as trudy lane mentioned a while back:
emil mcavoy and frey aka damian stewart bring themselves two laptops
four microphones and six video cameras together under one roof on one
night in one place to to bring you one self-perpetuating live music and
visual art machine
sound comes from four microphones in four different places sending four
signals down four cables mixed down to two channels and fed into one
computer, processed by one home made pure data system to create two
channels of minimal techno inspired sound fed out to six speakers to
create many vibrations in innumerable particles of air
visuals come from six security cameras fed into two video mixes bounced
down to one computer processed using one programme taking control input
from four networking sockets receiving data from damian's sound computer
and then fed out down six cables to six projectors
we record the room, visually and aurally
we process the room
we play the room back to itself
your brain melts and comes dribbling out your ears
come along and experience
music will be minimal techno inspired and guaranteed danceable
friday the fifth of may
moving image centre/galatos
part of interdigitate 06
f r e y
live music with computers
> -----Original Message-----
> From: andrea(a)andreapolli.com [mailto:firstname.lastname@example.org]
> Sent: Wednesday, 26 April 2006 2:18 a.m.
> To: ada_list(a)list.waikato.ac.nz
> Subject: [Ada_list] Contemporary Mythologies
> I'd like to comment on the recent posts on mythology. The discussion
> centered around mythology and non-western ('other') cultures, but of
> course mythologies (beliefs about the way the world works) shape
> everything we do, on both personal and social/global scales. Many of
> these mythologies have come from scientific advances and this
> the need for sensitivity in the communication of scientific
> where artists can make an important contribution.
> For example, the current creationist movement in the US, while
> unapologetically 'anti-scientific' (and in the poltical sphere we're
> seeing much more rejection of scientific ideas as 'beliefs'), it is
> important to note the horrible genocides in the 20th (and 21st)
> that use genetics as justification.
> The concept of racial/genetic purity is pervasive even though a more
> sophisticated understanding of genetics shows that there is no such
> as genetic purity (indeed no clear genetic markers for race), yet the
> mythology still remains.
[Brit Bunkley (Staff WG)] According to some of the more enlightened
geneticists, every person on earth (other than the most remote tribes)
are "related" - contain DNA that can be traced to- Julius Cesar. Enough
mixing has occurred on earth to have spread this DNA to most corners of
the world in only 200 years. (and if the Da Vinci code is
> I'm wondering what people in the list think about the movement to
> scientific findings as 'beliefs'? I'm conflicted, on the one hand
> clear that politicians and religious leaders are likening science to a
> belief system to justify various kinds of social control, on the
> isn't it intellectually honest to admit that science is a world view
> of which is driven by certain kinds of beliefs (highly tested beliefs,
> quantum physics seems to ask us to accept uncertainty). How does one
> clearly artciulate the differences between science and other
[Brit Bunkley (Staff WG)]
I remember reading a wonderful debate on this subject in the early 90's
with Cornel West (who now seems to be missing from the web link below),
Barbara Ehrenreich, and Noam Chomsky debating Kate Ellis, Frederique
Marglin and Whaneema Lubiano (taking up the po-mo end of the spectrum).
It certainly helped form a basis for my current predisposition towards
science coinciding with "progressive" politics. The link is:
Here is an sample:
Papers: You're supposed to be responding to a set of critics of Western
Rationality and Science. First, is this your only experience with this
view, or have you encountered it in your own interactions before?
Ehrenreich: No, I have encountered this point of view before, for
example, about a year ago and I was on a panel talking about
multiculturalism and in fact I was talking about the attack on
multiculturalism coming from the right, the neo-intellectuals. And then
afterwards someone in the audience, someone I know, in fact one of the
authors of one of these papers came up to me and said, "that was fine,
except I can't believe you used the word `truth'." And I was so shocked.
She said it as if she were referring to some obscenity I had used. So I
said, "What do you mean?" And she said, "Well there is no truth ." And I
think I still have to stand by my gut response at that moment which was
to say, "Then we have nothing to talk about." And I walked away. I
couldn't figure out what would be the rules for communicating if we were
going to start from the idea that there was going to be no truth.
So, if they can't really mean to curtail communication, what do you
think the critics are actually aiming at? Are they really claiming there
is no truth? Then would the claim itself be true? What basis would they
or anyone have for claiming anything? So, if it isn't that there is no
truth, what are they claiming?
I should say first that I would agree with the authors of these papers
that reason and a rational notion of truth may not apply to all forms of
communication we might want to undertake. They may not be appropriate
for all types of communication we might want to employ. There are all
kinds of things that we might prefer to communicate perhaps through
poetry or through dance or music or something else, but as a general
rule, when we're dealing with people who we're not really intimate with,
acquaintances and strangers, and we're trying to communicate somewhat
impersonal things, we have some ground rules called reason, and they
lead to something called truth which of course will sometimes change
with further investigation and further discussion incorporating points
of view that weren't represented the first time. But we start with that.
If I have a plumber coming because I have a leak in the basement, I
would not expect him or her to start out by saying we're not going to
use reason and we're not going to pay any attention to the idea of truth
in analyzing where this leak is coming from. We're going to just
consider various alternative points of view, intuitions we may have--I
don't want that in my discussions with the plumber.
Well, the plumber may have an intuition about what's gone wrong. That's
But I would expect that intuition to be empirically
So what's the difference between the plumber and a scientist?
