Hrvatski Filmski Savez, Zagreb Crotia

North-South-East-West at Hrvatski Filmski Savez Cinema Tuskanac, Zagreb Crotia, 2005.

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North-South-East-West the video was exhibited at the Hrvatski Filmski Savez, Cinema Tuskanac, Zagreb Crotia in a retrospective of Aboriginal filmmakers entitled Aboriginal Kaleidoscope III in October 2005. Aboriginal Kaleidoscope series was organized over a period of seven years by Zoran Dragelj and Nenad Mersnik.

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Zoran Dragelj (June 30, 1975, Split, SR Croatia, SFR Yugoslavia) is an award winning independent videographer from Vancouver, British Columbia. A graduate from the Emily Carr Institute of Art and Design (ECIAD),  Zoran’s  works include When You Get Old, Fast,  and Moving Plates.  ZeD TV (CBC) aired Moving Plates in 2004 and Fast in January 2006. In 1998, Zoran created Aboriginal Kaleidoscope, a First Nations Film and Video Retrospective, which showed at several international film and video festivals.

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Croatian Film Clubs’ Association was founded in 1963 as the Croatian Cinema Association and operates as part of the Croatian Technical Culture, and since 1992 a member of the international organization of non (UNICA).

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Croatian Film Association coordinates and supports the work of clubs and associations, supports the film and Video Production, collects and processes the collection of film and video works, issued by film magazines and books about the film, co-organizes courses and workshops for children and adults and the School of Media Culture, encourages and provides professional assistance the realization of media education (especially in primary and secondary schools), organized by the state shows and festivals of amateur film (Review of Croatian film making children, youth Film Festival and Four River Film Festival, Review of Croatian film making and Croatia show one-minute film) and distributed and shows film classics program (within the Tuškanac cinema).

Croatian Film Association has since 1974 own film and video archive in which he stored 580 movie titles and 3,000 video works created in the period from 1928 to 1998.

Since 2000, the Alliance also acts as a producer of professional films, focusing on short experimental and documentary. Independently or in cooperation with other producers, have realized more than ninety films, many of which were shown and awarded at home and abroad. In the Days of Croatian Film 2002 Croatian Film Association was declared the best Croatian producer of short films in the past year. The film Letter to My Father by Damir Čučić produced by the Croatian Film Association is the absolute winner of the Film Festival in Pula in 2012 with a haul of five Golden Arenas including the Arena for the best film.

Taiwan Indigenous Peoples Culture Park

North-South-East-West at Taiwan Indigenous Peoples Culture Park, Ping Dong 2005.

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The North-South-East-West Video Installation with Metis storyteller Graham Thompson was exhibited at the Taiwan Indigenous Peoples Culture Park in Ping Dong Taiwan in March 2005.

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The Indigenous Peoples in Taiwan

The indigenous peoples in Taiwan refer to the inhabitants who had been living on the islands before major Han Chinese immigration began in the 17th century. Culturally and linguistically, they belong to the Austronesian group. The Austronesian peoples, covering the most inclusive peoples in the world with the majority in Southeast Asia, originates from Taiwan in the north, extends to Easter Islands in South America in the east, and reaches Madagascar in the eastern coast of Africa in the west. The common characteristics to the Austronesian peoples are building houses on stilts to protect against damp, insects, and snakes; adopting slash-and-burn farming style; keen on chewing betel nuts, good at bamboo and rattan weaving; relying on hunting and fishing; and among others.

Taiwan is located in the very north point of the distribution of the Austronesian people and has been maintaining close contacts with the Austronesian peoples in the nearby South Pacific Islands for the last hundred thousand years. The various archaeological evidences suggest that Taiwan should be the origin of the distribution of the Austronesian peoples thousands years ago and should have played a critical geographical location as the origin of Ancient Austronesian peoples and in the process of migration to the South Pacific Islands.

The Origins of the Indigenous Peoples in Taiwan

It is currently said that there are two approaches to explain the origin of the Indigenous Peoples in Taiwan. One advocates that the origin of the indigenous peoples is located outside of Taiwan; the other one discerns that Taiwan is the ancient origin of the Austronesian peoples. The former theory is commonly popular and scholars testify in terms of languages, archaeology, literature review, folklore legends to conclude that the origin of the indigenous peoples should be the southeast coast of China. Scholars even predict the plausible era when the indigenous peoples migrated to Taiwan. For example, Saisiyat and Atayal must have immigrated to Taiwan around 3000 B.C. during the Paleolithic Age. Paiwan and Puyuma must have immigrated to Taiwan during the prime time of Southeast Asia Rock Age. The latter approach indicating that Taiwan is the origin of Austronesian peoples is a newer theory, a research result of many linguists.

