Hi there,
how are you two? Jonty and I were hoping that we might be able to
meet with you guys next week to go through some book stuff. we are
beavering away on essays and starting design work, so it would be
good to have a pre-christmas catchup. would you have any time on
friday dec 7?
best
stella
>Announcing the release of SVEN CV computer vision software...
>http://deprogramming.us/sven/software.html
>
>SVEN CV - the computer vision software used for
>SVEN (Surveillance Video Entertainment Network
>http://deprogramming.us/sven) - is now available
>to the public. The features and interface were
>designed specifically for the SVEN project, so
>the interface isn't what you might expect from
>user-friendly, general purpose software.
>However, we hope it can be useful for other
>public space projects, as it is specifically
>designed to track people in uncontrolled
>settings, as opposed to a gallery or stage where
>lighting, background, clothing, etc., can be
>controlled.
>
>
>
>
>About SVEN CV...
>--------------------------
>SVEN CV is a software application for real time
>tracking of pedestrians, using OpenCV. Its
>robust build has features for tracking several
>individuals with all kinds of foreground and
>background occlusions. It also provides
>real-time subjective features such as face
>detection and expression; hair and clothing
>color; segmentation of the body to give
>positions for head, shoulders, and torso;
>direction of movement and more. It transfers the
>data including the coordinates of the person's
>outline (matte) to a specified IP address or the
>local machine via a UDP port. It supports input
>from both live camera and AVI files.
>
>
>
>Why?
>-------
>There are already several computer vision
>applications available geared toward "artists."
>So why did we bother to develop our own?
>
>1) We wanted some specific features that weren't
>available in existing software. These may or may
>not be of use to you. But more importantly...
>
>2) We wanted it to work in public space. The
>SVEN project deals with surveillance, and
>surveillance happens in public places:
>corridors, storefronts, outside on the street,
>etc. The computer vision applications for
>artists we found tended to assume a controlled
>setting like a gallery or stage, where changes
>in lighting and background wouldn't be a
>problem. While the best results with SVEN CV are
>still obtained with minimal background changes
>and reasonably flat, constant lighting, SVEN CV
>is designed to adapt to changes in background
>and applies heuristics to eliminate as much as
>possible errors due to shadows and lighting
>changes.
>
>
>License
>-----------
>Complete licensing information is included in
>the Readme. But in general, SVEN CV and its
>source code can be used freely for educational,
>research and non-profit purposes; however
>permission must be obtained for commercial use.
>
>
>SVEN CV software is written by Vincent Rabaud,
>developed in coordination with Amy Alexander
>
>The SVEN project was initiated and directed by
>Amy Alexander; Lead Video Developer Wojciech
>Kosma; Lead
>Computer Vision Developer Vincent Rabaud;
>Production Assistan Marilia Maschion. Technical
>direction,
>utility programming and occasional video programming by Amy Alexander.
>
>Additional video programming by Jesse Gilbert;
>additional computer vision programming by Nikhil
>Rasiwasia; additional utility programming by
>Cristyn Magnus; additional production assistance
>by Annina Rüst.
>
>SVEN: http://deprogramming.us/sven
>SVEN CV: http://deprogramming.us/sven/software.html
>
--
____________________________________________________________
helen varley jamieson: creative catalyst
helen(a)creative-catalyst.com
http://www.creative-catalyst.comhttp://www.avatarbodycollision.orghttp://www.upstage.org.nzhttp://www.writerfind.com/hjamieson.htm
____________________________________________________________
Ada,
The following is a selection of posts from the Yasmin ART_SCIENCE
list-serve. Please also post to ada and I will make sure your posts get
to YASMIN as well. There is some valuable discussion on sound if you are
interested... Week 2 is below, Week 3 is attached.
*******************************************
From: GEORGE GESSERT
I want to return to something that David M. mentioned earlier, that
artists
can "expose underlying cosmologies" and contribute "subjective modes"
to
scientific information. To me this is tremendously important. Whether
we are
scientists, artists, or something else altogether, global warming is
profoundly challenging emotionally and psychologically. It interrupts
many
of the narratives of Western civilization - and, I would guess, of most
other cultures as well. Much of the time we can defend ourselves from
the
psychological impact of what is unfolding, but realistically we cannot
expect ourselves always to be dispassionate. According to James
Lovelock in
The Revenge of Gaia, we face climate changes so extreme that we would
be
wise to consider what information we want to preserve, and how to
preserve
it. Collapse of some sort, he believes, will unfold over time, but
probably
in no more time than separates us from the Edwardians, that is, in no
more
than a human lifetime.
