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Welcome to the registration system for DMZ London Please take a little time to describe yourself. You'll be added to a 'network map' of DMZ participants, supporters and interested parties; people, groups, projects and places. |
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ambientTV.NET Pete Gomes Digital Guild Hi8us Low-fi Mervin Jarman Media Art Projects MAP Mute Pirate TV SPC Thomson & Craighead
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ambientTV.NET &==|= [^_^] : ) : ( [___] /````\ (((i)))
TRYPTICHONA wandering wireless performance by manu/mukul/muth with mU/minna/mo-ling www.ambientTV.net/telejam/3/
a leash of minstrels
sings streets into existence leashed by time's ticks tricyclic three-gaited three-phased at the tryst: journeys unwound observers oriented the city reinhabited The ambientTV.NET arts collective/arts production company functions as a generative network that creates the systems and spaces in which potential site-specific forms are investigated and evaluated. It specializes in hybrid media projects and installations involving sound, image, information, the body and motion, radio, and networks. Active ingredients of ambientTV.NET: Manu Luksch,Mukul Patel,Michael Uwemedimo, Gavin Starks,Chris Helgren,Mariko Montpetit,Mo-Ling, Bill McAlister. The ambientTV.NET space hosts studio facilities for digital video, web,and music production. Areas of expertise are converging and hybrid media productions, film and radio,music,sound and light design. The projects developed are more than 'media solutions' - they are social technologies,climate systems of production and reception. The studio is currently developing an interactive documentary (Virtual Borders ,a telematic theatre/dance performance (flipflop ,and a net.art piece using encryption commissioned for Taiwan's first online exhibition at the Museum of Modern Art (Stealth Waltz .Recent projects include the video and streaming media compilation for the Tate Modern talks programme 2000, FM radio programmes on science and technology and music shows, and sound design for dance companies. The ambient space is a hybrid production/broadcast/event space that looks out over the city from the top of an ex-industrial building in Hackney.The space hosts a diverse range of events revolving around culture and new technologies, including workshops, exhibitions, peformances, webcasts, concerts and DJ sessions, screenings, and lectures.
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Pete Gomes <<||>> (((i)))
KAROSTA EPISODE 1 Pete Gomes is a film director and artist.His work and site mutantfilm.com broadens the palette from 20th Century film language, Experimental and Expanded Cinema, to include the landscape of the internet, wireless technologies, DVD, database narrative, artificial life, portable computers and GPS. He explores writing, production, and distribution in the context of new cinematic forms, applying these to visions for current and future cities, urban, suburban, and rural environments - exploring the possibilities of cinema for commuting, AV environments and forms and applications for locative cinema. He has shown work extensively in the UK and internationally, recently at Tate Modern, Whitechapel Gallery,Gimpel Fils and the Institute of Contemporary Arts.He is currently working as Writer Director on a new feature length project. KAROSTA EPISODE 1 The word Karosta is Latvian for ' War Harbour'. The landscape in Karosta, Latvia consists of remnants of the Soviet occupation and it's military and naval operations.When the Soviets departed in 1991,the population of this enclosed militarized zone fell from 25,000 to a few thousand in a matter of days. The rich history of the area and it's extarordinary environment of concrete towers, tunnels, bunkers and abandoned military buildings are explored in this short science fiction drama. Pete Gomes collaborative film Karosta stemmed from the International Workshop on Locative Media in Karosta, Latvia in 2003. The workshop brought together artists, technologists, and thinkers exploring global positioning systems, mapping technologies and location based experiments. Gomes worked alongside local young people and the arts centre K@2, using specific locations in the area, combined with GPS technologies, to develop a story that forged a future mythology about an area in great need of social and economic regeneration. Casting members of a real local gang, the film tells the story of a gang in the future, navigating their world using portable devices and coordinates, as they set out to retrieve the gang leader's brother from a capsule, where he has been growing in sleep suspension for 15 years, situated inside the Restricted Zone. The film was directed by Pete Gomes from his own scenario, shot by a guest cinematographer and using a Latvian/English/Russian translator, but with all specific dialogue improvised and developed by the young novice actors themselves and spoken entirely in Russian and Latvian.This presentation consists of the first episode and other recent work.
