Monday, May 19, 2008

GRANTS - COS database search

http://www-ca2.csa.com.helicon.vuw.ac.nz/ids70/advanced_search.php?SID=qnuqsc2rakftmbuo0a3ibgbve0
http://fundingopps.cos.com/
http://fundingopps.cos.com/cgi-bin/fo2/result

Digital Communities
Sponsor: Austrian Broadcasting Company (ORF)Prix Ars Electronica - International Competition for CyberArts
Deadline: March 7, 2009
View Record |
Sponsor Type Commercial
Deadline March 7, 2009
Deadline Note Anticipated deadline. A deadline for the next cycle has not been confirmed. The record will be updated when new program information becomes available.
Amount Note Each year, the Prix Ars Electronica present 6 Golden Nicas (€10,000), 12 Awards of Distinction (€5,000 each) and approximately 70 honorary mentions as well as a grant for the category [the next idea] and the Media.Art.Research Award to participants.
Eligibility Individuals, groups, associations, public institutions and private enterprises are eligible to enter their projects.
Citizenship Unrestricted
Activity Location Unrestricted
Requirements Academic Institution; Commercial; Government; Nonprofit; Ph.D./M.D./Other Professional; Small Business
Abstract The Digital Communities category of the Prix Ars Electronica cyber-arts competition will honor important achievements by digital communities well as innovative artistic approaches towards web-based communities. This category focuses attention on the wide-ranging social and artistic impact of the Internet as well as on the latest developments in the fields of social software, ubiquitous computing, mobile communications and wireless networks. Special attention goes to community-related "net.art".


http://www-ca5.csa.com.helicon.vuw.ac.nz/ids70/view_record.php?id=4&recnum=5&log=next&SID=b4rk5rv0d7rj36otl5q4unc527&mark_id=view%3A8%2C4%2C5
Sponsor
National Aeronautics and Space Administration (NASA)
Research Opportunities in Space and Earth Sciences (ROSES) - 2008
Sponsor Type Federal, U.S.
Deadline August 27, 2008
Deadline Note Non-required notices of intent are due by June 18, 2008. The deadline for submission of proposals is August 27, 2008.
Amount $60,000
Upper Amount $110,000
Amount Note A total of approximately $1 Million per year is available to fund 9 to 15 awards under this program for periods of up to 12 months.
Eligibility Participation in the program is open to all categories of domestic and foreign organizations, including educational institutions, industry, non-profit institutions, NASA research centers, and other government agencies and laboratories.
Citizenship United States
Activity Location United States
Requirements Academic Institution; Commercial; Government; Nonprofit; Ph.D./M.D./Other Professional; Small Business
Abstract Applicants may propose projects in any of the eight areas below:
1. Agriculture; 2. Air Quality:
3. Climate: The Climate application area focuses on Earth science applications to support policy approaches and decisions the nation will consider in responding to climate change (e.g., policy frameworks, technology approaches, market approaches, etc.), particularly decision-making on climate mitigation and adaptation and possible impacts of the policy, technology, and other approaches. The application addresses national to regional decision-support activities, carbon and energy management applications, and support to partners in assessing approaches, alternatives, and impacts of climate policy and implementation.
4. Disaster Management: The Disaster Management application area focuses on Earth science applications to support preparation through response to natural and human-induced hazards and events effecting human populations, particularly wildfires, earthquakes, landslides, and coastal hazards. The application encourages the use of climate predictions and model forecasting to assess and prepare for anticipated changes in frequency, severity, etc. of events due to climate change.
5. Ecosystems: The Ecosystems application area focuses on Earth science applications to support partners' efforts for integrated, ecosystem management, particularly to conserve biodiversity, manage living marine resources and invasive species, and promote sustainable development. The application emphasizes the use of climate predictions, model forecasting, and model interoperability to examine policy and management alternatives. The application is organized around themes of Sustainable Development, Biodiversity Conservation, and Marine Fisheries.

+1 (202) 358-1599
LFriedl@nasa.gov
Resource Location
http://nspires.nasaprs.com/external/solicitations/summary.do?method=init& solId=%7BFA714523-0902-8347-5B47-5D49C9D8A363%7D&path=open

The Next Idea - Art and Technology Grant
Sponsor: Austrian Broadcasting Company (ORF)Prix Ars Electronica - International Competition for CyberArts
Deadline: March 7, 2009
View Record | Links to Holdings
Eligibility Participants may be individuals or groups. The grant's target group includes students at universities, art schools, technical schools, and other educational institutions as well as creatives from all over the world, aged 19-27, who have developed as-yet-unproduced concepts in the fields of art, design or technology. As of the application deadline, no entrant (including any individual member of a group of entrants) may be under age 19 or over age 27.
Citizenship Unrestricted
Activity Location Unrestricted


Graduate Student Fellowships
Sponsor: Smithsonian Institution (SI)Office of Research Training and Services
Deadline: January 15, 2009
Amount: $5,500
View Record | Links to Holdings

Predoctoral Fellowships
Sponsor: Smithsonian Institution (SI)Office of Research Training and Services
Deadline: January 15, 2009
Amount: $25,000
View Record | Links to Holdings
Deadline Note Anticipated deadline. A deadline for the next cycle has not been confirmed. The record will be updated when new program information becomes available.
Amount Note The stipend is $25,000 per-year. Predoctoral fellowships allow students to conduct research for periods of three to twelve months.
Eligibility Students enrolled in a university as candidates for the Ph.D. or equivalent are eligible for predoctoral fellowships. By the time the appointment begins, the university must approve the undertaking of dissertation research at the Smithsonian Institution and certify that requirements for the doctorate, other than the dissertation, have been met.
Citizenship Unrestricted
Activity Location District of Columbia
Requirements Graduate Student
Abstract Fellowships at the Smithsonian Institution provide students and scholars with opportunities to pursue independent research projects in association with members of the Smithsonian professional research staff. Persons interested in conducting research at the Smithsonian Astrophysical Observatory should apply to that bureau directly. Predoctoral fellowships allow students to conduct research for periods of three to twelve months.

Applicants to the fellowship programs must propose research in a field pursued at the Smithsonian. A specific and detailed research proposal indicating why the Smithsonian is an appropriate place to conduct the studies proposed is required. Fellowships are only offered to support research within Smithsonian facilities or programs. Fellows are expected to spend most of their tenure in residence at the Smithsonian, except when arrangements are made for periods of field work or research travel.