This sounds like slow motion apocalypse. Of course, Lovelock is only
one
scientist. We are in a situation where we know we don't know what will
happen (Rumsfield was right about a few things), but we do know that
most of
the news is not good. As it unfolds people, artists and scientists
included,
are reacting in ways that recall reactions to other historic diasters,
such
as the spread of nuclear weapons: denial, numbness, despair, grief, and
anger. Also humor, elegaic grace, and occasional heroic actions, such
as Al
Gore's. I think that art can hold a mirror up to all of these
reactions,
and, at best, validate each in its own way. By that, I do not mean to
imply
that it is desirable to live indefinitely in a state of denial,
despair, or
numbness (or for that matter with elegaic grace), but art can let us
know
that such reactions (and I would guess that all of us have experienced
each
of them at one time or another), are natural and human. At the same
time
there are other, more productive and fulfilling possibilities available
to
us when we are ready.
Art, simply by presenting images that we could not have imagined, can
offer
reminders of hope. Hope often does not take an expected form. Last week
in
San Francisco I saw a sketch William Wiley has done for a global
warming
pinball machine. I could never have imagined such a project, and had to
chuckle: a little seed of hope.
Now, at the risk of making this message too long, I want to respond to
a few
of the postings. Danny is absolutely right, I think, that "the politics
of
the sublime is where artists are, I think, on fertile ground for their
investigations". Climate change lends itself to comprehension through
the
sublime, which accommodates not only the vastness and fearfulness of
what we
face, but the time frame involved - problems of scale that Roger
brought up.
I also agree with Roger that the time has come for an evolution in
awareness
in the West, but I would qualify that by saying "rapid" evolution.
……………………………………………………………………………..
FROM: JOEL
>
> David, I'd like to comment on your words in your message ...
>
> "By expanding our physiologically-limited perception of space, time,
> and frequency, artworks can help audiences/participants
experientially
> and more intuitively/viscerally understand important
interconnections. "
>
> If by expanding our physiologically-limited perception of space,
time,
> and frequency, you mean using art to make larger concepts of space,
> longer timelines, and higher frequencies more clear as an approach to
> inspiring a vi > public, I would disagree that art does that well. I would say that
art
> generally does the opposite - it brings space, time, and frequency
> into the immediacy of one's scope of perception.
>
> But that's good. A visceral, experiential connection with
> environmental issues is very important, and I have lately, meaning
the
> last few years, become more aware of the value of sound in
> understanding the environment. As president of Electronic Music
> Foundation, I've been involved in producing several events as
examples
> of our Ear to the Earth program, all of which have deepened my
> conviction that sound has a unique importance in engaging the public.
>
> More forcefully, I would say that listening is close and personal.
> Listening creates feelings of connection and involvement. The more
> focused our listening, the greater will be our feelings of
> experiencing the environment, and the deeper and more immediate will
> be our understandings of the world.
>
> Yet sound - as a vehicle to engage the public with the environment -
> has not been discussed very much in this list. Why do you think
that's
> so?
From: DAVID
Joel,
If I understand you, we are in agreement. I was referring to the
ability
to transpose/interpret phenomena beyond our senses (literally or
metaphorically) to bring them into the range of our conscious
awareness.
Sonification and visualization are of course prime examples of this,
and
the ones that I use most frequently within immersive displays.
I see how the semantic confusion could arise from the use of the phrase
"expanding perception." Literally this could mean developing the
ability
to perceive beyond our accepted physiological limitations, as is argued
to occur with psy phenomena and some altered states of consciousness
achieved through meditation, trance states, entheogens, etc. But I was
referring to it as bringing phenomena into the scope of our "baseline"
senses. But in my experience, there is a very fuzzy line between the
two, since perceptions are shaped withing the continuum of conscious
awareness and physiological capabilities of sensory inputs...
