December 2007 - Ada_list - University of Waikato Mail Lists

ADA Symposium 2008 Call for Propoals closes this Wednesday

by Stella

Hi All, just a reminder that proposals for workshops and presentations for the February 2008 ADA Symposium, Tending Networks closes this Wednesday December 12th. Get proposing! Details follow and are online here: http://www.aotearoadigitalarts.org.nz/articles/ADA%20Symposium% 202008/125 ****************************** 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 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, 3 months

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Re: [Ada_list] Call for digital works/performances ADA Symposium

by Janine Randerson

Call for Proposals: 'Séance for Nam June Paik' “I use technology in order to hate it more properly” Nam June Paik Nam June Paik is widely regarded as the father of video art. Innovative digital artworks are sought for a new project: to channel (and negotiate with) the spirit of the late Korean artist’s practice. 'Séance for Nam June Paik' is a screening/performance event curated by Daniel Agnihotri-Clark, to be presented as part of Tending Networks: the fifth Aotearoa Digital Arts (ADA) symposium. 'Séance for Nam June Paik' provides the opportunity for Aotearoa/New Zealand (affiliated) digital media artists to examine and respond to the legacy and currency of Paik’s influential career. In your submission you may wish to consider (but are not restricted to) aspects of Paik’s practice such as: • his pioneering role in the emergence of video art as a genre • his firm dedication to interdisciplinarity, and his transition from classical music to electronic art • his affiliation with the Fluxus movement, and the movement’s emphasis on fun and accessibility • his 1974 concept of the “electronic superhighway” • the influence of John Cage (and the concept of indeterminacy) in Paik’s work Time and Place: Séance for Nam June Paik will take place on the evening of Sat 23 Feb 2008 in Christchurch, Aotearoa/New Zealand. The project is supported by the Physics Room Contemporary Art Space, and the event will take place at an offsite venue. (Exact time and place to be advised.) Submissions: Proposed artworks must be no longer than 15 minutes in duration, and they must be suitable for the format of a seated event (for image please follow the first link at the end of this email). (Note: for performance proposals, please bear in mind that the performer her/himself will not necessarily be visible to all audience members, since the audience will be seated in a circle facing the television screens.) The medium for your séance could be: • video (single channel: to be duplicated across four screens) • audio (either quadraphonic or stereo amplification) • internet • performance At a technical level, the only core requirement is that the work must have a digital dimension. Submissions could be either new artworks (that have been developed for this event) or existing works (that are thematically relevant for presentation in this context). In your proposal, please include: • a brief description of the proposed artwork and the concept behind it • relevant documentation (hard copies in digital format: CD or DVD only please) • brief biographical information • contact details The curator’s selection will be independently peer reviewed. The closing date for submissions is Friday 15 Jan 2008, and applicants will be notified via email by Mon 28 Jan 2008. Please post your proposal to: Daniel Agnihotri-Clark (curator) c/- Massey University School of Fine Arts, Private Box 756, Wellington, Aotearoa/New Zealand.

13 years, 3 months

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Fwd: Cityscapers: By the Throat - $8K opportunity to attend Edinburgh studio - applications due 8 Feb