For all fellowships, appropriate members of the Smithsonian professional staff must be willing to serve in the capacity of principal advisor or host, and space and facilities must be available to accommodate the proposed research.

Fields of research at the Smithsonian include American history, American material and folk culture, and the history of music and musical instruments; history of science and technology, history of art, design, crafts, and the decorative arts; anthropology, archaeology, linguistics, and ethnic studies; evolutionary, systematic, behavioral, environmental biology,and conservation; geological sciences and astrophysics; and materials characterization and conservation.
Telephone +1 (202) 633-7070
Fax +1 (202) 633-7069
Email Address siofg@si.edu
Resource Location http://www.si.edu/ofg/Applications/SIFELL/sifell.htm

Postdoctoral Fellowships
Sponsor: Smithsonian Institution (SI)Office of Research Training and Services
Deadline: January 15, 2009
Amount: $40,000
View Record | Links to Holdings

Title International Scholars Program URL for more info http://www.historyoftechnology.org/awards/scholars.html
Sponsor Society for the History of Technology (SHOT)
Sponsor Type Professional Society or Association
Amount Note Each year the society shall designate up to four International Scholars for a two-year term. International Scholars shall receive regular SHOT membership at no cost during their two-year term.
Deadline Apr 15, 2009
Deadline Note Anticipated deadline. A deadline for the next cycle has not been confirmed.
The record will be updated when new program information becomes available.
Activity Location Unrestricted
Citizenship or Residency Unrestricted
Requirements Graduate Student Ph.D./M.D./Other Professional
Abstracts The Society for the History of Technology (SHOT) inaugurated the International Scholars program with these goals:
1. Foster a stronger international community for the study of the history of technology
2. Strengthen the society's role as an international society for the history of technology
3. Identify and help non-U.S. historians of technology participate in the meetings and governance of the society
4. Provide formal recognition for the work of non-U.S. historians of technology so that their respective governments and national academic communities might provide greater support for their society-related activities
5. Afford special recognition for younger, non-U.S. scholars as they begin their careers in the history of technology
6. Foster an international network of scholars in the history of technology that will benefit all members of the society more..
Eligibility International Scholars must reside and work in underrepresented countries at the time of their selection. Graduate students, post-docs, and visiting scholars who are living and working in the United States or Western Europe are not eligible to become International Scholars; however, they are eligible to apply once they return to their home countries. Of these potential candidates, anyone at any rank, from graduate student up through senior scholar, is eligible to become an International Scholar.


Title Visiting Humanities Fellowships URL for more info http://athena.uwindsor.ca/units/hrg/hrg.nsf/00267003bb8dbe9b8525698400631ef5/020f005691f5c7f185256985004cad8a?OpenDocument
Sponsor University of Windsor
Humanities Research Group
Sponsor Type Academic Institution
Amount Note The fellowship is tenable a period of 4 to 12 months. No stipend is attached to the fellowship. The Humanities Research Group will provide office space, university affiliation, and library privileges, and will assist fellows in establishing contacts with individuals, groups, libraries, and institutions in the southwestern Ontario/southern Michigan region.
Deadline Feb 15, 2009
Deadline Note Anticipated deadline. A deadline for the next cycle has not been confirmed.
The record will be updated when new program information becomes available.
Activity Location Ontario
Citizenship or Residency Unrestricted
Requirements Ph.D./M.D./Other Professional
Abstracts Applications are invited for Visiting Humanities Fellowships, tenable at the University of Windsor in the 2008-2009 academic year.

Scholars with research projects in traditional humanities disciplines or in theoretical, historical, or philosophical aspects of the sciences, social sciences, arts, and professional studies are invited to apply. Individuals engaged in interdisciplinary research are particularly encouraged to apply.
Fellows are expected to work in residence at the Humanities Research Group, University of Windsor, for the duration of the award and to deliver a public presentation on their research. less..
Eligibility The Visiting Humanities Fellowship is designed to appeal to sabbaticants and those holding research grants, including postdoctoral awards. Applicants must hold a doctorate or the equivalent in experience, research, and publications.

International applications are encouraged. Visa documents, if required, are the responsibility of the applicant.

http://fundingopps.cos.com/cgi-bin/fo2/getRec?id=39790&if=search
http://www.belfercenter.org/fellowships/overview.html
Title Fellowships in Science and International Affairs
Sponsor Harvard University
John F. Kennedy School of Government
Belfer Center for Science and International Affairs
Sponsor Type Academic Institution
Amount $34,000 Amount Note
BCSIA offers ten-month stipends of $34,000 to postdoctoral research fellows and $20,000 to predoctoral research fellows, with health insurance. Only a limited number of fellowships are available, so interested candidates are encouraged to apply for other sources of funding. Non-stipendiary appointments are also offered.

Deadline Dec 15, 2008
Deadline Note Anticipated deadline. A deadline for the next cycle has not been confirmed. The record will be updated when new program information becomes available.
Activity Location Massachusetts
Citizenship or Residency Unrestricted
Requirements Ph.D./M.D./Other Professional
Abstracts The Belfer Center for Science and International Affairs (BCSIA) is the hub of the John F. Kennedy School of Government's research, teaching, and training in international security affairs, environmental and natural resource issues, and science and technology policy. The center's mission is to provide leadership in advancing policy-relevant knowledge about the most important challenges of international security and other critical issues where science, technology, and international affairs intersect.

Fellowship research interests include the following:

1. International Security Program
2. Science, Technology, and Public Policy Program
3. Program on Intrastate Conflict and Conflict Resolution
4. Dubai Initiative more..
Eligibility Applications for research fellowships are welcome from recent recipients of the Ph.D. or equivalent degree, university faculty members, and employees of government, military, international, humanitarian, and private research institutions who have appropriate professional experience.

Applicants for predoctoral fellowships must have passed general examinations prior to appointment. BCSIA seeks applications from lawyers, economists, those in the physical sciences, and others of diverse disciplinary backgrounds.

