Date: Sat, 21 Nov 1998 21:34:33 +0100 To: syndicate@aec.at From: Andreas Broeckmann Subject: Syndicate: LIFE 2.0 International Competition Date: Sat, 21 Nov 1998 12:02:34 -0500 (EST) From: Petronella Tenhaaf Subject: LIFE 2.0 International Competition LIFE 2.0 International Competition This is a call for submission of art works to an international competition on "art and artificial life." We are looking for works in electronic and digital media that cross over with the field of a-life research. Artists whose work uses digital synthesis techniques and whose conceptual concerns are related to synthetic life and artificial evolution, are invited to submit their pieces. The work may employ techniques such as digital genetics, autonomous robotics, recursive chaotic algorithms, knowbots, computer viruses, avatars or virtual ecosystems. An international jury (Jose Luis Brea, Manuel DeLanda, Joe Faith, Rafael Lozano-Hemmer, Sally Jane Norman and chair Nell Tenhaaf) will grant three cash awards, with a first prize of US $5,000 (2nd Prize:$3,500 - 3rd Prize:$1,500), plus seven honorary mentions to the most innovative electronic art projects related to a-life. Furthermore, works that are awarded a monetary prize or selected for an honorary mention will be included in a "Best of LIFE 2.0" video which will be aired on specialty television programs and circulated at festivals worldwide. Assessment will be based on video documentation submitted along with an application form. The deadline for submission is Friday, January 15, 1999. The Life 2.0 International Competition is sponsored by the Fundacion Arte y Tecnologia in Madrid, Spain. For further submission information and the application form, please see: http://www.telefonica.es/fat/vida.html For questions concerning eligibility of entries: Nell Tenhaaf, Artistic Director mailto://tenhaaf@yorku.ca All other inquiries: Susie Ramsay mailto://fat@telefonica.es

Digital genetics?? Well, hey! I'll just submit myself. That ought to give them a mutated genetic kick!

In the ar$e, that is!

That's it Riette, give them a jolt they'll never forget.

Put it to 'em ree reee.

ha-ha! I just hope it doesn't backfire...

Backfire? What an interesting concept. How could it backfire, Riette?

If someone were to stick a potato up my ar$e, and thus sabbotage me the night before.

O K, Riette, I missed something. Just how would the potato stop you?

Well, I was going to fart in their faces, you see - to show off my genetic make-up, you know. But with a potato in my ar$e, it would come out as a burp.

lol! (btw riette, somewhere you asked me if i had been painting, no and haven't been writing either- sad, i know)

Hi, girl!!! Have you been too busy for it?

Riette, we used to stuff a potato in the exhaust of the school bus when I was a kid. Pressure builds up and shoots the potato like a cannon. I thought you'd want to know.

riette: have been way to busy, even on the days off! whew....

Well, good, Wolfie! Just don't let the birds fart on your canvasses while you're not using them! Tim, we used to do that too! Hilarious! Didn't you just love it???

Yes, Riette, I did love it. I meant it in the context of your effort being sabotaged.

!!!!!!!!! Wash your mouth with soap, young man!

Riette, I was merely suggesting that you could vent the other way also.

Oh! Well, that's alright then!

Riette, what did you think that I meant?

I am not telling! Really, Tim, this time you can do what you like, I'm not telling you!

or anyone else apparently...

For anyone who has ever wanted to have a literal underground exhibition: Wanted: Artistic conceptions for installation in 10 building site containers ( 6 x 2.45 m ) + + + We invite you to participate at an International Media Art Event. http://www.the-virtual-mine.net is the forum and the virtual exhibition space of worldwide incoming artistic conceptions, utopias and ideas. Presentation in august and september 2001 in the former coal mine "Gegenort" in Neunkirchen (Germany) and the World Wide Web. Every single artistic conception will be displayed in the exhibit, but only ten installations will actually be set up in containers at the site. The volume of the sent material should not exceed three A4 pages per artist because this material will be exhibited. The layout and the artistic nature of the sent material are left to the imagination of every participant, but must include a text on the artist's conception. Picture files (photos, sketches, drawings, etc. in jpg or gif at 72 dpi) can be included and sent via database in the website. Personal information (id- photo, biography, etc.) of the artists are welcome! Deadline: 1st of May 2001 http://www.the-virtual-mine.net

