“Superfund365, A Site-A-Day” is an online data visualization application with an accompanying RSS-feed and email alert system. Each day for a year “Superfund365″ will visit one toxic site currently active in the Superfund program run by the U.S. Environmental Protection Agency (EPA).

Conceived by artist Brooke Singer, the project launched September 1, 2007. The journey begins in the New York City area and moves cross-country in the continental USA, ending in Hawaii. In the end, the archive will consist of 365 visualizations of some of the worst toxic sites in the U.S., roughly a quarter of the total number on the Superfund’s National Priorities List (NPL). Content changes every day so be sure to visit often or use the subscribe tools to have content delivered to your inbox or favorite RSS reader.

Originally from ecoviz.org by <ADMINNICENAME>

reBlogged by InterAccess to Web News

This “auto-tutor” from the 1964 World’s Fair is very similar in concept to the “homework machine” we looked at from 1981. The photo above can be found in the Official Souvenir Book of the 1964 New York World’s Fair.

AUTOMATED SCHOOLMARM
The Autotutor, a U.S. Industries teaching machine, is tried out by visitors to the Hall of Education. It can even teach workers to use other automated machines.

See also:
Homework in the Future (1981)
The Answer Machine (1964)
Learning in 1999 A.D. (1967)
Connections: AT&T;’s Vision of the Future (Part 7, 1993)
The Road Ahead: Future Classroom (1995)
Closer Than We Think! (1958-1963)

Originally from Paleo-Future by noreply@blogger.com (Matt)

reBlogged by InterAccess to Cultural Artifacts

Workman Arts Project of Ontario
Administrative Assistant

Position Type: Contract - Full Time   
Date Ad Posted: 5/7/2008
Job Region: ON - Metro Toronto Area   
Application Deadline: 5/16/2008
Location(s): Downtown Toronto   
Years Experience: 3 years experience   

Workman Arts Project of Ontario is a multi-disciplinary, not-for-profit professional arts company with a mandate to promote greater understanding of mental health and addiction issues through various artistic media, and to support the artistic pursuits of individuals with mental health or addiction issues. WA manages a 300-seat theatre, an art gallery, a fine arts studio, and training programs for its members, and organises the Rendezvous With Madness film festival every November.

Essential Job Functions

1. Provide support to Board of Directors to ensure that the Board is provided with the resources to make effective decisions
Main Activities:
- Maintain confidential records and files
- Maintain records of decisions
- Review and edit reports to the Board
- Prepare correspondence for Board members
- Prepare documents and reports on the computer
- Schedule Board meetings
- Prepare agendas for Board meeting
- Prepare packages for Board meetings
- Attend board meetings
- Record minutes and submit minutes for approval

2. Provide administrative support to ensure that executive operations are maintained in an effective, up to date and accurate manner
Main Activities:
- Type correspondence, reports and other documents
- Maintain office files
- Take minutes at meetings
- Distribute minutes

3. Provide receptionist services
Main Activities:
- Greet and assist visitors
- Answer phones
- Direct calls and respond to inquiries

4. General
- Facilitating mail/couriers
- Manage company database
- Maintain and order office supplies/materials
- Photocopying, filing/archiving, faxing, and coordinating department administrative needs

Perform other related duties as required

Although it will vary from day-to-day, approximately 60% of this positions time is expected to involve the Executive Director and 40% will involve duties delegated by the Managing Director.

As an equal opportunity employer, WA invites applications from all interested individuals.
Hourly pay rate will be commensurate with experience, based on five regular seven-hour days per week.

Application deadline: Monday, May 12th at noon EST
Position starts: May 21 or as soon as possible

Please email, fax, or mail your current resume and cover letter to the attention of Mike Twamley, Managing Director of WA by the deadline. For emails, please put “Administration Assistant Position” in the subject line. When responding, please mention where you saw this posting. We will not consider late applications. No phone calls, please.

Contact by: Email, Fax, Mail
Amount: $28,000   
   
   
Job Contact Information
Mike Twamley
Managing Director
Workman Arts Project of Ontario
1001 Queen St W
Toronto, Ontario M6J 1H4
 
Fax: (416) 583-4354
Email: mike_twamley@camh.net
For more information visit: http://workmanarts.com

Originally from Akimbo jobs feed by akimbo@akimbo.biz

reBlogged by InterAccess to Jobs

“No, it isn’t that type of camp,” I explained to a friend what CopyCamp was in a nutshell: An “unconference for artists about the internet and the challenge to copyright.” She seemed disappointed that I would spend two days in 70s style conference rooms discussing policy and protocol around internet and online projects.

