Nanoart: Making the Invisible Visible
The Australian Network for Art & Technology (ANAT) is pleased to
announce the November discussion on the Synapse elist which,
throughout 2008, is investigating the leading-edge of art and science
research collaboration.
This month's discussion explores artists' engagement with
nanotechnologies. As well as an exploration of artistic projects, the
list will investigate some of the pressing issues arising from the
proliferation of nanoscale technologies - for example, implications of
the inability to control affect at the nano level and the peculiar
challenges facing artists working with these technologies, not least
the 'invisibility' of their practice both literally and figuratively.
To join the discussion visit: www.synapse.net.au select 'Discuss' and
follow the prompts.
DISCUSSION GUESTS
Ælab was founded in Montreal, Canada in 1996 by Gisèle Trudel and
Stéphane Claude. Their diverse creations regularly pop up on the
international art circuit and demonstrate their interest in
collaboration between art and science, rooted in ecological and
technological awareness. As well as their work with the lab, Claude is
also a musician, audio mastering engineer and head of the audio sector
at OBORO, whilst Trudel is an artist and Professor at École des Arts
Visuels et Médiatiques, UQAM. www.aelab.com
KRISTIN ALFORD is Managing Director of Bridge8, a strategy, foresight
and communications consultancy for the science and technology sectors.
She is particularly involved in nanotechnology public engagement
activities including art/science collaborations, the establishment and
growth of industry networks and the delivery of AccessNano, a national
education resource for the Australian Office of Nanotechnology. Kristin
is also a Board Member of ANAT. www.bridge8.com.au
PAUL THOMAS was founding Director of the Biennale of Electronic Arts
Perth (BEAP) and is currently the coordinator of the Studio Electronic
Arts at Western Australia's Curtin University of Technology. His
current research project, Nanoessence, (supported by SymbioticA,
University of Western Australia and the Nanochemistry Research
Institute, Curtin University of Technology) aims to examine life and
death at the nano level, re-examining space and scale within the human
context. www.visiblespace.com
STEFANO RAIMONDI is an Italian art critic and curator. He holds an MA
in Art History and it was during his studies that he first became
interested in nanoart. In 2007, he curated Nan°art, the first Italian
exhibition to engage with nanotechnology. He is author of the book
Nanoart: seeing the invisible, (published bi Skira) and he also
collaborates with art magazines DIGICULT and FLASH ART. In addition,
Raimondi continues his role Co-Director of the Bergamo Art Fair.
www.stefanoraimondi.it
TAMI SPECTOR is Professor of Organic Chemistry at the University of San
Francisco. She is on the board of Leonardo/ISAST, is Chair of the
Leonardo Scientists Working Group and is serving as the co-editor of an
on-going special section on Art, Nanoscience and Nanotechnology for the
Leonardo Journal. Spector is also a guest editor of the philosophy of
science journal Foundations of Chemistry.
www.usfca.edu/artsci/fac_staff/S/spector_tami.html
___________________________________________________________________
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.
If you would like to change your contact details or be added or
removed from this list please email anat(a)anat.org.au
Artists Talk - Sriwhana Spong
Friday 31 October, 12.15pm
New Zealand Film Archive
cnr Ghuznee and Taranaki Sts, Wellington
Following the opening of her exhibition Myth and Practice this
Thursday 30th at 5.30pm, Sriwhana Spong will give an artist talk on
Friday at 12.15pm. Myth and Practice features work inspired by a
recent stay in the United States and a visit to the infamous Chelsea
Hotel. Attached please find an image from Sriwhanas work Room 424,
which documents the supposed former residence of a Mr. Leonard Cohen.

