**Apologies for cross postings
Bioart goes LIVE in more ways than one!
The Australian Network for Art & Technology (ANAT) is pleased to
announce its latest initiative: a moderated elist discussion on
contemporary art and science collaborations in fields including bioart,
artificial intelligence, robotics, climate change and space, amongst
Running from March to December 2008, each month-long discussion will be
led by international experts.
To whet your appetite, here are some initial thoughts from participants
in the Bioart discussion, beginning on Monday the 3rd of March...
Oron Catts is an artist, researcher and curator. He is the co-Founder
and Director of SymbioticA, which won the 2007 Prix Ars Electronica
Golden Nica in Hybrid Art. Oron comments "the growing tension between
the 'essence of life' and contemporary approaches to the engineering of
life is where the most interesting bioart works lie."
Monika Bakke is Assistant Professor of Aesthetics at Adam Mickiewicz
University, Poland. She has a particular interest in posthumanist,
cross-cultural and gender perspectives in contemporary art/aesthetics.
Monika believes, "Bioart evokes questions of belonging, identity and
sustainability, highlighting the need to move beyond anthropocentrism
in order to fully recognise augmented, modified and
technologically-supported life of all kinds."
George Gessert's work focuses on the overlap of art and genetics. He
has exhibited widely and his writings have appeared in numerous books
and publications, including Best American Essays 2007. George notes
"I've been producing and exhibiting bioart works for more than 20
years, during which time I've sought to keep the focus on aesthetics
rather than politics. Lately, however, I've been asking myself: what is
the relevance of bioart to climate change?"
Kathy High is Head of Arts at Rensselaer Polytechnic Institute, (USA).
As a practicing artist, her works address medicine/bioscience, science
fiction and animal/interspecies collaborations. Kathy comments, "I am
involved with the development of a new animal research facility and
wonder what methods artists have used to 'humanise' engagement with
Jens Hauser is a Paris-based curator, writer and videomaker focussing
on the interactions between art and technology, and on transgenre and
contextual aesthetics. He organised L'Art Biotech (2003) France Still,
Living (2007) Australia and, most recently sk-interfaces (2008) UK.
To subscribe to the elist, please visit: www.synapse.net.au
ANAT is assisted by the Australian Government through the Australia
Council for the Arts 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.
this might be of interest to some ada folks - all
for papers, & below a conference announcement,
"The Intermedial City : Practices, Technologies,
Imaginaries", in montreal. CRI is the centre for
research in intermediality at montreal
university, i was there for a conference on
theatre. they do lots of interesting stuff (quite
academic & lots of it in french)
h : )
> Convergence: The International
>Journal of Research into New Media Technologies:
>Call for Papers
> Convergence: The International Journal of
>Research into New Media Technologies
>Call for Papers Special Issue on Cultural Memory and Digital Preservation
>Vol 15 no 3, August 2009
>Guest editors: Jessica Santone and Will Straw (McGill University, Canada)
>Convergence is pleased to announce a forthcoming
>special issue on Cultural Memory and Digital
>Preservation. As works produced originally
>for analog media come to be preserved within
>digital media, and as media-based artworks
>confront the imminent scarcity or obsolescence
>of their technical supports, the question of how
>the cultural expression of the past will be
>preserved, transformed and kept in circulation
>has become vital. So too is the question of how
>todays digital resources (eg media-based
>artworks and digital collections) may be
>sustained and kept in circulation in the future.
>Pro PpPPPPPpPPP posals are invited for
>articles dealing with the role of new media
>technologies in preserving or replicating the
>cultural practices of the past. Articles are
>invited from scholars, curators, gallery
>conservators, artists and others whose work
>deals with the relationship between contemporary
>media and cultural heritage.
>Examples of topics for which article proposals
>are invited include the following:
>The preservation and exhibition of media-based
>art works: Migration and emulation are
>dominant strategies for dealing with the
>obsolescence which confronts the media-based
>artworks of the past. What are the theoretical
>and practical strengths and/or limitations of
>each strategy? In what ways may
>performance-based art practices of the past be
>preserved within digital media? How should
>preservation strategies conceive the boundaries
>of the artwork? (Should artist statements,
>recordings of audience behaviour and technical
>specifications accompany the work through the
>preservation process?) How has the ontological
>status of the artwork been transformed in its
>movement through different media supports?
>Official and unofficial image archiving: What
>is the status of visuality within public memory
>projects and the venacular image worlds of Ebay,
>Flickr or Facebook?
>Place and placelessness: What is the
>relationship of online preservation practices to
>seemingly contradictory tendences in
>contemporary art, such as the simultaneous
>growth of megastructure galleries and the
>ascendance of a place-based relational
>Shifting skill sets: How have digital
>preservation projects altered the forms of
>training appropriate to museusms, galleries and
>other cultural institutions. What are the
>relative values of technological history, art
>history, information science and other
>disciplines for digital preservation activity?
