| Version>05: Invincible Desire DEADLINE: February 28, 2005. SEND US YOUR IDEAS AND PROPOSALS FOR: Submit to join us. For an idea of the types of projects that have been featured at past Version festivals please check out Version>04 Submissions. |
Version>05 Submissions: Submissions Are Now Closed. |
| alex killough, conglomco media net web, alexkillough@yahoo.com | |
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Meta[cc].net Meta-CC seeks to create an open forum for real time discussion, commentary, and cross-refrencing of electronic news and televised media. By combining strategies employed in web-based discussion forums, blogs , tele-text subtitling, on demand video streaming, and search engines, the open captioning format employed by Meta-CC will allow users to gain multiple perspectives and resources engaging current events. The Fox News Channel in the U.S. will be archived as our initial source material, but the system we are developing is adaptable for use with any cable news or television network.  |
| Allen Conkle, Nomenil, allen@nomenil.com | |
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A Commercial Failure Simultaneous Live Performance....Transportating the unconscious towards the end of the line. Mirroring mass lemming motions repeated daily. "A Commercial Failure"...semi-spomtaneous acts of activist activation through mirroring. Six groups of performers will simultaneously perform on various subway lines reinacting character studies of corporate workers and machines scripted improvisational prettiness. Inner monolgues are outer expressions...dance numbers erupt...all joining forces at Clark and Lake proceeding to the streets where passersby will be told that they are beautiful just as they are and cannot purchase safety at any price. |
| leon cull, C6, leon@c6.org | |
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Want and Need Want & Need is the latest in a long line of C6 street interventions aimed at the public through their mobile phones. An aggressive street campaign including stencils, stickers and printed media will invite the public to provide visual content for a gallery audience. The sms sent is converted into graphics of the objects of their desire using the text sent examples of this can be seen at www.c6.org/want and www.c6.org/need C6 are looking for locations and populaces to host this work, the numbers used in the campaigns are local numbers and the cost to the user is that of a local sms call. later this month will see c6's occupation of Oslo for two weeks before Detox's show on February the 4th. A series of interventions are planned for the street and public transport networks, which will be updated throughout the month. This can be seen at www.c6.org/wantandneed/ a cv can be found at www.c6.org/archive/cv/cv.html press comments can be found at www.c6.org/press/ a directory of previous works at: www.c6.org  |
| marcello mercado, marcello@khm.de | |
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"Goedel 1, 2, 3" "Developing Goedel´s ideas in the streets of Köln as a 3-dimensional grid x-y-z coordinates and biological-no-sense actions-experiments Objective: Looking for consistency.Arithmetic operations, mathematical conventions The Scene as a surveillance-digestive system. The esophagic militarization. Decimalized stocks and police units Hollowing out series of formulae. Female adult Wistar rat was used in this performance, except in the determination of the formula PRFT(x, y) turnover in whole brain-stomach and in turning behavior performances, where adult mice (Rockefeller-W1 strain) weighing 25+- 2g were employed..." |
| marcello mercado, marcello@khm.de | |
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"Mutter" Net Project- Mutter/genetic-political-monthly cartoon et us try to check whether the assertion of G-Mutter is true or false. 1. First, let us assume that PA proves G-Mutter, and k is the number of this proof. Then prf(G, k) is true and hence, PA proves: PRF(G-Mutter, k), PA proves: EyPRF(G-Mutter, y), PA proves: ~G |
| marcello mercado, marcello@khm.de | |
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"Sections of Nothing -Nothing " Objects / In A Network Of Tangled-Up / Porous Graduation-System / Every Fragment / Lighted Up +- 5 Grade-Centigrade / Lights Options / Space Sterilized / In Ethylene Oxide Chambers/ Immediate Stiffness / >From Now On / Bodies Are Checked/ Corruption Centers / The Need Of Avoiding / Any Heat-Foam / Generating Movement / A Regular-Constant-Limit Alteration / |
| Michael Carreira, Sonic Supper, ghtkf@yahoo.com | |
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718/303-9553 Sonic Supper is a friendly venue for curious music. We use the telephone to share curious music with a large and broad audience. Yes it is that simple: call the number (718/303-9553) to listen to a few minutes of music. Leave a message to tell us what you think. New music is featured weekly. We use postcards, stickering, postering, and other street level advertising to get the word out.  |
| Greg Scranton, Regis Ferguson Collective, greg@tactical20.com | |
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Gesture Lesson Gesture Lesson is a single channel video work that explores the nature of our contemporary disembodied gestures through physical performance, digitally synthesized sound, and algorithmic imaging. The work investigates the advancement, hybridization, and disappearance of the human gesture, as it relates directly to our implementation and use of affordable emergent technologies.  |
| Dana Karwas, dk22, dlk253@nyu.edu | |
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cell.SPACE cell.SPACE is a project that generates text into spoken word and customized graphics. cell.SPACE composes freestyle lyrics from cell phone text messages in the form of a short live music video with the graphics and text lyrics controlled by the beat. cell.SPACE takes text and turns it into a new category of freestyle text message expression. Users can send text messages from their cell phones or send emails to dana@dk22.com and have their written text messages show up on the screen with a voice accompanying the text. Simultaneously a hip hop instrumental is creating and guiding the voice so the text from the cell phone or email becomes the lyrics. cell.SPACE has 21 different voices to choose from including male, female, creature, robot, and even a voice that mimics human laughter. Instead of just being read back to the user, the voice is controlled by the beat of the music. Essentially cell.SPACE takes the text or email messages and freestyles your text back to you. With a simple text message and press of a button users can have their text messages and emails take on a voice and sound of their own. cell.SPACE was derived out of the idea of being able to use your cell phone to control the sound and graphics in a space. Remotely users can send messages as text or images to make their voice heard. Why? Aside from a general desire to have the program Max/MSP/Jitter controlling text and images being sent from cell phones and emails I am interested in the ability to remotely control the collective audio and visual aspects of public spaces with mobile devices. Mobility is constantly defining, recycling, disposing, and reinterpreting the idea of identity. Cell phones offer an extension of and a portal into ones own identity. cell.SPACE exposes the very conscious connection to ones mobile identity by bringing the sounds and visions of mobility to the edges of digital space.  |
| Anne Leighton, Leightonmedia@aol.com | |
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USING YOUR ART & THE MEDIA TO COMFORT PEOPLE I wrote and published my first book, USING YOUR ART & THE MEDIA TO COMFORT PEOPLE, and am doing workshops on how artists and activists can use the media to further their work. At the same time I'm starting work on a new book called CLEARING THE CHANNELS. It shows how a variety of artists have created their own career opportunities by doing their art, packaging and improving it. Filmmakers don't need to go to Hollywood, radio personalities don't need to be hired, the technology for creation and promotion is here. |
| Robert Praxmarer, IO, cubic@servus.at | |
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fun anyone ? Video  |
| Robert Praxmarer, cubic@servus.at | |
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(t)Error Computer Game, Installation, read webpage  |
| Jordan Schachter, Oil and Water Films, jordan@machineborn.com | |
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Are We Having Fun Yet? The Quest For Happiness An experimental video/web project - How does mainstream media reflect our wants vs. teaching us what we “should” pursue? We’ll explore storytelling as a mirror of the existing society, and simultaneously, a (conscious or unconscious) tool of creating consensus about how to find fulfillment in America. This “consensus-creating tool” is not some anonymous corporate machine, so we will also examine how the creator's subconscious inhabits the end product. Using our experience making a full-length feature film, and award-winning shorts, we will integrate professional actors with ordinary people. Reality TV has blurred the line between real person and fictional character – we now have a context for what – now can be simply stated as – “We’re going to put real people into the story of their lives/dreams/fears.” The process: 1) Applicants describe current pursuit of happiness. 2) We spontaneously encounter them with actors, and film their interaction. 3) If they display ability to improvise, the end product will be a series of short films, interviews with the participants, philosophers, academics and psychologists discussing both - from a macro-cultural level - how people find happiness in modern society - and from an internal psychoanalytic interpretation - what are the needs and desires of this person, are they being fulfilled, and what challenges must they overcome to be satisfied in life. We will have diversity of social class and race in participants. The website will contain video clips of the short films, a written analysis, and be interactive. Note: We own a Digi-beta quality camera and Final Cut Pro system.  |