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Digital Guild ___!
COMPLEX META-4 The Digital Guild is a non-profit organisation committed to the creative application of digital technology. The Centre operates as a multi-disciplinary project providing resources for research, development, and training, and is committed to the development of excellence in and access to creative digital technologies. COMPLEX META-4 ‘Metaphor’, the Greek word from which the English term is derived, means ‘to transfer’. A word that applies literally to one kind of object or idea is applied by analogy to another. Thus a ray of sunshine cuts the gloom (as if it were a knife);a ship courses the seas (its motion likened to that of a greyhound);a man weasels out of his promise (as a ferret-like animal wriggles through a small hole). Complex Meta-4 is an interactive interface for individuals who wish to communicate using digital media, generation 3 mobile phones, PDAs and the internet within customised format. New compression and data transfer technologies have contributed to the popularity of streaming media on the internet and wireless applications. Every week new sites spring up offering access to movies, music and interactive games. As compression technologies improve and fast internet connections become more accessible, demand for streaming media has increased. However, the streaming media experience is dictated within a passive mediated environment, i.e. banner ads and no possibility of personalising your own presentation. The Complex Meta-4 project will use media skins as the interface for the customised interactive environment. Media skins are an interactive interface independent of the browser, which can also be positioned dynamically by the viewer on their desktop. We intend to create a digital space, for immediate distribution of individuals ’work’, e.g. If a participant wishes to promote a short film they could upload a short video clip, text and an image to their personalised media skin from their G3 phone, PDA or the internet. This would enable them to represent themselves within a customised environment. The media skin will be a small compact environment for each participant. This will give the viewer as many skins on their desktop as there are participants uploading their media. In turn the viewer will automatically make connections between one media skin and another. The participants will create the ‘complexity ’ of the project, the viewer the ‘metaphor’.
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Hi8us ___!
GRAPHICAL-ENZ Hi8us work on professional collaborations with young people and digital media - film, web, photography - and we have recently completed an 18 month digital media project with young people in the Leaside area Centring around four housing estates where we have produced a number of successful films and web projects. Hi8us track record since 1994 covers a unique range of participatory training projects in digital media with socially excluded young people. We have developed innovative projects with young people training alongside professionals to create dramas (six for Channel 4, one for Carlton) which pioneered a new genre of TV fiction. The projects involved a wide range of communities with something to express: Protestant East Belfast, African Caribbean Coventry, young offenders on Hull Prison’s D wing, homeless people in Manchester and young Asians in Birmingham. Produced through processes of improvisation, shot on participants’ streets and performed by the young people, they are distinguished by their sense of place, unheard voices and First-hand experiences. Young people also worked as trainees on production. Nightshift, transmitted by Channel 4 in February 2000, was awarded joint of Best Drama in the CRE’s Race in the Media Awards. This followed Royal Television Society Awards for Best Dramas for Blazed in 1996, and The Visit in 1998. We have also established Hi8us First Light in May 2001 as a subsidiary company, to manage the Film Council’s £1 million scheme to develop film-making by 8-18 yr olds. L8r, an interactive drama project for the Teenage Pregnancy Unit and DKTV, and E-Drama, supported by funding from NESTA, Media 2 and the BBC, have been developed using the web as a drama-making tool for young people. Over the last three years we have developed Inclusion Through Media in the regions, a programme of work with excluded communities using media as a tool for expression and regeneration. The programme has included projects with young men in Coventry, Mexborough and Barnsley, young homeless people in Birmingham, young people with learning disabilities, and young prisoners in HMYOI Huntercombe. Our most recent project, Bow by Blow, was developed following the BAFTA nominated Hi8us/APT production of Skin Deep in 2001 shot in the Crossways estate. This 18 month programme supported by Leaside Regeneration enabled HI8us to work in partnership with the local community to develop a series of film, video and web projects with young people across the Bow/Poplar area of Tower Hamlets. GRAPHICAL-ENZ To create a pilot for an interactive mapping project on the web created for young people to engage creatively with questions of territory, environment, identity and the Olympics. In the geographical area of the Olympic Bid - the Lower Lea Valley. With the Olympic architecture tendering process underway for the Lower Lea Valley, our project aims to engage with the potential implications of this extraordinary event for the local youth community. This major initiative, if successful, will undoubtedly transform the physical, economic, cultural and social map of the local area. Some of these changes are predictable, others entirely unpredictable, but there is no doubt that an Olympic presence has the potential to change the local ‘landscape’ in all dimensions and in a myriad of ways.
