for remixworx, from t minus + Graffiti Papyri

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The 4th edition will take place in London from 3-7 October 2012.

2012 THEME: ‘Unfinity’

We live in a unique moment in history, between two rapidly changing worlds. One is the world of decaying political and economic structures and the other is the world of an infinite explosion in technology and information. There are conflicting mindsets in every part of our culture: the contradiction between ubiquitous virtual presence and physical presence creating an identity crisis; the non-hierarchical, organic web structure clashing with hierarchical, non-organic real-world structures; the myth of the individual as a genius vs the power of the crowd and the collaborative practice; the passive and observant attitude set against active participation and co-creation. These opposing forces are placing us in a paradoxical state that we have named Unfinity.

Unfinity is a pull between these poles, a hybrid space. It’s timeless and uncertain. We believe that to ease the state of Unfinity in a human and meaningful way it is crucial to be creative, to experiment, to challenge and take action.

Alpha-ville 2012 invites artists, designers, thinkers, digital and non-digital people to consider, participate in, create and express what will be the next steps for building an alternative future that, we hope, will belong to the people.

KEYWORDS
Timeless, Hybrid, Infinity, Code, Data, Body, Physicality, Space, Clould Culture, Mixed Reality, Augmented Reality, Experimentation, Unfinished, Future of Art, New Aesthetic, Failure, Prototype, Interactivity, Democratisation, Activism, Hacktivism, Avatars, 3D Printing, Openweb, Smart Cities, Sustainability, Internet of Things, Censorship, Privacy, Identity, Grassroots, Uncertainty, Collaborative Design, DIY, Active Citizenship…

DEADLINES
Submissions close on Friday 22nd June 2012
Moving Image Submissions will close on Sunday 15th July 2012

http://www.alpha-ville.co.uk/submissions/

Proposals are accepted for the following categories:
- Music/Sound
- AV Performances
- Lab, Hack Event or Meet-up
- Moving Image
- Public Interventions
- New Media Art/Multimedia Projects
- Critical: Talks, Panels, Workshops, Presentations, Academic Papers

The Chevrolet Volt is an electric car with ‘extended-range’ capability.

How does it work?

The Volt drives 40-80km on electricity stored in the lithium-ion battery. It emits zero carbon dioxide. When the battery is depleted the gasoline-fueled engine generates electricity to power the electric drive unit while sustaining the charge of the battery. This extends the range of the Volt to more than 500km and eliminates what Chevrolet call the ‘range anxiety’ people tend to associate with pure electric vehicles.

The Volt is recharged by plugging into a 230V household socket within approximately four hours.

It is a five door car with space for four passengers and a 300 litre boot. Acceleration is 0-60mph in approximately nine seconds, and it has a top speed of 100 miles per hour.

5 modes

The Volt has 5 selectable modes (normal, sport, mountain, hold, and low shift) intended to give maximum efficiency and power in varied driving situations.

Normal mode (default): the most efficient mode in terms of power use.

Sport mode: automatically reconfigures the accelerator pedal response to provide quicker torque application.

Mountain mode: changes the propulsion system to provide the battery charge needed in those kind of environments without compromising the car’s performance.

Hold mode: apparently designed specifically for European customers, this allows you to save the battery’s charge until you reach a city where there are zero-emission restrictions or tolls.

Low shift mode: works together with the sport mode to allow a more sporty driving style.

Watch some exclusive additional videos here:

‘Free Range’

‘My Kingdom for a Volt’

‘Range Anxiety Anonymous’

Call for Papers, ZfM Nr. 8 (1/2013)
Special issue: Media Aesthetics

Guest Editors: Erich Hörl (Ruhr-Universität Bochum), Mark B. N. Hansen (Duke University)

“The aesthetic power of feeling”, wrote the late Félix Guattari, seems to be “on the verge of
occupying a privileged position within the collective assemblages of enunciation of our era.” In
discerning a “new aesthetic paradigm” he was not anticipating something along the lines of the
primacy of the institutionalised arts within the social field, but rather a kind of “proto-aesthetic
paradigm”, traversing all universes of value and existential territories, from the arenas of science
and the ethico-political, to the modalities and practices of subjectivation. This general
aestheticisation which Guattari had in mind at the end of the 1980s may be regarded as one of the
first descriptions of a fundamental upheaval in the history of technology and sensation, a change
taking place during the second half of the twentieth century, but especially since the 1990s, and one
which potentially shifts the meaning of aesthetics as such: under the new media-technological
conditions we observe a proto-aesthetic dressing of the present. This means a fundamental
prioritising of the problem of perception and ultimately of all the sensations and affects which
underpin the faculty of perception – such that media aesthetics may well become a fundamental
problem of media studies. At the same time, the aesthetic question thereby proves increasingly to be
a techno-ecological question of the networked and sensory environments in which sensation occurs.

The possible sensorial and sensational facts which characterise the new aesthetic – or more
precisely, media-aesthetic – regime, range from streams of time-objects, as they spread hyperindustrialised
and technologised audiovisual objects on the basis of numerical transfer standards, to
the rise of sensory milieus (e.g. RFID), to the algorithmic environments of the software agencies of
ubiquitous media, ubiquitous computing, ambient intelligence and calm technologies. We are
witnessing the transformation of the “technological unconscious” (Nigel Thrift), and with it the
transformation of the aesthetic conditions and means by which the world appears – the general
backgrounds of existence and experience, and thus the meaning of the world.
This special issue of ZfM sets out to clarify the historical-systematic contours as well as the
political implications of the new aesthetic paradigm. This necessitates focusing on the key
technical-medial scenes of the current sensorial caesura, outlining the associated conceptual
challenges and issues of politics of terminology, in order thereby to contribute to the redescription
of media-aesthetics under technological conditions, in particular those of the new era of social and
mobile media in the network age.

