The National Library of New Zealand has a large chunck of money to build
and maintain the National Digital Heritage Archive. This has a
relationship to recent changes to the copyright act which extended the
concept of legal deposit, to enable them to collect electronic material,
and store, preserve, and provide access to in the future. I don't think
there is any public documentation on this - it seems to be falling under
the umbrella of the NZ Digital Strategy.
What has not been made public is the scope and breadth of the project -
there was some public consultation in 2004 - but I have seen no results.
I belive the "process" stuff will be Gazetted some time before the
collection policy goes into force.
The British Library drive web archiving project is using a variation of
the Pandora toolkit, and I imagine that the NLNZ will also be using
similar tools.
That said relying on that to archive material is probably not the best
idea, and even less is the Internet Archive - who have bits - but for
all its valour has a "odd" relationship to Alexa.comhttp://pages.alexa.com/help/webmasters/ and may get swamped with
petabytes of live recordings of the GravelDead.
That said I have used the internet archive to help reconstruct some
early Physicsroom content (but not the earliest...)
There is an enormous ammount of work happening globably around digital
preservation the NLA gateway http://www.nla.gov.au/padi/ is a good start
- the EU funded Digicult - technolgy challenges for digital culture is
more fun - and more relevent to cultural pursuits.
What will happen when vodaphone ge bored with the hard to find
http://www.vodafone.co.nz/vdaa/
I think for the "stuff" we are talking about it is actually not about
archiving, but collecting and curating.
Maybe what is needed is a funded bucket to put stuff in that can be
kept.
/p
> -----Original Message-----
> From: Luke Duncalfe [mailto:lduncalfe@eml.cc]
> Sent: Monday, 30 January 2006 3:03 p.m.
> To: aliak(a)bigfoot.com; Aotearoa Digital Arts
> Subject: Re: [Ada_list] institutions
>
>
> Hi Kath,
>
> > Many of the Australian music/arts sites are archived there
> in addition
> > to being archived by waybackmachine on archive.org. I'm not sure if
> > they cover NZ sites also, or if there's an equivalent system at NZ
> > libraries, but it could be worth contacting them.
>
> I know a lovely person in Wellington who works as an
> archivist of sorts
> for web content. She stayed at my house around New Year but I
> forgot to
> ask all the questions I had about what her job exactly was. I suspect
> it's a bit like PANDORA in that it selects important web content at
> various times to be archived, except I guess it's more NZ-centric. I'm
> not sure what they do with the content once it's archive, I did a[n
> evil] Google search and couldn't find anything.
>
> It was for an institution, perhaps the library, or the
> national archives
> .. Does anyone know what it is, and what they do? I could always email
> my contact of course .. : ) But maybe a neutral perspective would be
> good too.
>
>
> > http://pandora.nla.gov.au/registration_form.html is the
> page to submit
> > the site. theyll send you an email to confirm once approved.
>
>
> Thanks Kath, I might use this.
>
>
> > there were some good discussions about archiving on empyre last
> > feb/march (I think some of you may have contributed?)
>
>
> Yes, and it was very interesting too. Digital conservation is a pretty
> fascinating topic.
>
>
> > if you contact them personally/individually and ask them to
> or offer
> > to upload for them they take up the opportunity.
>
>
> Oops : ) But I think that's very good advice. So consider all you
> cultural producers warned .. individual contact might commence.
>
>
> Luke
>
> _______________________________________________
> Ada_list mailing list
> Ada_list(a)list.waikato.ac.nz
> http://list.waikato.ac.nz/mailman/listinfo/ada_list
>
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hello,
This is the CfP for a digital arts mini-conference to be held in
Dunedin on the 23rd and 24th of January. It is associated with
Linux Conference Australia 2006, which follows immediately after.
More info at http://halo.gen.nz/lca2006/
As well as papers and stuff, there will be a nighttime concert,
featuring musicians using Linux. If you are such a creature, and
might want to play, please write to lca-digital-arts(a)upstage.org.nz.
Appropriate forwarding is encouraged.
Douglas Bagnall
-------------------------------------------------------------
Call for Participation
The Linux Digital Arts Mini-Conf @ LCA2006 will be held before
linux.conf.au, Australia's national Linux conference, in January 2006
at the University of Otago in Dunedin, New Zealand.
