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From: nike bourke <n.bourke(a)qut.edu.au>
Speculation and Innovation:
Applying Practice-Led Research in the Creative Industries
A conference hosted by
Creative Industries Research and Applications Centre (CIRAC)
Creative Industries Faculty,QUT
The Australasian CRC for Interaction Design (ACID)
Wednesday, 30 March to Friday, 1 April 2005
This timely conference will mix demonstration, discussion and speculation
around creative practice as research and its impact on innovation in
research and industry. It will explore three key dimensions of
practice-led research - design and presentation, collaborations and
stakeholders, and contexts and intersections. Participants will be invited
to engage with and debate these dimensions. A series of key creative works
will focus these discussions. In this way, the processes of practice-led
research will be reflected in the design and presentation of the conference.
Conference Announcement and Call for Presentations
Deadline for Abstracts: 10th December, 2004
Please see attachment for details
discussion list of the cultural studies association of australasia
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UNESCO is currently drafting a new international agreement on cultural
diversity: the Convention on the Protection of the Diversity of Cultural
Contents and Artistic Expressions.
This Convention was originally designed to ensure that culture, in the
age of globalized culture industries, is not reduced to a commodity. Its
aim is to allow each country to implement cultural, media, and
communications policies that foster cultural diversity.
However, some governments have proposed dangerous revisions that would
transform the draft Convention into an instrument that expands corporate
ownership of culture.
The campaign for Communication Rights in the Information Society (CRIS)
is calling on civil society organizations to join us in taking the
following stand on the Convention:
* First, the Convention must not be made subordinate to existing
future trade agreements. To do so would defeat its purpose.
* Second, it should be designed to not only protect diversity of
national and regional cultural industries, but to protect the cultural
diversity and the communication rights of all peoples.
* Third, it must balance any references to the protection of
intellectual property rights with reference to protection of the
cultural commons. Otherwise, references to intellectual property rights
should be removed altogether.
Based on these points, on November 15th the CRIS campaign will submit
concrete suggestions to UNESCO for changes to the draft Convention.
Please take the time to read the CRIS comments and add your organization
to the list of signatories.
The CRIS comments, and a form for adding your signature, can be found
Screen and Media Studies • University of Waikato • Private Bag 3105 •
Hamilton • New Zealand
i'm writing a short article examining "commercial success" of nz
artists working in the online digital arts area - and/or the barriers
to commercial success & how these might be overcome, for the tuanz
magazine. my deadline is incredibly tight (monday) & it's something
of a challenge because in my own artistic practice i've learned not
to measure success in financial terms ... altho this could be an
opportunity to plant some seeds in the commercial online world.
is there anyone out there who would say that they have achieved
commercial success with an online project?
does anyone have any thoughts about the potential for online arts to
be commercial successful within the new zealand context?
any fast responses greatly appreciated!
h : )
helen varley jamieson: creative catalyst
my response would be that this way of viewing the role of art online
should be rejected.
art will feed into commerce in ways that inevitably will have
commercial benefits, but not by being commercially successful in
from this perspective it is easier to argue how art can be commercially
> When you launch it properly, have you considered that people might
> need to get a login to interact with the site (in a controlled way -
> maybe five votes each per day...) so malcontents can't mess with the
> evolutionary process too much.
I did consider that, but decided against it, on the grounds that
logins for trivial things are annoying. Instead the chart silently
ignores rapid block voting. I'm quite interested in the possibility
of malcontents -- why would anyone care to disrupt a stochastic system
with no exterior effects? People developing irrational loyalties or
deliberately voting for bad songs is still a signal anyway. The only
true noise is true noise, which would be dull clicking for a
A mailing list is not a bad idea though.
> Is the chart continually cumulative? I mean, does it start again
> like real music charts or do votes keep accumulating forever? It
> would make it quite hard for a new release to get in the chart if it
> was competing with songs that had been accumulating votes for quite
> some time.
Votes fade over time, so today's votes always count for more than
yesterday's, with month-old votes having almost no effect on chart
positions. Actually, if negative feedback outweighs positive
feedback, new releases will start off at number one, but this hasn't
been the case with the handful of polite New Zealanders who have voted
> What is the copyright status of the songs? Is it an issue if people
> download them and they start circulating on file-sharing networks?
