theres an interesting review of Ars Electtronica in latest issue of
".....this year's many exhibitions made it clear that digital art has
turned a corner. The best works consciously distanced themselves from
the whizz-bang obsession with technology itself, moving towards a
more contemplative vision, where technology served as an invisible
vehicle for pure aesthetic experience."
"I call architecture frozen music"
Most of you will have been involved at some point in the consultation process that Creative New Zealand is undertaking around issues for artists and arts organisations working with New Media. This process has included the sector reference group meeting in Auckland on 6 May and the CNZ presentation at the ADA symposium on 2 October, which provided us with another opportunity to distribute working documents resulting from the sector reference group.
We are now working on the next stage of our New Media strategy, and so I would appreciate any further feedback that you can contribute. If you were at the sector reference and ADA meetings, you will already have copies of the working documents, but I can email these to anyone who needs another copy.
I'm aiming to collate this material by Wednesday 8 December, so please get any comments or suggestions to me by then. I am in Wellington all of this week and then in Auckland between Monday 6th- Wednesday 8th if anyone wants to call me with questions or arrange an in person meeting for discussion. My Wellington number is in the autosignature below, and you can call the Auckland CNZ office on 09 373-3066, and Robyn will switch you through to me (i.e. you don't pay for the toll call).
I look forward to hearing from you soon.
With thanks for all of the valuable contributions so far,
Assistant Arts Adviser
PO Box 3806
ddi: 64 4 473-0184
Creative New Zealand staff are pleased to offer information and advice to prospective applicants. However actual funding proposals are the sole responsibility of the applicant. Information provided by staff should not be interpreted as a guarantee of success.
This e-mail and its attachments are confidential and may be legally privileged. Please contact the sender before publishing or quoting information contained in this correspondence.
Tihei Mauri ora
Kaingakau ngä kaimahi ö Toi Aotearoa ki te arahi, ki te manaaki, ki te whakahoki i ngä patai a ngä kaitono pütea. Heoi, kei ngä kaitono te kawenga a ö rätou tono. Ko ngä täkoha körero kua hoatu e ngä Kaiwhakamaherehere Toi ki ngä kaitono kaua e pöhehe ka toa töu tono.
He take muna tënei imeera me ana körero täpiri a ka whai mana hoki. Whakapä atu ki te kaitono i mua i tou tä, to whakahuatia körero mai i tënei tuhinga.
**apologies for crosspostings**
international journal of
media & cultural politics
call for papers
The International Journal of Media & Cultural Politics (MCP) is a new
print journal launching with a special Double Edition in January
2005. MCP is committed to analyzing the politics of communication(s)
and cultural processes. It addresses cultural politics in their
local, international and global dimensions, recognizing equally the
importance of issues defined by their specific cultural geography and
those which traverse cultures and nations. MCP promotes critical,
in-depth, engaged research on the intersections of sociology,
politics, cultural studies and media studies. MCP aims to keep
academic analysis in dialogue with the practical world of
communications, culture and politics.
MCP welcomes full-length research articles of up to eight thousand
words and occasional short commentaries.
Inaugural double edition January 2005 with
sixteen specially commissioned short essays
three full-length research articles
yasmin jiwani on war talk
vincent mosco on ground zero
martyn lee on the death of radical thought
kwela hermanns on ipr and traditional knowledge
lena jayyusi on power and performativity
mike cormack on gaelic language and the media
eileen r meehan on transindustrialism and synergy
chinyere stella okunna on invisible women
11 further special articles plus book reviews
submissions of papers to mcp(a)leeds.ac.uk
mcp published by intellect books: mcp website is
editors: katharine sarikakis, university of leeds; karen ross,
neil blain, university of paisley
Dr. Katharine Sarikakis
Lecturer in Communications Policy and
Course Director MA in Communications Studies
Institute of Communications Studies
University of Leeds
Leeds LS2 9JT
Media and Cultural Politics
"Consistency is the last resort of the unimaginative."
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
*Akoranga Whakaata Purongo * Te Whare Wananga O Waikato * Kirikiriroa
The electronic journal Fast Capitalism (www.fastcapitalism.com) invites
papers for FC 1.2. Deadline is May 1, 2005. The journal addresses the
impact of rapid information and communication technologies on self,
society and culture in the 21st century. The focus of FC 1.2 is the
future of the American left, but papers on other topics are welcome,
too. Contact: aggerfastcap(a)uta.edu.
Univ of Texas at Arlington
SERIES: LE NU / THE NUDE
Appel à contributions / Call for participation
Jusqu'au 28 février 2005 / Until February, the 28th of 2005
Merci de bien vouloir nous envoyer vos projets de netart/videoart par
Seules les oeuvres utilisant activement les technologies (interactivité,
générativité, flux du réseau, etc.) seront retenues.