In keeping with the developer focus of linux.conf.au, this mini-conf
will allow Linux audio, video and arts developers to meet and share
ideas, and also to discuss audio/video-related issues with the
developers of the kernel, networking and desktop systems. For all
users, this will be a great way to see and hear the variety of tools
available. Suggested topic areas include:
* Linux for Digital Audio Workstations and musical instruments
* Video for Linux
* low latency and reliable audio in the Linux kernel and userspace
* Networked & distributed audio-visual applications on Linux
* systems for connecting music, processing and control hardware
* core Linux audio subsystems: Jack, ALSA, LADSPA, etc.
* Linux media frameworks: gstreamer, vlc, xine, etc.
* software synthesis and sequencing applications
* recording, editing and mastering applications
* audio & video file formats and codecs
* streaming and network services for audio and video
* telephony and speech technologies
* multicast video conferencing on Linux
* usability of music and audio applications
* audio & video on Linux devices, e.g. mobile phones, set-top box, IPTV
* audio/video podcasting on Linux
* video editing on Linux
* Linux Radio applications
* Uses of non-standard I/O, e.g. mechanical control, blinkenlights
* Linux games
Presentations must relate to Free and open source software and/or open
standards.
If you would like to present a technical session, please mail a brief
abstract (100-300 words) to lca-digital-arts(a)upstage.org.nz by Monday,
19 December 2005.
Hi again,
this is the abstract for the paper, of course like all abstracts it
will change.
Considering digital arts in New Zealand
Aotearoa Digital Arts is New Zealand’s only digital artist network.
Only three years old, ADA exists both on and off line as a discussion
list and series of symposia. The 70 artists associated with ADA are
engaged in discussions of the nature of digital practice; the ways
that these histories are being recorded and constructed; and the
kinds of relationships that might be emerging across public and
gallery spaces. Within the New Zealand context, it is interesting to
consider how the presence of a strong artists network constructs
digital histories. On one level, the processes and tools suggested by
a number of recent artworks highlight shared concerns with sound,
noise, space and networked culture. However, it is the opening up of
these emergent histories to other methods of formation both inside
and outside the institutions which house them that indicates some
specific differences from other locations. When introducing New
Zealand collective et. al’s computer controlled large scale
industrial installation the fundamental practice to the international
audiences of Venice, curator Gregory Burke wrote “Ultimately the
viewer’s experience will be one of disorientation given that the
fundamental practice juxtaposes conjecture, refutation and opposition
– elements that are the very opposite of fundamentalism.” This paper
takes these ideas of disorientation, conjecture, refutation and
opposition as tools to look at the ways in which ADA and its artists
are constructing digital histories in New Zealand Aotearoa.
cheers
su
Nam June Paik, 73, Dies; Pioneer of Video Art Whose Work Broke
Cultural Barriers
Nam June Paik, an avant-garde composer, performer and artist widely
considered the inventor of video art, died Sunday at his winter home
in Miami Beach. He was 73 and also lived in Manhattan.
Mr. Paik suffered a stroke in 1996 and had been in declining health
for some time, said his nephew, Ken Paik Hakuta, who manages his
uncle's studio in New York.
Mr. Paik's career spanned half a century, three continents and
several art mediums, ranging through music, theater and found-object
art. He once built his own robot. But his chief means of expression
was television, which he approached with a winning combination of
visionary wildness, technological savvy and high entertainment
values. His work could be kitschy, visually dazzling and profound,
sometimes all at once, and was often irresistibly funny and
high-spirited.
At his best, Mr. Paik exaggerated and subverted accepted notions
about both the culture and the technology of television while
immersing viewers in its visual beauty and exposing something deeply
irrational at its center. He presciently coined the term "electronic
superhighway" in 1974, grasping the essence of global communications
and seeing the possibilities of technologies that were barely born.
He usually did this while managing to be both palatable and
subversive. In recent years, Mr. Paik's enormous American flags, made
from dozens of sleek monitors whose synchronized patterns mixed
everything from pinups to apple pie at high, almost subliminal
velocity, could be found in museums and corporate lobbies.
Mr. Paik was affiliated in the 1960's with the anti-art movement
Fluxus, and also deserves to be seen as an aesthetic innovator on a
par with the choreographer
<http://topics.nytimes.com/top/reference/timestopics/people/c/merce_cunningh…>Merce
Cunningham and the composer John Cage. Yet in many ways he was simply
the most Pop of the Pop artists. His work borrowed directly from the
culture at large, reworked its most pervasive medium and gave back
something that was both familiar and otherworldly.
