>Date: Tue, 15 Nov 2005 17:12:59 +1100
>To: Helen Varley Jamieson <helen(a)creative-catalyst.com>
>From: Yuji Sone <y.sone(a)unsw.edu.au>
>Subject: e-Performance and Plug-ins
>X-pstn-levels: (S:98.90913/99.90000 R:95.9108 P:95.9108
>M:97.0232 C:98.7678 )
>X-pstn-settings: 2 (0.5000:0.5000) s gt3 gt2 gt1 r p m c
>X-pstn-addresses: from <y.sone(a)unsw.edu.au> [2380/102]
>I am pleased to announce that the full program of the e-Performance
>and Plug-ins: A Mediatised Performance Conference is up on the web.
>Please go to: http://media.arts.unsw.edu.au/eperformance/program.html
>This conference addresses cross- and multi-disciplinary
>investigations of issues around media/technology-based performance.
>Although the deadline for 'earlybird' registration (i.e. at a
>discounted price) has passed, this week we are offering the same
>discount for registration before close of business on Friday, 18
>November 2005. See the attached registration form. The easiest way
>to register is by fax (details are on the form).
>Please pass this information to people who might be interested.
>Dr Yuji Sone
>Vice-Chancellor's Postdoctoral Fellow
>School of Media, Film and Theatre
>The University of New South Wales
>Sydney 2052 Australia
>Ph: +61 2 9385 4862
>Fax: +61 2 9662 2335
helen varley jamieson: creative catalyst
Its been great to read recent debates on the list and will be interested if
there are any thoughts around where AF are heading...
I had asked Zita to present on behalf of the Audio Foundation in Dunedin as
I wont be able to make it there....but its seems far more relevant to post
to you all now.
For the last year, AF has been working towards an Archiving project. This is
still completely in the pilot phase and we would welcome any input or
The objective is to research and develop the collection, preservation and
exhibition of NZ Sound Art
After consulting with as many members of the audio community as possible in
2004, the overwhelming support - nation wide - was for the idea of having a
sound archive, where historical and contemporary NZ innovative audio in all
guises was housed.
At present there is no dedicated place for this and it is felt that the
archive and some form of historical documentation was sorely needed.
In April/May 2005 we consulted with the Film Archive and the Turnbull
Library around this idea.
The meetings clarified that there was little point in starting yet another
archive, there are extensive collections already in place, but little public
access to them.
For this reason, mediation between the parties who held collections towards
co-ordinating the collections and providing exhibition services from these
is seen as being a more appropriate project.
There is firm support from The Film Archive to potentially house as well as
exhibit, along with support from the Turnbull Library and RNZ Sound Archives
towards this project.
Negotiations with others are ongoing.
Our action plan at this point is:
-Co-ordinate and mediate the amalgamation of collections into one location
through communication with all key parties concerned
-Research the development of/and create a database specific to the
collection that will interface with parties concerned.
-Create the provision of listening posts (more simply, a hard drive with
head phones!) under the lovely auspices of the Film Archive (as they have
outposts throughout NZ)
-Create and make publicly accessible a compilation of NZ Sound Art for
exhibition purposes on a monthly curated basis.
To aid this process, we are of course applying to agencies for the funding
of the pilot phase of this!
As well, I have applied for a Masters of Information and Library Services to
make the database interface a research project that will help support the
Clearly, these are the bare bone objectives here and the project will
require ongoing discussion around many aspects. But at this point, we can at
least get the pilot phase off the ground.
So there it is...
A large, long term project to chew on! and any critical input would be more
Hope y'all have a lovely time in Dunedin
Final call for proposals: SCANZ (Solar Circuit Aotearoa New Zealand)
Due date 12th December 2005. Applications are not accepted after this date.
Planned for July 2006, SCANZ follows in the tradition of Solar Circuit and
Polar Circuits. These events consisted of the gathering of diverse artists,
curators and producers involved in contemporary practice with projects and
activities intersecting the environment in some way.
Proposals and dates:
The dates for the residency and workshop are 3 July - 16 July 2006. The
second and final call for developed projects is due on Monday 12th December
2005. Late proposals will not be accepted.
Developed project proposals
Artists, curators and producers are invited to submit proposals for projects
during the two-week workshop and residency.