Well, really, there's no difference. For most kinds of interactions, for
example, the interaction you and I are having in this discussion, we
have a set of ground rules. We have an idea of how to make a case, how
to establish a claim. It doesn't mean we're going to always agree. We
might have many reasons for continuing to disagree. But at least we have
a way to get at agreement.
So you can be rational and be wrong?
Of course. The authors of these papers seem to confuse reason and truth.
You can be very rational sometimes and come up with something which may
not be true and you might find that out as you get further evidence.
The critics enumerate all sorts of problems with science, or with
scientists, ranging from the kinds of policies scientists support, to
the way they behave, and so on. Are they wrong in these criticisms? OR
are the faults there, but with a different cause than the a flawed
There are, of course, many problems with science. I have been a critic
for many years of misuses of science. Criticizing the use of so-called
science, very often pseudo-science, to justify social hierarchies, for
example, is one of the intellectual themes of my life. But I have never
encountered a problem in science that could not be cured with more
science, that could not be cured with more reason--by bringing in points
of view that had been neglected, or data that had been neglected.
Here's, I think, a striking example which might appeal to the
multiculturally inclined, which is the effort to translate and
understand the Mayan hieroglyphs. For years that effort was getting
nowhere because most of the scientists involved, white European types,
did not think there could be any possible connection between the glyphs
in the Mayan ruins and the spoken language of contemporary Mayan. They
just could not believe that these short, dark people could have had
anything to do with such a complex civilization as was represented in
the glyphs. Then one Soviet scientist did pay attention to the Mayan
spoken language and he was the one who was finally able to crack the
hieroglyphs to see that some of them were epigrams and some of them
actually represented sounds and words in contemporary Mayan. So there
you had science and scientists, which because of their prejudices could
not see the truth, could not get anywhere, and it took someone else who
did not share the prejudice to get at what I would call, in this case,
So in this case racist prejudice, or in some other instance sexist or
classist prejudice, aren't part of science. They are laid on top. What?
Scientists have customarily been white men from some of the more
comfortable classes of society sharing the prejudices of those classes
and their gender and racial groups. So it's always a struggle to get
past that when those biases intrude into their science.
Does science aggravate the problem? We all know that racism, sexism, and
classism are in the society, but does the science make it worse?
Being scientific itself doesn't make it worse. Rationality, testing, can
get through the biases, though with difficulty. But science makes it
worse when it lends itself to justifications of social domination which
there are endless examples of. A classic case is theories of brain size
and phrenology which so fascinated biologists in the late 19th and early
20th centuries and which they used to prove that northern European types
were superior to Jews, Africans, Italians and other people they saw as
subordinate races. We know it is silly. And you could have pointed out
it was silly at the time. But you do that by using science, reason,
also. By drawing in more evidence. As I said, the cure is always more
science, not less.
Let's take a different example one of the critics emphasized. Suppose
someone comes along and tells people that they had to support marxist
and leninist views on the grounds that they are scientific and science
is the truth so that there aren't be any sensible opposition? Or suppose
some Westerner takes the same approach in trying to gain acceptance for
some agricultural theory among third world peasants? How do you react to
using the label of science, the ideology of science, to bludgeon people
into believing that certain views must be true?
First, of course, it isn't science. You argue for science by emphasizing
that it has been and can be tested. People can make up their own minds
about it. But second, I'd rather have oppressive claims presented as
being scientifically based than claims for domination that were
presented as being by design in their origin, or supernatural, If you
tell me that white males have the role they have in our society because
God wants it that way, it is harder to refute, most of the time, than if
you tell me that it's because they're smarter, because it's easy to show
that they're not smarter, that smarter doesn't mean much, or that
whatever form of intelligence we may be talking about doesn't apply to
running a society. I think you always have a little leverage when
domination is justified scientifically. I would rather never see science
used that way, because I'd rather never see domination. It's a
perversion of science that has of course happened over and over, but at
least you can refute it on its own terms if elites are going to justify
social hierarchy based on science.
Again, in the realm of how people interact, suppose someone comes along
and says white middle class feminists create a flawed activism because
they have the wrong way of thinking--that is, Western Rationality. How
do you react?
I would have a hard time with that, of course. You can say that there
are many ways in which the feminist movement or the environmental
movement have been limited by having disproportionate involvement by
white middle class men, and so on, and that those movements would be
greatly enriched in many ways by being more diverse in their
constituency. But that's a very rational claim. If you are trying to
create a movement to advance the interests of all women, feminism, if
you only have the perspective of a certain class or culture of women
represented, you don't have feminism. So you have to keep going. You
have to try to bring in the truth of women's experience. But again, only
by expanding the data, so to speak.
But what if the point that the person is trying to make is that the way
of thinking of an anglo middle class woman is different from the way of
thinking of a lower class black woman, or that the way of thinking of a
Westerner is different from the way of thinking of an Easterner?
Of course there may be real differences in what people think about and
how they organize their thoughts and the concepts they use depending on
backgrounds and classes. But I would not surrender to a more elite class
or race the idea of rationality. Why cede them that? It's a very
disturbing assumption in these papers that rationality is something that
inheres in the oppressor class, whatever that is, whether it's men or
whites or westerners. How does anyone arrive at such a conclusion? Why
would anyone want that? Rationality has often been a central tool of the
oppressed. It is one of the ways you discredit the oppressor. It is how
you demystify and expose.