| THOMAS DUMKE, DS-X.org, thomas@ds-x.org | |
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Image - controlled sound nanospheres Image - controlled sound nanospheres by DS-X.org …….……………………. in co-operation with Max-Planck Institute of Molecular Cell Biology and Genetics Dresden viewing and manipulating the atomic world - exploring the nano-world Similar to the scientists who work at the MPI CBG Dresden, DS-X.org plays with the categories of sound and image. The only difference being that we focus on the technology of programming as a form of art and as a means of research. We use preset material and re-interpret the same, or, provide new forms to perceive it, thus thematising the image- and sound-generating process of transfer itself. The objectivity of the images is questioned. We offer an acoustic and several visual perceptions for the reception of the nanosphere and the behaviour of mitotic spindles. From the original material of the MPI CBG, we proceed our work by using a procedure which is based on the analysis of information. By means of motion tracking, the shown spindle movements are transferred into numerical information. Hence, the captured movements provide the basic structure for the visual and acoustic interpretation. The patches we programmed allow for a new combination of the material, for a changed temporal order of events and for the presentation of the orders of events in the form of a new audio-visual composition. Thus, MPI CBG provides unique material for the creation of new sound and image spheres which bring a layer closer to us which also concerns our body.  |
| jim ryan, the shenanigans, jim@smallbrainrecords.com | |
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audio/video battle I jim ryan, on behalf of the shenanigans, propose to do battle with potter belmar labs. a battle of sound and video, where the audience selects themes, and the teams go into the field of conflict: this will be round three of the a/v battle which started in lansing, mi, next step will be sync 05, in ann arbor, mi: rules as follows: show off round (3 min each) round 1: subject chosen from deck of 20, at random by an audience member (5 min each) each team gets a different subject round 2: subject chosen from deck of 20, at random by an audience member (5 min each) each team gets the same subject round 3: surprise topic, chosen randomly from 4 possible (10 min each) vetos and performance order both play a part... coin tosses, rock-sciccors-paper, etc. teams had only 1 minute to get their shit together to improvise... this seemed really short. It makes more sense to have more prep time (like 5 minutes)... that way everyone gets a better show.  |
| mark cooley, mgc868f@smsu.edu | |
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american dreams american dreams is an interactive installation making use of common department store packaging and display aesthetics where gallery participants may self reflectively play the role of consumers while uncovering unsettling relationships between free market globalization, military domination, and cultural indoctrination. The installation represents an ongoing meditation on the abuse of power and prevailing mythologies and ideologies of US culture.  |
| Milton Rand Kalman, Billboard Liberation Front, mrk@billboardliberation.com | |
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Citizens Against Killer Robots http://www.billboardliberation.com/robot.html The Billboard Liberation Front, Citizens Against Killer Robots Call for Emergency Action from Governor's Office The time has come for our leaders to stop sweeping the threat under the rug, and demonstrate the courage necessary to face down the hordes of androids that are taking over every aspect of life in the great state of California before it is too late for us all. How long will government stand idly by while mindless automatons proliferate in our schools, our Indian casinos, our lobbying groups?  |
| Victor Grigas, t3xt@hotmail.com | |
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Electro Cam Herd A very short (38 second) video clip. All the sound is human beatboxing, and all the visual is Star Wars Stormtroopers behaving aggressively. (NOT CLIPS FROM MOVIES) I have a 1.5MB MP4 I can email to any interested party. Also I have several more rather short clips, too. Robot - A giant red robot makes hip-hop poses, aims guns at pedestrians, while bush quotes play. Reich Rauch - A German National gets stoned for the first time, and declares 'If Arnold Schwarzenegger can be king of Cal-E-forn-I-A, Then I can run the 4th Reich'. the total of all these put together would be about 2min 30 sec. :) |
| josh ippel, dynamite, joshippel@hotmail.com | |
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potential energy For the last two years Dynamite has been interested in making connections with collaborative groups in order to learn from their experiences, observe other working models, exchange ideas and share resources. Potential Energy continues this interest. Over the course of our time working together, we have seen numerous ideas (our own and other's) that have never been realized. For one reason or another – time constraints, the laws of physics, lack of resources, or utter infeasibility – many projects and ideas are discarded, unrealized or implausible. Potential Energy will consist of a collection of these unrealized projects from a number of collaborative groups. Each participant will design an image and/or text illustrating a project they have been unable to complete. These designs will be in greyscale on 8.5x11" or A4 paper. The images will be collected, reproduced and packaged and a unit containing all the designs will be sent to each participant. Each group is encouraged to display this set of images in a space of their choosing. In addition to these impromptu exhibitions, a series of core events are being planned to display the project in Grand Rapids, MI, Chicago, IL, Philadelphia, PA, and Portland, OR. In order to facilitate exhibition, each design may be enlarged to poster size using a black and white plotter printer (found at most copy shops) or using another enlarging method. |
| Christian Hales, Anti-Matter Music, dj_tapedek@hotmail.com | |
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Massive culture shock Shocking to watch a group of urban southside teens blend several types of music normally not thought to be blended together (e.g. jungle, hip-hop, house, broken beat, electro, disco, etc) while still maintaining the attention of the crowd through weird, yet captivating song selection (preformed last year alongside Sharkula aka Thig a mah jiggee at Version 04)  |
| Wilfried Agricola de Col, info@agricola-de-cologne.de | |
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138 seconds of peace? 138 seconds of peace? http://www.nmartproject.net/agricola/mpc/volume6/138seconds.html What is peace? An illusion or just a pipe-dream? Is it only the state of non-war, the state of non-conflict? Is the state of peace not against the animal nature of the human being? Doesn't represent peace (like harmony) an essential human desire on one hand, but the most instabile one, and having it, who can stand it? Aren't peace and war not degraded to mere consuming good of humans who have lost any sense for humanity? The human evolution is a history of war, not the history of peace. Isn't it?? 138 seconds of peace? a net based art work by Agricola de Cologne, was launched online on 19 March 2003 when the Iraq war began, and points to these and other questions not only in times of war.  |
| Wilfried Agricola de Col, info@agricola-de-cologne.de | |
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Inability of Being Nude "Inability of Being Nude” http://www.nmartproject.net/agricola/mpc/volume11/nude.html digital video by media artist Agricola de Cologne, Inability of Being Nude The moving picture takes the classical theme of the “nude” in a contemporary interpretation as a psychological condition. The viewer is confronted with different levels of movements of baring/exposing. He becomes very quickly aware, that he did not enter a peep-show, but is disturbing intimacy, the process of emptiness. Emptiness in the sense of meditating. The nude is a metaphore. The Inability of Being Nude becomes the inability of exposing one's entire internal to other people, including those who are most intimate and this could be the viewer himself. This inability is in the same way protecting as separating.  |
| Wilfried Agricola de Col, info@agricola-de-cologne.de | |
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Women: Memory of Repression in Argentina The project is about the darkest times of Argentine history during the military regimes when thousand of people disappeared.The Mothers of Plaze de Mayo organized resistance through weekly demonstrations against Argentine totalitarism and the forgetting. This artistic project is a curatorial environment by Raquel Partnoy (Argentina) and Agricola de Cologne (Germany), including a number of testinomies and reflections about these times by young Argentine female artists as Marina Zerbarini, Irene Coremberg, Andamio Contiguo and Anahi Caceres and her extended ArteUna network.  |
| Miguel Cortez, Polvo, polvoarte@yahoo.com | |
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polvo @ version>05 For the NFO art expo. Polvo will promote the work of 3 artists: Harold Mendez, Anna Mayer, and Jaime Mendoza. These artists will create 3 installations, experimental with either a political or conceptual edge. Below you can find samples of their work: http://subaltern.org/jaime.htm http://www.subaltern.org/annam.htm http://subaltern.org/tourismcenter.htm  |
| jody zellen, jodyzel@aol.com | |
