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---Dear Council for Culture! Steim is a very valuable resource for the world at large. I am currently at school to learn technical and design skills to help me shift my career from one devoted to craft production techniques to one devoted to utilizing computer aided manufacturing technology using personal computers and custom made (by me) tooling. I am half a world away, but still very strongly influenced by the work done there. Art does not live in a special little corner somewhere disconnected from the rest of human endeavors. The arts change our perceptions about what the world we live in is about and provide us tools for imagining what that world might be in the future. My background in DJing electronic music has had a very important influence on my thoughts about how to devise controllers for manipulating the machinery that I intend to develop and use for production wood working. Similar machinery currently tends to use very cumbersome and inflexible interfaces. I am in the early stages of developing a dierent approach that uses tools and interfaces that are similar to those used by DJs, VJs, and a host of other creative computer artists who need sophisticated real-time control over the equipment they use to make their art. I check in on the STEIM website from time to time to find news, new approaches to software, and links to other information. I am very concerned to see the announcement that the continued existence of STEIM is threatened. Not only is STEIM useful to me directly, but it is an important part of a global community of artists that matters greatly to me. Those artists are instrumental in the development, extension, and diusion of software and ideas that are having a profoundly positive impact on the ability of ordinary people around the globe to interact and to share their creative skills over long distances and across diverse cultures. Please continue to fund STEIM and protect not only it, but the unique place of the Netherlands in supporting the creative arts.

Louis Schultz - USA - Virginia Polytechnic Institute I am currently at VPI studying architecture. I have an extensive (20 + year) background in art furniture making, theatrical sound design, DJing, theatrical lighting design, and set design.

---Dear Council for Culture! I am writing to urge you to continue funding the important work being conducted by STEIM. I have met members of this group, notably Kristina Anderson and always find their work stimulating and insightful. The field of Human Computer Interaction is becoming increasingly concerned with art, aesthetics and performance and the work of STEIM has important implications for many areas of interaction design. Their online resources have also proved very useful.

Yours faithfully Mark Blythe Mark Blythe - United Kingdom - University of York I am a senior research fellow in the Human Computer Interaction group in the Department of Computer Science at the University of York, UK.

---Dear Council for Culture! I am worried about STEIM's future. STEIM is a very important studio for musicians and performance artists who want to experiment with interactive and live performance, and its relevance goes far beyond those disciplines. STEIM discloses a vast network of inspiring people, knowledge and experience that is unique. Not only in the Netherlands, but worldwide. Countless interaction designers, theater makers, dancers, installation artists, museums, music therapists and visual artists have enjoyed STEIM's knowledge and experience. STEIM has always been an exciting workspace for music and e-culture professionals and I hope that that tradition will last for many years to come. I strongly hope that the funding for STEIM will not be cut, and that STEIM can continue to do this important and valuable work.

Jan Peter van der Wenden - Netherlands Sinds 2003 coördinator van de Interfaculteit Beeld en Geluid / Artscience, onderdeel van de Hogeschool voor Beeldende Kunsten, Muziek en Dans in Den Haag.

---Dear Council for Culture! We think that STEIM performs an invaluable role in the field of electronic music and instruments development. For Mediamatic they are not only an example but also an inspiring partner in or activities. On top of that, STEIM pt or contry on the map internationally. We are profiting from that reputation and network. Please give us more STEIM in the coming years. Thank you. On behalf of the board and sta of Mediamatic, Willem Velthoven Willem Velthoven - Nederland - Mediamatic We are a partner cultral organisation in Amsterdam.

---Dear Council for Culture! I sincerely hope that Steim will stay supported by you. Their work is not only of great importance from a performance point of view, it also is of great value from a technological and innovation point of view. Steim relates arts, research and development. I'm in contact with, and planning to do a project with Steim, being an industrial design engineer and working part time at the TU/e. Steim's work relates to the complex realm of digital products and the way they should be developed to meaningfully interact with people. They may seem to serve a niche at this point, but they actually are at the start of a development that will grow to be increasingly important in the near future. I strongly hope their work can continue, building further on what they have established until now. Best regards, Sietske Klooster Sietske Klooster (MSc.) - The Netherlands - Department of Industrial Design TU/e I know the work of Steim via various colleagues throughout the country, ranging from artists to designers and researchers.





