WATERWHEEL WORLD WATER DAY SYMPOSIUM 2014 – 3WDS14 spanned an entire week 17-23 March 2014 on Waterwheel.
THE PROGRAMME had 42 sessions with activists, artists and scientists sharing their ideas about “Water Views: Caring and Daring”.
According the latest information, more than 450 participants from 34 countries took part from 81 locations.
VOICE OF THE FUTURE, first edition, marked an important step in including youth participation to this symposium. SEE REVIEWS
An e-book with all proceedings will be published by end of 2014:
Title: Water Views: Caring and Daring
Sub-title: 3WDS14 – Waterwheel World Water Day Symposium 2014 – Waves, Ripples and Splashes.
First trial was quite compelling just to watch the behaviour of the words…birth and death fighting over the words to get them their side, or just biventricles pomping?
Room for exploration… good Monday!
VOICE FOR THE FUTURE
Youth Participation in the Symposium – up to age 18 – No entry fee
DEADLINE: 31 December 2013
Download info & guidelines | Descargar información y directrices | Téléchargez infos & directives
Waterwheel Patch Presentation at ISEA 2013 in Sydney by Suzon Fuks, James Cunningham and Ian Winters.
This video document relates our current research using mobile devices as a way of integrating remote physical movement and sound into the online structure of Waterwheel’s Tap allowing participation away from keyboard/mouse based computers. Taking a cue from research using sensors in dance, we are using phones carried by/attached to remote participants collecting sensor information on their movements and audio as content, feedback and control source for the Tap while they are exploring tracks and soundscapes of their local waterway/body of water in Australia, Indonesia, Europe, and USA: Brisa Mp – volunteer in Sydney, Russell Milledge & Rebecca Youdell – Bonemap in Cairns (Australia), Evelyn Ficarra & Kate Genevieve in Brighton (UK), and Mary Armentrout & Marcia Scott in San Francisco (USA).
Waterwheel co-founders Inkahoots are working to implement practical research results.
Ian has continue the research on Isadora. Have a look at this performance beginning of May!
Yesterday we had a first – very first – trial on the Tap itself.
Yellow=James Cunningham – Brisbane, Australia
Green= Ian Winters – San Francisco, USA
Blue=Adhari Donora – Riau, Sumatra, Indonesia
Red= Suzon Fuks – Brisbane, Australia
As we are continuing a R&D with Ian Winters – see previous post,
he will be visiting from San Francisco to present our research at ISEA 2013
and give Isadora workshops.
#1. Isadora Intensive
Tuesday 4 June – Thursday 6 June, 9am-1pm, $150/$120 – Ausdance Qld regional artist special offer, avail. on enquiry
a 3-morning workshop intensive in using Isadora & digital media (video, sound, light) for performance and installation.
#2. Introduction to Isadora
Tuesday June 4, 6-8.30pm, $50/$40
a 2.5hr evening basic introduction to Isadora software.
To reserve a place in either workshop, payment in full must be received by Monday May 27.
Booking enquiries: Ann McLean-Ausdance Qld 3852 3655 & James Cunningham 0407 437 351
Bookings link: http://www.trybooking.com/50274
Venue: SYC Studios, 37 Manilla St, East Brisbane, Queensland, Australia 4169
#1 – ISADORA INTENSIVE – Tuesday 4 June – Thursday 6 June, 9am-1pm, $150/$120
– Ausdance bursary for regional artists.
for artists, performers, choreographers, designers, directors & musicians interested in integrating live/recorded video, light, sound, and motion/sensor driven interaction into their work. Focused on the hands-on use of Isadora as a tool for integrating a wide array of digital media, visuals, sound, and data for live performance, installation and sound-based projects, participants will learn the essential basics of working with video, still imagery, live & recorded sound, & simple interactive controls such as motion, sensor, & sound triggering of events. Given time / interest we may also look at use of the kinect and cell phones as controllers.
Compositional ideas behind the workshop: While we’ll be focused on technical aspects of working with Isadora, a few questions / thoughts from longer compositional workshops always inflect my teaching: How long is now? What does it mean to listen to a site? What happens when the now of performance is extended through image, sound, light, and repetition/amplification/
Participant background: No specific knowledge of Isadora, video or programming is required. However a working background or practice in performance, visual/media art or sound as well as good basic computer skills is assumed.