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Low-fi &==|= [^_^] : ) : ( /````\
AMY CUNNINGHAM Low-fi is an artist run collective focusing on net art and
online mediation and distribution systems. We operate primarily through
our web site As a platform for net art, our main concern is with how online projects are mediated and distributed, and the context drawn around them. We aim to increase the visibility of net art by providing an interface to a database of information about current net art projects and by participating in debates and discussions. A further aim is to build connections between art and tech contexts and to develop an audience beyond the net art community. We are approaching this partly by commissioning new net art projects which will be shown in art institutions as well as existing online and partly by programming net art projects within gallery and offline environments. We want to Find more appropriate solutions for showing net art than resorting to lounges of monitors, projected screens and exhibitions of ephemera. Low-fi’s participation in DMZ is in two parts, where both elements tackle the same question of how to show online net art projects within an offline physical space. Firstly, we will be making a generative Node Drawing’ which will develop over the duration of the event as visitors contribute their ideas and views. Secondly, we will be curating four net art projects all of which have some sort of offline component. These will be interspersed within the DMZ programme and space. The artists we will be working with are: Bureau of Inverse Technology, Corby & Baily, Amy Cunningham, and Simon Faithfull. The relationship between the online and offline elements in their work is varied but the offline component is integral, providing a physical reflection of the project. AMY CUNNINGHAM - Delayed Dreaming Delayed Dreaming is an installation and performance work, which uses the specificity of web cast relay; the delay between the live and encoded event which is approximately 30 seconds. The performances will be relayed via a web camera, radio microphone and computer using data video projection and amplified audio as a live feedback loop. The choreography of the work is created by the relationship between the live performance and the encoded image (which is projected). The feedback loop allows each previous movement to be seen and each previous voice to be heard, to create a delayed hall of mirrors, both visual and acoustic. Amy’s use of various media in conjunction with the voice creates a valuable dialogue, between the ready-made and the hand-made, and between opera and the everyday. BUREAU OF INVERSE TECHNOLOGY (BIT) - BIT - An information agency servicing the Information Age. BIT Anti-Intelligence: Bureau of Inverse Technology launches the BIT Anti-Terror Line, New York and London November 2003. BIT agents requisition the UPHONE for distributed data collection. The UPHONE, currently in public testing (Limehouse UK/New York NY) is a phone-in interface to the web. Designed for immediate sound-archiving, this service enables any phone (home/mobile/booth) to act as a networked microphone. For collecting live audio data on civil liberty infringements and other distributed events. Mobilising the pervasive network of private cellular phones, UPHONE allows for discrete recording in locations where standard broadcast equipment may be inadvisable or out of reach. How it Works: You phone in and leave a message. Message can be a spoken report, or live recording in event of an anti-terror attack. Set PHONE TO AUTODIAL your national uphone number UK +44 207 987 0655 press 4 for antiterror or USA +1 212 998 3394. The system will uplink your phone call in near-realtime to the BIT online database: an audio accumulation of micro-incidents, archived, marked and accumulating. Events that individually may be inactionable, but en masse could provide evidence for a definitive response. The BIT anti-terror database is a publicly readwriteable news resource which can be monitored, annotated, syndicated or remixed for your purposes. SIMON FAITHFULL - 13 Messages 13 Messages will send 13 drawings by email over 13 days from London’s A13 urban freeway. Starting at the Whitechapel one-way system, heading east past Limehouse Townhall and on towards Barking, Simon will travel down the dual carriageway making sketches on a palm-pilot as he goes. The drawings will then be sent out to an open email list as ‘live’ dispatches from a wandering witness. The drawings made on these days will later be developed into a short animated Film that has been commissioned by Channel 4 and the Arts Council. This service will be available