“I wished it was the kind of camp where you sang about a great big moose. Maybe next time…” Maybe next time indeed, mind you I don’t know who holds the rights to that particular campfire diddly.

A week ago I attended CopyCamp 2, hosted by The Creators Rights Alliance and supported by everyone from SOCAN to the Canada Council. The first Copy Camp was held in September 2006. Last year the conference apparently had an air of urgency to it. Everyone could agree that there was a problem. Ever since the DMCA threat, copyright and the rights of artists have been hotly contested. This year many felt we were working towards a solution. Many people felt optimistic and felt there was more common ground, and perhaps more grey areas that would allow artists more wiggle room. Maybe, or maybe not?

I really enjoyed the “speed geek sessions” where presenters spoke to groups for three minutes or so. It set up the day really nicely, and I got really excited about projects like Open Textbooks that could really level the playing field and help educators in more remote locations that can’t afford to renew and rebuy “real” textbooks.The rest of the day consisted of discussion-based information sessions, all of which are quite detailed at CopyCamp’s Wiki. I hope I don’t come across as non open source by sooner directing you there, but I believe if you’re reading this you’re willing to take the initiative to learn more, and let your mind be little stretched, as I’m about to.

Canadian copyright laws are based on authorship, while the United States laws are based on ownership, and this is significantly different, yet we should all be alarmed by how increasingly parallel these laws are becoming. We were threatened by the DMCA as a possibility last November or so, (the post is here ). DMCA was introduced in the United States in 2002. CARP (Copyright Arbitration Royalties Panel) was part of creating this act that added costs that ended up putting many web based streamers offline. Then, there was a loop hole; If artists not protected by the RIAA (Recording Industry Association of America) OR the artist signed a waiver (perhaps signing away moral rights ), the station won’t be charged. Many online broadcasters and college radio stations frantically got as many bands to sign these waivers. There’s more information about what happened at the beginning in the United States here . You might notice this was posted on my Birthday 6 years ago, before I even started Art School.

I enjoyed the conference immensely, and I was so happy to apply and be invited to attend. I attended to gain insight on other people’s practices and how appropriation based practices is generally regarded. I’m an artist working after Sherrie Levine, and still trying to navigate. Who’s Sherrie Levine? Here’s what I’m talking about. By exhibiting the rephotographed work of Walker Evans (American, depression-era photographer) in an art gallery, she quotes the museum-related status of photography, which since the 1970s enthroned documentary and scientific photography as well, and in doing so makes this process visible.

Still, should white sterile gallery walls protect the artist? If they don’t, what will? One response afterwalkerevans.com , uses the internet to engage and proliferate conceptual art. Still, I am increasingly worried that hostility towards this practice exists. The CARFAC session was informative and I look forward to their new guidelines, but I am still horrified by an Anton Piller order. Last year, apparently, there was a lot of tension (to put it politely) between CARFAC, copyright promoters and appropriation artists. I have a position that perhaps is particular to my demographic. Perhaps this made me less vocal during the conference. I am a (relatively young) recent graduate of art school. Appropriation is part of the curriculum. I hesitantly use this term because many have abused it or cited it in a more sinister agenda.

At the conference someone told me that video is not “the same online,” and putting a Lisa Steele (for example) tape online is doing the artwork an injustice. The Images festival did this, however, and Juggling was online for download and dissemination via ipod. While I think context is king, I question the definition of original and the same.

My logic behind this follows a Platonist question. Theseus, king of Athens had a boat that was kept in the harbor as a memorial to his adventures. As the boat became decrepit, its planks, oars and nails were removed one by one and replaced. While the boat remains in the same site, is it still Theseus’ boat? If this analogy is too “Arts and Humanities” for some of the geeks I love that read this blog, teleportation has the same paradox. How certain are you that this boat is in fact the same, or that you are in fact the same after time traveling? And essentially, is this not the paradox art exists in forever? If you believe Lisa Steele’s tapes are not the same on the internet, then why would they be the same after restoration, or transferred onto different formats? Is the Mona Lisa now, after centuries of restoration and stripping away of dirt and pigment, still the same?