Please do. Copyright for "Voiceover Speaks Apes Era" lies with
Terrible-Toots-The-White-Mess Meagan, Paletars Adell and the other
performers, but they have no concept of rights or money so are
unlikely to sue. Now is the time for digital exploitation; don't wait
until computers join APRA and start bellyaching for recognition of
Kia ora koutou, Talofa Lava, Hello everyone
For your information below about a residency opportunity in New York state.
Naku na, Fa suifua, Best regards,
Art Omi International Artists' Residency
Call for Applications
International Artists' Residency
Deadline January 15, 2005
The Art Omi International Artists' Residency offers visual artists three-week residencies in the month of July. The Arts Center is located approximately two and a half hours north of New York City in the historic Hudson River Valley. Artists are provided with room and board for the three-weeks. Studio facilities are set among the 300 acres of rolling green hills. The program includes a critic-in-residence who facilitates an ongoing dialogue in studio visits, as well as day visits from dealers, curators, artists and critics from New York City. The residency session concludes with a major exhibit at the Art Omi Center, to which members of the art world from both upstate New York and New York City are invited. More than 1,000 people attend this event, which includes a special dinner, each year.
Artists pay for travel, materials, and donate a work of art created during the residency to the Art Omi Foundation Collection.
1. Six (6) 35mm color slides for carousel projector. CDs, or video tapes or DVDs for new media artists only whose work is time based or kinetic and cannot be seen well in slide format. Any work that moves or is based in video or film can be viewed on CD, DVD or video. All 2-D and 3-D work that is still will only be viewed in slide format.
Note: do not send catalogs, glass slides, brochures or folders. These extra materials will not be considered. Each slide should be labeled with your name and the number of the slides corresponding to the slide script. The TOP of each slide should be clearly marked. VHS tapes should be NTSC format cued for a 3-5 minute viewing. CD-ROMs will be viewed on an IBM-compatible PC.
2. A numbered list of slides (or CD/video script) submitted with title, date of work, medium and size. At the top of the page list the artist's name, address, telephone number, email address, nationality, age, sex and languages spoken.
3. Curriculum vitae listing education and exhibitions.
4. A brief letter describing what you hope to achieve while in residence at Art Omi.
5. A S.A.S.E. (self addressed stamped envelope), for returning slides.
Send completed applications to:
Art Omi Applications
55 Fifth Avenue 15th Floor
New York, NY 10003
Deadline January 15, 2005. Session dates: June 26-July 17, 2005. For further information please visit our website, http://www.artomi.org or contact: Blaire Dessent, Director, Art Omi International Artists' Residency at 212.206.5684 or via email to omiartists(a)hotmail.com.
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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.
I began this as Waikato Digital artist in residence, and have worked on
it in again recent months, until a couple of weeks ago I started wasting
time and agonising over trivial things (like what to call it and what to
do with it).
I've decided it needs testing by people other than me. At some point
it will have a proper release with html that works in bad browsers and a
domain name of its own (and drinkies etc) but for now, here it is, the
music industry simulator:
Any comments or bug reports are welcome.
Kia ora all
Please find attached a rough first draft for my presentation in Taiwan later
in the year. I'd appreciate it if anyone could point out any inaccuracies or
suggest anything important I've left out. You can leave the spelling and
grammar for now :)
Note that I am not concentrating on individual artists or projects, but
instead on institutional and organisational initiatives that may be of
interest to the Taiwanese policy-makers, academics and artists who are
seeking to develop their own Digital Arts context. So please, no flames
saying "Why didn't I get a mention!". I've only got 15 minutes and this is
already too much, so if I get any good suggestions from you it will mean I
take other things out.
I will try and include any suggestions I get in the next couple of days. (it
needs to get sent early to be translated into Mandarin :7).
#place: location, cultural politics, and social technologies:
I'm covering the emergence of ada in an paper I'm writing, and wondered if
anyone had any good pictures of either of the ada symposia that I could use
in a conference presentation and the accompanying paper.
Please contact me off list if you do and would be prepared to let me use
them (I'll give a credit, but it's not a paying job sorry!)
Thanks in advance,
#place: location, cultural politics, and social technologies: