Die Redaktion des MARS (Media Arts and Reserach Studies) Exploratory Media Lab am FhG-Institut Medienkommunikation

sucht ab sofort

Kunst- oder Medienwissenschaflter für freie Mitarbeit

Aufgaben:
Einpflege von Datenbankeinträgen, Recherche und Schreiben kurzer Texte, Eingabe multimedialer Informationen in das System von netzspannung.org, Unterstützung in der Presse- und Öffentlichkeitsarbeit

Voraussetzungen:
Interesse für Medienkunst und Medientheorie, Erfahrungen mit Datenbanken, Sorgfalt und Erfahrungen bei redaktionellen Aufgaben, gute englisch Kenntnisse

Weitere Informationen zu netzspannung.org, die Internetplattform für digitale Kunst und Kultur: http://netzspannung.org

Kurzbewerbung mit Lebenslauf bitte an:
redaktion@netzspannung.org
Gabriele Blome
T: +49-(0)2241-14-3447
F: +49-(0)2241-14-2133

Unser Standort ist in Sankt Augustin, Schloss Birlinghoven. Wir suchen für mindestens 2 Tage die Woche Unterstützung.

Brooklyn, New York / USA

June 7 - 11 / June 14-18, 2004

link

First Week - Software / Sensors / Technology - June 7-11 2004, 10am - 4pm
Second Week - Aesthetics and Creative Expression - June 14-18 2003, 10am - 4pm

Application Deadline: March 15th, 2004
Notification of Acceptance: March 22nd, 2004
Payment Due: April 5th, 2004

New York City based dance theater company Troika Ranch will present its Live- Interactive (Live-I) Workshop, an intensive seminar for artists and advanced students who want to explore the use of interactive computer technology in the creation and performance of dance, theater, installation, and related live artworks. The workshop will take place from June 7-18, 2004 at Williamsburg Arts Nexus (WAX) in Williamsburg, Brooklyn, one subway stop from Manhattan. Application deadline for the workshop is March 15t h, 2004.

Led by composer/media artist Mark Coniglio and choreographer Dawn Stoppiello, Artistic Co-Directors of Troika Ranch (http://www.troikaranch.org), the Live-I Workshop allows students to explore strategies and techniques for combining interactive digital media and live performance. Participants will learn to use software and hardware that links their gestures and vocalizations to interactively controlled video, sound, light and other digital media, leading to the creation of a short study over the course of the workshop. This hands on aspect will be complimented by an introduction to the aesthetic and compositional concerns that arise when using interactive digital tools, including critical discussions about how the technology itself shapes the form and content of an artwork.

Students will learn Isadora® (http://www.troikatronix.com/isadora.html) as the primary software tool for authoring, though they are welcome to bring other software (MAX, NATO, etc.) if they are comfortable in those environments and can bring their own copy. (Please let us know if you plan to do this.) In all cases, participants will learn what is necessary to create their studies during the workshop: basic programming skills, video and audio capture, and how to manipulate the media with software.

We will be selecting ten participants for each workshop. The application deadline is March 15th. You will be notified of your acceptance no later than one week after the deadline.

To apply, please send or email Troika Ranch (see contact information below) one paragraph explaining why you are interested in attending the workshop and one paragraph describing the kind of work that you make. You should also briefly tell us about your level of expertise with computers. Please include your name, address, telephone number and email address.

Participants may choose to attend only the first week. Those who have attended a past Live-I Workshop may attend only the second. If you plan to attend the first or second week only, the cost is US$400. If you plan to attend both, the cost is US$800.

NOTE: It is recommended that you bring your own laptop computer (Mac or PC) if possible. We have a limited number of computers for use by the workshop participants. If you cannot bring your own computer, you may be required to share a computer with one other participant. In addition, if you can bring a digital video camera, you will find it useful. If you are able to bring your own computer, please let us know the type, speed, and whether or not it has a FireWire (aka iLink) port.

For further details, please visit:
link

Or, if you have questions, please email us at:
linkmailto:workshop@troikaranch.org

Dubbed "interactive performance pioneers" by the New York Times and "multimedia mavericks" by the Village Voice, composer Mark Coniglio and choreographer Dawn Stoppiello founded Troika Ranch in 1994 to create works that fuse traditional elements of dance, music and theater with interactive computer technology and media.Their recent evening length work "Future of Memory" was awarded the Time Out New York Dance Audience Award at the 2003 Downtown Dance and Performance ("Bessie") Awards in New York City.