I got in contact with Steim through my work as an independent designer and with the department of Industrial Design TU/e.

---Dear Council for Culture! During the time I've spent in Steim I had a chance to meet some of the most interesting musicians, artists and researchers in the world today. Steim is oering an always welcoming, open minded and exciting working environments in fields that are the cutting edge in technology and cross platform development. Since I arrived to Amsterdam in 2000, Steim was always the place to go and hear/ see everything that is NEW. I simply can't see Amsterdam without Steim. I hope that this letter, together with the others you will get, will allow Steim to keep on their fantastic work.

Many thanks, Anat Anat spiegel - NL/IL - Spy Collective participated in the Steim residency program with the spy collective, 2006.

---Dear Council for Culture!

Ofer Smilansky - Israel

---Dear Council for Culture! It is with great frustration in the Dutch cultural decision makers that I write this letter of support for the STEIM institute. This institution is a magnate in their support, creation and development of digital arts and artists both national and international. Through the marvellous help of STEIM Residencies I had the opportunity of initiating two performance groups (the Electronic Hammer trio and the music theatre company The Spy Collective) who were able to make their first footsteps here, resulting in more than 40 performances in Europe and the Americas that have all sought to push the boundaries of the known art. The Council for Culture must be realize that there is no culture without a sub culture and investment in the creation and development of new art forms (including the digital arts) is within their own national interest and the only way the Netherlands will stay relevant and ahead on the international field.

Henry Vega - Netherlands - The Electronic Hammer / The Spycollective Through the marvelous help of STEIM Residencies I had the opportunity of initiating two performance groups (the Electronic Hammer trio and the music theatre company The Spy Collective) who were able to make their first footsteps here.

---Dear Council for Culture! STEIM's strong history and continued research in music and performance has created the foundation of a growing global culture. In my role as a web journalistic, I focus on handmade musical instruments and electronics. So much of what I write about descends from the works of STEIM. They've opened so many avenues of exploration for the instrument-maker - from the Cracklebox to new forms of MIDI data generation - I honestly do not believe the genre I focus on would exist without STEIM. Please allow their work to continue. Now is an important and formative period for musical culture and technology on a global scale. It would be a great hindrance to lose the ongoing contributions of STEIM. I know upon further consideration, this organizations importance will become clear. Sincerely, Collin Mel Cunningham blog.makezine.com Collin Cunningham - United States - Make magazine about 2 years ago I was unhappy in an unfulfilling career, spending most of my time playing video games. Then one day I discovered STEIM's JunXion software - it showed me it was possible to create my own digital music controller, out of hardware I already owned. This ability made me feel empowered and inspired, triggering a passionate investigation into a genre I previously thought was unapproachable. As I continued to learn of new avenues in handmade musical instruments, I discovered another item from STEIM - the Cracklebox. At that point I began to teach myself electronics and make my own instruments. I decided to dedicate all my time to this pursuit and left my job as a media technician at a well-known musictelevision company. I gained notoriety in web communities for my work and eventually gained employment at my favorite publication, whom I still write, document, and create for today.

---Dear Council for Culture! I am worried about STEIM's future. STEIM is a very important studio for musicians and performance artists who want to experiment with interactive and live performance, and its relevance goes far beyond those disciplines. STEIM discloses a vast network of inspiring people, knowledge and experience that is unique. Not only in the Netherlands, but worldwide. Countless interaction designers, theater makers, dancers, installation artists, museums, music therapists and visual artists have enjoyed STEIM's knowledge and experience. STEIM has always been an exciting workspace for music and e-culture professionals and I hope that that tradition will last for many years to come. I strongly hope that the funding for STEIM will not be cut, and that STEIM can continue to do this important and valuable work. Yours, Laurent DAILLEAU Laurent DAILLEAU - France - cracklebox user Composer, thereminist, sound artist, improviser, curator, lecturer

---Dear Council for Culture! I am worried about STEIM's future. STEIM is a very important studio for musicians and performance artists who want to experiment with interactive and live performance, and its relevance goes far beyond those disciplines. STEIM discloses a vast network of inspiring people, knowledge and experience that is unique. Not only in the Netherlands, but worldwide. Countless interaction designers, theater makers, dancers, installation artists, museums, music therapists and visual artists have enjoyed STEIM's knowledge and experience. STEIM has always been an exciting workspace for music and e-culture professionals and I hope that that tradition will last for many years to come. I strongly hope that the funding for STEIM will not be cut, and that STEIM can continue to do this important and valuable work.

daan brinkmann - holland - artistic light / sound artist, based in the hague. had a tour at steim once and would really like to do a project at steim some day.