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Disembodied Voices "Disembodied Voices," 2004 is a five projector multi-sensory interactive installation in which the viewer moves through a series of experiences exploring the differences between public and private life and how the global phenomenon of cell-phone conversations-those half public, disembodied conversations have become a ubiquitous irritant in contemporary society.  |
| Scott Rogers, coin.operated.boi@gmail.com | |
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ctrl + alt + god my propnoise band Ctrl+Alt+God would like to perform at version. its a performance art peice combining noise, film, some danger (but just enough :) ) by combining electronic noise and lights and film projected over the entire set it can create a very cool experience. |
| scott rogers, coin.operated.boi@gmail.com | |
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senate Id like to give a speech on the possibility of ANI spoofing (aka CPN spoofing). ANI (automatic number identification) spoofing is where someone like me could actually spoof his number to make it look like another person however its not like caller ID because if anyone traces the number it traces back to the spoofed address. for instance im from 555 123 1234 and my address is 123 anytown USA i can spoof my phone number to be 555 321 4321 whos address is 321 anycity USA and it would trace back to that address. there are many applications in ANI/CPN spoofing and with the advent of voIP the possibilities are more endless. |
| jason stevens, Potter-Belmar Labs, spoke@potterbelmar.org | |
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improvised cinema The Shenanigans challenged Potter-Belmar Labs to a battle! (earlier submission) I, jason jay stevens, on behalf of Potter-Belmar Labs, certainly accept this challenge. Sounds like an evening of lively entertainment. Alternately, we'd love to showcase the chosen artform we share with the Shenanigans, what we call improvised cinema. In our brand, we mix audio and video samples and self-composed works, cut-up and stitched together in realtime. We perform in theaters and alternative spaces. Spectacle.  |
| Barbara Lattanzi, threads@wildernesspuppets.net | |
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C-SPAN Karaoke C-SPAN KARAOKE is free software for collaborative and convivial viewing of public policy-making processes. C-SPAN KARAOKE displays media that streams from public archives of the CSPAN.org website, along with karaoke tunes gleaned from various free offerings on the web. So, gather together with friends and loosen up those vocal cords... While you are navigating the flows of institutional political process, faithfully and invaluably documented by CSPAN, you can always break out in song...and the louder the better. Use CSPAN KARAOKE and your voice in collective chorus with friends, to navigate CSPAN video streams - whether these are representations of illegitimate authority or suspect versions of reality. Sing with conviction, because resonant frequencies have been known to shatter glass.  |
| Robert Ladislas Derr, derr2000@hotmail.com | |
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Lunch Break Similar to Void, a peripatetic performance through the streets of Dublin, Ireland in June 2004 for the ReJoyce Dublin 2004 Festival, I am proposing Lunch Break, a psychogeographical study of the business district in downtown Chicago for Version 05. |
| mladen stropnik, mlady, stropnikm@gmail.com | |
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kiborg bed *INTERACTIONS (video projections - when people are around it is video istalation) in which people can contact or play with artificial art life on the street or in a gallery. I put a lot on colours, feelings, economics of making art, aesthetics of superficiality, simplicity and stuff that makes my blood go around jumping. My roots of research goes in to science fiction, robot sex, way of »human« life in future. |
| Martin Dege, and Gabriele Schettler, europe@aproposweb.de | |
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"the voice of Europe" call 0049-561-8045360 Dear Children, dear Parents, for our art project "the voice of Europe" we are searching for children with their parents from all countries of Europe, who support us. We want to make an electronic picture-book, in which you can hear some selected sounds of animals in all European languages. Therefore we need a children's voice of each European country, which imitates the sound of 5 animals in its native language. These animals are: cow, sheep, cock, dog and cat ("what's the sound of a cow?"). The children should be between 3 and 10 years old. For the sound recording we have an answering machine. Please call us with your child on the number 0049-561-8045360 and let your child say the sounds of the animals. In any case tell us also your native country, the first name and the age of your child (as possible in English). Please get more informations on: http://www.aproposweb.de/the_voice_of_europe/welcome.html and inform yourself about the current situation of our project. If you know other families with children of one of the European countries which would enjoy to participate in our project, please forward this mail to them. From each country we need about 3 - 4 children. We want to make clear, that this is no commercial business. Only the voices of the children participate on our art project.We intend to publish the electonic picture book in the beginning of 2005 on the website http://www.the-vioce-of-europe.com http://www.madege.de/aktuell.html |
| matthias goetzelmann, flowerpiece@gmx.net | |
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Ebenbilder - Spitting Images Ebenbilder (Spitting Images) An army of clones, robots, perfect males are walking up to the recipient, producing a rusty sound of steel. |
| matthias goetzelmann, flowerpiece@gmx.net | |
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Leben im Quadrat - Life in the Square ÅgLeben im QuadratÅg (Life in the Square) is an animated film just under 5 minutes long. The film shows a shape undergoing what looks like mitosis and consisting of infinitely reproducing cubes. The viewpoint becomes ever more intensely focused on an individual cell of this structure. - Nomination: Grand Prix Digital /noninteractive Art ACA Media Arts Festival Tokyo/Japan - Winner Chigaco Motion graphics Festival Chicago/USA |
| stefan hager, Transordinator, dialogue@transordinator.de | |
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HYPERTEXT and HAPPENING A publication of short hypertext happenings. |
| susanne schuricht, sushu, su_schuricht@yahoo.com | |
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finalklein non narrative video - finalklein is inspired by the japanese "ma". It is in the sense of Mc Luhan a "cool" Media, that is stimulating the audience to complete the visual media content: Interaction takes place between viewer and image by means of a projective imagination. The work finalklein shows a surface divided into equal rectangles. Each of the partitioned rectangles displays the same film sequence. The same film is played asynchronously, meaning each individual film sequence begins marginally earlier or later than the others; but as the film continues the impressions start to merge, constituting a moving organism like configuration. In the web version, the internet connection and the browser decide the pattern of the movie. finalklein is a minimalist drama with one hand, one film and twelve asynchronous playing sequences of that film. The web version of finalklein is with music, composed by Klaus Wagner.  |
| Susana Cook, Tango Lesbiango, susana.cook@mindspring.com | |
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The Values Horror Show The Values Horror Show is a performance art project that will open in new York City in March 24-26, at Dixon Place. Written and Directed by Susana Cook, featuring Mistah, Simba Yangala, Migdalia Jimenez,Felice Shays and Jasmine Presson.  |
| Andrei Thomaz, andreithomaz@gmail.com | |
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Uses of Space In this project, we will do several kinds of monitoring of space usages, each one resulting in a different work. We start with N Ways of Using the Space, in which people are invited to monitor a space, of their choice, and then send the results (pictures, texts, any kind of observation) to the site, and with Parque da Harmonia, in which we will monitor the usage of one of the main parks of Porto Alegre city.  |
| isabelle jenniches, ij@9nerds.com | |
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JUST WATCH 3 channel video installation, animation of webcam captures on DVD, 22 min (loop) JUST WATCH was titled after the function of a robotic webcam that allows viewers to observe the choices of other users in real-time -as if seeing through somebody else's eyes. In the installation three different points of view are being tracked as they focus on the same event from different angles or switch over to another camera. The montage merges inside and outside, research barracks and serene scenery in Antarctica, a forest of antennas on top of the Empire State Building and a busy clean room in the Nasa Goddard Center.  |
| Matthew Steinke, Sentience, matt@matthewsteinke.com | |
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Ghost Appeaser Our project takes the narrative form of a video game demonstration. The main characters in the story are two puppets representing children who suffer from physical defects and afflictions. They will be made of micro-controlled toy parts operated in conjunction with pre-recorded sound and video tracks. The puppets will also respond to selected stimuli in their environment. In the setting of a marketing demonstration, they participate in a video game that also comes across as something of both a pseudoscience documentary and a Christian infomercial. The game assigns them characters of ghosts (quite similar to the puppets/children) who communicate with other ghosts. My collaborator, Bert Stabler, and I will operate the puppets as part of the performance. We have worked together on an absurd science-fiction / horror video feature, "The Intangible Under-Umbra." This will be a performance that, while not confronting people in public space, tries to make those who come to see it think some more about the convergence through commerce of ideology, spirituality, and psychology. The example at the URL below is not an actual puppet we would use for this performance.  |