by Danny Butt

Begin forwarded message: From: "Lee, Anna $New Zealand$" <anna.lee(a)britishcouncil.org.nz> Date: 21 December 2007 1:26:58 PM Subject: Cityscapers: By the Throat - $8K opportunity to attend Edinburgh studio - applications due 8 Feb Hi there We'd really appreciate it if you could pass on and promote the following details to your contacts - it's a great opportunity. Have a great Xmas break and we look forward to seeing a load of applications in the New Year. APPLY BY 8 FEBRUARY FOR FULLY-FUNDED SCHOLARSHIPS TO CITYSCAPERS: BY THE THROAT Exploring new connections between the city and the body in Edinburgh, 31 March - 12 April 2008 The British Council and the Porosity Studio at the University of New South Wales are holding an international multi-disciplinary studio with students from the visual arts, architecture, urban planning and design fields in Edinburgh - the neck of the UK. Previous Porosity studios have been held in Beijing at The Central Academy of Fine Art, Rotterdam at The Willem De Kooning Institute, and Milan at the Milan Politecnico. Students will work in teams, modelling the intercultural environments they will be working in during their professional careers. The studio will include ten full days over two weeks and conclude with an exhibition, full colour printed catalogue and DVD film. The resulting exhibition will tour to participating countries in 2008/9. British Council New Zealand is offering full cost scholarships to this studio for two successful applicants, including all UK travel, studio costs, daily expenses and accommodation to the value of approximately NZD$8,000. More information and application details via www.britishcouncil.org.nz, phone (04) 924 2880, or email enquiries(a)britishcouncil.org.nz. Creative Cities By the Throat is part of the British Council's Creative Cities project - a three year cultural and artistic partnership between East Asia and the UK to develop creative cities with successful knowledge economies where global citizens can thrive. British Council supports the development of the essential features of creative cities - openness, networks, effective leadership at all levels, good design and creative entrepreneurship. Cheers Anna Lee Communications Co-ordinator British Council, PO BOX 1812, Wellington 6140 44 Hill Street, Wellington 6011, New Zealand. T +64 4 924 2843 F +64 4 473 6261 M +64 (0)21 244 2054 Creating Opportunities Worldwide www.britishcouncil.org.nz <http://www.britishcouncil.org.nz/> This message is for the use of the intended recipient(s) only. If you have received this message in error, please notify the sender and delete it. The British Council accepts no liability for loss or damage caused by software viruses and you are advised to carry out a virus check on any attachments contained in this message. The British Council is a registered charity 209131 (England and Wales) SC037733 (Scotland). Our purpose is to build mutually beneficial relationships between people in the UK and other countries and to increase appreciation of the UK's creative ideas and achievements.

13 years, 4 months

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Re: [Ada_list] [Ada_List] more on the poly

by melanie.swalwell＠vuw.ac.nz

Hi ADAers In the spirit of adding to what is available online about the Poly computer, I'm posting another piece on the Poly, written and sent to me by Alec Utting (posted with his permission). Also, I noticed that the web interface is not showing the full text of the last post in this thread. I don't know why this is. If anyone is looking for it, Perce Harpham's text is available in the mailman list archives, at http://list.waikato.ac.nz/pipermail/ada_list/2007-November/002116.html Melanie Poly Computer Software Alec Utting November 2007 I worked for Progeni, Lower Hutt as their Systems Development Manager. I had been a teacher in both primary and secondary schools previously. The first that I heard about the Polywog Computer development was just prior to a visit to the USA in Oct-Nov 1980 when Perce Harpham told me that he hoped to do the demonstration software for the system with the Education Department and the Wellington Polytech. While in New York, I visited a children’s TV studio that was creating TV using computers. On my return, I had some time with Kevin Hearle from the Education Department and Neil Scott from the Polytech show me the work that they had already done on the project, before I worked with a group of teachers who had been brought together by the Education Department to define programs that they would like to see running on the Polywog. I provided the technical interface with them and kept them with feasible limits. At that stage the Polytech staff had designed a prototype had started construction of it using a 6809 8 bit processor. They had specific ideas about how the system would be configured and the special features that they wanted in the software, especially the graphics. They had