BCSIA also encourages applications from women, minorities, and citizens of all countries. more..

http://www.aec.at/en/prix/prizes.asp#mediaartresearch
http://www.aec.at/en/prix/cat_media_art_research.asp
MEDIA.ART.RESEARCH AWARD

In conjunction with the 2008 Prix Ars Electronica, the Ludwig Boltzmann Institute Media.Art.Research will be awarding a prize honoring an outstanding theoretical work on the subject of “Interactive Artforms.”
Prix Ars Electronica Media.Art.Research Award wants to further scholarly investigation of media artforms that have not yet gotten established in the context of art museums or in the commercial art world, and of processual, conceptual and interactive art that assumes subversive, situational and committed positions at the interface of art, technology and society.

This new theory prize (prize money: 5,000 euros) is designed to accord due recognition to the important work being done by art historians and media scholars in the field of media art, which has emerged over the last two decades as an innovative, wide-ranging discipline in its own right. The great diversity and tremendous current relevance of this branch of artistic production call for theoretical and scholarly reflection on the historical significance of such artworks, on how to mediate audiences’ encounters with them and on their conservation. The Ludwig Boltzmann Institute Media.Art.Research has been pursuing precisely these tasks since its founding in Linz in 2005. The theory prize competition is meant to promote an international discourse centering on the theories, methodologies and standards of media art. Essential to this agenda is the necessity of defining terms and developing a theoretical framework in a way that affirms pluralism and emphatically rejects any sort of final categorization of such artforms.

WHAT CAN YOU SUBMIT?
SUBMISSION DETAILS

JURY DELIBERATIONS


http://www.aec.at/en/prix/general_entry_regulations.asp
  • Due to production constraints, the deadline for submitting all required materials is March 25, 2008 (date of the postmark).
  • To participate in the Prix Ars Electronica, you must register online at
    prixars.aec.at



http://www.leonardo.info/isast/awards.html
The Leonardo Awards Program


Leonardo/ISAST, established in 1982, serves the international art community by providing channels of communication for artists, scholars, technologists, scientists, educators, students and others interested in the arts, with an emphasis on documenting the voices of artists all over the world who use science and developing technologies in their work. As part of our mission of encouraging the innovative presentation of technology-based arts, Leonardo/ISAST recognizes artists and organizations interested in the use of new media in contemporary artistic expression through cash awards given via the Leonardo Awards Program.


Leonardo-EMS Award for Excellence
Leonardo/ISAST is pleased to announce that Leonardo/OLATS and the Electroacoustic Music Studies Network (EMS Network) have awarded the Leonardo-EMS Award for Excellence to criticalartware (Jon Cates, Ben Syverson and Jon Satrom) for their paper “likn: A Flexible Platform for Information and Metadata Exchange” which they presented at the Electroacoustic Music Studies Conference in Beijing, October 2006. Read the full announcement.

Frank J. Malina Leonardo Award for Lifetime Achievement
When kinetic artist and astronautical pioneer Frank J. Malina founded the journal Leonardo in 1968, he saw the need for an international channel of communication between artists who use science and developing technologies in their work. Following his vision, the Frank J. Malina Leonardo Award for Lifetime Achievement recognizes eminent artists who, through a lifetime of work, have achieved a synthesis of contemporary art, science and technology. Winners include Abraham Palatnik, Gyorgy Kepes, Nicolas Schöffer, Max Bill and Takis.

Leonardo Global Crossings Award
The Leonardo Global Crossings Award recognizes the contribution of artists and scholars from culturally diverse communities worldwide. The focus of this award is global pluralism within the emerging art-science-technology field. The award is part of the Leonardo Global Crossings Special Project, funded in part by the Ford Foundation and the Rockefeller Foundation. The First Leonardo Global Crossings Award was awarded in 2005 to Abdel Ghany Kenawy and Amal Kenawy, of Cairo, Egypt, a brother-sister team who have been collaborating on large-scale installations since 1997.

The Leonardo Award for Excellence
The Leonardo Award for Excellence recognizes excellence in an article published in the journal Leonardo. Excellence is defined as originality, rigor of thought, clarity of expression and effective presentation. The Leonardo Award for Excellence was originally established by chemist and inventor Myron Coler and publisher Robert Maxwell. Leonardo/ISAST has continued the tradition. Recipients include Rudolf Arnheim, Otto Piene, Charles Ames, Frieda Stahl, Donna Cox, George Gessert, Janet Saad-Cook, Alvin Curran, Karen O'Rourke, Eduardo Kac, Hubert Duprat and Christian Besson, José Carlos Casado and Harkaitz Cano, Bill Seaman, Arthur Elsenaar and Remko Scha, Steve Mann and criticalartware.

Leonardo New Horizons Award for Innovation
Leonardo/ISAST recognizes the challenges that artists face as they strive for exposure and recognition. These challenges are amplified for artists working with new media and new techniques---especially for those artists who are pushing the boundaries of the integration of art and technology. The LEONARDO New Horizons Award for Innovation was begun to recognize new and emerging artists for innovation in new media. Evelyn Edelson-Rosenberg, Jean-Marc Philippe, Jaroslav Belik, Peter Callas, Patrick Boyd, Christian Schiess, I Wayan Sadra, Kitsou Dubois, Gregory Barsamian, Graham Harwood, Ewen Chardronett and Critical Art Ensemble have received this award.

The Makepeace Tsao Leonardo Award
This Leonardo award is designed to recognize organizations and artists' groups that have increased public awareness of art forms involving science and technology, particularly through the sponsoring or curating of exhibitions. The award's namesake is Makepeace Tsao, biochemist, professor, gallery owner and artist who was a member of the Leonardo Editorial Board and an adviser to and benefactor of Leonardo/ISAST for 15 years. The first Makepeace Tsao Leonardo Award was awarded in 1998 to La Cité des arts et des nouvelles technologies de Montréal.



Details about the Leonardo Awards program
All awards in the Leonardo Awards Program are done by the nomination process. Candidates for each award are nominated by members of Leonardo/ISAST. Recipients are then decided by juries assembled by the Leonardo Prizes and Awards Chair.

Saturday, May 10, 2008

GRANTS - secondary list

Australian Antarctic Arts Fellowship





Sponsor
Australian Government Department of the Environment and Water
Resources (formerly the Department of
Australian Antarctic Division (AAD)

Sponsor Type National Government, Non-U.S.
Deadline March 30, 2009
Deadline Note Anticipated deadline. A deadline for the next cycle has not been confirmed. The record will be updated when new program information becomes available.
Amount Note The fellowship takes the form of a berth on a ship to Antarctica and associated logistical support. The AAD also provides cold weather clothing. The fellowship does not include travel to and from and accommodation in the port of departure (usually Hobart) or the cost of the required medical examination. There is no financial component to the fellowship.
Eligibility Each year, the AAD invites applications from two main groups:

1. Artists, journalists, researchers, filmmakers, and writers with a demonstrated track record
2. Talented emerging artists and writers from the media, creative arts, humanities, and social sciences

The program aims to nurture the production of excellent and significant works of art, interpretation, and media coverage by leading professionals and talented emerging artists, writers, and journalists.

