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
Grand Circle Bar, St James Complex, Lorne Street
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.
No virus found in this outgoing message.
Checked by AVG Free Edition.
Version: 7.1.385 / Virus Database: 268.4.4/319 - Release Date: 19/04/2006
A quick note to let people know that Damian Stewart (frey) will be
performing as a part of the Moving Image Centre's Interdigitate'06
which starts this weekend ---
Begin forwarded message:
> From: Damian Stewart <damian(a)frey.co.nz>
> Date: April 19, 2006 5:53:29 PM GMT+12:00
> To: "Af_list(a)audiofoundation.org.nz" <Af_list(a)audiofoundation.org.nz>
> Subject: [af_list] i'm in auckland 3rd-7th may, and i want to do
> gigs and have jams :)
> Reply-To: A list digest for the support of innovative audio culture
> in NZ <Af_list(a)audiofoundation.org.nz>
> hello soundly peoples,
> i'm coming up to auckland with my lappy to do a gig at the Moving
> Centre/Galatos as part of the Interdigitate festival. that's
> on friday the 5th of May, but i've booked airplanes to get me there on
> wednesday arvo and home on sunday arvo.
> unfortunately my accomodation has fallen through so i'm on the lookout
> for a couch or a floor, if anyone knows of any please do let me
> know. :)
> while i'm up it'd be fun and grand to do gigs and/or have jams with
> people. i have laptop and necessary interface devices and
> microphones so
> give me a power point and plug my output into a p/a and you can have
> live improv noise, or techno, or soundscapes, or glitches, or
> or whatever you might like. i especially like jamming with other
> musicians, particularly improvising musicians.
> email me off list
> or text/ph 027 305 4107 or 04 384 5860
> f r e y
> live music with computers
> Audio Foundation (AF) mailing list
if any of you are in the London area mid May come along to the Cybersonica06 festival.
Steven Pickles and i were generously commissioned to develop the second iteration of
our sound-sculpting instrument 'Fijuu'. the piece will be premiered at Cybersonica
for two weeks and will go on to be show-cased at a couple of galleries after the 24th.
there are many other audio-visual experiments (both material and digital) on show at Cybersonica,
and a few long nights out to be had.
_ _ _
___ ___| |___ __| |_ _ __ __ _ _ _| |__ ___
(_-</ -_) / -_) _| _| '_ \/ _` | '_| / /(_-<
/__/\___|_\___\__|\__| .__/\__,_|_| |_\_\/__/
Welcome to the second session of our introductions to the artists attending the SCANZ residency/workshop in New Plymouth in July.
I've been enjoying hearing more about and from Alex, Brit, Wolfgang and Stella in the previous session - a big thanks to everyone who contributed. We're keen that discussions feel free to spill beyond the two weeks we've allocated for introducing each set of artists, so you are very welcome to continue the conversations already begun at this point....and please also feel free to post about anything else, as per usual on ADA... :-)
The three artists profiled this session are Ken Gregory (Winnipeg, Manitoba), Lisa Reihana (NZ) and Nina Czegledy (Canada/Hungary). We have loosely grouped their works under the session heading 'Contemporary Mythologies'.
Ken's project for SCANZ will draw on both traditional Matariki celebrations as well as making connections between the navigational and observational techniques of Captain Cook's time in New Zealand and Ken's own sense of himself as an explorer to New Zealand using current electronics, weather sensing and data collection technology to 'navigate'. Ken would like to collaborate with local artists to build a kite (a contemporary reference to the historical importance of kite flying as part of Matariki) equipped with solar panels, GPS, and sensors to collect data on temperatures. Simultaneous to this data collection the kite will also emit an audio 'bird call', taken from archival recordings of the now extinct bird the Huia, so that, in Ken's words: 'the Huia [can] fly again metaphorically'. Integral to the development of Ken's project is his desire to collaborate with New Zealand artists, drawing on local knowledge of Matariki and the history of the Huia.
Lisa will work on her ongoing series 'Digital Marae', which presents powerful mythological figures, rendered in large-scale photographs rather than using the traditional poupou. Collectively the images tell tales of 'gods and demons, pain and revenge, and greed and lust'. While the works draw on customary stories, they also reference imagery from computer games, advertising, and fantasy films. Lisa's project for SCANZ will see her produce two new photographic figures - one male and one female Atua from the Taranaki region.
