Make the Living Look Dead

Again, A Time Machine is a fluid, touring exhibition conceived by Book Works as a way of addressing its own archive of over 25 years of projects and its unique commissioning structure and history. Working in collaboration with Eastside Projects, Birmingham; Motto Berlin; The Showroom, London; Spike Island, Bristol; White Columns, New York; and SPACE London, Book Works has commissioned new work, alongside archival work, published new artists’ books, generated ephemera, and organised a series of events that ranged from exploratory readings and improvised dialogues, to nights of spoken word and provocative ritual. For Make the Living Look Dead, a selection of artists that Book Works has worked with over 30 years were invited to make a new work on A4 paper as a contribution, intervention or fictionalisation for our archive. Each work plays with notions of time, and exposes the fragility of coherence inherent in the archive. Contributions range from original discarded material to found objects or fictionalised letters, as well as new work masquerading as past proposals or future projections of sequels, panegyrics or unfinished work. It is shown alongside a showreel of images drawn from our archive and complied by Karen Di Franco, and a selection of sound recordings complied by James Brook.

The Present is a Point Just Past

Global

Martin John Callanan (Birmingham, UK, 1982) defines itself as "an artist and researcher who explores notions of citizenship in a globally connected world." His work is based on a methodical collection of data, both in their immediate environment as information flows circulating in the global computer networks. Setting up automated processes or meticulously hand, Callanan creates works in which individual experience is with global awareness, and the file becomes the only possible way to interact with the world. Documents as text, sound or image gather by the hundreds or thousands in pieces that play with the saturation of information while providing a critical minimum for their understanding. Through a high fragmentation, the everyday reality becomes a Weltanschauung, the vision of the world from the perspective of a single individual. Complex while visually austere, Martin Callanan's work reflects the patterns of daily experience hyper-citizen, anchored in its specific geographical location at the same time participating in a globalized world, seeking to understand the full complexity information from a fragmented and incessant. GLOBAL, Martin Callanan's proposal for the Base Area Solleric Casal, brings together some of his recent works about the pursuit of this overall understanding of the world we live in a relentless pursuit and always failed. With this proposal, the resident artist in CRIDA (Center Artists Residency and Exchange), opens a reading of this underground space as a base for exploration, a field in which to find the roots of contemporary urban reality.

The London Open

This exhibition showcases the most dynamic work being made in London in 2012. Take a journey through a selection of the latest art trends and see potential stars of the future amongst 35 artists chosen by a panel of international artists, curators and collectors. Political and social subject matter is a theme in many works. The show features artists using performance and DIY approaches to making work whilst others investigate kitsch, outsider art and countercultural groups. The exhibition includes Arnaud Desjardin’s live printing press, Leigh Clarke’s negative casts of masks of political figures often worn during demonstrations, Nicholas Cobb’s photographs showing fictitious model riot scenes at Bluewater shopping centre and Pio Abad’s work featuring Saddam Hussein’s gold taps printed on an imitation Versace silk scarf. The London Open includes work in a diverse range of media from painting, sculpture, film, textile and photography to installation and performance. It includes Paul Westcombe’s intricate illustrations on takeaway coffee cups, Alice Channer’s body-based sculptures, Lucienne Cole’s pop culture-inspired performances and Martin John Callanan’s conceptual works, such as International Directory of Fictitious Telephone Numbers (2012). The London Open is a chance to see some of today’s most innovative artists. The Whitechapel Gallery’s open submission exhibitions have shown artists including Grayson Perry, Bob & Roberta Smith and Rachel Whiteread early in their careers. Artists: Pio Abad, Peter Abrahams, Caroline Achaintre, Greta Alfaro, Sol Archer, Thomas Ball, Martin John Callanan, Dale Carney, Paul Carter, Alice Channer, Leigh Clarke, Nicholas Cobb, Lucienne Cole, Beth Collar, Chris Coombes, Shona Davies, Jon Klein & Dave Monaghan, Arnaud Desjardin, Sarah Dobai, Shaun Doyle and Mally Mallinson, Ana Genoves, Mark Harris, Emma Holmes, John Hughes, Nikolai Ishchuk, Robert Orchardson, Heather Phillipson, Ruth Proctor, Amikam Toren, Charlie Tweed, Roy Voss, Paul Westcombe and Rehana Zaman. Selectors: Patricia Bickers, editor of Art Monthly; artist Rodney Graham; collector Jack Kirkland; curator Marta Kuzma; and Whitechapel Gallery curator Kirsty Ogg.