Troika Ranch has performed throughout the United States and Europe, at venues including Monaco Dance Forum, Monte Carlo, Monaco, The Duke on 42nd Street, The Kitchen and Joyce Soho, all in New York City; the Walker Art Center, Minneapolis, Minnesota, and the Art and Culture Center of Hollywood Florida, among others.

They have taught the Live-I Workshop at numerous institutions in the United States and abroad. European hosts have included Contredanse (Brussels, Belgium), FACT (Liverpool, England), and Dartington College (Devon, England). In North America, the workshop has been taught at Brown University, Oberlin College, University of Maryland, the Santa Fe Art Institute, and InterAccess in Toronto.

Coniglio and Stoppiello both received their degrees from California Institute of the Arts, where Coniglio was a student of electronic music pioneer Morton Subotnick. After graduating, Stoppiello danced professionally for the Bella Lewitzky Dance Company. Coniglio has taught Interactive Music Composition at CalArts and New York University and Stoppiello has taught on the dance faculties of Loyola Marymount University, Idyllwild School of Music and the Arts, and Universtiy of Maryland, Baltimore County.

Mark Coniglio and Dawn Stoppiello
Troika Ranch
321 Graham Ave. #4R
Brooklyn, NY 11211
voice: +1.718.218.6775
fax: +1.718.218.8135
email: mailto:workshop@troikaranch.org
web: http://www.troikaranch.org

link

ACM Multimedia 2004 is the premier annual multimedia conference, covering all aspects of multimedia computing. This year's new ACM MM Interactive Art Program will bring together the arts and multimedia communities to create the stage to explore, discuss, and push the limits for the advancement of both multimedia technology through the arts, and the arts through multimedia technology.

The Interactive Art Program will consist of two technical tracks and an exhibition. We invite RESEARCHERS in technical areas and ARTISTS working with digital media to submit their original contributions to the following tracks:

*** (1) TOOLS FOR CREATING MULTIMEDIA ART: performance, immersive, narrative, multi-modal, networked art, etc. The emphasis is on novel technical tools developed specifically for the creation of multimedia art in any form. We particularly encourage submission of tools in new and emerging areas.

*** (2) TOOLS DEVELOPED BY ARTISTS IN THE CREATION OF MULTIMEDIA ARTWORKS: will describe the process and technical details of the creation of artistic works that have required either the development of new multimedia tools, or novel uses of currently available multimedia tools. Artists that develop their own tools are strongly encouraged to submit their work to this track.

***(3) MULTIMEDIA ART EXHIBITION: "Digital Boundaries: Multiculturalism, Identity, and Awareness". We seek art works that, using multimedia, explore issues of cultural identity, cultural awareness, and the boundaries created or enforced through the use of multimedia technology. The emphasis for the exhibition is on interactive art works that realize powerful artistic concepts using multimedia content and technologies (exhibition statement at the end of this message).

Awards will be given to submissions in all three tracks, placing particular emphasis on the most innovative use of multimedia technology.

The conference and exhibition will be held at Columbia University in New York City.

IMPORTANT DATES

April 5, 2004 Full papers deadline.
May 3, 2004 Exhibition submission deadline.
June 1, 2004 Short papers submission deadline.
July 1, 2004 Notification of acceptance for full papers.
July 20, 2004 Camera-ready papers due

REGISTRATION

Authors whose works are accepted in the tools tracks must register and attend the conference. Artists whose work is selected for the exhibition are highly encouraged, but not required to register and attend the conference. Artists, however, are fully responsible for installation and delivery of artworks. Anyone who attends the conference must register. The exhibition, however, will be open to the public (no registration needed). Please see website for details. The submission system will be available online after March 1, 2004.

ACM MM Interactive Art Program Chairs

Alejandro Jaimes
Fuji Xerox, Nakai Research Center
alex.jaimes@fujixerox.co.jp

Pamela Jennings
Carnegie Mellon University
pamelaj@cs.cmu.edu

Curatorial Committee

Mark Tribe, Director of Art and Technology, School of the Arts, Columbia University
Christina Yang, Curator of Visual Art and New Media, The Kitchen
Pamela Jennings, School of Art and the HCI Institute, CMU
Alejandro Jaimes, Multimedia Analysis and Interaction, Fuji Xerox

Technical Program Committee
Please see website.

