net-cultures @ supersonic!


node:	net-cultures
template:	3
parent:	politika.spolocnost.media.historia .alt
owner:	dusanson

cwbe coordinatez:
30.12.2006 - 17:31:00

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ABSOLUT
KYBERIA

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system:	public
net:	yes

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net culture / network culture / sieťová kultúra
(kolaboratívny research)

http://kyberia.sk/net-cultures

http://kyberia.sk/net-cultures/rss

projekty - história sieťového umenia 1 a 2 a 3, sieťové projekty, sociálne siete, web 2.0 služby

dlhodobé sieťové projekty a organizácie - node.london (*04), netznetz.net (*04), multiplace (*02), institute of network cultures (*04), institute for distributed creativity (*04), kyberia.sk (*01)

teórie/koncepty - organizované siete (05, lovink), distribuovaná estetika (05), bezškálové siete (02, barabási), postprodukcia (00, bourriaud), actor network theory (86-87, callon+latour), dočasná autonómna zóna (85, bey), relačné estetiky (82-98), informačná spoločnosť

knihy - delusive spaces (07, kluitenberg), the exploit (07, galloway), organized networks (06, rossiter), wealth of networks (06, benkler), netzmusik (05, föllmer), at a distance (05, ed. chanlder+neumark), media ecologies (05, fuller), telepresence & bio art: networking humans, rabbits, & robots (05, kac), reassembling the social (05, latour), network culture (04, terranova), free culture (04, lessig), six degrees (04, watts), telematic embrace (03, ascott), freie netze (03, medosch), dark fiber (02, lovink), linked (02, barabási), information age (96-98, castells)

teoretici - geert lovink (*59 nl), matthew fuller (en), manuel castells (*42 es/us), yochai benkler (il/us), ned rossiter (au/en), lawrence lessig (*61 us), inke arns (*68 de), lev manovich (*60 ru/us), florian cramer (*69 de), armin medosch (*62, at/uk)

mailing listy - nettime (*95), spectre (*01), idc (*04)

ikony k linkám:

projekt/služba,

PDF k voľnému stiahnutiu,

text,

text e-mailu,

noticka o knihe (prípadne možnosť kúpiť),

blog,

domovská stránka človeka

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Christakis also found that happiness may spread through networks; that an individual's happiness correlates to the happiness of their friends' friends, even if they don't know them but are only connected through a social network.
http://en.wikipedia.org/wiki/Nicholas_A._Christakis#Social_Networks_and_Health

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pokracko http://www.youtube.com/user/TVSolidarita#p/c/7ED08626C5A820E0

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Rule 34: If it exists, there is porn of it. No exceptions. kyberia.sk/id/5099969

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SCIENCE AND ENVIRONMENT COMMUNICATION SECTION - CALL FOR PAPERS

ECREA's 3rd EUROPEAN COMMUNICATION CONFERENCE

Conference Theme: 'Transcultural Communication -- Intercultural
Comparisons'.

Hamburg, Germany, 12-15 October 2010 www.ecrea2010hamburg.eu

ECREA's Science and Environment Communication Section welcomes the
submission of proposals for papers, posters and panels for ECREA's 3rd
European Communication Conference to take place in Hamburg, Germany from
12 to 15 October 2010.

The 21st century faces unprecedented challenges in the environment and
science fields. The Science and Environment Communication section seeks
to foster a strong network of research in the wide area of science and
environment communication. Science is understood here in broad terms as
research that has its roots in the social sciences, humanities or
natural sciences, including technology. Environment is also understood
broadly as both the natural and the built milieu. Example of topic areas
that can be addressed include - but are far from restricted to - the
following:

* Media representations of science and the environment
* Political and commercial discourse on the environment
* Communication, democracy and scientific/environmental
governance
* Public engagement with science and the environment
* The dialogic, interactive communication of research-based
knowledge
* The discourse and politics of environmental activism

The section welcomes work that crosses a range of disciplinary
(communication/media/cultural studies, science and technology studies,
sociology, social psychology) and methodological
(quantitative/qualitative/empirical/theoretical) boundaries. For
activities of the section, please visit http://www.scienv-com.eu/

PROPOSAL SUBMISSION DEADLINE: 28 February 2010

Guidelines for submission

ECREA is pleased to accept proposals for individual papers, panels as
well as poster presentations. All proposals must be submitted to (and
will be reviewed) by one of the 17 ECREA thematic sections through the
conference website. www.ecrea2010hamburg.eu

Abstracts should be written in English and should contain a clear
outline of the argument, the theoretical framework, and where applicable
methodology and results. The preferred length of the individual
abstracts is between 400 and 500 words (the maximum is 500 words, i. e.
3,500 characters). Panel proposals -which should consist of five
individual contributions - combine a panel abstract with five individual
abstracts, each of which are between 400 and 500 words (i. e. max. 3,500
characters).