Net.artists are invited to submit proposals for an on-line exhibition entitled MATTER & MEMORY to be presented by MobileGaze, a net.art collective. MATTER & MEMORY will look at notions of somatic and psychological modes of being while investigating how "presence" is both re-presented and experienced in cyberspace. This exhibition will touch upon the myriad definitions, representations and affirmations of physical and psychic human presence on the Web. MATTER & MEMORY will be programmed into 4 parts (NODES) entitled: MIND, BODY, HEART and SOUL. The projects will be featured on MobileGaze's Web site and will be accompanied by critical texts and interviews (written and video when possible). Each NODE will be presented at a 2 month interval over the course of 8 months. Net projects considered for this curatorial investigation will include works involving image, audio/sound, video, language, performances and VRML / QTVR as well as other emerging tendencies in Web art such as remote interactivity (like robotic control and POV cameras). Submissions exploring the theme of the exhibition are welcome for on-line and off- site projects. < <http://www.mobilegaze.com/matter_memory

Another Digital gig in Providence: Dear friends and attendees of earlier DACs, The call for papers for next spring's Digital Arts and Culture conference, to be held in Providence, RI (USA) can be found at http://www.stg.brown.edu/conferences/DAC/ NB: The deadline for submissions is Nov.1st. Please distribute this to anyone who might be interested. We hope to see you all in Providence in April! On behalf of the Organizing Committee, Espen Aarseth, Program Chair ... DIGITAL ARTS & CULTURE 2001 (DAC '01) Providence, Rhode Island, USA April 27-29, 2001 An international conference sponsored by The Scholarly Technology Group Brown University Providence, RI, USA Department of Humanistic Informatics Faculty of Arts University of Bergen Bergen, Norway

Today's NYT reminds us about all the wonderful art that was destroyed along with all those human lives. The big Calder stabile, the gorgeous Miro', so much other great art. I wonder whether clever forgers are already working on reproductions of pieces known to have been in various law firm / brokerage firm collections, on the theory that the provenances will be just fuzzy enough to make a few bucks with good fakes.

From the Who Was Jack the Ripper? Patrica Cornwell thinks that the post-impressionist painter Walter Richard Sickert was Jack and she has spent over 4 million bucks in an attempt to prove it, buying over 30 Sickert paintings and having at least one destroyed in pursuit of forensic evidence. Apparently Mr Sickert painted an infamous series of dead prostitutes, which has lead to his name being linked to the Ripper in the past but without the same evidental force (or funds) as the Cornwell enquiry, http://abcnews.go.com/sections/primetime/DailyNews/pt_ripper_011206.html Here's an article from the UK Guardian attacking Cornwell's act of painting destruction (it also includes an image of said painting) http://www.guardian.co.uk/uk_news/story/0,3604,615413,00.html. There's a brief Sickert bio at: http://www.wetcanvas.com/Museum/Artists/s/Walter_Sickert/index.html

FOR IMMEDIATE RELEASE ARTISTS AND SCIENTISTS MEET TO PLAN MESSAGES TO E.T. A group of twenty artists, scientists and scholars from the humanities are gathering in Paris on Monday (March 18) to understand better how we might communicate the human sense of beauty to any intelligent civilizations that could be circling other stars. The Art and Science of Interstellar Message Composition workshop, to be held in the Paris suburb of Boulogne Billancourt, will focus on aesthetic messages that could be transmitted by radio waves or laser pulses. These communication techniques reflect the methods used by current observational programs in the Search for Extraterrestrial Intelligence (SETI), including the world's most comprehensive search, being conducted by the SETI Institute. "While the Search for Extraterrestrial Intelligence is a scientific endeavor with more than 40 years of experience, woefully little thought has gone into what we might say if we either make contact or find ourselves ready to send messages of our own," said chair of the workshop, Dr Douglas Vakoch. "Even less is understood about the interplay between technical methods and the aesthetic nature of the message." Participants have backgrounds in a range of disciplines in the arts, humanities, and sciences. Artists at the workshop provide expertise PRESS RELEASE in drawing, musical composition, new media, painting, sculpture, and space arts. Speakers from the humanities include scholars in history, law, literature, and philosophy. Scientific disciplines represented include astronomy, biology, computer science, engineering, mathematics, physics, and psychology. More information at (http://publish.seti.org/art_science). The workshop is being sponsored by the SETI Institute; Leonardo/l'Observatoire Leonardo des Arts et des Techno-Sciences (OLATS); International Society for the Arts, Sciences and Technology (ISAST); the International Academy of Astronautics (IAA) Permanent SETI Study Group; and the IAA SETI & Society Study Group. END NOTE TO EDITORS: Participation is by invitation only. Interested journalists should contact workshop chair Douglas Vakoch (artscienceinfo@seti.org), cell phone 408-306-4514. Limited space will be available for media to be present on-site, but interviews outside of the workshop can also be arranged. A translator fluent in both French and English will be available for interviews before or after the workshop. Additional information about sponsoring organizations is available at (http://publish.seti.org/art_science/sponsors.php?language=e). Contacts: SETI Institute Douglas Vakoch Cell phone: 408-306-4514 (in USA until March 13; in France March 14-22 at same number) artscienceinfo@seti.org IAA SETI Permanent Study Group Carol Oliver Cell phone: +61 417 477 612 coliver@els.mq.edu.au