Make the Living Look Dead

A selection of visual documentation taken of the installation Make the Living Look Dead as part of the touring exhibition Again, A Time Machine at Spike Island, Bristol. Photographs by Stuart Whipps.

Transactions

Participan: A-153167 (Anibal Lopez), David Brooks, Martin John Callanan, Nemanja Cvijanovic, Detext, Caleb Larsen, Liz Magic Laser, Julien Previeux, Daniel Seiple & Kunst Re-Publik, Katarina Sevic, Santiago Sierra, Nedko Solakov, Nikola Uzunovski y otros. Curaduría: Raúl Martínez y Marco Antonini Entendiendo el arte como otra forma de intercambio, esta exposición explora los procesos invisibles, errores de cálculo deliberados y verdades encubiertas del modelo de producción capitalista. En un momento en que este discurso parece incuestionable, Transacciones ahonda precisamente en las contradicciones y fisuras de nuestro modelo económico, convirtiéndolas en un espacio de trabajo y lucha política. Los artistas incluidos en esta muestra cuestionan la “lógica” que gobierna los procesos económicos, exponiendo los límites legales y éticos del actual modelo neoliberal a través de lagunas legales y vacíos institucionales. Conscientes de las dificultades de evadir las estructuras económicas, muchos de ellos las adoptan como su hábitat natural y campo de batalla. Transactions, Centro Cultural de España en Guatemala, La Ciudad de Guatemala

Transactions

According to elementary economic theory, specialization allows for the efficient use of economic resources. As slightly more advanced theory handbooks point out however, it also increases the costs of conducting transactions. Should you decide to buy an artwork (e.g. at this exhibition), in addition to the price tag, you would have to consider the effort of finding accurate information, traveling to the gallery and negotiating with the dealer, as well as the costs of transporting, hanging and storing it. All these expenses beyond the works' nominal value are known as transaction costs and may be important when assessing a transaction. Most economic theories, however, surprisingly consider them negligible, and in order to simplify their analyses, assume they are zero. Beyond such examples, transaction costs certainly play an important role in today’s hyper-specialized economy. Hardly measurable –in some cases, deliberately ignored or concealed- they nevertheless affect the millions of economic exchanges taking place every second and can create a considerable lapse between the economists’ representation of the world and our experience. Featuring works that deal with daily exchange processes or delve into the transactional dynamics of today’s global economy, this exhibition examines precisely such assumptions and flawed hypotheses, as well as the inherent limitations of the capitalist economic model. But rather than simply challenging economists’ fallacies, it explores the political and poetical possibilities of this gap. Co-opting institutional structures and exploiting loopholes in regulation, the artists featured in the exhibition reveal the absurd economic logic governing everyday operations as well as the ethical and legal boundaries of today’s neo-liberal model. Aware of the difficulties of escaping it, the artists presented in this exhibition adopt them as their own natural habitat and political battleground. Such is the case of Liz Magic Laser’s Chase and Daniel Seiple & Kunst Re-publik’s Landreform Carousel, who turn symbols of affluence and commerce into unlikely theaters and circus attractions, or Katarina Sevic’s Social Motions, which uses codified forms of social interaction to re-establish the significance of a human presence in today’s dehumanized corporate structures. In what seems to edge on the grotesque, Santiago Sierra and Nedko Solakov repeatedly stage simple transactions to expose capitalism's underside. Engaging different networks of bureacracy, artists like Martin John Callanan or Julien Previeux, use the semi-automated processes habitual in government and corporate bureaucracy to produce their works. While others, like Nemanja Cvijanovic or Detext subvert the expectations of cultural bureaucrats to reveal these systems' shortsighted logic and to question the role of institutional structures in the production and distribution of art. The free market’s alleged efficiency and uncontrollable appetite is echoed in Caleb Larsen’s non-descript, networked black cube, a sculpture that permanently tries (and often manages) to sell itself on EBay. Concerned with less conventional systems of communication and transportation, Nikola Uzunovski pillages an archive of letters sent to Santa Claus to conduct a statistical study of the children's wishes and map the influence of consumerism on them, while David Brooks and Aníbal López (A-153167) follow the routes of illegal smuggling to examine the legal and ethical boundaries of