Participants may submit more than one proposal, but only one paper or
poster by the same first author will be accepted and programmed. First
authors can still be second (or third, etc.) author of other papers or
posters, and can still act as chair or respondent of a panel.

Deadline

All proposals should be submitted through the website no later than 28
February 2010. Please note that this submission deadline will not be
extended!

Proposals should be submitted through the conference website. Online
submission system opens 1 December 2009.

To avoid technical problems, early submission is strongly encouraged.

Timeline

1 December 2009: Online submission system open

28 February 2010: Deadline for online submission

End of April 2010: Notification of acceptance

15 September 2010: Deadline for submission of full papers (for online
publication)

Feel free to circulate this call to colleagues or any other research
networks that may be interested in submitting a proposal.

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team z mit vyriesil darpa network challenge za 9 hodin. detaily zajtra.

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ORGANIZED NETWORKS
Training Programme for Cultural Network Management Riga, December 3 - 5, 2009

By addressing issues of cultural sustainability with focus on networking, the Training Programme for cultural network management entitled "Organized Networks" will take place in Riga, December 3 - 5, 2009, gathering together representatives from more then 20 cultural organisations, new media centers and networks from Baltic, Nordic and other European regions, as well as Caucasus countries.

The Training Programme is co-organised by the RIXC, the Center for new media culture (Latvia) and partners from Finland (Pixelache festival, MARIN Association), Norway (Piksel, iolab, Atelier Nord), Iceland (Lorna), Sweden (Kultivator, C-Studio/Interactive Institute, New Media Meeting), Denmark (FieldWork, WindFestiva/Energy Academy), Lithuania (KCCC), Latvia (Association for Cultural NGOs), the Netherlands (Baltan Laboratories), Armenia (ACCEA/NPAK) and Georgia (Center for Contemporary Art - Tbilisi, GeoAir).

. . . Conceptual background

The current global crisis motivates us to think again of "how to remake the world" as many of methods used previously have turned out finite and unsustainable. Today, new approach in terms of both - design and production is urged nearly in all fields, including culture.

The idea of "networks" is not new, but it contains potential that hasn't been exploited to a great extent yet. New media networks have already had more than ten years of history. Translocal as well as local networking has played an important role in supporting operation of small-scale cultural organisations.

However, networks as such are not only virtual structures, there are real people and real technical infrastructures behind them. Our network culture today is also faced by sustainability issues. We are asking now: how to work out new strategies and methodologies for improving and developing more sustainable translocal cooperation practice ("organized networks")? And how to develop new (network-based) models for facilitating individual / local cultural organisations ("network nodes")?

The idea of "organized networks" (as proposed by Ned Rossiter, Geert Lovink) poses a question, can network be seen as a new form of institution, and considers that it is relevant not only to work out new methodologies for networking practice - i.e. tools and protocols (agreed ways to support activity in the network), but also to discuss 'collaborative value system' (dealing with issues such as funding, internal power plays, and the demand of "accountability" and "transparency", etc.).

The Training Programme will investigate what strategies "organized networks" can offer for sustainable development in cultural sector, and, in particular, in translocal cooperation. The Training Programme will specifically focus on evaluating the cultural network practice of Baltic-Nordic-EU region. This will include NICE and Pixelache festival networks, Baltic-Nordic artists residency programmes, Nordic funding structure, future development of new media art centers, their local and translocal cooperation strategies, etc. Ways how networks can create and sustain their own infrastructure will also be discussed.

Geographically, the Programme also aims to enhance European cultural area by drawing out new cultural cooperation axis connecting Nordic, Baltic and Caucasus regions on the Northern and Eastern border of Europe.

With regard to the content, the Training Programme will explore the potential of emerging interdisciplinary cooperation among the fields of arts, science and sustainable (information and energy) technologies, in order to set up a common ground for developing Art and Renewable Energy Network and to discuss possible future co-projects.
Seminar will also discuss how artists, new media activists, renewable technology researchers, social software developers, open source activists, designers of autonomous and alternative infrastructures who already work together, deal with sustainability issues, discussing how may cultural organizations and their networks benefit from these artistic innovations for building their future sustainability.

. . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . .

PROGRAM

Thursday, December 3
Location: Spikeri, kim? Building, 3rd floor
19.30 - 21.00 Public Lecture: Erik Kluitenberg (the Netherlands) Design for Sustainable Immobility"

Friday, December 4 (Day 1)
Location: RIXC Media Space, 11. Novembra
krastmala 35 (entrance from Minstereja street)
10.00 - 14.00 [Work Session 1]: Networks (/ Organized Networks)
15.00 - 18.00 [Work Session 2]: Sustainability (/ Design for Resilience)
Location: Spikeri, kim? Building, 3rd floor
20.00 - [Open Programme] Screenings / Public Presentations
(Kultivator / Sweden, Baltan Laboratories / the Netherlands, One Minute Video Festival / Armenia, Survival Kit / LMC, Latvia, Serde / Latvia, Arctic Perspectives Project / Lorna, Iceland, etc.)