I should add a personal note here. My family was originally blue collar
poor, but intensely committed to rationality, in a very positivistic and
what I see now as limited way. But they were militant about these
things. And I came to respect this rationality as part of what gave them
some dignity as against the bosses. They would point out that the bosses
didn't work, the bosses sat behind desks. They would use rationality
also to undercut doctors, preachers, and lawyers. I always thought about
rationality not that it was something the oppressor had and my people
didn't have but that it was something you were more likely to encounter
among the oppressed than among those who were busily trying to justify
their position in society, regardless of truth.
The same goes for the whole issue that is brought up in one of these
papers concerning medical theories about women and the whole role of
medical "science" in justifying sexist social arrangements. Well, these
are cases of doctors being irrational and of women, women as indigenous
lay healers, being the rational ones who drew on empirical experience.
The women have more idea of experimental method than the doctors who
might be highly educated but who really had no basis for effective
medical practice. It was the poor people, the woman who was a lay
healer, who represented more what I would call a scientific method--you
tested things, you saw what worked, instead of just mumbling something
you learned in medical school which was no doubt false if you learned it
in the 19th century. So why hand this over to the oppressor? You've got
rationality, and we have what? Only intuition? Only rhythm? Only
feelings? No, we have those things and rationality too on our side.
You spent much of your own time discussing what you called the
progressional managerial class and particularly its relation to workers.
Many critics of science and rationality would probably say that what's
going on in that relation is the imperial, domineering, colonializing
attributes of western rationality playing themselves out. How does your
view differ from that?
How have I criticized this professional managerial class. On grounds of
rationality. Pointing out, for example, how they use science, monopolize
science and sometimes twist it, to legitimize their own status. Here's a
crude example. It's a requirement in medical school that you study
organic chemistry and calculus. Now these are obviously fine things to
study, but they have very little if anything to the practice of medicine
and even with medical research, including even some basic medical
research. Those requirements are there as hurdles to keep out less
affluent people who haven't had as extensive preparation as people who
are children of members of the professional managerial class. But I'm
being rational in making this claim. I'm using, in fact, my knowledge or
organic chemistry to say it has no required place in medical education,
except that it's an interesting thing to learn. So the problem with the
PMC isn't that they are rational, but that they monopolize it or use it
to oppress others.
Head of Sculpture,
Lecturer in Digital Media
Phone: 06 925 3801 ex 62273
Quay School of the Arts
> Andrea Polli
> MFA Director
> Associate Professor of Integrated Media Arts
> The Department of Film and Media, Hunter College
> 695 Park Ave. New York, NY 10021
> t (212) 772-5589
> > Message: 1
> > Date: Mon, 24 Apr 2006 12:44:48 +1200
> > From: "Emma Bugden" <emma(a)tetuhi-themark.org.nz>
> > Subject: Re: [Ada_list] Session Two
> > To: "Aotearoa Digital Arts" <ada_list(a)list.waikato.ac.nz>
> > Message-ID:
> > <0C1ABDE96DC5BF4AA0E225DF0882AD29156AF2(a)TETUHISBS1.tetuhi.local>
> > Content-Type: text/plain; charset="iso-8859-1"
> > Hi everyone,
> > Having been offline for a few days due to illness and general
> incompetency, it's great to get back and read the discussions around
> > I've been thinking a lot about Lisa's very interesting comment that
> is wary of the term 'mythology' because when associated with
> practice the inference is that one is dabbling in fantasy and not with
> fact. Mythology is certainly a loaded and problematic term, bringing
> it a certain amount of exoticism and the 'other'. In defining
> mythology it can relegate it to a domain which is alluring but not
> considered authentic.
> > (Which reminds me of viewing Gabr?ela Fri?riksd?ttir's exhibition at
> Icelandic Pavillion at last years Venice Biennial, an installation
> on a range of Icelandic myths and including a video of Bj?rk as a
> fertility goddess giving birth to something yucky. Afterwards I talked
> an Icelandic artist who said 'international curators only want to show
> Icelandic work about Nordic mythology with Bj?rk in it somewhere -
> another way of keeping us as the freak show'.)
> > However, given that, what I do like about it as a term is that it
> includes an acknowledgement within itself of the many layers/slants of
> truths within any retelling of history. Isn't all fact partly fantasy?
> Nina's discussion on the mythologies of ancient Nordic tribes reminds
> that The Kalevala, the Finnish epic legend originated from traditional
> oral folk poems, is what Tolkien based Lord of the Rings on, which
> came to be seen as a definitive English tale, and which can now be
> as, depending on whose eyes you look through, either a truly New
> tale or an American one....mythologies AND histories are constantly
> shifting / being co-opted.
> > I'm also enjoying thinking about Lisa's comment that 'Maori thought
> collapse time' which Danny also feed into with his comment that 'Maui
> the other great tricksters/new-media-artists (SunSnare 2.0 beta ;) )
> remind me that to be an agent of change, for "the new" isn't always
> the best.' The non-linear nature of the internet has always seemed a
> vehicle for representations of historical events simply because it can
> host multiple versions of the same event simultaneously...