He was a shy yet fearless man who combined manic productivity and
incessant tinkering with Zen-like equanimity. A lifelong Buddhist,
Mr. Paik never smoked or drank and also never drove a car. He always
seemed amused by himself and his surroundings, which could be
overwhelming: a writer once compared his New York studio to a
television repair shop three months behind schedule.
Mr. Paik is survived by his wife, the video artist Shigeko Kubota.
Mr. Paik got to television by way of avant-garde music. He was born
in 1932 in Seoul, Korea, into a wealthy manufacturing family. Growing
up, he studied classical piano and musical composition and was drawn
to 20th-century music; he once said it took him three years to find
an
<http://topics.nytimes.com/top/reference/timestopics/people/s/arnold_schoenb…>Arnold
Schoenberg record in Korea. In 1949, with the Korean War threatening,
the family fled to Hong Kong, and then settled in Tokyo. Mr. Paik
attended the University of Tokyo, earning a degree in aesthetics and
the history of music in 1956 with a thesis on Schoenberg's work.
He then studied music at the University of Munich and the Academy of
Music in Freiburg and threw himself into the avant-garde music scene
swirling around Cologne. He also met John Cage, whose emphasis on
chance and randomness dovetailed with Mr. Paik's sensibility.
Over the next few years, Mr. Paik arrived at an early version of
performance art, combining cryptic musical elements - usually spliced
audiotapes of music, screams, radio news and sound effects - with
startling events. In an unusually Oedipal act during a 1960
performance in Cologne, Mr. Paik jumped from the stage and cut off
Cage's necktie, an event that prompted George Maciunas, a founder of
Fluxus, to invite Mr. Paik to join the movement. At the 1962 Fluxus
International Festival for Very New Music in Wiesbaden, Germany, Mr.
Paik performed "Zen for Head," which involved dipping his head, hair
and hands in a mixture of ink and tomato juice and dragging them over
a scroll-like sheet of paper to create a dark, jagged streak.
In 1963, seeking a visual equivalent for electronic music and
inspired by Cage's performances on prepared pianos, Mr. Paik bought
13 used television sets in Cologne and reworked them until their
screens jumped with strong optical patterns. In 1963, he exhibited
the first art known to involve television sets at the Galerie Parnass
in Wuppertal, Germany.
In 1965 he made his New York debut at the New School for Social
Research: Charlotte Moorman, a cellist who became his longtime
collaborator, played his "Cello Sonata No. 1 for Adults Only,"
performing bared to the waist. A similar work performed in 1967 at
the Filmmakers Cinematheque in Manhattan resulted in the brief arrest
of Ms. Moorman and Mr. Paik. Mr. Paik retaliated with his iconic "TV
Bra for Living Sculpture," two tiny television screens that covered
Ms. Moorman's breasts.
Mr. Paik bought one of the first portable video cameras on the
market, in 1965, and the same year he exhibited the first
installation involving a video recorder, at the Galeria Bonino in New
York. Although he continued to perform, his interests shifted
increasingly to the sculptural, technological and environmental
possibilities of video.
In 1969, Mr. Paik started showing pieces using multiple monitors. He
created bulky wood robotlike figures using old monitors and
retrofitted consoles, and constructed archways, spirals and towers,
including one 60-feet tall that used 1,003 monitors. By the 1980's he
was working with lasers, mixing colors and forms in space, without
the silvery cathode-ray screen.
For his 2000 retrospective at the Guggenheim Museum, Mr. Paik
arranged monitors faceup on the rotunda's floor, creating a pondlike
effect of light and images. Overhead, one of the artist's most
opulent laser pieces cascaded from the dome in lightninglike zigzags
- an apt metaphor for a career that never stopped surging forward.