Some applications under the Australian Antarctic Arts Fellowship may be accepted from citizens of other Antarctic Treaty nations.

These applicants must have the support of their own nationÆs Antarctic program, and must be able to demonstrate a capacity to reach a significant audience, preferably including a significant Australian audience.

Citizenship Australia
Activity Location Antarctica
Requirements Ph.D./M.D./Other Professional
Abstract Antarctica's isolation and inhospitable nature are considerable barriers to all but the few who can afford the high cost of visiting as a tourist, or to those scientists and support personnel who participate in national Antarctic programs.

As a way of informing and educating Australians about Antarctica and Australia's activities there, the Australian Antarctic Division (AAD) administers the Australian Antarctic Arts Fellowship (formally Australian Humanities Program) enabling those with a non-science focus to experience Antarctica first-hand so that they may communicate this unique experience and understanding to other Australians.

The vision of the Australian Antarctic Program is "Antarctica: Valued, Protected and Understood." In line with this the Australian Antarctic Arts Fellowship aims to increase Australian and international awareness and appreciation of Antarctica focussing on
- the extraordinary and beautiful natural environment and the diverse and hardy animal and plant life it supports;
- Antarctica as the site and subject of Australian and international scientific and environmental research;
- the small human communities forged on a vast continent of extreme climate and terrain; and
- the international treaty history, values, and cooperation that shape Antarctica's geopolitical significance.

The Australian Antarctic Arts Fellowship aims to foster imaginative and engaging understanding of a scientifically and aesthetically important environment for which all Australians have responsibility but which most will never experience first-hand.

The Australian Antarctic Arts Fellowship aims to communicate the significance of Australia's activities in Antarctica through the work of people especially gifted in communicating through various media including the visual arts, film-making imaginative writing, education, and music as well as print and broadcast journalism.

Address Australian Antarctic Arts Fellowship Communications, Australian Antarctic Division
Kingston, Tasmania 7050
Australia

Telephone +61 (0) 3-6232-3512
Fax +61 (0) 3-6229-9187
Email Address artsfellowship@aad.gov.au
Resource Location http://www.aad.gov.au/default.asp?casid=12469
Last Revision Date May 13, 2008
Funding Type Artistic Pursuit; Travel
Accession Number 96511


Starting Points

http://www.victoria.ac.nz/home/research/projects/

Science and tech
http://www.frst.govt.nz/funding
http://www.cos.com/
Community of Science (COS) is the leading global resource for hard-to-find information critical to scientific research and other projects across all disciplines.
http://www.vuw.ac.nz/annualreports/previous-reports/2001/review/science/science.html
science triggers :Finances in the Science Faculty have consolidated this year and the Faculty's position has improved. Staff within the Schools have actively and successfully sought substantial external research funding, primarily from the Foundation for Research, Science and Technology, the Marsden Fund, and from industry.
http://www.marsden.rsnz.org/info/
The Marsden Fund supports research excellence in science, technology, engineering and maths, social sciences and the humanities. Each year, Government provides funding for projects that will foster scholarly research of the highest calibre. This work is not subject to government priorities but enhances New Zealand’s ability to participate in, and benefit from, research of an international standard. Set up in 1994, the Marsden Fund is a contestable fund that has been administered by the Royal Society of New Zealand on behalf of the Marsden Fund Council since 1995.


art international
http://www.fuel4arts.com
http://www.asianz.org.nz/grants/research
http://www.artheals.org/artist_support/grants.php

http://www.free-soil.org/
http://rhizome.org

NZ arts
http://www.screeninnovation.govt.nz/about/index.html
http://www.artistsalliance.org.nz/html/links.php
http://www.nzlive.com (done)
http://www.fis.org.nz/index.php?page=Home
At the Funding Information Service we are committed to being the prime provider of funding information in New Zealand.
Email: subscriptions@fis.org.nz
Phone: 4 471 8900

http://www.mch.govt.nz/
Ministry for Culture and Heritage’s overall role is to help make New Zealand culture visible and accessible.




Turbulence Commission: No Matter 2008

No MatterTurbulence Commission: No Matter by Scott Kildall and Victoria Scott (Part of the Mixed Realities exhibition, on view until April 15, 2008) - NO MATTER is an interactive installation that activates the transformation of imaginary objects through the Second Life virtual economy into physical space. Second Life builders construct replicas of famous buildings, luxury goods and custom-designed objects, first reproducing, then inverting the notion of value itself. With zero cost for gathering resources, production of goods and transport of finished product, these items proliferate widely and quickly. Continue reading

Turbulence Commission: Bonding Energy 2007

screenshot2.jpgTurbulence Commission: Bonding Energy by Douglas Repetto and LoVid - Bonding Energy consists of a set of Sunsmile devices [image below] that collect and measure solar energy from seven geographically distributed sites around New York State: Columbia University, NYC; Rensselaer Polytechnic Institute, Troy; University of Buffalo; Colgate University, Hamilton; free103point9’s Wave Farm, Acra; Experimental Television Center, Owego; and The Redhouse Arts Center, Syracuse. The light energy reaching the Sunsmiles’ solar panels fuels a collaborative real-time data visualization on Turbulence.org [Image above right: Screenshot of visualization]. Continue reading


http://synapse.net.au/contact.php

art research science
In addition to the Synapse database and eList, ANAT's art research science program supports intensive partnerships between leading media artists and science institutions in Australia and beyond. To follow the progress of the most recent residencies, visit www.anat.org.au.
For more information about any aspect of the Synapse database, ANAT Residencies or the Synapse Discussion forum, contact:

Vicki SowryProgram Manager -art research science
Australian Network for Art and Technology (ANAT)
South Australia 5000
Australia
t: +61 (0) 8 8231 9037
f: +61 (0) 8 8231 9766
e: vicki@anat.org.au

or visit the ANAT website at: http://www.anat.org.au

Thursday, May 1, 2008

ART MEETS SCIENCE : New List - get contacts

NEW STARTING POINTS
http://www.idaprojects.org/IDAA/idaafront.html

http://www.fondation-langlois.org/html/e/liste.php?Selection=PRO+ind

List of science based art (DATA potential)
http://www.fondation-langlois.org/html/e/page.php?NumPage=365
Chris Csikszentmihályi
- Edgy Products
For a decade Chris Csikszentmihályi has been drawing on both art and technology to develop new technologies that can be used as tools for political activism.