already decided that they would use Teletext for the screen display. They had made no decision about the operating system or any other software. They were using the Flex operating system meanwhile for testing. I then went away on holiday hoping that they would be more advanced when I returned in late January. I was disappointed. Although I was only implementing the demonstration software, I made the decision then to use Flex as the basis of the system, with extensions added. We would also use the Flex BASIC interpreter with extensions for the evaluation. During February, my basic task was to define the extensions that needed to be made to BASIC in order to have the computer able to do what had been specified, and to specify the software interrupts which were needed, and thus alert the design team to any further modifications needed to the board in order to carry these out. These were put in the document Specifications for Polywog Operating System 25th Feb 1981 It also meant that I had to define all the conventions and descriptors that would be used on the Poly. During this time I had some programmers working to define the programs from the teacher’s specifications. By this time the launch and teacher’s training course had been set for the first week in the May school holidays - about 10 weeks away. … and the Polytech team had still not worked out a critical implementation path in order to meet that deadline and have computers available to my team for testing. Once again I had to step in and work out the deadlines that the Polytech hardware and software teams would need to meet. Time was tight and they had to change their priorities if they were to meet these deadlines. My problem was that I had to develop the software without any computers for testing on until a few weeks before launch, and to use a BASIC language which would not have all the extensions ready by then. We immediately added multiple parameters to the USR command so that we could access the software interrupts using this command. In order to create the necessary code, I had the programmers write the code as if the new commands had been made. E.g. the LDES$ command which defined the boundary points of an area would be written exactly as we had defined it. 100 A$ = LDES$((0,0),(100,0),(100,100),(0,100),(0,0)) We then used a product (PROGENI TOOLS) which I had developed earlier for generating COBOL code, to generate the exact BASIC code necessary to implement that command. This code was only a single line in some cases, but in others created dozens of lines of code. When the first prototype computers arrived on Anzac Day 1981, we fed this generated code into them for testing. The next few weeks were hectic with long hours as the computers were all standalone and not yet been networked, and many of the commands did not work as envisaged. I did not see a networked system until midnight two evenings before the course started in Palmerston North in mid May - and never had one available for testing. The Menu system was based around random access files on the system disc. On arrival in Palmerston North late afternoon the following day, I spent the whole night testing the programs which had been given to me as I left - however, I only had the prototype standalone computers to use. After no sleep, I went immediately to the Training College where the course was being held, gave the tested programs to others to put on the network, and had a microphone thrust in my hand to tell everyone about the wonderful software. They would be able to see it after morning tea. I then went and tried out the networked system, and to my horror found that the random files did not allow simultaneous access by multiple users. As I had never had the networked system available to me, I had never been able to test the menu system with multiple users. I could not get changes made to the file handling system then, so I sent a message back to the course to delay any access to the computers for two hours, and I sat down and rewrote the menu program putting all the program selection options into the code. Amazingly, we never went back to the original menu and stayed with my hastily written one throughout the life of the Poly. >On Nov 12, 2007, at 16:45 PM Melanie Swalwell wrote: >Dear ADAers, > >Herewith another addition to our long running thread on the Poly >computer. Some of you may have seen a version of this article last year >in the Dominion Post (have searched for it in various databases but >haven't turned up the date yet). I'm posting it here so it is easily >available online. Posted with the permission of the author, Perce >Harpham (ex-Managing Director of Progeni). > >I hope to get info on some of the software that was written for the Poly >entered into the Early NZ Software Database. If you have missed my >emails on this project, please take a look at >http://nztronix.org.nz/main.php and, of course, add any titles about >which you know something! > >Melanie