SCANZ Strands Connection/Disconnection and Environmental Response
a. Collaborative projects across hemispheres, between nations or cultures.
b. Fostering a sense of community and translocal media environment.
2. Environmental Response
Exploring the relationship between media and practitioner's response to an
environmentally unique location - Taranaki, Aotearoa New Zealand, South
Pacific. Environment here refers to human, natural and technological
environments and the integration of these into diverse creative forms.
Three aims are central to SCANZ:
1. Fostering a sense of community and translocal media environment by
enhancing links between northern and southern hemisphere practitioners.
2. Providing time, space and a unique environment for media artists to
workshop, research and collaborate on creative methodologies.
3. To create an opportunity for artists to work together over a given period
of time to develop new artistic content.
Download the project proposal rtf from the web page given above. Fill out
the form and email it to: scanz(a)witt.ac.nz.
The project proposal should include an abstract and a clear description of
what the project is, what it entails and the scale of the project. The
target length is 1 - 2 A4 pages. The project proposal file should be saved
and sent as an rtf file.
Those people who submitted a registration of interest form should resubmit
using the project proposal form along with their CV. The CV should provide
only the information relevant to the proposal. The CV should also be saved
as an rtf and include all contact details and url¹s.
Up to three web suitable images (jpg or gif) can be submitted with the
proposal. This material should be related to the specific proposal rather
than samples of previous work.
Taranaki New Zealand
Taranaki is significant in terms of human environment - it was the site for
a peaceful protest movement under the guidance of Te Whiti, and important
colonial events and clashes; home to Chew Chong who played an important role
in business development regionally and nationally; and is the location of
the mountain - Taranaki, part of Maori mythology and the second highest
mountain peak in the North Island of Aotearoa New Zealand.
SCANZ is supported by Creative NZ, the Western Institute of Technology at
Taranki, the Govett-Brewster Art Gallery and the Moving Image Centre.
Ian Clothier and Trudy Lane
On behalf of the SCANZ Project Team
Solar Circuit Aotearoa New Zealand July 3-16 2006
New Zealand Aotearoa
Fax 0064 6 757 3232
This communication - including any attachments - may contain legally privileged information, and is confidential to the addressee. If you are not the intended recipient you should delete the communication and contact the sender immediately. If you have received this e-mail in error, you must not read, copy, disseminate, distribute or otherwise use or disclose any part of this communication, or any information on matters or persons to which it refers. WITT reserves the right to monitor all e-mail communications sent through its network.
it interests me!
Begin forwarded message:
> From: "silva.luis" <silva.luis(a)netcabo.pt>
> Date: 10 November 2005 3:35:40 AM
> To: seanc(a)waikato.ac.nz
> Subject: SOURCE CODE blog
> maybe this interests you:
> Now on Source Code:
> "On blogging as curating"
> "Go for the original, not the copies", a text discussing "the
> original", a web project by Carlos Katastrofsky
Sean Cubitt • Screen and Media Studies • University of Waikato •
Private Bag 3105 • Hamilton • New Zealand • T +64 (0)7 838 4543 • F +64
(0)7 4767 • seanc(a)waikato.ac.nz
"How does Rilke get from his admiration of the statue to his closing phrase - 'Du mußt dein Leben ändern' ('You must change your life')? Why should a marble torso, however magnificent, seem to be sending him (and us) such a powerful challenge?"
Taking Rilke's famous poem "Archaic Torso of Apollo" as his starting-point, Edward Picot's new work of hyperliterature provides first a commentary on the poem, then an undercommentary, and finally a poetic response of his own, animated in Flash, with hurtling fragments of Greek statuary.
The New Media artist and writer Millie Niss has just opened up her website ( http://sporkworld.org ) to work from guest artists, and Edward Picot is the first to appear there. "Rilke and the Archaic Torso" can be seen at http://sporkworld.org/guestartists/picot/index.html .