Equipment Provided: All students will receive a short-term workshop license of Isadora (courtesy of TroikaTronix). 2 shared projectors, various sensors and a live camera will be available for shared use.
Equipment Required : laptop capable of running Isadora.
Suggested: video camera, and any midi controllers, sensors, microphones, projectors, lights etc. you want to play with.
NOTE: It’s strongly encouraged to review TroikaTronix’s youtube tutorials and work with the demo prior to the workshop.
#2 – INTRODUCTION TO ISADORA – Tuesday June 4, 6-8.30pm, $50/$40
covers the essential basics of working with this very popular and powerful software tool developed by Mark Coniglio as a tool to integrate media, sound and interactivity into live physical performance. This workshop is targeted at artists, dancers, choreographers, directors etc. with no prior knowledge of video or live/interactive design software but with a desire to the basics of how to practically use this tool in your work. Time-limited workshop licenses of Isadora will be provided.
ABOUT ISADORA: Created by composer and media-artist, Mark Coniglio, Isadora was initially developed to realize the performances of Troika Ranch, the pioneering media intensive dance company he co-founded. Isadora reflects over 20 years of practical experience with real-time live performance and media interactivity. A robust set of tools inspire the advanced designer to realize cutting-edge ideas. Notable features include the ability to composite numerous layers of video, a host of video effects possibilities, the ability to output to as many as six separate video projectors, and a powerful offering of input and output protocols. The latter (which includes OSC, MIDI, Serial, TCP/IP, and HID/game controller devices) are essential for works that require real-time sensory input or when you need to control an external device.
For more information see the Troikatronix site
ABOUT IAN WINTERS, he is a Bay Area based video/media artist, photographer and occasional performer working at the intersections of performance, architectural form, and time-based media. In addition to individual work he often collaborates with composers, directors, and choreographers to create both staged and open-ended media environments through performance, visual and acoustic media. Winters trained in photography, video/film and performance at SMFA-Boston and Tufts University, and post-graduate training in architecture and live performance.
In addition he teaches workshops in interactive video / sound, and has been a visiting artist / conference presenter in media & performance at many institutions including USF, SF State, MIT, Mass Art, LSU, Amherst, Duke, Sussex & Brunel. Recent awards include being a 2013 ISEA-Sydney presenter (as part of the Waterwheel project), a 2012 Leonardo LAZER presenter, the 2012 LAD prize for video design, 2012-3 Isadora Duncan Award nominations for best visual design, 2013 residencies at Djerassi & Earthdance, and a 2013-2015 NEXMAP collective artist.
Recent collaborators and media projects include projects with Francis Ford Coppola (designing the custom Isadora playback system for his recent film, TWIXT), Robert Moses Kin, ODC Dance, Alice Arts, Pamela Z, Evelyn Ficarra, paige starling sorvillo,/blindsight, Sara Kraft, Mary Armentrout Dance Theater, and others. Recent work screenings, performances and video / media design projects include venues such as London City University, the Port of Oakland, The Luggage Store, Sergei Kuryokhin Modern Art Center, Moscow Conservatory Electro-acoustic Center, I-Park Artist’s Enclave, Journées de l’électroacoustique, Paris, YBCA, ODC, Z-Space/Theater Artaud, The Asian Art Museum SF, The Kitchen, POTO Arts Festival, EMPAC, MIT New Media Center, Mass art, London Cutting Edge Festival, Oxford & Corsham music festivals, Moving Baltic Sea Festival and OPEN Cinema Festival in St. Petersburg, CounterPULSE, CNMAT, Highways, The Parkway Theaters, Hertz Hall at UC Berkeley, LA Freewaves festival, 21 Grand, Dance Mission and more. Ian’s website
Ian Winters, James Cunningham and I are in residence at Earthdance in the Berkshires, experimenting and developing a patch using cell phone sensor data (motion & location) to generate online performance.
The movements generated by James with the cell phone send data via the internet in order to draw.
