I would like to draw your attention to the Anti-Counterfeiting Trade
Agreement (ACTA) that is currently being negotiated by a number of
international countries - including New Zealand.
This is something that should be of concern to digital artists -
specifically those of the type that use appropriated/borrowed/found material
in their work, and those who use the internet (for whatever reason, ever!!)
To quickly summarise the history of ACTA thus far:
Although it's called "counterfeiting" it's actually about tracking
copyrighted material online, not just fake bank notes & Gucci bags.
Currently if the police want to search your house or tap your phone or
internet they'd need to present evidence to a judge, however with this
proposed treaty then any copyright holder would be able to bypass the court
and monitor your internet connection, your friends internet connections, and
your travels overseas - all in the name of "protecting artists work". As an
artist, I'm not quite convinced that the protection of
my work's copyright warrants this kind of activity.
There have been several months of negotiation between the governments of New
Zealand and other countries including USA, Switzerland, Japan, Australia,
South Korea, Canada, Mexico & the European Union on ACTA. This international
negotiation has been taking place without public consultation until some
(copyrighted?!) information was leaked to the internet.
This may sound like a conspiracy theory but as you'll see the details are
now public and available for anyone to understand. It's anti-piracy taken to
the level of privacy invasion.
...you can read more at http://www.bronwyn.co.nz
Those pushing for the Treaty to go through have said they would like to get
it resolved internationally by Christmas this year (2008!!) so there is some
urgency around the process - particularly with NZ having an election before
So, if you find issue with this I would recommend that you raise it with
your local candidates and make a reasoned argument about the dangers of
excessive IP legislation and enforcement as an artist or otherwise!
You can find more information here:
- Radio NZ podcast (with Lynn Freeman & Colin Jackson) - ACTA bit starts at
- Wikipedia.org: Anti-Counterfeiting Trade
- Wikileaks.org: Proposed US ACTA multi-lateral intellectual property trade
- med.govt.nz: Anti-Counterfeiting Trade
- it.gen.nz: Your rights on the internet at
- it.gen.nz: Submission on ACTA <http://it.gen.nz/submission-on-acta/>
- acta.lemming-brothers.com: Completed
...and by googling "Anti-Counterfeiting Trade Agreement"
I agree with Luke, that
> > it's less about having a website (free hosting
> and content management via Blogger or Google Pages gets you a site in
> literally 5 minutes), and more about allowing it to be found.
so something like a portal, which can dump out-of-date stuff or have an automatic check on the links, and can enable artists to update their own entries.
Perhaps with a very broad tagging system, perhaps one artists can add to, because like in any world, professionals and those in particular fields tend to label their work differently to amateurs and that way the portal could function more effectively for various clients without being exclusive. If artists could add their own tags, perhaps even create categories, it would also mean that the portal could be bi-lingual or multi-lingual. a bit like a wiki for NZ artists perhaps?
The same portal could have info on what artists could do to get their own website / presence, although it might make more sense to link to something like the floss manuals, which already explains stuff like that and is likely to be kept up-to-date.
There are various Dutch state-sponsored artist websites. I'm on one run by the province, but it is a waste because the level of the work on the website is very traditional and tends towards the amateur. The set-up of this website has too few tagging + category options to be useful in my view.
> it's my experience that people overestimate the value of google page
> ranking while underestimating social networks, blogs, mailing lists,
> email and word-of-mouth.
> if the work's appreciated by people, the rest will follow.
thats also my experience on both points.
I am currently based in the US and sure there is money here (pop now
340 Million) but at present the state of this nation is living with
the fear of economic decline. No one is spending and of least concern
is supporting the 'undiscovered' artist.
Web access and web hosting is affordable with or without funds.
Government initiatives supporting art is not something artists should
rely on. Certainly it is helpful when art is supported by government
programs but arts funding today is driven by fashion and political
conscience. What is 'hot' today is 'cold' tomorrow!
>From a personal experience functioning as an 'artist' is one of the
more difficult professions to seek financial sustainability. The
continual drive to keep going while remaining financially poor in the
process should not deter you.