Taipei National University of the Arts

North-South-East-West at Taipei Nat’l University of Arts, Taiwan 2005.

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The North-South-East-West Video Installation with Metis storyteller Graham Thompson was exhibited at the Taipei National University of the Arts in Taipei Taiwan in March 2005.

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The National Institute of the Arts

The National Institute of the Arts was founded in 1982 as an institute of higher learning for the arts. The institute was housed in Luzhou, Taipei County (now New Taipei City), from 1985 until its move in 1991 to its permanent campus in Kuandu, Taipei City. The buildings are designed in a neo-Chinese classical style and house state-of-the-art technology. The Institute was renamed Taipei National University of the Arts in 2001. Aside from the colleges and departments, the university houses the state-of-the-art Music Hall, the Performing Arts Center, including a theater hall and a dance recital hall, the Kuandu Museum of Fine Arts, a library, an Olympic-size swimming pool, the Center for the Study of Traditional Arts, a computer center, and the Center for the Study of Art and Technology.

Festivals organized by TNUA or using its campus include the Guandu Arts Festival and the Guandu Flower Festival (Guandu Flower Art Festival).

Kindred Spirit Mag, Darlington England

Survival, Wisdom and Indigenous Digital Culture in Kindred Spirit Magazine, Darlington England, 2005.

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Thompson’s article Survival, Wisdom and Indigenous Digital Culture was featured in the Kindred Spirit Magazine of Darlington England in its September/October 2005 issue. See the reprint below.

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Kindred Spirit Magazine of Darlington England

Kindred Spirit has been the UK’s go-to guide to spiritual and compassionate living for over 25 years. It combines ancient wisdom with practical advice from contemporary teachers and authors. The magazine showcases new healing modalities, shares insightful interviews with the leading lights of the  Mind, Body & Spirit world, and reports investigations and the latest discoveries in the field of spirituality, well-being and the inner workings of the human mind. KS is a source of information, inspiration and contemplation.

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Kindred Spirit was founded in 1987 by Richard Beaumont and Patricia Yates, following the inspiration of ‘The Harmonic Convergence’ in which thousands of spiritual seekers gathered at sacred sites throughout the world. Seeing so many different people and spiritual paths, yet sensing a common direction of deep respect for natural wisdom and a yearning for higher truth, Patricia and Richard created Kindred Spirit to offer a platform to serve such wisdom and higher truths. While the founders have now moved onto different paths and projects, the magazine keeps their wonderful vision alive.

Since the very first issue published in November 1987 the magazine has featured all kinds of discoveries, whether they be in the field of spirituality or physical health and well-being or revelations concerning the inner workings of the human mind. New and progressive forms of complementary healthcare such as Zero Balancing and Holographic Re-patterning appear in Kindred Spirit next to articles on angels and the latest explanation of the workings of Stonehenge. We featured ground-breaking stories such as the inner temple of Damanhur, the psychic surgery of John of God, and the link between our genetic conditioning and the I-Ching – years before such news hits the mainstream publications.

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Since summer 2014 Kindred Spirit has become part of Watkins Books, London’s oldest and largest esoteric bookshop founded in 1893 by John Watkins. Kindred Spirit continues to offer a variety of wisdoms, investigations and windows into the huge remit that comes under the title of Mind, Body and Spirit. We are here to put forward some of the alternatives, in line with a natural wisdom that elevates us all.

Int’l Conf of Creative Design, Aboriginal Culture

North-South-East-West at Creative Design Conference  Taiwan, December 2005.

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Thompson presented North-South-East-West at the An International Conference on
The Exchange of the Cultural Creative Design of International Indigenous Peoples at the  Chung Yuan Christian University of Chung Li District Taoyuan City  Taiwan, December 2005.

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The North-South-East-West interface ( http://medicine-wheel.co ) illustrates Canada’s ancient past, its present day mass media culture, and its technological future. The piece is inspired by the meaning of the four sacred directions as taught by the Anishinabe Peoples of North America. The Ancient Medicine Wheel and its four directions help us to see where we are and in which areas we need to develop. 24 modern computer generated animations offered by the interface provide an alternate tomorrow that is connected closer to the earth.

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From the Web site http://medicine-wheel.co, visitors load the interface. The interface scales to fill any size of monitor screen, Since it uses scalable vector graphics, the animations are played at the highest resolution, The initial map sequence shows southern Ontario, the industrial heart land of Canada,  A land with a past, a present and future.

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The Past Symbolized by Rolling Horizon

The prominent symbols are based on rock carvings from the Canadian Shield. Actionscript programming techniques move the visitor forward in time through a rolling horizon.

Future as an Off-Planet Colony

Looking into our future, at a world whose natural resources have been depleted, Man ventures forth into the universe.