13 years, 4 months

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Audience/subscriber numbers

by ANAT Communications

Hi there, I am compiling some media coverage and wondering if I am able to get from you your subscriber numbers? Any figures you can provide me with would be greatly appreciated! Many thanks, Amanda Amanda Matulick Marketing Manager Australian Network for Art and Technology (ANAT) PO Box 8029, Station Arcade, South Australia 5000 ph: 61 8 8231 9037 fax: 61 8 8231 9766 http://www.anat.org.au communicate(a)anat.org.au ANAT is assisted by the Australian Government through the Australia Council http://www.ozco.gov.au its arts funding and advisory body, by the South Australian Government through Arts SA http://www.arts.sa.gov.au and the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

13 years, 4 months

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Re: [Ada_list] extension of ADA Symposium CFP

by Janine Randerson

**PROPOSAL APPLICATIONS extended until January 15th ** for ADA08 Tending Networks (Successful Applicants from the first round will be notified on Monday 17th December as promised.) __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@aotearNotification of successful proposals: December 17th 2007.

13 years, 4 months

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Fwd: UCSD Computing Arts and Media positions

by Helen Varley Jamieson

>Date: Tue, 11 Dec 2007 05:17:31 -0800 >To: ajenik(a)ucsd.edu >From: Adriene Jenik <ajenik(a)ucsd.edu> >Subject: UCSD Computing Arts and Media positions > >Hello dear friends and colleagues, > >I am writing to ask your assistance in identifying some great people >who might be interested in a position in my department at UCSD. We >are searching for both a Media Artist (could be filmmaker, video, >media installation, photo, or crossover person), and a Computing >Arts position (broadly defined). It's listed at Assistant Professor >to ASsociate Professor level (with tenure) and we are trying to find >dynamic additions to our (very) intermedia department. The deadline >for applications is Jan 25 (or until the position is filled). > >If you might be interested, or think of someone in your network who >might be, please do consider forwarding these ads (attached). I've >also cut & pasted short versions of the call for applications below. >I would be happy to speak further with you or others if they have >questions. > >Thank you for your help. > >Adriene > >******************************************************************************* > >MEDIA ARTIST > >UNIVERSITY OF CALIFORNIA, SAN DIEGO - Visual Arts Department > ><http://visarts.ucsd.edu/html/splash.html>http://visarts.ucsd.edu/html/splash.html > >Assistant Professor, tenure-track, to Associate Professor, tenured, >beginning July 1, 2008. Rank and salary commensurate with >qualifications and experience and based upon UC pay scales. We seek >an artist with a significant exhibition record whose work exhibits >an in-depth understanding of film, video, and/or installation >practice and its relationship to contemporary art and media >discourses. UCSD is a research university that actively promotes and >supports creative work in media within a broadly interdisciplinary >arts department that includes studio, computing, art history, theory >and criticism. Teaching will include both graduate seminars and >undergraduate courses, large and small. The candidate will actively >participate in the ongoing development of curriculum and facilities. >MFA or equivalency and teaching experience required. Applicants are >welcome to include in their cover letters a personal statement >summarizing teaching experience and leadership efforts and/or >contributions to diversity > >COMPUTER ARTIST > >UNIVERSITY OF CALIFORNIA, SAN DIEGO - Visual Arts Department > >http://visarts.ucsd.edu/html/splash.html > >Assistant Professor, tenure-track to Associate Professor, tenured, >beginning July 1, 2008. Salary commensurate with qualifications and >experience and based upon UC pay scales. We seek an artist with a >proven exhibition record whose work exhibits an in-depth >understanding of computing and its relationship to contemporary art >and its discourses. UCSD is a research university that actively >promotes and supports creative work and advanced research in >computing within a broadly interdisciplinary arts department that >includes studio, media, and art history, theory and criticism. >Opportunities for developing research include grants, >state-of-the-art facilities including CRCA (Center for Research in >Computing and the Arts), San Diego Supercomputer Center, California >Institute for Telecommunications and Information Technology >(www.calit2.net), and cross-campus collaborations. Teaching will >include both graduate seminars and undergraduate courses, including >courses in an Interdisciplinary Computing and the Arts Major with >the department of Music. > >Candidates must demonstrate in their work and teaching a substantial >engagement with the computing arts and their relationship to broader >discourses of contemporary art and >culture. Candidate will actively participate in the ongoing >development of curriculum >and facilities. Teaching will draw upon knowledge of networked >cross-platform (Linux, Macintosh, NT/Windows PC) environments. Areas >of expertise might include any of the following: locative media, >social media, network art, digital imaging; graphics or sound >programming; virtual environments; computer based installation; >electronics and robotics; history and theory of new media. MFA or >equivalency and teaching experience required. > > >Adriene Jenik >Associate Professor, Computer & Media Arts >Visual Arts Dept., University of California, San Diego >9500 Gilman Dr., La Jolla, CA 92093-0084 >tel. 858 822-2059 fax 858 534-7976 >http://www.adrienejenik.net >http://www.specflic.net > > > -- ____________________________________________________________ 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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The Art Circuit