As Adam correctly stated art today is built on creative exchanges and
a passion to experiment, not government funding!
If you need a website build one!
> Message: 1
> Date: Sun, 21 Sep 2008 22:33:07 +0200
> From: adam hyde <adam(a)flossmanuals.net>
> Subject: Re: [Ada_list] web hosting
> To: Damian Stewart <damian(a)frey.co.nz>
> Cc: Aotearoa Digital Arts <ada_list(a)list.waikato.ac.nz>
> Message-ID: <1222029187.6416.116.camel@esetera>
> Content-Type: text/plain
> On Sun, 2008-09-21 at 21:21 +0200, Damian Stewart wrote:
>> hey ada,
> hi...ada-m replying ;)
>> i was talking yesterday to a semi-famous Austrian net/code artist, about
>> New Zealand artists. i realised a know a lot of artists (in the traditional
>> sense - painting and sculpture and whatnot) but that their work is
>> practically invisible to the rest of the world because most of them don't
>> have any kind of web presence.
>> she was saying that there are a lot of people with money (eg in the US) who
>> would love to have access to a pool of talented artists who are currently
>> undiscovered - and why on earth don't these people have websites? we went
>> on to talk about Austria and the Netherlands - the Austrian scene eg
>> Farmersmanual got a real head-start because of government-sponsored web
> no...fm got a 'headstart' because they were genuine innovators and
> started before anyone else - and much of this was, in the beginning, on
> offline media.... They did have net access from silver server but it was
> shakey...I went to their studios in about 1998 and they had isdn
> connections in their hallway that served the building and nearby
> buildings - this was the innovation that silver server brought to vienna
> and its a shame that it didnt pick up in other cities but as i remember
> it, it was a commercial initiative and essentially a hack to get around
> the fact that there was no infrastructure in the city...silver server
> *might* have been supported by the city i cant be sure - but it was the
> underlying attitude of fm and their out and out talent that made fm
> amazing, not the network (remember that they released vinyl and cd etc
> as their preferred medium at the time)
>> - in particular Farmersmanual were offered the use of streaming
>> video technology virtually for free, at a time when this was incredibly
>> expensive; the Dutch used to lead net-art because of the government
>> sponsored XS4ALL service.
> hmmm...not really...XS4ALL was not government sponsored. I worked there
> from 1999, it was never government sponsored. it was a culture full of
> hackers that didnt know how to manage money and threw cash at anything
> that they thought was a good idea. however they didnt necessarily throw
> that at net art, they threw it at hacker culture. net.art in .nl, in my
> opinion, got a start for many factors, part of this was that the squat
> culture and xs4all, and de waag, dds, de balie were all part of a very
> small scene...they all new each other, essentially through the squats
> and many coming from the very active free radio culture that
> existed...amsterdam at this time was something of a free media utopia
> and that created an atmosphere and sub culture of media innovation...it
> was just a natural hot spot and nothing to do with government
> sponsorship, it was a historical legacy that stemmed mainly from illegal
> but tolerated media experimentation (radio)...when the net came along
> they jumped on it and exploited it as a natural extrapolation of that
> experimentation...however the net wasnt freely provided by government
> sponsorship...it was supplied in part by their crazy hackers mailing
> floppy disks with dial up software to their mates, and by any other
> means available
>> would a similar thing for NZ artists help gaining international
>> recognition? in an election year, do you think we could convince some party
>> to offer sponsorship of artists websites - covering at least hosting (which
>> would be very, very cheap to implement) and at best web site development
>> for those without web-knowledgeable friends...?
> the only thing that will get nz artists recognition is themselves.