Nina will develop 'The Aurora Feast Public Art Project', a celebration of the bewitching natural phenomena that is the Aurora Borealis and our own Southern version, the Aurora Australis. It will recapture the mood of traditional feasts by combining a spectacle of sights and sounds with talk and food. An interpretation of an Aurora event will be created with sound recordings of the aurora's electromagnetic activity, visual images, scientific data, and an interactive website that gathers interpretations of the Aurora and recompiles them into another kind of aurora image.
How are new technologies changing customary practices?
1. Contemporary mythologies - an idea which could suggest using new technologies to breath new life to old stories (as in Lisa's work) or ancient celebrations (as in Nina and Ken's works) but which also raises the possibility of creating new stories which can become the ongoing mythologies of the future....?
Both Nina and Ken draw on ancient practices of celebration (Matariki and traditional Nordic and New Zealand festivities around the Aurora) in their projects, which make connections between traditional community rituals and the ability today to congregate in virtual communities.
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?
Other SCANZ artists such as Josh On and Caroline McCaw have also facilitated online communities, as has Nina with her previous Aurora projects...it would be great to get your feedback and observations on strategies for using new technologies to generate community 'meeting' spaces, both physical or virtual..?
2. Ken talks about exploring questions of how technology is changing and how cultural expression is changing alongside it, how technology is contributing to the social, cultural, and natural environment: good and bad.
You've said before, Lisa, that you could consider your Digital Marae photographs as the digital equivalent of ancestor carvings - your response to the tradition that says Maori women don't carve! What happens to these ancient stories when they are transferred from a historic, oral format to a contemporary, visual format? What is gained (or lost?) in the process of shifting customary practice? Thinking here not only of Lisa's practice but also recent work by Rachel Rakena, Brett Graham, the work of theorists such as Albert Refiti and curator Deidre Brown...?
Likewise, with Nina's project, contemporary technologies such as SMS messaging and data visualization allows us to experience an event which many of us will never have the chance to experience in the real, while Ken's project allows us, in a metaphorical sense, to experience a flight of a bird we can physically only experience as taxidermied museological specimens.
Nina emphasizes her desire for 'The Aurora Feast Public Art Project' to operate not as a mediated re-representation for the confines of an art gallery but as a 'participatory interpretation of imaginary or actual aurora narratives'. How do technologies enable us to locate ourselves within the 'real experiences' of our own imaginations?
3. Working cross-culturally raises interesting questions around notions of ownership and indigenaity. Many of the SCANZ artists have flagged both an interest in exploring this terrain and an awareness of the possible risks and (yet also rewards!) in working outside of ones own cultural heritage
Ken, you've stressed the need to approach such culturally sensitive projects with an attitude of collaboration and knowledge sharing. Can we talk about different strategies of approach artists may have in this area? What does it mean to be a newcomer to a country and work with the histories/cultures/politics/social fabric of the local and the particular?
Anyway, please see these thoughts as starting points to a discussion...!
Nina Czegledy (Canada/Hungary)
Nina Czegledy, an independent media artist, curator and writer, has collaborated on international projects, produced time based and digital works and has led and participated in workshops, forums and festivals worldwide. Electromagnetic Bodies, Digitized Bodies Virtual Spectacles and the Aurora projects reflect her art, science and technology interest. These projects focus on the changing perception of the human body and are presented via on-line and on-site events in Canada and internationally. On behalf of the Leonardo SpaceArt Network Czegledy recently coordinated a space art workshop in conjunction with the Impact of Space on Society IAA Conference - in March 2005, Budapest. She presented and published on spatial perception, Art&Science collaborations (Dakar Biennale2004), Topology of Networks at ISEA2004 and CyberArt2004 Bilbao, the Aurora experience and presented on Auroral Myths vis-à-vis Science at the International Astronautical Congress, Vancouver, October, 2004.
Ken Gregory (Canada)
Winnipeg artist Ken Gregory has been working with DIY interface design, hardware hacking, audio, video, and computer programming for over 10 years. His provocative and creative performance and installation work has been purchased by the National Gallery of Art Canada, and exhibited in Winnipeg, other parts of Canada and at many international media and sound arts festivals. In 2005 he was awarded a Sound and Vision Media Arts residency at the Banff Centre for the Arts, received a Canada Council Media Arts Research Grant, was sound designer for two short films The Snow Queen and Around Sanford, and exhibited at the National Gallery of Canada. Anything is part of Gregory's palette, and by using cut-and-paste techniques, random juxtapositions, and careful manipulations, he crafts unique art works. These works are presented in the form of gallery installations, live performances, live radio broadcasts, custom computer software and audio compact discs. Gregory has also done extensive work as a sound engineer, composer, and audio designer for independent film, performance, media and video.