---Dear Council for Culture!

ailed izurieta - venezuela I am a dancer residenced in Amsterdam, almost every musician I know had a residency or worked in STEIM to develop projects related to electronics. Coreographers had also taken advantage of this possibility. I visited some of the concerts and presentations.

---Dear Council for Culture! STEIM is a well recognized and lauded institution in the field of new media arts. In fact, it's on a level where few others organisations in the world are. In fact, it's little short of legendary. Stopping support for STEIM would seriously reduce progress in the new media arts field, and would also do away with a key factor keeping the Netherlands on the new media arts map. STEIM has made great contributions to the new media arts field, that the whole world, including Holland, acknowledges and is very greatful for. Please consider it as important an organisation as any other arts organisation, and continue its support. Thanks in advance, Miska Knapek miska knapek - finland - artist / student Have seen and been impressed by the artists and their acts, that STEIM has supported

---Dear Council for Culture! STEIM is an important Dutch institution that has had and should have more influence on the Dutch music life. From my own experience in the more or less \'traditional\' classical and contemporary music world I can say that STEIM has influenced the Dutch contemporary music scene in general and brought forth many musicians who are masters of their acoustic instruments but expanded their sound with STEIM developed instruments. Although STEIM has the image of sub culture, if it would disappear from the Dutch cultural landscape, one important initiator of Dutch innovation would disappear. Holland is a front runner in contemporary music, also because of its work with new media. This would have never been like this without STEIM. But \'new media\' is not finished developing yet. It\'s a small child that needs an education. I know that STEIM is the only one that can teach Holland to deal with new media and to develop tools that are accesible for everyone. Who else can do this? Nobody! I hope you will reconsider your decision. Yours truly, Ties Mellema Ties Mellema - Netherlands - musician Ties Mellema, musician, worked with STEIM and STEIM afiliated musicians. www.tiesmellema.nl

---Dear Council for Culture! with a kind of shock I lately heared that STEIM's future is in question. Working in arts till my very childhood I always was presuming a lot Netherlands and the open way to work with people and to let people work independently. This is one of the most important goals of the STEIM, too. STEIM is one of the most important studios for musicians and performance artists in Europe. It gives a lot of artists the possibility to work and experiment freely in the studios. After all to create interactive and live performances which concern all dierent kind of music, dance,...arts in generel. Afrer a long period of work of the people in STEIM it would be a great lack for Amsterdam, Netherlands, the whole Europe and worldwide. All the work of networking, inspiration, knowledge and experience would be gone at once. All Europe is beginning to "clean up" and try to break down the best working and most interessting places for exchange and knowlegement but it is the wrong place where Europe tries to spare money! I would like to be able to continue working with people who went to STEIM to experiment on their projects. To be able to think in and about projects as cooperations and interactions between designers, theater makers, dancers, installation artists, museums, music therapists and visual artists and the festival. STEIM must go on to preserve the vast culture of the Netherlands where all can take it as good example. I appeal to you strongly, to not cut the funding for STEIM, and to preserve the importance, the place and the value of the STEIM. Hannah Crepaz Hannah Crepaz - Austria - Osterfestival Tirol, musik+, 123tanz We invited a lot of musicians, performers, researchers, dancers that have been developping their projects in STEIM.