by Andrew Clifford

Artist makes pit stop at Auckland Art Gallery The Art Circuit is a Billy Apple project that pays tribute to Auckland's mid-town art track, centred on the Auckland Art Gallery, and is the last event to be staged on the gallery's forecourt prior to the gallery's redevelopment. This is a sound performance free to the public featuring grand prix motorcycles from The Billy Apple Historic Racing Collection being played by world-renowned riders, including Ken McIntosh of McIntosh Racing. The vehicles are historic and classic performance machines used only on grand prix circuits. These bikes come with both a professional racing and art pedigree, having been exhibited in art galleries and museums throughout New Zealand and raced by legendary riders including John Britten, John Surtees and Aaron Slight. Much of Billy Apple's practice has critiqued the conditions of art practice, as well as questioning the arbitrary distinction between life and art. In this work, he has designated the Auckland streets defined by The Art Circuit both as an artwork and a potential track, of which the Auckland Art Gallery's forecourt is the start line and pit-stop. This recognises the dense community of galleries that has established itself around the one-way loop of Kitchener Street, Victoria Street, Lorne Street and Wellesley Street. The Art Circuit is first and foremost a sonic exploration of the vehicles' individual characteristics. The [two] bikes will remain in position while they are warmed up to create improvised solos and duets. This continues Billy Apple's ongoing interest in using sound as a medium to explore ideas and incorporates his long involvement in professional motor racing. He says the performance will demonstrate the bikes' different attributes. For example, one is a 350cc whereas the other is a 500cc vehicle: "The difference between the AJS and Norton is like the difference between a trumpet and a trombone." This is a rare chance to see these ready-made instruments brought to life in consultation with renowned composer Jonathan Besser. The event is being organised by curator Andrew Clifford. A feature-length festival documentary "Being Billy Apple", directed by Leanne Pooley will have its first screening the following weekend on TV1, Saturday 22nd December at 9.45pm. ENDS Notes for editors: The bikes: The Billy Apple Historic Racing Collection is made up of three British grand prix motorcycles and two British racing cars. They all come with a professional racing pedigree and some also have an art lineage, having previously been shown in New Zealand galleries. This Sunday's performance at the Auckland Art Gallery will feature: 1960 AJS 7R 350cc. classic British racing motorcycle - exhibited at the Wellington City Art Gallery, 1991, Govett-Brewster Art Gallery, 1991-1992, Auckland Art Gallery, 1992 and the Auckland War Memorial Museum, 2000 - 2001 - previously raced by Ginger Malloy, who became the number two rider in the world in 1970 after placing second in the 500cc Grand Prix World Championship 1962 Norton Manx 500cc classic British racing motorcycle - previously raced by the late great John Britten, John Surtees (multi world motorcycle champion and Formula One world champion driving for Ferrari) and superbike riders Andrew Stroud, Jason McEwen and Aaron Slight (multi runner-up world superbike championships) The artist: Billy Apple (b. 1935) has been a practicing artist for over five decades. He is one of New Zealand's best known and internationally acclaimed avant-garde figures, who made his reputation in London and New York, exhibiting alongside artists such as David Hockney, Andy Warhol and Dan Flavin. He is one of the original pop art generation before becoming a central figure in the evolution of conceptual art. Billy Apple (then known as Barrie Bates) studied at the Royal College of Art in London from 1959-62 on a New Zealand government scholarship. After several trips across the Atlantic beginning in 1961, he moved permanently to New York in 1964. It was here that he was one of the pioneers of using emerging technologies such as neon, laser light, Xerox (in collaboration with GT&E and Xerox Corporation of America) in art-making. In 1969 he founded New York's second artist-run alternative space, his self-named gallery Apple, one of only seven in that era. A retrospective of his work was held at London's Serpentine Gallery in 1974 and in 1977 he had his first exhibition at New York's Leo Castelli Gallery, one of the most important dealer galleries of the twentieth century. Billy Apple toured New Zealand twice in the 1970s, showing work in public institutions and dealer galleries. His permanent return to New Zealand was heralded by the Good as Gold retrospective, which opened at Wellington City Gallery in 1991 before touring to the Govett Brewster Art Gallery in New Plymouth and the Auckland Art Gallery. In 2006 he was prominently featured in the Auckland Art Gallery's presentation of the Tate's Art & the 60s exhibition. His works are held in numerous international collections and institutions and he continues to exhibit prolifically. The team: Ken McIntosh A partner in Billy Apple's racing endeavours, Ken McIntosh of McIntosh Racing is renowned internationally for his building and restoration of world-class bikes, especially of Norton grand prix bikes. He is responsible for restoration and race preparation of The Billy Apple Historic Racing Collection motorcycles. His East Auckland factory has produced bikes that have won countless titles, and the vehicles present in his shop at any single moment comprise an impressive history of international professional racing. He is no stranger to riding either, having won the NZ Classic TT Senior race on a Billy Apple Norton in 2004. On one occasion he swapped bikes with John Britten for a Pukekohe race and managed to identify a fault that could have stopped Britten winning at Daytona immediately afterwards. In 2006 he raced a bike against a WWI Bristol fighter plane owned by Peter Jackson at Jackson's Vintage Air Show. McIntosh is coordinating the bikes for this performance and leading the team that will be playing them. Jonathan Besser Jonathan Besser was born in New York City (1949). Resident in New Zealand since 1974, he has composed on commission for the New Zealand Symphony Orchestra, the Royal N.Z Ballet, Auckland Philharmonia, the Wellington Symphonia, and the New Zealand String Quartet (touring schools with them in 1994). Jonathan has led his own New Music groups, most notably the Besser Ensemble (1987-1997). He is also founding member of Free Radicals (electronic music) and Triphonics touring China with Triphonics in March 1996. His latest new performance group Bravura is performing his compositions around New Zealand and in Australia. Jonathan has created acoustic and electronic music in collaboration with leading writers, choreographers, musicians, visual artists and filmmakers. Those include Gaylene Preston, Mary Jane O'Reilly,Warwick Broadhead, Keri Hulme, Ross Harris, Michael Parmenter, Don McGlashan and the Australian author Roger McDonald. He has worked with Billy Apple regularly on sound projects, including Severe Tropical Storm 9301 Irma and Artspace's Music for Stairwell. He has composed original music for many film, radio, stage and TV productions. Andrew Clifford Curating and coordinating The Art Circuit is freelance writer sound artist and curator, Andrew Clifford. Clifford has worked on projects for Auckland Art Gallery, Govett Brewster Art Gallery, Artspace, Enjoy and the Moving Image Centre. He serves on the board of the Audio Foundation and is one of the organisers of their long-running international new music festival, Alt.music. He was one of four jurors for the 2006 Walters Prize and is currently a curator at The University of Auckland's Centre for New Zealand Art Research and Discovery.

