Last year the Centre for Research, Evaluation and Social Assessment (CRESA)
interviewed 60 people who worked in the creative sector and held multiple jobs.
Some of these people initially found out about the project through a post on
We now have a report available from those interviews which is accessible to
anyone interested and can be sent either electronically or by post. We would be
interested in any comments or feedback on the report as well as suggestions about
where to take things from
If you would like a copy, please call me at CRESA on (04) 473
that ball and lines game is rather fun! thanks andrew!
ok, i have a we equipment problem
me and eve gordon are desperately seeking to borrow 2x 16mm film projectors
on the 13th of october for a show at the physics room in Christchurch.
we are finding it incredibly difficult to track any down, if anyone knows
anyone down there who might be able to help us out the contact would be
Here's a pretty cool time-waster download. Better than having a zen garden
on your desk. You can meddle with it using Max MSP patches, and there's a
version for your phone too.
----- Original Message -----
From: "Warren Burt"
To: "Acma List" <acma-l(a)list.waikato.ac.nz>
Sent: Friday, August 18, 2006 8:59 AM
Subject: [Acma-l] This looks interesting
> Greetings ACMOIDS:
> A musical game for mobile phones, pcs, macs, and as a java applet -
> could be fun...
(apologies for cross-posting)
UpStage, a web-based venue for live interactive performance, has
received funding through the Government's Digital Strategy's
Community Partnership Fund.
The grant will subsidise "phase 2" development of the software and
community workshops, enabling communities to create their own content
for the online medium.
"We are delighted to receive this funding. The grant will enable us
to introduce UpStage to many communities," said UpStage project
manager Helen Varley Jamieson. "The release of the UpStage 2 is
planned for mid-2007."
Project partners are Auckland University of Technology, CityLink and
AUT software development students have been working on the software
during 2006 as part of their final year coursework, and their
programming will be incorporated into the second release of UpStage.
Read more in the attached media release, and contact Helen Varley
Jamieson for further information: helen(a)upstage.org.nz;
helen varley jamieson: creative catalyst
For anyone interested in antiquITies...
The New Zealand Computer Society and Auckland University are hosting the
event described below. It is free and looks like it is open to the
public but you will need to register.
I've been to a few NZCS events before. They've all been a nice
combination of friendly and good-value. There is also a PDF about the
hardware display linked from the URL below.
History Of Computers in NZ
28 August 2006
6:30 PM - 7:30 PM
Auckland University has a large display of computer Hardware up to 30
years old on display. The Auckland University have made an opportunity
for NZCS to be shown round this display with the opportunity to network
with some drinks and nibbles.
though some people from the ADA list may be interest in this. Could you
please post this information on the list?.
*THURS 17th August 7 pm
*Philip Brophy (AUS)
Thembi Sodell (AUS)
Rosy Parlane (NZ)
Jane Austen (NZ)
*SAT 19th August 8 pm
*Machina Aux Rock (AUS)
Yannis Kyriakides and Dean Roberts (NETH) (NZ)
Richard Francis and Clinton Watkins (NZ)
Hamilton/ O'Connor/ Winstanley (NZ)
*Wine Cellar, K Rd, Auckland*
*Liquid Architecture* in association with the Audio Foundation and
Kolumbard, proudly present two evenings of music showcasing the works of
Australian and New Zealand sound artist and musicians who work at the
extremities of their mediums, from Computer Music, Noise, Rock and
Improvisation to Songs.
The underlying concept is to represent the common interests across diverse
mediums, in that all artists present a unique approach to their craft and
often, extreme approach to their given genre.
Liquid Architecture is a Festival that over seven years has presented a wide
ranged of experimental, post-*avant-garde*, improvisational and experimental
musics in Australia.
Founded by Artistic Director Nat Bates in 2000, Liquid Architecture is the
only festival in Australia that celebrates the diverse methods of sound
making and sound theory by promoting artists practicing in the periphery of
music and sound culture. Liquid Architecture suggests that listening is a
vital activity that is often overlooked within the dominance of visual media
in our environment.