In accordance with the New Zealand Unsolicited Electronic Messages
Act, the New Zealand Film Archive needs to review your consent to
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Mark Williams
Exhibitions/Project Developer
Nga Kaitiaki O Nga Taonga Whitiahua
The New Zealand Film Archive
PO Box 11449 Wellington
Aotearoa, New Zealand
ph +64 4 384 7647 ext 829
fax +64 4 382 9595
http://www.filmarchive.org.nz
/(apologies for cross-posting and please forward to interested people)/
The next UpStage open walk-through will be at 8pm New Zealand time on
Tuesday November 4th; find your local time here:
http://tinyurl.com/58h4bg (note - if you're in western USA, it will be
the evening of Monday 3rd).
UpStage is an open source web-based platform for live online interactive
performance (cyberformance); logged-in players manipulate media (such as
graphical avatars, backdrops, web cams, audio, drawing and text) in real
time to create a theatrical performance for audience members, who
require only a browser and standard internet connection. The audience
interact with the players, the performance and each other via a text
chat. For more information about UpStage, visit http://www.upstage.org.nz
The open walk-through is an opportunity for those who are new to UpStage
to have a guided introduction to the environment, with regular UpStage
users.
If you would like to attend the walk-through, please email me for a
log-in and link to the stage.
helen : )
--
____________________________________________________________
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
____________________________________________________________
"Clean" Feeds on Australian Artists
The Australian Government will soon introduce a whole of Internet
filtering system under the auspices of child Cyber-Safety, requiring
Internet Service Providers to filter out content identified as
prohibited by the Australian Communications and Media Authority (ACMA).
As every Australian home already has access to free filtering
technology, the scheme not only provides meagre additional safety for
children - it also could result in long-term damage to the Australian
emerging media and new technologies industries.
The Australian Network for Art and Technology (ANAT) Executive Director
Dr Melinda Rackham comments "I strongly believe that this misguided
scheme will have a severely adverse affect on our creativity, our
culture and our economy."
Whilst there is a need for additional protection for the worlds
children online, perhaps more thought needs to be dedicated to this
issue by the Government. Industry studies have shown that the
mandatory filter could slow down network speeds significantly and block
sites that are neither harmful nor inappropriate for children, nor
illegal.
There is significant difficulty in identifying what would be banned
material in streaming media or via Peer-to-Peer (P2P) file sharing
networks. Artists who traditionally work at the leading edge of new
technologies will most likely be caught by the "inappropriate" net.
Electronic Frontiers Australia (EFA) expressed alarm, with Spokesperson
Colin Jacobs stating that "the Clean Feed will be mandatory in all
homes, schools and libraries throughout the country - and concerns
remain about who decides what is banned."
Phoebe Knowles from the Human Rights Law Resource Centre comments: "The
scheme would limit our rights to privacy by monitoring the information
we access and our freedom of information. Free flow of information is
essential to a healthy democracy, civic debate and artistic endeavor."
She continues, "Protection of children is undeniably extremely
important. However, in the absence of a federal Human Rights Act, this
scheme is not rigorously justified as being necessary in all the
circumstances having regard to the competing rights. Where the filter
blocks material that is neither child related nor illegal, it would be
an unnecessary and unjustified limitation on freedom of expression."
Fee Plumley - ANAT's portable platforms and emerging technologies
Program Manager comments, "To ensure the world is a better place for
Australian children, why not invest in widespread education and
lower-cost access to the networks? These will enable children to use
current and future systems responsibly and to learn how to protect
themselves in our increasingly networked world."
The Internet redresses our nation's tyranny of distance, easily
situating Australian creative content and intellectual property in the
global domain; and to stifle that is a significant step backwards. Not
only is our reputation for innovation in artistic and cultural arenas
slipping, but our Human Rights Record - tarnished over the past decade
of Desert Detention centers and the Pacific Solution, is looking
decidedly unhealthy.
For more information and information on this policy and what you can do
about it, visit the EFA clean-feed site http://nocleanfeed.comwww.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.
If you would like to change your contact details or be added or
removed from this list please email anat(a)anat.org.au
Dear Friends
Thursday 30th October at 5.30pm, you are warmly invited to attend the
opening of Sriwhana Spong's installation Myth and Practice.
