[spectre] I KILLED A GIRL CALLED REALITY
I KILLED A GIRL CALLED REALITY. Last time I took a plane, I guess it was in Agoust, I met someone at the security check. She was not the first-look-wow girl, but we talked deeply, promptly. She told me not to take my drinks with me any further, she mad e me undress my shoes, my jacket and also my belt. That was very fast for the first meeting, but she told me to relax. Hearing strange noises, she told me, she needs to touch me. I was confused, but i accepted and it felt good. While body checking we were talking about regulatory power and questions I never dared to ask. It was so intense. When she stopped touching, I was left alone with an emptiness of not knowing why all this happened. And then, I guess, it just occurred, that I had to kill reality. PRESS RELEASE. 09/11/2007. BERLIN-TORINO. Online since September 2007 www.check-check.org wants to get in touch with all beings suffering the ambivalence of reality. The italian-german co-production of Paolo Cirio and Nina Roth focuses on airport security regulations seeing in it the worst case scenario of kidding with peoples fears, peoples brains and the idea of how security is installed as a focal point in our daily lives. Check-Check.org is an easily accessible online platform that aids to deprogram people from Psychological Operations (PsyOps) done on almost all citizen of the so-called first world, in order to engage everyone in military missions and rising social control. Deprogramming is a sort of debugging of the social code that is given to us since we were born. In the airport case the social code is the script of Security Theater or the Theater of the Absurd that is a spectacle in a grand scale done around the world. The deprogrammer Check-Check.org operates with a friendly psychological method: everyone can read the experiences, feelings, emotions and unpredictable behaviors of other mind-controlled 'victims'. So with more consciousness and less embarrassment, because others already unclenched, people generally open up to each other, expressing their self-doubts about their existence and reality. Everyone can share opinions and find confirmations; a practice as an antidote to deceptive brainwashing and a return to a free mind. In the dramatization of taking a flight, we play several acts of the propaganda theater. It's like an educational method, as always in theater. You can't do better than the audience-participation dramas performed at airports. The chief of the Transportation Security Administration admitted recently: Taking lighters away is security theater. On the stage we have to follow the script that we get daily infused not only by mass media: Stick to moral commitments! Terrorism is everywhere! Stay alert! Don't trust anyone! In this contemporary information warfare any news is in a schizophrenic loop, where the goal is to cut off any relation between sense and realty. Without meaning anything it could be possible to justify the kings and queens of absurdity, like class divide, injustice, wars. Senselessness and absurdity is a contemporary feeling between the rows of newspaper and behind the tv box. To get everybody used to nonsense actions: lets play this ridiculous act. So, double checking our own reality is an act to uncover the (un)real reality, and kill the false. NOTES: Deprogramming http://en.wikipedia.org/wiki/Deprogramming Security Theater http://en.wikipedia.org/wiki/Security_theater Theater of the Absurd http://www.nytimes.com/2006/12/17/business/yourmoney/17digi.html?ei=5090en=db7ab439c0c47253ex=1324011600partner=rssuserlandemc=rsspagewanted=all Update News http://www.cbsnews.com/stories/2007/07/20/national/main3080127.shtml http://www.boingboing.net/2007/07/20/tsa_head_calls_light.html http://www.theregister.co.uk/2006/08/17/flying_toilet_terror_labs/ http://www.boingboing.net/2006/08/16/would_a_hairgel_bomb.html BIBLIOGRAPHY: Concerning War: A Critical Reader, BAK / Revolver, 2006, ISBN 9077288082 Artists in time of war, Howard Zinn, Seven Stories Press, New York, 2003, ISBN 1583226028 Under Fire (I/II) the organization and representation of violence, Jordan Crandall, Witte de With Rotterdam, 2004, ISBN 907336261 The no-nonsense guide to terrorism, Jonathan Barker, New Internationalist, London, 2005, ISBN 1859844332 Beyond Fear, Bruce Schneier, 2003, ISBN 0387026207 Theatre of the Oppressed, Augusto Boal, ISBN 0930452496 Dictionay of War, Conferences Archive, www.dictionaryofwar.org FUNNY STUFF: http://kiphawleyisanidiot.com http://operationcheckpoint.com/index.cfm?fuseaction=product.displayProduct_ID=2075 http://eatdrinkandbemarysue.wordpress.com/2006/12/07/the-tsa-and-my-mother/ MUSIC CREDIT: :::*::: http://www.myspace.com/chipsandbites __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] JOB: Ass Prof, Dept Design Computation Arts, Concordia/Montreal