- Edward Picot
http://edwardpicot.com - personal website
http://hyperex.co.uk - The Hyperliterature Exchange
Nga mihi mahana kia tatou
I have just spent an hour and a half reading through three weeks of ADA discussion backlogged due to recent return from a trip in Russia and subsequently mountainous catch up on the home and work front. usually i am a passive but always interested reader and have been two both ADA conferences. i look forward to dunedin even more so now that i have seen the program. congratulations caro, su and all others involved.
as you may have seen my project 'smoke-in' is a collaborative live internet event in collaboration with two Austrian groups and a Swiss practitioner. i had been trying to organise the project for about three years with little success. Most of the web groups and chat rooms I entered were not interested in art or this kind of collaboration and I could not access an appropriate audience. About a year ago i virtually 'met' Martin Krusche whose website 'the long distance howl' is what George Marciunus would have been doing now if he was still going today.
i first collaborated with Martin on one of his projects called 'the cyber trails' (you can find images of lovely aotearoa in list 2)
then, he became interested in a collaboration i did with the artist Kah Bee Chow and served up the texts like a serialised novel.
then the smoking project came up and he was very interested. the idea of combining it with 'Emerge' seemed logical
I plan to perform the smoke-in at 9.30 in the morning and then read a short statement. The performance itself will be very simple and largely symbolic. The following is statement introducing the ideas behind the performance and its context within my broader interests.
My art is fundamentally concerned with the problem of human communication.
Next to physical contact; language, in its most expanded (semiotic) sense and including all media, is the primary means by which human beings avoid isolation. The failure or limitations of language and all forms of communication determine to a large degree any sense of isolation people might have. We must to a certain degree live inside our own head, within the abstract space of our interpretation of the perceptual information which comes our way.
I work with photography, video, installation and collaborative projects involving the wider public. My most enduring interest lies in the creation of ‘total installations’ which implicate the viewer within a multi sensory environment. I participated in residencies and festivals in Italy, Estonia and New Zealand and has exhibited also in Britain, Russia, USA and Australia.
The ‘International Smoke-in’ is a collaborative project in which a number of different artistic agendas are involved. However, for me it is largely a ‘symbolic network performance’ raising questions about social function under highly mediated digital conditions.
Music and smoking have consistently been used in my work as vehicles for exploring the uncertain space between physiological and mediated (cultural) experience. Music with its primal, ‘oceanic’ qualities of rhythm and harmony; in contrast to the immense diversity of behavioral response; from the pelvic motion of Elvis to the cadaverous leer of Marilyn Manson. Smoking with its neuro-chemical reaction and cathartic lymphatic impact from which emerges the Clint Eastwood frontiersman black cigarette, the Marlene Dietrich gloved hand cigarette holder , the pipe smoking professor and the street lamp lit hat and cloak cigarette of the under cover agent.”
The almost uniquely human habit of drug taking and particularly smoking nicotine has long fascinated me with its dual operation at physiological and the social levels. Manifesting itself simultaneously with deeply embedded symbolic references in society, literature, cinema and television and as a bio-chemical reaction; smoking is associated with sex, death, rock and roll, evil, coolness, liberal intellectualism, sophistication, glamour, power and almost all varieties of subversion.
In this way, smoking can be a form of communication and as such it seems to fit with those aspects of human behavior associated with the limbic brain. This is the physiological locus or the source of all forms of emotional and social intelligence including social awareness and the ability to form bonds of love and friendship. Subtle, non linguistic connection in populations of mammals and particularly primates has been described as Limbic Resonance and serves to facilitate the unspoken function of social capability, self awareness and consciousness itself. Limbic Resonance has been shown to be so important that not only is it essential to social success but in fact survival itself is contingent upon appropriate limbic connectedness.
"…because human physiology is (at least in part) an open-loop arrangement, an individual does not direct all of his own functions. A second person transmits regulatory information that can alter hormone levels, cardiovascular function, sleep rhythms, immune function, and more – inside the body of the first. The reciprocal process occurs simultaneously: the first person regulates the physiology of the second, even as he himself is regulated. Neither is a functioning whole on his own; each has open loops that only somebody else can complete. Together they create a stable, properly balanced pair of organisms. And the two trade their complimentary data through the open channel their limbic connection provides”. ‘A General Theory of Love” T.Lewis MD, F.Amini MD, R.Lannan MD.