The Auckland project features two nights of music, Thursday 17th and
Saturday 19th of August. The event will be hosted in the back room of the
Wine Cellar in St Kevin¹s Arcade.
*The Audio Foundation* is a charitable trust created to support, facilitate
and represent New Zealand innovative audio culture. We define this work as
art practice primarily concerned with the use of sound, but predominately
sitting outside of the infrastructure of the music industry and academic
At present, we provides an online hub with a database of practitioners,
critical discourse, linkage, a discussion list, documentation of festivals,
collaborative projects and events for the NZ community of noise/soundmakers.
*Phil Brophy (Melbourne)
*Compositional process and method is experimental by consequence, not
desire. Through it, Brophy does not seek to efface himself in the wonder of
sound, but to encode his presence and absence within the many voices that
make up sound. His function as a `composer' is to take part in a cultural
dialogue. In this sense, Brophy is a user, rather than composer, of music.
Nearly every musical construction (or deconstruction) he has executed has
been spawned by something extra- or ultra-musical; something that the music
- viewed as a primary, singular or hierarchical discourse - cannot (and is
not expected to) contain or withhold. As a writer and speaker on music,
Philip Brophy specializes in three interlocking areas: (i) the film
soundtrack; (ii) pop/rock record production; and (iii) the history of
experimental noise and sound. He is widely published in all three areas
internationally and occasionally writes for THE WIRE, London. His most
recent book is 100 MODERN SOUNDTRACKS for the British Film Institute,
London. Philip will be presenting I AM PIANO. Based on sample fragments from
classic modern jazz piano performances. I AM PIANO thrusts an ironic barb
into the piano's mythological status and aims to perceive it purely as a
sound machine whose melodiousness is but a mirage of musical languages.
*Thembi Soddell (Melbourne)
*Thembi Soddell is a sound artist from Melbourne, Australia. Her work lays
deeply routed in the density and complexity of ones emotional world. Drawing
inspiration from dreams and personal psychology, she works primarily with
the sampler to manipulate and abstract the external world into both a
vicious and alluring sonic experience. With a focus on texture and depth,
she plays with the extremes of dynamics, pushing the threshold of both
silence and noise, toying with the listeners sense of expectation.
Her compositional style has a distinct, highly stylised edge, rigid and
concisely constructed, at times referential of electroacoustic and classical
composition, whilst indulging in a somewhat grunge aesthetic. She does work
for CD, gallery installation, and live performance, and has recently formed
a collaborative duo with cellist, Anthea Caddy, with plans to tour Europe in
October 2006. She is a graduate with honours in sound art from RMIT's Fine
Art Department. She also assists in running the Australian experimental
music label, Cajid Media. www.cajid.com
Thembi Soddell typically performs solo. She places the audience in darkness
and performs from the back of the space, emphasizing the manifestation of
sound in space, whilst shifting the focus away from the (non) performative
aspect of playing the sampler. Working with field recordings, instrument
textures, generated sounds and anything else that comes her way, she samples
and mixes these into ambiguous and dynamic compositions, suggestive of time,
space and place, whilst never explicitly placing the listener anywhere.
*Rosy Parlane (Auckland)
*Parlane presents a brilliant example of how more abstract sound fields can
produce some truly heart-stopping, intensely deep music. Acclaimed recording
artist rare local live performance. Parlane was a member of the highly
regarded noise rock trio Thela. Parlane went on to produce a series of
magnificent solo albums on Sigma Editions and Touch between 1996 and the
present. He has worked extensively with Dion Workman as Parmentier, as well
as producing recordings with Christian Fennesz, Peter Rehberg and as a
member of Plains. For this event he will Showcase work from his forthcoming
*Expect extraordinary compositions crafted with loops from this Auckland
Laptop composer. Her work has been performed at Allelujah Nose Festival,
Artspace, and is geared toward the listening environment. Her Current CD is
out on the Claudia label. Austen mediates field recordings with a laptop.