--
____________________________________________________________
helen varley jamieson: creative catalyst
helen(a)creative-catalyst.com
http://www.creative-catalyst.comhttp://www.avatarbodycollision.orghttp://www.writerfind.com/hjamieson.htm
____________________________________________________________
Hui,
FYI,
- Mark Harvey
From: bodyelectrik(a)gmail.com
Subject: CFP: Performing Space: /Placing/ 21st C Digital Literature
(3/10/06; MLA '06)
Date: 26 January 2006 7:39:23 AM
To: cfp(a)english.upenn.edu
"PERFORMING SPACE: /PLACING/ 21ST C DIGITAL LITERATURE" (3/10/06;
MLA '06)
Proposed Special Session for the 2006 MLA Convention in Philadelphia,
December 27-30, 2006
*Performing Space: /Placing/ 21st C Digital Literature.* This proposed
panel invites address/presentation/papers exploring issues of content,
form, genre, periodization, and boundary relative to the /place/ of
electronic textualities - location, performance, positioning,
contribution, and/or valuation: new media literature, hypertext, works
"born-digital," and interactive narratives. Contributors are
welcome/encouraged to prepare their work with a presumption of liberty
in presentation that contextualizes/actualizes the
confrontation/resistance often experienced in first engagements with new
media literature. 500-word abstracts and brief CVs by 10 March to Mary
Godwin (mgodwin(a)purdue.edu).
D>Art.06 is the ninth edition of Australias premier screen and digital
media arts festival. This years festival will feature new and
experimental video and web art as well as works using mobile technologies
presented in a month-long program of screenings, a forum and an exhibition
at the Sydney Opera House Studio and Exhibition Hall in April 2006.
Under the theme Condition of Emergence, dLux media arts is now calling
for works in the following categories of D>Art.06:
- D>Art.06 Screen: Experimental video works with a maximum duration of 15
minutes.
- D>Art.06 Web: Online works suitable for exhibition in a gallery
environment.
- D>Art.06 Locative / Mobile: Artworks specifically made with or for
mobile technologies. The nature of the artwork may range from video to
games to locative and social networking applications.
All works submitted must have been completed in 2005 or 2006.
The call for entries closes on February 18th 2006. Any entries not
received by this date will not be accepted.
For more information, detailed entry conditions and to submit your work to
D>Art.06, please visit http://www.dlux.org.au/dart06
Begin forwarded message:
> From: George Lessard <media(a)web.net>
> Date: 31 January 2006 12:18:32 PM
> To: L8 Media Mentor <mediamentor(a)yahoogroups.com>, L9 NetGold
> <Net-Gold(a)yahoogroups.com>
> Subject: ::fibreculture:: Paik, pioneer of video art, dead at 74
>
> -----------------------------------------------
> Paik, pioneer of video art, dead at 74
>
> [excerpt]
>
> Nam June Paik, the Korean-born artist and composer regarded as the
> inventor of video art, died Sunday of natural causes at his Miami
> home. He was 74.
>
> Paik is thought to have coined the terms "information superhighway"
> and "the future is now," as well as having global influence with his
> work.
>
> Paik's art combined the use of music, video images and sculptures in
> a way that set the style for future video artists.
>
> "Paik's work would have a profound and sustained impact on the media
> culture of the late 20th century; his remarkable career witnessed and
> influenced the redefinition of broadcast television and
> transformation of video into an artist's medium," John Hanhardt,
> media arts curator at New York's Guggenheim Museum of Art, said in a
> statement.
>
> "Through a vast array of installations, videotapes, global television
> productions, films, and performances, Paik has reshaped our
> perceptions of the temporal image in contemporary art," Hanhardt
> added.
>
> http://www.cbc.ca/story/arts/national/2006/01/30/paik-obit.html
> -----------------------------------------------
>
> http://www.paikstudios.com/
>
>
> ::posted on ::fibreculture:: mailinglist for australasian
> ::critical internet theory, culture and research
> :: info: http://fibreculture.org/mailman/listinfo/list_fibreculture.org
> :: FIbreculture website: http://www.fibreculture.org
> ::please send announcements to separate mailinglist:
> announce(a)fibreculture.org
> :: Announce List info page:
> http://fibreculture.org/mailman/listinfo/announce_fibreculture.org
>
>
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
Dear friends at Ada,
I hope this email finds you all well.
Please find below the programme announcement for LifeLife - AV Festival 06
in the North East of England.
The AV Festival is a new bi-annual international festival of digital art,
moving image, music and new media. The next festival takes place 2 - 12
March 2006 and features new work by Ryoji Ikeda (Japan), Ken Rinaldo (USA),
Michael Nyman (UK), Critical Art Ensemble (USA), Andy Gracie (UK), Anthony
McCall (UK), Gina Czarnecki (Australia/UK), and even a few New Zealanders,
including Julian Oliver,Sally Jane Norman and Andrew Niccol (director of
Gattaca).
