November 2007 - Ada_list - University of Waikato Mail Lists

by Stella

don't quite know how i sent that to the list, but consider it an update on the progress of the ADA reader! season's greetings... *

13 years, 4 months

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ada book meeting

by Stella

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

13 years, 4 months

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Fwd: Announcing the release of SVEN CV computer vision software

by Helen Varley Jamieson

>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.com http://www.avatarbodycollision.org http://www.upstage.org.nz http://www.writerfind.com/hjamieson.htm ____________________________________________________________

13 years, 4 months

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WEEKS 2-3: Art and Climate Science discussion

by Janine Randerson

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. ……………………………………………………………………………..

13 years, 4 months

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"Belonging" by Avatar Body Collision, Dec 7-8

by Helen Varley Jamieson

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.com http://www.avatarbodycollision.org http://www.upstage.org.nz http://www.writerfind.com/hjamieson.htm ____________________________________________________________

13 years, 5 months

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1001 nights cast in Aotearoa/NZ

by Barbara Campbell

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

13 years, 5 months

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Short list - Share Prize 2008

by INFO SHARE FESTIVAL

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

13 years, 5 months

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digital art show at Te Tuhi, Pakuranga, opening Saturday 17th.

by douglas bagnall

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

13 years, 5 months

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ADA08 Tending Networks Call for Proposals

by Stella

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 ------------- 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) ------------- 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) ------------- 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 ------------- 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.

13 years, 5 months

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// Kiwi elected as new chairman of ICANN //

by Julian Oliver

gosh.. http://techluver.com/2007/11/02/icann-elects-peter-dengate-thrush-to-replac… julian -- http://julianoliver.com http://selectparks.net emails containing HTML will not be read.

13 years, 5 months

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Ada_list November 2007