I wholeheartedly agree that electronic music and sonification are vital
examples of this. When I studied analog synthesis with Bob Moog, he
would discuss how the capability of transposing these electronic
phenomena into our sensory realm opens doorways to expanded conscious
awareness. Can you give us examples of how you think this can be
applied
to create a more intimate connection to climate-related topics?
……………………………………………………………………………..
From: RAMON GUARDANS
Can anything good come from climate change?
If climate change is bad anything opposing it is good
If opposing climate change is good climate change helps to do good
things
So climate change is bad but can lead to good things.
If climate change has some good aspects my be we should identify what
is bad about it , and this would be the pollution that drives it, and
the hardships that will fall on others sooner than later. Dealing with
pollution (an appropriately negative term that helps avoid the
ambiguities above) and enhancing access to, early warning fair
information and resources to respond would seem to central aspects.
Dealing with pollution, a specific kind of waste considered dangerous,
is part of the production process. No production no waste, no waste no
production its simple. The identification of waste, as the
identification of productive resources requires a frame of reference,
waste and resources are a continuum of inhomogeneous distribution in
space and time as everybody knows sometimes waste is thick sometimes
resources are plenty and depending on your production process you can
easily have diverging ideas about what is what.
For many of us arms would be to large extent a form of pollution,
before they are used in their fabrication , twhen disposed off. But many of us live in countries where a significant
fraction of the GDP is from producing this kind of pollution, that is
obviously valued in a different way by concerned workers, traders and
shooters. And I a can only respect the workers and may be even some
traders and shooters
It might be wise to work on the construction of multiple cooperative
frameworks that are able to resolve conflicts by more developed means
that shooting or poisoning.
Greenhouse gases and climate change might be a useful frist step
A final note to joel / roger etc on sound
I very much agree that sound is great thinking ground, my latest art
work was algorithmic echolocation (two clips in yt unnder that name)
where we mapped into sound the dynamics of the last 420 000 years of
atmospheric chemisty (CO2 Temp, etc) as measured in air bulbs in
icecores of antartica.
……………………………………………………………………………..
From: JOEL CHADABE
David, I'm delighted to read your response. Yes, we're on the same
frequency, so to speak. Also with Bob Moog, who was a close friend.
EMF's Ear to the Earth program has as its intent precisly to engage
people in environmental issues through environmental sound. The
program has different manifestations, among them an annual festival
each October in New York, other events such as our participation in
Tevereterno in Rome this past June, and the Ear to the Earth Network,
soon to be launched.
Have a look at this report on the installation itself:
http://www.eartotheearth.org/reports/0610_festival/suspendedsounds2.html
……………………………………………………………………………..
From: NORIE
Hi Joel, Re your post:<More forcefully, I would say that listening is
close and personal. Listening creates feelings of connection and
involvement. The more focused our listening, the greater will be our
feelings of experiencing the environment, and the deeper and more
immediate will be our understandings of the world.
Yet sound - as a vehicle to engage the public with the environment -
has not been discussed very much in this list. Why do you think that's
so?>
Thanks for raising the issue of sound, especially in this thread where
"feelings of connection and involvement" can be so important in an art
work -- to give a physical and emotional sense that we are all connected
in and through climate. This was certainly our experience with The
Trouble with the Weather.
I'm not sure what Janine thinks but I thought that the beautiful and
intriguing sound in her work played a really important part.It was both
gentle and also full of unexpected intense and surprising moments. It
really worked to create a physical and emotional space around her work,
which was otherwise physically very open. (The sound too was quite open,
but nevertheless as sound, physically described a space). By creating an
intimate space for the work, it meant that people felt really
comfortable with lying on the floor under the dishes and spending quite
a long time there.
In our work, collecting breath really made us appreciate the "feelings
of connection and involvement" -- the physical breathing
into a mic sounded out both an intimacy and a generosity that felt
really important and gave a viscerality and warmth to in some ways a
conceptual work. You could hear people generously contributing to an
"imaginary'" solution to global warming.We noticed that the collective
collected breath that sounded through the installation also invited
people into the space and held the space together, in the way sound in
particular is so good at. As breath it also had a slightly anxious or
uneasy edge, to me at least, and that also felt right emotionally and
conceptually.
So, you ask, why so little discussion of sound on this list? Good
question... but in a way, it's like most such discussions... unless they
are about "sound art" it often doesn't figure. I don't know if it's just
the hegemony of the visual in western cultures today and the consequent
poverty of language to discuss sound? Or maybe it's
the emotional side of sound that in some ways makes it seem of lesser
significance, or a limited significance (it can only speak in an
emotional or musical register)?
Or??
……………………………………………………………………………..
FROM: ANNICK
>Janine, I don't think that there are actually "many citizens" that
> have changed and are able to think global complexity (cf.
> the "scale" discussion). It is not only a question of
> governments (it would be much easier then) : the ecological
> groups are very much into that model too, even if they try
> not to, or if their "mastering" is on different topics or
> unconscious. OK. Let say I am pessimistic ;-)
> But I heard an artist explain that he does not want to go to
> Antarctica to do artwork because it was actually increasing
> the pollution of the area and that artists were not doing
> better than the others there. OK. BUT, he still did an art
> project (to denounce the pollution of Antarctica) that he
> gave to the artists that were actually going and who
> installed the piece and took a nice picture of it and
> brought it back. MORE : in a discussion, he asked to the
> other artists : if you were encountering life in Antarctica,
> would you step on it ?" ... forgetting that *there is* life
> in Antarctica and that, precisely, Earth *is* a global
> complex system and that what he does, here in Europe *is*
> affecting the whole planet.
>
> It is just an example that struck me. I am not condemning or
> judging : we all are full of contradictions (I am). And I
> don't know what should be done or not done (for instance
> artworks *in* Antarctica or in space).
> I find it very hard to *truly* think global complexity for
> myself. I am not positionning myself above the others ! And
> I find even harder to decide what is the best to do or not
> to do.
……………………………………………………………………………..
From: ANDREA POLLI
I also appreciate Joel's comments about sound, I have also seen a lack
of emphasis on sound on the science side. For example, a few months ago
I had the opportunity to visit an amazing multimedia science
communication facility at one of the US agencies and although the
visualizations of climate and climate change information shown there
were amazing, in a custom designed room on an impressive VR system,
there was not a single speaker installed in the room, it was very
surprising.
The Eco-sonification panel here at Mutamorphosis that Roger mentioned
on the list earlier happened yesterday and presented a very interesting
range of sonification approaches and projects. Some projects that were
presented as having primarily aesthetic aims, others with primarily
scientific aims. Because the issue of the environment is so politically
charged, in my opinion it was almost impossible for most of the projects
not to exhibit a kind of political perspective as well, but what was
striking to me were the projects that addressed history and memory,
Peter Cusack's Chernobyl recordings and Michale Young and Paul Adderly's
sonifications of soil samples from Lake Chad.
Finally, as someone who is going to Antarctica soon, I wanted to
respond to Annick's post:
> “But I heard an artist explain that he does not want to go to
> Antarctica to do artwork because it was actually increasing
> the pollution of the area and that artists were not doing
> better than the others there.”
I think that this artist makes an important point, although it's not a
choice I have made, I appreciate this issue. A majority of Antarctica
remains untouched by humans and it is very important to preserve this.
For me both the understanding that a limited number of people go each
year under the NSF program I am going with (under that system, if not
me, it would be someone else--in other words, my not going would not
affect the number of people there), and the hope that I could help
communicate something about the importance of the pristine location,
seemed to justify my decision. But, I can respect other people might
make a different choice. These kinds of difficult choices are necessary
as our mere presence on Earth is having an impact: some people choose
not to fly, others choose to cut down energy use in other ways, others
choose not to have children or become vegetarian, etc.
We have to appreciate that the ability to make choices like this is a
privilege, many people do not have the ability to make these choices due
to lack of education, resources or access. Hopefully those of us who
have the ability to make personal choices will also take time to
advocate for governments and companies to address climate change on a
larger level.
……………………………………………………………………………..
Avatar Body Collision will perform their current show, "Belonging",
at 7pm UK time on Friday 7 December, at the opening of the conference
"Intimacy across Visceral and Digital Performance"
(http://www.intimateperformance.org) at Goldsmiths College, London.