Ultimately I fear the discussion around copyright and appropriation is polarized because of this paradox: While there’s no right answer per se, you definitely need to take a side. It’s a huge paradox but it’s one that we have to engage in as distributors and makers of culture. That being said, we have to be sensitive to the materials we use. Reading David McCallum’s editorial in the latest issue of MusicWorks is somewhat reassuring. While potentially preaching to the choir, it confirms that my position as a Relativist should not position me as insensitive, careless or a brazen brat. If I want to stress anything in conclusion, it is ultimately important to continue this discussion through things like CopyCamp or blogs like this one, because even if your position is firm, discussion and clarification of that position is necessary to appreciate it.

“AEE” sent in this interesting musical robot made from recycled and scavenged parts. There is a lot more information on the web site. Be sure to read the “statement” & “background” links to learn more about “Artificial stupidity”.

Jazz trash robot is an experimental sound-producing entity made from
recycled electro-mechanical components. It is a collection of
mechanical sequencers and timers, that can be connected together with
various experimental instruments we have made or altered.

Read more about the Jazz Trash Robot

[Read this article] [Comment on this article]

Originally from MAKE Magazine by Marc de Vinck

reBlogged by InterAccess to Geekery - Audio

–
The Parkdale Beauty Pageant Society presents
10th Annniversary Parkdale Film + Video Showcase ::: June 27-29, 2008

CALL FOR SUBMISSIONS ::: Deadline 30 May 2008
NO SUBMISSION FEES :: ARTIST FEES PAID FOR ALL WORKS SCREENED

The 10th Anniversary Parkdale Film + Video Showcase
(formerly REHAB…after 10 years we are completely REHABilitated!)

seeks new, vintage or under-appreciated short films, videos and installations made by folks living and/or working in Parkdale. Artist fees paid, short works preferred.

[Parkdale defined as south of Dundas, east of Roncesvalles, west of Dufferin and north of the lake.]

All genres and styles considered: animation, experimental film or video, documentary, personal diaries, narratives, music videos. First timers and emerging makers strongly encouraged!

Events in 2008 include day and evening screenings at multiple neighbourhood venues  and outdoor family screenings in the Fuller Avenue Parkette. All screenings are pay what you can!

NEW programming for 2008!
Send us your proposals for:
REside: in-house projection installations for homes on Fuller Avenue
REwind: home movie screenings from the vaults of Parkdale - bring your own home movies!
RElearn: daytime film and video workshops for children and youth

Previews can be submitted to one of 3 drop off boxes:

The Film Buff Video Shop (73 Roncesvalles Avenue just North of Queen)
7-24 Movies and More (1530 Queen Street West at Fuller)
The Gladstone Hotel (1214 Queen Street West)

Submissions should include a VHS preview tape or DVD and a completed submission form.

Submit your submission form online!

(or print it out and include with your preview materials)
http://www.rehabfilms.ca

If you are unable to access the online form include the following with your VHS/DVD preview: contact info (telephone, address, email), a short synopsis, project completion date, running time, production and screening format (16mm, 8mm, Beta SP, VHS, DVD)

Any questions?

please contact us at rehabfilms@gmail.com
The Parkdale Beauty Pageant Society
169 Sorauren Avenue // Toronto // M6R 2E7

XOXO,
The Parkdale Beauty Pageant Society

REHAB 2008 is presented with gracious support from the Ontario Arts Council, an agency of the Government of Ontario.

Urban Screens Melbourne 08
Conference “mobile publics” 3 – 5 October 2008
Multimedia exhibition 3 – 8 October 2008
www.urbanscreens08.net

Deadline for submission (poster presentations): 24. May 2008
Deadline for submission (fim&video/projects): 31. May 2008

********************************************************************

Urban Screens Melbourne 08 is the third, ground-breaking international conference and multimedia exhibition in a series of worldwide events around the redefinition of a growing digital infrastructure of moving images in public space. It will mark the official launch of the International Urban Screens Association and will take place 3.-8. October at Federation Square, Melbourne. Federation Square is a unique cultural and community oriented multimedia precinct, centred around a significant 38m2 public LED screen.

CALL FOR FILM&VIDEO and MULTIMEDIA PROJECTS ********************

The Urban Screens 08 exhibition is looking for Artists, Urban Poets, Filmmakers and Multimedia and Interaction Designers to submit film and videos or multimedia, interactive or participatory screen based projects. A large diverse urban screens infrastructure is available at Federation Square.

