Chris Joseph

for remix_runran

flash source: rail2.fla [113KB]

http://www.bangshortfilmfestival.com/

Max. length for submitted films is 12 minutes.
VHS (PAL) or DVD (PAL) only for the submission process.
Please mark your entry according to which screening you are submitting for e.g Main, Matinee, bang! in the bar (you can enter a film in more than one category)

Main Event- Films suitable for an adult audience.
Matinee - Films made by Young Filmmakers or suitable for a family audience.
Bangimation - For animation and sequential art.
Community - Films from community groups, schools / colleges and what’s going on in your area? more info
bang! in the bar- see below (CaféBar)

(please contact us with any queries regarding the different screenings)

You are encouraged to download and use our undemanding entry form (PDF). If not, please include your full details, film length and a short summary. Submissions will be acknowledged by e-mail if address provided.

bang! in the bar uses the Broadway CaféBar as a unique venue for screening primarily visual work - films featured in the Cafébar are projected onto a large wall space on a loop throughout the evening both with and without audio. Films with dialogue are not usually suitable. If you have a piece of work which you think is appropriate for this environment, please mark it as a bang! in the bar entry.

Tape submissions should be sent to:
BANG! SHORT FILM FESTIVAL
Broadway Cinema & Media Centre,
14-18 Broad Street,
Nottingham.
NG1 3AL

http://www.machinimaeurope.co.uk

This is your opportunity to show just how good a machinimaker you are, so don’t miss the deadline for submissions to the Awards at Europe’s first MACHINIMA FESTIVAL! Deadline is 8th September, and the Fest takes place at De Montfort University, Leicester, UK, 12-14 October.

Download the submission form at http://www.dmu.ac.uk/machinima/awards_and_submitting/register_and_submit.php then email your completed form to the Festival Manager to tharwood@dmu.ac.uk, making sure you have included a url so that we can begin the review of your film asap. You must then send a hard copy of your form to the Festival Manager, along with the following -

- A high-quality broadcast version of the final work to be uploaded to the area identified on the Festival website (details on the submission form).

- A high-quality broadcast version 1 minute trailer of your work, which will be used to promote it should the piece be nominated for an award.

- A written synopsis of the work (not to exceed 150 words).
Two (2) to three (3) screenshots of the entry in JPG format at 640×480 minimum resolution.

Nominations will be reviewed by a panel of Machinima experts from around the world and the Awards winners will be announced at a high profile event on Saturday night of the Fest, 13th October.

I Look forward to receiving your entry soon.

Good luck

Tracy

Tracy Harwood
Festival Manager
Machinima Festival Europe 07
www.machinimaeurope.co.uk

The Fest is co-organised by the Institute of Creative Technologies (De Montfort University, http://www.ioct.dmu.ac.uk and http://www.dmu.ac.uk) and the Academy of Machinima Arts & Sciences (AMAS - see http://www.machinima.org). The Fest website will shortly be updated with the programme but you may want to register your interest in attending so we can contact you direct with latest news - go to http://www.machinimaeurope.co.uk .

http://www.projectbase.org.uk/events/exploring-open-source

Kate Southworth, from iRes and Glorious Ninth, explores ideas of free software and open source as an area of contemporary art. The talk will provide a context for SUPERFLEX’s FREE BEER project, which is currently being exhibited at Tate St Ives and within the Public Realm.

The talk is FREE and booking can be made through Tate St Ives on 01736 796226 or email visiting.stives@tate.org.uk

Read more

*Digital Fringe* – Call for entries:

Seeking Digital Art submissions - Deadline closes Friday 21st September:

Do you have some digital art that you want seen? Digital Fringe is seeking submissions of digital visual material to broadcast over the Internet as a part of the The Age 2007 Melbourne Fringe Festival: September 26 to October 14.

We are calling for digital art works to display on all screens. These may be stills, animations, video art, short film, abstract pieces, audio, …whatever!

This material will make up part of the general stream which will play on all screens throughout the festival and can be accessed online. Artists will retain the copyright of all works under the Creative Commons licensing scheme.

Digital Fringe is an open access web based digital arts festival that runs in conjunction with The Age 2007 Melbourne Fringe Festival. Connecting to Melbourne and further afield through numerous screens, from the monster screen at Federation Square to a host of other screens around town, Digital Fringe will pop up in the most unlikely places.

For more info log onto www.digitalfringe.com.au

http://www.salondeartedigital.com

:: The next 6th edition of this event will be celebrated from October 1th to 8th, at the Contemporary Art Museum of ZULIA, MACZUL in Maracaibo, Venezuela. The deadline is the 15th of September.

:: All artists living in Venezuela can participate.
:: All artists living abroad can participate as special guests.

:: All artists individually, or as a part of a group, will be allowed to participate in the following categories, with the possibility of obtaining any of the acknowledgments or rewards, including the award Premio de Arte Digital Ciudad de Maracaibo. Each artist can present a maximum of 3 works by category, in a maximum of 2 categories:

1. Printing (Digital Image):
2. Video: Animation 2D, 3D, Flash, Stop Motion.
3. Multimedia: Web Pages, videogames, CD ROM interactive
4. Music
5. Special Projects

trAce Online Journal of Hypertext and Text-art

CALL FOR SUBMISSIONS AND PAPERS

The trAce Online Journal of Hypertext and Text-art will soon be launching its first edition and invites submissions of hypertext, text-art and art-text from practitioners in the field. Work sent for consideration should be constructed with proprietary, commercially available software, such as Flash, Quicktime etc. We also welcome essays relating to narratology, poetics, the use of hyptertext in writing, and discourses on the area of text-art/art-text.

