This is a really interesting forum. Thanks for sending it to me whoever did.
I am really interested in hearing the discussion and the articulation of
this sort of invisible sector. I would be interested in posting the
discussion on to www.thebigidea.co.nz as it does strongly reflect our own
collective interest (as Danny or was it Stella pointed out on the list
earlier). We are ourselves dealing with very much all the same issues as
digital artists in relation to resources but from an organisational
perspective. On our very very basic platform however we do seem to have a
thriving culture of interest and therefore what I can offer this list at
present is a posting on our site that can be regularly updated. This means
that I could initially run a listing on our homepage advertising this forum
and then from that point on I could update in our Forum window the ongoing
discussion. This wouldn't mean any change in the email structure it just
means a site where the whole interaction can be recorded from the most
recent working back? Would this be helpful? We are also gearing up to a
whole new generation of our site that will hopefully offer further
possibilities for supporting the presence of digital creativity in Aotearoa.
Love some feedback.
Phone/Fax: 09 373 2054
Sent: Wednesday, 19 March 2003 12:00 p.m.
Subject: Ada_list Digest, Vol 1, Issue 8
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1. Re: re:funding & support (Rosemary Forde)
2. Adrian Hart (Adrian Hart)
Date: Tue, 18 Mar 2003 13:45:28 +1200
From: Rosemary Forde <rosemary(a)physicsroom.org.nz>
To: Raewyn Turner <r.turner(a)clear.net.nz>, ada_list(a)list.waikato.ac.nz
Subject: Re: [Ada_list] re:funding & support
Content-Type: text/plain; charset="us-ascii"
Rosemary here from the Physics Room, cheers to those who got this list
While on the topic of making equipment and resources available - in Chch we
have the Operate Trust, who provide workshops and resources for performance
and film/video artists. They've only been around for a year or so, and at
this stage they have a camera, editing suite and projector available for
ultra cheap hire. See: http://www.hindin.co.nz/kate/operate/
It's really basic equipment I guess, but it's a start. Doesn't MIC have a
similar set up in Auckland?
Another recent development down here, is Project Shown which has been
started by video artist/VJ Naomi Lamb, her focus is more about getting work
screened wherever she can. But she seems to have similar aims as ADA does
and even has a forum on her website too, but I don't think anyone's using
it yet. See: http://www.projectshown.org.nz/
Helen also asked about the 'artist's wage' - I think that pays an extra $21
on top of the dole, so not much help really. It's initially for 6 months,
but can be extended to 12 months. And I think you need to meet winz
regularly and have some evidence that you are actively practicing art ie
exhibiting or performing.
At 07:21 17/03/03 +1200, Raewyn Turner wrote:
> Sean wrote: "we need a stash of kit on each island and a roster for =
>accessing it (say top-end Sun machines, printers, beta decks), its =
> I believe ANAT set up across Australia, islands within companies
>where artists could go to use equipment on a roster, equipment always
>updated "Other partnerships might involve say =
>rennaissance software, compuiter imorters, polytechs and universities, =
>and commercial bodies - companies or chamber sof commerce for example - =
>who want to find interesting and useful ways of drawing attention to =
>some les-known aspects of their operations - " collegues,
>neighbours etc etc, unsuccessfully, and eventually borrowed money for
>equipment. barter, I've swapped a few paintings for tech assistance.
>"other question concerns the revenue stream =
>- distribution, sales, collectors. Is there a way to build that kind of =
>net wurk too? Is it desireable?" a govt patronage that would pay for an
>investigation over a period of time? like it does for Crown Crown arts
>research dept? prints from the screen works? raewyn
>_______________________________________________ Ada_list mailing list
THE PHYSICS ROOM
A contemporary art project space
Rosemary Forde rosemary(a)physicsroom.org.nz
General Manager 021 104 5939
The Physics Room ph +64 3 379 5583 / fax +64 3 379 6063
PO Box 22 351 http://www.physicsroom.org.nz/
The Physics Room receives major funding from
Creative New Zealand/Toi Aotearoa
Date: Wed, 19 Mar 2003 11:32:23 +1200
From: Adrian Hart <ahart(a)zeroland.co.nz>
Subject: [Ada_list] Adrian Hart
Content-Type: text/html; charset=us-ascii
<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<br>I would like to hear some questions addressed at the conference:
<p>How aware are government and private culture funding agencies aware
of art media on the internet, and the use of NZ art
<br>and culture websites as a marketing tool not only for NZ artists and
muscians, writers and orhanisations, etc, but for NZ generally?