> government sponsorship will not help, infact if u get a government to
> sponsor your site you must either be doing something wrong or you gotta
> vote for the other guy cause their judgement is off the rails ;) ..its
> not external money etc that gets people known, it is demonstrated
> innovation and sometimes that is _inspite of_ the lack of resources
> i'm not advocating that 'artists need to be poor to make good art'. but
> i am emphasising that a reliance on gov. funding is not the essential
> ingredient to making good art or getting recognised...it has more to do
> with the creative exchange of ideas and the passion to experiment
> Adam Hyde
> Founder FLOSS Manuals
this is an open call for sound works for an outdoor surround sound
environment at the canaan 2008 music festival.
the canaan music festival is a yearly event running from 31st december
to 3 jan. It is in its 3rd year
The festival is in its 3rd year and is an eclectic mix of alt.rock and
electronic dance music that is family friendly.
whilst there have been an "ambient" zone in the past the current
curator wishes to encourage
the space as a place for presentation of sonic art and experimental
sound with an emphasis on multi -point systems
( with a nod to the ambient roots of the past curators)
For the festival a 6-point discrete sound system will be used for
playback of works.
Artists are invited to submit works in stereo,quad, or 6-point
configurations ( please note there is no .1 LFE speaker with subs
being handled by front L and R) ....... preference will be given to 4
and 6 channel works.
Works can be of any duration to a maximum of 30 minutes.
Submissions will be guaranteed playback on a first come first served
basis until the total allocated playing time is full.
(the only curatorial control will be on those pieces deemed unsuitable
total time available is 36hours. so go for it
A notice board will signify whose work is playing at any particular
submissions are due 21st november 2008.
This is not a "premiere" event and we will accept projects that have
been played before, so please consider submitting older works you have
in your catalogs. There is no curatorial theme.
2-6 channel discrete audio files **
or a "plug and play" max patch **
or a "plug and play" PD patch**
there is no fee payable unfortunately.
**for further information, submission details, and additional
technical requirements please contact:
hi to all on the ADA network, this just forwarded from Arts Electric,
New York. For anyone interested, along with a Joan La Barbara
interview and a report on the upcoming Ear to Earth festival. the final
of my three 'India Sound Travels' dispatches is up now on the AE site
Arts Electric sends out listings of Electronic Arts events worldwide,
and is open to any contributors who sign up as members. A valuable
support network that would benefit from more input from this region.
Check it out. I can recommend it..
> From: Suzanne Thorpe <suzannethorpe(a)mac.com>
> Date: 20 September 2008 6:54:51 PM
> To: nyc(a)emfmail.org
> Subject: ARTS ELECTRIC
> New York City and the World
> NOW AT ARTS ELECTRIC:
> Sound Travels: Phil Dadson in India #3
> Joan La Barbara: An American Rendition
> Ear to the Earth: New York Soundscape
> FEATURED EVENTS:
> Jane Comfort and Company: An American Rendition
> Music by Joan La Barbara
> Wednesday, September 24-Sunday, September 28, various times
> The Duke on 42nd Street, 229 West 42nd (between Broadway & 8th)
> EMF: Alvin Curran's Inner Cities
> An extraordinary cycle of piano music performed by Kathleen Supové and
> Eve Egoyan
> Sunday, September 28, 2 - 8
> Judson Church, 55 Washington Square South
> UPCOMING EVENTS IN NEW YORK CITY:
> Calling: An Opera of Forgiveness