The following central questions are to be addressed: What are the core problems of media aesthetics
that are associated with the technical-medial transformation of the present, and what are the
corresponding media-aesthetic perspectives? What is the meaning of experience, perception,
sensation, subjectivity under these new media-aesthetic conditions? Does the outline of an original
media-aesthetic question emerge, on the ground of the new facts of perception emergent in digital,
networked media systems and algorithmic milieus, which would contrast with the now traditional
philosophical aesthetics? What scenes should be considered, and which semantic frames are
required, in order to seize the media-aesthetic question in its specificity and its urgency? How does
the new conceptual politics relate to traditional aesthetic conceptual regimes – where are the
possible connections, and where do we find a need for other conceptual strategies? What
genealogical scenes for the new media-aesthetic paradigm can be discerned in the twentieth
century? What are the political challenges of the new aesthetic condition? How should we assess
previous attempts to redefine aesthetics under these radical media-technological conditions?

Text submissions (around 25,000 characters, notes and spaces included), by the end of August 2012,
to: erich.hoerl@ruhr-uni-bochum.de

This special issue of ZfM will be published in April 2013.

Language of the publication is German. Papers are accepted in German, English and French; papers
will be translated after peer-review and acceptance.

Typical range is based on educational case-studies, interpersonal or social communication paradigms and interactive multimedia art, interactive multimedia applications, sensor-based multimedia systems, interactive interfaces and interactive sense-enhancing art systems.

To find out more about the journal and the submission page, please visit:

http://www.intechopen.com/journals/show/international_journal_of_interactive_multimedia

These are some of our previously published books related to Multimedia. Like our journal, all our books are free to read, share and download:

Interactive Multimedia: http://www.intechopen.com/books/interactive-multimedia

Multimedia – A Multidisciplinary Approach to Complex Issues: http://www.intechopen.com/books/multimedia-a-multidisciplinary-approach-to-complex-issues

Eligibility: Visual Arts – Artists of all ages, nationalities and backgrounds are eligible to participate.

All artists must agree to donate their works to the museum.

Place of Event: Kumbo – Cameroon

Deadline: 30th September, 2012

Send works to:

ArtXchanges-Global 4 Mus’Art Gallery
P.O Box 21, KUMBO
North West Region,
Cameroon
Africa

The VIDA Award is granted to artistic creations developed using artificial life technology. Among the projects submitted to VIDA, the artists‚ ties to this theme and their choice of media are very diverse.

Throughout its history, the competition has welcomed proposals that challenge the boundary between living and non-living, between natural and synthetic, either by juxtaposing both realities or by creating overlapping spaces for reflection.

As in previous years, contestants are invited to submit proposals in one of two categories:

CATEGORY FINALISED PROJECTS: In this category, Vida 14.0 rewards artistic artificial life projects developed after the year 2010.
A total of 40.000 euros will be divided among the three winning projects chosen by the jury:
First Prize: 18.000 euros;
Second Prize: 14.000 euros;
Third Prize: 8000 euros.

Seven honorary mentions will also be awarded to projects chosen by the jury from among the finalists.

CATEGORY INCENTIVES FOR PRODUCTION: In this category, Vida 14.0 helps to finance artistic artificial life projects that have not yet been produced. It is reserved for artists who are citizens or residents of any country in Latin America, Spain or Portugal. This category is also endowed with 40.000 euros to be divided among the selected projects.

Piemonte Share is announcing a new edition of the Share Prize, the international competition designed to discover, promote and support art in the digital age. Open Your City is the guiding theme for the Share Festival 2012. A theme that contains three key, simple and direct words, the pillars on which this year’s festival programme will be built. ‘Open Your City’ will also provide the blueprint for this year’s Share Prize. An international jury will short-list six finalists for the prize (EUR 2,500.00), who will be invited to take part in the 8th Share Festival.

details: http://www.toshare.it
deadline: June 6 2012

DEADLINE TO APPLY: 9am on 25 June 2012.
COLLABORATION PERIOD: September 2012 – June 2013.
PAYMENT: 12,000 euros + VAT (including travel and accommodation).

Rules of the call and requested researches at http://www.conexionesimprobables.com

Would you like to feature in this year’s Abandon Normal Devices?

Abandon Normal Devices (AND) and Micro Commissions are teaming up to offer a unique opportunity for professional and amateur artists, curators and producers!

We are seeking innovative ideas for an artwork, art project, exhibition or online/digital work responding to the theme of “success” to be presented during AND festival in Manchester from 29 August – 2 September 2012.

This year AND sets out to explore the spectrum of “success” through looking at those who have claimed “failure” to offer more imaginative, co-operative, and insightful ways of being in the world. Whether failure is used as a point of resistance or a destructive action, the AND Festival will focus on pushing success to the limit in order to make us rethink the formula and ask where the lasting value will reside.

We are seeking proposals responding to this theme to animate the spaces surrounding the AND Festival hub at Cornerhouse, such as public spaces, empty spaces, digital spaces and local businesses that stretch down Whitworth Street to the First Street Development and up the Oxford Road to the Universities.

This collaboration provides a unique opportunity for participants from across the UK to submit a proposal costing between £50 – £500. In exceptional cases, there will be additional production budget of up to £500 for projects that demonstrate the need further production investment.

To find out more about AND Micro-Commissions come to our information session on at Cornerhouse at 14:00, Thu 10 May 2012.

HOW TO APPLY
If you would like to be considered for this opportunity please fill in the application form (available from http://tintarts.org/2012/05/04/and-micro-commission/ ) and submit it by email to Christina Millare, AND Festival Programme Intern christina@andfestival.org.uk before 17:00, Thu 24 May 2012