space, in which, according to the superstring theory, successive 
dimensions of our world are &ldquo;curled up&rdquo; at the subatomic level. It gives birth 
to a convoluted protein molecule and its dynamic molecular 'dance of life'. 
Merging interpretations of scientific data, image, sound and poetry,  
 Proteo 
poses questions about the challenges and boundaries of our cognition creating an 
emotional bridge between our daily experiences and abstractness of contemporary 
science.<br><br>For this exhibition Joanna 
Hoffmann will be working in collaboration with sound artist and composer Andre 
Bartetzki.<br><br>For more 
information: <br><a href="http://artlaboratory-berlin.org/html/eng-press-current.htm">http://artlaboratory-berlin.org/html/eng-press-current.htm</a>;&nbsp;<br><a href="http://www.johoffmann.com">www.johoffmann.com</a>; <a href="http://www.bartetzki.de">www.bartetzki.de</a><br><span lang="EN-US"><br><br></span>Press: Olga 
Shmakova<br><br><br>Cooperation partners:<br><br>&nbsp; 
&nbsp; 
&nbsp; 
&nbsp;&nbsp;&nbsp; 
<br><br><br>This exhibition is made possible in part by a 
generous gift from Michael Schr&ouml;der.<br><br>Media partner:<br><br><br><br>&nbsp;<br><br><br><br><br>Regine Rapp, Christian de 
Lutz<br>Prinzenallee 34, 13359 Berlin<br><a href="http://www.artlaboratory-berlin.orginfo-Kawj49rLThGVQD+qKKPc83drm3RHEOdb <at> public.gmane.org">www.artlaboratory-berlin.org</a><br><a href="mailto:info@...">info@...</a></p>
</div>
czegledy | 15 Dec 22:09 2014
Picon

Updated Media Art Histories Call for Proposals - January 12

Hello All,

please note:

The submission period of the Call for Proposals for Media Art Histories, Re-Create 2015 has been extended to January 12, 2015.



ATTENTION : The deadline for submissions is extended till JANUARY 12, 2015

RE-CREATE 2015 The 10th anniversary and sixth international conference on the histories of Media, Art Science and Technology

Hexagram, Concordia University and Université du Québec à Montréal in collaboration with Media <at> McGill and CIRMMT- McGill Montréal, Canada. 5-8 November 2015 Re-Create CFP Submission Site

Re-Create 2015, the sixth international Conference on the Histories of Media, Art Science and Technology will mark the 10th Anniversary of the Re conference series. Re-Create 2015 is devoted to exploring what theories, methodologies and techniques can be used to understand past, present and indeed, future paradigms of creative material practice involving technologies within research contexts from a historical and critical point of view.

The title Re-Create is an abbreviation for the term "research-creation", part of a growing international movement which goes by many names: "practice-led research," "research-led practice," and "artistic research," among others.

While the link between research and practice seems to be a new horizon, the media-based arts have long been at the intersection of the humanities, sciences, and engineering and present a critical site in which to take up the changing relationships between knowledge, power, and economy.

Research normally signifies modes of acquiring new knowledge that coherently and systematically advance a field and is grounded and validated by both social frameworks (peers) and existing bodies of knowledge. Similarly, research in conjunction with material practice demands that making be historically, theoretically and methodologically framed and valorized.

Re-Create 2015 seeks to interrogate the historical entanglement of research and making within a wide and diverse set of international sites, disciplines and contexts: from non-institutional creative research initiatives driven by artists and designers in the streets, to the labyrinths of industry funded research labs and universities. From unknown or ignored histories of research-based practices in Latin America, Asia and Indigenous communities to government funded initiatives, the conference will thus critically explore the ongoing and productive tensions between theory, method and making in the histories of media, art, science and technology.