Several Interruptions: 15 Years of the Slade Centre for Electronic Media in Fine Art

Seven, sequential solo presentations to celebrate 15 years of the Slade Centre for Electronic Media in Fine Art in 2011. Exhibited: 'Each Long Second' 2006, A0 photocopies, tape. Dimensions: 880 X 850 cms.

Urbanea 2011

Extimacy

Inside the immense flow of data exchange, the new technologies have facilitated an interdependency between the spheres of what is private and what is public, between interior and exterior, leading us to reveal, in an increasingly natural manner, our experiences, thoughts and feelings, enlarging the circle of intimacy to the point of sharing our inner life with the invisible, abstract audience of Internet users. Things personal become collective, things belonging to others become our own and intimacy is no longer something that is preserved and kept in our innermost circles, but something that is projected in all directions in an eccentric movement. Thus intimacy turns into extimacy, to use the term created by Jacques Lacan to define the existence, within the most intimate sphere of the I, of a “foreign body”, that which is external to the individual and with which one identifies. We need to share our intimacy because what we are is defined both by our subjectivity and by what surrounds us. In the realm of digital art, several artists have worked with the new parameters of subject, body, interpersonal relationship and intimacy introduced by the new technologies. Their works enable us to initiate a reflection on the ways in which the mobile phone, e-mails, chats, social networks and instant messaging systems modify, increase or condition our communication with others. They also allow us to consider where the boundaries of our personal space lie, where our “I” ends and that of others begins. “Extimacy. Art, intimacy and technology” is a group digital art exhibition which puts forward a proposal that spectators reflect on these concepts through the presentation of works by recognised artists from the international scene. Interactive installations, mainly, that involve spectators in what is active participation with the work, which never ceases to be a piece with its own identity, the fruit of the firm artistic background of creators who combine art and technology in their work. In an era in which the user adopts an active role in the diffusion and manipulation of information on the global network (known as web 2.0), in art, too, a change in roles between spectator and work is taking place, with interactive art as the best expression of this new paradigm. The works of some great names from this sphere, such as Christa Sommerer and Laurent Mignonneau, Rafael Lozano-Hemmer or Paul Sermon, for instance, are combined with the creations of promising artists like Gazira Babeli, Clara Boj and Diego Díaz, Gregory Chatonsky, Carlo Zanni or Martin John Callanan. All of them exhibit the multiple facets a concept as complex and at the same time as simple as extimacy can present, from different angles and with diverse intentions.

Regeneration.011

A Selection of The Web Biennial Revealing The Poetics and Politics of Net Art 20 January – 20 March 2011 Internet has contributed to the transformation and spreading of new forms of art, provided boundless creating, exhibiting and consuming opportunities. Regeneration.011, in this context, is presenting works that deal with freedom of speech and anti-war activism as well as revealing the political and poetical aspects of contemporary net art. Plato Art Space, by this project, aims to draw attention to net art which gained considerable importance in the recent years as an alternative space for contemporary art.