Present Day as Mediterranean Satellite Dishes

Global communications provide car chases, a constant rhythm of violence, and an environment saturated with electromagnet transmissions. Looking through the portal of a computer display we see the blue Mediterranean sky.

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International Conference of the Creative Design

Digital media professor Walis Diing-Wuu Wu of the Chung Yuan Christian University of Chung Li District Taoyuan City organized the the International Conference of the Creative Design Exchange of Aboriginal Culture in December 2005.

Professor Walis Labai (Diing-Wuu Wu)

Professor Walis Labai (Diing-Wuu Wu) whose academic specialties include Digital Culture Studies, Media Art Creation, Communication Design,  Indigenous Culture and Arts,  Fashion Design, and Digital Media Design. Walis Labai is presently the Chairman of the Chung Yuan University, College of Design.

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The Department of Commercial Design

The Department of Commercial Design at Chung Yuan Christian University was founded in 1984, as an academic unit under the College of Business. In 1992, the university established the College of Design which was the first of its kind in the nation. The college now consists of Departments of Commercial Design, Architecture, and Interior Design, and Landscape Architecture. In 1999, the Department began to offer Master Degree Programs, including a Master Degree Program for Working Professionals. The curriculum comprises of four core areas: design, humanities, technology and marketing. The objective of both undergraduate and master degree programs is to nurture students becoming strategic thinking and problem-solving design professionals.

Taiwan’s Indigenous Peoples

Tsai Ing-wen (蔡英文) won the Presidential election of Taiwan on January 16, 2016 by a large margin, earning 56.1% of the votes versus 31.0% for the runner up, Eric Chu (朱立倫). The election results signaled a turning point in Taiwan’s democracy, with the Democratic Progressive Party winning a majority of the seats in the Legislative Yuan (the lawmaking body) as well.  Tsai accepted the “will of the Taiwanese people” as a sign that citizens wanted a significant change from former failed policies and unfulfilled promises.

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Tsai Ing-wen (born 31 August 1956) is a Taiwanese politician currently serving as the President of the Republic of China, commonly referred to as Taiwan. Tsai is the second president from Democratic Progressive Party (DPP). Tsai is also the first woman elected to the office.[1] She is also the first president to be of Hakka and aboriginal descent (a quarter Paiwan from her grandmother), [2] the first unmarried president, the first to have never held an elected executive post before presidency, and the first to be popularly elected without having previously served as the Mayor of Taipei. She is the incumbent chairperson of the Democratic Progressive Party (DPP), and was the party’s presidential candidate in the 2012 and 2016 presidential elections. Tsai previously served as party chair from 2008 to 2012.

Soon after her inaugration on May 20, 2016, the President’s administration quickly declared a commitment to transtitional justice. Their plan included setting up a transitional justice commission for abuses against citizens during the Martial Law era and a commission for abuses against Taiwan’s Indigenous citizens.

The Formal Apology to Taiwan’s Indigenous Peoples

When the President announced she would make a formal apology to Indigenous Peoples on behalf of the government, some were surprised and hopeful, but many were apprehensive and doubtful that it would lead to much change. Doubters referenced the Indigenous Peoples Basic Law, established on February 5, 2005 during the Chen Shui-bian administration, claiming that it did not adequately protect their rights, especially when their traditional practices conflicted with Taiwan’s laws. Pessimism among Indigenous people also came from promises made by former President Chen, which did not materialize.

Leading up to the formal apology, Indigenous leaders and protestors expressed their hopes to see improvements in a variety of issues, such as land rights, hunting rights, and tribal autonomy. There was concern that various Indigenous groups would fight over limited resources offered for reconciliation, especially if the government includes the Pingpu (lowland) tribes, which are not officially-recognized. There was concern that the new policies would be made without direct consultation with Indigenous Peoples and communities. Most took a wait-and-see approach, and wanted to see policies that would be meaningful and enforceable. They wanted to commission to be able to have the legal power to investigate past abuses. A professor at National Dong Hwa University reminded indigenous people that the seeking of truth and justice would be complicated, as this was “a crime with no perpetrators, and no beneficiaries – but only victims.”

The formal apology to c took place on the hot, sunny morning of August 1, 2016, which the President’s Cabinet officially declared as the national Indigenous People’s Day. Indigenous leaders from every recognized Taiwanese tribe dressed in traditional outfits and regalia entered the front entrance, greeted by the President. After the doors closed, protesters, consisting of activists who had walked for hundreds of kilometers from their home villages, and had been occupying the street in front of the presidential palace since the previous night, rushed towards the entrance, wanting to be heard. They were held at bay by a police with riot shields, and no one was hurt.

