Hello friends!

We’re opening up a digital art gallery in Kansas City, Missouri called the HEX Pixel Gallery that shows Digital / HD Video / and Interactive work. We’ve got a great art scene here, but there’s not a gallery that primarily focuses on video and digital installations.

We will feature the work of one artist for one evening on the first friday of every month, which are huge occasions here in Kansas City.
Our space has 3 large 1080p projectors, media drives, computers and access to a lot of other stuff we can set up that we can use to play back video or interactive art. We are making a point to have no printed collateral of any kind. We’ll be mounting iPads around the space to allow people to read more information about the artist. The displays will also contain a QR code which links to a page with more information. All publicity and signage in the space is digital.

If you are interested in showing at HEX Pixel Gallery please send a CV and/or artist statement and links to a few pieces of your work to contact@hexpixelgallery.com

Things to consider when applying:
1. HEX is heavily focused on high resolution digital work, so please know that HEX prefers HD content over SD, especially for single channel video work.
2. HEX is only open one day a month, so interactive or installation work needs to be temporary and able to be quickly installed and uninstalled.
3. HEX really likes your shoes. Are they new?

http://www.hexpixelgallery.com/

HEX Pixel Gallery
1906 Wyandotte
Kansas City, Missouri 64108
United States of America

Enable your (interactive) artwork to send and receive its inputs and outputs through the "API for art" V1.0 and allow your work to be used as a component in a global interactive artwork mash-up.

http://apiforart.org

For the artists currently present at ISEA2011 a helpdesk will be available.

Hear about the background of the project during a talk by Sander Veenhof and Kasia Molga:

http://isea2011.sabanciuniv.edu/content/changing-vocabularies-digital-art

Thursday September 15th, 5PM - Sabanci Center Istanbul - Room 3

Phoenix Square Film and Digital Media is open to receive proposals from artists working in any medium, as part of is continuous programme of professional development and creative opportunities for artists and cultural producers. The submission process is highly competitive and priority will be given to proposals that demonstrate excellence and innovation in the creative application of technology.

How to prepare yourself
Proposals should be submitted electronically to Andy Jones at Phoenix Square Film and Digital media centre (andy.jones@phoenix.org.uk). Proposals should be submitted in RTF format either as an attachment or as text within the body of the email message and include the following:

1. Project description (500 words)
-How your work relates to Phoenix Square’s programme, its location and vision (please see below for vision statement)
-What is your target audience and how you propose to engage with them and using what form of mediation (beside your artworks and/or practice)
- Description of any specific technologies required to present the work
2. Personal biography (200 words)
3. Examples of previous work (URL, CD, DVD)

Review Process
Completed applications will be evaluated by Phoenix Square’s creative group and external creative advisors. The selection panel meets quarterly and welcomes submissions at any time, but please allow an adequate time for the review process (at least 6 months). Only successful artists will be contacted and asked for a detailed specification of the proposed exhibition. If you are unsuccessful at this stage, we will keep artists details on file for future reference.

DMU Cube exhibitions are an integral part of the creative programme at Phoenix Square and will be promoted in our monthly brochure, website and through our mailing lists and social media.

We regret that Phoenix Square is unable to pay any exhibition fees to artists. Priority will be given to proposals that are fully developed and incur a minimum transport and production cost to Phoenix Square.

Phoenix Square’s Mission

Leicester Arts Centre (LAC) is a registered charity which trades as Phoenix Square Film and

Phoenix Square Film and Digital Media
4 Midland Street, Leicester, LE1 1TG
www.phoenix.org.uk

Digital Media (abbreviated to Phoenix Square). Our mission is to provide audiences and the creative community with high quality opportunities to access, participate in and enjoy the widest range of world cinema and creative digital media.

Digital Programme Mission

Phoenix Square’s digital programme mission is to engage audiences and practitioners in the creation, understanding, and appreciation of new media art and the creative possibilities of digital technologies.

Vision

Our Vision is to become a recognised centre for new media art and creative technologies, placing Leicester and the region at the cutting edge of digital culture by becoming a hub of creative and cultural production. We are committed to creativity in all aspects of our work and will ensure that the digital programme reflects the full potential of creative technologies in artistic experimentation- engaging with changing social and cultural expectations.

What we are looking for

We are looking for original work created with, or about, digital media technologies. The work may take any form, but should always aim to show us something new, and priority will be given to work that demonstrates a high level of critical engagement with its subject matter.

Proposed work may include many technologies and reflect many approaches, but in all cases we expect the finished work to present to the audience or visitor an experience that would not be possible without digital technology. The visitor or audience must always be at the centre of any experience at Phoenix Square.

The call for submissions is open to emerging or established practitioners working in any of the creative industries. This includes – but is not limited to – new media, technology, film/video, the arts (music, visual arts etc) and design (graphic, 3D, architecture, interaction).

These statements are not intended to exclude, but to encompass as much as is reasonable. Phoenix Square invites submissions in these areas as part of its continuous programme of professional development and creative opportunities for artists and cultural producers.