DIGITAL BOUNDARIES: MULTICULTURALISM, IDENTITY, AND AWARENESS

- ACM MM 2004 INTERACTIVE ART PROGRAM EXHIBITION STATEMENT -

At no time in history has technology had the prospect of making a stronger cross-border impact on culture. Technology can be used to create or reinforce boundaries (being fingerprinted and photographed at an airport--a multimedia experience), as well as to dissolve them (we are bombarded by images and sounds from all over the world). Many of us are being empowered with the ability to easily create digital content, document and share our own experiences and those of others, challenging the roles of art (passive vs. interactive) and revolutionizing the way we see and hear the world. At the same time, only a small percentage of people have access to technology (boundaries of the haves and the have-nots).

Multimedia content and technology are of special consideration because they appeal directly to our senses, elevating the age-old dilemma of the distinction between reality and representations of reality. Does this new proliferation and imbalance of multimedia technology help reinforce boundaries and cultural differences? Does it contribute to define cultural identity in a new age in which everyone talks about multiculturalism? Does it raise cultural awareness or simply numb our senses making us take deep cultural differences for granted because what we "see" or "hear" is commonplace in this "new" multicultural world? Does it create new boundaries in art or help unify multiple art forms? How can art, in its many roles, make use of the same technology that raises these issues to address them?

We seek multimedia artworks that challenge the participants to consider these questions through the innovative use of new multimedia technologies and the combination of multiple media (photography, video, sound, etc.). All formats are welcome (narrative, performance, interaction, immersion, etc.).

Exhibition

Was die Szene bewegt
das junge Fashionlabel Laguerrefeld; das Kultur- und Designmagazin "M"; Liquid Nights; Macintosh-Quartett; interaktive Installation von ART+COM für das Deutsche Technik Museum Berlin; www.theaterblut.ch und jede Menge mehr

link

Bâle, capitale de l'innovation!
- Le Courrier

VIPER endgültig erwachsen - nach Jahren der Identitätsfindung hat das Festival sein Profil gefunden. Basel ist nicht nur FCB und Champions League. Auch in der Medienkunst spielt die Stadt am Rhein in der obersten Liga mit.
- Berner Zeitung

fotos

Die VIPER Basel | Competition 2004 ist als internationaler Wettbewerb ausgeschrieben. Die eingereichten Arbeiten und Projekte werden durch eine internationale Jury in den Kategorien [imagination|processing|transposition] nominiert und im Rahmen des Festivals prämiert. Die Registrierung zur Teilnahme am internationalen Wettbewerb 2004 hat begonnen.

Deadline: 15. April 2004

http://www.viper.ch/

Excerpts: Computer simulations that paint Europe's cities in riotous color are at the core of a bold plan to restore peace and quiet to a population driven to distraction by traffic noise.

I'm swooping down the boulevards of Paris in a virtual simulation of the city of light, where sound levels are depicted as color. The deep blue roar of traffic washes along the streets, blazing crimson against the base of adjacent buildings, (...) I'm exploring one of the world's first three-dimensional (3D) computer maps of urban decibels —(...).

nature

OUT VIDEO NET «IgRek CINEMA»

CALL FOR PARTICIPATION

International video art festival in public spaces
Ekaterinburg, Russia
May 5 - June 5, 2004

NATIONAL CENTER FOR CONTEMPORARY ART
Ekaterinburg branch
OUT VIDEO NET «IgRek CINEMA»

Invite artists, working with video, animation and new media to participate in the festival

The idea of the festival is to integrate contemporary video art into the public spaces of Ekaterinburg city (the third biggest industrial city of Russia, biggest city of Ural region). The festival public screenings will happen on outdoor video screens network of "IgRek Cinema" company, 10 city screens located in the most busy spots. Selected video art works will be shown during one month each day in the pauses between commercial blocks, altogether aroubd 240 screenings per day. There are only two formal requirements to video works: LENGTH - 30 SECONDS, NO SOUND.

The festival will end with the two nights video screenings of the entire festival program on all 10 city screens. The closing ceremony will include presentation of the best works in a cinema theater and winners awarding.