Find your local time here: http://tinyurl.com/2bladc
& follow this link to the live stage at show-time:
http://upstage.org.nz:8081/stages/belonging
= = = = = = = =
Belonging
Daria is stuck. She was supposed to be en route from the insular
world of her village and the tatters of her personal life. She was
supposed to be following those brave, glamourous heroines from the
1950s movies of her childhood - stepping out across borders to a new
life in the west.
But Daria is stuck. Unable to articulate any sense of 'home', nor
comforted by the sentimental objects she has packed in her suitcase,
her journey has been waylaid in the worst possible way.
With the thematic that addresses power, ownership and modern slavery,
"Belonging" by Avatar Body Collision.
http://www.avatarbodycollision.org/dtn3/index.html
= = = = = = = =
--
____________________________________________________________
helen varley jamieson: creative catalyst
helen(a)creative-catalyst.com
http://www.creative-catalyst.comhttp://www.avatarbodycollision.orghttp://www.upstage.org.nzhttp://www.writerfind.com/hjamieson.htm
____________________________________________________________
1001 nights cast looking for online writers in Aotearoa
Barbara Campbell's online performance project, 1001 nights cast
[http://1001.net.au], is coming to Aotearoa from 24-30 January, 2008.
Barbara is looking for local Maori and Pakeha writers to contribute
stories for the performances that she'll be webcasting from Auckland
and Rotorua. It will be the closest she has taken the project to the
International Date Line and it will be the last country she visits
before the final webcast on 17 March 2008 in Sydney. So far, well
over 200 writers from all kinds of writing disciplines have
contributed stories from around the world.
Here's how the project works for contributing writers:
Barbara chooses a writing prompt from the morning's newspaper
articles on the Middle East, paints it and posts it to the site by
9am that day. She usually books a writer for the day but she also
receives unsolicited stories. In any case, contributing writers have
until three hours before sunset to submit their story of up to 1001
words (can be less but not more). It is up to the writer to decide
whether their story has any relation to the original newspaper
article in particular or the Middle East in general or neither. The
prompt can be used either verbatim or as general thematic. Barbara
may make editorial adjustments to the story, in consultation with the
writer if time and time zone differences allow. The story is
performed live and online at local sunset. As a guide, Auckland
sunsets in January are around 8.35pm. Each day's sunset time is
displayed on the Today Now page of the site.
While all writing genres are welcome, Barbara emphasises that the
story is performed as a webcast in the first instance, and makes it
available for reading on the Archives page as a secondary iteration,
so writing for the voice rather than the page is important.
Each story is a gift to Barbara. She accepts them with deep gratitude
and treats each one with care and respect.
Anyone who'd like to contribute a story, can email Barbara
[barbara(a)1001.net.au] with a sample of their writing or can
"audition" by submitting a story on any day in which they are
inspired by the prompt to do so.
+61 (0)409 039 691
http://1001.net.au
Skype contact: bcperformance
English version below
**************************************************
SHARE PRIZE 2008: dichiarazione della giuria
Bruce Sterling, Presidente della Giuria , scrittore, giornalista, critico di arte e design, Austin.
Piero Gilardi, artista, Torino.
Stefano Mirti, architetto e interaction designer, IDLab, Milano.
Anne Nigten, co-organizzatrice del Dutch Electronic Art Festival (DEAF) e vice-direttore del V-2 Lab, Rotterdam.
Quest'anno è stato significativo per la materia e la realtà nella cultura digitale.
Negli anni Novanta l'arte virtuale, i siti web e la net.art hanno dominato la scena. Ma nel 2007 cinque nei nostri sei finalisti del Premio Share hanno sviluppato un rapporto tra la fisicità e la manipolazione con la tecnologia digitale - e noi pensiamo che questa sia l'arte digitale, quella che deve essere letteralmente toccata e afferrata dalle mani degli artisti e del pubblico. Il sesto lavoro artistico deve invece essere attivato dal soffio umano.
Di recente è stato detto che "il cyber-spazio sta uscendo da se stesso" e che "il virtuale sta diventando reale". Noi pensiamo che la scelta degli artisti di quest'anno possa dimostrare questa tesi. Gli artisti hanno creato lavori straordinari dove le immagini digitali escono dallo schermo per andare sulle dita umane, dove i campionamenti di suono digitale abbandonano il computer per diventare solidi pezzi di legno scolpiti su torni industriali.