The MINI Museum of XXI Century Arts

Live 2011 Grand Prix

Extimacy

Extimacy

I Wanted to See All of the News From Today, Live 2011 Grand Prix, (Honorary mention for best online project)

Pin board project

The Pin board project opens with Martin John Callanan. It is an attractive exhibit that makes so much sense right now. and it is so clear and frank and simple and has such a nice taste. This exhibit has no rubbish in it – it doesn’t have anything at all really. It is okay. We know it’s okay because Martin told us. We hope the work in this show will leave you alone more or less and only grab your mind. which is okay. But no experiences. we hate experiences in art. We prefer to experience things in real life.

I Wanted to See All of the News From Today, Screengrab 2010

The cultural diversity of the works on show is indicative of the Screengrab exhibition’s primary goal, which is to critique screen culture via the very medium which makes the exhibition possible. Publicity for the award, the selection of the media works and the acquisition of the shortlisted entries is all conducted exclusively from screen to screen via digital media networks around the world.

ISEA2010 RUHR Ausstellung

With works by: Siegrun Appelt (at), Lucas Bambozzi (br), Aram Bartholl (de), BCL (at/jp), Natalie Bewernitz & Marek Goldowski (de), Daniel Bisig (ch) & Tatsuo Unemi (jp), Juliana Borinski (br/de), Martin John Callanan (gb), Işıl Eğrikavuk (tk), Verena Friedrich (de), Terike Haapoja (fi), Aernoudt Jacobs (be), Márton András Juhász & Gergely Kovács & Melinda Matúz & Barbara Sterk (hu), Yunchul Kim (kr), Thomas Köner (de), Mariana Manhães (br), Soichiro Mihara & Kazuki Saita & Hiroko Mugibayashi (jp), Krists Pudzens (lv), Christopher Salter (qc/ca), Bill Seaman (us), Sašo Sedlaček (si), Mark Shepard (us), Charles Stankievech (qc/ca), Vladimir Todorovic (rs/sg), Bruno Vianna (br), Ei Wada (jp), Herwig Weiser (at), You Must Relax (ee), Norah Zuniga Shaw (us) More than thirty international artists and artist groups urge visitors to the exhibition into new perspectives on environmental issues, questions of identity and discussions about the ever-present social-media. What does a human hair sound like? Which sight will capture your imagination? Who sets the rules in the digital world?

11 FILE - festival internacional de linguagem eletrônica, Brazil

Media Art shows how to "soften" the rigidity of technology functionality and to create an environment of creativity and artistic thinking.

Collaborators 2

Martin John Callanan

Rizom Grada

“The Rhizome of the City” project represents aesthetization of the digital shaping of the spatial network of the cultural identity of the city of Belgrade. Authors and participants of the project explore and display the urban identity through subjective comprehension of the city structure. By creating the individual sense of space at particular cultural points in Belgrade, the artists transform the urban landscapes into the set of artistic, esthetic, psychological, political and geographic differences and upload them onto the virtual map of the world – Google Earth. They form a database – a cultural form as the list of entries, which refer to a certain phenomenon (cultural points of the city of Belgrade) without the determined narrative. The term rhizome was taken from the theory of rhizome proposed by philosophers Gilles Deleuze and Félix Guattari. The rhizome is a model of displaying and representing world, spatial network, and the multitude of dots which are interconnected, where everything can be connected to anything else. The rhizome excludes the central point, the centre, hierarchical structure and is a metaphor for ambiguity, spatial expansion and expansion of meaning. The symbol of the city is the more complex symbol which provides greater ability to express the tensions between the geometric combination of rationality and interaction of human life. Taking these starting points into account, the authors of “The Rhizome of the City” project consider the concept of space founded in different types of individual and collective experiences. The “geometric space” differs from the other spatiality, which is defined by Merleau-Ponty as the “anthropological space”. In this way we arrive at the concept of the cognitive mapping by Frederic Jameson. This cognitive mapping is not based on imitating and reflecting reality. The cognitive cartography aesthetics is the way by means of which the social self-cognition is inscribed, the individual relationship towards the local, national, and international reality. Such an attitude represents a certain type of experience in relation to the world, possibility of our own inscription and coping with articulating subjectivity within mental psychogeographic map of the world. Artists collect the data from cultural points of the city of Belgrade (museums, galleries, monuments, and other cultural features of the city) in the form of the GPS paths and motion, photos, audio and video material. The collected data are uploaded onto the Google Earth database (information-geographic program, that is, the virtual globe, map), which is available to the entire population by means of the Internet. Mapping of the artists' motion (GPS, video, audio and photo documentation) on the Google Earth represents the database which highlights the presence of an artist in space and represents the centre of the mutual and common creative process of different individuals. By moving through a certain space in the determined time interval various shapes are formed based on the crossed paths. The shapes, which are formed, are a representation of different ideas, notions and concepts which are contextualized and represented by certain symbols, audio, video and photo contents. The meaning of the collected data is conditioned by aesthetic, psychological, geographic, sociological, political characteristics of space, on which these new contents are created.