| ALEXANDRO LADAGA, ELASTIC Group Of Artistic Research, info@elasticgroup.com | |
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Subliminal Vienna Subliminal Vienna is a site specific video installation produced at the WUK Kulturzentrum and Workstation in Vienna for the "Mapping the City" residence, curated by kforumvienna. Subliminal Vienna is an X-ray map of the subliminal layers of the Freud's city, a visionary portrait of subliminal metropolitan signs, symbols and icons as a body-citizen digital landscape |
| M. Kinsella, devnull@zarafa.net | |
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ExcuseMaker Technology was supposed to increase our leisure time and give us tools to reclaim our lives. As we know, our reality is often the reverse. Our free-time is dissected into ever-decreasing units, we are tethered to cell-phones, and the complexity of our obligations continue to grow. Excuse maker is an internet project to reverse this trend. Excuse maker harnesses the collective power of the internet to bring you the excuse you need, when you need it. Want to get out of work for a day? Need to get out of a distasteful invitation? Can't find your homework? In addition to helping you find the right excuse--excuse maker also tracks your excuse usage. You'll never re-use an old excuse again. Search for the right excuse by category, audience and requirements. Also use cross-referenced medical, travel and weather information to keep your story straight. Excuse maker will be available via the web, WAP-enabled cell phones, PDAs and SMS. |
| chiara passa, chiapa@libero.it | |
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exyen(z)sion project III Animation, 4’05’’ dvd 2003. Sound track ‘Orbiting’ by Mokamed. The projection reconstruct the inside of a house, as a virtual extension in motion of the architectonic space (like an animated “tromp l’eoil” on the ‘Z’ raw co-ordinate). Are just the “environments” in motion, which, crossing the spectator, leads it to an ‘unfinished spaces”. So the spectator is forced to confront himself with a other atmosphere, a ‘digital-where’. This dimension is by now ours, the fourth dimension. A performance idea is the base of my artwork. Watching “Exten(z)sion Project “ you will see a place which moves naturally beyond its functionality. Therefore, I invented and attributed to my animation the term "Super-place". Exactly the contrary happens in the "no-where" in which static presences have only the function to receive temporarily. It is just the notion of space or better of ‘place’ that I probe in my artworks. I’m searching new possibility and ‘dimensions’, which the digital world ,not so much separated from the "real one" offers. I think and I do three-dimensional animations which construct virtual architectures and territories beyond the corporeal limits, to create others. The synthetic shape becomes design, structure, architecture and truth. If the space is the extension in all the directions, by our intuitions, of the real world, in which material bodies are placed, my research wants to expand these possibilities of perception. |
| Randall Bailey, My Fairy Prince, lordscabula@sbcglobal.net | |
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21st Century Death of the Human Brain A death beam / from outer space / My Fairy Prince would perform for Version>05 / sent by those who deny universe / trigger self destruction of entire human brain / useless for those who wish to control it / you=left with no other option than to rid Control of its most valuable resource / My Fairy Prince is anti-Universe space music / earthbound brain washing visions of Korean infants pierced by fangs of 1950's home movies / high pitched / intentionally ignorant of technology / a race of wolves outside universe / anti-space / with nothing between our legs / holes half pile our heads / exploding bodies and human waste / high pitched oscillations / dirty thumps / primitive synthesis as the sound of dying stars / space wind and dust / ...charred earth / the celebration of disguise / My Fairy Prince presents a new brainwashing technique guaranteed to fail / the gesture is all that we provide / an empty space is all that we require / double transmission of information with live sound - 2005.  |
| Conor McGarrigle, | |
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Cyclops Cyclops is part of an ongoing narrative series of works about artists creating and living in a city(Dublin) and their relationship with the city. Each episode is based on a chapter in Joyce's Ulysses. In Cyclops the viewer assumes the role of an unidentified security officer monitoring te vast network of surveillance camera in Dublin's Temple Bar area as he tracks our protagonist, Artie Doyle, but the city presented in these narratives is an enhanced city, a city of grand gestures and declamatory statements where the inner life of the citizens, their thoughts, hopes and desires become manifest in the streetscape and the fabric of the city. The ultimate dream of te surveillers?  |
| Nicole Cousino, enzyprod@yahoo.com | |
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SPEAKHERE! SPEAKHERE! links bodies across space through sound. By setting up a speaker’s “hole” mounted on a busy intersection of Chicago and a speaker mounted in a park or alternative public space, personal songs, words, utterances or whispers will be transmitted in real-time to an unsuspecting audience. |
| Pink Nun, nunsopink@yahoo.com | |
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You are not fast food Infiltrate CTA cars with fake Ad posters. The posters are the same size as real subway posters that are displayed overhead, and are an imitation of a McDonald's Ad, only the image and text have been changed and subverted to a new meaning: You are not fast food. It is a campaign that: We are sick of the representations of women and sexuality in culture. We are NOT objects-we are NOT FAST FOOD. We are NOT TO BE CONSUMED. Take care in sexual choices/Think for yourself. Possible appearances by the pink nun, and posters in neighborhoods also.  |
| andy holck, iconolater, andy@iconolater.com | |
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theater of war the automatic war we create will grow like an exotic plant. everyone will want to have it. these paintings expose the hidden nature of automation.  |
| andy holck, iconolater, andy@iconolater.com | |
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theater of war desire to become god  |
| Terry Cuddy, tcuddy@bci.net | |
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Eternal Shame Eternal Shame starts off innocently enough as a fake home improvement show entitled At Home. But as the video progresses darker undertones emerge that eventually address the United States' handling of the Abu Ghraib prison torture scandal. The popularity of home improvement, remodeling, and reality shows is a trend symptomatic of domesticity as apathy. Eternal Shame is a video that condemns the United States and its reticence during the Abu Ghraib scandal. Since the photos have been released in May 2004, both coverage and investigations seem to have disappeared from public attention. As the mainstream news cycle is refreshed everyday, the public memory follows its lead. This video combines narrative and structural devices to propose a practical method to counter these trends. The remodeled room transforms into the dingy prison room where one of the most iconic photographs were taken - the hooded man standing on a box attached to electrodes. Only in this room the figure and box have been "photoshopped" out, erased. The audience is at first looking at an empty room. A narrator's voice begins to address the audience about memory, repression and erasure. As the narrator speaks a hand enters the frame with a magnet and begins to re-draw the figure within the frame. In doing so a ghostly image emerges on the screen, apparently burned into the monitor, so that even when the channels are changed the silhouette of that figure permanently remains. |
| Terry Cuddy, tcuddy@bci.net | |
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Chronicles From the Cold War to the present day, the United States has emerged as a world power. As a result, the American family had the opportunity to enjoy a life of comfort and material excess like no other time in domestic history. Meanwhile, tumultuous events that have shaped the international stage tell another kind of history. Do these histories have anything to do with one another? The Cronk family, as a fiction, is every American family. We learn about this family from reading the information 24 placards placed in 24 different refrigerators in 24 different kitchens. A camera follows a man invading each house in search of the refrigerator. The information on these placards survey nearly 60 years of events in the Cronk family household. The seemingly mundane events occur simultaneously with major events on the international stage such as: the rise of the Berlin Wall, the take over of Cambodia by the Khmer Rouge, the current war in Iraq. This video provides possible connections to these histories, both public and private, simple and complex, common and unique. |
| anuj vaidya, mrs rao's growl, lumpyquiche@yahoo. com | |