from 10 - 22 of November 2003. To subscribe to this service please email: me@simonfaithfull.org. Simon’s practice is very disparate ranging from melancholic installations, hypnotic Films, and various drawing projects that use the palm pilot as a low tech but flexible psychogeographer’s tool. CORBY & BAILY - Reconnoitre Reconnoitre is part of an ongoing series of works concerned with their experience of the network as a bizarre_scape; an environment with a high metabolism whose boundaries are continuously re-shaped, accreting and thickening under the influence of powerful social and commercial forces. While Reconnoitre can be considered as a browser in that it allows the user to search for and access websites, it is less concerned with the coherent display of information than with representing browsing as a behavioural activity. Probably best described as a dysfunctional browser, it seeks to enunciate our consumption of information as a journey of surprise, that seeks to reinstate the pleasure of browsing as technologically experienced dérive (drift) in its own right - an ambient grazing of text. Low-fi - Node Drawing Low-fi’s ‘node drawings’ are a way of representing our ongoing interests in mediation and curation of net art. The drawing is a collaborative process, which invites input on an idea we are currently chewing over: it is a feedback system that grows as a set of unedited networked ideas. For DMZ, our node drawing will be about taxonomy, about what the terms and classiFications used in new media mean. These terms are debated and are still malleable as criticism catches up with practice. Hopefully the drawing will develop to include other interpretations, sub-categories and new terms - what is ‘locative’, for example?
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mervin Jarman ___! (((i)))
CONTAINER The Container project is a non-profit mobile access space to new technology linking communities to their heritage and cultural backbone. Having been in planning and development for more than 4 years, on 30 April 2003 Container opened its doors to the community of Palmers Cross, Clarendon, Jamaica, and since then has been open daily providing access and opportunities for all members of the community to learn about computers, computing and digital creativity. Container is a pioneering project in Jamaica in bringing artistic activities together with information technology. The container has 15 workstations running four different operating systems (Windows, Mac 0S9, Mac 0SX and Linux). The training methodology encourages people to pursue their own interests and ambitions, calling upon the help of colleagues and professionals as and when needed. Container offers the opportunity to learn and produce using office applications, multimedia and music, and also involves participants in day to day hardware and operating system maintainence. All the equipment was donated from a number of different organisations in the UK. Container is constituted as a Friendly Benevolent Society and encourages all sections of the community to take ownership and responsibility. Container is a truly community-based IT project that provides people with otherwise very little access to computers with a space for learning, experimentation and creative work across all areas of digital arts. mervin says:It’s about fostering the creative abilities of Jamaicans and continuing to distribute our values like we have done in the UK over the last 50 years. The UK and Europe needs to feed back its technological skills into Jamaica to help sustain the culture clash that is contemporary mongrel culture. At the moment there is very little creative technology going on outside of the corporate landscape in Jamaica even though this is one of the loudest cultural producers of the last 40 years. We want to hot-wire Jamaica into the machine that will make the Upsetters of the future.’ (quote from the website) mervin Jarman is a digital artist who has trained, worked and taught in London and internationally for more than 10 years. Palmers Cross is his home town and Container is a realisation of his ambition and committment to bringing his skills and experiences back to this very special environment. The Container launch and its ongoing operation is being supported in London via exchange programmes involving Media Art Projects, Commtech and Mongrel. For DMZ mervin will be showing audio-visual documentation of the Container, talking about its practices and introducing the exchange programmes which, over the coming year, will bring Jamaican guests to London and provide opportunities for London-based artists to experience and contribute to the Container project.