The president’s speech surprised many for being both substantial and specific.  The acknowledgment of  responsibility was clear and direct.

Brampton Indie Arts Festival Medicine Wheel

North-South-East-West at Brampton Indie Arts Festival, Toronto Canada, February 2004.

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North-South-East-West was exhibited at Brampton Indie Arts Festival 2004, February 2004.

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The Brampton Indie Arts Festival

The Brampton Indie Arts Festival was created by local musician Richard Marsella in 2000-2007, and restarting in 2011. It was conceived as an annual event to promote underground artists such as musicians, filmmakers, dancers and visual artists. Although focusing on experimental and underground artists, the festival enjoyed sponsorship and support from a number of organizations including the City of Brampton. Mayor Susan Fennell has been on hand for opening nights to give her blessing to the festival.

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The original location of the Brampton Indie Arts Festival was the historic Heritage Theatre in downtown Brampton; with the construction of the new Rose Theatre and subsequent closing of the Heritage, the BIAF was moved to the Rose in 2006. 2007 was the first year without Marsalla at the helm, and the last year of the festival. Insiders have speculated that the new location was simply too big to fill, and the festival was doomed when it lost the intimate feel of the Heritage.

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Graham Thompson and Josh “Dikki III” Lima of the Shaved Asians

The annual event attracted artists both native to the Brampton area and remote, such as Nash the Slash, The Nihilist Spasm Band, Ron Sexsmith, Cuff the Duke, Bob Wiseman, John Oswald, Moneen, Scott Thompson, and Hayden. It also featured experimental arts and short films. A typical night at the festival could include bands, spoken word, art projects, prank calls, puppetry, film and special events such as the Börje Salming Hockey Cup or the Fifty Greatest Beards. All festivals from 2001 have been hosted by Curtains, the puppet MC, with guest host Scott Thompson making occasional appearances.

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Brampton Indie Arts Festival 2004 Musicians

Bob Wiseman, Girl + the Machine, Child at Zoo, Escalate, Kevin Brow Quartet, Hayden, The Quadriplegic twelve, Jeff Straker, sitar player Anwar Khurshid, Maso Trio, Friendly Rich, The Vulcan Dub Squad, Paddington, The Shaved Asians, Five Blank Pages, Matthew Boughner, Nihilist Spasm Band

Brampton Indie Arts Festival 2004 Visual and Multimedia Artists

Graham Thompson, Sonia Birk, Mary Rocque, Graham Pavey, Claudine Perrott, Hannah Jickling, Ryan Hughes, Beatrice EkwaEkoko, €Simon Mohos, Jason Reeves, Matthew Daley, Debbie O-Rourke, Tracy Terry, The Art of the Shaved Asians, Melissa Marr, Katherine McKellar, Adam Earle and Dave Anastasio, Lois Siegel, Michael Brown, Christine Douville, Darren Fernando, Laura Vegys, Ben Pinkney, The Brampton Comic Jam

The Lollipop People @ Lula Lounge - Toronto - Feb 16 2006

Richard Marsella

Friendly Rich, born Richard Marsella, is a Canadian vanguard music composer/musician from Brampton, Ontario. His music has been featured on CBC and The Tom Green Show.

Rich has composed background music for three seasons of MTV’s The Tom Green Show. Since 1994, he has recorded exclusively for his own eclectic record label, The Pumpkin Pie Corporation. Rich has a Masters degree in music at the University of Toronto under the supervision of Dr. Lee Bartel and composer R. Murray Schafer. His main areas of study include musical instrument construction and parade pedagogy.

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Friendly Rich has produced and composed nine full-length CDs, which have been featured on CBC Radio One (five documentaries for Outfront), CBC Radio 2 (continuous airplay on Brave New Waves), TFO (VOLT) and Muchmusic (Muchnews, BradTV).

Friendly Rich is the founder and director of the Brampton Indie Arts Festival, an annual event which promotes underground artists, held in February at the Rose Theatre in downtown Brampton. Since 2000, this event has attracted such artists as Nash the Slash, The Nihilist Spasm Band, Ron Sexsmith, Cuff the Duke, Bob Wiseman, John Oswald, Moneen, Scott Thompson, and Hayden.

Friendly Rich and his live ensemble The Lollipop People signed a deal with Hazelwood Records (Germany) to release two albums in Europe. They have since toured Europe 3 times in the last three years, and have released three records in Europe to date (We Need a New F-Word, Dinosaur Power and Sacred Prune of Remembrance).

Film and television credits

  • 1994 to 1996 – Composer for children’s TV series “The King Stanlislav Show” (Russia)
  • 1998 to 2001- Background music for MTV’s “The Tom Green Show”
  • 2005 – 3 pieces used in Thom Fitzgerald’s 3 Needles (director’s cut) starring Lucy Liu.
  • 2006 – Old Trout Puppet Workshop short film (featuring The Lollipop People).

