Abbreviations and symbols:

{td} textual definition
{atcl} related article(s)
{atw} related artwork(s)
{artist} related artist(s)
{w} related web resource(s)
{rf} reference(s)
~~ external link(s)
attached image
attached movie
attached animation
attached (text) document
attached archive
attached (unspecified) media

Art Games 1 [en] {atcl} ~~www.partast.com/art/artgames.html {atw} ~~www.partast.com/art/artgames.html {w} ~~www.partast.com/art/artgames.html (submitted by Olga Ast)

artistic act 1 [en] {td} artistic act - any act performed with the intention of it being art. • In 1916 Marcel Duchamp buys a snow shovel, hangs it from the ceiling of his studio, titles it In Advance of the Broken Arm and calls it a readymade. • In 1952 John Cage realizes that silence does not exist in nature. He writes 4'33", a piece of music, composed strictly of silence, which he defines as sound non-intended. • From 1955-1956 Yves Klein, works with Edouard Adam to develop the color, a blue pigment, reminiscent of the horizon, and patents it as International Klein Blue. • In 1968, Fluxus artist Ken Friedman makes Homage to Mike McKinlay in which he eats hot peppers and pickled food of a spicy nature. • In 1974 Joseph Beuys performs an action using a blackboard in order to lecture about social consciousness through art. • In 1980 Sophie Calle meets a man at a party, follows him to Venice and continues to follow and photograph him for two weeks. (submitted by Accidental Artists)

artivism 1 [en] {td} Artivism is the combination of activism and art. A practice using art as a tool for activist activities of social & political dialogue & change. {atw} Short Memory/ No Hstory: A Case of Cultural Amnesia {artist} ACT UP Cheap Art Testing The Limits Video Collective Paper TIger {w} ~~www.alliedproductions.org (submitted by peter cramer)

aspiratage 1 [en] {td} Aspiratage is a method initiated by Daniel C. Boyer in which, rather than marks being made with pen on paper, or paint on canvas, marks are made in the pile of carpeting by a (usually wheeled) vacuum cleaner. As the method is intended to be surrealist, the marks are intended to be made automatically. {atw} The (Artificial) Herb of Toddler Sleep in Forced-Air Heat's Crossfire by the Third Phenolic Table in the Terrifying Blueness Aspect of the Keythong with Mouthless Head Perfumed by the Fess Hiding their Nude Bodies (Memories of 1989) {rf} ~~en.wiktionary.org/wiki/Aspiratage (submitted by Daniel C. Boyer)

Autobiographical image 1 [en] {td} I am an artist that is primarily concerned with what I call the “autobiographical” image, this is defined as the ability to tap into those images and symbols that make up one's own understanding of the visual world and thus integrating them into the self expressive force that is art. I am interested in the process that leads an artist from the logical creation of an abstract subject to the subjects he will use in future paintings. For me, art is made up of the thoughtful exploration of the visual symbols that make up the outer and inner worlds. It is the relationship between inner and outer visual symbols that drives the artist. {atw} Watching You Dance {artist} Jeremiah Stansbury {w} ~~www.absolutearts.com/clipinpics (submitted by Jeremiah Stansbury)

Bionic Code 1 [en] {td} A problem-solving routine for human behavior as it is exercised in the realm of networks and cyberspace. The first bionic codes were developed by Ebon Fisher based on a series of his theatrical experiments involving communication systems among audience members. Fisher's bionic codes have been formalized as a series of diagrams and statements that "float" in the infosphere in a variety of media. • Ebon Fisher was one of the first guerrilla artists and instructors at the MIT Media Lab, and he has been developing the Bionic Codes since 1990. Fisher's Codes also appear on stickers, T-shirts, the Nervepool.net Web site, in a video, and as exhibits at art galleries in New York City. Bionic Codes have lead to Fisher's other coding experiment, the Zoacodes. {w} ~~nervepool.net {rf} ~~netlingo.com (submitted by Glooky)