13 years, 4 months

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Fwd: Let's help Turbulence!!!

by Helen Varley Jamieson

turbulence are the people who do the networked performance blog, which is a pretty good resource for interesting online events, & they have promoted events in UpStage. they also do a networked music blog. the original turbulence email is at the bottom, below marc's email. if many people make a small donation it will really help. thanks, h : ) > >Hi Everyone, > >Please go to Turbulence (http://turbulence.org) and make a donation now. > >I really, really think that everyone should be gathering a momentum in >supporting Turbulence right now. > >The positive and cultural impact that they have had in supporting and >nurturing the continuation of a lively and dynamic Internet and media >art culture, has been pretty solid through the years. > >Many artists and artist groups have gained not only decent commissions >from Turbulence but they have also experienced, productive results from >their involvement with Turbulence regarding representation and other >relevant connections that feed the much needed process of becoming seen >by a larger audience. Their unique and flexible approach with working >with artists is noted and respected, we could do with a few more groups >like them out there. > >I am not exactly rolling in cash, but I have made an effort in >contributing some money today. I want those who value our media art >culture to give their money and support to Turbulence also. I do not >just hope that Turbulence gets past this troubling period, but I also >personally need reassurance that there are plenty of people out there >who are interested in contributing to a sustainable future of groups >such as Turbulence beyond mere, personal and immediate needs; that >people are still interested in trying to maintain a creative field that >does not only rely on traditional structures to justify our shared >imaginations. > >We need these progressive platforms to keep our work and potential >growth around it alive. > >We need them all. Feed them and they feed us - it's simple. > >So, please do not waste time and help them out before it's too late. > >Wishing everyone well. > >marc >www.furtherfield.org > > > > > Many of you may not realize that we are a tiny, not-for-profit >organization. > > Helen and I spend much of our time raising funds from government >and private > > foundations to commission networked art. Our mission is to support both > > emerging and established artists. > > > > There are very few resources for new media/networked art in the United > > States, which makes the process highly competitive. When we succeed, we are > > only entitled to use a very small percentage of the grants for server > > maintenance and administrative overhead, which translates into inadequate > > salaries for ourselves and our system administrator. > > > > Our passion for the field has fueled our commitment for many years, but we > > can no longer sustain Turbulence, Networked Performance and Networked Music > > Review without your help. We hope you value them enough to help >us keep them > > alive. > > > > Please go to Turbulence (http://turbulence.org) and make a donation now. > > > > Sincerely, > > Jo and Helen > > > > Jo-Anne Green, Co-Director > > New Radio and Performing Arts, Inc.: http://new-radio.org > > New York: 917.548.7780 . Boston: 617.522.3856 > > Turbulence: http://turbulence.org > > Networked_Performance Blog: http://turbulence.org/blog > > Networked_Music_Review: http://turbulence.org/networked_music_review > > Upgrade! Boston: http://turbulence.org/upgrade > > New American Radio: http://somewhere.org > > \ -- ____________________________________________________________ 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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TODAY: "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 (if you're in Australia or New Zealand or thereabouts, it will be early on the morning of SATURDAY 8TH) & 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 UpStage project manager helen(a)upstage.org.nz UpStage a web-based venue for live online performance http://www.upstage.org.nz *******************************

13 years, 4 months

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Ada_list December 2007