Ian has continue the research on Isadora. Have a look at this last performance!
on 22 March 2013
Open to artists, academics, scientists and activists
papers, presentations, performances, workshops and panels
Deadline: 6 Feb
Theme: ‘Water Memories & Tomorrow’s Landscapes’
Selected works will be part of a publication by Sousse University. Co-organised by Sousse University in Tunisia, Griffith University in Australia, Five Colleges in Massachusetts, Reciclarte & IQLab in Argentina. Any question, please email here
DOCUMENTATION OF THE SYMPOSIUM IS ON WATERWHEEL BLOG: http://blog.water-wheel.net
There are 9 posts. Each of them represent a Tap, with screen recording, slides, text and media of each presentation or performance.
The symposium was a 24 hour-event with more than 100 artists, scientists and activists from 5 continents presenting their latest works.
NEXT YEAR symposium will be announced earlier with workshops/labs in small groups happening the week 7-15 July to organise it (nodes organisers, curators, PR people, relation with universities, relation with primary schools and youth organisations, etc…)
If interested, please let us know: symposium [at] water-wheel.net
World Water Day symposium was a succes thanks to:
all presenters/performers from around the world; Riccardo Petrella and Ulay who opened the event; Amin Hammami and Prof Hichem Rejeb in Tunisia, who organised the main node at Sousse University; and our energetic team in Brisbane composed of James Cunnigham as go-between, Jeff Turpin aka Prof, our time-keeper (!) and the team of Inkahoots who streamlined the arrival on the Taps just on time for audience to go from tap to tap following the flow of ideas, thoughts and propositions of the day.
WaterCheers started with Mahesh Vinayakram‘s beautiful voice witnessing the sunrise in Chennai and ended with AWA, a group of Argentinian artists who fell in love with Waterwheel’s possibilities.
My Australia Council for the Arts Fellowship ended in April 2012. If you are interested to read the report, let me know. I can send it to you.
I’ve decided to continue this blog and will keep you in the loop about my upcoming adventures…
Next: I will be Copeland Fellow with a residency at Amherst Five College and Associate Researcher with the Women Studies Research Centre at Mt Holyoke in Massachusetts, from August to mid-December 2012.
to artists, scientists & professionals
22 March 2012,
on International Water Day
held on Waterwheel’s Tap
Mohamed Amin Hammami & Hichem Rejeb from Horticulture, Landscape & Environment Research Unit of Higher School of Agronomical Sciences of Chott Meriem, IRESA, Sousse University – Tunisia
– Water & landscape construction of yesterday. What to do today?
– Water and landscapes across disciplines
– Waters and landscapes: issues of layout development & territorial scales
– 30 JANUARY 2012: DEADLINE to send performance proposals & abstracts to Amin Hammami & Dr Hichem Rejeb
– 1 March 2012: deadline for completing accepted papers
– 10 –12 March: training on using Waterwheel for the accepted authors
– 12 March: announcement of the symposium program
– 22 March 2012: symposium
– 3 months after the symposium: publication of the proceedings (book & pdf file)
Guidelines for submissions – download here
Submission form - download here
photo from NASA’s eyes on the Earth blog Ichkeul Lake in northern Tunisia.
Top: November 14, 2001. Bottom: July 29, 2005; the water level is higher, but a large part of the lake appears red due to the presence of aquatic plants. Ichkeul Lake and wetlands are a major stopover point for hundreds of thousands of migrating birds who come to feed and nest. It is the last remaining lake in a chain that once extended across North Africa, and has badly deteriorated as a result of the construction of three dams on rivers supplying it and its marshes, which have cut off almost all inflow of freshwater. The Tunisian government plans to undertake various measures to retain freshwater in the lake on a year-round basis and reduce the salinity of the lake.
This is a call for proposals for performances/presentations (of 5minutes each maximum) for the launch of WATERWHEEL – with a deadline for proposals of 12 August 2011. The entire performance/presentation program will be no longer than 30-45min.
WATERWHEEL, a new online platform exploring ‘water’ as a topic and metaphor, will be launched on 22 August, in Brisbane (Australia) AND will take place live online on the TAP at 6pm – find your time here – Media release here .
The TAP is an online, real-time venue and forum, workshop and stage for live networked performance and presentation. Here you can create and collaborate, rehearse and remix, present and exchange, participate and communicate—privately as a crew or publicly with an audience. The Tap provides tools for live networking and real-time media mixing.
Below some info on how to use WATERWHEEL. Do not hesitate in contacting us for more details or a guided tour of the TAP.