<p>Do Creative NZ and private creative/arts/performance agencies use the
internet at all? Are they interested in it? Are they aware of what is on
<br>Does creative NZ have an internet/art specialist on its board of
<p>There is a divide in the NZ art world between those who know what is
on the internet and those who don't use it,
<br>or are unaware of what is on it in terms of art content. Address this
<p>Address 'real-world' marketing in NZ of internet art content - magazines,
<p>Are NZ secondary school art departments, for example, aware of
the art content on the web - ie, art museum catalogues online?
<p>Have you seen the Tate Gallery symposium Art and Money Online?
<p>Oh, and can you spare me a dollar? No funding yet for my site - I have
to rely on affliate commissions for sales from Amazon.com, Allposters.com
and other US companies for the odd cheque on the mail (US dollars,
Why no help for me from NZ? Sob. What do I have to do to get funding?
<p>If I were to ask for a few dollars from Creative NZ what would happen?
Nothing, most likely. My project is already in
<br>an advanced state - and money is only available, according to their
website, for new projects which haven't started yet! And not nearly enough
<br>to support me in my coffee habit and the kind of life to which I am
accoustomed! Should I apply to Saatchi and Saatchi, or the Guggenheim or
<p>But I must not be nasty - this is a small country and I wouldn't want
to say the wrong thing and risk offending
<br>any friendly money-dispensers out there! Note: any major sponsor gets
a nice banner on my front page.
Ada_list mailing list
End of Ada_list Digest, Vol 1, Issue 8
"we need a stash of kit on each island and a roster for =
accessing it (say top-end Sun machines, printers, beta decks), its =
easier to identify sources who might support it "
I believe ANAT set up across Australia, islands within companies where artists could go to use equipment on a roster, equipment always updated
"Other partnerships might involve say =
rennaissance software, compuiter imorters, polytechs and universities, =
and commercial bodies - companies or chamber sof commerce for example - =
who want to find interesting and useful ways of drawing attention to =
some les-known aspects of their operations - "
I've had great support, ie equipment loaned, from corporates eg Rennaissance, Epson, and others but only for some projects; in between although i ask, there isn't any. At times i've spent many weeks/months asking to borrow equipment from universities, private, arts orgs, embassies, computer importers, car importers, business organisations, collegues, neighbours etc etc, unsuccessfully, and eventually borrowed money for equipment.
or barter, I've swapped a few paintings for tech assistance.
"other question concerns the revenue stream =
- distribution, sales, collectors. Is there a way to build that kind of =
net wurk too? Is it desireable?"
a govt patronage that would pay for an investigation over a period of time? like it does for Crown research, requires lots of writing and reporting back, Crown arts research dept?
prints from the screen works?
The money question is huge.
two thoughts tho, maybe to get it into manageable perspective
1. it is easier to raise cash when we are able to say what we need it for. If we say we need a stash of kit on each island and a roster for accessing it (say top-end Sun machines, printers, beta decks), its easier to identify sources who might support it and
2. the arts funding bodies are massively significant but not the only sources of dosh in the country. Other partnerships might involve say rennaissance software, compuiter imorters, polytechs and universities, and commercial bodies - companies or chamber sof commerce for example - who want to find interesting and useful ways of drawing attention to some les-known aspects of their operations - say, if we identify that celnet is the next big art medium, clearly we go to telstra or telecom
3. salaries, however, is a different kish of brogues. No-one wants to take on salaries because they don't go away again. I can get capital most days of most weeks, but I can't get staff paid for without months of argument and a clear revenue stream to pay for them up to three years in advance (that being, actuarially speaking, the expected life of a university contract). So the other question concerns the revenue stream - distribution, sales, collectors. Is there a way to build that kind of net wurk too? Is it desireable?