>Archiving and memory as aesthetic concerns: How
>have contemporary artists addressed the demands
>and limitations of new media technologies as
>tools for conveying cultural knowledge, history
>Ensuring the sustainability of digital
>resources: What policies, strategies and
>critical positions are required to ensure the
>continued circulation of contemporary forms of
>digital cultural expression?
>We are hoping, with this issue, to balance
>theoretical reflection on medias relationship
>to cultural memory with practical accounts of
>cultural preservation projects and programs.
>We hope as well to maintain a balance between
>fine art and popular cultural practices across
>the articles published in this issue.
> Please send proposals by to Prof. Will Straw
> preferably as attachments in Microsoft Word or
>WordPerfect and accompanied by full contact
>details for the author, as well as information
>on the authors current affiliation or position.
>Details of referencing style can be found at
>Deadline for submission of completed research articles: 22 August 2008
>(For all other submissions/inquiries, please
>Canadian culture blog:
>The Intermedial City : Practices, Technologies, Imaginaries
>La nouvelle sphère intermédiatique 10
>10th International Conference of the Centre de
>recherche sur lintermédialité (CRI)
>Montréal, October 9 11, 2008
>James Cisneros, Université de Montréal
>Nia Perivolaropoulou, University of Duisburg-Essen
>Will Straw, McGill University
>The city is an intermedial space, a palimpsest
>of historical traces, a meshwork of codes,
>encounters, and material media forms whose
>convergence and collisions produce distinct
>significations and senses of place. The question
>of urban mediality extends beyond a simple
>concern for how cities accommodate concrete
>media infrastructures or how distinct media
>produce and project images of the city. The
>Intermedial City conference will examine the
>ways in which media systems and interfaces help
>to produce the multiple dimensions of urban
>The issues to be explored might include the
>following: (a) how distinct media practices
>define the limits of the city as a cultural or
>political space; (b) how communications
>technologies nourish the sense of cities as
>spaces of circulation and dispersement; and (c)
>how the ongoing interaction of media within
>cities makes possible new imaginaries and new
>forms of subjective experience.
>We welcome papers exploring these and related
>issues with respect to any historical period or
>Official conference languages are English and
>French. Please send your proposal of 150 words
>and a brief bio to the address below by Monday,
>March 10th 2008.
>Coordonnatrice des activités publiques
>Tel. : (514) 343-7793
>Fax : (514) 343-2393
>Site Internet du CRI :
helen varley jamieson: creative catalyst
Some pictures of ADA's recent Tending Networks Symposium in
Christchurch up on Window Scene.
Also posts on Prada's latest foray into digital, Visualising traffic
in Madrid, an experimental videogame/screensaver starring deer, and
Online Curator, Window
Just a quick note to let you know about a special sound performance at
Window tomorrow night from 6 - 7pm.
Johnny Chang (http://johnnychchang.blogspot.com/) will be performing a
short selection of pieces from his London and Los Angeles compositions
in conjunction with a field recording work via radios by Sonya Lacey
The event kicks off a three-day stint for Johnny at Window, as he'll
be conducting less formal performances from 3 - 5pm on Wednesday and
Thursday, activating the space with a range of sounds, from delicate
amplified paper and dried vegetation to pure tones and field
We'd love to see you at the opener.
Tuesday, February 26, 6 - 7pm
Window, General Library Foyer, 5 Alfred Street, Auckland
Online Curator, Window
Kia Ora Katou,
i've been so busy, I haven't read any posts for a while,
but in case no one has already posted this.
Sonic Acts is on in Amsterdam, 22 - 24 feb.
this edition has the theme: The Cinematic Experience
general info is here:
the conference is streamed here (times are 12 hours later than NZ time)
in summary, sessions start at 10-ish, and finish at 5-ish on fri, sat, sunday
and it states that the conference proceedings are repeated (herhaling = repeat)
at 6 p.m. each day.
I'm watching most sessions online myself (and taking some notes),
so if anyone has any questions, you can email me.
hei konei ra / regards, Sonja
Sonja van Kerkhoff
> The Necks FREE workshop and solo performances.
> This Thursday the 28th of February Chris Abraham, Tony Buck, and Lloyd
> Swanton from Australian group, The Necks will host a workshop
> presented by
> vitamin s in association with alt music and the audio foundation.
> The workshop will begin at 7 p.m. at the silo theatre, - (lower
> Greys Ave -
> Auckland city(and yes, the Bar will be open)) - and following the
> Chris, Tony, and Lloyd will perform a number of solos.
> This is a great opportunity to get an insight into the process of
> improvisation and performance both as a collective and as individuals.
> The format for the vitamin s workshops offers all those who attend the
> chance not only benefit from the host's presentation, but also have
> chance to play, interact, discuss and get feedback drawing from their
> knowledge and experience. These workshops are very much a dialogue
> all those who attend.