Lisa Reihana weaves together contemporary urban culture with Maori concepts and art practices to invent new frameworks and original forms. Variously described as a Maori multimedia artist, experimental film maker, animator, video artist, installation artist, textile artist and storyteller, Lisa Reihana defies easy definition. A common thread throughout her work is the use of the sensory forms - image, pattern, textile and sound - to move across confines and to create artworks that are touchstones of a deeper cultural dynamic. She has an impressive exhibition record both locally and internationally, representing New Zealand in the 2000 Sydney Biennale, the Noumea Biennale in 2002, and the Asia Pacific Triennial in 1996 and 2003.
te tuhi - the mark
13 Reeves Road
PO Box 51 222
Aotearoa New Zealand
09 577 0138 ext. 7704
Kia ora Ada'rs,
> So the neat thing is, is that the machine can show us how it sees the
world, so we can see it too .. as in medical imaging, telescopics, the
'dusk' setting on a digitial camera, and on..
> Hmm, if we take the translation of "kino" as "bad" in Maori, in the
kino eye we have a kind of defective sight - defects that are productive
for the artist (dyslexia is common among artists, right?). Or as Jon
Bywater puts it, for the artist "eccentric and catachrestic readings of
work... are not only common but arguably productive."
I have been thinking about Luke's interest in the 'kino slash machine
eye' in relation to my niece. Her eyes see more than most, or should I
say, she suffers from unusual vision because her brain does not filter
or limit the information that her eyes transmit. The result is what she
can only describe as 'double vision' accompanied by terrible headaches.
When I heard she was suffering I likened her eyes to two cameras turned
on at the same time 'kino/machine'. But it isn't just what the eyes see,
that we come to understand as 'the world', but what the brain mediates
which tells us what we see. I wonder whether we can ever know what a
machine or lens sees. Is an 'uber sight' practical for our primitive
brains? I was struck by Danny's Maori translation of 'kino eye' into
'defective sight' - a resonant discussion this week.
THE PHYSICS ROOM PRESENTS
A TALK BY JANNE VANHANNEN
BLACK SCREEN, WHITE NOISE:
BEYOND THE FACE IN DAVID LYNCH'S 'LOST HIGHWAY'
THURSDAY 20 APRIL 2006, 6PM
THE PHYSICS ROOM
Elam Artist in Residence Janne Vanhannen will give a free public talk at The
Physics Room on Thursday 20 April at 6pm. Vanhannen's talk Black Screen,
White Noise approaches David Lynch's film 'Lost Highway' as a diagram of
blackness and whiteness, under-and over-exposure, and their combinations, as
veils and textures both covering and trying to represent something which can
be approached only indirectly. Blackness and whiteness, the fade-outs and
white-outs of the movie come together under the concepts of black hole and
white wall, referring to the sites of subjectification and signification
respectively, which combine to produce a subject in the function of
'faciality'. However, Vanhannen wishes to establish that Lynch succeeds in
going beyond the face, beyond subjectification, where, through the horror of
the face, we find the unpresentable, void, death, outside, along the journey
to the unknown on the 'Lost Highway'.
Janne Vanhannen is a Finnish scholar of aesthetics from the University of
Helsinki who is currently Artist in Residence at Auckland University's Elam
School of Fine Arts. Vanhanen is interested in the junctures of contemporary
philosophy, technology and art. Vanhannen's writings have appeared in Taide
("Art") magazine, in Ctheory electronic journal and he presented Loving the
Ghost in the Machine: The Aesthetics of Interruption recently at the
Refrains Conference in UBC Vancouver, Canada. AS JV*C, Vanhannen's low-tech
photocopy graphic designs, have appeared on posters and limited-edition
recordings. He can sometimes be found DJ'ing in various low-key locations.
Presented in partnership with the Canterbury University School of Fine Arts.