External links

Int’l Fest of Touristic, Eco and Sport Films of Serbia

North-South-East-West wins Award from Int’l Film Festival of Serbia, September 2004.

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North-South-East-West the video, also known as The First Sunrise won The Special Award of the Festival from MEFEST, the 12th International Festival of Touristic, Ecological and Sport Films held from September 23-26, 2004 in Zlatibor Serbia.

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The First Sunrise

The First Sunrise was inspired by the meaning of the east, as taught by the Anishinaabe Peoples of North America. This video seeks to express the beauty, power and mystery of the east. As it is from the east that we witness the sunrise, the start of a new day and symbolically the birth of man and our universe.

The First Sunrise is apart of the “North-South-East-West” new media series. The series involves the use of Web sites, CD-ROMs, DVDs, digital video, streaming media and webcasts.

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MEFEST

For 16 years MEFEST is depicted over 1,600 films, of which more than 800 from 50 countries. Great recognition for the quality and the unique concept of the program and the professional organization MEFEST received in 1996, when he was admitted to the European association of tourism film festival CIFFT, which is based in Vienna, and since 2007 a member of the newly formed association ITCO, the European Federation of Tourist Press , based in Rome.

MEFEST today that our film festival which, in every respect, be proud of Serbian culture and on its open window into the world of new media, culturally refined at the same time and educational. Thanks to the Festival was established in cooperation with other similar festivals in the world, which allows our authors to present their achievements and be recognized outside our country. In addition to the film program, the festival traditionally organized presentation of current topics that are related to tourism, ecology, cooking and sports.

 

 

Int’l Digital Art Awards of Melbourne Australia

North-South-East-West wins 1st Place Digital Art Award Australia, February 2004.

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North-South-East-West  wins the First Place Major New Media Award at the International Digital Art Awards of Melbourne Australia,  February 2004.

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International Digital Art Awards, Founded by Steve Danzig

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Steve Danzig IDAA & IDA projects History

This project began in New York 1999 where I was researching graphical interface protocol for online networks. During this time, I met Laurence Gartel who had worked at the Experimental Television Centre (E.T.C.) in New York with Nam June Paik researching early video paintbox systems in the mid 1970’s. Gartel and I discussed the idea of digital art and how we could create and merge virtual and physical exhibition environments whilst building an online portal and resource for digital art.

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So I set about designing a framework for new connections in the fields of academia, emerging technologies and professional art practice via the World Wide Web officially launching the original project name of International Digital Art Awards (IDAA). We were not the first to exhibit online, however we were the first to set up infrastructure for both virtual and physical exhibitions that were supported by traditional programming frameworks. This saw the foundation of the first lDAA exhibition committee to facilitate in the selecting of work via an online review process. In hindsight the early years were in part about how we engaged new thinking models around technology, digital aesthetics, memetics and cyber-culture over and above any deliberate act of presenting an exhibition of digital art. It was about how anv infrastructure could be set up to coexist and maintain professional standards in display, and documentation whilst providing an avenue for cross cultural exchange in a virtual and physical space. As we were part of a “new” emerging digital time line, it was important that our programming was inclusive of the early digital forms (generative, fractal, paintbox and video). We included early pioneers such as Jean Pierre Herbet, Manfred Mohr, David Em and Laurence Gartel to mention just a few to sit alongside emerging artists. This provided an important platform to open a dialogue about metadata, how it related to mass media and culture as a comparative document to new technologies and the digital aesthetic. It wasn’t until 2005 that we included a full program of new media and time based art. This was partly predicated by the institutions we were working with and what technologies were available. This meant there were significant design concessions to tailor our exhibitions to suit small, medium and large spaces.

New Media winners

1st place: Graham Thompson
/ NORTH-SOUTH-EAST-WEST
<http://medicine-wheel.co>
PRIZE: Macromedia Studio; MX 2004

2nd place: zsd
/ untitled
PRIZE: Macromedia Director; MX 2004

3rd place: Miah Morshed & Soma Ray
/ Gravity
<http://www.projectmiso.com/artwork/gravity.html>
PRIZE: Macromedia Flash; MX 2004

Still Image winners

1st place: Anne Maree Taranto (Australia)
AMT
PRIZE: Minolta A1 digital camera; Canto Software; Best Software; Desktop magazine; IDAA exhibition; Dimi subscription

2nd place: Jiri David
/ ANAN /Blair /Bush /Chirac
PRIZES: Minolta F300 digital camera; Desktop magazine; IDAA exhibition; Dimi subscription