> > Cheers, Emma
> > Emma Bugden
> > Curatorial Director
> > te tuhi - the mark
> > 13 Reeves Road
> > PO Box 51 222
> > Pakuranga
> > Manukau City
> > Aotearoa New Zealand
> > 09 577 0138 ext. 7704
> > emma(a)tetuhi-themark.org.nz
A PERFORMANCE ART EVENT BY MARK HARVEY
Wrap Me Up, Make Me Happy (The Helper's High Remix)
SATURDAY 29 APRIL 2006, 6PM
THE PHYSICS ROOM
In Wrap Me Up, Make Me Happy (The Helper's High Remix) Harvey will attempt
to wrap himself up in cardboard in order to turn himself into a
TransformerT. Reflecting on the contexts of making action art through the
physical limits of an imposed body (a cardboard exoskeleton), as well as the
constructions of social conformity and acceptability, Harvey's humorous
construction explore the artist's investment in an audience and audience
The Helper's High Remix extends from a series of performances Harvey has
developed over the past two years, which have churned and cheered up
audiences, starting with his video Tony and His Mirror (2004). Harvey is an
Auckland-based performance artist who sits both comfortably and
uncomfortably between the genres of visual arts and contemporary dance.
For more information visit our website www.physicsroom.org.nz
- - - - - - - - - - - - - - - - - - - - - - - - - -
Final days for Ayse Erkmen's awesome at The Physics Room!
- - - - - - - - - - - - - - - - - - - - - - - - - -
THE PHYSICS ROOM contemporary art project space
PO Box 22 351
Level 2, 209 Tuam Street
Christchurch, New Zealand
Tel +64 3 379 5583 / Fax +64 3 379 6063
The Physics Room receives annual funding from Creative New Zealand / Toi
Begin forwarded message:
> From: Joel Slayton <joel(a)well.com>
> Date: 25 April 2006 4:02:14 AM
> To: list(a)fibreculture.org
> Subject: ::fibreculture:: ISEA2006.Papers_Forum
> ISEA2006 Symposium Papers Online Forum.
> April 24th – May 29th.
> ISEA2006 is taking place in San Jose, California, August 7-13. See
> http://01sj.org for more information about the Symposium and related
> ZeroOne San Jose Festival.
> Beginning Monday, April 24th, ISEA2006 will host a month long series
> of discussions on the accepted paper abstracts for each of the
> Symposium themes: Interactive City, Community Domain, Pacific Rim and
> Transvergence. See http://01sj.org/content/blogcategory/138/147/ for
> an overview.
> An important objective to ISEA2006 is enabling conversation and
> discourse between audience(s) and presenters. Toward that objective
> this years ISEA incorporates a single main track of presentations +
> artists presentations combined with a pre-publishing model. The
> reading of papers is not permitted. Instead authors will present
> their abstracts in the on-line Forum and then pre-publish full
> manuscripts weeks prior to the Symposium. The goal is to inform and
> influence both authors and audiences as well as create conversational
> relationships and provide for advanced consideration of topics to be
> presented at the Symposium. At ISEA2006 each theme will have two
> extended ‘conversational’ sessions in which several authors present
> summaries of their papers followed by a moderated conversation and
> audience interaction.
> An important role in the Symposium and Forum is that of the Moderator.
> We have invited a group of prestigious Moderators who will
> facilitation of individual sessions of the Online Forum and Symposium.
> Interactive City: Anthony Burke
> Community Domain: Sara Diamond
> Transvergence: TBA
> Community Domain: Alice Ming Wai Jim
> Transvergence: Wendy Chun
> Pacific Rim: Amanda McDonald Crowley
> The ISEA2006 Papers Forum, April 24nd to May 22nd begins with
> Interactive City. Beginning with Interactive City, abstracts for each
> of the Symposium themes will be presented in a series of open public
> Interactive City paper titles and authors:
> Mirjam Struppek, Urban Screens
> Tapio Mäkelä, Ars Memorativa in the Interactive City
> Alison Sant, Redefining the Basemap
> From Scenography to Planetary Network for Shanghai 2010
> Each week introduces a new theme and abstracts for consideration.
> Forum Schedule and Moderators:
> Transvergence 1: May 1-May 7
> Moderator: TBA
> Gheorghe Dan and Alisa Andrasek: Phylotic BodayScapes / Entheogenic
> Gardens Poly-Scalar Heterotopic Botany
> Oron Catts and Ionat Zurr, Towards a New Class of Being-The Extended
> Josephine Bosma, Voice and Code: From spoken word and song to writing
> music to code
> Community Domain 1: May 8-14
> Moderator: Sara Diamond
> Trebor Scholz, The Participatory Challenge: Incentives for Online
> Valentina Nisa, Mads Haahr and Ian Oakley, Community Networked Tales:
> Stories and Place of a Dublin Neighborhood: The Media Portrait of
> Kevin Hamilton, Absence in Common: An Operator for the inoperative
> Community Domain 2: May 8-14
> Moderator: Alice Ming Wai Jim
> Joline Blais, Indigenous Domain: Beyond the Commons and Other
> Colonial Paradigms
> Sharon Daniel, Public Secrets: Information and Social Knowledge
> Mara Traumane, Media Referentiality: “Productive “ Knowledge Networks
> in Experimental Arts
> Transvergence 2: May 15-21
> Moderator: Wendy Chun
> Steve Anderson, Coming to Terms with the Digital Avant Garde
> Jon Ippolito and Joline Blais, Art as Antibody: A redefinition of art
> for the Internet Age
> Ned Rossiter, Organized Networks as New Institutional
> Pacific Rim : May 22-29
> Moderator: Amanda McDonald Crowley
> Timothy Murray, Chinese Archival Futures
> *additional Pacific Rim participants to be announced.