Submissions and enquiries should be directed to trace@beds.ac.uk

[From Marc Garrett]

Welcome to a new Furtherfield…

www.furtherfield.org

We are pleased to announce a new Furtherfield with the creation, design and technical development of a dynamic content management system (CMS). We invite our ever-increasing users, audiences, practitioners, and digitally, cross and poly-culturally focused explorers to continue with us in the discovery of viewing, researching and sharing contemporary media art.

We invite you come and join us:
Create a new user ID by registering either from the front end of the site or via this link -
http://www.furtherfield.org/register.php

New changes/features to Furtherfield include:

- All reviews/interviews of artists projects are now tagged from the front page and through the site, so that users can find related information, either about projects, subjects, artists, groups, interviews, reviewers, genre etc…

- A more comprehensive and user friendly ID card section which include users, artists, reviewers & groups.

- An updated ‘Public Broadcast’ section for visitors/users to add and promote projects and events.

- Under the ‘Public Broadcast’ section on the front page we have set up an area where users can recommend their own favourite reviews, artworks, interviews featured on Furtherfield for others to view.

- New sections for easy access to view artists/reviewers and reviews/articles on Furtherfield.

- Updated system so that reviewers are now able to add their own reviews themselves.

- Updated system so that it is easier for artists and groups to update/add new work, projects and material to their personal ID cards on Furtherfield whenever they wish to.

Remember, Furtherfield is still free and everything is accessible and can be linked from outside of the site itself.

Read more

Another great post from James Bridle at booktwo.org with an alternative take on one of the classic criticisms of electronic literature (”I hate reading from screens!”). James compares the authors of The Guardian’s Writers’ rooms series to ascertain how they compose their books, and identifies the ‘lovers’ of screens (15 authors), ‘haters’ (10) and ‘in-betweens’ (4).

I’m one of those (in-be-)tweeners who composes on paper then transfers to screen at a later point. I find staring at a blank sheet of paper much more inspiring than at a blank screen; the physical motion of the pen on paper is more pleasant than fingers on keys; and it is still much easier to sketch/doodle/write upside down or in circles on paper than in any word processor I’ve seen (admittedly, ’straight’ text novelists may not have the flexible doodling requirement that I require for first drafts of multimedia writing). Finally typing/drawing everything up on to a computer at a later stage encourages me to assess and edit with a fresh head.

This particular booktwo post is investigating the author’s side of the electronic vs print discussion, so it doesn’t delve into the obvious issues of screen legibility. However there are many other excellent posts on booktwo that do, so I strongly recommend looking through the archives. My feeling is that screen reading is certainly still too tiring for most people’s eyes, but this won’t be the case in 10-15 years time when the rapidly developing new screen technologies are widespread. Portable reading technologies will also help change the need to sit at a (computer) desk and read, which is certainly less comfortable and convenient than reading a book on a sofa, on the train, or in the bath (to quote a favourite Margaret Atwood complaint about electronic books).

New portable technologies may bring their own restrictions, of course: reading a 100,000 word novel on a mobile phone screen will always seem ambitious at best (iPhones?), an utter pain the backside at worst (generally any phone from Motorola), unless phone tech changes fairly dramatically. But poetry and short stories could flourish within those restrictions on screen size. Similarly collaborative efforts like A Million Penguins or interactive and participatory fiction could really take off on mobile and net-connected reading devices.

Then there are the thousands of multimedia, generative and participatory works that will always require reading from a screen rather than a printed page; then there is the hugely interesting potential for crossover devices such as Manolis Kelaidis‘ blueBook (for more on this see the Nov 2006 booktwo post, or the June 2007 post by Tim O’Reilly after this years O’Reilly conference, where Manolis and the blueBook were the undisputed stars).

So, plenty to keep persuading those screen-haters that they really are missing out, and that this particular ‘fad’ (i.e. electronic literature) is here to stay (and no, screens will not REPLACE books, just supplement them). If you are an e-author just remember (for now) not to expect your readers to sit through dissertation-length texts… and stay clear of those ‘interesting’ aesthetic choices such as pink text on lime green pages.

Lighthouse Arts and Training are looking for an experienced and highly motivated person to run their programme of creative and professional development initiatives for artists working with the moving image, animation and digital technology.

Lighthouse run a programme of work for artists incorporating commissions, masterclasses, training courses and networking events. The Media Arts Project Manager will develop and expand this work to provide a comprehensive programme of activity for artists at various stages in their careers.

Having recently moved into brand new premises in the Argus Building in central Brighton, with improved facilities and exhibition space, this vacancy provides an excellent opportunity for a dynamic and enthusiastic person to play a key role in the next phase of our development.

The deadline for applications is Friday 21st September 2007.
More: http://www.lighthouse.org.uk/about/mapm.htm

This post is funded by the Esmee Fairbairn Foundation.