3rd place: Sabrina Raaf
/ Never Alone
PRIZES: Minolta F200 digital camera; Terry’s Toffees (as selected
by Terry); Desktop magazine; IDAA exhibition; Dimi subscription

4th place: Ray Caesar
/ Companion
PRIZES: Desktop magazine; IDAA exhibition; Dimi subscription

5th place: Magdalena Kourti
/ Birth of Wave
PRIZES: ADOBE Creative Suite (Adobe Achievement Award); Desktop magazine; IDAA exhibition; Dimi subscription

6th place: Reinhardt Sobye
/ 1961
PRIZES: Desktop magazine; IDAA exhibition; Dimi subscription

7th place: Leah King-Smith (Australia)
/ Look Up
PRIZES: Desktop magazine; IDAA exhibition; Dimi subscription

8th place: Richard Wazejewski
/ Opus Pocus I, II & III
PRIZES: Desktop magazine; IDAA exhibition; Dimi subscription

9th place: Ian Gwilt (Australia)
/ Storage Space
PRIZES: Desktop magazine; IDAA exhibition; Dimi subscription

10th place: Ricardo Báez-Duarte
/ H
PRIZES: Desktop magazine; IDAA exhibition; Dimi subscription

Juror’s Statements

JOHN ANTIONE LABADIE,
Associate Professor of Art, Director, Digital Academy
University of North Carolina Pembroke

In the three years I have served a a juror for the IDAA the quality of the    online submissions has risen steadily each year. Let me qualify this statement:    not only has the digital-technical proficiency evidenced by the IDAA entrants    observably increased with each iteration of this worldwide exhibition, the    originality of the pieces submitted for jurying has also soared to new heights    and dimensions. IMHO the 2004 IDAA exhibition represents the very best to    be seen in contemporary digital fine arts across a wide range of genre in    both still and time-based media. The 2004 IDAA is a “must see” exhibition    for all those who seek to understand what happens when talented people choose    digital tools to as a primary means to make their art.

LAURANCE GARTEL,
PRINCIPAL  JUROR/DIGITAL PIONEER, LAURENCE GARTEL AWARD FOR DIGITAL EXCELLENCE

The winning imagists have translated the digital process into a hyper elevated
medium. The words “ULTRA KOOL” seem to fall of the tip of my tongue.    And what
a delicacy it is indeed. It seems that our post 9/11 society has felt so much    that
our outer skin is teflon: The images unstoppable. They have felt so much that    the
emotional impact these images give off cannot be “penentratable.”    The beauty here
is that whether it be an abstract image by Nick Karlovich, to the surrealistic    image
of Ray Caesar, these images show perfection. As I wrestled with Sabrina Raaf’s
bathroom pictures looking for “something wrong with her picture”    I just couldn’t
find it! All made perfect sense, in a perfect world. The “cherry on the    sundae” for
me was Juri David’s portraits. WHY in any other moment of time, would anyone
care about a picture of a president in such disdain? It is a brilliant execution    to see
the man we love to hate. “Globalness” and “Americanizing the    World” brings back
nightmare’s of George Orwell’s 1984. Ian Gwilt’s image “Pool Elevate”    summarizes
the entries of the IDAA and that state of affairs, at least from a public    relations
point of view. – “We live in a perfect world.”

While I expected to see artists fighting back with anger and hostility due    to our
global economy, instead we see resilience and courage. It is a great surprise    and
tribute to all contributors to this years IDAA, stating, that “no body    is going down
without a fight.” That artists will continue to make real art through    hard political
and economic times. John Vucic-Wolfpup’s apocalyptic ending “Desire is    Suffering”
is one of the few works that follows my own world sensibilities to which I    would
expect others to share. However Wolfpup’s cool colors, illustrate our defiance.
In summary, this year’s IDAA announces to the world, that the digital genre    is
more than thriving, and that the medium can make humane statements above and    beyond
all art forms.

I salute all those that have participated in the creative process, the selection,    and
for those that gave their spirit in the struggle to be heard.