Criteria

We are looking for existing and potentially adaptable projects that interrogate screen media as a medium| content and tackle the festival’s key themes of issues of building community and sustainability in relation to water. These two complex themes aim to provoke discussion and spark questions such as: What is community in times of the high-speed, global flows of the new media scape? How can we explore the diversity of water, an element, essential to the existence of life on earth?

For a detailed description of the event and curatorial framework see
www.urbanscreens08.net/art-+-events
For a detailed description of Fed Squares infrastructure see
www.urbanscreens08.net/technical

The projects should preferably employ one or more of the listed existing infrastructure of urban screens of Fed Square and should consider and adapt to the special circumstances of outdoor public spaces, transforming urban spaces to foster dialogue and community engagement. We are looking for:

A) Film and video such as

-    Video art, text art, animation, animated slideshows, or fictional advertisements and community information (under 3 min.)
-    Silent works especially for the joint broadcasting or daily screenings in-between (under 3 min.)
-    Short experimental films, documentary and journalistic content (under 15 min.)
-    Small curated programs of the mentioned type of works

B) Interactive, performance based or participatory projects such as

-    Interactive software applications for urban screens
-    Participatory community projects using creative digital practices
-    Live media art merging performance and new media
-    Community displays for education and exchange
-    Virtual/real world hybrid projects using streaming content
-    Real-time generated content
-    Screen related sound experiments
-    Digital storytelling projects
-    Mobile games using urban space as social and educative playground
-    Connecting mobile culture of locative media with urban screens

CALL FOR POSTERS ********************

To bridge the Conference and the Multimedia Exhibition, we are looking for posters about the latest development of Urban Screens. They will be displayed in a public exhibition in the Atrium next to the conference venue.

Conference will be encouraged to get in exchange with the authors during the breaks. Eight submissions will be additionally shown in an experimental presentation on the four outdoor I-sites around Federation Square.

These are equiped with an integrated screen, which offer the possibility to present remotely via scheduled skype sessions, while the audience gathers in group around them.

Criteria

Posters are aimed at presenting the latest development in this interdisciplinary field of Urban Screens. Posters are ideal for presenting speculative, late-breaking results of ongoing research projects, drawin important conclusions from practical experiments, for giving an introduction to innovative art works or new practical design applications, reports on cutting edge technologies and content management systems under development.

Posters will be reviewed by the Poster Committee, soon to be announced.
Authors of accepted submissions must provide a one or two page summary for publication in the conference proceedings. Selected submissions willalso be published on-line on the International Urban Screens Association website.

APPLICATION AND DETAILED CALL ********************

Please have a look at the detailed calls and the official online
forms forapplication,  available at:
http://www.urbanscreens08.net/callforprojects

CONTACT

exhibition@urbanscreens.net
(please use the subject “USM08 - question concerning the CALL”)

MAJOR EXHIBITION SPONSORS

International Urban Screens Association - www.urbanscreens.net
Fed Square Pty Ltd - www.federationsquare.com
Barco ‘visibly yours’ - www.barco.com
Circus - www.circusexp.com
Pinnacle ‘Production Services’ - www.pinnacleps.com.

Open Studio THIS TUESDAY!
May 6th, 7-9pm
Does anyone have sangria or gazpacho recipes they’d like to share for the summer? Daniel will be making lead-free crepes. Come hang out in the IA studio, talk shop and ear crepes, apparently…For more info about Open Studios, please contact daniel@ringer.ca

Lightweight
May 30- June 21, 2008
Opening reception, Friday, May 30, 7pm

An adjunct exhibition with the Subtle Technologies Festival, InterAccess is pleased to present Lightweight, an exhibition featuring Toronto artists Marcia Huyer and Tomasz Smereka. Interpreting this year’s Subtle Technologies Festival theme ‘light’ as in levity, this playful exhibition features Huyer’s immersive inflated Tyvek structures, and Smereka’s whimsical and haunting ‘fan in bag’ sculptures.  For more information, please check out www.interaccess.org soon!

float/fly
Niknaz Tavakolian

May 9- 18, 2008

Opening Reception Friday, May 9, 2008, 7pm onwards

InterAccess Electronic Media Arts Centre

9 Ossington Avenue
Hours: Mon-Sunday, 12-6pm
In conjunction with the Inside Out Toronto Lesbian and Gay Film Festival, float/fly is a multi-media interactive space of liminality–of being in between. York University MFA candidate Tavakolian presents her thesis work for the first time in completion