Authors of any genres of Digital Literature (e.g. hypertext fiction/poetry, interactive fiction/poetry, generative fiction/poetry, interactive drama) may request inclusion in the anthology by writing to the email address:

postmaster [at] eliteraturecollection.eu

Requests should be accompanied by:

- a short author biography
- a description of the work (about 120 words)

being submitted in his own language and in English.

Authors can submit up to a maximum of four works per year. The works will be evaluated and reviewed to be hosted and published in the web anthology under Creative Common BY-NC-ND 3.0 License (Attribution-NonCommercial-NoDerivs).

There are also other opportunities to win other funds throughout the year. For more information on Ideas Tap go to http://www.ideastap.com

Babel Fiche is a crowd-sourced film that collects and remixes amateur video footage. During 2011 participants are gathering and selecting contemporary clips which describe everyday life around the Earth. These movie fragments will be printed on colour microfiche – a photographic medium capable of lasting 500 years and simply requiring light and a lens to expand its contents. This analogue throwback might even outlast our current reliance on fragile digital storage.

Babel Fiche is an imaginary media for future anthropologists. It asks which behaviours, objects, traditions and conflicts we want to communicate to a future world. Today’s human cultures, physique and technology will inevitably develop out of all recognition. So how might a future species translate our current times?

Babel Fiche will ponder the problem by animating and remixing the microfiche contents as a series of new short films. This production stage is driven through Wreckamovie, an online platform to help organise participatory movie projects. Babel Fiche wonders if it will be possible to resolve coherent films under these social conditions.

ARTE has established its name in television over the past two decades as a leader in new forms of audiovisual creativity. ARTE Creative is taking the channel a step further by opening new territory and creating a platform where new narrative forms, authors and producers can thrive. ARTE Creative is an international and interactive network complete with editorial services aimed at young artists, cultural producers and all those who love original and inspirational ideas. ARTE Creative showcases outstanding work from the areas of art, pop culture, design and architecture. The platform encompasses a wide variety of creative fields, from photography, painting, street art, new media, net art and video art to music, advertising, gaming, graphics, product design, web design and typography. Within this online community we are working to develop new editorial formats and to explore uncharted territory where Internet and TV interface. With this platform, ARTE actively fosters creative young talent and is intensifying its collaboration with young artists from all over Europe.

ARTE Creative works together with Europe's key universities, festivals and institutions, such as:
ZKM: Professor Peter Weibel, Director of the Center for Art and Media Karlsruhe, presents, once a month, the most outstanding pieces from the Center's collection. The first showing will be Lenara Verle's 'Gridcosm 1000-0000' (2002). Neuer Berliner Kunstverein/Video-Forum: Marius Babias, the organization's director, and curator Kathrin Becker present a key work of video art each month. The forum kicks off with 'Berlin Exercises in Nine Pieces' (1974/75) by Rebecca Horn. Arsenal – Institut für Film und Videokunst: Arsenal will curate the Forum Expanded section of the Berlinale. Each month, the team will also showcase the best in video art. The first work will be Christine Noll Brinckmann's 'Der Fater' (1986). Transmediale: Artistic Director Stephan Kovats presents interviews, his impressions and behind the scenes glimpses into Germany's most important media art festival. Digital Arts International: Each month, the international platform Digitalarti examines the most important representatives of net art – including artists such as Mouchette, Calvacreation, Olga Kisseleva and Grégory Chatonsky. Kunstverein Harburger Bahnhof: Artistic Director Marie Luise Birkholz presents each month young video artists working with experimental narrative forms. Further partners are: Palais de Tokyo, Ars Electronica Futurelab, Hartware MedienKunstVerein, Le Cube, Miami Ad School, Ecole des Gobelins, SupInfoGame, Le Fresnoy, Popakademie, Réseau Art Numerique, Kasseler Dokumentarfilm und Videofest, Atopic, Werkleitz Center for Media Art, Memefest, Festival Temps d´Images, Les Bains numériques, La Gaité Lyrique, State College, Cabinet d´Amateur etc.