WHAT IS WATERWHEEL
new online platform exploring ‘water’ as a topic and metaphor. Here is a short video presentation about it – check our vimeo account for a new video coming soon showing the TAP in its latest development! See also media release attached and info below.
All you need is a computer with internet access and a web browser with the latest version of Adobe Flash Player. To contribute and collaborate via the Tap, you might also need a webcam and headset depending on your performance/presentation.
* sign up, you will receive an email with a link
* Activate the link, you can create your TAP (please give it a title) and upload on the WHEEL (check also your junk/spam box, maybe email goes there)
HOW TO UPLOAD
Video tutorial – You can upload: Image (JPG, PNG) | Video (MP4) | Animation/Slideshow (SWF) | Audio (MP3) | Document (RTF, PDF, DOC, XLS) : all media about ‘water’ as a topic or metaphor.
HOW TO USE THE TAP
* once you signed up and activated the link received by email
* you can create your TAP (please give it a title) and upload on the WHEEL (check also your junk/spam box, maybe email goes there)
* If you want to invite someone on your TAP, add that user in your crew
* user will receive an invitation by email with a link
* link has to be activated
* user will log in
* then click on ‘My Taps’ & on the table, there will be ‘superD’ TAP or another titled TAP you’ve been invited to
* On the right side of the table, you have a link ‘ENTER’. Click on it.
* the TAP will load on your webpage (patience, it might take a few minutes – you might be asked to update your flash player to new version, that doesn’t take much time. Just follow the prompt. But you might need to re-log-in)
* You can go with or without webcam. You will need to go on the top menu and select a tab (webcam, visuals, audio) and within each tab, an icon that you will drag onto the stage below. If you want to type chat, go on the write side at the bottom, there is an entry for public and crew. And in the middle on the right, there is another entry for a crew private chat (not seen by audience).
* if you click on a media (once it is dragged on the white page), you will see a palette of tools – first row from top: keep your mouse down when you select one of the tools, second row: resetting tools, third row: just a click on the tool you need, volume icon: keep your mouse down and go down to diminish the volume.
This project is initiated by Suzon Fuks as part of a Fellowship assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body; in collaboration with IGNEOUS and INKAHOOTS, supported by the Queensland Government through Arts Queensland, Brisbane City Council, the Judith Wright Centre for Contemporary Arts, Ausdance Queensland, Youth Arts Queensland & iMAL. Creative Sparks is a joint initiative of Brisbane City Council and the Queensland Government through Arts Queensland. People collaborating so far on the project are from NZ, Australia, Indonesia, India, Serbia, Germany, France, Belgium, the Netherlands, UK, Canada & USA.
If you want to participate, please check & tick the sessions on this doodle – Remember to change the poll to your timezone, then check the times you are available (3 sessions if possible, or more). If there are none, please suggest other times.
This 2nd lab will happen on the TAP with acces only to webcams (no mixing media yet), so we can be only 6 participants per session (for this lab). Very exciting: there are functions that I never saw before: webcams images can be dragged, resized, flipped vertically and horizontally, as well as rotated!
UpStage is an open source platform for cyberformance: remote performers combine images, animations, audio, web cams, text and drawing in real-time for an online audience. All you need is a web browser!
The fourth annual festival of performances in UpStage will be held on 10 October, 2010, featuring a record 17 shows made by artists from around the world.
101010 will start at 2am Milwaukee time on Sunday 10 October and run for approximately 20 hours (with a couple of refreshment breaks). Click here to view the full schedule.
There are dance-based performances, theoretical meditations, comedy, explorations of sexuality, conceptual works, stories, creative interpretations of technology and numerous interactive works. Several performances include participatory contexts prior to the festival and some are part of larger projects. Click here to read about the performances.
Just over half of the shows are by artists who have previously made work in UpStage, with nine shows coming from artists new to UpStage. Many of the new artists are established in other disciplines, including theatre, dance, music and visual arts, and are interested in exploring the extension of their practice in cyberspace.
There will be RL access nodes in several locations including Wellington and Auckland (NZ), New York (USA), New Hampshire (USA), Oslo (Norway), Nantes (France), Ljubljana (Slovenia), Calgary (Canada) and Vietnam.
The 101010 UpStage Festival is supported by the voluntary efforts of many people, most especially the adventurous, innovative and imaginative artists creating the performances and the enthusiastic organisers of the RL access nodes. THANK YOU!