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LAUGH Although reminiscent of the therapeutic goals of the Laughing Clubs in India this performance is more formally and conceptually inspired by the children’s game called HA. The performers lie on the ground forming a circle, with their heads on each other stomachs and proceed to laugh. Each circle laughs for an extended period of time (at least thirty minutes), pushing physical and emotional limits. Sometimes transforming laughter into tears and vice versa and then back again. Over a period of one year Mrs. Rao’s Growl has organized and performed laughter in collaboration with community in various public spaces. The various physical sites in which LAUGH is performed address the different aspects of laughter such as healing, community, protest, art, etc. In tandem with each installment Mrs. Rao’s Growl undertakes a print campaign which offers information that contextualizes each installment of the performance. This information comes in the form of posters and stickers that detail aspects of laughter from health benefits and literary references, to dates and locations for future LAUGH events. Laughter reaffirms our connections and helps unite our voices, literally, into one loud and indignant guffaw against repressive powers. LAUGH hopes to evoke all those multitudes of reasons why it is important for us to have an emotional release. To cope. To escape language. To remember our humanity. To feel giddy. To effect change. To reaffirm our connection to one another. To remember, and to forget. For those who cannot laugh. For a full-body aerobic workout. As an act of defiance. At illusions. At triviality. At ourselves. |
| Randall Packer, US Department of Art & Technology, secretary@usdat.us | |
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A Season in Hell The US Department of Art & Technology was created by Randall Packer in 2001 as an artist-led, virtual government agency for facilitating the artist' need to extend aesthetic inquiry into the social sphere where ideas become real action. Most recently, US DAT Secretary Packer has declared himself the Secretary-at-Large. His intent is to radicalize the Department's agenda as an act of resistance against the re-election of President George W. Bush and the global tyranny resulting from his presidency. The Secretary hacked the Department Website and made it his own, where he now operates a blog-chronicle of inside-the-beltway machinations from the perspective of a fugitive Washington bureaucrat outsider – having declared Bush’s second term, "A Season in Hell." During Version 05, the Secretary-at-Large proposes a live broadcast of daily blog-chronicles from Washington, DC, an underground reportage on the unreported activities of politicians, officials, diplomats, etc., providing analysis and critique, using only a cell phone and laptop to transmit live imagery, audio and commentary. The Secretary-at-Large's multimedia transmission of inside-the-beltway activity would then be made available to artists in Chicago during Version 05 for free appropriation and incorporation into projects, presentations, and initiatives. It would also be available to viewers in Chicago and around the world via RSS feed, encouraging audience participation through additional commentary and analysis. Ultimately, this coverage, in conjunction with Version 05, encourages a alternative portrait of reality in the nation's capital - the power center of the world - a viewpoint that undermines and explodes the narrow, monocular, panoptical lens of the broadcast news media.  |
| Eric Roth, eroth@mills.edu | |
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Fountain Piece Fountain Piece endeavors to present performance art and the conservation of water (generally) as an alternative to fountains. A solo performer, equipt with inflatable kiddie pool, pail and wet suit as necessary (a bathing suit or birthday suit may be substituted) goes to a fountain, inflate the pool, bail water from the fountain with the pail (while humming/singing a Work Song, if the performer so chooses) and fill the pool with water. The performer then performs music with the water for any duration of time. When the performer is finished making music, she should pour or bail the water back into the fountain and leave (deflating or not deflating the kiddie pool). There can be multiple (solo) performers at multiple locations. |
| Luigia Cardarelli, lucardar@tin.it | |
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NUMERIC EMOTIONS Ani new langage,i face to build my works,like HTML,Javascript and SVG,is sourge of inspiration and real emotions. As a matter of fact,beyond the represented subjectes,these works want to be fascinations and poetry ,expressed by numeric calculus. I sure ,that traditional means are not able to represent feelengs and emotions of the contemporary man. Like artist ,i'm always searching the "EXPRESSIVE CALCULUS".  |
| S.R. Kucharski, srkucharski@yahoo.co.uk | |
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Tomorrowism Tomorrowism is a movement that identifies the overwhelming urge from society to focus on the future, specifically the desire to make/consume everything and anything, and have our desires satisfied as soon as possible…maybe even by tomorrow. This way of thinking creates an open-ended desire that can never be satisfied. And, its influence on the art world is one where temporary existence and the search for the new can overshadow the rich history of the past and the appreciation of a slow, developed process. This way of thinking also contributes to the desire to educate through art, instead of leaving art to create free pathways of communication/understanding between the artist-object-viewer. Tomorrowism as a movement in art thinking/practice does not advise a turning to the past as a solution, however, it does demand a direct self-critical statement to accompany any actions by an artist in order to create historic-future trails of thought, bridging history to the present, in order to NOT blindly walk into the future, into a ill-conceived vision of tomorrow. Tomorrowism is a challenge. Tomorrowism is a thought-vehicle. Tomorrowism can be yours for one dollar.  |
| Aay Preston-Myint, Pilot Chicago, info@pilotchicago.org | |
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Pilot TV: Experimental Media for Feminist Trespass Pilot began in early 2004 as a call with an offering: a collective takeover/makeover of (capitalist) TV through skill-sharing and community action, with a focus on (trans)feminism and queer politics. Many months of planning and fundraisers passed until the culmination of the Pilot Conference in October 2004. Over 100 artists, performers and activists from around the country convened on the Young Archer compound in Bridgeport, Chicago. A three-story artists' loft and performance space, as well as parts of surrounding properties on the block, were transformed into sound stages and workshops free for all particpants to use. Community meals and housing were provided for participants. All this was done using grants, donations, good faith and hard work - without the use of corporate money, space or sponsorship, and with no interest in profit. The various projects, lectures, workshops and screenings included wrestling techno-witches, musical performances, sexual health tips, contact screenprinting, an exotic dancer documentary, double-dutch interventionists, tranny sailor porn, a cooking show, revolutionary workout videos, and a giant interactive inflatable TV, just to name a few. Pilot is currently in post-production, seeking grants and other means to edit our footage and distribute a set of DVDs. The Pilot NFO XPO booth will feature videos from the conference, as well as zines, CDs and other work by Pilot participants and organizers. Come talk with us and see how you can join in! We are especially interested in networking with people interested in helping us distribute our work through public access TV, DVD, screening/space exchange, etc. Maybe the next Pilot Conference can start with YOU...  |
| Luke Aleckson, luke_aleckson@yahoo.com | |
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Appreciation A fairly utopian legal DIY legal document involving a dovetailing of the real estate and art markets, a redefinition of the relationship between landlord and tenant through the intervention of the artist. Essentially, a living space is transformed from a piece of real estate to a work of art. Ideally, all parties involved feel a sense of appreciation, whether it be emotional, monetary, or artistic -- hopefully all of the above for everyone involved. The document will likely never come into effect, but the document offers a new possibility, a new potential relationship. A sample section of the document: Abstract: Contract to purchase work of art wherein Buyer is obligated to lease a full legal residential space to Tenant for sum of $1 per month at least 9 months out of each calendar year. Artist agrees to delineate said property with a legal boundary marker created and installed by Artist.  |
| Dillon de Give, implausibot@yahoo.com | |
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Saturday Morning Saturday Morning (initially called Dance Fable) was created over the course of 2 or 3 years using a portable laptop computer. The primary source of material for the film is footage from several at-home VHS recordings of the television show "Soul Train". Specifically used is a portion near the end of each program in which a single dancer performs while flanked on both sides by other dancers. Movements and gestures made by dancers were extracted from these performances to create individual expressions that were mapped onto an adapted fable, making each performer a character in the story. The piece is book-ended by an 8mm film of a boy who witnesses the fable.  |
| Marc Schmitz, Elke Reinhuber, er@eer.de | |
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The young photographer A crossing in the center of Berlin is seen from above. There are people crossing the road. An ordinary situation: cars, rush on a rainy day. By pointing to a person in this interactive installation the viewer hears female and male voices speaking in different languages their daily horoscope by random. It is intended, to give the impression of an intimate knowledge of what the person crossing the street is thinking about or more precise - what might be their destiny. In between is one person, different from all the others, just walking to this point, taking a picture and disappears. The interactive video installation contains a video loop of 4 minutes.  |
| Alexandro Ladaga, ELASTIC Group of Artistic Research, info@elasticgroup.com | |
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TVision TVision is a virtual public art on line. The video creature, a dummy with a TV head , lives a digital existence but needs the active presence of public that take care feeding it. |
| kanarinka bot, The Institute for Infinitely Small Thing, info@infinitelysmallthings.net | |
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Corporate Commands The Institute for Infinitely Small Things invites researchers from across the globe to: 1) contribute CORPORATE COMMANDS from their locales to our International Database of Corporate Commands. 2) Conduct microperformance research into these commands by ENACTING THE COMMANDS AS LITERALLY AS POSSIBLE and sending us documentation that we can publish UPLOAD CORPORATE COMMANDS – www.corporatecommands.com A Corporate Command is an instruction work, a call to action in the form of an imperative: "Just Do It", "Turn on the Future", "Live without Limits", "Tap into great taste", "Think different", "Ride the light". It is the hypothesis of the Institute for Infinitely Small Things that these commands, largely and consciously ignored by a public over-saturated with advertisements, function at the level of the infinitely small. Tiny events that do not disturb one's consciousness or disrupt one's identity as "free" agents, these commands seep under the surface of the individual. Desire, memory, and future potentiality become territories for conquest and tactics for control. MICROPERFORMANCE RESEARCH In 2005, the Institute will be conducting performance research into these commands by ENACTING THEM AS LITERALLY AS POSSIBLE. That is to say, if the command tells us to “Rollover” then we will rollover. If the command tells us to “Never Stop Exploring” then we will never stop to explore. We are seeking collaborators across the globe to run their own microperformances of these commands and send us documentation of their results (in the form of field notes, photographs, videos, interviews and personal accounts). Please email us at info@infinitelysmallthings.net if you are interested in getting involved.  |
| Aay Preston-Myint, Young Archer, texasballroom@yahoo.com, goldcoinfist@youngarcher.com | |
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Texas Ballroom, Diamonds on Archer & First Base The Young Archer compound in Bridgeport, Chicago's "community of the future," houses three artist-run performance and exhibition spaces: The wide open Texas Ballroom, which has hosted the likes of Lightning Bolt, Ex-Models, Wolf Eyes, Mirah, Tracy & the Plastics, Entrance and King Cobra; Diamonds on Archer, an emerging exhibition space for local artists and performers; and First Base, reknowned for its gritty basement noise shows. Come to the NFO XPO and meet the residents of this unique space, who are also its curators, promoters, and booking agents, as well as artists and performers in their own right. The Young Archer compound will also be hosting screenings and parties during the festival, and is the endpoint of the south side Art Walk.  |
| marcel denim, denim and diamonds, denim@conglomco.org | |
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live A/V performance Denim and Diamonds may be the first band since Black Flag to have a FBI file. The band is the collaboration of two shadowy anti-corporate, electronic media saboteurs. Both have more aliases than there are names in the Marfa, Texas phone book, but in Denim and Diamonds, theyíre Squiggy Diamonds and Marcel Denim. Squiggy is the vocalist. Onstage, heís an asexual (but not desexualized), post apocalyptic performance artist who puts the ìshowî back in performance by challenging the divide between audience and performer. No two Denim and Diamonds shows are ever the same and some have resulted in mass audience confusion. Marcel is the programmer of sound and a whimsical mad scientist who builds digital, mathematical signal processors for studio and performance. The resulting musique pop is a over stimulated world of megalopic corporations, resourceful, technologically enhanced ìstreet medics,î and glitch ridden transmissions from the future, one possible future. ìWe write songs as if we were writing on an acoustic guitar. Squiggy and I come up with melodies and lyrics, then build the rest around them.î Marcel explains. This could be the reason that music made by men with technology, about technology and man, could be so resonant in both fields. This is not a record of cold hooks, but of a bloodied human socket, out of which peers one glowing electronic eye. This record is a storm on man and machine, one anxious sigh, before one cannot live without the other. Lest Denim and Diamonds seem like new school philosophers of William Gibson-esque cyberpunk, the imagery they use is a satirical undercarriage for the political, anti-corporate agenda they practice in their other art. Two of the EPís tracks, ìDisneyland in Iraqî and ìThe Meaning of Things,î directly or indirectly comment (even presuppose) the tone of contemporary media attention to the war in Iraq. Some music is just made, the creation of divine intervention and blind, stubborn talent. Some music is calculated, designed, and built. The music of Denim and Diamonds is; definitely a construction, but built out of organic need, the need for self-survival and hard, satirical criticism.  |
| M Kinsella, devnull@zarafa.net | |
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mystery drawing project A service to unite artists with the people who find their art. |
| huong ngo, training & development, huong@huongngo.com | |
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training & development Training & Development is a spartan video training facility where viewers watch presentations about maintaining their physical and mental safety, and receive certification on the various topics of security. Certification entitles them to teach the methods and practices detailed in the Training handbook, which they receive upon completion of the program. The aesthetics of the space: a fold out table and two fold out chairs. On top of the fold out table is a TV and DVD player (or Monitor and CPU depending on training specifications). Also on the table are Training handbooks, and possibly safety gear that is demonstrated in the video, which the facilitator will aid the viewer in using.  |
| Aya , ayalafillette@yahoo.com | |
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I Am Innocent, I Am Evil (Interactive installation The installation will be set up as an environment with two recording devices. Any random audience who enters the installation space holds the right to participate in the process only once. Participant is instructed to choose between “I am innocent” and “I am evil” to speak into the respective recorders accordingly. Eventually the recorded voices of the participants will be put out as a sound installation. Through this interactive piece, the artist would like to attempt to approach the contradictions of society we live in. Pretty and ugly, good and bad, black and white are some of many comparative adjectives we use everyday, to lubricate our understandings in simplified communications. Simplified communication is a necessary tool in the fast moving modern society. The world seems to be too busy to focus on all the fine details in-between two extremes. There appears to be no other solution to maintain our functioning positions in society but by compensating with self-sacrifice. Upon choosing between these two options, "innocent and evil," audience takes place in the simulated initiation into the society as a member, where one cannot remain an obscure third person. Ones who do not decide to record their voices will remain minority, for their voice will never be played in public as part of the installation. These two words, "innocent and evil" are not the terms that oppose each other. One can be evil but still be innocent, and vice versa. Choosing between these two descriptive identities should raise the sense of discomfort in the audience, for the performance mimics the sense of absurdity and the necessity to conform, common requirement one has to sometimes endure to remain a society member. It is the artist's intention to provoke the audience to desire options and freedom and choose without becoming minority. |
| ShangPing Lee, eleleesp@nus.edu.sg | |
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Poultry.Internet Online chatting, online voice conversation and now, even online video conferencing. Poultry.Internet seeks to add another sense of human interaction on the Internet by incorporating the sense of touch. For a start, we focused on developing a system that allows human and pets to interact via the Internet. The idea is inspired by acts of pets and animals abuse through lack of welfare. This system enables humans to provide care for pets even though they are physically not together. The system enables a human to remotely touch her pet which is kept at home while she is away (in her office), and at the same time to monitor the movement of the pet. This is realized by using a doll, which resembles the real pet located remotely, sitting on a mechanical positioning table. The pet owner interacts with the real pet by touching the doll. Touch sensors are attached to the doll, and the real pet wears a special jacket allowing it to feel the touch. The pet at home is being tracked by a webcam, and its movement is reflected on the mechanical table. The system is an amalgamation of haptics technology, computer vision and the Internet. This is a novel type of physical interaction and symbiosis between human and pet with the computer and the Internet as a new form of media.  |
| JOSHUA FRIED, JOSHUA FRIED, composer@acedsl.com | |