Awards:

Jury prize
Viewers prize
Festival’s general sponsor prize

Authors, whose works will be selected for public screenings will receive 50$ emolument. After the end of the festival all participants will receive the festival's CD catalogue by mail.

Conditions
The amount of the applications from one participant is not circumscribed. Only one work from each author will be selected for screenings.

All necessary information and application forms you can find on the web-site
of the project www.uralncca.ru/outvideo
or request by e-mail outvideo@uralncca.ru
or by telephone/fax +7 (3432) 72 79 64
National Centre for Contemporary Art, Yekaterinburg branch
Contact: Arseny Sergeev

Technical details
Attention! Lenght of videos should be no more than 30 seconds (without titles, titles will have standard design for all works).

Please send your works to:
620062 Ekaterinburg, Lenina av., 60 A, office 540
or e-mail: outvideo@uralncca.ru

We accept works on digital carriers CD-R, DVD, ZIP, HDD; & magnetic
carriers: VHS, miniDV (only in PAL);

Technical guidelines for works on digital carriers:
Format – *.avi (video for WINDOWS) or *.qtm (QuickTime Interchangable),
*.swf, *.svg (Macromedia Flash)
Image resolution in pixels (by horizontal & by vertical) – 320×240
Frames rate – 25 fps
No sound
Colour palette PAL (preferable) or NTSC
If you send work by e-mail please use codec DivX 4.12* (In tunings of CODEC please chose mark /1-pass quality-based/, quality slider fix on 98%. All other codecs should be attached to main file of your video work.

For participating in project.
Send confirmation of your participation to e-mail outvideo@uralncca.ru or by fax +7 (3432) 72 79 64, in confirmation please print your name, e-mail, telephone or fax (we can send application form by fax, if necessary) and supposed quantity of video works. Fill in the entry form for each video work separately. Each file should be named by your surname and number of work, e.q. smitson1.RTF, smitson 2.RTF smitson 3.RTF etc. Also you can receive our application form by fax +7 (3432) 72 79 64

Deadline for works sent by e-mail April 20, 2004
Deadline for works sent by post April 5, 2004 (postmarked)

ENTRY FORM
(for more detailes and the formated document please contact organisers:
outvideo@uralncca.ru)

Please, fill by tiped letters

AUTHOR (First name, Last name)

Title of work
Carrier E-MAIL, VHS, mini DV, DV, CD, DVD, HDD (to underline)
System PAL, NTSC (to underline)
File name
Synopsis (no more than 3 sentences)

Comments (you can attach no more than 1 page)

Authorization

I am (First name, Last name):

AUTHOR OF WORK (TITLE OF WORK):

ADDRESS:
TELEFON: FAX:

E-MAIL:
WWW:

I KNOW THAT:

1. My video work will be hold in collection of Yekaterinburg branch of the National Centre for Contemporary Art;

2. Catalogue with photo- and video documentation of my work will distribute around universities and colleges in Russia and abroad, around libraries, museums and galleries with the goal to popularize contemporary art;

3. Yekaterinburg branch of the National Centre for Contemporary Art can use photo- and video documentation of my work with non-commercial aims for art projects, TV-programs, video shows and publications (only after co-ordination with me) & for advertisment OUT VIDEO project

I PERMIT:

1. Include my work to the information documents and catalogue of International video-art festival in public spaces "Out Video";

2. include my work and further materials to the archive of Yekaterinburg branch of the National Centre for Contemporary Art and web-site of the project "A_REAL 001";

3. Use my video work, stills from it of and description with non-commercial aims in publications about festival without especial co-ordination with me;

4. Use my materials for festival after finishing of the project in non-commercial aims for new art projects, organized by Yekaterinburg branch of the National Centre for Contemporary Art (only after co-ordination with me).