For further information please visit our website www.physicsroom.org.nz
or contact Danae on 03 379 5583 or email physicssroom(a)physicsroom.org.nz
The Physics Room contemporary art space
Level 2, 209 Tuam Street
PO Box 22 351
ph +64 3 379 5583 / fax +64 3 379 6063
Lovely interview with Luke.
Begin forwarded message:
> From: NewMediaArtProjectNetwork <info(a)nmartproject.net>
> Date: 13 April 2006 4:05:02 AM GMT+12:00
> To: announce(a)fibreculture.org
> Subject: ::fc-announce:: Easter interviews on JIP - JavaMuseum
> Interview Project
> Reply-To: info(a)nmartproject.net
> [week 10-16 April] - EASTER edition
> JIP - JavaMuseum Interview Project
> is featuring this week following 6 interviews with
> Letitia Jacchieri (Norway), Avi Rosen (Israel), Yvonne Martinsson
> Nadja Kutz (Germany), FilH (France), Luke Duncalfe (New Zealand)
> Letizia Jaccheri
> is a professor in Software Engineering at the Norwegian University of
> Science and Technology, Department of Computer and Information
> She has been working in the software engineering field since her
> thesis work in late 80ties. Her interest include software process
> modelling, object orientation, software engineering education,
> software engineering, and software engineering in a multi-disciplinary
> perspective with special attention to art and software. She has
> more than sixty refereed papers.
> Avi Rosen
> is a New Media artist from Haifa/Israel. Since 1997 he is lecturer of
> "New Media Art" at Art Department of Haifa University, Art
> Institute of
> 'Oranim' the 'Kibutzim' seminary, Tivon. Many national and
> Yvonne Martinsson
> is a PhD in English lit and the author of Eroticism, Ethics and
> She works in netbased new media as a writer / artist, is trained in
> post-structuralism and has in-depth knowledge of semiotics,
> psychoanalysis and deconstruction, as well as insights into feminism,
> cultural studies and the 'postmodern condition' and, she is an
> editor /
> translator with long experience of linguistic and exicographical work.
> Participant in JavaMuseum
> Nadja Kutz
> Together with Tim Nikolai Hoffmann, Nadja Kutz forms the *daytar group
> *presently and run the *daytar* site. They live and work in
> Berlin/Germany. Their activities and site include experiments in the
> intersection of art, math and physics.
> Filh [aka Frédéric Goudal] is an autidact artist, working on the web
> since 1995.
> Luke Duncalfe
> studied at the Intermedia Department of Time-Based Arts, Elam,
> He works between the mediums of the Internet and video,
> and is the net.art curator for Window. He has contributed to art
> in Auckland and shown work in the ICECA New Media Festivals in Chiang
> Mai and Bangkok, Rencontres Internationales in Paris and Berlin, and
> Prix Ars Electronica in Linz. He works as a part-time tutor at
> University of Technology in Visual Arts and as a developer,
> in Ruby and PHP.
> About JIP - JavaMuseum Interview Project
> JavaMuseum -
> Forum for Internet Technology in Contemporary Art
> is currently preparing a new project, entitled:
> JIP - JavaMuseum Interview Project
> to be launched in September 2006
> Agricola de Cologne, director of JavaMuseum
> invited for an interview a number professionals & artists active in
> field of Internet based art
> who participated in the "1st phase",
> the 18 JavaMuseum showcases 2001-2004,
> in order to spotlight their professional background, activities and
> JIP - JavaMuseum Interview Project issued further an open call
> including 10 questions on Internet based art addressed to
> professionals and "amateurs", in order to enable a broader discussion
> about the still undervaluated genre of Internet based art
> through a variety of different approaches, definitions and opinions.
> The entry rules and the questions (cut & paste) are available on
> or for free download as PDF
> Once completed -
> JIP - JavaMuseum Interview Project
> will release the collected interviews
> and the selection of the most interesting answers
> a) online on the new project site - http://jip.javamuseum.org , but
> b) immediately also in form of one interview per week on the new
> weblog -
> JIP - JavaMuseum Interview Project
> c) to be published as a printed book, later eventually.
> Released by
> NetEX - networked experience
> powered by
> www.nmartproject.net -
> the experimental platform for art and New Media
> operating from Cologne/Germany.