---Dear Council for Culture! Steim and similar outfits fill a important void in electronics arts by providing inovative and free software. The simple fact that they exist inspires artists around the world to create and experiment rather than simply accept what they are sold by the marketplace. An anecdote that I think relates to the issue is this.. this is a question that was posed to a friend when trying to cross into canada to perform a free music show. The border guards asked why they would travel at their own expense to play a free show??? Why?? They might as well has asked why do people make art? Is art the last territory to be exploited exclusively for commerical gain? Sincerely Adrian Dimond Adrian Dimond - USA XDUGEF AKA Adrian Dimond is a computer graphics artist who grew up in SC, attended school in the midwest and then moved to the west coast in the late 90’s. Adrian's interest in music began while attending the North Carolina School for the Arts where he discovered industrial and experimental music and bought an electric guitar from a friend (Aaron Bachelder) in the dorms and began playing it with an electric toothbrush. Through the early 90’s he formed several bands. The first of which was Licqour Candied Lust and then the Butcher Band (not to be confused with any other Butcher Band). He then attended The School of The Art Institute of Chicago where he met and worked with The Christal Methodists as a contributor, mixing artist and video director. Then throughout the late 90’s and the beginning of the millenium Adrian lived in San Francisco and took a hiatus from making music. The introduction of a circuit bent speak and spell owned by Jack Dangers sparked his interest in tinkering again and began he began exploring it as a medium shortly thereafter. After moving to Los Angeles Adrian's interest in bending grew and he created a flurry of versatile devices several of which remain staples in his arsenal of gear. His most recent creations include bent digitech delays and a device he calls the BitchBox. The word xdugef (x-du-gef) is the name for an imaginary 3d modelling process based on the ancient Nepalese Buddhist techinique for manipulation of forms. This inside joke from the computer graphics world seemed fitting for the somewhat unusual methods that circuit bending requires that often seem to defy standard logic. XDUGEF has put out a several releases including his current release titled BOSSLADY.

---Dear Council for Culture! STEIM, the studio for electro-instrumental music, has become an irreplaceable institute for research, development and creativity within the wide field of new music including all its possibly thinkable facets. There is nonesuch institute I know which combines the three areas of research, development and creativity on such innovative, eective and eficient level so that it can be called without hesitation a studio of tremendous importance and value for all kind of new paths and approaches to new music. The working conditions are perfectly tuned to artists such as composers, musicians and instrument developers. Therefore I have to emphasize that I strongly hope that the funding for STEIM won’t be cut down in the future. In contrary, the institute should be able to continue its important work on the same level it is known for in the whole cultural Western world. Sincerely, Alex Nowitz Alex Nowitz - Germany - freelancing composer, singer Based in Germany I’m working as composer, singer, musician and performer for twenty years now. In October 2007 I was invited by STEIM for an orientation workshop. Since then, with the help, support and know-how of STEIM, I was able to create a new setup for live electronics which works as an extension for my voice performances. Within these I’m using STEIM-software (junXion, LiSa), two Wii-remote-controllers as gestural controllers, and a computer (MacBookPro). After several stays at STEIM researching, developing and finally creating a new instrument I was able to present my music incorporating this particular set-up many times. Since February 2008 there has been two performances of Wolfsgeheul (Feb. 2008, fabrik Potsdam), one concert with the stringquartet KUSS-Quartett (Feb. 2008, RBB - Radio Berlin Brandenburg), one concert presenting two solo pieces voicescapes and studies for a self-portrait (April 2008, dnk-series Amsterdam) and eight performances so far within the theatre plays of DIE STADT und DER SCHNITT (March-May 2008, Schaubuehne Berlin).

It will be played again more often next season 2008/2009. The Schaubuehne Berlin is a well-known theatre and one of the big major theatres in Berlin that is touring worldwide on a regular basis. Within the plays DIE STADT und DER SCHNITT at the Schaubuehne Berlin I was performing as vocalist playing the new electronic set-up which I developed at STEIM. I have to point out that without the help, know-how, technical and creative support of STEIM this work would have never been evolved the way it has been.

---Dear Council for Culture! It comes as a surprise, that one of the most unique and cutting edge institutes for modern music in the world is in danger of not getting support from government. STEIM is an internationally unique place, known in all over the world. I have met people both in Northern Ireland, UK, USA and Poland, who are impressed by the working atmosphere and the output of STEIM. In the same time, people working at STEIM have been very modest, concentrated on work, not on getting more publicity, that would allow for fame and appreciation of their work outside. The recent direction of Dutch founding priorities in arts is very worrying. The strong position of the Netherlands, as one of the most prominent circles for modern music in the world might be lost, and STEIM is one of the 'jewels in the crown'. I really hope, that this will not be the case. Katarina Glowicka http://www.glowicka.com Katarzyna Glowicka - Poland/Netherlands/Northern Ireland - Queens University Belfast I worked on a multimedia project in STEIM last May.