Collaborative New Art 1 [en] {td} This study is to investigate the possibilities of developing a cross-culturally common conceptual visual language. In particular, this study evaluates whether it is possible to develop Collaborative New Art that will depict simultaneously both the Contemporary Art and the modern Technological Civilization in which we live today. It is a general belief especially in the art community that contemporary art can enhance the distribution of diverse information, foster a profound universality in the human nature, and thus promote cross-cultural collaborations in all walks of lives. However, such a belief has also been questioned due to the overt differences of arts in structures, styles and philosophies perceived by different viewers. In this study, a set of contemporary arts will be evaluated. The comparative results will used to discuss four important issues: What are the salient sensations and reactions of the general public to the contemporary artwork? To what extent the contemporary conceptual art could disclose the new trend of social value changes. Whether the contemporary art theory and practice would address and help to solve today’s social problems within each society. Whether the contemporary art has a role in harmonizing people with different geopolitical backgrounds and value systems. Finally, several implications will be discussed on the linkage issue between verbal and nor-verbal expressions of thoughts and feelings. {w} ~~www.chutiwongpeti.info (submitted by Sarawut)

cyberfeminism 1 [en] {td} The critical study and/or use of emerging technologies in the advancement of women's issues. The term "cyberfeminism" was originally coined in 1991 by the art collective VNS Matrix, along with Sadie Plant, and has since been used by scholars such as Susan Hawthorne and Renate Klein (editors of Cyberfeminism: Connectivity, Critique and Creativity, Spinifex Press, 1999), artists such as the subRosa art collective (Domain Errors! Cyberfeminist Practices, Autonomedia, 2002), and organizations such as the Old Boys Network (instrumental in developing the Cyberfeminist International Conferences). Recent examples of cyberfeminist work can be found at ~~www.cyberfeminism.net (subRosa); ~~www.obn.org (Old Boys Network); ~~www.let.uu.nl/~Rosi.Braidotti/personal/ (Rosi Braidotti); ~~www.metapet.net and ~~www.calarts.edu/~bookchin/intruder/ (Natalie Bookchin); ~~www.thing.net/~bindigrl/ (Prima Murthy); ~~www.digimatter.com/dream.html and ~~www.playthingresearch.net/ (Josephine Starrs and Cmielewski); ~~www.geekgirl.com.au/ (Rosie Cross "Geek Girl"); and many other sites. {w} ~~www.julietdavis.com (submitted by Juliet Davis)

Cyberformance 1 [en] {td} Cyberformance brings remote performers together in real time through the use of online chat technologies (graphical chat rooms, webcam conferencing technology, text chat & other digital media). Cyberformance can exist solely online, or it can be incorporated into live performance presented to a proximal audience in a physical venue. Everything happens in real time, nothing is pre-recorded. {w} ~~www.cyberformance.org (submitted by Helen Varley Jamieson)

Datatecture 1 [en] {td} DATATECTURE is the MILIEU fusing DATA and DWELLING. • DATATECTURES are HYBRIDS of VIRTUAL MEDIA and ACTUAL SPACES. {artist} Philip Pocock, Gregor Stehle, Axel Heide, Onesandzeros {w} ~~www.unmovie.net (submitted by philip pocock)

digital artist portfolio 1 [en] {td} artist portfolio blog in the digital context ~~www.rabinfo.net/atelierK/ {atcl} ART and Technology • The conditions and means of artistic creation have changed drasticly through development of technology, usage of numerous tech- tools and with the transition to new virtual territory. • The limitations of the new media; such as modality of creating by tool tech- grade or availability, fear of virtual non freedom ( profiling, closed environments, controlling, subjection, discrimination) are not concerns just of the few unfitted or slow adaptabled, but oftenly discussed in various virtual communities. • Total merge of the industrial design, marketing and media as main reality moulders augments the virtual obesity in content and form. • Is art a tool for changing society or has it become religion of modern society? {atw} ~~www.urban-island.org {artist} On machine and new media in arts: ~~www.o-o.lt/manifesto.html {w} ~~www.angelfire.com/art2/kristina-tina/start.html {rf} keywords; brain, dictionary, cognition, learning, (submitted by kristina maskarin)