Assistant Professor, Department of Design and Computation Arts Concordia University's Department of Design and Computation Arts invites applications for a tenure-track position at the rank of Assistant Professor, effective July 1, 2008. We are seeking applicants who can teach in both the Design and Computation Arts programs. The preferred candidate should have expertise in one or more of the following domains: social media, interaction design, experience design, community technologies, or human centered and participatory design. The Department of Design and Computation Arts offers five programs: a BFA in Design; a BFA Specialization in Computation Arts; a BSc or BFA Major in Computation Arts (integrated major with http://www.cs.concordia.ca/Computer Science); a BFA Minor in Computation Arts; and, a Graduate Certificate, Digital Technologies in Design Art Practice. We are currently developing a Master's Degree. Our department emphasizes a conceptual approach, one that addresses the broad vision or culture of design within contemporary society, and enhances strategies for communication, application, representation and dissemination. The undergraduate Design Major is located primarily within the domains of image, object-making and screen-based media, with a particular focus on design practice as a persuasive form of intervention within the physical and discursive landscape. The Computation Arts program provides students with a rich foundation in creative work at the intersection of design, art and technology. The program guides students in developing digital media work that is aesthetically engaging, conceptually provocative and technically innovative. Our approach to teaching emphasizes an awareness of the cultural and political implications of a society that is increasingly wired and networked together. The Department of Design and Computation Arts is located in one of Concordia's newest buildings, the Engineering, Computer Science and Visual Arts Complex on St. Catherine Street in the heart of the downtown (Sir George Williams) campus. In this stunning facility we are able to take advantage of cross-disciplinary opportunities with other Fine Arts departments as well as state-of-the-art labs, equipment and resources, including the Hexagram Institute for Research/Creation in Media Arts and Technology. In addition to teaching, the candidate is expected to develop a program of collaborative and cross-disciplinary design and/or computation arts research. The candidate is also expected to participate in the administration of the Department, including curriculum development, student advising, organization of special events, and committee participation. The ideal candidate should possess an MFA, MSc, PhD, or equivalent; teaching experience at the university level; demonstrated ability to attract external funding for research; a strong emerging profile or an established design practice and research profile; and, administrative and committee service experience at the university level. Fluency in French would be considered a very strong asset. Applicants should submit a cover letter; a curriculum vitae; a statement of teaching philosophy and interests; documentation of research, conference presentations and design practice; evidence of teaching experience including course outlines, samples of student work, course evaluations; and, any additional relevant support documents to the departmental contact below. In addition, they must arrange to have three letters of reference sent directly from referees to the departmental contact. Please address correspondence to: Martin Racine, Chair, Department of Design Computation Arts, Concordia University, 1455 De Maisonneuve Blvd. West, Montreal, Quebec H3G 1M8, Canada Tel: (514) 848-2424 ext 4789 Fax: (514) 848-8627 Email: mailto:[EMAIL PROTECTED][EMAIL PROTECTED] Civic address: Engineering Visual Arts Complex Sir George Williams Campus 1515 St. Catherine Street West, EV 6-771, Montreal, Quebec For further information, applicants are encouraged to consult: Department of Design Computation Arts website: http://design.concordia.cahttp://design.concordia.ca Department of Computer Science website: http://encs.concordia.ca/Programs/Computer-Science.htmhttp://encs.concordia.ca/Programs/Computer-Science.htm Hexagram Institute for Research/Creation in Media Arts and Technology website: http://www.hexagram.orghttp://www.hexagram.org Faculty of Fine Arts website: http://finearts.concordia.cahttp://finearts.concordia.ca Subject to budgetary approval, we anticipate filling this position for July 1, 2008. Review of applications will begin immediately and will continue until the position is filled. All applications and letters of reference should reach the department no later than November 1, 2007. All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. Concordia
[spectre] New Media Art Subsidies Alternative Support Models