Saturday, December 5. (Day 2)
Location: RIXC Media Space, 11. Novembra
krastmala 35 (entrance from Minstereja street)
11.00 - 12.00 Michael Psallidas (Greece) Lecture "Intelligent Energy Networks"
12.00 - 14.00 [Work Session 3]: p2p Infrastructures (/ Energy Issues)
15.00 - 18.00 [Work Session 4]: Open Code Infrastructures (/ Social Media)
Location: Spikeri, kim? Building, 3rd floor
20.00: [Open Programme] Presentations
(MoTA / Slovenia; MARIN mobile residency project / Finland; GeoAir / Georgia; Homo Novous / JTI, Latvia; Nordic-Baltic Videoarchive Project / Noass / Latvia, Pixelache festival network / Finland, etc)
http://orgnet.rixc.lv/participants

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Najbližší Barcamp bude v sobotu 21. novembra 2009 od 9 - 17.30.

Kde: Centrum vedecko-technických informácií, Lamačská cesta 8/A, Patrónka - Bratislava
http://www.barcamp.sk/

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http://www.ethanzuckerman.com/blog/2009/04/08/tim-hwang-explains-net-memes-at-the-berkman-center/
http://www.hyperorg.com/blogger/2009/04/07/8058/

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č. 13/09 – kamarádi v síti
datum vydání: 24.06.2009
http://www.advojka.cz/archiv/2009/13

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inak vacsina clankov v cisle o sietach je zamknuta, celkom zabavne, nie?

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vsak prave.. siete na to toto: http://sharebee.com/2792fc62

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a ty tam nemas clanok? no teda

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ah, no, ja som zaspal dobu zzz

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l_8662f18950a4340a6b5340c856045684.gif><br class=

drzme si MULTIPALCE /// BRN0 14-19/04/09

caute,
tak vsetkych pozyvam na multiplace program in da brno:

zaciname v utorok 14.4. - FLEDA - premiera tanecnej performance L TO THE B, reziu ma akkamiau, nasleduje otvaracia party, kde zahraju 1a2v1, DJ Ink Flo, Anymade, Electronic bitches v preklade elektronicke ... ///
v stredu - v dome panu z kunstatu STUDENTS MATCH , to je stretnutie a prezentacia tem, ktore riesia sikovni studaci, manici a manicky z fildy (odbor interaktivne media), favu (multimedia, video, intermedia) a fakulty informatiky vut. po tom presun do GALERIE UMAKART, ktora je na ulici antoninska, kde bude vernisaz vystavy richarda loskota GOTOandPLAY ///
vo stvrtok, zasa v dome panu z kunstatu, session o medialnom aktivizme, robotike a mediach vo verejnom priestore, pride napr. MAXIGAS a POD, ktori rozpitvaju temu avatarov, KEIKO SEI z japonska porozprava o medialnom aktivizme v juhovychodnej azii a o tom, ako sa da o niecom takom ucit, RAFANI pridu, pokecaju a spravia (asi) nejaky zvukovy bordel MEDIA SESSION prednasky podrobne info nevahaj a klikaj sem . ///
v piatok bude party v STAROM PIVOVARE, no najskor sa tam odprezentuju zaujmavi z favu, nebude chybat sam velky mr. ronai, a pak zahra VJka TEXA a TO ZLUTE CO MATE NA KALHOTKACH (njn, dnes uz hra fakt kazdy, co?) + DJ FOOL. ///
v sobotu sa mozete prist naucit na FaVU na Udolni robit v softe MODUL8, nauci vas to Ilan Katin a dielna je prosim pekne zadarmo, takze hlaste sa smelo .) pocas toho bude na dvorecku prebiehat LEN A/V performance, spojenie brna s barcelonou ///
no a v nedelu 19.4. sa to cele, snad stastne, skonci na FLEDE na ELEKTROJAME, kde su vsetci, ktorym sa chce (na comkolvek) hrat vitani!!!

este bacha, okrem toho vsetkeho sa bude nieco podivne diat na trase praha a GALERIE POTRAVINY, v utorok a v stredu si budete moct na ulici nahodne zahrat SE SLUNCEM na nastroj, ktory je nabiyjany (iy, je to chytak?) solarnou energiou, bude s nim dusan urbanec potulovat po brne. a v nedelu na vlakovej stanici mozete ROZOHNAT MRAKY a vypocut si cestu brno_blava_zilina_zlin a spat v podani slecny soundartistky marketky .)

tesim sa na stretnutie s vami, pridte sa pozriet, podporit, zahrat si... (ja budem asi levitovat niekde medzi tym vsetkym)

cely program brno

horny artwork vj texa :)

dakujem za pozornost.