E-Postrealismo 1 [es] {td} El postrealismo electrónico es la continuacíon y el desarrollo de la escuela postrealista en su formato en la red y en los medios digitales. El postrealismo, escuela desarrollada por Joao Delgado, G. Vakulinchik, Arturo Maure y Rodriguez (heterónimos del primero, o todos heterónimos de ninguno según el ensayo de Marian Loop) en los años sesenta del siglo pasado, propone la disolución del yo creador en un anonimato colectivo, con el fin de evitar no solo la noción de "derechos de autor", sin también posibles acciones de censura por parte de las autoridades, confundir a los servicios de información y a su vez potenciar el efecto de la actividad artistica a partir de la creación múltiple, incluso cuando ésta parte de una creación individual. (submitted by sala-manca)

EQNkNWvhndk 1 [ru] {td} Great to consider dnrfefeit forms of communication. I would like to offer a dnrfefeit perspective on the Facebook option. If OSPG does use this effective communication tool (Facebook) -of which I am part of- it does exclude those who wish to be part of OSPG yet don't use the social network of Facebook. I think this current format is more professional, although having links to well known sites such as adventurepro could improve the accesibility to a wider audience and increase exposure, therefore OSPG would represent more people on the OE industry..Happy to hear thoughts on this Cheers,Kim {atcl} Great to consider dnrfefeit forms of communication. I would like to offer a dnrfefeit perspective on the Facebook option. If OSPG does use this effective communication tool (Facebook) -of which I am part of- it does exclude those who wish to be part of OSPG yet don't use the social network of Facebook. I think this current format is more professional, although having links to well known sites such as adventurepro could improve the accesibility to a wider audience and increase exposure, therefore OSPG would represent more people on the OE industry..Happy to hear thoughts on this Cheers,Kim {atw} Great to consider dnrfefeit forms of communication. I would like to offer a dnrfefeit perspective on the Facebook option. If OSPG does use this effective communication tool (Facebook) -of which I am part of- it does exclude those who wish to be part of OSPG yet don't use the social network of Facebook. I think this current format is more professional, although having links to well known sites such as adventurepro could improve the accesibility to a wider audience and increase exposure, therefore OSPG would represent more people on the OE industry..Happy to hear thoughts on this Cheers,Kim {artist} Great to consider dnrfefeit forms of communication. I would like to offer a dnrfefeit perspective on the Facebook option. If OSPG does use this effective communication tool (Facebook) -of which I am part of- it does exclude those who wish to be part of OSPG yet don't use the social network of Facebook. I think this current format is more professional, although having links to well known sites such as adventurepro could improve the accesibility to a wider audience and increase exposure, therefore OSPG would represent more people on the OE industry..Happy to hear thoughts on this Cheers,Kim {w} Great to consider dnrfefeit forms of communication. I would like to offer a dnrfefeit perspective on the Facebook option. If OSPG does use this effective communication tool (Facebook) -of which I am part of- it does exclude those who wish to be part of OSPG yet don't use the social network of Facebook. I think this current format is more professional, although having links to well known sites such as adventurepro could improve the accesibility to a wider audience and increase exposure, therefore OSPG would represent more people on the OE industry..Happy to hear thoughts on this Cheers,Kim {rf} Great to consider dnrfefeit forms of communication. I would like to offer a dnrfefeit perspective on the Facebook option. If OSPG does use this effective communication tool (Facebook) -of which I am part of- it does exclude those who wish to be part of OSPG yet don't use the social network of Facebook. I think this current format is more professional, although having links to well known sites such as adventurepro could improve the accesibility to a wider audience and increase exposure, therefore OSPG would represent more people on the OE industry..Happy to hear thoughts on this Cheers,Kim (submitted by Bodong)