TOM CHAMBERS,
CO DIRECTOR IDAA NEW MEDIA

TomChambers.com

IDAA PRINT:
“A    sweeping view of this year’s IDAA reveals mainly a figurative approach concomitant    with photo-based and manipulative expression as a part of the digital medium    that rivals the same in other media. Abstraction and Abstract Expressionism    are alive and well within various works that also rival these movements in    other media. As an overview, the exhibition confirms that the digital medium    is indeed “Fine” as it relates to the Arts and in some instances,    surpasses other media according to the ability of the creator. In the hands    of a “Master” and evidently seen in many of the works as a part    of this IDAA, the digital medium is playing a viable and vital role in redefining  and/or expanding the artist’s tools for self-expression. As the view is narrowed or focused per work, a great deal of evocation or imaginative re-creation is felt. This is due to the multifaceted nature of the digital medium and how its diverseness is interpreted and utilized. The IDAA 2004 is all of this and possibly more.“

IDAA    NEW MEDIA:
“From Joaquin Baron Herranz’s ‘How To Make  A Possible Perfect Christmas Tree’ to Graham Thompson’s ‘North-South-East-West’, the New Media section of the IDAA 2004 comprises a good range of movement/sequential-art, which sometimes require participation to move the meaning along. Videos via QuickTime, Flash and series of Web pages project the artists’ concepts at a level of expression that equate with installation/experimental art in real space. The New Media entries this year go beyond mere technical wizardry to move towards a level of evocation that can be called Fine Art.”

VICKI McCONVILLE,
Visual Artist, Board of Directors, NAVA (National Association for the Visual Arts) Australia

As an Artist and as a Juror, it has been inspirational to see the development    of the International Digital Art Award over the past three years. The quality    and depth of the work submitted, not to mention the volume of work submitted, has increased immeasurably.

The 2004 IDAA indicates a shift in style and direction and I am pleased to    see the exceptional work being produced in both contemporary digital printmaking    as well as the inclusion of new media works. Congratulations to
all of our exhibitors in the 2004 IDAA.

WAYNE J COSSHALL,
Assistant Director IDAA/CO-Director New Media, Editor,Writer, Co-Founder Digital Art Association Australia

The 2004 IDAA represents a significant stage in the IDAA’s development. Firstly,    the incorporation of a good body of work in the IDAA New Media section nicely    compliments and contrasts with the IDAA Still Image section. Since contemporary   digital art practice covers both areas, it not only makes the IDAA a more  representational living documentation of the state of digital art practice    in 2004, but also allows viewers to make their own, interesting connections    between the two. The IDAA Still Image section raises the quality bar yet again    and is the strongest IDAA yet from a fine art perspective. It heartens me    that, yet again, all areas of digital still image art practice are represented    and you will find examples of the best digital art in each category and style. It shows that no one area of digital practice, such as 3D, has become the  dominant voice of digital still image. This diversity of approach is the strength    of digital art practice and provides a rich ground for cross-fertilization    and the continuing development of digital art. My thanks to everyone who entered    and my congratulations to everyone accepted to the list of finalists. You    can rightly feel that your work has been judged against some of the best digital    art internationally, and been found comparable.
Wayne J. Cosshall, Assistant Director, IDAA

Digital Giraffe California, Site of the Month

North-South-East-West at Digital Giraffe of California, January 2004.

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Thompson’s North-South-East-West  was Site of the Month at the technology web site the Digital Giraffe of California in January 2004.

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The Digital Giraffe

Corinne Whitaker founder of the Digital Giraffe in 1994, an online monthly art journal, is an American artist who works in digital imaging and digital sculpture.  Her work has been exhibited at the Biennale International Art Exhibition in Florence Italy, Austin Museum of Digital Art,  the Ansel Adams Center in San Francisco, the Peninsula Museum of Art in Burlingame,  the United States Biennale in New York City, the Evolve the Gallery in Sacramento, California,  the New York Digital Salon/Visual Arts Museum, the Centre for Photography as an Art-Form Bombay India,  the Atelier Nord Electronic Gallery Norway, the Cyberkind Electronic Journal, the Brandstater Gallery Riverside California, the Lightfantastic Gallery Michigan State University, the Institute for Design and Experimental Art Sacramento, the Museum of Art California, the Kansas City Art Institute Missouri, the Festival Internazionale di Computer Art Riccione Italy, and the John Michael Kohler Art Center Gallery,Wisconsin.

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“Creating 3 dimensional forms electronically has been a holy grail for artists since Macintosh recreated the desktop in 1984. Parallel processing, multi-tasking, faster clock speeds and ever more powerful computers have finally brought us within reach of that goal. As is often the case, artists had to wait for technology to catch up with their visions.” … Corinne Whitaker

Trinity Square Video, Toronto

North-South-East-West at Trinity Square Video, Toronto Canada, October 2004.

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The North-South-East-West , inspired by the traditional knowledge of the Anishinaabe People, was presented by Trinity Square Video from October 2 – 31, 2004 in conjunction with the ImagineNative Film + Media Arts Festival of Toronto from Oct 21-23, 2004.