---Dear Council for Culture! I have just found about this serious situation, so pardon my informal use of this Internet page to write my urgent letter to you. I hope that you will continue to support the STEIM center and its important work and location for an international network of cutting edge artists and technicians. Why do I care about STEIM? I believe that it serves as one of the hubs of creative digital and technical arts. I have attended numerous international conferences (the Society for Literature, Science, and the Arts) with participants who have benefited from STEIM's support or were discussing STEIM projects. During my brief stay at STEIM, not only did I have the opportunity to work in person with a colleague whose distance prohibits our chances at performing together, STEIM also provided me with a place to two digital cinema works that I performed in Amsterdam in June 2006, one at the Melkweg, the other at the Universiteits Theater. Who do I tell about STEIM? At the University of Denver, I teach courses in Digital Audio Production, Digital Sound Cultures, Critical Approaches to Digital Media, and Digital Cinema, Theory and Practice. Starting July 2008, I will act to direct our program of 85+ undergraduate, 25+ graduate students. I regularly introduce my students to projects that had their origins in the STEIM facility. I also find STEIM's role an inspirational model as I look to direct our two degree programs. STEIM's philosophy combines artistic vision, technical skill, critical awareness, and public outreach in ways that I aspire for our Digital Media Studies program. So many of the artists that I know through the STEIM network are not doing work for conventional galleries or other performance venues; but they make up for this through a public outreach sensibility, conducting workshops and other hands-on opportunities for the public to interact with artists working at the edge of creativity and technology. I urge you to recognize that STEIM is a significant venue with high international visibility and that it is doing work for the support of visionary artists, scholarly researchers and instructors, and a general public increasingly interested in the impact of digital and other electronic technologies on their daily lives. Please feel free to contact me with any of your own questions or concerns. Sincerely, Trace Reddell, Ph.D. Associate Professor Digital Media Studies University of Denver Ofice: Sturm 216B Phone: 303.871.3874 Email: treddell@du.edu Web: http://www.du.edu/~treddell Trace Reddell, Ph.D. - United States - Digital Media Studies, University of Denver I'm an Associate Professor of Digital Media Studies at the University of Denver, where I've taught for the past 7 years. I regularly study, review, and teach works produced with the support of STEIM. In June 2006, I enjoyed a short stay at STEIM to collaborate with a colleague from Montreal. Our opportunity to share studio space led to a live performance and artist lectures the following autumn at Upgrade! New York.

---Dear Council for Culture! Institutions like STEIM are not all arround the world, not even all arround Europe, there are not so many still. You have the privilege of having it right here in your country, where your culture and arts are developing.

Remember how history tells us that there were some amazing people in the arts who were not apprecieated when they were alive? Remember that we still appreciate those people nowadays and there are funds and support for those who play the songs written one or two hundreds of years ago... the same with graphic and plastic arts, imagine how Vermeer would feel to know his paintings are so valued !!! Well, here you have the chance and opportunity to support a place that supports some of those people who are not so recognized and accepted today in the culture, but may be tomorrow. Think about it.

And STEIM does not require a huge amount of support, precisely because there is not (unfortunately) so many people doing electronic performance arts as there is people still playing old timers music, or simply music and events that do not give people anything else but a moment of distraction Time and wisdom together would bring balance to mankind. Isn't it "almost" the right time to use our wisdom? In the ambience of electronic arts, STEIM is well known arround the world for their good support, sharp and focused aims, excellent level of knowledge, and humanistic treatment, among other qualities. Consider supporting STEIM for it is here where there are seeds for the next generation arts. With Kind Regards Emilio Espinosa Emilio Espinosa - Mexico - Netherlands - KABK - The Hague Civil Engineer first, then documentary photographer with pauses of piano and cello playing together with some sports and fun. Now finishing "Interfaculty Image & Sound / ArtScience" in the Royal Academy of Arts (KABK), The Hague. I have been attending to STEIM events since i came to the Netherlands 4 years ago, and many many friends of mine have performed there since then. STEIM is top of the line in this country for electronic performance arts. Next Fall i will make my first residency in STEIM

---Dear Council for Culture: I am a long-time user of STEIM's music software. I have traveled to STEIM's ofices several times and am consistently struck by their commitment to providing unique technologies for artists in both commercial and avant garde arenas, and to bringing together artists from an incredible variety of societal and musical backgrounds. STEIM has become a hub not just for experimental composer/performers but for those more commercially minded artists who want to dig deeper into the possibilities of computer-based music than most popular music software will allow. I urge you to restore STEIM's funding and to continue supporting their mission in the electronic performing arts community. Thank you for your time and consideration, CK Barlow CK Barlow - USA - University of New Mexico; solo and ensemble performance and sound design I have been an avid user of STEIM's music software LiSa for several years -- as a performer, composer, sound designer, installation artist, and soon a university-level music instructor.