Good morning Kiki 1 [en] {td} THE DIARY OF MY DIARIES 9TH of October 1985 I started to write diary – I’m writing those things that are important to me at that moment: thoughts, dreams, events, plans. 10th of July 1997 I started to draw with ink, Diary 10th of July 1997 - I am drawing them at the events of big significance to me. I am trying to capture the state of my body and mind. 15th Jan. – 13th Feb. 1998 Letters to my profesor – 28 lettes (one for every day) to Jože Barši, my profesor at the Akademy. I copyed my old letters, extracts from diaries, quotations. 16th of April 1998 one month diary, collage, Diary of one love – One sheet a day, as long as it was. 19th of June 1998 I started with a photodiary, Good morning, kiki – I am taking a snap every morning. I am doing it by chance (snapshots), but at the same time I am writing an exact diary of fotographing: date, time and place. 13th of April 2001, Relashionships, the diary of relashionships with nine men. They make one photo of me per year. Photo-game. 23th of Oct. till 23th of Nov. 2001, Morning, one month simultanius diary with a poet Andraž Poli 13th of April 2003, Relashionships, The diary of relashionships with nine women. They make one photo of me per year. Photo-game. All projects have four propertys incommon; they are all diarys,therefore they are all documents, and of corse with them I am satisfying my obssesion with time. To me writing the diary was always a way of looking inside, a way of clearing thoughts, now it is a play. I developed all the others from ordinary diary, where I put down persons, events, thoughts and state of minde bether then before. Of course, they are not only rigid documents of their time, but much more than this. Every note, drawing or snaphshot I take is like a haiku: unpredictable and subject to no rule. Simultaneusly all the diarys are documents, having on one hand a meaning of a documental memory, acting as »madlene«, as a prezence of a passed moments, where on the other hand they serve as a proof, whose credibility is beyond any doubt. By making my diaries I’m putting up a »dossier«, a file that can compete with a secret police and medical files. It is a file on changes around me and within me, a file on gathering as many informations as possible on who I am, where am I and what I am. It is a complexity that matters: the images, ideas, dreams, illusions and thoughts all together. I’m exposing my privacy and my life not becouse it is specific but because it is not. It is special form of realism: taking it for what it is, the way it is, even if it is the way I see it. All of this my be provocative, but there is allways the same question: where are the limits of provocation? What is provocative? What is not? Is it just a naked body or is it my way of life? Is what I do provocative just becouse I do it volontarily? Anyhow, can something be provocative if it is done everyday by the majority of people? I’m doing this to satisfy my desire to explore time. Since the diary is recording the changes in time, it prooves to be just perfect for this type of obsession of mine. The dieries seize the changes from one time frame to the other, from one point in time to the other. And they are a bite disaranged, these points in time, seein them through the eyes of distorsion of time and space. Precisely this gives them a special value; for the closer they are to death, the closer they are to eternaty. Or, as Roland Barthes say’s: by photgraphing we enter a shallow death. Every file is a wittnes to an event, it can not be reproduced, it is a part of the past and it is a »memento mori«. But the wish to capture the moments strives on, the wish to screw-up the time, to travel through the time and therfore the wish for better notion of time and space. {atcl} My body, my emotions and my minde are only a medium becuse I know myself the very best and I can go to the very edge. I can explore the most. {atw} God morning Kiki {artist} Kiki lažetić {w} ~~www2.arnes.si/~klazet (submitted by Kiki Lažetić)

Graverre 1 [en] {td} GRA-from graphite VERRE-French term for glass GRAVERRE is a new glass technique, which I created in 1999. Graphite or charcoal drawing is fused between layers of glass. Technique is ideal for capturing spontaneity of drawing. {atcl} related terms (existing) -Pate de Verre-glass casting technique verre eglomise - a sheet of glass painted or gildet on the back, with the decoration protected by varnish and a sheet of metal or another sheet of glass {atw} VOYEUR, 2001, from Two Fair Ladies series, 27x38cm {artist} ZOJA TROFIMIUK, sculptor and printmaker, cast sculptures in glass and bronze {w} ~~www.users.bigpond.net.au/airx/default.htm {rf} A Dictionary of Women Artists of Australia by Max Germaine Who is Who in Visual Arts in Australia 1996 Who’s Who in the World (Marquis Who’s Who 16th Edition) 2000 Outstanding Artists and Designers of the 20th Century (Cambridge) Dictionary of International Biography (Thirsty First Edition), 2004 (submitted by Zoja Trofimiuk) 2 [en] {w} ~~www.users.bigpond.net.au/airx/default.htm (submitted by Zoja Trofimiuk) 3 [en] {atw} JANEEN,2001, from Two Fair Ladies series, 27x38cm {artist} ZOJA Trofimiuk, PREVIEW-TRUST Collection {w} ~~www.usersbigpond.net.au/airx/default.htm (submitted by Zoja Trofimiuk) 4 [en] {atcl} ART ADDICTION MEDIAL MUSEUM Center, London {w} ~~www.artaddiction.net (submitted by Zoja Trofimiuk)