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R A D I O W O N D E R L A N D RADIO WONDERLAND, in which I, Joshua Fried, subvert LIVE commercial FM radio in real time, using a real steering wheel, old shoes hit with sticks, sliders, pedals and laptop. I aim to turn the very bits and bytes of commercial culture into the driving backbeat to our dance of independence. Powerbook to the people. Get funky.  |
| Kazumoto Endo, Kazumoto Endo's new project, k@zumo.to | |
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AdC~/DaC~ New Music from Japan Live performance by AdC~/DaC~ AdC~/DaC~ is a Japanese electro-acoustic music trio formed by Kazumoto Endo and 2 guys (Kazuya Ishigami and Tetsuya Miyazaki) from Billy? . Using laptop computers with microphone inputs, they improvise several layers of feedback noise. Never employed pre-recorded sample sounds, their music is created with only feedback noise through computer processing in real time. Kazumoto Endo http://ka.zumo.to AdC~/DaC~ http://www.rice-field.com/adc~/dac~  |
| NPR LeE, Neighborhood Public Radio, npr@conceptualart.org | |
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The Art of Community Radio Neighborhood Public Radio is a nomadic radio station that operates in short bursts from constantly varying locations. Broadcasts are frequently centered around a theme and are designed to accurately reflect the concerns, attitudes, a and interests of the neighborhood (both conceptual and physical) where we temporarily locate our studios. Liekwise NPR serves as a critique of the largely exclusionary policies of NATIONAL Public Radio. For Version>05, NPR proposes to set up programming based around interactions with communities in the festival’s Chicago neighborhood for the Version>05 on-site radio station. This programming will be simulcast back to our neighbors in California and broadcast over the airwaves. We tend to help community groups to produce public affairs programs of up to one hour in length, and mix in some programming of our own. In the past we have operated in venues that were not already operating a low power radio station so our preference would be to broadcast for a pre-determined length of time every day during the festival in close collaboration with festival organizers. It is desperately important for the conceptual success of our project that all content be produced out of interactions with individuals in and around the conference.  |
| Isabel Saij, isabel.saij@wanadoo.fr | |
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saij-copyleft The presentation of „version 05“ expresses the wish to „examine the rhizomatic systems now confronting the monoculture“. In other words what are the alternatives to the US economical and political leadership? An answer is to offer another system based on sharing and not on patent and intellectual property. It led to the decision of placing a number of works under a copyleft license and show them on a dedicated website: www.saij-copyleft The reasons of that decision are explained in a statement: http://www.saij-copyleft.net/i-saij-copyleft-website.html Recent developments including the famous „some new modern-day sort of communists“ of Bill Gates show the necessity to write a specific extension dealing with the political/economical side of what Stephen Wilson calls „technological subversion copyrights“. It could be a contribution to the next „Version 05“ made by a non US-citizen whose culture and language are not primarily english. |
| Peter Brinson (contact), c-level, pbrinson@earthlink.net | |
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Waco Resurrection As predicted by his Branch Davidian followers, Vernon Howell (aka David Koresh) has returned to Mt. Carmel for final battle. Revisiting the 1993 Waco, Texas episode, gamers enter the mind and form of a resurrected David Koresh through custom headgear, a voice-activated, hard-plastic 3D skin. Each player enters the network as a Koresh and must defend the Branch Davidian compound against internal intrigue, skeptical civilians, rival Koresh and the inexorable advance of government agents. Ensnared in the custom "Koresh skin", players are bombarded with a soundstream of government “psy-ops”, FBI negotiators, the voice of God and the persistent clamor of battle. Waco Resurrection re-examines the clash of worldviews inherent in the 1993 conflict by asking players to assume the role of a resurrected "cult" leader in order to do divine battle against a crusading government. While the voices of far-off decision-makers seem resolute and determined, the "grunts" who physically assault the compound appear conflicted and naive in their roles. The game commemorates the tenth anniversary of the siege at a unique cultural moment in which holy war has become embedded in official government policy. In 2003, the spirit of Koresh has become a paradoxical embodiment of the current political landscape - he is both the besieged religious other and the logical extension of the neo-conservative millennial vision. Waco is a primal scene of American fear: the apocalyptic visionary - an American tradition stretching back to Jonathan Edwards - confronts the heathen "other" - in Waco Resurrection, the roles are anything but fixed.  |
| Emma Balazs & Louisa Bufardec, lbufar@artic.edu; ebalaz@artic.edu | |
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visionary projects Visionary Projects is a series of postcards distributed on the Chicago public transport network. Inspired by an unfinished statement viewers are invited to reflect on their own desires for the future. Sample statements include: “if I could contribute anything…”, “if I could create anything…”, “if I could cherish anything…”. The project is part of an ongoing conversation about how individuals can create compelling visions for the future in all aspects of society. We imagine a society where every citizen can contribute to the design of the future. |
| Scott Kildall, scott@kildall.com | |
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Gun Control In the last few years, our political landscape has rapidly transformed. Living with a heightened sense of fear, desires for security and invincibility have bubbled to the surface. The consequences of implementing this reality have not been articulated enough. Gun Control is an interactive electromechanical installation, which explores underlying issues of both security and surveillance. Each of the four units incorporates a police-issue revolver and a small video camera. As people move into the installation space, the cameras track the movement and the guns follow. However, the technology is imperfect. The cameras do not always function properly. The revolvers point at different targets. They sometimes twirl about playfully. The armatures shake and rattle. We are directly in the line of fire. This piece raises questions about our security-surveillance apparatus by prompting a visceral reaction.  |
| Barry Thomson, anon, heybarry@gmail.com | |
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hey My proposal is quite simple. I create a series of monsters and general non abrasive images where I place in an empty space which requires brightening up.  |
| Sandra Jogeva, Avangard, sandrajogeva@hot.ee | |
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The Bomb The project consists of 2 parts. 1. the series of photos, showing the threat of our cold war time childhood and the cultural icon, the image of a nuclear bomb presented in a form of a souvenir , a toy or a decorative object. The slide show of about 20 images is presenting the small white nuclear mushroom in different public spaces, from the streets of Berlin to be discovered by the custom workers at Tallinn airport. From a beautyful Japanese style garden to the front of the embassy of the republic of China in Estonia. 2. environment The bigger version of the bomb sculpture, 2x 2 meters will be presented in a room filled with smoke. for that effect we will be using the smoke maschine as they do in clubs and concerts. For prsenting that project we need a beforementioned smoke maschine and for presenting the slide show, a projector and a dvd player. |
| Clare Britt, Fraction Workspace, clarebritt@scbglobal.net | |
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Fraction Workspace An unexpected urban neighborhood storefront transforms into a venue which promotes and displays installation based artwork for public viewing. Fraction Workspace works with artists by giving them a public forum to expose contemporary experimental art to new audiences. |
| Charlene Roth, 3(wit)ches, cd.roth@sbcglobal.net | |
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The Marketing of Disaster: a sublime aesthetic or the 'need to know' compulsion of a culture in transition? Edith Abeyta, Merry-Beth Noble & Charlene Roth will orchestrate a street level intervention-mediation that examines and critiques the commodification of disaster and its impact on the subjective and collective consciousness. Endless replay of video footage of public and personal tragedy, even as their address unfolds, increasingly turns these events into perverse entertainment. Is the culture as a whole becoming desensitized—requiring a move from fictionalized violence to the abject real (albeit at a distance) to generate a response? Is this a form of self/cultural mutilation in the sense that the simulated cut is no longer effectual? Must we now resort to another’s actual wound to kindle feeling and is that feeling pain, or…? “Marketing Disaster” will explore and critique this phenomenon by projecting a narrative video production through a car window onto public walls around the city. The vehicle will be moved regularly to assure encounter with a wide-ranging audience. The walls will be chosen for their cultural significance. The objective will be three fold. 1. Establish awareness of the issue. 2. Arouse a discourse to examine the issue. 3. Co-op the civic space and use it as ground for an alternative view. |