Often leaving the actual recordings relatively untouched, she arranges loops
into sound narratives. With a performance that involves the diffusion of
such domestic sounds as, small animals, nice pets, and the like. Describing
herself as a household field recordings artist, she works with quiet,
domestic, enclosed soundworlds. Treating sound as narrative rather than
calling things 'compositions'.
*Machina Aux Rock (Nat Bates and Stephen Masterson)
*Machina Aux Rock is an experimental art rock duo that began as a
recording project in 2002. Since then the duo has performed throughout
Australia and recorded two EPs and one full length album. Consistingof sonic
and musical experiments in minimalist dub techno applied to the sonic
textures and musical gestures of rock, the project was also informed by an
investigation into ways in which existing material from popular culture can
stimulate, feed, generate and ultimately produce new work. Specifically,
Machina Aux Rock look at iconic examples of rock music in order to identify
the elements that are essential to rock music, and then appropriate, quote
and assimilate these.
*Yannis Kyriakides and Dean Roberts
*YK has written over fifty compositions, ensemble, video, live electronics.
As a composer he strives to create new forms and hybrids of media,
synthesizing disparate sound sources and exploring spatial and temporal
experience. He has focused in the majority of his work on ways of combining
traditional performance practices with digital media. He regularly composes
works for ensembles such as ASKO (NL), Icebreaker Ensemble (UK), Ensemble
Integrales (D), and MAE (NL) , of which he is the artistic director. As an
improviser he is involved in the Amsterdam electronic improv scene, he has a
regular duo with Andy Moor (the Ex). He will collaborate in a duo NZ with
guitarist Dean Roberts active in the experimental scene since 1995,
recording for Mille Plateaux, Erstwhile, Kranky, Staubdold and our MC for
Richard Francis and Clinton Watkins.
Richard Francis (Eso Steel) has been active as an experimental music
composer and improviser since 1996 and has featured on over 40 published CD
and vinyl record releases. His work over the years has explored different
techniques of sound generation and processing, with a focus on the
collection and processing of various natural and artificially produced
sounds from the surrounding environment. Clinton Watkins(White Bass) is a
highly active and well regarded experimental audio practitioner & conceptual
artist who deals with the extremities of sonic language. This is the debut
of the duo of these two intense individuals, anticipate accordingly.
*Hamilton/O¹Connor/ Winstanley Trio
*Explosive trio of electric improvisation, guitar bass drums this trio take
a high energy approach to the rock format and create a transcendental noise
drift. Hamilton is a highly active Auckland musician and sound artist
extrapolating on electric guitar for this set, Percussion virtuoso Chris
O¹Connor and Bass/Electronics legend Paul Winstanley together treat no sound
this morning in a vast icily air-con barn of a building joel slayton
is introducing the ecvent,
he notes that papers are published online by intelligent agent
and that Eddie Shanken is maintaining a wiki / blog at
where participants local and remote are invited to post, and Eddie
is rapporteuring. May make any further reports from me redundant - i
Last night's openings a success: and the kiwi presence extremely
Media and Communications Program
Faculty of Arts
Room 127 John Medley East
The University of Melbourne
Parkville VIC 3010
Tel: + 61 3 8344 3667
Mob: 0448 304 004
Fax:+ 61 3 8344 5494
Editor-in-Chief Leonardo Book Series
the local San Jose paper has some photos with audio interviews on its website at
the piece called "ZeroOne San Jose Makes its Debut" has a picture of Ian's work behind the Barco pixel
bulbs at 00:01:55 & Rachael's work at 00:01:38.
Ditto - reports are much appreciated! They have made great reading on rainy auckland days. Lots of connections sparked for me!