hi, I'll mention money
a little story of my experience with Australian funding : Honor i'm moving house clearing out files and came upon a reply from you (1997?) at ANAT the same time as i noticed your message to the list last week! I had written to ask about ANAT funding, having found nil support here and was considering returning to Elam- applied to intermedia but was assigned to the painting dept. Instead, I participated in ANAT's Alchemy Masterclass and borrowed money for a computer and camera. ANAT had opened up the funding to artists outside Australia, and the Masterclass was like pulling the curtains back and opening the door to see and step out into the bright world outside of the art house. I found the digital art community in Australia encouraging, generous and lively, and inclusive. (I only wish that I'd taken Australian residency while living there for 12 years so I could apply for the funding!). I haven't studied much how they stir popular interest but it seems that digital art gets a mention in many places and that the community is an inclusive one rather than an exclusive - I think i can say this having been an exhibiting painter for years
I think 'new media' in its multifaceted and multidisciplinary ways frees us from the art definitions which I felt so constricted within, whether digital or clunky, art or not art. It takes money to experiment with light, sound, video -they may not weigh anything but the technologies cost heaps; and of course we can always work with free materials, but we need funding in NZ for access to equipment, and support to make our work more visible. Meanwhile i'm off to perform at the annual 'artists in eden ' of which I am critical because it requires us to make these art objects on the spot to sell to the public. Its also great opportunity to improvise, my participation connects me with the community, and I might earn some money.
i knew i was setting myself up for a fall - or, in this
case, astute critique - by randomly crumbling up stuff
like 'technology' and 'new media' and then stirring in
questions of value. I agree with Danny that we need to
talk about new media as special case vs. what was it
Honor called it 'the all munching media monster'.?
I'm not sure that low turnout for artist talks is
necessarily a symptom of structural failure. Maybe the
failure is more localised. i have (dare i admit it?) given
some pretty spectacularly poorly patronised artist talks,
and my assumptions were not that i failed to slot into a
community, but that i - and the gallery or institution
hosting me, had failed to do good publicity. or maybe
people just don't like going to artists' talks. i don't often.
that said, i do like downloading some of the webcasts
off the Tate site (Honor again!) and fast forwarding to
the interesting bits. Is this a more general issue in art
in new zealand, that the infrastructure for these kind of
events is patchy? is it a question of presentation? or
am i ambling off down an online learning paradigm to
luke wrote>what has helped australia's digital art
scene has been the
formation of networks of artists, curators, etc. that orbit
very active organisation's websites and mailing lists
I guess my (ridiculously technotopian) hope is that the
issues of communication and community that
(perhaps) bedevil the visual arts in new zealand
generally might be more easily solved by new media
artists, seeing's how we're all networked n'all...
danny wrote>What evidence will we be able to provide
that there is a need to support this discrete space? Will
that evidence convince the agencies and audiences we
are seeking support from, is it intelligible to them in
well, cnz already fund the big idea website -
www.thebigidea.co.nz - which has a professional
development 'creative industries' focus, but which is an
also an attempt at community-building. maybe Jacquie
Clarke, who is the site's editor (and i'm hoping is
subscribed to the list) would like to comment.
In terms of what i hope for the ada list is that it might
contribute to creating the kind of climate that people
have identified in Austrialia. but i'm keen not to reinvent
the wheel either - there are things like the big idea, and
galleries like the physics room have had a strong
online presence for years, with links to lots of other
perhaps a we need a better, wider understanding of
what has been done by organisations like the physics
room, the honeymoon suite, artspace, the blue oyster,
window? how about gathering up that stuff, linking up
some kind of syncretic ubersite (i'm struggling not to
say meta) that makes it all available? or am i being
oh, and i still haven't mentioned money.
yes .. i wonder how ready creative new zealand would be to put money
behind an artist developing software or game art right now.
seems to me what has helped australia's digital art scene has been the
formation of networks of artists, curators, etc. that orbit around some
very active organisation's websites and mailing lists. until there
reaches a critical mass of popular interest in digital art then these
modes of discussion and communication are what keeps any semblance of an
artistic community active. maybe ada will be the start of something like
this in new zealand ...
what if we held a symposium and
everybody agreed to a task like
what do we need to create a thriving digital art scene in Aotearoa?
My guess is
- specialist kit
- a critical climate
- a medim for communication
- media for distribution
would that make the basis for an agenda?