Usman Haque, Sky EarUsman Haque, Sky Ear
The artist has set out to make explicit our interactions with the sky by offering an event that allows a wide public to not only see and hear electromagnetic waves, but to actually interact with them.

It is no wonder that some artists are seduced and intrigued by nanotechnologies, for it is a new frontier where one encounters the never seen before. To make the invisible visible is the mission which artists have pursued since .....

Bruce Lennox, Vicki Meli, Gisèle Trudel, Stéphane Claude, Discussion 2004, part I (audio) Bruce Lennox, Vicki Meli, Gisèle Trudel, Stéphane Claude, Discussion 2004, part II (audio) Ælab on location shoot at IREQ (Institut de Recherche d'Hydro-Québec), 1999 Ælab, Hex, 2001 (vidéo)

DATA is the new project by the Ælab collective. It is a research, production and exhibition project that focuses on the representation of the micro and nanometric image. Let us first underline the interesting collaboration with the LennoxLab of the McGill University Chemistry department (Montreal).

http://www.i-dat.org/?page_id=3
2004 : Global Feed

‘Global Feed’ builds upon decades of previous work by Peter Fend exploring aspects of our relationship to the environment, through his work as part of Ocean Earth Development Corporation, and his ongoing collaborations with artists, architects, engineers and scientists. Ocean Earth was conceived as an instrument for implementing the goals of the environmental art movement, directly building upon the ideas of artists such as Joseph Beuys, Robert Smithson and Gordon Matta-Clark. Through inter-disciplinary collaborations and by connecting ecological imperatives with experimental new technologies, Fend asks ‘How far can art go?’ in drawing attention to a belief that artistic research can generate productive dialogue about global ecological problems and that it can be used to develop effective solutions. In this spirit, ‘Global Feed’ aims to organise the display of processed satellite data for the public to see for itself. Peter Fend undertook a research fellowship at i-DAT from autumn 2003 until summer 2004, supported by the AHRB and Arts Council of England.

http://userwww.sfsu.edu/%7Einfoarts/links/wilson.artlinks2.html
Video Installation

Slavko Kacunko - Closed Circuit Video Instation
Naziha Mestaoui, Yacine Aït Kaci - 3 minutes²

Elizabeth Diller & Ricardo Scofidio - Indigestion
Mirjam struppek - urban screens
Paul Kaiser - Arrival
Ed Tannenbaum Recollections, Sym-ulations, Elastic Surgery
Tamiko Thiel Totem of Heavenly Wisdom
Gary Hill
Bill Viola(sfmoma) main site
Jennifer Steinkamp - installation, abstract video
Janet Cardif
David Pledger, Jeffrey Shaw - Eavesdrop (360' manipulative cinema(
Omar Cherkaoui - Interactive Television and Virtual Communities
anthony mccall - projective environment
Raymond Deirkauf w/ Beyond Expression - Video performance
Trace Redell
Bjoern Schuelke - Orgamat
Lincoln Schatz
Peter Callas
Woody & Steina Vasulka
Harun Farocki
Kristin Lucas
Akira Hasegawa - (D-K) Digital Kakejiku
Adriene Jenik - SPECFLIC 2.0
Tamiko Thiel - Travels of Mariko Horo
Øyvind Kolås - Pippin
Zev Robinson - Artafterscience
Anthony Discenza - degraded signal video
Kota Ezawa - video
Julia Page - video installation
Nate Boyce - eats tapes
Elise Irnving
Joe McKay - platformer
bull_miletic
Tom Igoe - video installations
Yang Zhenzhong - Surrounded
Tabaimo - public conVENience
Raqs Media Collective -Five Pieces of Evidence
Gabriel Barcia-Colombo -
Doug Aitken - video installation
David Rokeby - San Marco Flow (shifted time, manipulated, public space video), Gathering (video sorted analytically)
Jeffrey Shaw - Icinema centre (immersive cinema)
MIT Media lab - Interactive Cinema
Jennifer & Kevin McCoy - softrain, everyshot every episode (dioramas, tv show databases)

Video Experiments in Time/Space, Signal
Christian Kessler - Transverser (time snap shots)
Jim Campbell main site ICC documentation, Hallucinat ion** Memory Recollection Transformation
Masayuki AKAMATSU Time Machine mainpage
Sidney Fels Iamascope.
Virgil Widrich and Martin Reinhart - tx-transform (switch time/space)
Tatsuo Miyajima Floating Time (projected floating clocks each with own time)
Alex Killough - Signal Investigation, Video Symphony, (manipulation of signal)
Sylvie Boisseau and Frank Westermeyer - Copy & Paste (live blue screen dislocation)
Thom Kubli - Hybrid Space , What sound does a color make, territorial sounds


http://userwww.sfsu.edu/%7Einfoarts/links/wilson.artlinks2.html
Natural Phenomena - Non-linear Dynamic Systems, Water, Weather, Solar Energy, Geology, Mechanical Motion
(ONLY SOME TOPICS PASTED)

Climate Change

Strange Weather Blog List of Artists 07
Joy Garnett - Strange Weather - paintings
Cape Farewell Project - climate change show
Prevailing Climate Art Show (Joy Garnett, Boukje Janssen, John Jurayj, Jason Middlebrook, Andrea Bowers, Margarita Cabrera, Yumi Janeiro Roth, Catarina Leitão, Anna von Mertens, Christoph Draeger, Anthony Discenza, Karina Aguilera Skvirsky, Type A, Joan Linder, Eric Anglés)