How We Became Metadata

I Wanted to See All of the News From Today, How We Became Metadata

Martin John Callanan, Corby & Baily and Jonathan Mackenzie, Eunju Han, Eduardo Kac, susan pui san lok, Ruth Maclennan and Uriel Orlow, and Thomson and Craighead What is Metadata? As the exhibition outlines, it is data about data, information about information. It facilitates the retrieval, use, and mis-use of data, information, and knowledge. It is at the heart of our age: it underpins, drives, and shapes information economies, societal networks, search engines, communication technologies, systems of knowledge, websites, online images, maps, archives, catalogues and indexes, stock markets, and especially capitalism, commerce, and consumption. It is the structure, the organizing principle, the ecology that governs us. Metadata shapes experience – through data, information, knowledge. It shapes our sense of privacy, identity, security, civic-ness, labour, sharing, peer to peer-ness, being together, and being itself even. It shapes who we are and what we are. In the past, we used to shape data and information. Now it’s shaping us. It trawls through our searches, monitors our buying habits, its GPS systems tracking us, its cookies shadowing us, tagging us, accumulating data and information along the way, for its own sake, for purposes ominous or as yet unanticipated, even earning capital off the back of our labour as we manage our Facebook sites, all the while accumulating, number-crunching, processing, and then offering our desires back to us. Threefold. Buying a book on Amazon? ‘Customers who bought items in your Recent History also bought…’ In this exhibition the artists locate and challenge the logic, the status, and the nature of data, information, and knowledge. By way of the informational (Callanan), the communicable (Han), the environmental/ecological (Corby & Baily and Mackenzie), the bio-cultural (Kac), the searchable (Thomson and Craighead), the historical (lok), and the archival as itself a mechanical super-structure of data (Maclennan and Orlow), they find new and unique languages to articulate visually and poetically how such systems and networks of data/information/knowledge that constitute and are constituted by metadata might be brought to light, questioned, and, perhaps most pressingly, how they might be disrupted. ‘How We Became Metadata’ is a political and ethical move in that direction: it is a move to highlight the creation, organization, presentation, and control of data and metadata, and, even more so, to interrupt the rhythm of such insidious logic.

Location of I, The World in 100 Years, Ars Electronica

The new exhibition in the Ars Electronica Center Linz pays tribute to the creativity, courage and inventiveness of those men and women who have totally committed their energies, abilities and knowledge to a vision of the future. This exhibition surveys a 200-year time span: looking back at what people about a century ago anticipated for this day and age, and showcasing what contemporary thinkers foresee 100 years from now. As proxies standing for all the visionaries and trailblazers who have worked on their respective „futures“ over the course of humankind‘s history, French writer, illustrator and caricaturist Albert Robida (1848–1926) and Belgian visionary Paul Otlet (1868–1944) occupy this exhibition‘s spotlight.