Thank you to send us your netart/videoart projects by email
Only the works using technologies (interactivity, generativity, network,
etc.) will be selected.
Le nu est un exercice bien connu dans l'enseignement artistique,
permettant l'apprentissage de la relation entre le trait, particulier à
chaque artiste, et l'anatomie, qui est une norme scientifique.
Le statut de la nudité a évolué au cours des âges mais a souvent été le
symptôme de notre ambivalence par rapport aux images; entre la pureté
d'un corps d'avant la chute et la déchéance d'un corps se couvrant de
feuilles ou de lambeaux d'étoffes.
Que voile le nu? Entre "L'Origine du monde" (Courbet, 1866) et "Etant
donnés: 1. La chute d'eau, 2. Le gaz d'éclairage" (Duchamp, 1946-1966),
il y a l'écart entre ce qu'il y a à voir et ce qu'on ne peut pas voir.
L'iris comme aveuglement, l'obscurité comme possibilité même du regard,
fente où le monde trouve son origine et sa sexualité.
La sensualité du nu est l'esthétique même du regard, qui ne peut être
touché qu'à distance; un oeil touché par un corps devient aveugle.
Il pourrait sembler au premier abord que notre époque est celle de la
nudité standardisée et que l'obscénité est à présent celle d'autres
corps, féminins, entièrement voilés de haut en bas, murés derrière
l'aveuglement du regard masculin.
Si la création artistique est une mise à nu, un dévoilement et un
voilement dans un seul et même geste, où se trouve aujourd'hui notre
nudité? Que devient le nu lorsque le corps peut être industriellement
clôné et que les nano-technologies investissent notre chair? Quelle est
la relation entre la nudité généralisée et cette autre forme de mise à
nu à laquelle l'expérience esthétique nous convie?
The Nude is a well-known exercise of the artistic process. It helps the
studend built a relationship between various styles of strokes and the
human anatomy, the scientific norm.
Although nudity has evolved over the ages, it will always be a symptom
of our ambivalent relation to images, halfway between the purity of the
body and the downfall of it, whether this downfall be tattered canvas or
in the ground.
But what is the nude hiding? What lies between what can and can't be
seen? For example in works such as: "The Origin of the World" (Courbet,
1866) and "Etant donnes: 1. La chute d'eau, 2. Le gaz d'eclairage"
(Duchamp, 1946-1966), we find an interstice, a fissure where the world
finds its origin, its sexuality.
The sensuality of the nude is an esthetical concern, which can only be
grasped from a distance. An eye touched by a body becomes blind.
At first sight, it seems that in this age we have standardised nudity,
however, obscenity is still present in female bodies. Clothed and hidden
they forbid men's blind gazes.
If art is to lay bare one's body and soul, if its role is both to veil
and unveil in a single gesture, where is our nudity today? What is a
nude when a body can be cloned and nano-technologies penetrate our
flesh? And what relates a generalised nudity and the other form of
bareness, which is dictated by the aesthetic?
Merci pour votre participation!
Thank you for your participation!
lecturer in new media and graphic design
Auckland University of Technology
private bag 92006
phone +64 9 917 9999 ext.8724
facsimile +64 9 917 9916
mobile +64 21 16 25 072
SIX DAYS OF INNOVATIVE DIGITAL MEDIA!
CONCERT / CLUB / LOUNGE / CINEMA / INSTALLATION / INTERNET / SEMINAR
VERSION 04 Trans-media Festival
DECEMBER 4 9
Sounds from outer space that turn into music and film
Architectural drawings that come to life, then make music
The Version Festival in Auckland presents a festival of future arts and
entertainment featuring a unique mix of aural and visual delights in a
variety of venues.
Showcasing original performances by innovative digital media artists
exploring creative new uses of technology, the acts presented at Version
will entertain and stimulate with a unique mix of art, design, music,
science and technology. Techno-savvy artists from each of the disciplines
will collaborate to come up with original performances. These events are a
combination of eclectic experiences gallery, lounge, cinema, seminar,
concert and club.
Version takes place in several Auckland venues from December 4 to 9.
For more information see
>Von: Kevin McGarry <kevin at rhizome.org>
>Datum: 18. November 2004 01:05:56 MEZ
>Betreff: RHIZOME_RAW: Rhizome.org seeks web designers
>Rhizome.org is looking for exciting, fresh web designers to build
>upcoming online exhibitions.
>Rhizome Exhibitions is a new program in which invited artists,
>curators, and writers select and exhibit works from the ArtBase, our
>archive of indexed new media art.
>Our first exhibition, "Ya Heard: Sounds from the ArtBase," opened in
>mid-November. We plan to launch a new exhibition every 6-8 weeks.