The festival is also supported by Creative New Zealand, CityLink (providing free server hosting and traffic), Auckland University of Technology (software maintenance and development) and Stray Media (video editing and support).
9 short holiday performances by Annie Abrahams and Antye Greie
for You Say Tomato, I Say Tomato, show co-curated by Anna FC Smith and Nathalie Boobis
++++++++Time is BST(British Summer Time) + 1h ++++++++
Preferences August 5th 7pm Press evening
Patriotism August 7th 8pm Private view evening
News August 8th 5pm
Wilderness August 9th 5pm
Love August 10th 5pm
Space August 11th 5pm
Communism August 12th 5pm
Collaboration August 13th 5pm
Turn, turn, turn August 14th 5pm
More information from http://bram.org/9meetings
+++ Documentation of the Huis Clos / No Exit – On Translation performance at NIMk Amsterdam available from http://bram.org/huisclos/ontranslation/
+++ Article on the HTTP show of this spring IF NOT YOU NOT ME, ANNIE ABRAHAMS AND LIFE IN NETWORKS by Maria Chatzichristodoulou in Digimag 54 May 2010 http://www.digicult.it/digimag/article.asp?id=1793
SPRINKLER FOUNTAIN by Suzon Fuks (Australia), Miljana Peric (Serbia) and Tara Rebele (USA) can be plotted as a net with many idea-sourcing knots, rain of conceptualized drops, cradle for discontinuous fluxes in which particles of waterdreams and waternightmares meet each other for a moment or two.
It is a place where you can leave your waterstory, waterpoem, watersketch, or whaterever: firstname.lastname@example.org > subject: water.
It is a time when you can get other kinds of aesthetic fluctuations, through the force of streams which have to be caused by decorative and dramatic tidal resonances.
We can’t tell you any more, because this plot is highly dependent upon the coming myriad of tiny aqua-semantical dataflows.
The only saying that would flow around for now is: to sprinkle or not to sprinkle?
SPRINKLER FOUNTAIN is part of VIRTUAL FOUNTAINS: for 101010 UpStage Festival, there will be presentation of initial ideas of a new project about WATER, a currency in all cultures, a compelling issue providing metaphors and vocabulary for creative exchange online and on-site.
In other words: please send us before the festival memories, tales & media about water that you are happy for us to use: email@example.com > subject: water, or just turn up at the fountain on the day! we will post a link closer to the date.
31 January 2010 – dança em foco – International Video & Dance Festival
The 2010 edition will take place in August in Rio de Janeiro followed by other cities, with free public showings.
The applications will only be accepted though the site.
5 February 2010 – Arizona State University Art Museum Annual Short Film and Video Festival
guidelines no longer than 10 minutes
The festival is an annual event, taking place in April of each year.
a still image from your entry in digital format (.jpg) for the Web and publicity purposes.
send your DVD copy with a brief description of the work + name + e-mail +phone numbers + mailing address.
Entries selected for the festival will become part of the festival library. By entering the festival, you give the ASU Art Museum permission to make copies of your work for press and educational purposes.
John D. Spiak – ASU Art Museum
Arizona State University
Tenth Street and Mill Avenue
Tempe, Arizona 85287-2911
12 February 2010
Please submit to the online portal
Symposium on Computational Aesthetics in London England on 14-16 June 2010
Artistic submissions are invited across the broad range of mediums
Computational Aesthetics. Specific examples include, but are not
• artworks that employ real-time visual processing;
• artworks that employ computer graphics on the web;
• 2D or 3D artworks that run on stand-alone consoles;
• virtual worlds created for the web;
• game art pieces that run on stand-alone consoles or the web;
• performances that include live computer graphics and/or live real-
time visuals; and
• artist presentations, posters or screenings that explore topics
related to computer graphics, modeling, and/or real-time visuals
15 February 2010 Naoussa International Film Festival
– The subject of the films depends on the judgment and the inspiration of the creators. The film has to be mainly created by using digital means. The total duration twenty (20′) minutes for fiction and animation films, ten (10′) minutes for experimental category.
– Please send your film in a DVD (PAL) for the process of selection.In case your film will be selected you should send to Naoussa International Film Festival a projection copy in DVCPRO or DVCAm or miniDV or BETA format.