A Planetary Order (Terrestrial Cloud Globe), Serendipity City, FutureEverything 2010

The FutureEverything 2010 main exhibition, featuring architecture-inspired art, a curated selection of city-drifting iPhone and Android apps, jaw-dropping data visualisations and a selection of FutureEverything 2010 Award nominees. The venue is The Hive (47 Lever Street, Manchester M1 1FN), a spanking new Northern Quarter location. All FutureEverything 2010 art exhibitions and events are FREE to attend.

FutureEverything

Web Biennial 10

The World in 100 Years

he new exhibition in the Ars Electronica Center Linz pays tribute to the creativity, courage and inventiveness of those men and women who have totally committed their energies, abilities and knowledge to a vision of the future. This exhibition surveys a 200-year time span: looking back at what people about a century ago anticipated for this day and age, and showcasing what contemporary thinkers foresee 100 years from now. As proxies standing for all the visionaries and trailblazers who have worked on their respective „futures“ over the course of humankind‘s history, French writer, illustrator and caricaturist Albert Robida (1848–1926) and Belgian visionary Paul Otlet (1868–1944) occupy this exhibition‘s spotlight.

File Prix Lux (award finalist)

n 2010, FILE launches FILE PRIX LUX, an international prize for professionals in the area of electronic-digital languages. This is an unprecedented initiative in Latin America that values the art of the XXI century viable for the first time by Santander through the Lei Rouanet de incentivo à Cultura. This initiative was conceived to complement FILE's actions in the area of electronic and digital languages, with the intent of rewarding, motivating and stimulating the emergence of new talents. FILE intends with FILE PRIX LUX, besides the exhibition and presentation of works, to add value to such manifestations, conferring to the awarded artists a national and international impact.

FutureEverything - Serendipity City

The FutureEverything 2010 main exhibition, featuring architecture-inspired art, a curated selection of city-drifting iPhone and Android apps, jaw-dropping data visualisations and a selection of FutureEverything 2010 Award nominees.

How We Became Metadata

What is Metadata? As the exhibition outlines, it is data about data, information about information. It facilitates the retrieval, use, and mis-use of data, information, and knowledge. It is at the heart of our age: it underpins, drives, and shapes information economies, societal networks, search engines, communication technologies, systems of knowledge, websites, online images, maps, archives, catalogues and indexes, stock markets, and especially capitalism, commerce, and consumption. It is the structure, the organizing principle, the ecology that governs us. Metadata shapes experience – through data, information, knowledge. It shapes our sense of privacy, identity, security, civic-ness, labour, sharing, peer to peer-ness, being together, and being itself even. It shapes who we are and what we are. In the past, we used to shape data and information. Now it’s shaping us. It trawls through our searches, monitors our buying habits, its GPS systems tracking us, its cookies shadowing us, tagging us, accumulating data and information along the way, for its own sake, for purposes ominous or as yet unanticipated, even earning capital off the back of our labour as we manage our Facebook sites, all the while accumulating, number-crunching, processing, and then offering our desires back to us. Threefold. Buying a book on Amazon? ‘Customers who bought items in your Recent History also bought…’ In this exhibition the artists locate and challenge the logic, the status, and the nature of data, information, and knowledge. By way of the informational (Callanan), the communicable (Han), the environmental/ecological (Corby & Baily and Mackenzie), the bio-cultural (Kac), the searchable (Thomson and Craighead), the historical (lok), and the archival as itself a mechanical super-structure of data (Maclennan and Orlow), they find new and unique languages to articulate visually and poetically how such systems and networks of data/information/knowledge that constitute and are constituted by metadata might be brought to light, questioned, and, perhaps most pressingly, how they might be disrupted. ‘How We Became Metadata’ is a political and ethical move in that direction: it is a move to highlight the creation, organization, presentation, and control of data and metadata, and, even more so, to interrupt the rhythm of such insidious logic.

