Drama, by Timo Kahlen, is generated as the viewer plays and re-plays the film, to create individual and always different endings based on chance outcomes of the film’s miniature drama, a struggle of life and death, always different, again and again.

Barbara Lattanzi’s Optical De-Dramatization Engine :: June 8-11, 2012 :: Opening Reception: June 8; 6:00 - 8:00 pm :: Harvestworks Digital Media Arts Center, 596 Broadway, #602, NYC.

In the algorithmic work, Optical De-dramatization Engine (O.D.E.) applied in 40-hour cycles to Thomas Ince’s ‘The Invaders’, 1912, 20 frames were sampled from each minute of Thomas Ince’s 40-minute film. The O.D.E. software (coded in ActionScript) takes each sampled minute and dynamically extends it to one hour. At the end of 40 hours, the cycle repeats. Continue reading

Bring Your Own Beamer :: March 16, 2012; 7:00 - 10:00 pm :: VIVID, 140 Heath Mill Lane, Birmingham, West Midlands B9 4AR :: Open Call — Deadline: February 24. Continue reading

Art, film, and technology converge at the Sundance Film Festival with world premieres of feature films and New Frontier, a dynamic presentation of cinematic media installations, multimedia performances, and transmedia experiences.

Portraits of two of today’s most provocative artists bring contemporary art to the big screen, in Ai Weiwei: Never Sorry, and Marina Abramović: The Artist is Present. Cinematic media installations, multimedia performances, and transmedia experiences are found in the Festival’s New Frontier program. Continue reading

Bivouac Projects: New Media, Film, And Video :: January 19, 2011 :: 701 Center for Contemporary Art, 701 Whaley Street, Columbia, South Carolina :: Call for Artists Working at the Intersection of Art and Technology - Deadline: December 30, 2011. Continue reading

Urban Research 2012 :: February 9–19, 2012 :: Directors Lounge, Naherholung Sternchen, Berolinastraße 7 Berlin / Mitte, Germany :: Open Call For Film And Video Works - Deadline: Dec 20, 2011.

The program Urban Research, curated by Klaus W. Eisenlohr for Directors Lounge 2012, reaches beyond the genre “city films”. Contemporary artists are engaged in local politics, they are concerned with specific urban problems and developments, and they are directly interacting with the public with performances and public interventions. Continue reading

Turbulence Commission: Endgame: A Cold War Love Story by Tal Halpern [Needs Adobe Flash Player]:

Endgame: A Cold War Love Story — for the web and Flash enabled touch screen devices (DROID) — is a puzzle whose pieces are culled from an archive of long forgotten propaganda. In it a story about art, exile and history takes shape from the fragmentary remains of one woman’s life.

Endgame: A Cold War Love Story is a 2011 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was made possible with funding from the Jerome Foundation. Continue reading

Returning Fire: Interventions in Video Game Culture screening + panel discussion with Fred Ritchin (moderator), Roger Stahl, Wafaa Bilal, Joseph Delappe, Anne-Marie Schleiner :: October 21, 2011; (screening) 6:00 pm (panel) 8:00 pm :: Tisch School of the Arts, 721 Broadway, Room 006 :: Free but RSVP required.

Returning Fire: Interventions in Video Game Culture (Media Education Foundation, 2011, 45 min.), written and directed by Roger Stahl, examines the culture of war-themed video games through work of three pioneering artists and activists: Joseph Delappe, Anne-Marie Schleiner, and Wafaa Bilal. Continue reading

SKOR | Foundation for Art and Public Domain and Land Art Contemporary present Breaking Ground: Broken Circle/Spiral Hill (1971–2011) Continue reading

Out-of-Sync: The Paradoxes of Time :: until May 22, 2011 :: Mudam Luxembourg, Musée d’Art Moderne Grand-Duc Jean, 3, Park Dräi Eechelen, L-1499 Luxembourg.

Out-of-Sync broaches the sweeping issue of the place taken up by the dimension of time in the visual arts from a specific angle: it is concerned with works in which several temporalities coexist, overlap, contradict one another, thus developing a paradoxical relationship to time. Through this interest in what the philosopher Elie During, in his recent book Faux Raccords, calls “times out-of-tune” ["les temps désaccordés"], the works brought together in the show are not meant to illustrate or define the notion of time. On the contrary, they offer us an experience of its elusive nature. Continue reading