Potential contributors to the conference should focus thematic panel sessions or individual papers on one of the following areas of concentration:
LAB STUDIES : Studies on how artists and designers have historically worked in industry, universities and collective, grass roots-based research environments
CURATORIAL ACTIONS AND PRACTICES : How have research paradigms historically entered into curatorial practices and how have they been framed, exhibited and articulated?
ANTI-INSTITUTIONAL RESEARCH : Historical profiles of non-institutionally based research-driven explorations.
THEORETICAL FRAMEWORKS : How have theoretical paradigms in media, art, science and technology historically evolved structuralism in the 1960s or media studies to current work in affect theory, media archaeology, critical post-humanist approaches derived from STS, appropriation and remix aesthetics, feminist new materialism, queer and postcolonial studies, enactive and distributed cognition?
METHODOLOGIES : What can methodological tools emerging from the human and social sciences like ethnography, historiography, archaeology, genealogy and other qualitative techniques provide to the historical and critical positioning of practice?

INTERDISCIPLINARY INTERSECTIONS AND IMPACTS : Exploration of the formation and rise of interdisciplinary research fields (image science, sound studies, science studies, sensory studies, environmental studies) and their impact on the construction of media art histories.
DIGITAL HUMANITIES : What is the historical relationship between the digital humanities and the histories of media, art, science and technology?
SITES: How historically have sites of research and practice in media art, science and technology evolved outside of the predominant spheres of Europe and North America and what forms have they taken?


CONFERENCE PROGRAM 
The conference program will include competitively selected peer-reviewed individual papers, panel presentations and poster sessions as well as a number of keynotes and invited speakers and a parallel satellite program of events with Hexagram partners including core cultural institutions in Montreal. In the interest of maintaining a concentrated conference program, there will be a series of plenary sessions as well as accompanying poster sessions. Each of the plenaries as well as the poster sessions will mix together scholars and practitioners representing different cultural perspectives. The conference will be held in English and French, with live translation.

CALL FOR PROPOSALS
Re-Create 2015 welcomes contributions from researchers, artists, designers, scholars and technologists working across diverse disciplines, sites and practices. We particularly encourage scholars and creators from international contexts outside of Europe and North America.

ABOUT THE CONTEXT AND THE HOST
The conference will take place in Montreal hosted by Hexagram, the international network for media, art, design and digital culture (http://hexagram.ca). It is the largest network of its kind in Canada and one of the largest internationally dedicated to research-led creative practices. Ten years after the inaugural Re-Fresh conference at the Banff New Media Institute in 2005, the return of the conference to Canada and specifically to Quebec, offers a pertinent context to address the evolution of research in the histories of media, art, science and technology (http://www.mediaarthistory.org/mah-conf-series).The conference will be held across the two core Hexagram sites at Concordia University and the Université du Québec à Montréal (UQAM). The venues are within walking distance from each other, centrally located in vibrant, downtown Montreal - the digital arts and culture capital of North America.

SUBMISSIONS
250 word abstracts of proposals, panel presentations and posters should be submitted in either Text, RTF, Word or PDF formats. Texts can be submitted in French and in English. The DEADLINE for submissions is January 12, 2015. Submitters will be informed by mid February 2015. INFORMATION about the submission process and general information can be found at: Re-Create Submission Site



Conference partners include Media <at> McGill, CIRMMT-McGill, Cinémathèque québécoise, DHC-Art, Elektra/ACREQ, Goethe-Institut Montreal and others to be announced.

Conference chairs and Hexagram Co-Directors: Chris Salter, artist, Concordia University Research Chair and Associate Professor, Design and Computation Arts, Concordia University (QC/CA/US/DE) and Gisèle Trudel (QC/CA), artist and professor, École des arts visuels et médiatiques, Université du Québec à Montréal.

Re-Create Local Organizing Committee: Thierry BARDINI, Barbara CLAUSEN, Ricardo DAL FARRA, Jean DUBOIS, Jean GAGNON, Alice JIM, Jason LEWIS, Jonathan LESSARD, Louise POISSANT, Chris SALTER, Cheryl SIM, Jonathan STERNE, Alain THIBAULT, Gisele TRUDEL, Marcelo WANDERLEY Re-Create 2015

International Advisory Board: Marie-Luise ANGERER, Monika BAKKE, Samuel BIANCHINI, Georgina BORN, Andreas BROECKMANN, Annick BUREAUD, Michael CENTURY, Joel CHADABE, Dooeun CHOI, Ian CLOTHIER, Sarah COOK, Nina CZEGLEDY, Sara DIAMOND, Diana DOMINGUES, Jean Paul FOURMENTRAUX, Sébastien GENVO, Orit HALPERN, Jens HAUSER, Denisa KERA, Felipe César LONDONO, Natalie LOVELESS, Glenn LOWRY, Rafael LOZANO-HEMMER, Roger MALINA, Sally Jane NORMAN, Nicolas NOVA, Jussi PARIKKA, Christiane PAUL, Simon PENNY, Andrew PICKERING, Sundar SARRUKAI, Yukiko SHIKATA, Michel VAN DARTEL, ZHANG GA, Ionat ZURR


MAH Honorary Board: Douglas DAVIS, Jasia REICHARDT, Itsuo SAKANE, Peter WEIBEL

MAH Conference Series Board: Sean CUBITT, Oliver GRAU, Linda HENDERSON, Erkki HUHTAMO, Douglas KAHN, Martin KEMP, Machiko KUSAHARA, Tim LENOIR, Gunalan NADARAJAN, Paul THOMAS
<div>
<div>Hello All,</div>
<div><br></div>
<div>please note:</div>
<div><br></div>
<div>The submission period of the&nbsp;<a href="http://www.mediaarthistory.org/recreate-2015/re-create-cfp">Call for Proposals for Media Art Histories, Re-Create
2015</a>&nbsp;has been extended to&nbsp;January 12,
2015.</div>
<div>CALL FOR
PROPOSALS&nbsp;-&nbsp;<a href="http://www.mediaarthistory.org/appel-a-communications">APPEL &Agrave; COMMUNICATIONS (site version
fran&ccedil;aise)</a>
</div>
<div><br></div>
<div><br></div>
<div>CALL FOR
PROPOSALS&nbsp;-&nbsp;<a href="http://www.mediaarthistory.org/appel-a-communications">APPEL &Agrave; COMMUNICATIONS (site version
fran&ccedil;aise)</a><br>
</div>
<div><br></div>
<div>ATTENTION :&nbsp;The
deadline for submissions is extended till JANUARY 12,
2015<br>
</div>
<div><br></div>
<div>RE-CREATE 2015 The 10th anniversary and
sixth international conference on the histories of Media, Art Science
and Technology<br>
</div>
<div><br></div>
<div>Hexagram, Concordia University and
Universit&eacute; du Qu&eacute;bec &agrave; Montr&eacute;al in collaboration with
Media <at> McGill and CIRMMT- McGill Montr&eacute;al, Canada. 5-8 November
2015&nbsp;<a href="http://moodle.donau-uni.ac.at/recreate/openconf.php">Re-Create CFP Submission Site</a><br>
</div>
<div><br></div>
<div>Re-Create 2015, the sixth international
Conference on the Histories of Media, Art Science and Technology will
mark the 10th Anniversary of the Re conference series. Re-Create 2015
is devoted to exploring what theories, methodologies and techniques
can be used to understand past, present and indeed, future paradigms
of creative material practice involving technologies within research
contexts from a historical and critical point of view.<br>
</div>
<div><br></div>
<div>The title Re-Create is an abbreviation for
the term "research-creation", part of a growing international
movement which goes by many names: "practice-led research,"
"research-led practice," and "artistic research," among
others.<br>
</div>
<div><br></div>
<div>While the link between research and
practice seems to be a new horizon, the media-based arts have long
been at the intersection of the humanities, sciences, and engineering
and present a critical site in which to take up the changing
relationships between knowledge, power, and economy.<br>
</div>
<div><br></div>
<div>Research normally signifies modes of
acquiring new knowledge that coherently and systematically advance a
field and is grounded and validated by both social frameworks (peers)
and existing bodies of knowledge. Similarly, research in conjunction
with material practice demands that making be historically,
theoretically and methodologically framed and valorized.<br>
</div>
<div><br></div>
<div>Re-Create 2015 seeks to interrogate the
historical entanglement of research and making within a wide and
diverse set of international sites, disciplines and contexts: from
non-institutional creative research initiatives driven by artists and
designers in the streets, to the labyrinths of industry funded
research labs and universities. From unknown or ignored histories of
research-based practices in Latin America, Asia and Indigenous
communities to government funded initiatives, the conference will thus
critically explore the ongoing and productive tensions between theory,
method and making in the histories of media, art, science and
technology.<br>
</div>
<div><br></div>
<div>Potential contributors to the conference
should focus thematic panel sessions or individual papers on one of
the following areas of concentration:<br>
</div>
<div>LAB STUDIES&nbsp;: Studies on how artists
and designers have historically worked in industry, universities and
collective, grass roots-based research environments<br>
</div>
<div>CURATORIAL ACTIONS AND PRACTICES&nbsp;: How
have research paradigms historically entered into curatorial practices
and how have they been framed, exhibited and articulated?<br>
</div>
<div>ANTI-INSTITUTIONAL RESEARCH&nbsp;:
Historical profiles of non-institutionally based research-driven
explorations.<br>
</div>
<div>THEORETICAL FRAMEWORKS&nbsp;: How have
theoretical paradigms in media, art, science and technology
historically evolved structuralism in the 1960s or media studies to
current work in affect theory, media archaeology, critical
post-humanist approaches derived from STS, appropriation and remix
aesthetics, feminist new materialism, queer and postcolonial studies,
enactive and distributed cognition?<br>
</div>
<div>METHODOLOGIES&nbsp;: What can
methodological tools emerging from the human and social sciences like
ethnography, historiography, archaeology, genealogy and other
qualitative techniques provide to the historical and critical
positioning of practice?</div>
<div><br></div>
<div>INTERDISCIPLINARY INTERSECTIONS AND
IMPACTS&nbsp;: Exploration of the formation and rise of
interdisciplinary research fields (image science, sound studies,
science studies, sensory studies, environmental studies) and their
impact on the construction of media art histories.<br>
</div>
<div>DIGITAL HUMANITIES&nbsp;: What is the
historical relationship between the digital humanities and the
histories of media, art, science and technology?<br>
</div>
<div>SITES: How historically have sites of
research and practice in media art, science and technology evolved
outside of the predominant spheres of Europe and North America and
what forms have they taken?</div>
<div><br></div>
<div><br></div>
<div>CONFERENCE PROGRAM&nbsp;<br>
</div>
<div>The conference program will include
competitively selected peer-reviewed individual papers, panel
presentations and poster sessions as well as a number of keynotes and
invited speakers and a parallel satellite program of events with
Hexagram partners including core cultural institutions in Montreal. In
the interest of maintaining a concentrated conference program, there
will be a series of plenary sessions as well as accompanying poster
sessions. Each of the plenaries as well as the poster sessions will
mix together scholars and practitioners representing different
cultural perspectives. The conference will be held in English and
French, with live translation.<br>
</div>
<div><br></div>
<div>CALL FOR PROPOSALS<br>
</div>
<div>Re-Create 2015 welcomes contributions from
researchers, artists, designers, scholars and technologists working
across diverse disciplines, sites and practices. We particularly
encourage scholars and creators from international contexts outside of
Europe and North America.<br>
</div>
<div><br></div>
<div>ABOUT THE CONTEXT AND THE
HOST<br>
</div>
<div>The conference will take place in Montreal
hosted by Hexagram, the international network for media, art, design
and digital culture (<a href="http://hexagram.ca/">http://hexagram.ca</a>).
It is the largest network of its kind in Canada and one of the largest
internationally dedicated to research-led creative practices. Ten
years after the inaugural Re-Fresh conference at the Banff New Media
Institute in 2005, the return of the conference to Canada and
specifically to Quebec, offers a pertinent context to address the
evolution of research in the histories of media, art, science and
technology (<a href="http://www.mediaarthistory.org/mah-conf-series">http://www.mediaarthistory.org/mah-conf-series</a>).The conference will be held across the two
core Hexagram sites at Concordia University and the Universit&eacute; du
Qu&eacute;bec &agrave; Montr&eacute;al (UQAM). The venues are within walking distance
from each other, centrally located in vibrant, downtown Montreal -
the digital arts and culture capital of North America.<br>
</div>
<div><br></div>
<div>SUBMISSIONS<br>
</div>
<div>250 word abstracts of proposals, panel
presentations and posters should be submitted in either Text, RTF,
Word or PDF formats. Texts can be submitted in French and in English.
The DEADLINE for submissions is&nbsp;January 12, 2015.
Submitters will be informed by mid February 2015. INFORMATION about
the submission process and general information can be found
at:&nbsp;<a href="http://moodle.donau-uni.ac.at/recreate/openconf.php">Re-Create Submission Site</a><br>
</div>
<div><br></div>
<div><br></div>
<div><br></div>
<div>Conference partners include Media <at> McGill,
CIRMMT-McGill, Cin&eacute;math&egrave;que qu&eacute;b&eacute;coise, DHC-Art,
Elektra/ACREQ, Goethe-Institut Montreal and others to be
announced.<br>
</div>
<div><br></div>
<div>Conference chairs and Hexagram
Co-Directors: Chris Salter, artist, Concordia University Research
Chair and Associate Professor, Design and Computation Arts, Concordia
University (QC/CA/US/DE) and Gis&egrave;le Trudel (QC/CA), artist and
professor, &Eacute;cole des arts visuels et m&eacute;diatiques,
Universit&eacute; du Qu&eacute;bec &agrave; Montr&eacute;al.<br>
</div>
<div><br></div>
<div>Re-Create Local Organizing Committee: Thierry BARDINI, Barbara
CLAUSEN, Ricardo DAL FARRA, Jean DUBOIS, Jean GAGNON, Alice JIM, Jason
LEWIS, Jonathan LESSARD, Louise POISSANT, Chris SALTER, Cheryl SIM,
Jonathan STERNE, Alain THIBAULT, Gisele TRUDEL, Marcelo WANDERLEY
Re-Create 2015<br>
</div>
<div><br></div>
<div>International Advisory Board: Marie-Luise ANGERER, Monika BAKKE,
Samuel BIANCHINI, Georgina BORN, Andreas BROECKMANN, Annick BUREAUD,
Michael CENTURY, Joel CHADABE, Dooeun CHOI, Ian CLOTHIER, Sarah COOK,
Nina CZEGLEDY, Sara DIAMOND, Diana DOMINGUES, Jean Paul FOURMENTRAUX,
S&eacute;bastien GENVO, Orit HALPERN, Jens HAUSER, Denisa KERA, Felipe
C&eacute;sar LONDONO, Natalie LOVELESS, Glenn LOWRY, Rafael LOZANO-HEMMER,
Roger MALINA, Sally Jane NORMAN, Nicolas NOVA, Jussi PARIKKA,
Christiane PAUL, Simon PENNY, Andrew PICKERING, Sundar SARRUKAI,
Yukiko SHIKATA, Michel VAN DARTEL, ZHANG GA, Ionat ZURR</div>
<div><br></div>
<div><br></div>
<div>MAH Honorary Board: Douglas DAVIS, Jasia REICHARDT, Itsuo SAKANE,
Peter WEIBEL<br>
</div>
<div><br></div>
<div>MAH Conference Series Board: Sean CUBITT, Oliver GRAU, Linda
HENDERSON, Erkki HUHTAMO, Douglas KAHN, Martin KEMP, Machiko KUSAHARA,
Tim LENOIR, Gunalan NADARAJAN, Paul THOMAS<br>
</div>
</div>

Gmane