– completed 18 months maximum before the date of the Festival.
– FILL IN ELECTRONIC APPLICATION FORM, print it, sign it and send it along with the film with the indication: “No commercial value, only for cultural reasons” + CD or via e-mail to firstname.lastname@example.org: Stills (in electronic form*) + Photos directors/perforamers (in electronic form*)
TO: Naoussa International Film Festival- Digital View Department – Katsoulaki 1 – Naoussa, 59200 – Greece
28th February 2010
17th – 23th June 2010 Munich short film festival 2010 (Germany) (reelport)
28. February 2010
SIGNES DU NUIT – Paris (reelport) 31. March – 11. April 2010 – deadline: 28. February 2010
– allowed genres: fiction, documentary, experimental, video art
– 30 minutes max. lenght for shorts
– full lenght for documentaries
– films must have been completed on January 1st, 2008 or after
– screen ratio for 35 mm / 16:9 or 4:3 for DV / Sound/Son: PAL or NTSC
– language sequences should have English or French subtitles
28. February 2010
SHORT FILM FESTIVAL DETMOLD (Germany) (reelport)
From 10th to 13th June, accompanied by video installations, workshops, concerts and parties.
1 March 2010 – Companhia de Dança de Almada (Portugal)
“International Platform for Choreographers” and/or “Video-Dance Showcase”
Companhia de Dança de Almada (Almada Dance Company) is organizing a large forum for performing, meeting, dancing and interacting, to be held in Almada from 16 to 18 September, 2010. Individual choreographers or dance companies are welcome to submit their projects. Download the Conditions and the Proposal Application Form
2 March 2010 – [self ] ~imaging // artists portraying themselves in film and video
– The films/videos may be produced between 2005 and 2010
– Excerps of videos or films are not accepted!!
– Duration: max 10 minutes
– Only one film/video can be submitted.
– Productions using language and/or text other than English need English subtitles.
– The preview copy should be preferably made available online for review and/or download as Quicktime . mov, Windows Media .wmv, Flash video .flv – minimum size 480×360 px, preferred 640×480 px
–> if no own website is available, alternatively the film can be submitted via a free upload/download service, for instance, SENDSPACE – www.sendspace.com – or PANDO – www.pando.com
Once selected, the artists/directors will be invited to send a hardcopy of the selected video on DVD in best screening quality
5 March 2010 http://www.fileprixlux.org/entry-forms.aspx
31 March 2010
in May 2010 NapoliDanza – PARTICIPATION RULES
All the companies, videomakers and producers will be admitted to participate sending us a work about dance belonging to one of the following categories:
· A – Recordings of shows or studio processing of shows
· B – Video creations
· C – Documentaries and/or ethnic dances
Participants have to:
• Compile the online entry form on our web site, in each part ( as correct and complete as possible) for each video subscribed – http://www.napolidanza.com/index.asp?ling=e
• Mail us
1. a DVD copy of the video, PAL format only, which will remain as part of the Napolidanza videodance archive and will be used only for not commercial purposes.
2. 1 CD containing at least two still photos in JPEG format about the video, including the back stage working and write information on the support itself (avoid paper prints) and a brief outline (in .doc or .pdf format) about the content of the video (even with printed page attached).
3. (New) For works whose duration exceeds 3 mins. you must send us also a teaser (duration max 3 mins.) on a second DVD copy (always in PAL format) for free publishing on on-line archive on our website Napolidanza.com.
The folder must be sent to: NAPOLIDANZA c/o Marilena Riccio – viale Nicola Fornelli 8, 80132 Napoli – ITALY
FOLDER ARRIVED BY ORDINARY MAIL AFTER APRIL, 15TH 2010 WILL CAUSE RESPECTIVE WORK ELIMINATION FROM 17TH EDITION OF FESTIVAL.
2 April 2010 – One Minute Films of OMFC
(One Minute Film Collection)
5 April 2010 – CologneOFF VI – Cologne Online Film Festival
festival theme: “Let’s Celebrate – memory & identity in an experimental context”
– The full-length films/videos may originate from the years 2004-2010.
– Excerpts of videos or films are not accepted!!
– Duration: max 10 minutes (exceptions up to 15 minutes are possible)
– Max 2 films/videos can be submitted.