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Media Art Projects MAP ___! [^_^] /````\ <<||>>
Media Art Projects (MAP) is a micro agency for project management and initiation in the area of culture, technology and research. MAP collaborates widely with groups and individuals who may identify more or less with art, independent media production, DIY technology, community development and research into frameworks for cultural production, both self-generated and institutionally based. MAP is particularly interested in bringing people from different backgrounds and skills together for projects over shared goals. MAP tries to supply some of the support that established arts organisations can offer (e.g. limited company status, VAT registration, project management experience) without creaming off high overheads or being subject to the programming constraints of bigger building based organisations. The aim is to produce projects that are a genuine partnership and whose development is steered by needs and wishes of the participating artists and groups. MAP’s major projects over the past two years have been Tech_2 - a series of workshops and events that have taken place in three different cities (Bristol, Leeds and Lancaster), and Map::London, a series of collaborations with London-based artists, researchers and community groups that investigate and engage with the politics of technology in diverse ways. Tech_2 was much inspired by workshops/gatherings such as hybrid workspace, Makrolab and the Acoustic Space labs that offer an opportunity for real work to happen in a communal environment and with some public interface. The collaborations were built around shared interests and tasks that needed to be done. In Bristol, 2001, with the Cube Cinema, a group of people around 15 national and international visitors gathered to share knowledge about do-it-yourself, community run provision of internet services such as hosting web pages, email addresses and mailing lists, collaborative software and ‘open publishing’. In Leeds, Tech-2 was based at Archway Resources Centre in Chapletown, primarily an advice and information centre for young people with housing problems, but which also incorporates a small IT training and access suite. Supported by Pavilion, a visual arts and media agency in Leeds that had a role in running the IT training, Tech_2 with artists Carole Wright and Jason Skeet worked with a group of 9 members of the centre over a period of one month and created short multimedia presentations on the theme of ‘Black Presence In...’ The participants also took on the programming and project management of a large-scale closing event involving DJ’s, poets, dancers, musicians and grafFiti artists that took place in the centre of Leeds in a performance space attached to the City Library. The third stage of Tech_2 was in Summer 2002, at the Folly Gallery in Lancaster, a small visual arts space with darkrooms and some digital production facilities. The title of the workshop was ‘grow your own media lab’, reflecting the combination of a DIY ethos with an environmental sensibility. Our aim was to build ‘zero cost’ network access resources using donated hardware and Open Source/Free Software. Redundant Technology Initiative, ShefField, Access to Recycled Technology, Birmingham and a number of local groups created usable resources now spread between their locations. In the third week of the residency we organised a course in building small-scale renewable energy systems. The results - our windmill, solar panels and wireless internet system - temporarily joined the sculptures and installations in the forest created by former artists in residence at Grizedale Arts. The Map::London projects have been funded through a grant from Arts
Council London. MAP decided, with colleagues, that the goals of the
grant (to create opportunities for activity, visibility and development
of discussion) would be best served by close collaborations with artists
and other cultural producers that engaged communities in different
ways. Projects undertaken through this 3 year grant included ‘Rich_Mix’,
a multimedia workshop with young people and multimedia event, at Ocean,
Hackney, in collaboration with MongrelX ( PROJECT: MAP LOUNGE AT DMZ For DMZ, MAP offers up refreshing aromatic teas and a relaxing
environment for discussions, planning and demonstrations. The space is
for all visitors to the event to use for their own purposes: read and
research on your own, arrange a meet with friends and colleagues, show
work to one another or discuss a specific issue. A VHS deck and online
computer will be available for ad-hoc demos. The lounge will also be a
living, accumulating library and archive with books, magazines and other
publications. Everyone is welcome to bring materials about their own
activities to add to this archive. A copier/scanner will be on hand for
you to leave or take away any materials you
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Mute <---> /````\ [==] <<||>>