>>> honor <honor(a)va.com.au> 11/08/06 9:14 PM >>>
it is so brilliant to see so many of you making such important &
valued contributions at ISEA, from danny's provocations at the summit
to caro's undoubted impact on the next generation of ISEA visitors at
animalia and so much otehr vital work.
it is also fascinating to read the discourse and commentary on the
topics raised by the notes from the summits thus far (thank you sean,
one thousand times for these very precuious words).
it really feels very much to me that aotearoa digital arts are making
their mark at this event.
congratulations to you all.
>> We were in the most racially diverse city in the United
>> States, in the Martin Luther King Jr. library, but you wouldn't have
>> known it looking at the group. That's not to blame anyone but just to
>> raise a question about how "open" our systems are, or to suggest that
>> an absence of proprietary legal regulation is not the same as
>> practical openness to different cultural groups.
>> Between Lu Jie, Raqs/sarai, and even the way that Steve
>> Dietz and Joel Slayton have used ISEA to kick off a new festival
>> (ZeroOne) in San Jose, there is a sense about a movement toward
>> platforms rather than projects, a movement which perhaps also
>> addresses the "labour question" of the portfolio worker. The project
>> worker is always at the mercy of shifts in context and the external
>> environment (some skills go in and out of fashion). We have to create
>> our own effective contexts for work.
>...Nigel Hellyer - tidoraphic spatial immersive interactive, building
>work for october exploratorium Listening exhibition. Pacific rim as
>spatial metaphor - a circumference, like australia, a fringe culture,
>amnesia for the acqueous/dusty interiors of both and of traditional
>cultures. Sound art nets (in addition to anat) - a medium without a
>canon, how to avoid totalising with music (music - canonic, well
>funded, strucured, vs sound arts none of these). Sound Culture
>conferences/showcases - neccesary development of sound arts didn't
>gel with Latin America, Tonga, Maori, where reciprocity wasn't
>working smoothly. Lesson - not to assume. ...
>If anyone at that session can remember, I'm curious to hear more about what
>happened to the Sound Culture platform and how it failed to connect with all
>of its Pacific Rim constituency. What the assumptions were and what they
>Thanks for the great ISEA missives.
>Ada_list mailing list
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present locations: yverdon-les-bains, .ch + newcastle, .uk
mobile: +41 794252349
- > w o r k
av festival, .uk: http://www.avfest.co.uk/
- > p l a y
r a d i o q u a l i a: http://www.radioqualia.net
-> l i s t e n
radio astronomy: http://www.radio-astronomy.net
-> r e s e a r c h
Ada_list mailing list
some usefull links on Lat Am et al...
Lista de Interés Iberoamericana de Arte, Nuevos Medios, Ciencia y Tecnología
Subscribe at: iberoamerica-act-subscribe(a)yahoogroups.com
International Festival of video/electronic/art (VAE), Peru
a panorama of recent video art from Latin America (2000 - 2005)
A global platform of critical theory and practice on contemporary creation
a Contemporary Panorama of Photography and Video in Peru
VIDA 8.0 Art & Artificial Life International Competition + 9.0 call
organized by Fundacion Telefonica (inlcuding Iberoamerican production prizes)
>On Aug 08, 2006, at 12:29 PM Sean Cubitt wrote:
>last one for the day
>jose-carlos mariategui -- the world GDP more and more deriving from L
>America, but not changing mediatically. Invisibility of the global
>south and even of population from the great nodes. Alta Technologia
>Geeta Narayanan Srishti school of art Bangalore - arrival at new
>media thru art education and starting a new institution. India hi-
>tech and industry oriented since independence, so no new art schools;
>liberal arts find few takers. Developement agencies are channel for
>moneys into India which remaisn 'poor' in many ways. ICT for
>development taken as key route, supported by hi-tech and new
>industries working with deveoment NGOs and door agencies -- and found
>it was a mistake; Gujerat riots of 2002- made it important to express
>silenced voices, raise ethical issues, worked with senegal, france
>etc to establish research academy; new media as vehicle for remaking
>politics at street level - eg blanknoise.org, GIS mapping of older
>pensioers in Bangalore as capital of hi tech; and "synchronizations"
>the subjection of oral tradition to copyright (shown at ars last
>year) - shows movie "crafting change" on development of campus and
>integration with city ' critical pedagogy uses new media to effect
>q+a: much of local media is informal in india. New media makes
>critical pedagogy possible - street kids in bangalaore shortlisted
>for unesco digiarts, but unable to leave because no address= no
>passport. No facilities for Srishti, but 'guerrilla studio and proud
>of it': rather this alternative sector than the institutional model.