A Planetary Order (Terrestrial Cloud Globe)

Richard Hamblyn, writer in residence, and Martin John Callanan, artist-in-residence, held a joint launch for a new book and work of art linked by the theme of clouds. Martin John Callanan created A Planetary Order, a terrestrial globe showing clouds around the planet from one single moment in time. Callanan’s A Planetary Order examines the fragility and interdependence of the Earth’s environmental systems. The data to make the globe came from satellites overseen by NASA and the European Space Agency. Callanan then turned the raw data into a 3D computer model with the help of the UCL Slade Centre for Electronic Media in Fine Art. It was printed at the Digital Manufacturing Centre at the UCL Bartlett Faculty of the Built Environment. Writer in Residence Book Launch Richard Hamblyn’s book Extraordinary Clouds is a celebration of unusual cloud formations and atmospheric phenomena. Some of the most spectacular images in Hamblyn’s book came from The Cloud Appreciation Society, a 17,000-strong group of cloudspotters. Extraordinary Clouds is available from all good bookshops and A Planetary Order will go on display at UCL’s Pearson Building later this summer. Discover the amazing and unexpected world of clouds with this inspiring collection of images. Richard Hamblyn offers a selection of some of the most startling and unusual cloud formations, from the uniform streaks of 'cloud streets' to the odd bulbous 'lenticularis' that are commonly mistaken for UFOs. Each amazing photograph will be accompanied by Hamblyn's entertaining and informative explanation of how the cloud was formed and the conditions in which a similar one might occur. The images chosen use satellite photography of clouds from above as well as ground-based pictures and the collection demonstrates the most unexpected and seemingly impossible patterns that can be created by the natural cycles of the weather. Hamblyn has already written several books on the subject, including The Invention of Clouds, which won the LA Times Book Prize, and a pictorial guide to cloud formations called The Cloud Book. Extraordinary Clouds grew out of his research for the latter as he amassed a collection of images that did not fit into any standard category, such as the uniform streaks of ‘street clouds’ and the bulbous ‘lenticularis’ sometimes mistaken for UFOs.

FILE 2009 (Electronic Language International Festival)

Space is the Place

An exhibition of the documentation of artistic practices, which intervene in public space. The exhibition will focus on ephemeral practices, which have not been officially sanctioned and which are mediated in some fashion through digital networks.

Netaudio London 2008

Netaudio’08 took place from 22nd to 25th October 2008 at Shunt Lounge, London SE1. It celebrated the creative output of networked musicians and online communities with installations, workshops, showcases and performances. Netaudio’08 plaid host to a broad range of live musical acts from the IDM of Lackluster and the digital dub of Disrupt to the raucous sounds of emerging talent A.R.E. Weapons. There was live techno and house from Berlin and djs from across Europe and the UK playing everything from esoteric ambience to minimal techno and back via a headlining set from man of the moment: Appleblim. The only criteria here is that they sound good and that they engage via the medium of the Internet. Within the market side of the festival you could lay your hands on the latest gadgets, kit and software with everything from digital DJ tools to fully fledged audio production software. As a modern day equivalent of a fun fair, the Netaudio Market also featured a number of interactive installations and stalls allowing you to have a taste of what’s on offer by experimenting with numerous sound and internet tools as well as simply enjoying one of the professionals demonstrations. Full listings and special events are still live. Keep yourself in the loop about future activities by subscribing to our blog-feed or newsletter and join us on one of the featured social websites. Netaudio’08 is funded by the Arts Council England through Grants for the Arts and by Shunt. Cenatus Music Projects gratefully acknowledges financial support from the PRS Foundation. The Netaudio Festival is based on a Swiss concept, first showcased in 2005 in Berne. Netaudio’08 is supported by the Swiss Cultural Fund in Britain.