> Music by Douglas Geers
> Through September 28, Thursdays-Saturdays, 8pm, Sundays, 2:30 and 8pm
> La MaMa E.T.C., 74A E. 4th Street, First Floor
> Okkyung Lee + Special Guests: ROULETTE BENEFIT CONCERT
> Saturday, September 20, 8:30pm
> Roulette, 20 Greene Street
> Wordless Music Presents: Michael Riesman/The Film Music of Philip
> Glass with Andrew Shapiro and Face the Music and recent artwork by
> Chuck Close
> Tuesday & Wednesday, September 23-24, 6:30 & 9:30pm
> Le Poisson Rouge, 158 Bleecker Street
> Darmstadt "Classics of the Avant Garde" presents
> Ray Sweeten, composer and video artist
> Wednesday, September 24, 8pm
> Galapagos Art Space, 16 Main Street, Brooklyn
> Newfilmmakers presents Elise Kermani's "Jocasta"
> Wednesday, September 24, 9pm
> Anthology Film Archives, 32 2nd Avenue
> Val-Inc, Afro-Electronica
> Thursday, September 25, 8:30pm
> Roulette, 20 Greene Street
> Wordless Music: Deaf Center Library Tapes
> ACME: music for string quartet by Philip Glass and Ingram Marshall
> Friday, September 26, 7pm
> Le Poisson Rouge, 158 Bleecker Street
> Masterclass Karlheinz Essl at Instrumenta Contemporánea
> September 25 - October 1
> Oaxaca (Mexico)
> AROUND AND ABOUT:
> Bob Gluck Trio: Music of Mwandishi
> Sunday, September 21, 3pm
> The Sage Colleges, Opalka Gallery, 140 New Scotland Avenue, Albany NY
> (518) 292-1762
> iEAR! presents: Video Installation: David Rokeby, Machine for Taking
> Wednesday, September 24 Friday, October 17, 10-4:30
> Wednesday, September 24, 5-7pm (Opening Reception)
> West Hall Gallery, Room 111, Rensselaer Polytechnic Institute, Troy NY
> NORTH AMERICA:
> Concert with Pauline Oliveros, Ian Power, Jesse Olsen & Tom Djll
> Music for People and Thingamajigs Festival
> Friday, September 19, 8pm
> 21 Grand Gallery and Performance Space, 416 25th St at Broadway,
> Oakland CA
> (510) 444-1322
> Lori Freedman & Guests
> Wednesday, September 24, 9pm
> Mercredimusics, Casa Obscura, 4381 Papineau, Montréal
> Lori Freedman
> Friday, September 26, 9pm
> L'envers, 185 Van Horne, Montréal
> Sonic Resolution presents: Anatta
> Works by Amy Knoles, Bob Bellerue, Michael Sakamoto, Waewdao Sirisook
> Friday, September 26, Saturday, September 27, 8:30pm
> Highways Performance Space, 1655 18th Street, Santa Monica
> THROUGHOUT THE WORLD:
> New Zealand
> Phil Dadson: BODYTOK
> Through September 27, Monday-Saturday, 11am-6pm
> Starkwhite, 510 Karangahape Road, Auckland
> +64 9 3070703
> Bosch & Simons
> VISION IN MOTION - MOTION IN VISION
> Through November 16
> Verbeke Foundation, Westakker, 9190 KEMZEKE (Stekene)
> +32 (0)3/789.22.07
> Karlheinz Essl's Lexikon-Sonate
> interactive realtime composition for computer-controlled piano
> Saturday , September 20 - Saturday, September 27
> Belém Arts Centre, Lisbon
> JOIN US!
> Many opportunities to contribute and to participate
> To remove or add your name to EMF's email lists, visit
> For information on listings events
> Arts Electric is a registered trademark of Electronic Music
> Foundation, Ltd.
> Arts Electric
> Electronic Music Foundation
> PO Box 8748
> Albany NY 12208
> 518.434.4110 Voice
> 518.434.0308 Fax
anyone in London next week?:
P O L A R R A D I O
A talk & performance by r a d i o q u a l i a
1900, 25 September
Date: Thursday 25 September
Format: Talk / Live music
Address: The People Speak HQ, 17-25 Cremer St, London, E2 8HD
A talk and sound performance presenting Polar Radio - Antarctica's first
artist-run FM radio station.
ABOUT POLAR RADIO
In 2007, Adam Hyde from r a d i o q u a l i a voyaged to Antarctica to
help establish the first phase of Polar Radio - a research project which
tests the feasibility of establishing community radio stations in the
two Polar Regions - Antarctica and the Arctic Circle.