Featuring work developed during a recent New York residence, Myth and
Practice includes video, film and sound.
Faced with the impossibility of documenting the mythic proportions of
the infamous Chelsea hotel, a cartridge of black and white Super 8
film was hand wound as the artist roamed the corridors. Losing the
means of focusing allowed the air, or atmosphere, of this
mythologised building to touch the actual film. What is recorded is
the dust of the machines used in the processing and transfer of this
film. Chelsea Hotel plays with the idea of documentation as a means
of capturing something in order to name it and understand it, but in
the end getting no closer to it.
The Birds is a sound work, created through the direct translation of
an image of birds sitting on a telephone wire into a 21-second piano
piece. It is scored by Godfrey de Grut, and interpreted visually by
Kelvin Soh and Simon Oosterdijk of The Wilderness. The Birds takes a
recorded moment and creates a piece involving collaboration, direct
translation and interpretation.
Room 424 is a series of three photographs taken of what is,
supposedly, Leonard Cohen’s old residence at the Chelsea Hotel.
Although the three images show the same door, what they describe is a
process of capture and framing: with flash/without flash, long shot/
close-up.
PLUS: Tune in to National Radio this Saturday morning at 9:45am to
hear former Dominion Post arts writer Mark Amery discuss art
criticism with Kim Hill.
Sriwhana Spong
Myth and Practice
Opening Thursday 5.30pm, 30th October
New Zealand Film Archive, Wellington

In accordance with the New Zealand Unsolicited Electronic Messages
Act, the New Zealand Film Archive needs to review your consent to
receiving e-mailed exhibition notices. If you wish to continue
receiving our emails then please do nothing. If you would prefer not
to receive any further emails from the New Zealand Film Archive, then
please reply to this email with ‘unsubscribe’ in the subject box.
Mark Williams
Exhibitions/Project Developer
Nga Kaitiaki O Nga Taonga Whitiahua
The New Zealand Film Archive
PO Box 11449 Wellington
Aotearoa, New Zealand
ph +64 4 384 7647 ext 829
fax +64 4 382 9595
http://www.filmarchive.org.nz
October 24th 6pm Victoria University of Wellington
139 Vivian Street, Lecture Theater 1
Performance Controller 08
An evening of live audio visual experiments by Victoria University
Digital Media Design students from the elective class "Design and
Real-time Media".
Students will be performing short-form audio visual projects using
interfaces other than the mouse and keyboard as a controller.
By experimenting in this area of physical interaction with a
computer, students explore a rich terrain of new approaches for
interfacing with technology.
The program will run for around 2 hours from 6pm to 8pm.
Lecture theater 1 is located to your right after you enter the
school of Design and Architecture.
Dear Arts Friends,
As many of you know, the Dominion Post has decided to axe Mark
Amery's weekly art column.
This is a blow to many of us. As well as smart, serious journalism
Mark's column was a lone voice for regular art criticism in
Wellington. Plus, those valuable column inches often gave a boost to
visitor numbers.
This afternoon I've written a letter to the Dominion Post editor
expressing my disappointment. I'd like to invite everyone on this
mailing list to do the same.
It's important to note that the end of Mark's column reflects a wider
trend towards reduced coverage for the arts in our beloved daily.
Despite Wellington being the 'arts capital of New Zealand' the Dom
says "the future of other contributors’ columns is also being
reviewed" and the Arts editor has "been directed to reduce the number
of columnists we use".
The address is: letters(a)dompost.co.nz. Letters must include the
writer's full name, home address and daytime phone number and not
exceed 200 words.
Finally, thanks to Mark for flying the flag for the past five years.
We appreciate it.
------------------------------------------------------------------------
---------------------
Mark Williams
Exhibitions/Project Developer
Nga Kaitiaki O Nga Taonga Whitiahua
The New Zealand Film Archive
PO Box 11449 Wellington
Aotearoa, New Zealand
ph +64 4 384 7647 ext 829
fax +64 4 382 9595
http://www.filmarchive.org.nz

CUT / SCRATCH / PLAY
an evening of live audio/visual performance by academic staff, masters
students and a visiting researcher.