> Please join us for a lively and informative discussion.
> For more information on Paper Authors and the Symposium:
> <http://01sj.org/content/blogcategory/135/144/> .
> Joel Slayton, Chair ISEA2006/ZeroOne San Jose
> Steve Dietz, Director ISEA2006/ZeroOne San Jose
> ISEA2006 Symposium
> The 2006 edition of the internationally renowned ISEA Symposium will
> be held August 7-13, 2006, in San Jose, California in conjunction with
> the inauguration of ZeroOne San Jose: A Global Festival of Art on the
> Edge, a milestone festival to be held biennially.
> The 13th International Symposium on Electronic Art (ISEA2006) focuses
> on the critical, theoretical and pragmatic exploration of four
> important themes <http://01sj.org/content/blogcategory/105/30/> :
> Transvergence <http://01sj.org/content/blogcategory/26/71/> ,
> Interactive City <http://01sj.org/content/blogcategory/23/68/> ,
> Community Domain <http://01sj.org/content/blogcategory/24/69/> and
> Pacific Rim <http://01sj.org/content/blogcategory/25/70/>
> What tactics, issues and conceptual practices expose or inform the
> distinctions of these subject terrains relating to contemporary art
> practice? What analyses illuminate art practice engaged with new
> technical and conceptual forms, functions and disciplines; provide for
> innovative tactical implementations of cultural production involving
> urbanity, mobility, community and locality; examine the roles and
> responsibilities of corporations, civic and cultural organizations,
> discuss strategic and economic planning as it relates to creative
> community; serve to expose new portals of production and experience;
> provide for interpretive bridges between cultures and identities; and
> provide for provocative examination of contemporary political and
> economic conditions? How is new media art practice re-shaping the
> The ISEA2006 Symposium is an international platform for artists,
> cultural producers, media theorists, curators and the general public
> to share the latest ideas and practices involving new media. Enabling
> discourse across disciplines, ideologies and philosophical frameworks
> is an important objective as is the facilitation of discussion and
> conversation. Audience participation is facilitated through expanded
> moderated sessions, an afternoon Poster Session/Reception and through
> an on-line forum featuring the pre-published abstracts and
> papers.::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 List info page:
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
Please note slight change of venue due to a clash with another event at the St James.
Westend Theatre, St James Complex, 312 Queen St.
Hope to see you there.
----- Original Message -----
From: Andrew Clifford
To: Aotearoa Digital Arts
Sent: Thursday, April 20, 2006 6:18 PM
Subject: Fw: Boston's KFW visits Auckland
Boston's KFW visits Auckland
An Alt.music presentation in association with ARTSPACE
Keith Fullerton Whitman, Dean Roberts + Guy Treadgold, and Pumice
$10, Saturday April 29, 2006, doors 8pm, starts 9pm
Westend Theatre, St James Complex, 312 Queen St
KFW free artist talk, 1pm, Grand Circle Bar, Sat Apr 29
Alt.music is proud to present Boston's Keith Fullerton Whitman in Auckland as part of his April ROOM40 Australian tour. This visit coincides with the release of the Lisbon CD on American label Kranky. Brisbane label ROOM40 will also release an edition to accompany the tour - 'Track4 (twowaysuperimposed)' - some of KFW's most bass-heavy tone work to date. KFW is also known as legendary laptop composer (and sometime Greg Davis/Kid 606 sidekick) Hrvatski, his joyful/nutso/crazy hyper-programmed slice'n'dice laptop project.
Lisbon is a continuation of KFW's Playthroughs real-time processing guitar-and-electronics project. Recently he has been augmenting the pure-guitar sound(s) with a collection of small, battery-powered sound-devices and several tapes of "automatic synthesizer compositions" and field recordings from all over god's green earth. In addition, he places microphones and small speakers/FM receivers around the space, capturing the sounds as they occur at various points in the room, feeding them back through the central artery that is the max-msp-based playthroughs patch, then out again to any number of locations.
Keith Fullerton Whitman started his path through music at an early age (9) by intentionally 'versioning' Commodore Vic20 basic sound programs to yield raw computer-speak skronk. Growing up at record-collector fairs throughout northern New Jersey in the late 80s, Keith had access to just about every type of underground music imaginable, declaring allegiances early on to European free improvisation, progressive and psychedelic rock, breakdance-themed urban machine music, the post World War II orchestral avant garde, and the early electronic experiments of the WDR and INA-GRM camps. A guitarist from the age of ten, Whitman studied at Boston's Berklee College of Music where, in the early 1990's he discovered contemporary post techno. During the day he worked in the studio on his academic work, and the late evening and night he devoted to his youthful, beat-oriented pieces.