Abbiamo scelto anche un'installazione imponente, sinestetica e immersiva, due lavori artistici interattivi e multi-utente utilizzabili in gruppo e uno dei più spaventosi e fisicamente più conflittuali pezzo di arte elettronica mai creato.
La tecnologia digitale ora può essere fabbricata, manufatta, e la cultura digitale sta cambiando il nostro mondo in modo che noi possiamo toccarlo, afferrarlo e sentirlo.
Ci sembra che queste nuove tendenze favoriranno una città molto conosciuta per la sua industria e il suo artigianato altamente tecnologici, Torino, la capitale Mondiale del Design nel 2008.
Il tema scelto per il nostro festival di cultura digitale è "\"Manufacturing.\"
Noi giurati torneremo a marzo 2008 per decidere il vincitore tra questi sei eccellenti finalisti.
Ci auguriamo che Share Festival sarà il migliore e il più ambizioso festival mai fatto.
Gli artisti selezionati sono:
Emanuel Andel, Knife.Hand.Chop.Bot, Austria
http://www.5voltcore.com/index.html?/content/khcb.html
D3D, Virtual Identity Process, Italia
http://www.master-naba-d3d.net/index.php?option=com_wrapper&Itemid=64
Yamada Kentaro, Tampopo, Giappone
http://www.kentaroyamada.com/toshare
Owl Project, Sound Lathe workshop, Gran Bretagna
http://variableg.org.uk/owlweb/soundlatheworkshop.htm
Scenocosme, SphèrAléas, Francia
http://www.spheraleas.com
Christine Sugrue, Delicate Boundaries, U.S.A.
http://csugrue.com/db_Share
||||||||||||||||||||
SHARE FESTIVAL
http://www.toshare.it
Accademia Albertina di Belle Arti
Torino / 11-16 Marzo 2007
Italia
**************************************************
ENGLISH VERSION
**************************************************
SHARE PRIZE 2008: jury statment
Bruce Sterling, chairman, novelist, journalist, art and design critic, Austin.
Piero Gilardi, artist, Torino.
Stefano Mirti, architect and interaction designer, IDLab, Milano.
Anne Nigten, co-organizer of the Dutch Electronic Art Festival (DEAF) and manager of the V-2 Lab, Rotterdam.
This has been a very good year for the physical and the actual in digital culture.
In the 1990s, virtual art, website art and Internet art would have dominated our entries. But in 2007, five of our six prize finalists involve a physical, hands-on encounter with digital technology -- and we mean it is digital art that must be literally touched and gripped by the hands of artists and audience.
The sixth piece is driven by living human breath.
It has recently been said that \"cyberspace is turning itself out,\" that \"the virtual is becoming the actual.\" We think this years' chosen artists may have proven this thesis. They have created extraordinary works where digital images crawl out of screens and onto human fingers, where digital sound samples leave the computer to become solid chunks of wood carved on industrial lathes. We also have a large, synaesthetic, immersive installation, two multi-user interaction pieces suitable for groups, and one of the scariest and most physically confrontational pieces of electronic art yet created.
Digital art is getting heavier, more immediate, embodied and physically realized. Digital technology can manufacture now, and digital culture is changing our world in ways that we can touch, grip and feel.
It seems to us that these new trends favor a city long known for its industry and its high-tech craft, Torino, the World Capital of Design 2008. The chosen theme for our digital culture festival is \"Manufacturing.\"
We judges will be back in March 2008 to decide the winner among these six excellent finalists. We look forward to the best and most ambitious SHARE Festival ever.
The selected artists are:
Emanuel Andel, Knife.Hand.Chop.Bot, Austria
http://www.5voltcore.com/index.html?/content/khcb.html
D3D, Virtual Identity Process, Italia
http://www.master-naba-d3d.net/index.php?option=com_wrapper&Itemid=64
Yamada Kentaro, Tampopo, Giappone
http://www.kentaroyamada.com/toshare
Owl Project, Sound Lathe workshop, Gran Bretagna
http://variableg.org.uk/owlweb/soundlatheworkshop.htm
Scenocosme, SphèrAléas, Francia
http://www.spheraleas.com
Christine Sugrue, Delicate Boundaries, U.S.A.
http://csugrue.com/db_Share
||||||||||||||||||||
SHARE FESTIVAL
http://www.toshare.it
Accademia Albertina di Belle Arti
Torino / 11-16 March 2007
Italy
hi everyone.