SolarArt

Solart Global Network
Jurgen Claus
Christina Kubisch Clocktower Project
Robert Mulder & Kristi Allik Skyharp
Seth RiskinSketches of Rainbow Man
Dance of the Auroras-
Alex and Martha Nicoloff Spectralwave
Arts Catalyst Eclipsing the Millennium
Therese Lahaie Solar Sculptures
Jennifer Allora and Guillermo Calzadilla - Puerto Rican Light - link with light in puerto rico. solar energy store
Pascal Blissmann,Martina Hifflin Elf**
matt Gorbet - solar installations
Leonel Moura - Robotarium
Charles Ross Solar Burn
Ernie Althoff: Heliosonics (solar instruments)
Bruce Gilchrist, Jo Joelson and photographer Anthony Oliver Polaria (Greenland change from 24 hour day)
dennis summers - crying post
REDUX - CallSpace
Bjoern Schuelke - solar, surveillance robots
Jang-Won Lee - suntracer
Adam Somlai-Fischer, Bengt Sjölén - Ping Genius Loci (solar powered pixels)
Koray Tahiroglu, Joni Lyytikainen - SolarDuo (sonification of solar data)
Jaq Chartier - sun tests (different effects on materials)
Seth Riskin Light Dance (box generate mist to crate rainbows behind )
Dan Rose - Solar powered kinetics
Nigel Hilyer - Swarm, Lotus
Ameila Amon & Wendy Brower. - SolSpherica
Graham Chalcroft. - Solar Stills Sculpture Project
Joaquin Fargas - Sunflower
Kathleen Laziza & William Laziza. - AC/DC Window
Mark Yukiw. FireFly, solar powered lighting sculpture

Extreme environments, Arctic, Antarctic

Simon Faithful- Antarctic Dsipatches
Research Station for Antartica - macrolab/sciarts - Marko Peljhan
Agnes Meyer-BRANDIS - SGM-Iceberg-Probe an explorative interface ae07
Jane Marsching - About Here and Later, Arctic Listening Post
Simon Faithful - Ice Blink
Karin Beaumont - antartica art/science(pdf)
Andrea Juan - Antartica Project
Tavares Strachan - Distance Between What We Have and What We Want: Arctic Ice Project (bring ice block to tropics)
Ingo Gunther. - World Processor
Sensorium - beware satellite (thermal representation of earth temperature)
Inigo Manglano-Ovalle - iceberg installation cloud data
Matthew Burtner - Ecoacoustics - snow, winter, ice, wind. In a White Light, Windprints, Snowprints, Tingnikvik
Art in Remote Locations Project

lectromagnetic Spectrum, Auroras, thermal, Light, cosmic rays Andy Gracie - hostprods (positron array)
Bill Spinhoven and Michiel van Bakel - realtimewarper/ timmering - (body fields control cameras)

AElab (giesele trudel) - Sparks (based on Tesla) In/fluencing (tesla energies)
Marie Jeanne Musiol - Kirlian photography
Craig Baldwin - Spectres of the Spectrum
Austin Richards - dr megavolt (performances with tesla coil)
Eric Orr - Electrum Tesla Coil
mathew butrner - sound directly from radio waves
ANDO Takahiro - Bio photon
Honor Harger, Adam Hyde - r a d i o q u a l i a (radio telescope signats to Interent)
Heather Barnett - Transient Touch, Trace Elements (thermal imaging)
Takuro Osaka - Revelation by Cosmic Rays
London Fieldworks - Little Earth (visualizing the magetosphere), Polaria
Sabrina Raaf - Unstoppable hum (sense electromagnetic vibrations)
L. Oliver Duffy schuman resonance - ionosphere reflections
Catherine Richards: I was scared to death / I could have died of joy (plasma tubes respond to visitors)
Louise Provencher and Charles Halary - Electromagnetism & Wearable projects

Sensory Broadcasting ARTWORK

Sensory Broadcasting

http://www.citris-uc.org/research/humanities_and_arts
Tele-Immersion -Researchers

Researchers: Professor Ruzena Bajcsy
Themes: Art, Technology and Culture
Services Science and Technology
The capture of sensory data in three spatial dimensions in real time from multiple physically separate spaces, the projection of the data into shared virtual environments, and the projection of the virtual environments into immersive physical environments, constitute the emerging technology of tele-immersion.


(potential links to check) ARTWORKS working in this context
Activated Objects, Mixed Reality, Tangible Interfaces, Virtual/Physical Connections

Force Feedback Environments

Christa Sommerer & Laurent Mignonneau - nanoscape (force feedback sculpture)
Fur - Pain Station (force feedback helmet -Volker Morawe, Tilman Reiff )
, Mr. Punch, Furminator (force feedback pinball), Disc-O-Slam
Times up - sensory circus, Gravitron, Sonic Pong, Moodswings (force feeback, haptic control environments)
Museum of Pure Form (museum visitors experience sculpture via force feedback)
Douglas Edric Stanley, Asymtope (virtual marionette manipulated with force feedback)
Rebecca Allen - Bush Soul (haptic represenation of energy fields)
Simon Schiessl - Haptic Opposition (object with moody force resistance), Mechanism #1 (wind up toy release bomb sounds), Mechanism # 2 (wind up siren generate ai created sounds of crowd fleeing with saoirse Higgins)


Shows, conferences, blogs

Doors of Perception - Flow (pervasive computing conference)
Future Now (physical computing site)
space & place ( list of activated tables)
Satou Tokuhisa, Masa Inagake - Urchin
Mixed Reality art show
Soundtoys


Activated Objects/ Mixed Reality

Perry Hoberman - Cathartic User Interface (&Nick Philips) Bar Code Hotel, TimeTable -Systems Maintenance , main site
Joseph Michael Holodeck (vr helmets and shape morphing objects)
AOKI Takafumi kobito- Virtual Brownies (manipulate objects affect virtual world)
Miyibara, Mika, Ugimoto Tatsuo -Movie Cards (manipulate cards edit digital movies)
Perry Hoberman - Trusted Makes (manipulatable cans with signs projected)
Martin Riches - Interactive Field, (activated sculptural shapes)
Kaeko Murata,Eiji Yamauchi Fisherman's Cafe (Japanese) alt (table with projected fish respond to real object movement)
Giorgio Olivero and Peggy Thoeny - Tableportation (objects moved on table as interface)
ART+COM (in collaboration with Hürlimann + Lepp Ausstellungen) - Floating Numbers table (touch projected numbers lead to video)
Motoshi Chikamori & Kyoko Kunoh minim++ - Kage
Georg Ritter - Autodrome (bumper cars intersect virtual and physical world)
Masaki Fujihata - Beyond Pages , Inter actions main (old 2001) main (Japanese) off-sense (networked avatars)
Toshio Iwai - Music plays images x Images Play MusicViolin ~ Image of String Composition on the Table main site (not current) Future Sonic 05 talk - tenori-on (new music instrument)
Marnix de Jijs - Exercise in Immersion
foAm - trg (transient reality generators) TGarden , txOom
Ashok Sukumaran - main Park View Hotel alt (people light up hotel rooms - and lightposts in plaza - lights follow path) ae07
Julien Maire - Digit (hands make images appear) ae07
Ted Krueger Media augmented exercise machines
Golan Levin Scrapple (objects on table interpreted as musical notation)
John Klima - Train (virtual train controlled by cell phones, passengers, conversations on the cell phone)
Dirk Eijsbouts - Interface #4 TFT Tennis V180 (physical interfaces to games)