Dean Roberts + Guy Treadgold
Although currently residing in Auckland, New Zealand-born guitarist and composer Dean Roberts has spent much of the last decade in Europe. His latest release is under the guise of the Autistic Daughters, a group that also features Werner Dafeldecker and Martin Brandlmayr. The seven tracks on the trio's debut, Jealousy and Diamond, continue the exploration and mutation of the rock song Roberts undertook on his seventh solo album, Be Mine Tonight, which was also released by kranky and demonstrated a move from electronic texturing into songwriting and arrangements, combining rock music and sound manipulation. Playing with the Autistic Daughters, under the White Winged Moth alias or under his own name, he has toured extensively in the US, Europe and China, and released material on various labels (including Mille Plateaux, Erstwhile, kranky, and his own Formacentric label). For his Alt.music appearance, Roberts will debut a new project featuring Guy Treadgold on percussion.
Since the 2004 release of his Raft album on US label Last Visible Dog, Pumice (aka Stefan Neville) has been wowing audiences around the world with his one-man-band broken-sound performances and recordings. Subsequent releases include Worldwide Skull (Audiobot), Spears (Pseudoarcana) and Yeahnahvienna (Soft Abuse), the latter two resulting from a residency last year at Vienna interdisciplinary arts institute, Quartier 21. Described as "a shipwreck in slow motion" by Pavement magazine, Pumice was formed in Hamilton by Stefan Neville and Sugar Jon Arcus in 1991. Existing in various forms and towns since then, these days it's usually Stefan by himself as he struggles to be the whole band. Neville is also responsible for the drum-monster rhythms that propel Chris Knox's new act, The Nothing.
Alt.music is an ongoing series of events, regularly bringing a vital injection of contemporary sound art from around the world to Auckland. Founded by Auckland gallery ARTSPACE and now organised in conjunction with the Audio Foundation, Alt.music began as an international festival of experimental music and sound art in 2001, followed by successive festivals in 2002 and 2004. Previous Alt.Music artists include Peter Rehberg, Pan Sonic, Tetuzi Akiyama, Jon Rose, Voice Crack, Sachiko M, Francisco Lopez, Pierre Bastien, Oren Ambarchi, Alan Licht Richard Nunns and the Dead C.
Alt.music is supported by ARTSPACE and Columbard. ARTSPACE receives significant funding from Creative New Zealand.
Level 1, 300 Karangahape Road, Newton
PO Box 68418, Newton, Auckland, New Zealand
phone +64 9 3034965 fax +64 9 3661842
ARTSPACE is a charitable trust whose mission is to present cutting edge contemporary art. ARTSPACE receives major public funding from Creative New Zealand. Join the crusade, become an ARTSPACE member.
Tenna Koutou Nina; Trudy; Ken; Emma & Zita
1. Contemporary mythologies - an idea which could suggest using new
technologies to breath new life to old stories ... also raises the
possibility of creating new stories which can become the ongoing
mythologies of the future....?
I'm not a theoretist preferring to concentrate my scattered energies on
being an artist/maker - but I'll make a comment about 'Contemporary
Mythologies': it's a catchy title, but what does it mean? As an urban
artist with tribal associations created through blood links; oral
tradition; and history, I'm interested in 'mythology' but have resisted
the term because when associated with indigenous practice, the inference
is that one is dabbling in fantasy and not with fact. The retelling of
lore falls prey to Chinese whispers [a fascinating and racially loaded
term]. What is contemporary? Is it the now of history? Maori thought can
collapse time [coalesce may be a nicer term].
What happens to stories transferred from a historic, oral format to a
contemporary, visual format? What is gained (or lost?) in the process of
shifting customary practice?
Stories have always transformed from the oral to the visual. Sometimes
we call this 'Art' sometimes percieved as 'Artefacts'. For instance
Maori carving: whakairo, is an encoded language from which much
information can be gleaned. The production of work can create new
developments, new forms. What is gained is knowledge - altered
knowledge? And I am talking here about content rather than technique.
What is lost we cannot know unless someone else who 'knows' tells us.
When we know are we better off? Are we better able to serve the
knowledge? If we disagree, do we continue with our own dogma. new
Devolution. Evolution. Revolution.!!!
1... Can we also think of the 'Digital Marae' as a contemporary
gathering place - a temporary and portable (physical) space for
community to gather within as it shifts from gallery to gallery? The
title of the work also suggests a further, virtual space to be
inhabited? ...How can we use new technologies to generate community
'meeting' spaces, both physical or virtual..?
Producing work which entails putting a crew together makes a community -
that's the bug and the reason why 'filmy' can put up with 12 hour days.
I've often quipped that the thing I like least about a computer is it
doesn't ask me out for a coffee.
I like that Digital Marae physically travels [is that terribly old
fashioned - I love to travel!] because the works give the audience
something to walk around and respond to. Additionally, art galleries
often have outreach programs, Digital Marae install at the Dowse Museum
had children re-enacting the stories these images represent [too cute,
and just slightly strange].
1.. How do technologies enable us to locate ourselves within the 'real
experiences' of our own imaginations?
Using technology allows me to show others what I am dreaming about. It
often surprises me if someone does not have the ability to
pre-visualise. This is a place I like to lose myself in. Showing your
work, or seeing others work provides a focus for discussion, and out
this ideas are validated; extended; challenged.... which provides
material from which to create more work.