| Sarah Kanouse, sarahk@readysubjects.org | |
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Unstorming Sheridan/May Day Fort Sheridan was built following the Haymarket tragedy to permanently station federal troops near Chicago to 'deal with' any labor unrest. A few years later, Fort Sheridan troops stormed Chicago to break the Pullman Strike. A statue commemorating the labor history of Haymarket was finally erected in 2004, more than 120 years after the event, and today Fort Sheridan is being redeveloped into an exclusive subdivision. This May Day, join us as Chicago unstorms Fort Sheridan. A group bike ride, beginning at the Haymarket site at Randolph and Des Plaines, will reverse the troops' 1894 invasion of Chicago, biking 30-miles through the city, along the north shore, and ending with a communical picnic right at the feet of Philip H. Sheridan himself.  |
| Dan St. Clair, dst.clair@wesleyan.edu | |
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Birds “Birds” is a performance for FM radio. Using small FM transmitters, the sounds of synthesized birds singing popular songs are broadcast up and down the FM band. Audience members tune in to these signals on crank-powered FM receivers. The order of the birds’ songs mimics the playlists of commercial music stations in real time. The birds sing along, migrating throughout the audience, chattering to each other during commercial breaks. Everyday we are washed in melodies. They emanate from earphones, car radios, the walls of shopping malls, and the person humming next to us. These melodies are infectious; they circulate between the layers of our consciousness and are woven into our memories as we internalize them. Though these products of popular culture are often bland and impersonal, their integration into our lives is filled with delightful imperfections that are earmarks of our own individuality. We are imperfect mimics, and each of us holds a unique version of a particular song’s melody and lyrics among our memories. The personalized fragments of the songs stuck in our heads are evidence of a stubborn humanity that fails - or refuses - to be homogenized. All surprise has been sucked out of most commercial FM music stations – their playlists repeat hour after hour, day after day. “Birds” is an attempt to re-inject the possibility for discovery and personal connection into this mundane landscape. |
| terry plumming, TERRY PLUMMING, terry@diabolical.org | |
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summit for three days of the version05 festival the terry plumming summit will occur: three days: primacy, recency, frequency / primacy begins in the late afternoon with lecture clusters and a series of performances by terry's finest followed by a rottenmilkshakedown and a fully walloped sense of nut / recency begins at ten a.m. with waiting around, then at 2 p.m. one hundred improv musicians on five PAs inside a pentagram will invoke the maze after which objects will be produced which exploit magic sonic potentials / frequency begins in the evening with final lecture clusters followed by a second series of performances by employeees of worldwide et al capped by a laser guided bomb dropped from two miles up by tossed / including distractions: pervert podium: 10 typists (typewriter chorus): famous summit photograph reenactments / lecture cluster: people who have been somewhere tell you about it; a perversion of television / day one lecturists: rewrite your life, perception, memory, communication, veracity, this other guy, some person we thought was cool, a guy from a university, somebody who makes art in a weird place, a couple of really attractive cholos, a dood who understands way complicated math stuff, your drunk friend / day three lecturists: that one dood who invented synthetic blods, some spiritual person, personal messages, an older lady, somebody into politics, another artist from some different weird place, a writer who's really difficult to understand but everybody thinks is way deep, and a zookeeper looking foreigner who's way into animals but in a cool way / if it really is about you and what you have done with all your history then come for fuckedup show and discussion / if you have found a niche stay there stay arise about a summit for discussion and fuckedup show bring yer babies the gloves are off: a moment is television thought spyplanes more! more! more! undo the war weather sports social and commercial programming as far as the eye can see / terry plumming summit an opportunity to participate in a perversion of television perversion of documents  |
| Jason Van Anden, jason@smileproject.com | |
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Farklempt! 2.0 Managing ones' feelings is essential to getting along in the world. Keeping emotions inside can be just as damaging as just letting them flow. Farklempt! is an online multiplayer videogame that challenges players to manage their emotional-health and maintain relationships through the skillful manipulation of feelings against other players trying to do the same. Farklempt! 1.0 was commissioned by Rhizome.org with the support of The Greenwall, Warhol and Jerome Foundations and unveiled at Dorkbot NYC on January 5th, 2005. The event was featured in Wired online, and has since received international attention in publications as diverse as Slashdotand USA Today who said: "You will not see another game like this one for many a day, we suspect, unless someone finds a way to squeeze a copy of The Sims until the pure essence comes out". Tens of thousands of visitors continue to engage with this highly addictive videogame/art hybrid. Farklempt! version 2.0 is a new version (shown on left) which includes a larger, more dynamic play space that can be interacted with either online or using physical consoles with touch screens. This version will be configured to suit the available resources.  |
| Ann Marie Peña Eleanor Clarke, Absurdist Providers, ann_marie_pena@yahoo.ca | |
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absurdistproviders.com absurdistproviders.com is the answer. absurdistproviders.com will serve as a forum for discussion leading to action, minimizing restrictions of space and place in the process. If you want to get something done, but are limited by your geographic location, access to information, facilities or your lack necessary skills to carry out a task or action yourself, absurdistproviders.com is where you need to go. As an Absurdist you can propose, execute and track ideas being manifested in real time and real space, as they happen. Absurdist actions can be as banal or ambitious as the Absurdist chooses. They could be as straight-forward as requests to record particular sounds, document particular events taking place in different geographic locations, or as a means of collecting visual imagery. Requests could extend to repeated actions such as postering or asking an Absurdist to participate in events or demonstrations. Users could also ask Absurdists to perform such activities as giving a talk or making a presentation on their behalf. Ideas of presence and absence are already challenged by technology: let’s put it to good use. Through absurdistproviders.com Absurdists can use one another as physical stand-ins for actions taking place outside of their geographic domain. absurdistproviders.com can provide an answer to the problem of ever-increasing corporal mobility, which, for the sake of the environment and the individual alike, cannot continue. Evidence of completed actions will be posted on absurdistproviders.com in the form of text, visual and sound documentation. absurdistproviders.com will be free, allowing users access to all absurdist requests, profiles and actions. |
| Jonah Warren, FeedTank, jonah@feedtank.com | |
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TransPose TransPose is a computer vision based audiovisual performance instrument whose interface encourages dramatic movement. It was conceived to address the absence of physical human expression found in most electronic music performances, as well as help define a new movement based language for creating sound. TransPose uses computer vision technology to take a performer's physical actions captured from a video camera and translate these actions to audio in real time. Unlike most instruments, TransPose is designed with the audience's experience as a priority. As such, its interface is designed to encourage dramatic movement and personal expression. In TransPose, the performer sits in front of a camera, and his or her silhouette is projected in front of them in relation to a number of predefined trigger areas called "noteboxes." To play TransPose, the performer uses his or her silhouette to overlap these noteboxes and trigger various tones. TransPose has two modes, one for rhythm and one for melody. In rhythm mode, six different drum sounds are mapped to noteboxes which the performer can strike to play a beat. In the melody mode, two different instruments are mapped to two elongated noteboxes on either side of the performer. The hand's vertical positioning inside these noteboxes determines the tone's pitch. Its horizontal positioning determines the tone's volume. The performer can change between instruments and record loops that can be turned on or off to create layered compositions.  |
| ee r, er@eer.de | |
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boredom and banality Analysis of the phenomena in everyday life - my works could be summarized under this maxim. In order to achieve this I work with photography, video and interactive installations, silkscreen print, 3-dimensional objects and performance. A presentation of different works could be completed by an installation in public space. (For example German water-tube-indication-signs in the streets, fire extinguisher in the forest, a projection of my recent scaffolding-film with international diverse scaffolds, dangerous grids on the sidewalks …- all indicating the existence of forms of life in the underground).  |
| Svet and Andi Wallwhore, OVARIUM, |