Kumiko Kushiyama - Hide-and-Seek (video monitor find objects hidden)
Smart Studio, Interactive Institute / Servo - The Responsive Field of Lattice Archipelogics
Keith Roberson - Litt;l Havoc (shopping cart video reveals virtual world based on poistion)
Maxime Lecours - Little table (previous people leave virtual traces)
Mary Flannagan - Career Moves (manipulating game pieces activates aural dialog on women in workplace)
Laura Beloff Markus Decker - HAME alt site ( sculptural objects with projection and interactive jacket)
Guan Hong Yeoh - The H.E.A.R.T of Stone alt (movement of stones activates images)
Stephen Wilson - Body Surfing (beating on drum and stretching control media)
Studio Arrouci Tamburi (touching drums controls media)
Pamela Jennings - Constructed Narratives (physical objects linked to narrative)
Nigel Helyer - Naughty Apartment , Fictionalising Fiction! (objects with embedded sound)
Thomas Kienzl - MRI (Mixed Reality Interface)
Tatsuo Yotsukura, Shigeo Morishima, Frank Nielsen, Kim Binsted and Claudio S. Pinhanez - HyperMask (project heads onto masks)
Scott Fisher - Linking Virtual Environments to the Physical World
Mulitimind - Jan Edler project [desktop] (mixed reality viewing device)
Chris Sugrue - Delicate Boundarie lv10 (digital bugs leave screen to go on body)

Niel Gershenfeld-MIT Media Lab- bits and atoms activated objects , Activated Museum Project
R banks - technology trends natural user interface links
MIT- Object Based Media (physical respresenttation of data - tokens)


Virtual Reality (immersive)
Relationships Between the Physical and the Virtual

Links, Conferences

U Wash Links to VR Art
Virtuality CAVE based work - Josephine Anstey, Bino & Cool, Franz Fischnaller, Hans Hauska, Torbjorn Johansson, Jackie Matisse, Dan Neveu, Dave Pape, Agueda Simo
Theatron links

Josephine Anstey - Human Trials, 365 Days/365 Days Week, PAAPAB, he Trial The Trail ( real and virtual actors, networked vr)
Masaki Fujihata - Global Interiors
Eben Gay, Amatul Hannan, et al - Faery Garden
Agnes Hegedus - Handsight
Ellen Sandor - art)n Laboratory
Diane Gromala vr & the body
Maurice Benayoun- Crossing Talks
Fakeshop, Multiple Dwelling
Desert Rain by Blast Theory (U.K) - a virtual reality game/installation
Kaeko Murata Fisherman's Cafe
marnix de nijs - Exercise in Immersion 4 (goggles represent the physical reality of viewer)
Scott Fisher - Linking Virtual Environments to the Physical World

Information Visualization

Dirk Lsebrink/Joachim Sauter Art+Com
Invisible Shape of Things Past
Paul Hertz - , Fools Paradise F.A.B.R.I.CATORS (Maharaj Singh, Franz Fischnaller) City Cluster, Multi Mega Book, 'LUl tima Cena,,Kali,
Flavia Sparacino, Alex Pentland, Glorianna Davenport, et al - City of News
MARS (Monika Fleischmann, Wolfgang Strauss) Home of the Brain
Rita Addison, Marcus Thiebaux, and David Zeltzer - Detour: Brain Deconstruction Ahead
Benjamin Britton - Lascaux Caves
Knowbotics Simulationsraum SMDK
Carmen Gerstl / Jeroen Keijser - Déjà Vu of fresh water, a nightmare environment
Marcos Novak, Transarchitecture
Open Source Architecture
Agueda Sim- Microworlds, Sirens and Argonaut**
Carmen Gerstl / Jeroen Keijser - Déjà Vu of fresh water, a nightmare environment
Teresa Wennberg Brainsongs,Welcome to my Brain
Sheldon Brown - Scalable City (self generating cityscapes)


Ulrike Gabriel - Perceptual Arena
HIRAKAWA Norimichi - Driftnet (ocean metaphor for Internet)
Maurice Benayoun - Cosmopolis (unified vision of world cities), Parallel Architectures (biogaphy of architect projects)

Unorthodox Spaces

Brenda Laurel and Rachel Strickland - Placeholder
Michael Naimark, - BeNow Here
Lawrence Paul Yuxweluptun - Inherent Rights,Vision Rights
Char Davies - -Osmose, Ephemere
Richard Brown alt - Alembic , Biotica
Michael Scroggins & Stewart Stuart Dickson - Toplogical Slide
Ulrike Gabriel & Bob O'Kane - Perceptual Arena alt
Teresa Wennberg Paralell Dimension ,Digital Runes (with Sandra Gering)
Virtual Architecture competion
Canali & Campione, Satori
Sophie Lavaud - Centre Lumière Bleu n°2
Darij Kreuh, Iztok Bajec - Trajectories of presence

Tom Coffin - vr works
Margaret Watson. Liquid Meditation
Marty Allor - Immersive environments
Gabriella Kardos, Michael Casey - time based vr painting
CAVE -Electronic Visualization Lab home page
List of CAVEs

Alexei Shulgin - Super-i Real Virtuality System (changes perception of real world)
Masaki Fujihata - Unreflective Mirror (reality behind display)
Lucy Petrovich and Johnie Hugh Horn - Desert View, Desert Deaths (CAVE based vr reflection on border crossings)
jeffrey shaw, agnes Hegedues, Bernd Lintermann - reConFIGURING the CAVE
Marc Cavazza -Alternative Reality: "Ways of Worldmaking" with Artificial Intelligence