Oct 22_ 5-7pm
Digital Media Design Lab
Wigan Building 4th Floor.
School of Design
Victoria University of Wellington
Grayson Cooke "Glitchcock"
“Glitchcock” is a live-mixed audio-visual improvisation, underpinned
by two concepts:
feed-back and back-projection. The project uses back-projection
sequences from
Hitchcock films, which are cut-up and re-mixed live. Concurrently, the
project sets up
an audio-visual feed-back loop, where the audio from the Hitchcock
sequences is
processed and filtered, and is then used to drive visual effects on
the film footage.
Thus, the visual media sequences are “glitched” by their own audio
track.
Bio: Grayson Cooke is an interdisciplinary scholar and digital media
artist who lectures in digital media at the Bundaberg Campus of
Central Queensland University. He is currently a visiting researcher
in the School of English, Film, Theatre and Media Studies while on
sabbatical.
Johann Nortje and Tammy Thompson
“Luminin”
Visual Music is a collaboration between Johann Nortje and Tammy
Thompson. Johann
Nortje is currently studying his Masters in Digital Media design after
having completed a
degree in Industrial Design at Victoria University. His study is
looking at Intuitive
Interfaces for Live Cinema Performance Instruments and how these can
translate into
Club-VJ environments. Tammy Thompson is a classically trained
musician and wanted
to use this background to create lovely – quiet – visually based art.
Visual Music is a
study on the Syneasthesia between sound and image. The project is
performed with a
Theremin as the interface, and colour art as the product. The Theremin
seemed a
good interface as the data could be captured and assigned to colour
instead of the
sound output it is set up for. These elements are performed
independently as well
as combined for a intricate Audio/Visual Composition.
Morgan Barnard "reflections: UrbanScreens"
"reflections:UrbanScreens" is a remixed documentary project created at
the Melbourne Urban
Screens conference between October 3rd and 8th. Interviews about the
public's relationship
to urban screens and documentary footage of the conference was
gathered in Federation
Square then remixed in a live context to create an ephemeral real-time
documentary for the
transitory urban audience. Live data feeds of contextual information
are displayed as motion
graphic elements and visual collage. "Reflections" redefines the
editorial process of traditional
film and television post-production by creating a work that uses an
improvisational and
temporal approach for content generation. Morgan Barnard is a lecturer
in Digital Media
Design at The Victoria University of Wellington School of Design. He
has worked as a Director, Editor, and New Media Designer in New York
and Los Angeles for the past 10 years. His research includes Live
Cinema, Interaction Design and exploring new ways to engage audiences
in dynamic media experiences.
Naomi Lamb
As Veteran VJ with over ten years of exposure in the New Zealand’s
Dance sub culture, Naomi Lamb took the rare stance of producing all
her own video samples. She has improvised and engaged audiences with
her original style at legendary music and dance festivals such at The
Gathering, Kaikora Roots, Alpine Unity, Destination, Parihaka and
Canaan Downs. Her experimental video art has been exhibited in
Germany, South Korea, Australia and Nationally. Lamb is a master’s
candidate and tutor at Digital Media Design at Victoria University,
where she continues to explore VJing, Live Cinema and new media
practices. She has recently been awarded an artist in residency at
SCANZ, a premier arts and technology symposium, in Takanaki next year.
THE PELORUS TRUST MEDIAGALLERY PRESENTS
HTTP Error 413: Request Entity Too Large (performance with
technology, and its implications for subjectivity)
* Performance
* 16 October 2008, 7:00pm, KOHA
* New Zealand Community Trust mediatheatre, Wellington
Daniel Agnihotri-Clark (aka Dan Untitled) is an artist, curator,
writer and musician based in Wellington, New Zealand.