Sean Cubitt * Screen and Media Studies * University of Waikato *
Private Bag 3105 * Hamilton * New Zealand * seanc(a)waikato.ac.nz * T:
+64 (0)7 838 4543 * F: +64 (0)7 838 4767
I'm glad you brought up the 'australian model' of new media funding (shall we call her elle?) - which is something you have a lot more first-hand knowledge of than I do, having worked with ANAT.
As you know from working at Artspace in Auckland during a period when that organisation was very involved with technologically-engaged and online practice, and thinking about such projects as Spatial State of A and B (http://www.dannybutt.net/codec.org.nz/rob.html) and Codec(http://www.dannybutt.net/codec.org.nz/content.html), there seemed to be an early bloom of web-based practice (I'm struggling to periodise, and guessing 1995-97??) , which fell away. my idea of why this occurred has a little bit to do with changing currents of funding and personal interest, which we have to recognise can have a big impact in a small community, but perhaps also a lot to do with the work proceeding in advance of a mass audience. At that time not a whole lot of people were online. People like Lara Bowen, who was the director of Artspace at that time, and Rob Hutchinson and Danny Butt who were involved in those other projects I mentioned will probably have some more informed opinions about this.
Having professed ignorance of the Australian situation won't stop me pontificating about it, of course. I wonder about technology being a base rationale for support of practice.
I'm currently the Digital Artist in Residence at the Waikato University - a position which is part-funded by CNZ. Technology in my own practice is at the consumer level, with ubiquitous or obsolete stuff that no-one is afraid of, stuff that permeates the everyday - I'm working with Powerpoint and clip-art at the moment. I know in terms of my own use of computers, i was intimidated by command-lines and only ever really became interested in what they could do after the advent of the GUI. My sense is that often the work with the most sophisticated technological basis is often the least interesting from an artistic perspective (though this is by no means always the case).
I guess I feel quite relaxed about a funding criteria that doesn't make a special case for technologically driven work is actually pretty healthy (although seeing as I'm the one getting funded, perhaps that's a foregone conclusion). On the other hand we wouldn't be making all this effort to set up this discussion and organise a symposium if we thought all was hunky dory in the land of the digital, and i think that that early bloom that i talked about, what I perceived as a quite cohesive group of practictioners and curators and audiences, had some real value.
Hi Sean, everyone,
great to be on this list, thanks, and looking forward.
Do any of you know if these people are speaking in NZ?
(from the newmedia-ann digest)http://mailman.uib.no/listinfo/newmedia-ann
Date: Wed, 12 Mar 2003 12:56:21 +1100
From: Adrian Miles <adrian.miles(a)uib.no>
Subject: newmedia:: talk: au: .syd: film art, new med.
New York Filmmakers at the Intersections of Art, Politics and New
Kathy Brew and Roberto Guerra, Emmy winning, Academy nominated documentary
film makers, are teaching and speaking at 6.00 pm on Thursday, March 13th,
Kathy Brew and Roberto Guerra will be giving a public lecture and showing
their work (ID/Entity and segments of 9/11 Episodes) at the College of Fine
Their latest film, ID/Entity: Portraits in the 21st Century examines a
series of artist/computer scientist collaborations organised by the MIT
Media Lab, Massachusetts, and New York's Kitchen Gallery. ID/Entity shows
new technologies' radical effects on the art of portraiture. Developed by
digital artists, video portrayers, sensor and interface designers,
"surveillance artists," holographers, and sound sculptors, these are
portraits that sense the audience, shift the portrayal of the subject,
alter the perspective.
Other recent works reflect Brew and Guerra's interest in art, science and
politics. 9/11 Episodes showcases new media works created by New York
artists in response to the attack on the World Trade Centre. Paradise Now:
Picturing the Genetic Revolution features artists and scientists (including
Nobel prize winner James Watson, biologist and writer Stephen Jay Gould,
and Director of the MIT Centre for Genome Research, Eric Lander). Made in
2001, when the first map of the human genome was completed, Paradise Now
shows each group reflecting on how the new discoveries might affect what it
means to be human.
Since the late 1990s, Brew and Guerra have won Emmys, Sundance Film
Festival awards, and been nominated for an Academy Award. Their films have
been featured at international film festivals in New York, London,
Edinburgh, Cannes, Montreal and Los Angeles, and shown by television
networks in more than 35 countries.