VR Music and Theatre
Jaron Lanier - Chromatophoria
Mark Reaney - Adding Machine, Wings, Tesla Electric
George Coates - 20/20 Blake and other productions
Tapio Takala - Virtual Orchestra,EVE (vr environment)
Mark Palmer - Maelstrom
F.A.B.R.I.CATORS - Kali
Projection and Virtual Reality Performance at WPI

VR World as Metaphor, Metaphors for the body, Narrative

Maurice Benayoun - World Skin, Is God Flat
Sheldon Brown - Apparitions
Teresa Wennberg- Parallell Dimension, Digital Runes Welcome to my Brain
Alok Nandi - HyperAdventures & Lingua moo
Margaret Dolinsky- Dream Girls, Blue, Alive on the Grid, Cabinet of Dreams
Todd Margolis - Lockup, Perfect Parlor
Bino & Cool - Yggdrasil, Virtual Vouni
Tamiko Thiel - vr events
Tim Portlock - Super Spectacular **
Geoffrey Baum and Keith Miller - Syn.aesthetic**sound composition)
Jackie Matisse - New Art Volant (physical kites and virtual?)
Petra Gemeinboeck - Uzume (japanese folk tale)
Joseph Tremonti - Les Fleurs du Mal (Baudelaire landscape)

TOPICS

Current
Olympics
Tibetan protests
Food/Water Shortages
Solutions Disasters

Ongoing
Earth Changes
Revolutions
Healing - Trance-formation
Consciousness /Personal Disarmament

Power / Control/ Terrorism / Surveillance

Prophesy/ Conspiracy / Disclosures
Alternatives / Visions / Theories
Aftershocks /Confessions / Proof /


Ongoing (earlier list)
1 Politics /Elections
2 Social / Economic
3 Climate Change / Peak Oil
4 Protests/ Conflicts / Wars
5 Inequities eg shortages
6 Disasters/ Tipping Points
7 Technological Developments

Tuesday, April 29, 2008

Defining Scope: "Sensory Broadcasting"

http://en.wikipedia.org/wiki/Telepresence
Telepresence
refers to a set of technologies which allow a person to feel as if they were present, to give the appearance that they were present, or to have an effect, at a location other than their true location.

Telepresence requires that the senses of the user, or users, are provided with such stimuli as to give the feeling of being in that other location. Additionally, the user(s) may be given the ability to affect the remote location. In this case, the user's position, movements, actions, voice, etc. may be sensed, transmitted and duplicated in the remote location to bring about this effect. Therefore information may be travelling in both directions between the user and the remote location.

Most often, currently feasible telepresence gear leaves something to be desired; the user must suspend disbelief to some degree, and choose to act in a natural way, appropriate to the remote location, perhaps using some skill to operate the equipment. In contrast, a telephone user does not see herself as "operating" the telephone, but merely talking to another person with it. A goal of telepresence developers might be to similarly have their users lose direct awareness of the equipment they are using.

Comparison with virtual reality

Telepresence refers to a user interacting with another live, real place, and is distinct from virtual presence, where the user is given the impression of being in a simulated environment. Telepresence and virtual presence rely on similar user-interface equipment, and they share the common feature that the relevant portions of the user's experience at some point in the process will be transmitted in an abstract (usually digital) representation. The main functional difference is the entity on the other end: a real environment in the case of telepresence, vs. a computer in the case of virtual reality.

Telepresence art

In 1998, Diller and Scofidio created the "Refresh", an Internet-based art installation that juxtaposed a live web camera with recorded videos staged by professional actors. Each image was accompanied with a fictional narrative which made it difficult to distinguish which was the live web camera.
In 1993, Eduardo Kac and Ed Bennett created a telepresence installation "Ornitorrinco on the Moon", for the international telecommunication arts festival "Blurred Boundaries" (Entgrenzte Grenzen II). It was coordinated by Kulturdata, in Graz, Austria, and was connected around the world.


From ITV To Sensory TV. http://findarticles.com/p/articles/mi_hb5103/is_200006/ai_n18545350CED, June, 2000 by ARLEN, GARY
(need to pay for article)

The skin-altering campaign acclimated a generation of consumers to the subcutaneous chip insertions that became widespread about 2009. At first, these truly embedded microprocessors were used for in-body release of calibrated medical doses and eventually for psychotropic treatments.

TV Sensory linked to Deprivation/Overload sensory cinematics (also not a connected concept)


http://www.vasulka.org/Kitchen/PDF_ExpandedCinema/ExpandedCinema.html
This book is available in PDF format by individual chapters or as a whole.

Foreword (144K)

Part One: The Audience and the Myth of Entertainment (156K)

Part Two: Synaesthetic Cinema: The End of Drama (688K)

Part Three: Toward Cosmic Consciousness (355K)

Part Four: Cybernetic Cinema and Computer Films (883K)

Part Five: Television as a Creative Medium (764K)

Part Six: Intermedia (666K)

Part Seven: Holographic Cinema: A New World (212K)

Bibliography (68K)

Index (44K)

Color Plates (866K)

Expanded Cinema by Gene Youngblood (1970),
http://en.wikipedia.org/wiki/Expanded_Cinema
the first book to consider video as an art form, was influential in establishing the field of media arts. In the book he argues that a new, expanded cinema is required for a new consciousness. He describes various types of filmmaking utilising new technology, including film special effects, computer art, video art, multi-media environments and holography.


http://gender.khm.de/futurebodies/abstracts_d/sofoulis.htmlZoë Sofoulis
(possible tangent)
Cyborgs and Other Hybrids.
The Human, the Non-Human and the Sociotechnical
Many readers of Haraway’s Cyborg Manifesto have celebrated the cyborg as a kind of post-human subject. From the point of view of Bruno Latour’s actor-network theory it is possible to read the cyborg simply as another hybrid sociotechnical entity. Latour’s notions of the agency of non-humans are helpful (not to mention important background for Haraway) but are problematic in the way they conceive of non-human actors in terms that enshrine a certain humanist notion of a “fully-fledged” subject. This lecture will argue that instead of leaping from the “non-human” to “post-human” we could use a better worked out account of prelinguistic modes of human subjectivity and agency to appreciate the relations between human and non-human actors.

volumetric display device
http://en.wikipedia.org/wiki/Volumetric_display

See also

[edit] External links