Digital #MediaArt(s) Numérique(s)

CYLAND Media Art Lab is an art project in the field of new technologies, established in St. Petersburg in 2007, and the only persistent lab of contemporary art in Russia.

CYLAND was created by and for the artists. Its founders and leaders are the artists and curators Anna Frants and Marina Koldobskaya, who have gathered a community around artists, programmers, engineers, activists from media art.

CYLAND is also educational organization. It helps artists to get oriented in the world of  technologies, and it provides support in the form of computer programming, engineering, equipment and information. CYLAND produces new works and organizes exhibitions, workshops, seminars, participates in international festivals and competitions, networking and educational projects.

CYLAND is an open source project, which always welcomes artistic, technological, informational or organizational initiatives. One of its missions is to create an international network of active working media artists. The range of its participants, friends and partners constantly expanding, as CYLAND collaborates with museums, galleries, universities, research institutions, other media laboratories.

CYLAND has Russia's only video archive, available online and in the future plans of the project is the creation of the same archive for sound art.

The first Summer Camp was held in 2011 in Borås Sweden, with 20 experts. This year, the second edition of the eTextiles Summer Camp is planned from 17th to 21st of July in Poncé sur le Loir, France, hosted by Paillard Centre d’Art Contemporain & Résidence d’Artistes.

The E-textile Summer Camp’s 2013 theme will be Soft + Slow Electronics. Many of us as engineers, designers and artists are working with soft materials such as textiles and paper, exploring the potential of soft, malleable and flexible electronics. Our practices often involve techniques that require intensive hand work, often resulting in long production processes. Some of the techniques we employ are almost archaic, but because we see value in making our own materials in our own ways, old-fashioned and slow techniques often come into play. We propose to see these practices as "slow", rather than "time consuming".

In today’s society "slowness" has gained positive connotation and acknowledgement through movements like Slow Food, Slow Cities and Slow Design Principles. These movements not only embrace the amounts of physical time consumed in a process, but also the social and cultural impacts resulting from slow processes.

For this fifth edition of Sight & Sound, we are inviting the public to join us on an unparalleled experience. For the first time ever, in the aims of highlighting the Eastern Bloc’s and Sight & Sound’s five years of existence, we have expanded the festival programming to span nearly a month. We see this important change in the structure and content of the festival as a necessary step in our ongoing mission to present innovative, experimental, experience-based and provocative work. More so than ever, we have assembled a program this year of exceptional artists whose work will challenge our expectations of festival programming. The thirty invited artists and theorists are representative of a new generation of practitioners in digital art. This fifth edition of Sight & Sound promises to deliver our most exciting and extensive program of work – by local and international artists – that is not only stunning and engaging on an aesthetic level, but also critical of contemporary digital culture and decisive of our technological future.

Under the heading “Black Market,” this edition of Sight & Sound seeks to explore the rhizomatic and permeating structures of society’s concealed systems. We ask ourselves how we can demystify the black market and its perceived impenetrability. Whether we can actually succeed in unpacking the mechanisms embedded within global – and localized – clandestine networks. In today’s connected world, does the black market retain its (seemingly) dark aura? These and other questions compel us to reveal a grander mythology at play – one in which the illicit, enigmatic aspects of the black market are peeled away, suggesting parallel economic and technological systems, which we are made to believe function in overt ways. These systems govern the global markets; they determine what information appears in our search results; they manufacture the “like” commodity; they sustain a cashless economy. These are systems that are anchored in contemporary sociopolitical discourse.

Lancé en mars 2012, le SAT Fest est un festival de courts-métrages 360° visant à promouvoir la création de contenus artistiques dans le domaine de l'immersion audiovisuelle. Offrant une importante place aux créations locales et produites par des artistes issus des formations de la SAT, nous ouvrons aussi désormais l'édition 2013 aux créations venant de l'international.

La sélection de films 2013 sera d’une durée totale d’environ 45 à 75 minutes et sera dévoilée dès le mois d'août dans la Satosphère. Une bourse de 1000$ sera offerte à chacune des équipes dont l'oeuvre aura été sélectionnée en plus d'un "Prix du public" qui sera décerné lors de la première semaine de projection!

Date limite de dépôt : Le mercredi 15 mai à 17h (UTC−05:00)
Durée idéale des films : 4 à 6 min

L’édition 2013 des "e-virtuoses" met un coup de projecteur sur le Serious gaming pour en étudier les points forts, les points faibles et répondre aux demandes des institutions et PME.

Il s’agira en particulier d’estimer en quoi cette tendance impacte le marché actuel du Serious game au niveau des coûts de réalisation pour les commanditaires et des business models pour les studios.