I will be showing a new videogame at Te Tuhi in Pakuranga, from this
Saturday until sometime next year. The opening is at 2pm. Apparently
there is a free bus that leaves from outside Artspace at 1:30.
There will also be video by Armando Lulaj, a show called "New
Painting: Digital Age", and something by James McCarthy.
Douglas
Below is a copy of an article that was just submitted to the ADA website,
view it online at http://aotearoadigitalarts.org.nz/articles/ADA Symposium 2008/125
~~~~~
ADA08 Tending Networks Call for Proposals
ADA
__OPEN Call for Workshop Proposals and Presentations__
_Tending Networks:_ the ADA Symposium 2008
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The next national Aotearoa Digital Arts symposium, Tending Networks, will be held in Christchurch over the weekend of February 22-24, 2008. The Symposium is a space for New Zealand art practitioners, researchers, curators, and audiences to share projects, skills and ideas relating to digital and media art practices. Non-members, new members and current members of ADA, and members of the broader Christchurch arts community are invited to participate. This is a call for proposals for short presentations and for workshops.
Presentations (5 minutes)
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The brief presentations will be an opportunity to share any bite-sized idea: a particular work, an aspect of your practice, a project idea, a concept, a research proposal, or anything in five minutes or less. Presentations can be illustrated with slides, video, audio or other media. The brief presentation format aims to allow work in progress can be presented informally, in an open context, without the requirement of writing an entire paper.
Proposal format: please send a 200 word outline of your proposed presentation and a 50 word biography to *symposium(a)aotearoadigitalarts.org.nz* by December 12th 2007. Please include ‘Presentation Proposal’ in the subject line of your email.
Workshops (1.5 – 3 hours)
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We are currently seeking leaders for Symposium workshops. Workshops are a chance to share knowledge and develop skills, to make something, to open up new fields of inquiry or just learn some fun new tools. Workshops can take many forms: they can be based around technologies or ideas, as geeky or ungeeky as you like. Possible themes might include: circuit bending, social networks, planning & tactics, hacks & workarounds.
The length of the workshops may vary, but tasks will need to be able to be realised in under three hours.
Proposal format: please send a 4-500 word outline of your workshop, a list of technical and material requirements, and the ideal number of participants to *symposium(a)aotearoadigitalarts.org.nz* by December 12th 2007. Please include ‘Workshop Proposal’ in the subject line of your email.
About the ADA Symposium and Trust
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ADA is a network of people who are interested in digital and media art as practitioners, writers, curators, researchers and audiences. ADA is a charitable trust that facilitates discussion around themes related to digital and media art in New Zealand through an email list, a website, and regular events. The ADA symposium provides an important opportunity for the distributed network to spend time together in real space, and to share and develop projects, ideas, skills, and plans. This is the first ADA Symposium to be held in Christchurch – previous events have been held in Hamilton, Auckland, Dunedin, and New Plymouth.
Tending Networks will feature keynote presentations from significant international digital art practitioners and panel discussions around ‘growing’ social networks, curating, and producing digital media art.
The symposium also features ‘Séance for Nam June Paik’, a screening event to be held at the Christchurch Art Gallery, curated by Dan Agnihotri-Clark, and an international exhibition of network art curated by Adam Hyde and Julian Priest to be held at the Physics Room. A call for proposals for ‘Séance for Nam June Paik’ will be circulated on the 30th November 2007.
_Tending Networks_ is supported by The Physics Room Contemporary Art Space, and the ADA Trust.
Symposium details will be updated here: http://symposium08.aotearoadigitalarts.org.nz/
Deadline for proposals for brief presentations and workshops:
December 12th 2007.
Proposals should be sent to *symposium(a)aotearoadigitalarts.org.nz*
Notification of successful proposals: December 17th 2007.