mada 1 [en] {td} MADA (Multimedia-dADA) is a new media extension of the ideas of the early avant-garde artists. • MADA uses several techniques to disrupt the traditional relationships between and expectations of artist/distributor/audience: • -programming -interactivity -kineticism -(hyper)dimensionality • to complement original dada practices of • -chance/chaos -multiple identities/masks -collaboration -simultaneity -tomfoolery {w} ~~www.391.org {rf} ~~avantgarde.netzliteratur.net/index.php?bereich=dada&aid=111&textid=206&sprache=e&interview=true •  ~~www.391.org/20 •  ~~www.391.org/manifestos/babel_dada2mada.htm (submitted by artEficial)

memory 1 [en] {td} ~~dictionary.reference.com/search?q=memory {atcl} From the onset of the first human prehistoric collectives, we as a species have sought to capture the essence of the finite moment. Using what means technology could provide, our predecessors developed methods of recording and preserving the events they had witnessed, thus solidifying their existence into a form which would outlast their memories. In the final decades of the 20th century, the exponential development of computer technology bestowed upon society an unprecedented capacity to remember. By converting all known forms of factual media into the universal language of 0s and 1s, the human race had, seemingly, achieved a perfect and everlasting collective consciousness. However, as the individual gained instantaneous access to such knowledge, scattered across a billion databases, society has become increasingly enthralled with the media itself. The mode of interaction now stimulates us as much as the information which is acquired; the process has become as indispensable as the outcome. As a culture which strives to be connected at all times and in all places, the past has become defined not in terms of days or years, but in minutes and seconds. The human machine, anxiously awaiting each successive moment, paradoxically clutches to its history while it rushes feverishly into the new millennium. • Michael Takeo Magruder, 2000 {atw} <event> ~~www.turbulence.org/Works/magruder/ • Data Diaries ~~www.turbulence.org/Works/arcangel/index.html {artist} Michael Takeo Magruder Cory Arcangel {w} ~~www.takeo.org ~~www.beigerecords.com/cory/ {rf} ~~www.turbulence.org/reviews/magruder.htm ~~www.turbulence.org/Works/arcangel/alex.php (submitted by Michael Takeo Magruder)

Microspective Art 1 [en] {td} An art form, using a platform of various techniques that incorporate the use of micro-scale visual forms and objects. exposing the viewer to universal artistic ideas, by unveiling the wonder of the minute and the trivial of day-to-day life, i.e. 'dust particles', 'road dirt formation', 'stains', 'household clutter' etc. • the aim of Microspective Art is to convey ideas of unity between self and other, self and exo-self, by means of revealing the true expance of the matrix-of-matter, thus indicating the existance of matrix-of-spirit, matrix-of-life. • the artist, shining a light on the darker corners of day to day life, shares with the viewer the understanding that everything is art, given the right context. lies on the convergance between the MICROSCOPIC and the INTROSPECTIVE... {atcl} Blake - "...to see the world in a grain of sand..." "Speck" - by various artists. "Landscape Analysis" - Zemer Sat (submitted by Zemer Sat)

nBUNosuPrEKUAcIyR 1 [fr] {td} Home run! Great slugging with that aswner! {atcl} Home run! Great slugging with that aswner! {atw} Home run! Great slugging with that aswner! {artist} Home run! Great slugging with that aswner! {w} Home run! Great slugging with that aswner! {rf} Home run! Great slugging with that aswner! (submitted by Lyddy)