3. Working cross-culturally raises questions around notions of ownership
and indigenaity. Ken, you've stressed the need to approach such
culturally sensitive projects with an attitude of collaboration and
knowledge sharing. What does it mean to be a newcomer to a country and
work with the histories/cultures/politics/social fabric of the local and
I am extremely interested to hear peoples thoughts around these
questions. There are those from our own country who arent even beginning
to question their cultural integrity.
I've blabbed on too much.
From: Nina Czegledy <czegledy(a)interlog.com>
Date: 22 April 2006 12:02:00 AM
To: Aotearoa Digital Arts <ada_list(a)list.waikato.ac.nz>
Subject: on contemporary mythologies
the connections between ancient legends and contemporary
mythologies remain fascinating for me. As I wrote earlier:
"Auroral knowledge of some ancient Nordic tribes contained
venerable wisdom, and it is the contemplation of these myths
vis-à-vis contemporary science, which has drawn me to the
Aurora projects. Through these provocative deliberations
-at the crossroads of fables and facts-, we might gain a
more plenary understanding of the often-invisible forces
operating in our terrestrial environment."
For example aurora myths were often related symbolically
to fertility and childbirth. This association with fertility
was beautifully described in an ancient Chinese tale from
2600 BC. According to this legend, Fu-Pao the mother of
the Yellow Empire Shuan-Yan, saw strong lighting moving
around the star SU, which illuminated the whole sky
and earth. Shortly after witnessing this sight, the empress
And now for contemporary mythologies:
Nearly five thousand years later, hundreds of newly wed
Japanese visiting the Canadian North make the excursion
each year in the strong belief that babies conceived under
the aurora will be fortunate in their life. By now this
pilgrame became quite an industry in Northern Canada.
wish you all the best
currently from Budapest where I have
only irregular internet access
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
Begin forwarded message:
> From: SPACE Media Arts <mediaartsmarketing(a)spacestudios.org.uk>
> Date: 20 April 2006 10:56:39 PM
> To: SPACE Media Arts <newmediamarketing(a)spacestudios.org.uk>
> Subject: Call for Proposals, Tagged commissions DEADLINE NEXT WEEK
> ***Call for Proposals***
> Tagged: Electronic tagging and RFID commissions
> SPACE Media Arts, London
> Deadline for proposals: NEXT WEEK! Friday, April 28, 2005
> SPACE Media Arts invites proposals for a series of four artist
> commissions that explore creative use and context of electronic tagging
> technology, in particular RFID.
> Even if you don’t know what a Radio Frequency Identification (RFID) tag
> is, you’ve probably used one, whether it’s at your local grocery store
> checkout, using an Oyster Card, tracking a package you’re waiting to be
> delivered or in your passport at the airport.
> RFID is the barcode of the future. It is a unique identification code
> that can be tracked through radio waves, sometimes without human
> or knowledge. RFID may help create a real-life internet, where objects
> can communicate with each other to create complex networks, exchange
> useful information, and do things for you in every day life. But it
> could also have a major impact on commercial industry, security and
> In keeping with SPACE Media Arts core objective to engage diversify
> access to emergent technology, proposals that have a public art focus
> that show an understanding of the communities in which they will be
> presented are particularly encouraged.
> The production budget / artist fee for each commission is £3,250.
> Production should be completed by October 2006, and projects are
> expected to be presented to the public. Commissioned artists will also
> be offered the opportunity to be involved in Who Designs the Future?, a
> one day workshop and presentation at the HCI 2006 ENGAGE conference at
> Queen Mary University London in September 2006.
> When evaluating proposals, the panel will consider artistic merit,
> technical feasibility and audience/participant awareness. Although we
> will provide some project mentorship and technical advice, artists must
> show in their proposals that they can execute their own projects.
> Artists will be notified of the status of their proposal by Friday,
> May 12.
> International submissions welcome, though project must be presented in
> ***How to Submit a Proposal***
> A proposal must include:
> 1. A project description of 1000 words maximum. This should describe
> what the project is, its main concepts and how it will be realized.
> 2. You are encouraged to include a production timeline and a project
> budget, which should include your artist’s fee.
> 3. Your individual or collective CV. If you plan to work with a
> technical assistant or collaborators, their information should be
> 4. A completed application form, available at
> Questions can be directed to Heather Corcoran at
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
News from 40 George StreetThe Wetware exhibition mentioned below might be of interest given recent discussion on ADA.
----- Original Message -----
From: Jane Sanders
To: E-invite ; News from 40 George Street
Sent: Friday, April 21, 2006 10:43 AM
Subject: News from 40 George Street
Currently at 40 GEORGE STREET we are showing a changing selection of work featuring:
A collection of paintings in honour of ANZAC Day by Michael Shepherd.
A fantastic new series of ruler works by Paul Cullen.
A selection of oils on paper by Jan Nigro.
Greer Twiss - A Curios Collection - An Installation 1999/2005 fills the back gallery to the roof line, and is a delight.
Recent works on paper by John Lyall.
>From Dilana are new rugs - Kate Wells pays tribute to Bill Sutton's Norwester Grasses.
Jan Nigro - Nude and Butterflies, Hugh Bannerman describes as testament to Jan Nigro's colour skills and his rugs makers 25 years of experience.
OTHER EXHIBITIONS AND EVENTS FEATURING THE ARTISTS
Michael Shepherd's exhibition The Early Years - 1975 - 1931 at the Rotorua Museum of Art & History finishes on the 31st April.