>Srishti has no building of its own but a block in another school.
>Shulin Zhao: since 1979 economic reform, now political reorm begins,
>and also culture reform. New / media art unfamiliar a matter of two
>or three years ago. Showing installation too expensive, so only
>showing single-channel. Looking for international cooperation perhaps
>levering Olympics in 2008. No university support or government, but
>major US Chinese donor has made possible, plus key prof at beijing
>(sorry missed the name). Unfamilarity of performance / media art very
>difficult. Life more open now but finance harder - now over 100
>universities offer new media art - because students pay highly. $1K
>for one-month intensive course as example. Not western modernity nor
>traditional - a new mix so multimedia is a great project but against
>the lack of finance again. Last year 5 million students studying art.
>Publishing is now apitalist. economic control rather than political
>(my note). Artists live rural for cheap rents so little equipment.
>Mariategui - festivalvac.com
> - videograficasinvisibles.com
> - ata.org.pe/research/
>small size of Andean region and small cities compared to india or
>china; wrestling results from this process - you cannot force people
>to produce things; generators of new media activity not coordinating
>so . . . . devlop them! Macrorealities and small situations, levels
>of 'culture', institutional: time determines the different
>registration of cultural types (west/non-west) and with structures.
>Massive slow hierarchic, canonised institutions vs fast specialised
>niche flexible autonomy. Deliverables - taxonomy of time and
>institutional settings: comaring different realities, new spaces for
>memory and history
>Ned Rossiter - the compulsion to collaborate. How to collaborate -
>why collaborate? - what are the limits of collaboration? The problem
>of institutions: familiar perhaps, but based on personal experience
>of network cultures - what scalar transformation does to network
>organisations? Nina's hybrid stratgegies needd because of
>university's lack of innovative thought. Transdisciplinary research
>and tecahing happens elsewhere. BUT the university's resources
>provide a parasite with great livelihood. Inquiry into institutional
>forms as precondition of collaboation requires time analysis: we have
>understandings but *when* it gets realised is as different between
>institutions (government, education, regional) as the difference
>between media. Language and time - unease and confusion may be the
>proper outcome of this meeting
>q+a Guna: urgency of collaboratio rather than will: we don't have the
>skills to assault the problems of our time, intellectual resources,
>materials, and therefore need to collaborate. Universities struggle
>with the disciplinary walls they have built up; even what does not
>work however has powers to generate and dissemniate knowledge and
>intellectual obligation exists to find ways to affect universities
>because of their distributive and historical strategic value.
>ned - deregulatory environments work best in authoritarian regimes.
>Innovation easier in china than in europe. networks in autonomous
>education supplement the universities, epdagogies, knowledge
>formation, therefore not exclusive models.
>Tamiko: artistic reasons for collaboration; supported by Danny - who
>misses the focus of business practice - sean respnded that accounting
>and values are confused and mismatched and form barrers to
>collaboration as robust as national borders. Someone else asks how
>personal growth fits for example into institutional and cross-
>cultural collaboraton. Miranda - do new systems excape hierarchy?
>scubitt at unimelb.edu.au
>Media and Communications Program
>Faculty of Arts
>Room 127 John Medley East
>The University of Melbourne
>Parkville VIC 3010
>Tel: + 61 3 8344 3667
>Mob: 0448 304 004
>Fax:+ 61 3 8344 5494
>Editor-in-Chief Leonardo Book Series