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Play Cultures [svet digitalnych hier]
Vernisaz vystavy a otvorenie festivalu sietovej kultury MULTIPLACE #8 v Bratislave

utorok 14. apríla o 18.00
Dom umenia, Nám. SNP 12, BA
hudba pocas vernisze: DJ Effiks

Multimedialna vystava Play Cultures po prvykrat na Slovensku predstavuje sucasnu tvorbu svetovych umelcov, vyuzivajucu jazyk pocitacovych hier. Ukazuje, ako sa da k tomuto zanru pristupit tvorivym a angazovanym sposobom a prehodnocuje ich kulturne, socialne a vzdelavacie aspekty a potencial. Vystava pozostava z 20 samostatnych a sietovych hier, videi a interaktivneho vytvarania pribehu. Obsahovo zahrna siroke spektrum tem od politickej propagandy cez hackerske techniky az po estetizmus alebo socialne temy.

vystavujuci umelci: AES + F (RU), Afkar Media (SY), Alon Tzarafi (IL), Fiambrera (ES), Gonzalo Frasca (UY), Jodi (BE, NL), Molleindustria (IT), Personal Cinema (GR), Persuasive Games (USA), Robert Praxmarer (AT), Serious Games Interactive (DK), Tale of Tales (BE), Vladan Joler (RS), Vladimir Todorović (RS, SG), Urtica (RS)

kurator: Kristian Lukic / Srbsko

http://multiplace.org/2009/index.php?id=853
http://www.facebook.com/home.php?ref=home#/event.php?eid=83717811531

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'Boxwars' is a concept-event involving cardboard-clad 'warriors' who engage in gladiator-style fight-performances, in music-club and outdoor contexts. Created by cardboard enthusiasts in Melbourne in 2001, Boxwars UK was transposed to Edinburgh in 2006 by Demian Deadly. He and friends developed the concept within the punk and 'DIY' cultural scene, integrating live music/ club enviroments, as well as outdoor events such as flash-mob-style imromptu battles, and Box-Car Racing.

In Edinburgh, at different venues and over 20 self-organised events, a community of participants has developed who 'fight' each other in personally-customised waste-cardboard costumes, with cardboard weapons. As part of the Edinburgh Fringe Festival, the largest event included 74 'boxwarriors' and a crowd of around 250.

As a cultural phenomena, the collective is gathering media attention and interest from press and media channels, including coverage from Belgian-based Che Magazine, Dazed and Confused, Front Magazine, as well as local and national British media. Recently the Edinburgh Boxwars collective were filmed as part of a documentary by London based production company Somethin' Else, commissioned by British commercial television channel ITV2. The documentary takes a 'reality-tv' perspective to Boxwars club events, casting two people who have never taken part in Boxwars before, to experience the creative process and subsequent chaotic destruction of their cardboard creations.

Promotion of unsigned punk bands in club events, and grassroots music distribution/ syndication is an important accompanying practice to the 'Boxwars' events. The media-savvy coordinators of Boxwar UK events have successfully combined both mainstream and participatory media to promote fringe cultural grassroots activity. Common to all is the use of popular online social-media and network platforms, to facilitate audience development and community sustenance.
http://www.boxwars.co.uk | http://www.myspace.com/boxwars

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Barcamp 2009: Marketéri prezlečení za vizionárov

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Po premietnutí si pár predmetných videí (°1, °2) musím autorke oponovať, Barcamp 2009 nebol ani tak marketingovým predvádzaním, ako prirodzeným pokračovaním tradície _conov: chýbali len prezlečenia za Luka Skywalkera (Darth Vader dnes nosí sako), výmena kartičiek (už sa menia vizitky), animáče (premietajú sa vidá net produktov) a všeobecná kolotočová nálada (ide predsa o biznis). Ach tie časy...

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http://www.youtube.com/watch?v=DKmNvSEJSNI

For the Spring 2009 Digital Ethnography course led by Michael Wesch. This is a compilation of trailers created by students for their Spring 2009 projects. For more information about our project, visit our research hub: http://www.netvibes.com/wesch There you will find links to student blogs, our wiki, our diigo links, notes, and other materials.