WITHOUT ANY PAYING OR COMPENSATION

DATE SIGNATURE

CV (BIOGRAPHY AND MAIN EXHIBITIONS)

Surname, first name, middle name
Date and place of birth
Education (beginning from the last educational institution: date of
finishing, what institution, city)

Main group exhibitions (beginning from the last: year, name, place, city.
You can add a brief description (about 1 page, up to you)

Personal exhibitions (beginning from the last one: year, name, place, city.
You can add a brief description (about 1 page, up to you)

6E BIENNALE - CHAMP LIBRE
MONTRÉAL (QUÉBEC) CANADA
DERNIER RAPPEL / LAST CALL
APPEL DE PROJET
CALL FOR SUBMISSION

Art-vidéo Video Art
Installations in situ
Art interactif Interactive Art
Diaporamas Slide-shows
Performances, concerts, interventions
Conférences Lectures
Architecture - Urbanisme
Art Éléctronique Electronic Art
Date limite 1er Mars 2004
Deadline March 1st, 2004

Renseignements / Info :
www.champlibre.com/desert
champ@champlibre.com

THE BALKAN MALL

Curated by: "Personal Cinema", Nina Vagic
Coordinated by: Ilias Marmaras and Nina Vagic.

10 February - 14 March 2004

Media Lab Madrid
Centro Cultural Conde Dunque
c/ Conde Dunque 9 -11
28015 Madrid
Spain
T: +34 91 8121123 / 8120939

The project was proposed at Media Lab by: Katerina Gregos, Sania Papa, and Denys Zacharopoulos

Personal Cinema announces, The Making of Balkan Wars: The Game and The Balkan Mall opening on the February 10th 2004 at 1 p.m. at the Media Lab Madrid.

"The Making of Balkan Wars: The Game" is a Personal Cinema project primarily focused on the social and cultural issues within the Peninsula and on the creation of networks between artists, art critics, writers and curators from Southeastern Europe. It proposes some new media works created by 51 participating artists investigating the Balkan territory and way of life.

Both geopolitical war games and epic strategy video games are interrelated in this multi-media project. While virtual battle scenes are celebrated for their extreme realism, contemporary warfare has begun to resemble science fiction. The reality (or virtual reality) presented by official narratives and industrial entertainment does not adequately describe the experiences of the people who are caught in the actual war games. In the real-time of CNN, and in video games, the simplification of cultures and history is itself a form of violence.
The Making of Balkan Wars: The Game is intended to counteract the sensational spectacle of war presented by the media by deconstructing stereotypes, focusing on the distortion of identities, and revising the dominant logic of explanation.


"The Balkan Mall" video game, the central node of the project, created by the Personal Cinema team, is the elevation of social, historical and cultural elements of the Balkans into the form of an imaginary Balkan shopping mall. It is a poetic metaphor, which has many moments of ironic stance towards the prevailing multicultural concepts, historic disputes and contemporary political developments in the area. The players and spectators have the opportunity to learn how to behave and act in a simulated Balkan reality, and are informed about their level of Balkanization/De-Balkanization through an indicator within the interface of the game. The game contains about 20 different spaces, and some 30 videos from artists participating in the wider project; "The Making of Balkan Wars: The Game".

Following the "Myth of Interactivity" of new media, in contrast to old media where the order of presentation is fixed, the users can now interact with and within a media. They can choose which elements to display or which paths to follow, creating each time a new pathway and generating each time a unique work. In addition to the virtual space, there is a real space, a three-wall projection of a virtual room in which both real and computer users can select and project videos from the participating artists. In this way the users become the co-authors and co-curators of the work. This leads to changing the view and standards of the art system of curatorial presentation, putting all of us (artists, critics, curators and spectators) in an uncertain position of proposing a new art behavior.

Personal Cinema: Maya Bontzou, Andy Deck, Dimitris Dokatzis, Stelios Giannoulakis, Vassilis Kokkas, Nikolas Kozakis, Ilias Marmaras, Panos Papadopoulos, Yannis Scoulidas, Alexandros Spyropoulos, Stewart Ziff

Participating Artists: Robert Alias Dragot, Genti Shkurti (Albania); Beatrijs Albers, Francis Schmetz, Jacques Lizene, Marie Andre, Eugene Savitzkaya, Reggy Timmermans, Koen Wastijn-Deschuymer, Ria Pacquee (Belgium); Albena Mihaylova, Krassimir Terziev (Bulgaria); Irena Paskali, Natasha Dimitrievska, Christina Ivanoska-Yane Calovski (FYROM / Macedonia); Mathias Wagner K (Germany); Kostas Beveratos, Maya Bontzou, Dimitris Dokatzis, Stelios Giannoulakis, Maurice Ganis, Ilias Marmaras, Angelo Skourtis, Panos Vittorakis, Alexandros Spyropoulos, Dimitris Tsardakas (Greece); Babis Kandilaptis, Nicolas Kozakis (Greece / Belgium); Vassilis Kokkas, Dimitris Tzamouranis (Greece / Germany); Chiara Passa, Antonio Riello (Italy); Floe Tudor, Mona Vatamanu, (Romania); Per Pegelow (Russia); Andrej Tisma, Windows 99 - hammer creative (Serbia); Milena ZeVu (Serbia / Hungary); Vuk Cosic (Serbia / Slovenia); Aniceto Exposito - Lopez, Angel Vergara (Spain / Belgium); Selda Ashal, Gulsen Bal, Cem Genser, Genco Gulan (Turkey); Ruth Catlow (UK); Stewart Ziff (UK / USA); Andy Deck, Goron Dolan, Morgan Showalter (USA)