He was part of the first Interpolar Transnational Art Science Consortium
(I-TASC) reconnaissance expedition to Antarctica, and was a guest of the
South African Antarctic Programme, based in the Dronning Maud Land
sector of Antarctica, at the base, SANAE IV. (72ƒ 03' S 02ƒ 47' W)
Adam and the I-tASC crew created a mid-range FM radio station. This
involved installing and configuring FM transmitters and receivers,
designing and erecting antennae in the Antarctic ice. The first
prototype radio station began FM broadcasts on 29 December 2006.
The broadcasts consisted of radio art developed by r a d i o q u a l i a
and hundreds of hours of creative audio, including music, radio art,
sound art, documentaries, podcasts produced by musicians, documentary
makers, podcasters and DJs from around the world, collected via a public
call for content.
Researchers and scientists at SANAE IV were trained in the skills
necessary to make radio shows for their station, and now run the station
themselves, using audio provided by people from around the world. They
call their Polar Radio station, "Radio SANAE",
This informal event will consist of a presentation about Polar Radio and
a discussion about working in Antarctica, followed by a sound
performance by r a d i o q u a l i a.
The talk will give an overview of the establishment of Radio SANAE, the
first node of Polar Radio, in Antarctica, and will cover such salient
* the role of radio in Antarctica * how to build your own antenna from
found objects * what the net looks like over a 1k connection shared
between 70 scientists
* can artists really teach scientists anything?
* common symptoms of contextual hyper neurosis
The sound performance will be comprised of elemental field recordings
made in Antarctica and VLF radio recordings made of the Antarctic
Drinks will be provided.
The event and the research phase of Polar Radio is supported by Arts
ABOUT THE ARTISTS
r a d i o q u a l i a is an artist collective formed by Adam Hyde and
Honor Harger, which creates radio and sound art. Their work has been
exhibited at the ICC in Tokyo, New Museum of Contemporary Art in New
York; Gallery 9, Walker Art Center in USA; Sonar in Barcelona; Ars
Electronica in Austria; Artspace in New Zealand, among other places. r a
d i o q u a l i a projects include Radio Astronomy
<http://www.radio-astronomy.net> (2004 - now), The Frequency Clock (1998
- 2003) and Free Radio Linux (2002 - 2004).
In addition to r a d i o q u a l i a, Adam Hyde manages FLOSS Manuals
<http://www.flossmanauls.net/>. He has been involved in free technology
and art for 10 years, mainly within the broadcast realm but lately
Adam's work is centered in community building and publishing. Recent
artistic projects include the Geekosystem - recycling technojunk into
art <http://www.geekosystem.org>, Kumara - free media email blogging
<http://www.xs4all.nl/~adam>, and the Paper Cup Telephone Network
<http://www.papercuptelephone.org>. Recent non-art projects include
managing the production of the OLPC and Sugar manuals
Honor Harger also works as a curator and organiser. From November 2004
- July 2008, she was director of the AV Festival
<http://www.avfestival.co.uk> in Newcastle, Gateshead, Sunderland and
Middlesbrough in the UK. In 2008, she curated the third edition of the
festival on the topic of broadcasting. She is also a PhD researcher at
Z-Node a facility ran by the Faculty of Technology, University of
Plymouth, and the Zürich University of the Arts, (ZHDK) in Switzerland.
Her research aims to combine traditional and practice based research
methods to create a sonic understanding of astronomical space, placing
emphasis on the way that radio can be used to make space audible.
I-TASC (Interpolar Transnational Art Science Constellation) is an
official project of the International Polar Year 2007-2008. I-TASC is a
decentralized network of individuals and organisations working
collaboratively in the fields of art, engineering, science and
technology on interdisciplinary development and tactical deployment of
renewable energy, waste recycling systems, sustainable architecture and
open-format, open-source media. I-TASC is a lichen-like structure
sharing and integrating local knowledge, resources and skills across six
continents in order to symbiotically engage with common issues
concerning the air, ocean, earth and space.