Why should new media artists get subsidies? Cool Media Hot Talk Show programmed by the public http://www.coolmediahottalk.net features topic: New Media Art Subsidies Alternative Support Models speakers: David Garcia, Lex ter Braak October 17, Wednesday, 20.30 CET @ De Balie, Amsterdam Join the discussion, post your questions, vote, and select the questions for the show. See the current show scenario: http://www.coolmediahottalk.net/event-scenario.jsp? objecttype=topicobjectid=3425 Tune in LIVE on Oct. 17, 20.30: http://www.coolmediahottalk.net/ livepage.jsp ABOUT THE SPEAKERS: David Garcia is a founding member of Amsterdam's Time Based Arts and creator of a number of international conferences which explore ways in which live events and public debate can be enhanced by being combined with electronic communications media such as television, radio and computer networks. Initiator of The Next 5 Minutes (94-2003) a series of international conferences and exhibitions on electronic communications and political culture. Initiator, organiser, co-edited of many other projects. Related info at De Balie website: http://www.debalie.nl/persoon.jsp? siteid=personid=1222 Lex ter Braak is the director of the The Netherlands Foundation for Visual Arts, Design and Architecture (known in the Netherlands as Fonds BKVB) is the national body responsible for making grants to individual visual artists, designers and architects. Its objective is to nurture excellence in visual arts, design and architecture in the Netherlands. Recently he was the co-editor of the book Second Opinion about Subsidies for Visual Arts in The Netherlands, which created a vibrant discussion about public support for artists. This discussion in newspapers and other media, also prompted the topic on this website. Second Opinion. Over beeldende kunstsubsidies in Nederland. Gitta Luiten, Lex ter Braak, Taco de Neef, Steven van Teeseling (red.) http://www.naipublishers.nl/kunst/second_opinion_nl.html STATEMENT OF DAVID GARCIA: Public Funding for the Creative Un-commons For the last year I have been part of a network of researchers looking at the role of art and design as both a catalyst for collaboration across sectors and disciplines. The project is all about coming to terms with the reality not only of our interconnectedness but also of our interdependence. It explores examples of groups collaborating with others outside of their usual tribal affinities. Our metaphor of uncommon ground indicates that we can only do this by accepting and living with our differences even our antagonisms, hence uncommon not common ground. The project is not about consensus building it is about the accepting even dramatizing difference. I see the corporate, industrial and governmental sector as unable to do take this role alone without a vibrant cultural sector willing to tell risky stories that take us outside of our comfort zones. Such work can never be financed from the market place alone. The last sentence should make it clear that in this talk I am not taking a neutral stance. I see an urgent need for an increase in public subsidy for the arts. I will give case study examples of where the public and private sectors along with individual artists and developers have worked together successfully. But I also want to make it clear that these collaborations will entail a fight to maintain a well resourced publicly financed cultural sector. This should be based on revising many of the current notions of accountability and re-introduce the notion of responsibility. More about this distinction in the talk. Every experience I have during the development in the (Un) common Ground research project points to the value of maintaining (in fact increasing) public funding for both research and the arts. However, a shift in mentality is required in which the public sector should be seen as more than another income stream, or an alternative venture capitalist looking for a return on investment, or even a means of consolidating national norms and values. The public sector should hold to a wider conception of the public good that embraces the implications of an interconnected world. A balanced cultural diet in our pluralistic societies (containing both minorities and minority tastes) should maintain a full cultural spectrum ranging from popular culture to uncompromising and difficult cultural experiments which are able to take risks that accountability to share holders alone would never permit, Such a balance is part and parcel of a healthy society. So my argument will call for a widespread movement to protect public subsidies for serious cultural discourse, which are currently being whittled away across all the liberal democracies. But I will also argue that it is important to achieve this in ways that go beyond the ?container category? of the nation
[spectre] Re: JOB: Ass Prof, Dept Design Computation Arts, Concordia/Montreal