His art practice intersects the fields of art and technology -
traversing the disciplines of video, sound, sculpture, installation,
live performance (audio, video, and cyberformance), web-based media
and robotics. His projects and research have been experienced both
locally and internationally (reaching online audiences worldwide, and
proximal audiences in London, Berlin, Barcelona and Melbourne).
This discussion will investigate how technology can mediate our sense
of self, with particular emphasis on Daniel’s recent cyberformance
projects and robotics works. Daniel will be speaking from the dual
capacities of artist and curator.
For this presentation Daniel will be joined by globally dispersed
remote participants.
Daniel is in the final year of his Doctorate in Fine Arts at Massey
University, Wellington. He has also tutored in both studio practice
and critical theory, and he manages a web-based e-learning initiative
that he launched for the School of Fine Arts.
Presented in association with the exhibition hey Student! - Recent
video from the School of Fine Arts BFA programme, Massey University,
Wellington. On now until Saturday October 25, 2008.
In accordance with the New Zealand Unsolicited Electronic Messages
Act, the New Zealand Film Archive needs to review your consent to
receiving e-mailed exhibition notices. If you wish to continue
receiving our emails then please do nothing. If you would prefer not
to receive any further emails from the New Zealand Film Archive, then
please reply to this email with ‘unsubscribe’ in the subject box.
Mark Williams
Exhibitions/Project Developer
Nga Kaitiaki O Nga Taonga Whitiahua
The New Zealand Film Archive
PO Box 11449 Wellington
Aotearoa, New Zealand
ph +64 4 384 7647 ext 829
fax +64 4 382 9595
http://www.filmarchive.org.nz

Hi All
The programme for the FREE 'Performing Environments' symposium and the
Co-Lab launch is out now and myself and several of the artists in
'atmos' will be speaking about our work, all welcome!
*Performing Environments*
A symposium held by CoLab, a research and development centre for
creative use of technology in partnership with MIC Toi Rerehiko and AUT.
Saturday 18 October
10.00 am - 4.30 pm
Room WA 224 – A Block
Wellesley Street,
AUT City Campus
This conference will engage with critical aspects of art and technology
projects. The conference coincides with the launch of CoLab, a new
transdisciplinary research and development centre led by collaborative
partners AUT University and MIC Toi Rerehiko. CoLab aims to become a
national centre of excellence in the development and use of new
technologies for creativity, communication and innovation.
Saturday 18 October
MORNING: ENVIRONMENTALLY RESPONSIVE STRATEGIES
10 .00 – 10.30 am
Welcome and introduction to CoLab: Deborah Lawler-Dormer (CoLab
CoDirector)
10.30 – 10.50
Uwe Rieger is an architect and the Associate Head of Design at the
School of Architecture and Planning at The University of Auckland and
will discuss environmentally responsive design strategies as an
interaction between landscape, people, architecture and digital
information.
10.50 -11.10
Interactive and Performance Technologies
Sue Gallagher: Home Body & Dead space
Ovid’s story of Hermaphrodite will be told in light of some recent
examples of hybrid performative environments that fuse house with body.
These mobile structures are based on the notion of union. The
presentation will then shift focus to homelessness and bodiless in a
discussion of the scenographic strategies of repetition, delay, and
disorientation in relation to three of Sue Gallagher’s performative
video and light installation works: WAKE, SUGAR, & SPACEINVADER. These
works are concerned with an extended moment of interregnum, as is
experienced in grief, particularly when a disbelief in death results in
a dramatic limbo. A dead space where bodies are caught in frenzied
motion and ultimately caught in a space of paralysis. This paper seeks
to trace the confounded unfolding of disruption and disorientation in
relation to these works, in order to arrive at some understanding of
dead space, nothingness, paralysed thought and suspended animation.
11.10 – 11.30
Listening to the Breeze – work in the AURA Laboratory
Originally from Wales, Dr. Dave Parry is a Senior Lecturer in the
Auckland University of Technology School of Computing and Mathematical
Sciences And Directory of the AURA RFID laboratory. He holds degrees
from Imperial College and St. Bartholomew’s Medical College, London
and the University of Otago, New Zealand. His research interests include
internet-based knowledge management and the semantic web, health
informatics, the use of Radio Frequency ID in healthcare and information
retrieval.