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INTERVIEW SERIES:
RE: NETWORKED E-MAIL-CONVERSATIONS

-

RE:INTERVIEW #008
A Practice without Discipline | Networked Cultures

In 2005 Peter Mörtenböck and Helge Mooshammer initiated the Networked Cultures project, a research platform on the potential of translocally networked spatial practices. Interviews, exhibitions, films and presentations are the many forms they collaborate on architecture, art and theory projects and investigate urban network processes, spaces of geocultural crises, and forms of cultural participation and self-determination. In RE:INTERVIEW #008 Peter Mörtenböck and Helge Mooshammer talk about the network as “the digital age’s ubiquitous object of desire”, the presentational form of socio-politically engaged creative projects and their own creative processes, defined as a “practice without discipline”.

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RE:INTERVIEW #007
Technological Mimesis | Marius Watz

Colourful explosions of organic forms, visual structures that can only be percieved when the spectator allows herself to enter the flow of contemplative effects one has got viewing the artworks: generative practices have first been developed at the intersection of scientific and artistic settings to research visual patterns and form. RE:INTERVIEW #007 deals with nowadays generative systems which are used by artists, as well as in Design, Architecture and the culture of everyday life. Marius Watz, an artist concerned with generative systems for creating visual form, still, animated, or realtime, argues in the following interview: “One of the privileges of Generative Art is that the author can easily be surprised by her own creation.”

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RE:INTERVIEW #006
Undecisive Contexts | Mark E. Grimm

The net establishes its significance as artistic medium no longer in specialised communities but has become dispersed more and more into contexts commonly assigned to the “classical” art business. Issue #006 of the RE:INTERVIEW series deals with the artistic work of Mark E. Grimm which — covering different contexts evaluated by conventional criteria — could be considered as undecisive. The collaborative work in and outside the net, the study of the working processes and the transfer of net-related working methods into real life are all practices deliberately dealt with as artistic statements but rarely leave material-related marks. Perhaps we observe here the reversal of the 90’ s Californian Ideology and its “Second Life”: the reality is not subordinated to the net but the net turns with its constant use into a part of the reality.

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RE:INTERVIEW #005
Versatile M[c]o[mmunication]dality | Mary-Anne Breeze (mez)

mez, netwurker, data[h!]bleeder, ms post modemism, mezflesque.exe, ova.kill, net.w][ho][urker, Purrsonal Areah Netwurker, Phonet][r][ix ... The pseudomyms of the Australian Internet artist Mary-Anne Breeze are as multifaceted and multilayered as is her artistic work. In issue #005 of the RE:INTERVIEW series Mary-Anne Breeze talks about her own language of artistic creation called mezangelle which is composed by the playful use of aspects of form and content like orthography, semantics and punctuation and mixed with the hybrid use of segmented code and programming languages, Internet-slang and literary texts. In her own words, her works r never really finished; they kinda hang together in a faux_fixed state, rdy.4.the.next.incarnation.

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RE:INTERVIEW #004
Literature — Curating Ambiguity | Scott Rettberg

In autumn 2006 the Electronic Literature Organization (ELO) released the Electronic Literature Collection Volume One, including selected works in New Media forms such as Hypertext Fiction, Kinetic Poetry, generative and combinatory forms, Network Writing, Codework, 3D, and Narrative Animations. One of the main common characteristics of Web-based literary products is that they often can be read (or viewed, listened, played with, used) in multifaceted ways. Accordingly the curation of Electronic Literature is challenged by ambiguity and heterogeneity on different levels. In RE:INTERVIEW #004 Scott Rettberg — co-curator of the anthology and co-founder of the ELO — talks about different ways of contextualising, re-presenting and archiving E-Literature: The more context, the more documentation available to the reader, the better.

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RE:INTERVIEW #003
Live Cinema — Language and Elements | Mia Makela (solu)

Depending on how you set the boundaries, Live Cinema could be anything — from the visuals of the VJ in the club last night to sophisticated realtime performances based on complex interaction between musicians and visual artists at renowned festivals. Generally it may be defined as a recently coined term for realtime audiovisual performances. In issue #003 of the RE:INTERVIEW series, Mia Makela (aka SOLU) — an active Live Cinema performer — talks about her thesis with the title Live Cinema: Language and Elements investigating the principles of this genre.

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RE:INTERVIEW #002
The Big Book (C)rime | UBERMORGEN, Alessandro Ludovico & Paolo Cirio

About one year after the release of “Google Will Eat Itself” the artists Paolo Cirio, Alessandro Ludovico, Hans Bernhard and Lizvlx (both UBERMORGEN.COM) foxed out Amazon.com, the second global Internet player. The results of the Media Art-event Amazon Noir — The Big Book Crime were presented on the 15th of November 2006. Issue #002 of the RE:INTERVIEW series deals with the actual discussion of property rights for non-material goods and their use/violation by new technologies on the Internet as well as it deals with the call of the Open-Source-movement for the free flow of information is opposite to law systems which neither work in a standardised way nor on a global level.