I-TASC website: http://www.i-tasc.org/
SANAP website: http://www.sanap.org.za/
Map showing Antarctic bases, including SANAE where the I-TASC crew
visited in 2007.:
For data on Polar Radio, contact: r a d i o q u a l i a
Email: adam(a)flossmanuals.net or honor(a)va.com.au
For data on I-TASC, contact: Thomas Mulcaire or Marko Peljhan
Email: tm(a)interpolar.org or mx(a)interpolar.org
r a d i o q u a l i a would like to thank Arts Council England, SANAP,
I-TASC, The People Speak and MediaShed.
-- . . . . . . . . . . . . . . . . . . . . . . . . .
Founder FLOSS Manuals
For Immediate Release
Parkfield Interventional EQ Fieldwork (PIEQF)
The Parkfield Interventional EQ Fieldwork is a geologically
interactive, kinetic earthwork that has been installed in the remote
township of Parkfield, Central California, USA.
This large scale and time based earthwork is located 218 miles south
of San Francisco and 196 miles north of Los Angeles.
PIEQF is a seismic art interface between real-time reported
Californian earthquakes and a hydraulically actuated earthquake shake
table installed in a 75ft long x 30ft wide excavated trench.
Each time an earthquake occurs, an array of 5/8 inch steel rods
attached to an earthquake shake table oscillates and resonates,
reflecting the dynamic nature of the Californian landscape.
PIEQF is a geological performance blip resulting in a feedback loop
between the seismicity of California and a physical and mechanical
representation of all Californian seismic events that occur until the
16th November 2008.
Follow D.V.Rogers and PIEQF at http://twitter.com/dvrogers
View Christina McPhee's Video Documents of PIEQF at:
AUDIO FOUNDATION PRESENTS AN ALTMUSIC EVENT
WITH PETER WRIGHT
Friday Oct 10th, 9 pm
The Whammy Bar, St Kevins Arcade, K Rd
Free Wire Workshop with Alastair Galbraith
6pm @ Gus Fisher Lobby.
The Kenneth Myers Centre
74 Shortland St
Alastair Galbraith is an experimental musician based in Dunedin and
is one of the most admired musicians in the 'underground' music scene
Recipient of the 2006 Arts Foundation Laureate, he employs amongst
his instruments, violin, bagpipes, softly spoken lyrics, organ, and
backwards-guitar to create what has been described as "otherworldly"
and an "unerringly emotional" sound. Noted American critic Byron
Coley has said "his work is filled with beautiful darkness, worthy of
His long, consistent career began in the early 1980s, as leader of
The Rip, who recorded two EPs for Flying Nun. He later joined other
prominent South Island musicians Peter Jefferies, David Mitchell and
Robbie Muir to form Plagal Grind, whose self-titled EP is regarded as
a masterpiece of extra-academic experimental music.
Alastair’s solo work has gained a growing international reputation
and is known as a benchmark of excellence for the independent,
idiosyncratic mode it operates in. His works have been heralded in
critical journals and documented by recordings on prestigious
American labels. In his recent work, alongside solo recordings,
Alastair collaborates with Bruce Russell in the improvisational
group, A Handful of Dust, and with Matt De Gennaro, with whom he
creates distinctive 'wire music', using piano wires in a site-
specific installation. This will be demonstrated in a workshop before
In 2006 the prestigious North American label, Table of the
Elements, archivers of such twentieth century musical geniuses as
Charlie Patton and Tony Conrad, gave Alastair's solo work the status
of contemporary classics by reissuing his albums Morse/Gaudylight and
Talisman. Alastair’s album of song-based material, the 20-track Orb,
was released on his own label Nextbestway, via Global Routes, early
in 2008 and received a glowing full-page review in the February
edition of icon UK magazine The Wire.
Later in 2008 the New York Label Azul Discographica will release his
latest collaboration with Bruce Russell – (under the moniker Handful
of Dust) – the album Panegyrics.