Smoking; with its dualistic physiological and cultural dimensions could be viewed as symbolic of the limbic human dimension. It involves an oral action very similar to infant suckling which results in a chemically triggered sense of satisfaction. Nicotine travels to the brain about eight to 10 seconds after a smoker inhales and alters the state of the smoker. Nicotine does this by becoming both a neurotransmitter, a chemical substance that transmits signals from one nerve cell to another, and a stimulant. Nicotine mimics the body's most crucial neurotransmitter, acetycholine (ACH), which controls heart rate and message sending within the brain.
For me smoking is utilized as a symbol of limbic function and the ‘Smoke-In’ explores the idea of Limbic function under highly mediated conditions. Is the ‘open-loop arrangement’ of physiological regulation possible in a virtual environment or between audience and cinematic protagonist even?
To what degree can Limbic Resonance occur in a social environment highly augmented by the hyper real?
hi danny, su, sean et al
the point that su makes about art history in relation to new media is pertinent because so many of the people involved in the early phases of digital art and even now have not been through the traditional art school experience. therefore in terms of a historical framework from which to make 'critical historical study' (indisputably important as danny points out) there is a quantum shift sideways which presents all sorts of problems for a traditional historian...
so what?...we just need a different kind of historian, like i said before, someone who can reference/critique the practice within dual or multi historical frameworks. media studies has existed in universitues about as long as digital media. some of marshall mcLuhans ideas are the very corner stone of issues still important to digital debates today.
happily there are many different levels and degrees of immersion which practitioners have to the potential which digital technologies offer. however, at the moment, only those quite closely allied to the traditional art world power bases will receive recognition and it seems to me that particularly in this arena, they may not (although they equally may) be key players.
the relationship which art history, as an academic tradition, has, through the curatorial, critical, publishing and funding mechanisms of the art world, makes me think su has a good point.
fortunately, for every young enthusiast involved in a critically engaged, inventive practice, there will be an equally engaged commentator. these new commentators are and will emerge from hybrid academic environments and they will be capable of working with but outside of the traditional art historical framework. they will be able to contextualise and analyse new media practice within a wider socio-economic sphere. and hopefully, as much as it is possible, they will be able to do it with a realistic perspective on 'imported overseas debates'
all sean is saying is...if we dont save what we think is the good stuff, they wont have anything to work with, cos it aint like an oil painting.
>>> db(a)dannybutt.net 11/09/05 11:31a.m. >>>
I guess point of view is that the "disputed territories" are a bit of
a philosophical dead end and distraction. Without wanting to
prejudice your extensive experience in the area, my feeling is that
people are doing stuff in all sorts of environments (some
institutional, some not) and that they will pursue their own
interests, their own methodologies, and create their own content
within the environments they work, and with the skill sets at their
My problem with trying to imagine a space outside of all of those
dialogues - and I think this relates to Sean's point - is that
limitations of particular disciplines (e.g. "new media art history")
get imported from overseas debates without working through what a
history of aotearoa digital art is. Until someone writes one I don't
see the point in getting too worried about the politics associated
with it. What do you mean by "yet another art history project", what
characteristics are you ascribing to the form that would some how
suffocate the content so badly that the idea should be stopped before
I am not saying that ADAemerge should be an art history exercise.
It's a gathering of practitioners. Just as Cultural Futures is a
gathering of artists presenting work. And some things might emerge
from ADA like Wikis, more journalistic overviews for art mags,
discussion on lists, databases etc. These are all important.
But there is a level of methodological depth and commitment that
comes with a critical historical study that is not achievable by
those other systems. Far from being a "cop out", I'd see the
sponsoring of this work to be a platform of research that can
*enable* the critical interrogation of digital art history and its
limitations. it only takes one person to decide it's a good idea to
spend a couple years on it, and an institution willing to support
them and we'll all be better off.
Cultural Futures - December 1-5, 2005 - http://
> associated territory staking involved. However, to counter this there
> must be something more inventive we can do that come up with yet
> another art history project. Which to me seems like a bit of a cop
> Who will formulate the methodologies for this project?