– Productions using language and/or text other than English need English subtitles.
– The preview copy should preferably be made available online for review and/or download
– as Quicktime . mov, Windows Media .wmv or Flash video flv (size 640×480 px)
After selection the artists/directors will be invited to send a hardcopy of the selected video on DVD in best screening quality.
23 April 2010 – VISIONI DAL FUTURO festival international contest
second edition .:IridescentWorlds:.
Torino May 28-29-30 2010 Cinema Massimo, Hiroshima Mon Amour
New competition announcement Video and Live media
Visions from the Future 2010 calls all the videomakers and audiovisual researchers to create, shaping image and sound, works that pass through us to imagine IRIDESCENT WORLDS.
30th of April 2010 – K3: Short Film Festival Villach – Awards
The uniqueness of this festival is the courageous mix of engaging and disturbing films.
send films with completed entry form to:
c/o K3: Int. Kurzfilmfestival Villach
ONGOING | ONGOING | ONGOING | ONGOING | ONGOING
TANK TV: An open Call for open minds
tank.tv welcomes submissions. Each piece of work is judged on its own merit rather than on name or history of the artist. In this way, tank.tv exhibits the known and unknown artist side by side.
deadline 1 September 2009 – 1 September 2010
Java Museum – Forum for internet Technology in Contemporary Art will be celebrating in 2010 its 10th anniversary and is looking for Internet based art from the years 2000-2010
details, regulations and entry form
from 27 January 2010 – SFC – Shoah Film Collection
A Virtual Memorial Foundation/VideoChannel
More information and entry form.
-The films/videos may originate from the years 2000-2009
-Only complete films are accepted, no excerpts!
-The films/videos can be submitted only in a digital format –> Quicktime, AVI, mpeg2, .flv via an upload platform like SENDSPACE – www.sendspace.com or an URL online
-The duration of a film/video may be min. 1 minute and max. 15 minutes, the duration may be exceeded, but only on request.
-Max. 2 films/videos may be submitted
-Films/videos produced in another language than English, need in any case English subtitles
Next Wave and Reeldance are commissioning 5 new short screendance pieces by artists under 30. more info click here – deadline 21 October
New screendance festival http://www.circuitsoup.co.uk presenting works using high street shops as the venues rather than traditional art spaces
Move the Frame offers an on-going list of up-coming dance film festival and funding submission deadlines
Cool, 090909 finished! 20 hours marathon, which was about 26 hours for me (with 4hours sleep) between last rehearsals, making last minutes media, recording, performing and watching other performances (I love to take part as an audience member)! Briefly: interesting new drawing possibilities with the performance LINES (bravo Ben Unterman and team from Canada), effective and sobre animations in SMITHS, beautiful graphics and sounds in MAUI. I didnt see all of SNOW WHITE but enjoyed watching part of this twisted version. Interesting to have at time some provocative thoughts in audience chat.
Last week, I heard an interesting and entertaining talk at writers festival about science-fiction & science! Believable or not, true, non-humans, future of our imagination,…
Saw some early films by Peter Greenaway on Sunday. We are lucky: big retrospective at GOMA cinematheque. Inspiring and also funny to see how some specific interests are still in the air: frame and rhythme / narrative & absurdity & surrealism……. “water wrackets” good treat for the eyes.
In “The Draughtsman’s Contract”, the frame in the frame (perspective drawing viewer in foreground of the filmic frame) is still stirring thoughts about the container, the contained, the abyss/huis clos, also how people move laterally in and out of the frame, like sliding doors.
Brisbane Festival started with an exhibition of LAND by Ulf Langheinrich, experiential digital field, like a macro imagery of particles forming, deforming and reforming spaces. Powerful and hypnotic, I wished I could walk through this landscape, instead of being seated frontally. “Genesis” (showing of a work in progress) with its multi-layered projections, although still needs to develop in terms of dramaturgy and playtime for devising, offered already clear and rich propositions. I enjoyed this clarity and the openness for audience interpretation.
I am participating in the the last theater show ever experiment, preparation phase, opening dialogues…
Annie Abrahams mentioned an interesting theater experiment at parhasards.fr the whole theater show organised from Théâtre La Villette in Paris takes places on the Internet.
Am in Sydney at the SEAM symposium, so will continue writing in the “travel” space of the blog.