net opera 1 [en] {td} netOper@ • (on line from 1997) is an audio-visual collaborative work, to participate, you should position your mouse pointer over various parts of the drawing. {artist} ~~www.visualmusic.it/biography.htm {w} ~~www.visualmusic.it/netopera.htm {rf} ~~www.fylkingen.se/hz/n3/netopera.html ~~rhizome.org/object.rhiz?5160 ~~www.italica.rai.it/galleria/artedigi/digi/webtheatre/webtheatre.htm ~~warnell.com/zinen/library/zn990205.htm (submitted by Sergio Maltagliati)

network 1 [en] {td} A system of lines or channels that cross or interconnect: a network of railroads. • A complex, interconnected group or system: an espionage network. • *An extended group of people with similar interests or concerns who interact and remain in informal contact for mutual assistance or support. • A group or system of electric components and connecting circuitry designed to function in a specific manner. • Computer Science. A system of computers interconnected by telephone wires or other means in order to share information. Also called net1. {w} ~~leewelch.com (submitted by Lee Welch)

netzwissenschaft 1 [en] {td} netzwissenschaft is a sensitive and extra-ordinary way of thinking. it is designed by dr. reinhold grether from konstanz, germany, who disappeared several years before net scientists around the world and many conspirators contributed to this evolving parascientific indifférance. {atcl} gutersloher netzkunstbuch by dr. matthias weiss, germany {atw} netzwissenschaft by jorgen sparwasser and draschan thomas {w} ~~subjektivation.de (submitted by jorgen sparwasser)

Poesía Perl 1 [es] {td} En los comienzos de los años noventa comenzaron programadores de Perl - leguaje de procesador de textos de código abierto creada por Larry Wall - a escribir poesía Perl."El lenguaje Perl demostró que el es apto para la escritura de poesía que no tuviera solo un significado semántico sino que también puede ser activado_ por el ordenador". Así escribe Sharon Hopkins, autora del primer artículo que describe de manera sistemática las características de la poesía Perl(ver related texts). Puesto así, una de las ventajas de este lenguaje es la multiplicidad de estructuras de escritura que el permite. Por ejemplo, en Perl, el espacio vacío no tiene significado, ni tampoco el espacio entre líneas, permitiendo mucha libertad en el diseño visual del texto. No hay tampocó fórmulas fijas que aparecen en los comienzos de la escritura en este lenguaje. Entre el corpus creado desde 1991 hasta hoy en día pueden diferenciarse dos tipos de poesía Perl: poesía que con salida (output) y poesía escrita de acuerdo al lenguaje gramatical de Perl, pero sin salida. El público de lectores central de esta poesía, aquellos que puede valora todo sus aspectos, son por supuesto aquellos que dominan el lenguaje Perl, o otros lenguajes de programación, aunque también aquél que no conoce el lenguaje puede comprender los principios gramaticales y poéticos del lenguaje. La mayor parte de las obras escritas en Perl son poemas Haiku, o traducciones de poesía clásica o sentimental. Mucha de esta poesía no pudo llegar a alcances artísticos o literarios significativos, pero hay obras que lograron explotar el potencial del lenguaje y de sus posibilidades de salida, llegando a niveles textuales y salidas relacionadas interesantes y hasta fascinantes. {atcl} Jabberwocky and London.pl (by F. Cramer)[ ~~www.runme.org/feature/read/+londonpl/+34/] Camels and Needles:Computer Poetry meets the PerlProgemming Language by Sharon Hopkins[budi.insan.co.id/courses/el2001/plpaper.pdf] {atw} London.pl [ ~~www.scotoma.org/lungs/] Jabberwocky.pl [ ~~www.perlmonks.org/index.pl?node_id=111157] (submitted by sala-manca)

Samac 1 [en] {td} Simultaneous Associative Media Art Composing {atcl} see upload {atw} see art works collected on www.nmartproject.net/agricola/mpc/index.html {artist} Agricola de Cologne {w} www.nmartproject.net/agricola/mpc/index.html (submitted by Agricola de Cologne)

SITE on I-Mode, cell phone art, interactive music, 1 [en] {td} SITE on I-Mode cell.phone • "PARTITURE" • FREE Download Music-RingTones • of MIDI_Visu@lMusiC • from music_software Cubase*on Atari Mega STE {artist} ~~www.visualmusic.it/biography.htm {w} ~~www.visualmusic.it/imode (submitted by Sergio Maltagliati)