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RE:INTERVIEW #001
Possibilities in Locative Media | Jeremy Hight

RE:INTERVIEW #001 deals with the phenomenon of Locative Media — recently becoming more popular in Media Art discourses — which has roots dating back to the dawn of history. Early myths like the Epic of Gilgamesh or — more specific — Homer’s Odyssee deal with issues of location and the recording of movement on earth’s surface. Developments since then include mediaeval cartography as well as the Situationists’ approach to mapping a city. Nowadays Locative Media uses technology to trigger artworks in a specific physical space. Jeremy Hight is one of the artists behind “34 North 118 West” — the first locative narrative — and author of “Narrative Archaeology: Reading the Landscape”, a text that was recently named one of the four primary texts in locative media in Leonardo, the renowned online journal of the Massachusetts Institute of Technology (MIT).

http://cont3xt.net/blog/?page_id=236

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no, a cim to je, ze u nas o tom nikto nepise?

000001010155157502834359044784140448683504519123

hmm, no ja by som vobec netvrdila, ze u nas o tom nikto nepise, skor je to tak, ze to nie je nikde zdruzene pod jednou hlavickou a dava vela prace to nachadzat.
tak napr. vo VLNE vysli {hoci prelozene, ale aspon cosi} dvakrat za sebou v publikaciach z roku 2000 clanky o interaktivite, multimediach a technoliterature na nete;
KINO/IKON ma par clankov, ktore riesia {aspon zcasti} intermedialitu a digitalizaciu
Rankov vydal knizku Informacna spolocnost, ktora sa v nejakej kapitole dotyka umenia na nete.
o Intermedialite bola min. rok konferencia, sice v Cechach, ale ten zbornik sa da zohnat.
my sme v grante v USvL vydali v decembri casopis s roznymi temami o lit. na nete - ja si z toho robim doktorat {mam tam jedno interludium aj o materialite dig. diela, kde trochu riesim aj kodove diela a dig. poeziu ako taku, ale mam to cele viac orientovane na prozu}.
O uchovavani net.art materialu sa tu v SR moc nepise, ale to asi kvoli tomu, ze ked sa pozries na knihy zo zahranicia, tak oni vacsinou vsetkou to teoreticke k comu sa dopracovali potom demonstruju a riesia na dielach {vid. najnovsi M. Kirschenbaum: Mechanisms a vsetci starsi teoretici detto} a kedze u nas nevyslo ziadne narativne {pokial viem ani poeticke} dielo na nete, tak uz to asi nik na nicom slovenskom riesit nemoze :(

mne na Slovensku skor pripada strasne alarmujuce a smutne to, ze taky totalny nimand ako Andrijan Turan si napisu svoju trapnu, priblblu, nicim nepodlozenu {iba svojou sprostostou} uvahu o knihe vs. internete!? {wtf - kto tam dal v Amerike v roku 94 vs. bol za debila a smejda} a Romboid im to uverejnil pred mesiacom. no dovidenia. Som sa triasla od zlosti ked som to citala a to sa mi normalne nedeje :)
A vobec nemam cas mu na to ani napisat reakciu :(

na jaaa, ale ved niekam sa snad uz len pohneme :)) casom.

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vsetci len teoretizuju

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btw tu sa daju pocuvat nahravky z koncertov z clubu transmediale - japonske net radio: http://samurai.fm

program clubu transmediale najdete tuhttp://www.clubtransmediale.de/

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Druhý slovenský BarCamp sa uskutoční 21. februára 2009 od 9:00 do 18:00 v IT školiacom stredisku GOPAS, Dr. Vl. Clementisa 10, Bratislava.
http://barcamp.sk

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Winter Camp is an event, organized by the Institute of Network Cultures and will take place 3-7 March ‘09 in Amsterdam. Network Cultures Winter Camp will be a mix of presentations and work spaces with an emphasis on getting things done. It will be a four-day program of work spaces and plenary presentations, in which a dozen networks (each of which has 5-15 people) can work on their specific current topics.

March 2 a plenary opening in the evening
March 3 - 7 workshops & group sessions
March 8 plenary wrap up with presentations

Format
This specific format was inspired by the special cardboard box architecture with parallel workspaces, built by Paco Gonzalez for the 10th edition of the Zemos98 festival in Seville, Spain, in March 2008.
http://www.zemos98.org/spip.php?article891?rubrique=19.

Background info
When a network settles down, and is not so new anymore, it can be quite a challenge to keep it’s activity level. Should a network then transform into a so-called ‘organized network’? Organizing a network does not necessarily mean decreasing the level of spontaneity to make way for rules and hierarchy: it can provide a place for sustainable knowledge sharing and production. As Ned Rossiter argues in his book Organized Networks (2006), face-to-face meetings are crucial “if the network is to maintain momentum, revitalize energy, consolidate old friendships and discover new ones, recast ideas, undertake further planning activities, and so on.” Network Cultures Winter Camp is therefore meant for those networks and (potential) network members that need support to gather in real life, conspire, discuss and make the necessary steps forward. Winter Camp does not have an (academic) educational or training component, but there is a lot to learn.