I have included an announcement about the festival below. The full
programme can be downloaded from the AV website: http://www.avfest.co.uk/
If any of you are planning a sojourn to Europe, I would be delighted if
some of you would consider attending the festival. I would be honoured to
welcome you here in the North East of England, and would be very happy to
design an itinerary for anyone of you who wished to attend. Please do not
hesitate to let me know if you want more information about the festival.
Sincere apologies for cross-posting!
Very best wishes
Honor Harger
Director
LifeLife - AV Festival 06
Email: honor(a)avfest.co.uk
http://www.avfest.co.uk
LIFE LIKE - AV FESTIVAL 06 - ANNOUNCEMENT
2 - 12 March 2006
NewcastleGateshead, Sunderland, Middlesbrough, UK
http://www.avfest.co.uk/
The AV Festival is a new bi-annual international festival of digital art,
moving image, music and new media which takes place in the North East of
England. The second AV festival will take place
across three cities of NewcastleGateshead, Sunderland, Middlesbrough from 2
- 12 March 2006.
AV Festival 06 forms part of NewcastleGateshead Initiative's world-class
festivals and events programme.
Under the rubric Life Like, the festival will explore the interplay between
technological and biological life as explored by artists. The festival
goes beyond a mere technological exploration of life. We are interested not
just in the way that silicon circuits manifest simulations of life, or
imitations of intelligence, but in the way that biological life itself has
been manufactured and mutated inside laboratories. Our festival explores
the way that biotechnology, genetic engineering and cloning have swiftly
and radically altered the way we imagine life. In the biotechnical age,
artists are making laboratories their new studios, fashioning artworks from
the very fabric of life.
LifeLife - AV Festival 06 presents over 90 new commissions, exhibitions,
screenings, concerts, workshops and events, including:
- a newly commissioned concert work by Ryoji Ikeda (3 March)
- a new concert by Michael Nyman
- outdoor projection works by Gina Czarnecki, Claire Davies & Marius Watz
- newly commissioned exhibitions including The Autotelematic Spider
Bots by Ken Rinaldo, Swell by Anthony McCall & autoinducer Ph-1 by Andy
Gracie & Brian Lee Yung Rowe
- premiere of Marching Plague - the new work by Critical Art Ensemble
- an exhibition by the Tissue Culture & Art Project & a tissue
enginneering workshop, lead by Oron Catts
- performances by Carsten Nicolai, D-Fuse, Cathode & many others
- a radio station broadcasting from a boat - Celestial Radio by Neil
Bromwich & Zoe Walker
- a 2 day international symposium
___AV.06 : thematics
The theme of AV Festival 06 is Life. The festival will explore the
interplay between digital and biological life as explored by audiovisual
practitioners from all disciplines.
In an increasingly technologised society, we find ourselves surrounded by,
and immersed in, virtual and artificial worlds. Evolutionary computational
techniques and genetic algorithms correlate the processes of the computer
with the processes we observe in biology. Digital technology has allowed
for entire environments to be modelled within the computer. The internet
has created a culture, where societies of users can inhabit these synthetic
environments. Games, online communities and immersive interactive
environments have become worlds within worlds.
At the same time, genetic engineering is allowing for the creation of
synthetic biological worlds, which are constructed in the laboratory.
Biotechnology raises passions, hopes, fears and fascinations. On the
cutting edge of science and ethics, it offers many promises, but prompts
anxiety also. Fields such as stem cell research, genetic modification and
reproductive cloning intrigue and perturb us, provoking questions about the
status of life itself.
The North East of England has become a bioresearch centre of international
repute, with scientists at the Centre for Stem Cell Biology and
Developmental Genetics at the University of Newcastle engaged in human
embryonic stem cell research, and medical researchers at the James Cook
Hospital in Middlesbrough working on reproductive treatments for patients.
The often troubling ethical and political implications of this work are
considered and communicated by organisations such as the Policy, Ethics and
Life Sciences Research Centre (PEALs) and the Centre for Life.