Rotorua Museum of Art & History, Government Gardens. Open daily 10-5pm http://www.rotoruanz.com/rotorua_museum/home.asp
On ANZAC DAY - a short piece based around Michael Shepherd's series of paintings 45 Minutes on the Somme - Upon thinking about time, photographs and the Language of Memory, 19886-87 directed by Annie Goldson as part of Screentime's coverage on ANZAC Day will be aired after the dawn parade on Maori Television, expected time around 9-10am.
Jan Nigro has a new body of photographic work featuring in the group exhibition WETWARE -A forum for new work pertaining to the body.
Jacqui Blanchard, Fear Brampton, Maree Henry, Jan Nigro, Mark Summerville, Jane Zusters
Opening: Artstation Gallery - Wednesday 26 April 2006, 5.30 - 7pm.
Wetware takes the notion of lens space as a way to view, investigate and consider the human body in contemporary art and society.
Six established and emerging artists use lens-based media including photography, photomontage and video to open up discussion about the ground of the figure in both the contemporary imagination and society.
The idea for the Wetware exhibition came about when figurative painter Jan Nigro started working with photomontage. "After a long career as a painter of the human condition, recently I felt a yearn to go 'out of context' which to me meant looking at current photographic art. I discovered a strong conceptual and sometimes complicit gaze at the body," says Nigro.
Wetware draws on the long history of the figurative tradition in art yet looks at the enormous plasticity of the body in today's world, from the body's potential for cyborgation and makeover, to the diverse perspectives and values attached to today's body.
Exhibition runs until 11 May 2006.
Artstation 1 Ponsonby Road, Ponsonby, Auckland. Mon-Fri 9-5, Mon-Thu 6-9, Sat 10-4. Ph 376 3221 for more details.
I hope you enjoy the exhibitions and look forward to seeing you in the gallery soon.
Jane Sanders - Art Agent
Artists Represented: Michael Shepherd, Jan Nigro, Greer Twiss, John Lyall, Paul Cullen.
Phone & Fax 64-9 623 8496 Mobile 025-280 9822 E-mail sanders(a)clear.net.nz
40 George Street, Mt Eden, Auckland, NZ. Viewing by appointment or Thu & Fri 10-5, Sat 10-4.
some weeks ago Natasha Conland and I presented the theme and structure
of the Scape Biennial in Christchurch.
Scape 2006 - Biennial of Art in Public Space - which is the new by-line
- will take place from September 30 - Nov 12 this year.
Some of you might now this already because Natasha and I met quite a lot
of people during our residency in Christchurch and our trip to Auckland,
New Plymouth, Dunedin and Wellington.
Nevertheless we would like to take the opportunity to introduce the ADA
list members to the biennial's theme and our take on art in public space
which includes naturally new media based work.
Please understand that we cannot discuss any specific works that we are
considering for the biennial -- we are in the middle of the process.
Here is our concept:
SCAPE 2006 don’t misbehave! draws attention to the public arena as both
a physical site and a
starting point for current artistic exploration.
During the 6-week period of the biennial the public space will work as
the interface between artists and
audiences, creating a highly active environment within the urban area of
the city. Within this context
established by the exhibition, all parties, artists and audiences must
decide how they want to behave in
relation to the event. The title itself, don’t misbehave! playfully
alludes to the ways in which art might
alter an audience’s expectation of public behaviour. For art, like any
other activity, can only ‘misbehave’
when it moves beyond pre-existing socio-cultural expectations.
The biennial will be constructed of a number of public platforms,
including an exhibition, a symposium
and an online-forum, which will support active audience participation.
The exhibition don’t misbehave!,
will position contemporary artworks within the cityscape which contend
with the idea of ‘the public’ in a
range of unexpected and stimulating ways. In addition, don’t misbehave!
will take into account the role
of the media as a channel for public communication, and as a public site
for contemporary art practice.
Within the context of the biennial, gallery spaces will also show works
that deal with current political,
social and cultural issues related to the public and public spaces globally.
don’t misbehave! asks for direct and active alternatives for art within
global and local public spaces, of
the kind which might liberate creative responses. As an exhibition
encouraging site-specificity within
this global environment, it also asks whether contemporary practice can
maintain an awareness of the
local. More than ever, today’s public represents a multi-facetted social
landscape that cannot be
discerned as a homogeneous mass. As a consequence, don’t misbehave!
proclaims that the idea of a
public arena is also open to expressions of alternative publics or
SCAPE 2006 don’t misbehave! will present work across a range of
performance, sound-based, three-dimensional,
and media art. Within these parameters, don’t misbehave! will invoke a
understanding of art’s interaction with ‘the public’ and public spaces.
Traditionally the realm of three-dimensional
practice, don’t misbehave! will look at all existing infrastructure and
facilities, physical and
non-physical which inform a contemporary understanding of the public and
their sphere of activity.
SCAPE is New Zealand’s only biennial dedicated to the exhibition of
contemporary art in public space.
It is organised by the Art & Industry Biennial Trust.
Thanks for your attention and potential interest.
Susanne Jaschko sj(a)sujaschko.de and Natasha Conland nconland(a)xtra.co.nz
SCAPE 2006 Biennial of Art in Public Space
Sept 30 – Nov 12 2006, Christchurch, New Zealand