> It is also for those who wish to observe without playing, a great
> opportunity to gain an insight into various ideas and approaches to
> performance and improvisation. All are welcome to attend, observe,
> This workshop/performance evening will be a precursor to the necks
> performance at the Winter Garden, Civic Theatre on Friday the 29th of
> If you require any more information regarding the workshop will the
> performances of the silo, please feel free to contact me on this e-
> address -
> For more information on The Necks and the events, see the following -
> THE AUDIO FOUNDATION IN COLLABORATION WITH VIT S PRESENT
> THE FIRST 2008 ALT.MUSIC EVENT
> THE NECKS
> FEB 29TH, 8 PM, $25.00
> THE CIVIC WINTERGARDEN
> Corner Queen and Wellesley Streets, Auckland
> Tickets through Ticketek
> Free workshop at The Silo, Feb 28th, 7pm
> "For those unfamiliar with The Necks. their approach is to take a
> idea, sometimes a seemingly inconsequential musical idea, with a
> short life
> expectancy, and develop it, slowly transform it, roll it around for
> approaching the hour mark, riveting your attention throughout"
> The Wire - David Stubbs
> Chris Abraham (piano), Tony Buck (drums), and Lloyd Swanton(bass)
> conjure a
> chemistry together that defies description in orthodox terms.
> These three musicians are among the most respected and in-demand in
> Australia, working in every field from pop to avant-garde. Over 200
> feature their presence individually or together, but the music of
> The Necks
> stands apart from everything else they have done.
> Featuring lengthy pieces which slowly unravel in the most intoxicating
> fashion, frequently underpinned by an insistent deep groove, The
> Necks stand
> up to listening time and time again.
> The deceptive simplicity of their music throws forth new charms on
> hearing. Not entirely avant-garde, nor minimalist, nor ambient, nor
> the music of The Necks is possibly unique in the world today.
> "Australia's the Necks defy conventions about making and listening
> to music.
> Each performance . is an hour of unbroken improvisation, each one
> to the last. So if you are a Necks fan, you cannot be sure you will
> your favourite Necks moment again. After 20 years, there are no
> hits", only what is next."
> The Guardian - John L Walters
> Organised by the Audio Foundation, Alt.music is an ongoing series
> of audio
> events, regularly bringing a vital injection of contemporary and
> sound art from around the world to New Zealand. Previous Alt.Music
> include Keith Fullerton Whitman, Peter Rehberg, Pauline Oliveros,
> Crack, Sachiko M, Francisco Lopez, Pierre Bastien, Oren Ambarchi,
> Richard Nunns and the Dead C.
> Vitamin-S was devised as a place where those interested in 'improvised
> music' could meet, perform, listen to and discuss, and generally
> with, all aspects of this complex and largely misunderstood art form
> The Audio Foundation and Alt.music is supported by Creative New
> Zealand, ASB
> Trust, THE EDGER and STAMP, and VIT S
> For more details contact Zoe Drayton
> 027 2068103
//The full symposium programme is now online at:
And if you can't make it along for the whole weekend, you can of course
attend in half-day chunks (morning or afternoon, either day) for:
$15 (waged) or $10 (unwaged and Physics Room members)
Attendance at the full symposium costs $50 (waged), $30 (unwaged and
Physics Room members)
/Tending Networks/ takes place February 23-24,
at the Design and Arts College of New Zealand,
116 Worcester St, Christchurch.
Registrations start 9:30 am Saturday.
For more information email: symposium(a)aotearoadigitalarts.org.nz
Full symposium entry includes entry to Séance for Nam June Paik:
A screening/performance event presenting new works to channel the
'father of video art',
curated by Daniel Agnihotri-Clark
Sat 23 Feb, 8pm, SOFA Gallery Basement, Christchurch Arts Centre.
Tending Networks is supported by The Physics Room Contemporary Art
Project Space, Design and Arts College of New Zealand, Creative New
Zealand, the Asia New Zealand Foundation, and the ADA Trust.
Position: Assistant of Associate Professor, Department of Film and Media
Institution: Hunter College of the City University of New York
Location: New York
Date posted: 1/21/2008
ASSISTANT OR ASSOCIATE PROFESSOR
DEPARTMENT OF FILM AND MEDIA
The Department of Film and Media Studies at Hunter College of the City
University of New York, which combines critical analysis with a range of
creative media practices, invites applications for an
Assistant/Associate professor of media studies with substantial research
and teaching knowledge of the media and their historical and
contemporary contexts. Courses will be taught in the undergraduate Media
Studies program and the graduate Integrated Media Arts (IMA) M.F.A.
program. A Ph.D. in media studies or related area required.
For a detailed job description, please visit:
To apply, please submit a letter of application, a current curriculum
vitae, a summary of teaching philosophy and a list of three references
to: Dr. James Roman, Chair, Department of Film and Media Studies, Hunter
College, 695 Park Avenue, New York, NY 10065.
I've just updated the programme for Tending Networks on the site:
Lots of great stuff as you can see, and a huge variety of people and
To register, or ask about registering, or anything else, email
We'll be live-blogging it over the weekend so those of you not able to
make it to chch can keep in touch.
Looking forward to seeing a whole lot of you there!