Space 1 [en] {atcl} ~~www.partast.com/art/eveanddeatharticle.html •  ~~www.partast.com/structureofholes.html {atw} ~~www.partast.com/spacetraps.html {w} ~~www.partast.com/art/eveanddeatharticle.html ~~www.partast.com/structureofholes.html ~~www.partast.com/spacetraps.html (submitted by Olga Ast)

Streaps 1 [en] {w} ~~streaps.org (submitted by Oli Raskin)

Tele-synaesthesia 1 [en] {td} Term coined by the Belgian painter and new media theorist Dr. Hugo Heyrman (b. 1942) to describe that the new media and the Internet enable us to experience different kinds of information which are of a specifically telematic nature and for this reason effectively differ from the usual forms of communication. By linking the concepts 'tele' and 'synaesthesia' to each other, we deal with the fact that the transmission of digital data creates a synaesthetic effect: tele-synaesthesia. {atcl} ~~www.doctorhugo.org/e-tsyn.htm {w} ~~www.doctorhugo.org/synaesthesia/index.htm {rf} Synesthesia and the Arts. Research and theory on the future of the senses. Homepage of the Belgian Synesthesia Association. • * An extremely complete listing of synesthesia sites on the web, including interviews, articles, artwork, and research links. (submitted by Dr. Hugo Heyrman)

telephone art, educational-art project 1 [en] {td} neXtOper@_1.03 interactive/collaborative work through Internet and GSM networks (with cellular phones) with an educational project involving the children of Middle State School carried out by>Sergio Maltagliati with the co-operation of >Alessandra Rossi {w} ~~www.visualmusic.it/nextopera.htm {rf} 'Information Arts' di Stephen Wilson Mit Press BOOK •  ~~userwww.sfsu.edu/%7Einfoarts/links/wilson.artlinks2.html#telecom (submitted by Sergio Maltagliati)

Time Capsule 1 [en] {td} I paraphraze bottled message. CD with recorded message is inserted into diamond cut slot in the glass vessel sealed and despatched from Australian Shores. The first bottle was sent in 2001 and inaugurated then Ocean Gallery. {w} ~~www.users.bigpond.net.au/airx/default.htm (submitted by Zoja Trofimiuk) 2 [en] (submitted by Zoja Trofimiuk) 3 [en] {w} ~~ (submitted by Zoja Trofimiuk)

totart 1 [en] {td} total art - every did of a subject is art (submitted by Cezary Ostrowski)

usic 1 [en] {td} commercial equivalent of music. {w} ~~ (submitted by Cezary Ostrowski)

videodynamic / videodynamism 1 [en] {td} Videodynamism is digital photodynamism. Anton Bragaglia's 1913 manifesto 'Futurist Photodynamism' was one of the earliest expressions of the artistic exploration of the moving image, and was intended to oppose cinematography and chronophotography: "We are not interested in the precise reconstruction of movement, which has already been broken up and analysed. We are involved only in the area of movement which produces sensation... We despise the precise, mechanical, glacial reproduction of reality, and take the utmost care to avoid it. For us this is a harmful and negative element, whereas for cinematography and chronophotography it is the very essence." • The word 'videodynamism' is intended to recall Bragaglia's photodynamism, and his idea of a machine "which will render actions visible, more effectively than is now today possible with actions traced from one point, but at the same time keeping them related to the time in which they were made. They will remain idealised by the distortion and by the destruction imposed by the motion and light which translate themselves into trajectories..." • Just as Bragaglia opposed the visual revolution represented by Marey's chronophotography, videodynamism stands in opposition to contemporary chronophotographies, for example the 'bullet-time' or 'time-slice' method brought to prominence in the film The Matrix. Where the original chronophotography involved placing sequential still photos together to give the illusion of movement, time-slice uses a sequential photography to slow movement and to 'freeze' the visual environment in space and time, with only the audience remaining in motion around the frozen subject. The aim of videodynamism is to capture the motion itself, its form and volume in space across time: "We seek the interior essence of things: pure movement; and we prefer to see everything in motion" (Bragaglia). • Videodynamism can also include the motion of the screen itself as an object of study - this represents the movement of the eye and its visual field, as well as the dynamism of screens (or 'windows') in a digital environment. As described in Umberto Boccioni's 'Plastic Dynamism' (1913), it is interested in "the simultaneous action of the motion characteristic of an object (its absolute motion), mixed with the transformation which the object undergoes in relation to its mobile and immobile environment (its relative motion)". {rf} ~~www.391.org/manifestos/antongiuliobragaglia_futuristphotodynamism.htm •  ~~www.391.org/manifestos/videodynamism •  ~~www.391.org/31 (submitted by artEficial)