Artists also have a role to play in considering the changing nature of
life. Artificial life, intelligent robotics and emergent systems have long
been subjects for new media artists, exemplified by the work of Ken Rinaldo
(USA), Suguru Goto (Japan) and Marius Watz (Norway). Now, practitioners
such as the Critical Art Ensemble (USA), Andy Gracie (UK) and Oron Catts &
Ionat Zurr (Australia), are beginning to work directly with living
biological systems. With artists and scientists alike fabricating new
life-forms and ecologies, our understanding of what life is and where it
can happen is shifting, evolving and mutating.
LifeLife - AV Festival 06 will present the work of the above artists and
many more, in over 90 exhibitions, new commissions, film screenings,
concerts, workshops, symposia and other events.
The festival will interrogate the boundaries of what is 'natural' and what
is 'synthetic' in this context, aiming to extend and rework these notions.
It will probe digital and biological 'lifeforms' and 'living systems', and
ask such questions as: what do these 'creations' look, sound and feel like?
What is it like to 'inhabit' these systems? Who are the demiurges of the
artificial age?
___AV.06 : programme
The programme for LifeLife - AV Festival 06 can be downloaded as a PDF
document (9MB).
The direct link is:
http://www.avfest.co.uk/download/AV%20Festival%2006%20Guide.pdf
AV Commissions & Premieres include :
- Andy Gracie & Brian Lee Yung Rowe - Autoinducer PH-1 (exhibition -
Commission)
- Anthony McCall - Swell (exhibition - co-Commission)
- Claire Davies - Wonderland (outdoor projection- Commission)
- Critical Art Ensemble - Marching Plague (film & panel discussion,
World Premiere)
- D-Fuse - Undercurrent (performance, World Premiere)
- Gina Czarnecki - Spine (outdoor projection, Commission)
- Helena Swatton - State (exhibition, World Premiere)
- James Hutchinson - Planesong (exhibition, World Premiere)
- Marius Watz - System C (outdoor projection,UK Premiere)
- Michael Nyman - Orchestrating the Genome (performance, Commission)
- Oron Catts & Ionat Zurr - The Remains of Disembodied Cuisine
(exhibition, UK Premiere)
- Richard Fenwick - Artificial Worlds & What I Know About Stem Cells
(films, Commissions)
- Ryoji Ikeda - data.matrix - working title (performance, co-Commission)
- Suguru Goto - RoboticMusic, (exhibition & performance,UK Premiere)
- Times Up - Sensory Circus (exhibition,UK Premiere)
- UMAMi - Who Am I? (film performance, Commission)
Live Concerts include:
- alva noto aka Carsten Nicolai - in First Friday, AV Opening Gala, 3 March
- D-Fuse - Undercurrent, 7 March
- Cathode - in AV Closing Gala, 11 March
- Michael Nyman & Northern Sinfonia - Orchestrating the Genome, 5 March
- Marius Watz - in AV Opening Gala, 3 March
- Preamptive - in AV Opening Gala & Closing Gala, 3/11 March
- Ryoji Ikeda - C4I & new commission in AV Opening Gala, 3 March
- Suguru Goto - RoboticMusic, 4 - 5 March
Symposium & Seminars & Talks include
- Adinda van 't Klooster - at Presentations by Sound Artists, 6 March
- alva noto (Carsten Nicolai) - Artist presentation, 4 March
- Andy Gracie - Gallery Tour & Artist Presentation, 8 March
- Anthony McCall - Gallery Tour & Artist Presentation, 8 March
- Frankenstein Created Bimbo - seminar lead by Gail Nina Anderson, 4 March
- Game Horizon: Show Some Emotion - games seminar, 9 March
- Kaffe Matthews - at Presentations by Sound Artists, 6 March
- Ken Rinaldo - Gallery Tour & Artist Presentation, 8 March
- Making The Most of Open Source Software - seminar lead by Sneha
Solanki & Dominic Smith, 8 March
- Michael Nyman - interviewed by Dr. Tom Shakespeare, 5 March
- Richard Fenwick - at What I Know About Stem Cells, 4 March
- Ryoji Ikeda - Artist presentation, 4 March
- Steve Grand - Café Scientifique, 6 March
- Steve Kurtz & Steve Barnes, Critical Art Ensemble - at Marching
Plague, 4 March
- Sustaining Life, Designing Life- the AV Festival symposium, 10 - 11 March
- Zoë Irvine - at Presentations by Sound Artists, 6 March
Workshops include
- Build Your Own Computer Game - 5 day workshop lead by Julian Oliver,
- Grow Your Own Media Lab - workshops, lead by Polytechnic, Feb & March
- Shadow Play - workshop for Families, with installation by Dan Fox, 4
- 6 March
- Sound Art Lab - workshop for North East England artists, 6 - 9 March
- Tissue Engineering Workshop - lead by Oron Catts, 7 - 8 March
Screenings include
- Short Films
Cinematic representatations of biological and technological convergence,
featuring Simon Tegala - Signal; Jemima Brown's Seven Lonely Nights; Sean
Burn - Stealing Brecht; Peter Nancollis - Sciatica; Francesca Steele -
Fleurs du Mal & Jane Arnfield - Humanity; Precursor - Quietus; Pleix -
E-baby; Dominic Hailstone - The Eel and many more.