>The next one is slated for late December or early January. Design
>production will begin and end during the first 4 weeks of December.
>We are looking for a design that is open and instinctively
>navigable. Simple, elegant and/or edgy html or css should do the
>trick. Please, no Flash. You will work closely with the ArtBase
>Coordinator to conceive, revise, and execute an interface that
>illustrates the concepts set forth by the curators. Visiting the
>current exhibition, "Ya Heard" (
>), should give you a good idea of the task at hand.
>This opportunity is paid. For students, there is the option to
>perform the design as a for-credit internship.
>Please send a resume and links to a portfolio or previous websites,
>both in the body of an email, to
>Please circulate this announcement freely.
helen varley jamieson: creative catalyst
Pervasive and Locative Arts Network (PLAN)
A new international and interdisciplinary research network in pervasive media and locative media has been funded as part of the Engineering and Physical Sciences Research Council (EPSRC <http://www.epsrc.ac.uk>) Culture & Creativity programme. The network will bring together practicing artists, technology developers and ethnographers with the aim of advancing interdisciplinary understanding and building consortia for future collaborative projects. It will be of relevance to people working in the arts, games, education, tourism, heritage, science and engineering.
A call for proposals for their first meeting in February 2005
in the ICA, London.
hei konei ra, sonja
Sonja van Kerkhoff
webdesigner Teleacnot broadcasting, Hilversum, The Netherlands
http://www.schooltv.nl tel: +31 (0)35 - 6293 367
eigen spul - own stuff: http://go.to/sonjavank
Check this on-line thing out...
- Mark Harvey
Subject: CFP: Bile: The Journal of Discontent (no deadline, e-journal)
View Full Header
View Printable Version
Date: Fri, November 12, 2004 11:30 am
- Call for Submissions
"Bile: The Journal of Discontent"
Face it, youre angry.
Theres a lot to be angry about. Bile is a new on-line journal of art,
letters, media and politics that seeks to embrace your indignation and
harness it as a trigger for progressive discussions and important
debates. Bile seeks to berate injustice, scold weak thinking, rebuke
the successes of the undeserving, and generally reprimand those who
produce, market, legislate, or enforce maddening drivel.
Yet Bile is most not a reactionary forum for the disappointed to
pursue personal vendettas. Neither is it interested in conspiracy
theories, jibes, or recklessness simply for the sake of being
reckless. Bile is responsible, pro-active, intellectually credible,
critically rigorous, and enormously disgruntled.
We are now seeking bilious contributions on a range of topics. 4,000
to 6,000 word essays on all aspects of art, literature, and culture,
but also works of intelligent satire, international, national, and
regional politics, as well as anatomies of melancholy, histories of
alienation or malcontentedness, riot, unrest, civil disobedience and
the uses of anger. We also welcome 1,000 word book, film and
Bile is peer-reviewed, and has an international editorial board of
academics and cultural practitioners. Our first issue will launch In
Editors Scott Stevens: stevenssm(a)hotmail.com
Andrew Stott: amstott(a)buffalo.edu
PLEASE FORWARD TO ALL INTERESTED PARTIES
CURATORIAL TRAINING PROGRAMME DE APPEL:
CALL FOR APPLICATIONS
De Appel, Centre for Contemporary Art in Amsterdam, will start the eleventh
Curatorial Training Programme (CTP) from
September 2005. This seven-month course gives six young international
participants the opportunity to further develop their
skills, guided by curators like René Block, Saskia Bos, Jan Debbaut, Hou
Hanru, Maria Hlavajova, well known artists like
Marlene Dumas, Tiong Ang, Fiona Tan and many (international) experts in the
field of funding and arts management. Former CTP
participants have profited greatly from this course, some have become
directors of art centres or work as independent
The programme comprises courses at De Appel, excursions to exhibitions and
art institutions both inside and outside of The
Netherlands, and the curating of a show within the premises of De Appel.
DO YOU KNOW QUALITATIVE CANDIDATES THAT COULD BE INTERESTED TO PARTICIPATE?
Please have them send a motivation letter with CV and reference letters to
De Appel before 31 December 2004. An
international Jury will invite the twelve most promising candidates for an
interview in February. Six of them will be
admitted to the programme. Usually one out of the six participants has the
Dutch nationality; the others originate from all
over the world. The course language is English, therefore knowledge of this
language in spoken and written form is
imperative. Furthermore, candidates must have a degree in art or art history
and relevant working experience in the field.
For more information, please visit our website www.deappel.nl or contact
Esther Vossen, CTP coordinator, at
evossen(a)deappel.nl or +31 (0)20 6255651.
Stichting DE APPEL
Nieuwe Spiegelstraat 10
1017 DE Amsterdam
T +31 (0)20 6255651
F +31 (0)20 6225215