Visaural 1 [en] {td} A Visaural is a short digital, audio, visual, new media art work containing moving image content, displayed in a wide screen format with an audio soundscape, supplied through surround sound speakers. This audiovisual media creates an ambient environment integrating colour, rhythm and proportion. Also expressed loosely as a Digital Video Painting {rf} ~~hips.com.au (submitted by John Hipwell)

Visu@lMusiC 1 [en] {td} The images, composed in relation to precise sound/sign/colour correspondences, follow the changes of the music as it is processed by the 'autom@tedVisualMusic'* software. This program can be configured to create random multiple visual-music variations, starting from a simple sonorous/visual cell. It generates a new and original audio-visual composition each time play is clicked. • *autom@tedVisualMusiC_ 3.01 is generative Visual-Music software planned and realized by Sergio Maltagliati. {w} ~~digilander.libero.it/maltaser/ *autom@tedVisualMusiC_ 3.01 is generative Visual-Music software planned and realized by Sergio Maltagliati. °°°°°[neW] SITE map---> Visu@lMusiC autom@ted_VisualMusiC 4.0 (visual-music Variations) netOper@ (audio-visual Collaborative Work) neXtOpera1.03 (Cell. phone Opera) Oper@PiXeL (random Cell. phone event) MIDI_Visu@lMusiC ( I-Mode_site ) (submitted by Sergio Maltagliati)

wart 1 [en] {td} the art of killing people in a manner of media event (submitted by Cezary Ostrowski)

Web Jam 1 [en] {td} The simultaneous layering of music, media, performers, audience, and the surrounding ecosystem into a rhythmic "jungle" that includes the Web and other telecommunications systems. The objective is to celebrate an expanded sense of nature that's inclusive of culture and technology. With roots in African-American jazz and 1990's Rave culture, the Web jam takes an improvisational, "emergent" approach to cultural, political, and ecological systems. The first Web jam, known as Organism, was instigated by Ebon Fisher in the spring of 1993, in collaboration with 120 artists and musicians from Williamsburg, Brooklyn. More than 2,000 people attended and were jamming from six at night until nine the next morning. --Netlingo.com {atw} Web Jam "Zoacode" by Ebon Fisher {artist} Artists from Williamsburg, Brooklyn, in the formative stages of the Williamsburg creative explosion. {w} ~~artnetweb.com ~~nervepool.net {rf} ~~netlingo.com (submitted by Sluker de la Soul)

wikipedia 1 [de] {td} wikipedia ist eine larmoyante wissenskundemarkiergrünfläche, in der halbintellektuelle und fachidioten ihre schlecht verdauten haufen in die ecken setzen, da sie sonst kein forum für die redundanten singularitäten ihres spezialistentums finden. ferner ist die abgrenzingsstrategie zur konventionellen wissensverwaltung eine adaption dieser, ohne dass es die mitglieder des systems bemerken wollen. eine im ihrem ursprung verdrängte, sich endlich zweidimensional vernetzende jouissance. {atcl} ~~www.n0name.de/differance/ {atw} differance visualisierung by objekt a {artist} guido braun, sascha buettner, matze schmidt, matthias weiss {w} ~~www.n0name.de/differance ~~braan.org ~~wiki-institute.com ~~listner.org/cgi-bin/mailman/listinfo/rohrpost {rf} normative bebilderung n0name rohrpost mailingliste wikpedia (submitted by guido braun)