BRAD BRACE 503-230-1197 (h) [EMAIL PROTECTED] http://bbrace.laughingsquid.net http://bbrace.net WORK EXPERIENCE: Global Islands Project - pdf design http://bbrace.laughingsquid.net/id.html http://bbrace.net/id.html bbs: brad brace sound: http://69.64.229.114:8000 http://bbrace.net/undisclosed.html * 1996-2002: Prepress Specialist. Wired Magazine/Conde Nast, San Francisco, CA. (Introduced and produced in-house high-end CCD and PMT color scanning: Agfa SelectScanPlus, Agfa XY15, EuroCore Hi-Scan. Kodak Approval, Matchprint Digital Proofing, Press Checks, Color Management, Color Correction and Photo/Design issues. * 1993-94: Visiting Professor. University of Victoria, Victoria, British Columbia. (Initiated and taught the first course in Art Technology at the University: Arts in the Age of Digital Dissemination. Instruction on Unix SunSparc station-networks, Macintosh and PC platforms; photo-manipulation, page layout, paint and music programs, and other software. Concentration on Internet and other networks; their implications. Discussions in contemporary culture and technology.) * 1992-93: Electronic Imaging Specialist. Daniel`s Printing, Everett, Massachusetts. (Operated Hell Chromacom, Scitex Prismax, Desktop, and Gateway systems for high-quality color-separation and printing company. Dolev and Selectset output devices.) * 1992: Systems Operator. ColorPrep, Cambridge, Massachusetts. (Operated R-based Hell Chromacom pagination and color retouch station. Desktop interface with high-end system.) * 1991-92: Computer Imaging Specialist. Graphic Color, Portland, Oregon. (Introduced and operated Agfa Catalyst/Pix (Sun/Unix) workstations, 2.0 beta site. Operated Selectset output devices, Crosfield scanners, Macintosh and PC programs/interface for high-end merged color separations.) * 1990-91: System Manager/Operator. Toucan Scan, Portland, Oregon. (Introduced, managed and operated high-end Hell Chromacom 2000-M pagination and retouch system. Integrated Scriptmaster desktop interface. 3000 Series scanner and recorder operation.) * 1989-90: Production Manager. Chinook Observer, Long Beach, Washington. (Implemented desktop system, typeset display ads and editorial copy, organized work flow, improved design of paper.) * 1988-89: Typesetter (Macintosh and Compugraphic), Mark-up, Assembly, Proof-checking. Metroland (TorStar) Ltd., Scarborough, Ontario. (Scarborough Mirror and Markham Economist Sun newspapers, flyers, other tabloids, job work) * 1984-88: Proof-checking, Assembly, Mark-up, Stripping, Scanning. Maclean-Hunter Ltd., Toronto, Ontario. (Dozens of trade and consumer magazines) * 1979-84: Teaching Assistant (for graphic arts, photography, video, drawing and painting courses), Audio-Visual Assistant, College Press Assistant. Nova Scotia College of Art and Design, Halifax, Nova Scotia. * 1976-82: (part-time/occasional) Board of Directors, Publication Design/Assembly, Curatorial Staff, Funding Juries. University of Guelph Gallery, Eye Level Gallery (Halifax), Centre for Art Tapes (Halifax), Atlantic Centre for Photography (Halifax), Canada Council (Ottawa). * 1974-76: Founding Member. Ed Video Inc., Guelph, Ontario. (Taught every imaginable segment of society the creative use of small format television, editing, programming for cable T.V.) EDUCATION: * Heed Language and Culture Studies; EcoTourism advisory; Artist presentation (Dhaka, Bangladesh) 2007. * Research Institute of Swahili Studies of Eastern Africa (Lamu, Kenya) 2006. * Tufte Analytical Design course (Portland, OR) 2005. * Thai Master Cooking classes, Film Production course (Chiang-Mai, Bangkok THA) 2005. * Digital DV Film Production (Belize City, BZ) 2004. * GATF courses in PDF and Press-checks (San Francisco, CA) 2002. * Digital Printing workshop, Urban Digital Color, (San Francisco, CA) 2000. * Heidelberg Sheetfed Press training, Graphic Arts Institute, (San Francisco, CA) 1999-2000. * Digital (Film) Production, Silicon Graphics Studio, (Santa Monica, CA) 1998. * Advanced Imaging Techniques, Center for Creative Imaging, (Camden, ME) 1992. * Agfa Pix, Catalyst, Selectset training, (Portland, OR) 1992. * Hell Chromacom 2000 instruction, (Melville, NY); Scriptmaster instruction, (St. Louis, MO) 1990-91. * Macintosh ( PC) Desktop Publishing Courses. Protomedia, Press-Work and Public Access, (Toronto, Halifax). 1985-89. * Nexus Press Residency, (Atlanta, GA) 1988. * Graduate Studies (MFA) (graphic arts, fine arts, photography, theory), Nova Scotia College of Art and Design, (Halifax, Nova Scotia) 1979-82. * Ontario College of Art Design, (Toronto, Ontario) 1977. * St. Michael`s Printshop, (Burnt Cove, Newfoundland) 1976. * Hons. B.A. Fine Arts, University of Guelph, (Ontario) 1973-76. * University of Western Ontario, (London) 1972-73. SOFTWARE: Adobe InDesign, InCopy, GoLive, PhotoShop, ImageReady, Acrobat, Illustrator, AfterEffects,