The AURA lab, set up this year at AUT is concerned with application of
Radio Frequency Identification (RFID) technology to real-world problems.
RFID has expanded from being a “super barcode” into one of the most
exciting technologies for identifying, locating and possibly
understanding objects. By bridging the gap between real objects and the
databases that monitor them, RFID may allow a whole new set of
interfaces to be created. This talk will briefly introduce RFID but
mostly deal with some of the work going on in the lab especially in the
medical domain.
11.30 – 11.50
Andrew Denton is Senior Lecturer in Digital Design at AUT University.
He will talk about his “work in progress” with architect Adrien McNaught
on their gallery based video and sound-scape installation Horizon Line.
11.50 – 12.10
Digital Storytelling and Community Media Practices
Alan Young is a designer and senior lecturer at AUT and will discuss the
role of new media technologies in relation to his latest community media
projects including ‘Equal Sepeople in Melbourne, for the Department of Justice as well as projects
for the City Council in Glenn Innes.
12.10 – 12.30
Mobile and wireless sensor networks
Dr Andrew Ensor is a Senior Lecturer in the School of Computing and
Mathematical Sciences at AUT, and will describe some of the current and
planned CoLab projects that involve mobile technologies or wireless
sensor networks.
12.30 – 1.30
Lunch Break (Catered)
AFTERNOON: ENVIRONMENTALY-RESPONSIVE WORKS IN ASSOCIATION WITH THE ATMOS
EXHIBITION AT MIC TOI REREHIKO
1.30 – 2.00 pm
Janine Randerson is a New Zealand artist and curator and will be
discussing technological mediation in ecological systems with a
particular focus on satellite imaging. Janine will examine these issues
in relation to the exhibition atmos, which explores how technological
mediations in weather may become ciphers for dialogue, critique and
transformation.
2.00 – 2.30pm
Tom Corby is an artist and writer whose research is concerned with
relocating digital imaging processes within wider aesthetic and social
frameworks. Corby will discuss how scientific information visualization
practices can be used to produce platforms for critical, aesthetic and
affective experience.
2.30 – 3.00
Jerome Knebusch is an artist based in Paris and Frankfurt and will
discuss his latest work examining the weather as an everyday part of
life as well as online representations of weather as an event.
3.30 – 4.00pm
Lisa Benson and Douglas Bagnall
Lisa Benson is a New Zealand artist working with a range of media from
photography to object based installation. A key focus in her practice is
the experimentation with light and time. In 2008 she participated in a
major exhibition at the Turkish Cultural Center, Sarajevo, Bosnia and
Herzgovina. In 2001 she completed her Master of Fine Arts at RMIT
University in Melbourne. Lisa is represented by the Vavasour Godkin
gallery in Auckland and has exhibited widely in New Zealand and
Australia.
Wellington based artist Douglas Bagnall is an artist and programmer, who
tries to make machines to automate some of the more mundane processes of
artistic production. This was not always the case; Douglas began his
career in the early nineties. His film and digital art, including The
Sea (pt 3) (1996) and Random Geographical Survey (1998), has been seen
throughout New Zealand at short film and fringe film festivals. His work
has been shown internationally at Melbourne Experimenta in 1994 and at
the Tokyo Video Festival in 1996. Bagnall was Digital Artist in
Residence at the University of Waikato in 2003. Cloud Shape Classifier
has been exhibited at Ramp gallery in Hamilton, Enjoy in Wellington. In
2006 the installation appeared internationally at ZeroOne/International
Symposium on Electronic Arts in San Jose and later in the group show
Geomatics and Ecomatics: three stories in Shanghai (2007).
4.00 – 4.30
Closing: Charles Walker
5.00 – 7.00
Drinks and Launch of CoLab