- Retrospective feature film season, including:
Able Edwards (Graham Robertson, USA, 2004), Abre Los Ojos (Alejandro
Amenábar, Spain, 1997), Blade Runner (Ridley Scott, USA, 1982), Blood
(Charly Cantor, UK, 2000), Casshern (Kazuaki Kiriya, Japan, 2004), Code 46
(Michael Winterbottom UK, 2003), eXistenZ (David Cronenberg, Canada, 1999),
Frankenstein (James Whale, USA, 1931), Gattaca (Andrew Niccol, NZ/USA,
1997), Gojira / Godzilla (Ishirô Honda. Japan, 1954), Incident at Loch Ness
(Zak Penn, USA, 2004), Iron Giant (Brad Bird, USA, 1999), Natural City
(Byung-chun Min, South Korea, 2003), S1m0ne (Andrew Niccol, USA/NZ),
Seconds (John Frankenheimer, USA, 1966), Shivers (David Cronenberg, Canada,
1975), Sleeper (Woody Allen, USA, 1973), The Stepford Wives (Bryan Forbes,
(USA, 1975), The Valley of Gwangi (Jim O'Connolly, USA, 1969).
For the full programme listings, download the AV Fesival Guide Book:
http://www.avfest.co.uk/download/AV%20Festival%2006%20Guide.pdf
Or send us an email with your address & we will post it to you.
___AV: the story so far
The first AV Festival was held in Newcastle, Middlesbrough and Sunderland,
8 - 22 November 2003, organised by the Tyneside Cinema, Middlesbrough
Council, the University of Teesside and Sunderland City Council. The
festival delivered over one hundred events across three towns in two weeks,
and included performances by the Cinematic Orchestra, DJ Food, Tina Frank
and General Magic, screenings of Matthew Barney's Cremaster Cycle, a world
premiere by Peter Greenaway, a Mike Figgis film retrospective, onedotzero
screenings and a lively programme of workshops and lectures. Over 35 new
works were commissioned, including new pieces by filmmaker, Richard Fenwick
and The Light Surgeons. AV.03 proved to be one of the biggest new media,
digital arts and digital music festival in the UK, and is the only festival
event to occur in each major population centre in the North East region.
___AV: collaborators
AV is organised by:
- Middlesbrough Council <http://www.middlesbrough.gov.uk>
- Sunderland City Council <http://www.sunderland.gov.uk>
- Tyneside Cinema <http://www.tynecine.org/>
- University of Teesside <http://www.tees.ac.uk/>
AV is also working with:
The Sage Gateshead <http://www.thesagegateshead.org>
&
Forma (who produced the works by Ryoji Ikeda & Gina Czarnecki),
&
The Northern Gallery for Contemporary Art, Ten Feet Tall, The National
Glass Centre, University of Sunderland, Middlesbrough Institute for Modern
Art, Sunderland Museum & Winter Gardens, The Arts Catalyst, The Reg Vardy
Gallery, CultureLab, CRUMB & ISIS Arts.
___AV: supporters
AV is supported by:
- NewcastleGateshead Initiative
- Newcastle City Council
- Arts Council England
- Northern Film & Media
- UK Film Council
- TyneWear Partnership
- The Tees Valley Investment Fund
- The PRS Foundation for New Music.
AV is sponsored by CODEWORKS.
___AV: contacts
Honor Harger
Director
AV Festival
c/-Tyneside Cinema
10 Pilgrim Street
Newcastle Upon Tyne
NE1 6QG
UK
Tel: +44 (0)191 2328289, ext 112
Email: honor(a)avfest.co.uk
http://www.avfest.co.uk