> info& contact
> info (at) nmartproject.net
> To subscribe or unsubscribe from fibreculture announce, please
> visit the List Info page:
> Fibreculture website:
> -----Original Message-----
> From: nsa(a)improvart.com [mailto:email@example.com]
> Sent: Monday, April 17, 2006 1:03 PM
> To: nsa5(a)improvart.tv
> Subject: CALL for NSA FEST - NYC!
> :::::::::::::::::::::::NOT STILL ART:::::::::::::::::::::::
> :::::::::::::::::::::CALL for ENTRIES::::::::::::::::::::::
> ---------------11th Annual Not Still Art Festival-------------
> International Screening of Abstract and Non-Narrative
> Electronic Motion Imaging with Music/Sound Design
> POSTMARK DEADLINE: June 15, 2006
> Festival Location: New York City
> Festival Date: October 7, 2006
> Submission Format: MiniDV, CD-R, DVD-R
> Application Fee: $25. (waived for foreign submissions in NTSC format)
> Print the Application Form from the website:
> (Please read the technical specifications before mailing in your program!)
> Here's hoping you will be able to attend the Not Still Art Festival this
> It's a great party!
> Over the years an amazing range of work has been
> exhibited from single camera video to high end 3-D animation.
> The music and sound design spans pure sampling to acoustic instruments.
> The Not Still Art Festival was first organized in 1996
> by video artist, Carol Goss, to provide a forum for video artists,
> electronic animators, musicians/sound artists working in
> non-narrative forms. On the website, there are images,
> information and links from all past events.
> Not Still Art is a sponsored project of the New York Foundation for the
> Thanks to a Presentation Funds Grant honorariums are available to
> artists who travel to the festival. This grant is provided by the
> Television Center which redistributes funds from the New York State
> Council on
> the Arts.
> "These passionate [abstract] compositions are not limited to
> the purely visual celebration of what pleases the eyes.
> They reach beyond the world of the senses to symbolize
> the forces that activate life and the physical world with all
> their overwhelming complexity."
> from Rudolf Arnheim's essay "What Became of Abstraction?",
> p. 22, To The Rescue of Art U. of CA Press, 1992. HR
> (if you wish to be removed from this very infrequent list
> please reply with "remove" in the "subject" field.
> N O T S T I L L A R T
> P. O. Box 496
> Cherry Valley, NY 13320-0496
> No virus found in this incoming message.
> Checked by AVG Free Edition.
> Version: 7.1.385 / Virus Database: 268.4.1/313 - Release Date: 4/15/2006
Just coming off of a very busy period and finally getting the time to catch up on
the list. Interesting thoughts on mediated perception and the Kino Eye, I'm
thinking these ideas can be extended to the relationship between recording media
and memory as well. With the sometimes frantic need for documentation, I get the
sense that technology is challenging us to prove to ourselves that we've
experienced things. Lyllie and I were dealing with these issues when we returned
from Solar Circuit Tasmania. On Maria Island we were hell-bent on capturing
material for our project, but on returning I felt I'd spent far too long looking
at the world through a 4 by 3 inch LCD screen, and couldn't escape the feeling
that I'd missed out on something. It had a big influence on the outcome of the
Begin forwarded message:
> From: Seth Thompson <seththompson(a)WIGGED.NET>
> Date: 14 April 2006 10:56:09 AM
> To: NEW-MEDIA-CURATING(a)JISCMAIL.AC.UK
> Subject: [NEW-MEDIA-CURATING] WIGGED.NET: Call for Works
> Reply-To: Seth Thompson <seththompson(a)WIGGED.NET>
> Wigged Productions in collaboration with curator Humberto Ramirez is
> seeking Web-based artists working in video, animation and netart to
> contribute projects for an online exhibition addressing the concept
> of "EXTRAPOLATIONS" We are particularly interested in works situated
> outside of mainstream visual strategies, using anachronism, simulacra,
> radical denial, historical revision, nonlinear narratives, humor etc.
> idea of critique as an oblique activity, tangential and tactical is
> central to this project.
> In order to submit your work for consideration, please provide your
> name, title of project, short synopsis and URL address by email to
> extrapolations(a)hotmail.com, or alternatively send DVD with QuickTime
> movie or miniDV by May 25, 2006 with requested information to:
> P.O BOX 1637
> BRATTLEBORO, VT 05302-1637
> The online exhibition will run from July 1, 2006 through June 15,
> 2007 and the deadline for submissions is May 20, 2006.
> Seth Thompson
> Wigged Productions
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