---A performance of Michel Waisvisz at A-Musik in Cologne was an eye opening experience. Up to that date electronic music was for me, a listener and creator, merely a process of construction. This performance prooved to me, that improvisation was possible in the context of electronic music going further than "simple" tonal improvisation. This inspired me to even rebuild sound generators like the Kraakdoos and also started me with developing my own sound generators and synthesizers. Analog, digital and software. While doing this and showing them to friends I quickly started to notice that there are much more people like me interested in electro acoustic music, sound design, circuit bending and so on. This is not a niche or elite scene. To stop funding of the STEIM would rob the world of one of the few professional organisations in this realm. Yours sincerely, Holger Heckeroth Cologne/Germany Holger Heckeroth - Germany - none My name is Holger Heckeroth, I was born 1976 in Cologne. I studied national economics at the University of Cologne and finished my studies with a Diploma. Currently I'm working as the assistant to the CEO for one of europes leading multibrand luxury leatherware retailers. Since my schooldays I was involved in music as a performer and developer of electronic music instruments. The last years I'm dedicating more and more of my spare time on developing sound synthesis devices after seeing a performance of Michel Waisvisz.

---Dear Council for Culture! Please keep this program alive by continuing to fund it. The Arts are always the first thing to go with budget cuts in the USA and it's very disappointing. Please find a way to continue funding STEIM. Sincerely, Kirsten Incorvaia Kirsten Incorvaia - USA - University of California Santa Barbara My professor Jennifer Vanderpool works with this STEIM.

---Dear Council for Culture! I am worried about STEIM's future. STEIM is a very important studio for musicians and performance artists who want to experiment with interactive and live performance, and its relevance goes far beyond those disciplines. STEIM discloses a vast network of inspiring people, knowledge and experience that is unique. Not only in the Netherlands, but worldwide. Countless interaction designers, theater makers, dancers, installation artists, museums, music therapists and visual artists have enjoyed STEIM's knowledge and experience. STEIM has always been an exciting workspace for music and e-culture professionals and I hope that that tradition will last for many years to come. I strongly hope that the funding for STEIM will not be cut, and that STEIM can continue to do this important and valuable work. Sincerely, Anne Hege Anne Hege - United States - composer Born in Oakland, CA, Anne Hege received her Bachelor degree from Wesleyan University with honors in music where she was awarded the Gwen Livingston Pekora Prize for music composition. In 2003, she received her MA in music composition and the Elizabeth Mills Crothers Prize from Mills College. Hege has composed works for film, instillation art, chorus, and instruments. Anne Hege is currently working towards a PhD in music composition at Princeton University.

---Dear Council for Culture! I write this short letter to support the work of STEIM. This organization changed my career as a dance performer and researcher having me as an artist in residence by first time in 2003. In that residency I was helped to develop wireless controllers for media or wearables for my initial explorations on interactive performance. It was very empowering and inspiring that I had the opportunity of learning how to "hack" wireless game controllers making it aordable and part of my creative process. At that time wireless controllers in the market were out of my reach as an independent artist (theu were prices more than 1000 $) In that time I also started using JunXon, a software developed at STEIM that allow to"map" and use any USB device and interface it to maxmspjitter, the main software that I was using. So I was able to return to the US with a fully operational wireless controller that I used for the next two years. Thst knowled was transmited to my students in many workshops and lectures in Europe and the US. Before, I was also using ISADORA, one of the most used software (developed by Marc Coniglio) by the dance and technology community for real-time processing of video. ISADORA was develeped using IMAGINE (developed at STEIM) as a blue print. Since then, I have been a resident at STEIM at least once a year and I always consider these residencies crucial in the development and turns in my artistic and professional development.