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Aboriginal Traditional Knowledge by Aubrey Reeves, Programming Director
Trinity Square Video

Inspired by the four sacred directions, as taught by the Anishinaabe peoples of North America, Thompson’s North-South-East-West video installation is concerned with enhancing our emotional connection to the earth through the use of digital technology. Thompson states that his “desired effect of providing ancient stories in the context of a modern technological environment was an effort to show the relevance of aboriginal traditional knowledge to our contemporary society. By popularizing the ancient themes 1 am hoping to re-frame our modern “Canadian” experience as part of a much older Aboriginal culture that has been here in North America for thousands of years, and to offer the “old ways” as a contemporary solution for modern humans to reconnect to the earth and find peace with their environment.”

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Thompson does not see ancient culture and digital culture as necessarily at odds, but two worlds that can be positively fused. Like any other artist working in new media, ‘Thompson’s artistic choices are informed by technological parameters. For instance, he is limited by the “software/hardware involved in presenting text, images, sound or video on internet display devices – such as flat screen monitors or traditional video displays  that try to satisfy user desire for scaleable fonts, quick scannable text, speedy delivery and simplicity of design.”

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Yet at the same time, Thompson allows traditional knowledge to shape his approach to technology. Using multiple television screens, projected video images and an interactive Flash CD-ROM, Thompson transforms the gallery into a meditative atmosphere where we float from one vision to another on our collective journey. This format is configured based on two Aboriginal traditions, that of the Sweat Lodge Ceremony and the Healing Circle Ceremony. He translates the experiences and themes from these ceremonies into the format of new media, thus making it more accessible to a potential audience who is unfamiliar with Anishinaabe traditions.

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Thompson explains his adaptation of traditional ceremonies to new media as such: “By also thinking of these two ceremonies as points of reference for the new media installation in general, multiple monitors and computers were used in an effort to recreate the hypnotic environment of sweat or the immersive interpersonal space of the healing circle. The use of repetition of audio-visual themes on overlapping displays allows for the creation of an audio-visual space that engages the audience in a complex environment of sounds and images – in order to provoke a feeling of belongingness and inclusion, and a feeling of shared experience.”

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Thompson designed North-South-East-West as “a ceremonial experience that permitted self-reflection and examination of one’s life stages and to explore our spiritual and psychological relations to the earth.” He examines our life cycle in terms of four challenges: the challenge to survive; to find a vision; to find a path; and to learn wisdom. The viewer is carried in a circle from East to North, moving through seasons, personalities and stages of life. Thompson emphasizes that all people, no matter what age, race or culture, “face very similar challenges in life.” It is his aspiration that North-South-East-West can aid viewers on their own paths along the four directions, four seasons and four challenges of life and the installation can eventually help them to arrive at a final place of wisdom, so that ultimately “they may communicate it to others.”

PRESS RELEASE: Ancient Wisdom Meets New Technology

September 28, 2004 ImagineNative Film + Media Arts Festival and Trinity
Square Video (TSV) are proud to co-present the Toronto premiere of Graham
Thompson’s new media installation North-South-East-West at the TSV
Gallery from October 6 – 23, 2004. Inspired by the four sacred directions,as
taught by the Anishinaabe peoples of North America, North-South-East-West
2.0 is concerned with enhancing our emotional connection to the earth
through the use of digital technology.

The artwork consists of a video installation and an interactive CD-ROM Flash
presentation that examines our life cycle in terms of four challenges: the
challenge to survive; to find a vision; to find a path; and to learn wisdom.
In North-South-East-West 2.0, ancient knowledge meets new technology, making
the point that living, itself, is a work of art. The viewer is carried in a
circle from East to North, moving through seasons, personalities, and stages
of life.

Thompson has an optimistic belief in the ability of technology to bring
people together. Trained as a graphic designer, Thompson is also a member of
the Metis Nation of British Columbia. This background has encouraged him to
see ancient wisdom and digital culture as realms that can be positively
fused rather than as two opposing worlds. Using multimedia, he transforms
the gallery into a meditative atmosphere where we float from one vision to
another on our collective journey.

The artist will give a lecture at TSV about his work, the four sacred directions, and the fusion of traditional and digital culture on Friday October 22, at 7 pm, followed by an ImagineNative Festival Party.

The ImagineNative Film + Media Arts Festival runs October 20 ­ 24, 2004. See http://www.imaginenative.org for details.

Trinity Square Video Gallery
401 Richmond St. West, suite 376
Hours: Monday ­ Friday, 10 am ­ 6 pm
Special Festival Hours on Saturday October 23, 12 ­ 5 pm.
http://www.trinitysquarevideo.com
Media Contacts:

Aubrey Reeves, Programming Director
Trinity Square Video
416. 593.1332 aubrey@…
http://www.trinitysquarevideo.com

Wanda Nanibush, Festival Co-ordinator
ImagineNative Film + Media Arts Festival
416. 585.2333 info@…
http://www.imaginenative.org