Encoding Experience

2008

Urban Screens Melbourne

Moscow International Film Festival

Live Art Falmouth

More than 70 international, national, regional, and student artists from University College Falmouth will contribute to this year's live art platform. Artists include Alex Hetherington, a new media artist and writer who has been awarded commissions by Channel 4 and MESH and creates work that references leading contemporary performance companies The Wooster Group and Goat Island; Lynn Lu, who was awarded the Singapore National Arts Council International Touring Grants in 2007 and the National Arts Council Emerging Artist Grant for her work in 2006 and Charlotte Eatock, a professional contemporary dancer and choreographer, also experimenting with film and photography. Claire Blundell Jones, Dorte Strehlow and Christiane Obermayr, Evangelia Basdekis, gilbertandgrape, Jeff Cloke and Mike McInerney, John Dummett, Jon Fawcett, Katherine Hymer, Kathy Rose, Ken Turner and Jane Whitaker, Misha Horacek, Nathan Walker, People in Pieces, Rachel Parry, Rupert White, Stephen Cornford and Matthew Appleby, Tom Marshman, and Vana Gacina. Guest artist Richard Layzell will present ‘Key Notes', a work first performed at this year's National Review of Live Art (NRLA) in Glasgow. His work encompasses many approaches to art production and audience. In 1989 he adopted the persona of a self-promoting businessman for several weeks, and gained a lot of media attention. He's been called "one of the best artists working in Britain today" and has worked extensively in galleries, museums, the street, and recently as an artist in industry, in the role of 'visionaire'. There will also be a special launch event of 'Cream Pages', the brand new publication by Tania Koswycz and Richard Layzell, incorporating a live dialogue specifically created for LAF08, which encompasses five years of debate, discourse, disagreement and dynamism.

ABPP loan exhibition

IDFA DocLab 2008

FILE Electronic Language International Festival, São Paulo, Brazil

TakeAway

Trampoline Year 10

Velocity, Folly Festival of Digital Culture

8th Pixxelpoint festival

Radio Tower Xchange

Biennale 3000

Exploding Cinema

Mapping

Dislocate

UNESCO Virtual Residency

ArtConcept Festival, Saint-Petersburg, Russia

7th Seoul Film Festival

Concordia University Electroacoustics 2005-2006 Series XXIV

FRAMED

SightSonic, York International Digital Arts Festival

Paraflows 06 Festival

Memefest 2006 - International Festival of Radical Communication

For the fifth year now, the organizers of Memefest, a "festival of radical communication," are encouraging students, professionals, artists and activists alike to contribute their talents to our collective counter-culture. emefest departs from the principle that there is too much talent and knowledge being wasted in marketing communication, and other "mind-altering" media practices that spread negative infectious ideas. However, it believes that there is hope. Together, we can explore how ideas are and can be created and spread, replicating themselves in a manner akin to viruses. These disseminated ideas are called memes . The goal that Memefest sets out for its participants is to generate and replicate more positive and beneficial ones. Memefest proudly provides a public space where beneficial memes are fostered, nurtured, and rewarded. Last year, sociology and communication students responded to Douglas Rushkoff's Nowhere to Hide , which examines the subversive attempts of advertisers to convince even, and especially, the most cynical and angry of consumers, and visual artists to The People's Communication Charter , the "manifesto" that demands we right the wrongs of media and technological violence. We received almost 500 submissions (our greatest number to date, and one we hope to top this year!) from 36 countries in every continent in the world. Memefest 2006 asks sociology and communications students to discuss Richard Barbrook's The High-Tech Gift Economy , which discusses the co-existence of market and gift economies on the net and poignantly argues that utopian anarcho-communism, within such an environment, is dead. Memefest also asks visual art and design students to respond to The Declaration Towards a Global Ethic , a call to the raising of a universal "spiritual" consciousness as a long-term solution to the economic, social and political crises in the world.

March 2012