Dans le cadre de Lille 2004, Capitale Européenne de la Culture

ART ZOYD
Musiques Nouvelles
& Louis-Philippe Demers
présentent

ARMAGEDDON

OPÉRETTE POUR ROBOTS, MUSICIENS ET VIDÉO
Création les 5 et 6 mars à 20h30 - le 7 mars à 18h30
AÉRONEF DE LILLE
Centre Euralille
tarif : 14 euros / points de vente habituels
tel : 0892 560 150 / www.aeronef-spectacles.com
RENSEIGNEMENTS : ART ZOYD ++ 33 (0)3 27 64 74 33

Conception Gérard Hourbette
Musique Gérard Hourbette, Kasper T. Toeplitz, Patricia Dallio
Livret Jacques Hadjaje et Gérard Hourbette
Robots Louis-Philippe Demers assisté de Vincent Boureau
Mise en scène Xavier Lukomski
Interprétation Art Zoyd : Yukari Bertocchi-Hamada, clavier, infrarouges - Daniel Koskowitz, percussions électroniques et acoustiques, espaces virtuels - Laurent Dailleau, theremin, capteurs - Patricia Dallio, clavier, capteurs - Jérôme Soudan (Mimetic), percussions électroniques et acoustiques, espaces virtuels
Ensemble Musiques Nouvelles : Denis Simandy, cor - Roel Smedts et Adrien Lambinet, trombones - Bart Maris et Raphaël Dagostino, trompettes
Développement voix de synthèse Carl Faia avec l'aide de la Faculté Polytechnique de Mons,Thierry Dutoit, professeur
Lumières Xavier Lauwers.

ARMAGEDDON, opérette pour robots, musiciens et capteurs
Une opérette chantée et jouée par des robots. Une arène, 10 musiciens. Une histoire incroyable de fin du monde.
Intrigante gageure, défi musical et spatial. Conception et création novatrices pour un événement spectaculaire.

Argument : Armageddon (d'après le Livre d'Enoch) : En 200 041 après l'invention du tourne-disque, les hommes se sont fait la belle, c.a.d. qu'ils ont disparu, corps et bien, mais pas leur âme ni les anges. Heureusement qu'il reste les robots d'industrie dont le rôle et la raison seront de rejouer sempiternellement les grands mythes humains : la Guerre des Gaules, l'opération Tempête du Désert et Armageddon, des opérettes au style inimitable, pleines de tueries, de massacres et de liquidations. L'histoire, imaginée aux temps pré-mécaniques par un écrivain organique, se passe aux temps anciens. La terre est corrompue et les anges interviennent. Aucune voix humaine, que de la synthèse vocale. Un vrai livret d'opérette avec entrées et sorties, interjections, interventions divines, dialogues parlés et chantés, quiproquos et, pour clore, une guerre armée.

Dispositif : Une arène élevée autour de l'espace scénique où tout se joue.
Perchés en haut de l'arène, les 5 musiciens électroniques d'Art Zoyd, sont comme une assemblée des anges, effleurant les instruments électriques (capteurs, theremin, infra-rouges...), pilotes et prophètes des paroles proférées, des sons et des fréquences sonores émis et des actions dirigées.
À l'intérieur de l'arène, les 5 musiciens acoustiques de Musiques Nouvelles (trompettes, cor, trombones), apparitions fantômes, soufflent les trompettes de la renommée et celles de Jéricho.
Dans l'arène et dessous, 21 robots acteurs et chanteurs de la comédie opératique, de taille et d'aspect divers, sont munis d'un haut-parleur indépendant permettant l'émission de textes, de borborygmes et de chants mobiles. Chaque robot est porteur de sa lumière, certains d'une caméra.