The Mute Map, Mute magazine was founded in 1994 by artists Simon Worthington and Pauline van Mourik Broekman. The publication sought to discuss the interrelationship of art and new technologies, which it did through a mix of fiction, art works and theoretical essays. Together with the web platform Metamute, the magazine now contributes more broadly to debates on culture, politics and globalisation, covering issues from gene patenting to software art, internet governance to hypertext poetry. Mute’s editorial group expanded in 1996 and today includes editor Josephine Berry, information politics editor Jamie King, and contributing editors Hari Kunzru and Matthew Hyland. Since 2001, Mute’s engagement with the critical discourse around new media inßuenced it to change its approach to publishing. Following a popular trend in this area of practice to make content,
tools and architectures freely accessible, it has launched two projects
which aim to share the tools and knowledge associated with its own
internal and external development with a broader group - from the casual
browser to the frequent contributor-participant and/or the
long-distance subscriber. These sister projects, Open Mute and You Are
Here, provide collaborative online tools and wireless networking
support, focusing both on the international practitioner community and,
much more locally, people working in the East End of London. If you want
to find out more about Mute’s history and recent development, go to the
two explanatory diagrams ‘Ceci n’est pas un magazine’ 1 & 2, both
of which are available as PDFs on THE MUTE MAP: THE SEMANTIC LIFE OF WEBS Over the last ten years, enormous changes have occurred in the public perception of the web at the level of its ‘surface’ (the screen, interface, mobile device). In the mid-1990s, the HTML minimalism of academics and scientists was the alpha and omega of internet design. The homebrew heroics of enthusiasts (digital artists among them) may have done much to show that HTML(hypertext mark-up language)’s simple, instructive protocols could be bent to produce a multiplicity of unpredictable ends, but it was essentially images, text, and hyperlinks that shaped users’ experience, and the same elements which formed the web producer’s toolkit. Surfing around our present rich media environment, it’s easy to look back at those days and imagine them to be far behind us. They are often pictured as a structurally primitive first phase that was swiftly superseded by the irrepressible innovatory drive that now offers us personalised news digests, location specific content, communities of labour and love; a panoply of ‘richer’, more ‘diverse’, and ‘efficient’ informational experiences. But as the urban data-consumer makes it his business to inhabit an utterly seamless media environment, accessible everywhere and on all platforms, it becomes ever harder to get a critical distance on how the elusive good of information is generated, along what paths it flows, and which logics and rule sets it obeys. As music fanatics, media activists and critical net artists of various hues know, one of those logics is the aggressive policy of information privatisation that media companies and intellectual ‘content castles’ have pursued under threat of digital proliferation. In the face of this powerful force of enclosure, an equally powerful force has come into being under watchwords like the ‘digital commons’ and ‘public domain’. These centre on visions of shared, universally accessible, digital resources of which the construction is transparent and the terms of use set to protect the interests of individual creators and users, rather than the predatory corporates who profiteer from their relationship. What is perhaps less well known is that there is an equally powerful force at play in the rearticulation of the internet’s operation along so-called semantic lines. This project, usually described as the Semantic Web, furthers the dreams of the World Wide Web’s ‘inventor’, Tim Berners-Lee, to connect distributed data in a way that is meaningful to both human beings and machines. The idea being that humans’ current information environment has attained a scale so inhuman that it has become unnavigable, and that any attempt to enlist the help of machinic entities in its ‘legibility’ is hamstrung by its content and architecture not being sufficiently meaningfully processible by them. Hence, as we reach a critical stage of information-overload, where the transparency and use-value of search engines is being universally questioned, Semantic Web aims to integrate the interpretative domains of human and machine in a more nuanced way. The scientific, military and commercial sectors have greeted the project as the next Internet Revolution. But in the context of this emerging information paradigm of semantic description, their enthusiasm may be part of the ‘problem’ rather than the ‘solution’. In its current shape the Semantic