MOMA moves to Queens: The move is only temporary; an enlarged museum, designed by the Japanese architect Yoshio Taniguchi, is to reopen at the site at 11 West 53rd Street in 2005, three years after the Modern shuts its doors on May 21. On June 29 the museum will open new exhibition space in a former staple factory in Long Island City, and for the next three years it will try to lure visitors across the East River with new shows and a small sampling of the Modern's best works. http://www.nytimes.com/2002/04/01/arts/design/01MOMA.html

http://news.yahoo.com/news?tmpl=story2&cid=638&ncid=762&e=1&u=/nm/20020913/en_nm/arts_michelangelo_david_dc Michelangelo's David Gets First Wash Since 1873 Fri Sep 13, 8:49 AM ET ROME (Reuters) - Even world-famous sculptures need a wash behind their ears every now and then. And Michelangelo's David is set to have a seven month-long public bath. Restorers at Florence's Galleria dell'Accademia will begin wiping away 129 years of dirt and grime from the Renaissance marble statue on Monday. It is the first time the five-meter nude has been cleaned since it was moved into the gallery in 1873 to protect it from weather and pollution. The clean-up is expected to cost about 150,000 euros and visitors to the gallery will be able to watch the work. David, carved from a single block of marble from 1501 to 1504, depicts the biblical hero who killed Goliath. It established Michelangelo as the foremost sculptor of his time at the age of 29.

Met's 'Adam' Shatters as Pedestal Collapses By CELESTINE BOHLEN A 15th-century marble statue of Adam by the Venetian sculptor Tullio Lombardo crashed to the ground in the Velez Blanco Patio at the Metropolitan Museum of Art sometime Sunday evening, scattering its arms, legs and an ornamental tree trunk into dozens of pieces. http://www.nytimes.com/2002/10/09/arts/design/09MET.html Get out the crazy glue.