ART ZOYD
Depuis sa création en 1969, l'Ensemble Art Zoyd, fondé et organisé notamment autour du travail du compositeur Gérard Hourbette, a toujours conjugué la composition musicale avec son adaptation immédiate à la scène. Il bénéficie d'une renommée internationale constante (tournées : en Europe, aux États-Unis, à Hong Kong, en Australie, au Japon, au Mexique et festivals prestigieux : Adélaïde, Amsterdam, Bath, Berlin, Bourges, Brighton, Cardiff, Eindhoven, Francfort, Gand, Graz, Hamburg, Helsinki, Kassel, Lausanne, Linz, Ljubljana, Londres, Lyon, Milan, Moers, Montpellier, Munich, New York, Paris, Rome, Rotterdam, Salzburg, San Sebastian, Stockholm, Strasbourg, Utrecht, Vlissingen, Yokohama, Zurich...).

ART ZOYD - Repères :
Des représentations dans plus de 25 pays devant près de 150 000 spectateurs
17 disques - La création d'un label «In - Possible Records».
Les Ciné-Concerts (Faust, Häxan, Nosferatu, Metropolis et en 2004 La Chute de la Maison Usher).
La Danse de Roland Petit à Karole Armitage avec Le Chat de Schödinger en 2002.
Le Théâtre dont le fameux Marathonnerre de 12h avec Serge Noyelle.
Le Jeune Public, avec La nuit du Jabberwock en 2002.
Les résidences : Après Dangereuses Visions en association avec l'Orchestre National de Lille (1998/2000), c'est la naissance du Centre Transfrontalier de Production et Création Musicales avec Musiques Nouvelles pour Expérience de Vol depuis 2001.
Le studio La Luna, à Maubeuge, unique en son genre, dédié à la recherche et au développement, permet ce travail et l'application des nouvelles technologies aux arts de la scène.

MUSIQUES NOUVELLES
Fondé à Bruxelles en 1962 par Pierre Bartholomée, Musiques Nouvelles, basé à Mons depuis 1998, s'est spécialisé dans la création et l'interprétation des musiques les plus novatrices.
Doyen européen des ensembles voués aux musiques de notre temps, Musiques Nouvelles allie la tradition à la recherche, l'héritage au renouveau. Direction artistique : Jean-Paul Dessy.

ROBOTS - Louis-Philippe Demers (Canada)
Louis-Philippe Demers est un artiste multidisciplinaire utilisant les machines, la lumière, le son et la scénographie en tant que média. Ses travaux ont été présentés lors de nombreux évènements internationaux dont Expo2000, Expo1992, Zulu Time de Robert Lepage, Ars Electronica 96 et au Musée d'art Contemporain de Montréal en 1998. Il est professeur à l'Ecole Supérieure de Design de Karlsruhe (Allemagne). Depuis plus de dix ans, Louis-Philippe Demers propose des environnements composés uniquement de machines. De l'écosystème robotique à la misère de la machine, jouant sur la représentation et non la simulation, ses travaux nous suggèrent une vie "artificielle" basée sur la machine. C'est la première fois que ses robots sont mis en scène.

Une Production d'Art Zoyd / Centre Transfrontalier de Production et Création Musicales
En Coproduction avec Musiques Nouvelles - Processing-Plant / Louis-Philippe Demers - L'Aeronef de Lille
Avec le concours des fonds européens Feder Interreg 3, de la DRAC-Nord Pas de Calais, de la Région Nord-Pas de Calais, de la SACEM, du CNC-DICREAM et de la SPEDIDAM.
En Partenariat avec : Lille 2004 Capitale Européenne de la Culture, avec le soutien du Manège-Scène Nationale-Maubeuge.

Production : 03 27 64 74 33 - artzoyd@wanadoo.fr - www.artzoyd.com
ART ZOYD / CENTRE TRANSFRONTALIER DE PRODUCTION ET CRÉATION MUSICALES
LA LUNA - ESPACE SCULFORT 59600 MAUBEUGE - FRANCE
TEL / FAX : ++ 33 3 27 64 74 33 GSM /++ 33 6 10 80 68 60
www.artzoyd.com / artzoyd@wanadoo.fr
http://www.patriciadallio.com