Web project leaves much to be desired: its developers’ faith in the linguistic description of all subject/object relations (be it between human beings, objects, data-objects or network structures) lends ‘Sem-Web’ a universalising tenor which borders on the Orwellian. Although its descriptors are open and extensible, to be inside this information web, to be meaningfully linkable, all component parts have to be named, categorised and ‘ontologised’, which is how the Sem-Web paradigm describes the operation of the primary rule sets to which its component parts are submitted. The question is, of course, by whom, according to which ontological system, and with which mechanisms for contestation and change? Housed in the R&D hothouses of university science departments, corporate and international, state-backed collaborative efforts, it is easy to see whose epistemological world will dominate. Rather than worry, complain or sit back passively, a growing band of independent coders, artists and thinkers is tackling the problematic status of Sem-Web by contributing to its development instead. Building on the aims of Free Software and the internet’s early utopian ethos of free access, they ally their anti-hegemonic language game to sympathetic missions for free hardware, free networks and free content. Having a long-standing interest in cartographic forms for the information society (see the ‘Metamap’ in Mute21), and featured London coding communities’ work on semantic web technologies in the magazine (see ‘The Semantic Web’, Mute25), Mute wanted to commit to and participate in their crossover on a more practical level. Strands of discussion on live mapping and critical cartography between members of Mute, the French collective Bureau d’Etudes and artists group Twenteenth Century at London’s Limehouse Town Hall brought a number of possible collaborative projects into view - first, a Cartographic Congress, which was organised in May-June 2003, then a Map of Contemporary Capitalism, which is ongoing. To test this, the Map of Contemporary Capitalism’s (McC) techniques, Mute has commissioned a smaller software prototype from programmer Jo Walsh - named the Mute Map.
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Pirate TV <<||>>
Pirate TV is a non-profit, artist/activist run webcasting station devoted to the dissemination of non-commercialized, free, artistic expression. Created over four years ago by multimedia pioneers Coldcut, SPC guru James Stevens and their friends, Pirate TV has developed into the online equivalent of an independent television station, live streaming audiovisual work and performances as well as current, politically conscious global news items 24 hours a day, seven days a week. Among the contributing groups are djs, musicians, visual artists, activists, poets, performers and film and documentary makers, all united in their dedication to retaining total artistic freedom. DMZ Media Arts Festival will see Pirate TV presenting the very first full screening of their dvd compilation of audio-visual works, collected from the station’s live streaming crews worldwide. Each artist or collective will introduce their contribution and review the experience of spontaneous presentation of work through Pirate TV to the internet. Presentations will be made in one of three ways. Firstly artists will be actual and live in the venue. Secondly there will be recorded interviews from the artists and activists that are away on tour or filming, and unable to get to an internet connection. Thirdly we will be joined by some of the contributors via live stream from their home studios or other hastily rigged connections! This will be viewable live at the event on the projection screen, and of course in true pirate fashion, events will be captured, compressed and streamed out as they happen via our website for others to view. We hope to demonstrate the techniques of technological improvisation and artistic spontaneity that we have learnt over four years of presenting DIY underground entertainment and alternative news. We will also be covering the presentations of other participants at DMZ and our internet chatroom will be available throughout the event for global interaction with viewers. Our aim is to demonstrate a showcase model that represents the multi stranded and global diversity that is encompased by
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SPC <---> /````\ [==] (((i)))
BLINK SPC aims: - to instigate new collaborations and expose location specific resources,identify emergent techniques and introduce tactics that promote network development. - identify requirements and provision for both technical
and conceptual requirements of artists and community
participants.SPC has evolved to its current
form in response to such demands from its subscribers