Alastair is presently constructing a glass ’armonica’, an instrument
invented in 1761 by Benjamin Franklin. He is sourcing his materials
locally and has already given several performances on the not quite
complete instrument. He is also designing his second “glass tube
fire organ”. The first is in the collection of the Sarjeant Gallery,
Over the course of a decade, Wright has etched his name in glass in
the annals of drone-world superstardom. Alongside Phil Nilblock,
Robert Horton, and Tom Carter, Peter Wright is on top of the drone
music world, both in the sheer amount of astounding music he creates,
but also the effortlessly way he makes sounds that are completely
indecipherable but strangely familiar.
Words like 'atonal' and 'avant-garde' come to mind when contemplating
Wright's sound but such terms are misleading when his music remains
so accessible despite its experimental character.
Wright first started playing music semi-seriously in Christchurch
during 1990, recording un-tutored noise-pop on a four track.
Following several song-based solo projects Wright's music started to
take a more abstract hue around 1996, finally culminating in a more
refined guitar-based drone sound that he has worked with almost
continuously since the late 90s.
After several self released CDrs on his Apoplexy label, Wright moved
to the UK and had his first 'proper' CD release in 2003 on US label
Last Visible Dog, followed by a string of CDs issued on various US
and European imprints.
Organised by the Audio Foundation, Altmusic is an ongoing series of
audio events, regularly bringing a vital injection of contemporary
and avant-garde sound art from around the world to New Zealand.
Previous Altmusic artists include The Necks, Daniel Menche, Keith
Fullerton Whitman, Pauline Oliveros, Voice Crack, Francisco Lopez,
Philip Jeck, Oren Ambarchi, Metamkine and the Dead C.
The Audio Foundation and Altmusic is supported by Creative New
Zealand, National Institute of Creative Industries, Gus Fisher
Gallery and ASB Trust
For Immediate Release
16 September 2008
Our Space: Our Future Dialogues surrounding the artistic and political
uses of public space are vital for creating a healthy cultural
environment. The Australian Network for Art and Technology (ANAT) are
committed to this growth, having recently produced the Graffiti
Research Lab masterclass in conjunction with Carclew Youth Arts and the
Adelaide Bank Festival of Arts and its associated Filter Magazine UR
Space, which discusses artists' interventions in public spaces. In 2007
ANAT presented still/open emerging technology lab, which travelled
across Australia in pursuit of open access to knowledge and developing
resources for collaboration and distributed development.
Two upcoming Australian events Electrofringe and Making Links will
present two very different perspectives on our space and our future.
Electrofringe 2008, a festival of electronic arts and culture, has a
partial focus on the future beyond 2020 with international discussion
on "possible futures for community building" (the pros, cons, good,
bad, ugly - things that will both help and hinder) incorporating points
from web 2.0 and social networking through to new ways of grass roots
development given our very connected and still disjointed lives between
The festival's eleventh year will be held over five days from 2nd - 6th
of October 2008. The program presents workshops, panel discussions,
masterclasses, presentations, exhibitions and screenings. ANAT's
embracing sound program manager Sarah Last will be presenting on the
panel, Together for the Foreseeable Future with fellow guests
Alessandro Ludovico (Bari, Italy), Xtine Burrough (Los Angeles, USA),
John Jacobs (Sydney) and Somaya Langley (Sydney/Berlin, Germany) on
Friday 3rd October, 10:00am - 11:30am. http://www.electrofringe.net/.
The Making Links conference is the leading forum for the non-profit
sector to showcase work and to explore current and emerging new media
and information and communications technology (ICT).
The 5th Making Links conference will be held at Melbourne University
from the 11-13th of November 2008. Register before Monday 22nd
September for the early bird discount. ANAT's Filter Magazine #65, This
is not Open Source will be appearing in all conference packs! To
register for the conference visit to http://www.makinglinks.org.au, or
contact Finn O'Keefe at fokeefe(a)afao.org.au.
ANAT encourages you to attend the above events and if in financial need
there is still time for you to apply for our quick response
Professional Development Travel Grant (PDTG). Applications close 30
September 2008 for funding to be used from 21 October to 31 January
2008. For more information please visit www.anat.org.au or contact
Warren Veljanovski at anat(a)anat.org.au or 08 8231 9037.
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.