Winter Camp will probably be held in a newly renovated former school building in the east part of the city.

Participating networks
Blender
Bricolabs
Creative Labour
Dyne.org
Edufactory
Floss Manuals
freeDimensional Network
Genderchangers
GOTO10
MyCreativity
Upgrade!

http://networkcultures.org/wpmu/wintercamp/

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od Tatiany Bazzichelli:

I would like to announce that my book "Networking. The Net as Artwork"
is finally ready in English language. It is promoted by the DARC,
Digital Aesthetics Research Center of Aarhus University.
http://darc.imv.au.dk/?p=62

You can download it from this link:
http://darc.imv.au.dk/wp-content/files/networking_bazzichelli.pdf

A reconstruction of the history of artistic networking in Italy and of
the Italian hacker communitiy from the 1980s to date.
Preface by Derrick De Kerckhove. Epilogue by Simonetta Fadda.
Translation: Helen Pringle and Maria Anna Calamia, revised by Grace
Wright. Layout and front cover by Jonas Frankki.
Cover image: Giovanotti Mondani Meccanici by Antonio Glessi-Andrea
Zingoni, published in "Frigidaire" issue 42, May 1984, Primo Carnera
Edition.

Contents:
Networking means to create nets of relations, where the publisher and
the reader, the artist and the audience, act on the same level. The book
represents a first tentative reconstruction of the history of artistic
networking in Italy, through an analysis of media and art projects which
during the past twenty years have given way to a creative, shared and
aware use of technologies, from video to computers, contributing to the
creation of Italian hacker communities.
The Italian network proposes a form of critical information, diffused
through independent and collective projects where the idea of freedom of
expression is a central theme. In Italy, thanks to the alternative use
of Internet, during the past twenty years a vast national network of
people who share political, cultural and artistic views has been formed.

The book describes the evolution of the italian hacktivism and net
culture from the Eighties till today. At the same time, it builds a
reflection on the new role of the artist and author who become
networker, operating in collective nets, reconnecting to Neoavant-garde
practices of the 1960s (first and foremost Fluxus), but also Mail art,
Neoism and Luther Blissett.
A path which began in BBS, alternative web platforms diffused in Italy
through the 1980s even before Internet even existed, and then moved on
to Hackmeetings, to Telestreet and networking art of different artists
such as 0100101110101101.ORG, [epidemiC], Jaromil, Giacomo Verde,
Giovanotti Mondani Meccanici, Correnti Magnetiche, Candida TV, Tommaso
Tozzi, Federico Bucalossi, Massimo Contrasto, Mariano Equizzi, Pigreca,
Molleindustria, Guerriglia Marketing, Sexyshock, Phag Off and many others.

Tatiana Bazzichelli (Rome, IT, 1974), is a communication sociologist and
an expert in network culture, hacktivism and net art. She is a Ph.D.
Scholar at Aarhus University.

Italian edition 2006, costlan editori s.r.l., Milan.
English edition 2008, Digital Aesthetics Research Center, Aarhus
University, and the author.
The book is published under the GNU Free Documentation License, Version
1.3, November 2008. You can download the Networking book from this link:
http://darc.imv.au.dk/wp-content/files/networking_bazzichelli.pdf (PDF,
3.10 Mb).
Language: English | Pages: 336.
More info at: http://www.networkingart.eu

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Aymeric, Erin a Adam po pracovnej konferencii o web2.0 hovoria o zmysle a udrzatelnosti sieti..

Walled Garden: Aymeric Mansoux from network cultures on Vimeo.

Walled Garden: Erin Manning from network cultures on Vimeo.

Walled Garden: Adam Somlai-Fischer from network cultures on Vimeo.

viac videi tu: http://networkcultures.org/wpmu/weblog/2008/11/27/wginterviews/

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:)

Olia Lialina:

Last summer the student of Dragan Espenschied's web development
course at Merz Akademie published a beautiful service -- Web 1.0.
It offered to the users of social network StudiVZ (German FaceBook)
to see their own profiles and profiles of their friends in 90es
aesthetics, with under construction signs and star backgrounds, as if
they made them themselves as if being online was fun again.

Of course the school was contacted by StudiVZ's system administrator
with the request to shut down the project. But this was not the reason
why the student gave up. All what is left is the documentation:

http://web.1punkt0.net/docu
login: olia
password: netart

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vycerpavajuci prehlad..