(information SPC is an organisation with unique experience in the utilisation of social space and development of appropriate cultural environments for exchange and experiment.Our model practice,one of self help and skills sharing,is successful at sustaining where commercial and institutional interests are either shy or retired! Our current areas of activity are tuned to emergent data freenetworks,POD (print on demand) publishing and access TV mechanisms where the open sourcing of information at every level has transformed the commercial and cultural landscape and the granulation of services approaches a scale that presents us all with an opportunity to participate in production,inform and entertain ourselves,be the media. Consume,three different ways of active involvement,
interference and experiment within a digital media
zone.Further details you ’ find on this site ’ :
BLINK Blink is a direct access media channel (public access net TV)where both the selection of programs and the authorship of the channel are in the hands of the viewer/listener.Any web-based live or archive streaming mediafile can be conformed to a single channel presentation aperture (web page,FM or cable delivery).We are using the Frequency Clock,an open source project by Radioqualia.Any user can visit the system online and establish a channel of their own upload mediafiles and list URLs to streamingfiles from anywhere on the web. OWN Own.spc.org is a print on demand (POD)project currently in gestation
but which has already toured as part of the Art For Networks exhibition.It
is a web interface to a PDF editor,the template for which is currently
being set to print on a galley press at CONSUME http://consume.net holds the UK’s definitive national record of WiFi
advocacy and open wireless network access points. Over 3000 nodes
sharing internet resources and in regular communication. Community
networking in urban and rural areas in particular has opened the door to
DIY broadband access on an unprecedented scale across the country.
Freenetworkers, community action groups and small businesses are
collaborating to inform each other of the issues and help each other
build ‘user owned and run’ network infrastructure at low costs that
present a real challenge to commercial providers and incumbent telcos.
See:
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THOMSON & CRAIGHEAD [^_^] <<||>>
SHORT FILMS ABOUT FLYING Jon Thomson and Alison Craighead are artists based in London working primarily with video, sound and electronic networked space to create gallery and site-specific artworks and installations. They have exhibited widely both nationally and internationally. Much of Jon and Alison’s gallery and web-based works to date follow the artistic traditions of Appropriation and Manipulation while exploring ways in which New Technologies & Electronic Global Communications Networks are changing the way we perceive the world around us. Recent solo exhibitions include a presentation of their major new work, Short Films about Flying for Mobile Home Gallery in London, and a mini-survey of three recent installations at V2 in Rotterdam. Recent participation in group exhibitions and special commissions include 010101: Art in Technological Times, San Francisco Museum of Modern Art; Art & Money Online, Tate Britain; Beuro Friedrich, Berlin; Game-show at the Massachusetts Museum of Modern Art; Re:mote at The Photographers Gallery, London; BananaRAM in Ancona, Italy and Mobile Phonics at z33, Belgium. Jon and Alison have also recently launched their
online shop, SHORT FILMS ABOUT FLYING Short Films about Flying is a networked installation in which an open edition of unique cinematic works are automatically generated in real-time from existing data found on the world-wide web. Each 'movie' (replete with opening titles and end credits)combines a live video feed from Logan Airport in Boston with randomly loaded net radio sourced from elsewhere in the world.As this relatively good quality video stream is taken from an existing commercial website where its visitors are able to remote control the camera,each 'movie' is 'shot' and 'paced' by its own (albeit unsuspecting)camera person.Additionally,text grabbed from a variety of online message boards is periodically inserted,appearing like cinematic inter- titles when viewed in combination with all the other components.The result is a coherent yet evocative combination of elements that produce an endlessly mutating edition of low-tech mini-movies that we call, Template Cinema. DOT-STORE Dot-store is an attempt to utilise an e-shop environment as a context within which a series of artworks can be delivered both on-and off-line.Since Autumn 2002, dot-store has been producing and selling a range of low cost 'vintage' products that reference both the history of the world wide web and the popular explosion of mobile communications in the 1990s. Dot-store is particularly interested in drawing attention to the blurring of public and private spaces online, and in the increasing overlap between personal testimony and corporate interest.
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