Shpat Kasapi: 12/01/2007 - 01/01/2008

Thursday, December 20, 2007

Shpat Kasapi Biography

Shpat Kasapi

Was born In Tetova In 1st May 1985. He finished Primary School in Tetova Ans Skopje, And Secondary School In the Turkish Collaege "Jahjha Kemal" In Skopje.
Now he is Styding in Europen University "FON" on Faculty political science And Diplomacy In Skpje.

Hi Started music cariere since hi Was Child in his participation in some child festival Hi Was The Winer of the Award "Beep 98" When hi was only 10 yeares old.

Self-Confidence thet hi had talent motivated him to cooporate with Well known Composers and text Writers. This was cause thet for short time hi harmonized his talent with beautyful composed Music And texts loved by all generation starting from the Youngsters.

His first achivment for him was when hi crosed the bridge From the kid song with his presentation and his first price award in the "Song of Season 2002" in Tirana, The Price of the pulic in "Nota Fest 2003" Festival in Skopje, And The Price of the "AlbaFest" 2003 in Skopje. After This Award his succsess was continuing to grow with more Awards Like pop Idol for Year 2004, night of the Albanian Video clip for the best video clip. Best Interpreter Award of the Top Fest, public Award in Magic song of 2005, Best Singer on Top Fest 2006, And a lot of ather festivals And shows Where his songs are popular from admires of the Pop Albanian Music...

Thursday, December 13, 2007

Shpat Kasapi - jo nuk e di 2008

Shpat Kasapi - jo nuk e di Gezuar Vitin 2008

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Albanian Video Music The Experimental Television Center’s Video History Project is an on-going research initiative which documents video art and community television, as it evolved in rural and urban New York State, and across the US. Begun in 1994, the Project has several initiatives including research, conferences and the website. Project Goals to provide a dynamic vehicle for the creation and dissemination of an inclusive media history, encouraging participation by a wide range of people including early practitioners as well as those presently shaping this history to identify, locate, and make accessible media history resources - tapes, artists’ instruments, writings and ephemera. to underscore the importance of intellectual access to information and to position independent media arts activities within a broader cultural context by cultivating research and public programming of these materials by those in the arts, humanities and sciences to increase public awareness of and appreciation for media and to create new audiences for the work by suggesting contexts in which the work can be appreciated. to encourage alliances among collecting institutions and those with educational and curatorial programs to assist the preservation of the works Significance of Our Endangered Media History New York State hosted some of the earliest media activity in the nation, and was home to many media and artists’ organizations and individual practitioners. The State’s arts and cultural organizations house some of the most extensive collections of early video art and community television in the United States. With the first introduction of portable media technology in the late 1960s, creative and community-minded people worked alone and collectively, with a shared mission to train and equip ordinary citizens with the means of creating and distributing independent programming. Media makers explored video as an art medium and as a tool for social and cultural change, producing documentaries, narratives, conceptual, and image-processed work presented on cable and television, in regional and community venues and in art contexts. Thousands of tapes by these pioneers of independent media are scattered throughout the State in rural and urban centers, in libraries, museums, media arts centers, artists’ spaces, universities, video collectives and in private collections. Along with the tapes themselves are other resources and documents which broaden our understanding of the works, and also the historical and social environments within which they were produced. There are many possibilities for research, scholarship, education and public programming of these materials in the arts and humanities. Unfortunately, this tremendous historical and cultural legacy remains largely unknown and difficult to access, while the tapes and documentation are deteriorating, at risk of being lost to future generations. While the number and scope of media education and communications programs have expanded dramatically in the past decade, access to early video collections remains limited, and information is difficult to locate and access. In an environment of rapid and dynamic technological change, the media arts field now encompasses new digital tools and systems which have profound implications for the creation of works and the interactions of audiences with works. With access to historical records and documents we can begin to explore the ways in which earlier arts practices inform the evolution of contemporary work and its position in culture. By inviting people to help us make materials accessible, we work together to establish contexts for the study of early media projects, and increase public awareness about the work done over the last four decades. By contributing information, you are fostering a dynamic and inclusive history, giving voice to the many independent media makers and organizations, small and large, that have worked to advance the media field. The Center began work on the Video History Project in 1994. It is a reflection of our commitment to and participation in the media arts field since 1968, a concern with preservation of the artifacts of the history, and a recognition of the difficulty of accessing information and locating resources. We invite your participation.