And ARTE Creative will build up the biggest virtual group show in history – participating artists are:
Roman Signer, Erwin Wurm, Wim Delvoye, Rebecca Horn, Christian Jankowski, Ubermorgen.com, Swoon, Brad Downey, Elodie Pong, John Wood & Paul Harrison, Aram Bartholl, Ciprian Muresan, Oliver Laric, Guillaume Reymond, Stefan Panhans, Ondrej Brody & Kristofer Paetau, Paul Souviron, Antoine Lejolivet, Evan Roth, Sean Metelerkamp, Alberine Meunier, Roel Wouters, The Wa, Aleksandra Domanovic, Helmut Smits, Jean-Marc Chapoulie, Johannes Post & Julian Scherer, Matze G?rig, Fabrice Hyber, Jean-Marc Chapoulie, Simona Denicolai & Ivo Provoost, Yona Friedman, Matthias Meyer, Bad Beuys Entertainment, Paulina León, Francois Curlet & Michelle Naismith, Judith Hopf & Stephan Geene, Julie Vayssière, A Constructed World, Hein-Godehart Petschulat. Lenka Clayton, Humanic-TV-Spots (f.e. Axel Corti, Otto M. Zykan). ZimmerFrei, Bettina Atala, Nadim Vardag, Dani Gal, Renaud Auguste-Dormeuil, BitteBitteJaja (Roland Rauschmeier & Ulu Braun), John Miller & Takuji Kogo. Pierre Leguillon, Nicolas Aiello, Système, Eric Pries, Ritsche Koch, Maurice Benayoun, Dan Mulloy, Andrew Bruntel, Eran Helelli, Sturla Grovlen, Dennis Knopf, Miltos Manetas, Martin Le Chevallier, Martin Dege, David Wilson, Nina K?nnemann, Davy Force, David Wilson, Erosie, Sebastian Haslauer, Viagrafik, StudioBuro, DAIM, Rick Berkelmans, Merijn Hos, Olivier Cramm, Guillaumit, Roope Eronen, Brecht Vandenbrouke, Siggi Odds, Amandine Urruty, Superoboturbo, Manfred Naescher, Martin Müller, Johan Rosenmunthe, Dennis Duijnhouwer, Ben Rayner, Katarina Soskic/Katapult, Laurent Waechter, Delia Keller, Will Robson Scott, Milos Mali, Slava Mogutin, Sunny Shokrae, Lena Chernyak, Linus Bill, Johan Büsen, Tanya Kernweiss, Tore Rinkveld, Peter Piller, Moritz Herda, Anton Steenbock, Marin Santic, Jorge Soledar, Hannah Ross, Mehryl Levisse, Jana Zornik, Thomas Judisch, Elke Reinhuber, Nathan de Corte, Funa Ye, Berivan Sayici, Márton Medveczky, Linus Dutz, Olivier Cyganek, Maciek Jakóbczyk, Aiko Okamoto, Julian Meisen, Mike Ruiz, Patryk Karbowski, Karel Verhoeven, Meggy Rustamova etc.

JOIN NOW: creative.arte.tv

Suggestions or questions about participating should be sent to the project coordinator Alain Bieber: creative@arte.tv
For press inquiries, please contact Stefanie Krisch: stefanie.krisch@arte.tv

This Is An Invitation

Enpipe Line is a long poem—1,173 kms long. It is one long line¹.
The idea is to go dreams vs. dream in a collaborative poem designed to engulf and overwhelm the structures that allow proposals like Enbridge’s (Northern Gateway Pipelines proposal) to emerge. Broad, no?
Making this poem may take a while. Then again, it may not.
It is certain to take many people.
It will take many visions also.
Already there have been contributions.
These contributions have begun to interact.
How It Works

You send new or existing work (with date and place of creation) to info [at] christineleclerc.com. The work will be measured (300 cm of 12 pt font = 1 km of enpiping²) and posted to this site.
This communique is non-confidential, so please feel free to distribute widely.

There is no submission limit, so please feel free to submit often.

¹ Line breaks (if present) will be indicated with a “/” and blank space will be acknowledged.
² A “Math of the Enpipe Line” communiqué will appear here shortly.

Electronic literature is now an established presence over multiple media, the Web, exhibition venues, conferences, and social networks. Critical texts can be found in numerous online publications and scholars from various fields now approach electronic literature from multiple perspectives. The humanities are ready, it seems, to include electronic literature - or, perhaps, e-lit in the classroom is poised to transform the humanities.

With the relaunch of the Electronic Literature Directory, the ELO provides not only a platform of works but also a forum for critical discussion. As a scholarly resource, the ELD has attracted increasing attention and has recently been featured in the Chronicle of Higher Education's Wired Campus Blog ( http://chronicle.com/blogPost/Electronic-Literature/23991/ )

To populate our collections, ELD editors are seeking additional resources. While we have a number of people from the community submitting and writing entries about works of electronic literature on the ELD, we suspect that there are still many projects to discover. We also suspect that syllabi from scholars and artists teaching e-lit will offer a range of works worth highlighting in the Directory. For the e-lit resources section, we wish to offer our audience contextual, theoretical, and critical scholarly writing. Assigned class readings registered in your syllabi may help us identify projects worthy of consideration and inclusion.

Your data will be treated confidentially and will be used solely for the purpose of populating the ELD. Like all materials on the ELD, this information will be protected by our Creative Commons license and marked with the Creative Commons logo.

Please send syllabi and potential works to
Patricia Tomaszek, ptomaszek.usb@googlemail.com

If you have any questions, please contact us, and we’d be glad to provide further details.

Joseph Tabbi
Project Director, Department of English, University of Illinois at Chicago

Davin Heckman
Editorial Director, Associate Professor, English/Communications, Siena
Heights University

Patricia Tomaszek,
Research Assistant, Media Upheavals, University of Siegen