The "e-virtuoses 2013" Edition puts "Serious gaming" in the spotlight with a view to study its strong and weak points, and to address the demand from institutions and SMEs.

It will in particular assess how this trend affects the current market of the Serious game regarding costs products for sponsors and business models for the studios.

There is another invisible world in which we live each and every day. It is made up of electronic equipment, programs, networks, media and information. A city that grows like a crystal, each individual element within it automatically coming together and infinitely expanding and spreading according to a internally set rhythm and logic. It is transparent, light, invisible and lacking in volume, but yet still projecting a world of unparalleled reality. A place considered to be our spiritual home.

Chi Tsung Wu (b. 1981 in Taipei, Taiwan) — his work, in which he devotes great attention to the methods used in producing and interpreting images, spans across different media, including photography, video, and installation art.

Mission : To create, promote and push positive forward-thinking contemporary digital art to a wider audience worldwide through a biennial online event that gathers the best of the best, while embraces the young talents of today’s digital art scene.

30 online pavilions leaded by 30 curators/artists/organisations. More than 300 artists to be featured online during 2 months at http://thewrong.org/ starting on November 1st, 2013.

Informations about how to submit your work is available at https://www.facebook.com/events/506878202704880/
For additional info on how to participate, please write to submit.thewrong2013@gmail.com

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Artists/Curators confirmed to be leading The Wrong pavilions: Yoshi Sodeoka, Anthony Antonellis, Rollin Leonard, Lorna Mills, Curt Cloninger, Emilio Gomariz, Filippo Minelli, Rosa Menkman, Andy Simionato, Eric Mast, Alexander Peverett, Chiara Passa, Max Hattler, A.Bill Miller, Peter Rahul, Manuel Fernández, Julia Araña & Guilherme Brandão, Petra Cortright, Miyö Van Stenis, Andrew Benson, Emilie Gervais, Rick Silva, Michaël Borras, Sara Ludy, Joe Hamilton, Ellectra Radikal, Jodi, Giselle Zatonyl, Michael Staniak, Sophie Yerly, Jan Freuchen.

The New Media Art and Video Festival TRANSITIO_MX is one of the most important stages for expression and analysis of contemporary artistic practices by technology and digital culture. The event's main objective is to support, recognize and disseminate current research and production around artistic media technology, through an exposition, a contest, a symposium and workshops, the first edition was held in 2005, since then every festival has had a specific theme, in 2013 the festival will address the issue of Biomediaciones.

The On Line Festival for Digital Arts reaches its 9th edition under the paradigm shift and renewal. Centered on the Space for Arts, Media & Performance, aims to celebrate the 50 years of video art by intervention projects in unconventional spaces and experimenting with new languages ??and forms of presentation of digital arts. In these 50 years, video art has evolved into supporting bracket, from television monitors to the projections on large building facades, through several different surfaces and supports, in which mixture of different arts elements make video a kind of chameleon that is transformed according to the location and the surface on which it stands.

Video art is undoubtedly the great art of this century, on this new era that begins full of transformeed potential, challenging new ways for society. The multiplicity of forms which video art contains demonstrates the versatility of this artistic medium , adapting to the location and time in there particular way of being: the same piece seems to change when it is presented in different places and in different contexts.
The same paradigm lives digital art, including Web art that, while captive by the screen of a computer,it is transformed into new forms.
It is this versatility that FONLAD Festival aims to present through a number of initiatives in several unconventional spaces, ranging from the common room to the monumental space of a museum, the public space to a private garden.

To test new ways of presentation of video art, photography and digital art in he's new headquarters space, trying to bring the "street" these new forms of art.

In 2013 we will continue to invest in training and performing artist residencies, exhibitions and international video interventions in unconventional spaces, supported by partnerships with some of the most important international festivals in Europe.

Deadline Online - 25 May 2013

Le 3x3 SMIL, est la continuation naturelle d’une série de festivals organisés en Argentine entre 2000 et 2007 : notamment les éditions du Festival Internacional  de Arte Digital qui ont eu pour objectif de créer un espace d’interaction entre les néophytes, les artistes et les professionnels de l’art numérique, du design,de la vidéo, de la photographie, de la musique et de toute autre manifestation orientée vers la pratique expérimentale (performances, installations, etc) ayant un lien avec l'audiovisuel, telle que la production multimédia, Vj, Dj, ou création audiovisuelle de tout ordre. Chaque artiste ayant participé était à la recherche de nouvelles formes d’expression. Le Festival Internacional de Arte Digital a été le premier festival de cet ordre en Argentine, et le premier espace  réel de diffusion d'œuvres d’artistes argentins indépendants travaillant avec la numérisation du son et de l’image à travers différents supports. ...