> And who will create the content?
> The issue is crucially tied up with our presence as writers and
> within new media and art historical environments. Anyone (like me)
> trying to straddle the two knows that this is highly disputed
> territory. To me, the upcoming ADAemerge is one way to NOT create yet
> another art history project. Maybe it is process of small (but
> significant) steps... information, documentation, criticism,
> engagement, more documentation, exhibitions, catalogues, books,...yes
> some of these might lead to art histories, some might lead to canon
> formation, but the tools for doing it are distributed amongst the
> artists and the others on the ground.
> Our November ADA meet is dominated by people presenting their own
> maybe the next one should be dominated by people presenting other
> people's works....
> Ada_list mailing list
Ada_list mailing list
hi su, danny et al
maybe such archiving, reporting , reviewing and presenting of others work will be the terrain of the media student rather than the art history student. or better still, the hybrid media, art history scholar, academic hybridity being one of the perceived opportunities of new media.
>>> suballard(a)optusnet.com.au 11/09/05 11:09a.m. >>>
On 9 Nov 2005, at 7:56 AM, Danny Butt wrote:
> This sounds
> to me like a good uni art-history project for someone.
although i was not at Refresh, (and sean maybe you can correct me if
i'm way off track here), i have got the sense from the online debate
that the continuing issues around the conference seem to be in the
coming together of new media histories with art histories, and the
associated territory staking involved. However, to counter this there
must be something more inventive we can do that come up with yet
another art history project. Which to me seems like a bit of a cop out.
Who will formulate the methodologies for this project?
And who will create the content?
The issue is crucially tied up with our presence as writers and artists
within new media and art historical environments. Anyone (like me)
trying to straddle the two knows that this is highly disputed
territory. To me, the upcoming ADAemerge is one way to NOT create yet
another art history project. Maybe it is process of small (but
significant) steps... information, documentation, criticism,
engagement, more documentation, exhibitions, catalogues, books,...yes
some of these might lead to art histories, some might lead to canon
formation, but the tools for doing it are distributed amongst the
artists and the others on the ground.
Our November ADA meet is dominated by people presenting their own work.
maybe the next one should be dominated by people presenting other
Ada_list mailing list
At the last ada I suggested we could start by writing critical
commentaries on each others' work (I've written catalogues for Stella
and Janine for my small bit). I'd like to add to that a call that each
of us tries to hook up with older artists who've worked in the medium
of digital arts in Aotearoa and begin to amass some interviews and
essays on their work.
I think this is very sound thinking and although it will tend to canonise individuals as was pointed out in Banff, 1 - those more prolific and inventive will tend to emerge quite naturally and , 2 - such a process being instituted by a network such as the ADA must be more 'democratic' than the traditional 'art world' route, 3 - the widely collaborative nature of digital practice dilutes this problem to some degree.
I would like to add to Sean's idea with the suggestion that those in teaching positions; supervising student research projects, could point their students in this direction where appropriate.
Lecturer in Design
School of Design
Unitec New Zealand
09 815 4321 ext 7201
I also like the Maori idea that the word for the past is also the same word for what is yet to come (the future) - embodied in the word 'mua' .
Jonathan Mane-Wheoki spoke about this at the AAANZ conference opening last year. He made a call for a new kind of art history in Aotearoa.
>>> "luke" <lduncalfe(a)eml.cc> 11/09/05 1:54 PM >>>
> understanding. Some ada's may reject the idea that history is
> significant. Others may see it as whakapapa, not history. But to have
> those kinds of choices, even the choice to reject history, you need the
our art history as whakapapa is a really beautiful notion sean, one that makes
sense to me as a practitioner. it reminds me of the words tena koe, literally -
there you are -, which was suggested to me by erana foster as being along the
lines of meaning there you are, the product of all those who have come before
you and representing those yet to come. it places you at an apex of a bowtie
of history and future with a sense of the mass of the past and the liberation
of being a participant in influencing the future. i feel a strong sense of
accumulated cultural wealth through being an artist, so i like this term very
Ada_list mailing list