STEIM is a community of knowledge spread all over the world and t its impact across time and space is evident in the community in itself. It is a network, a swarm or artists/technologiests moved and sensitive to the creativity and challenges. I hope that STEIM continue to be the hub that aggregates and inspires our community a with your support. You have helped me and hundreds of live electronic performance practitioners. Please, just notice this gathered crowd. Marlon Barrios Solano dance-tech.net Marlon Barrios Solano - United States - 4 times Artist in residence MarIon Barrios Solano is a Venezuelan independent movement and new media artist, on-line media producer and consultant based in NYC. His interdisciplinary work investigates improvisational performance in its intersection with realtime digital processing, on-line communities, distributed creativity and cognition and notions of embodiment; his projects include collaborations with musicians, choreographers, dancers, architects, theater artists, community organizations, new media artists and the creation of on-line platforms for collaboration and community development. He is the creator of dance-tech.net (http://www.dance-tech.net and it series of vodcasts (http://dancetechnet.blip.tv) on interdisciplinary exploration of the performance of motion. He has lectured extensively on improvisation, new media, embodiment and cognition and performed in South America, Europe and the USA. Residencies include The Advanced Computing Center for Arts and Design (Ohio State University); Interaktionslabor 2004, Denison University; and STEIM (The Netherlands), ZKM (Germany), Purdue University (USA)The Aesthteic Technologies Lab at Ohio University, Middlebury College and Digital Cultures Lab (UK). He has lectured extensively on improvisation, interactive media and embodiment and performed in South America, Europe and the USA. As a dancer, he has performed with choreographers Susan Marshal, Lynn Shapiro, Merian Soto, Dean Moos, Bill Young, and musicians John Zorn, Philip Glass and Eric Friedlander, among others. He has taught interactive technology for performance at Harvestworks in NYC and for the Masters in New Media and Performance at Long Island University (Brooklyn Campus). He is the new media and on-line communication specialist at Dance New Amsterdam and Dance on Camera Festival in NYC. Marlon holds an MFA in Dance and New Media from The Ohio State University.

---Loosing STEIM would be irreparable loss.

Mirko Lazovic - Netherlands,Serbia - visual artist I am student at interfaculty ArtScience in The Hague, visiting STEIM occasionally

---Dear Council for Culture! Please let steim be there!

Daan Johan - NL - Student Artscience Know some people who work there, have seen concerts by Steim and am very happy with the inspiration they give me

---Dear Council for Culture! Naast het feit dat tegenwoordig in onze maatschappij uberhaupt geen plaats meer lijkt te zijn voor minder populistisch initiatieven (zoals STEIM) is het ook een grote schande dat deze stichting haar deuren dreigt te moeten sluiten. Ik ben als muziektherapeut zijdelings betrokken geweest bij een project ten behoeve van de behandeling van niet-aangeboren-hersenletsel. STEIM heeft hierin een cruciale rol gespeeld. Zover ik weet heeft dit project, waaraan STEIM jarenlang heeft meegewerkt ons geen cent gekost. Het is echter wel tot een succes geworden. Als STEIM stopt zou dit niet alleen onrechtvaardig zijn, betekent dit een groot verlies voor de internationale moderne/geimproviseerde muziek scene, een van de platforms waar heden ten dagen nog WEL vooruitstrevende initiatieven ontwikkeld worden, in tegenstelling tot de immer vervlakkende 538-cultuur. blijf af van STEIM! Erik Sinnige, musicus/muziektherapeut erik sinnige - netherlands - musictherapist I've been shortly involved in a project for a triggersystem for brain damage revalidation.

----

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«Comment évaluer la convention de Lomé ? Jean BOSSUYT et Stéphane EARD ECDPM Maastricht (Centre européen de gestion de politiques de développement) 73 74 Évaluer la convention de Lomé : une tâche ardue Commençons par un constat surprenant : après vingt ans d’existence, il est impossible de dresser un bilan même incomplet de l’impact réel de la convention de Lomé dans les différents pays et régions ACP. Certes, le travail de coopération ne se prête pas aisément à des...»

«Semi-Automatic Classification Plugin Documentation Release 4.8.0.1 Luca Congedo August 28, 2016 Contents I Plugin Installation 3 1 Installation in Windows 32 bit 7 1.1 QGIS download and installation................................... 7 1.2 Semi-Automatic Classification Plugin installation.......................... 7 1.3 Configuration of the plugin..................................... 8 1.4 Known...»

«Hep C BC presents Peppermint Patti’s FAQs Version 10.1 A big thank you to HCV Advocate for permissions for the current research updates, to all the community organizations that pitched in, and to Patricia Johnson for her inspiration. HepCBC #20-1139 Yates Street, Victoria, BC V8V 3N2 (250) 595-3892 info@hepcbc.ca www.hepcbc.ca © HepCBC Hepatitis C Education and Prevention Society, 2015 When a person is infected with hepatitis C, the virus often lives in the liver for decades. It often gives...»

«Does What They See Affect How They React: Exploring the Effects of Victim and Neutral Photographs on Reactions to Crisis Events W. Timothy Coombs wtcoombs@eiu.edu Sherry J. Holladay sjholladay@eiu.edu Eastern Illinois University Abstract Understanding perceptions of crisis situations is important to developing appropriate crisis responses. Given that visual images commonly appear with online and traditional media reports, we should explore their effects on crisis responsibility and other...»

«DESIGNERS’ COGNITION IN TRADITIONAL VERSUS DIGITAL MEDIA DURING THE CONCEPTUAL DESIGN A THESIS SUBMITTED TO THE DEPARTMENT OF INTERIOR ARCHITECTURE AND ENVIRONMENTAL DESIGN AND THE INSTITUTE OF FINE ARTS OF BİLKENT UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS By Zafer Bilda May, 2001 I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Fine Arts. _...»

«Kris Acheson-Clair, PhD Curriculum Vitae CONTACT INFORMATION: Dr. Kris Acheson-Clair Georgia State University 127 Canyon Road P.O. Box 4099 Woodbury, GA 30293 Atlanta, GA 30302-4099 Kris.Acheson@gmail.com kclair@gsu.edu (770) 853-1711 cell (404) 413-5591 office EDUCATION: Arizona State University, Tempe, AZ: Interdisciplinary PhD (May, 2008), Communication Specialization: Intercultural Communication Chair: Dr. Jacqueline Martinez, GPA: 4.0 Dissertation: Relative Silence: A phenomenological...»

«DENNIS & GNASHER 4 DG404B PIRANHARAMA FINAL APPROVED SCRIPT 29/02/12 Written By Mark Robertson DG404b FINAL APPROVED SCRIPT Piranharama Mark Robertson 1. 1 EXT. DENNIS’S FRONT GARDEN DAY WIDE SHOT: The Colonel, in his garden, looks over at Dennis’s with mild interest as a terrified Double Glazing SALESMAN charges round and round Dennis’s house, Gnasher on his tail. 1 GNASHER/SALESMAN GNASHING SOUNDS/AAAAAARRRGH! ON THE COLONEL at his fence. The Salesman WHOOSHES past and OOV, Gnasher in...»

«Scrambles Amongst the Alps in the Years 1860-69 By Edward Whymper Time Period: 1865 (The first edition of Scrambles Amongst the Alps was published in 1871 by John Murray, London) Background Material Scrambles Amongst the Alps is one of the best representations of writing from the golden age of mountaineering in the mid and late 1800’s. Edward Whymper, the author, became interested in mountaineering when in 1860 he was asked by a London publisher to make sketches of the famous peaks of the...»

«Munich Personal RePEc Archive Liquidity Risk and the Credit Crunch of 2007-2009: Evidence from Micro-Level Data on Mortgage Loan Applications Adonis Antoniades 1. July 2013 Online at http://mpra.ub.uni-muenchen.de/49270/ MPRA Paper No. 49270, posted 24. August 2013 11:33 UTC LIQUIDITY RISK AND THE CREDIT CRUNCH OF 2007-2009: EVIDENCE FROM MICRO-LEVEL DATA ON MORTGAGE LOAN APPLICATIONS∗ ADONIS ANTONIADES July 1, 2013 Abstract I test the hypothesis that the banks’ exposure to liquidity risk...»

«1 IBR (Infectious Bovine Rhinotracheitis) This is caused by a herpes virus – similar to the virus that causes chicken pox. There is no crossover of the virus but in the same way that previous sufferers of chicken pox can have shingles normally at a time of stress – IBR virus can be ‘carried’ by a cow and come back at stressful times, like calving, causing further spread of disease.SYMPTOMS The Symptoms are generally respiratory signs from mild → severe → death. Can occur at any age....»





 
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