From the great artnews.com Mexican Masters Boost Latin American Auctions NEW YORK�Auction houses drew on the breadth of interest in Mexico's most famous 20th�century painters to produce relatively strong Latin American sales at Sotheby's and Christie's from Nov. 19�21. Christie's total sales rose slightly, to $6.3 million from just under $6 million last fall. Meanwhile Sotheby's pulled in a little more than $8 million, an improvement over last fall's $6.3 million and a level more consistent with the house's recent results in the Latin American arena. The Sotheby's evening sale, featuring 12 Mexican works from the estate of collector Stanley Marcus, chairman emeritus of department store Neiman Marcus, did particularly well, with a 74 percent sell�through rate and total receipts of just over $6 million. The next morning's sale at Sotheby's realized about $1.97 million, with 69 percent of 97 lots sold. Christie's combined evening and day sales brought in about $6.3 million, with 96, or 61 percent, of 157 lots sold. Although Mexican artists featured prominently in the sales, the highest price of the week was for a work by Chilean painter Claudio Bravo, whose 59�by�783/4�inch oil Paquete Marfil (Ivory Package) , 1967, fetched $1.4 million, above its high estimate of $1.1 million and an auction record for the artist. "It was an extraordinarily good piece," said Marlborough Gallery director Michael Gitlitz. He noted that the gallery, which represents Bravo, had sold the same work (in partnership with dealer Nohra Haime) about ten years ago "for much less," though he declined to specify the exact price. Said Haime: "Bravo's packages have always been what people want the most." Calling the record price at Sotheby's "truly extraordinary," she added, "We might see some more in the next few auctions, but most of them are happily settled. People who have them are very happy to keep them." Mexican artists made up eight of the top ten lots at Sotheby's and four of the top lots at Christie's, which also sold a 19th�century Mexican landscape, Valle de M�xico, by North American Conrad Wise Chapman as the tenth�highest lot. At Sotheby's the high�priced Mexican paintings included Alfredo Ramos Mart�nez's study of two peasant women, Casamiento Indio, circa 1934, which more than doubled its high estimate of $175,000 and set an auction record when a New York dealer bought it for $405,500. Eleven of the 12 works from the Marcus estate sold at Sotheby's evening auction. These included two cubist oils by Diego Rivera: Naturaleza Muerta, bought by a Mexican collector for $405,000, below the low estimate of $450,000; and a portrait, Retrato de Hombre, which fell to a New York dealer for $350,500, just at the low estimate. Two of Marcus's Rufino Tamayos also figured in the top ten, as did a third Tamayo from an un�named collection. Antonio Ruiz's Surrealist 1930s oil El L�der/Orador (also from the Marcus estate) set an auction record at $317,500, just above the high estimate of $300,000. At Christie's the top lot was Tamayo's 1942 Bailarinas, which sold near its low estimate for $889,500. Ana Sokoloff, head of Christie's Latin American Art department, suggested that the price showed a "strength in the market there." Six of the top ten lots were sold to non�Latin American buyers, she said, adding that if buyers from the economically faltering nations of Argentina and Brazil had been "participating actively, the results would have been much stronger." Sokoloff speculated that Uruguayan Joaquin Torres�Garcia's 1931 tempera on canvas Constructif avec ritmes dent�les, which went for $361,500 against an estimate of $200/250,000, "could have gone to the record" with more participation from Latin America. Gitlitz said that in general, results of the Latin American sales were "a breath of fresh air," adding that "Latin America is so large and its collectors are now found all over the US and Europe. It is as impervious to local economic factors as any other segment of the art market." Among other highlights at Christie's: two paintings by Fernando Botero that went among the top ten lots for more than $200,000. "Botero sculptures usually do well," said Sokoloff. "That the paintings also did well shows visible strength." Three works by Claudio Bravo fared less well at Christie's evening sale than the Bravo that did so well at Sotheby's�two sold for well below their estimate; a third was bought in at $55,000. A Rivera, in which Christie's announced it had a financial interest, brought $295,500, the third� highest price in the auction but below its estimate of $400/600,000. "Mexico has always been a point of continuity, but the whole market looked really good," said Kirsten Hammer, Sotheby's head of Latin American sales. "Contemporary and modern did very well, and colonial did even better," she said, pinpointing the 18th�century Virgin of Guadalupe, ascribed to Juan Rodriguez Juarez, which sold for $119,500 against estimates of $60/80,000. "Works came in from all over the world and went out all over the world." �Andy McCord �2003 ARTnews L.L.C. Lord Thomson Donates Huge Gift to Art Gallery of Ontario LONDON�In one of the biggest museum transactions in memory, Lord Thomson of Fleet, the Canadian newspaper publisher and former owner of The Times of London, has promised nearly 2,000 items from his multimillion dollar collection of European and Canadian paintings, sculptures, and works of art to the Art Gallery of Ontario, Toronto. Thomson has also promised C$50 million ($32 million) in capital funding to the museum's C$178 million ($114 million) expansion plan. The project includes a new wing, to be designed by architect Frank Gehry, in which Thomson's art collection will be housed. The museum estimates the art alone is worth more than C$320 million ($206 million). ARTnewsletter details Thomson's gift and the museum's expansion plans.

Houston, Dec 3, 2003 I went to the "Heroic Century" at the MFAH (Metropolitan Fine Arts Museum of Houston) yesterday. It was only a couple hour drive and I got nice directions from the lady at the restaurant where we ate. Coming in to Houston from Bastrop, we stopped at Le Peep and had a very nice breakfast and that lady wrote down directions that steered us away from the way we would have gone (in to horrendous traffic) and landed us right at the museum doorstep. I've never seen so much great modern art in one place at one time. They had a real nifty little mp3 player you wore that gave you the run down on the various paintings and even gave them musical accompaniment. Picasso, Dali (so *tiny* were his paintings), Van Gogh, Hopper, Miro, Mondrian, Chagall, and on and on. After a while I almost got jaded at such a plethora of riches all in one place, oh, ho hum, another Cezanne ... We ate at the Greek Restaurant near the museum on the way home. It was a great way to celebrate my birthday and our friend Jans birthday. What a great outing to Houston.

Published Wednesday, February 2, 2005 SANFORD Man With Junk in Yard Going to Jail The Associated Press A man who defied Seminole County officials for more than 13 years by refusing to remove airplane parts and other junk from his yard was sentenced to three years in prison. Alan Wayne Davis, 49, had been placed on house arrest in September after serving nearly a year in prison for illegal dumping and creating and maintaining a public nuisance. On Monday, a judge sentenced Davis to three years in prison for violations of his house arrest. Well, sorta kinda art news. Sanford without the son. Pick a good cause. "I'm going to jail because I won't clean up my yard.