NETWORKED MUSIC & SOUNDART TIMELINE – AN OVERVIEW OF PRACTICES RELATED TO SOUND TRANSMISSION AND DISTANCE

http://nujus.net/~locusonus/wikils/index.php?page=NMT

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http://turbulence.org/networked/

Networked: a (networked_book) about (networked_art) - A Juried International Competition :: Call for Proposals - Deadline: December 15, 2008

Five writers will be commissioned to develop chapters for a networked book about networked art. The chapters will be open for revision, commentary, and translation by online collaborators. Each commissioned writer will receive $3,000 (US).

Project Committee: Steve Dietz (Northern Lights, MN), Martha CC Gabriel (net artist, Brazil), Geert Lovink (Institute for Network Cultures, The Netherlands), Nick Montfort (Massachusetts Institute for Technology, MA); and Anne Bray (LA Freewaves, LA), Sean Dockray (Telic Arts Exchange, LA), Jo-Anne Green (NRPA, MA), Eduardo Navas (newmediaFIX), Helen Thorington (NRPA, NY)

Networked Partners: New Radio and Performing Arts, Inc. (NRPA) :: newmediaFIX :: LA Freewaves :: Telic Arts Exchange.

“A networked book is an open book designed to be written, edited and read in a networked environment.” - Institute for the Future of the Book

Networked Goals: (1) to commission five chapters and publish them online using Wiki/blog technology to enable the public to revise, update, debate and translate them; (2) to present public forums to publicize the online book and solicit participation in its development.

Networked Objectives:

• To develop and publish an online, trans-disciplinary book that will address recent artistic developments made possible by computers, networks, and mobile connectivity
• To present the book in an open, participatory and social form
• To document:

a) the collapse of the traditional distinction between artist, art work and audience
b) the shaping of creative practice that is open, contingent and participatory
c) the building of virtual communities which, in the words of Howard Rheingold, “becomes inevitable wherever computer mediated communications technology becomes available to people anywhere.” (The Virtual Community, 1993)

We invite contributions that critically and creatively rethink how networked art is categorized, analyzed, legitimized — and by whom — as norms of authority, trust, authenticity and legitimacy evolve.

Networked proposes that a history or critique of interactive and/or participatory art must itself be interactive and/or participatory; that the technologies used to create a work suggest new forms a “book” might take.

We hope to spark a conversation between researchers and practitioners, curators, artists, and academics in the fields of art (music, sound, dance, e-lit, visual art …), architecture, convergence, mapping, urbanism, games, sociology, visualization, cultural studies, and environmental studies. In keeping with the transdisciplinary nature of the book, authors may consider, but are by no means limited to, themes such as:

– cyberspace and identity
– ubiquitous computing - surveillance, politics, and privacy
– avatars, wearables, bioart and embodiment
– collective storytelling, audio narratives and sound art
– virtual worlds, mixed realities
– locative media - place, mobility, augmented reality
– massively multiplayer online games - networked play
– responsive architecture and relational environments
– social networks
– nomadism, psychogeography, and the city
– tactical media - performance, agency and activism
– open source and crowdsourcing
– Originality, copies, remix, mashup

All papers will be reviewed by our international committee.

Commissioned chapters, as well as contributions by collaborators, will be subject to the Creative Commons License Attribution-Noncommercial-Share Alike 3.0/Unported.

Once the chapters are published online, registered users will be able to revise, add to, and translate the existing texts. There is no end date for the project. When Networked has attracted substantive participation, we will consider publishing a print version of the project, which may itself be updated over time.

GUIDELINES:

Submissions must be based on original, unpublished research. They should include:

1. Name, address, URL, email and one page CV of author.

2. A 1000 word proposal that should be accompanied by an abstract of no more than 250 words and a list of keywords to indicate the subject area of the chapter. [Each of the commissioned chapters will contain text, images, videos, and/or audio.]

3. Three networked writing samples. Samples may include a blog entry, a Wikipedia article the applicant worked on extensively, or samples from any other participatory project (send URLs).

You may write the proposal in any language but you must submit it in English as well. If selected, the chapter will be published in both languages.

Acceptable Submission Formats: Either a web page (send url in an email) or a single text document (send as an email attachment)

Final chapters must be no less than 5,000 words.

Submissions and Questions should be sent to: jo at turbulence dot org

IMPORTANT DATES

Deadline for Proposals: December 15, 2008
Notification: January 31, 2009
Deadline for Complete Chapters: April 30, 2009
Online Publication Date: July 1, 2009

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Lovink spovedá antropológa Jeffrey Jurisa, ktorý spísal knihu o protestoch v Seattli, Prahe, Barcelone a Janove, ktorých sa aktívne zúčastnil aj v rámci svojho výskumu

http://www.nettime.org/Lists-Archives/nettime-l-0810/msg00017.html
http://networkingfutures.com/

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