June 2009 - Ada_list - University of Waikato Mail Lists

by adam hyde

i saw most of the event from amsterdam..they were very happy with it on this side...eric was pretty smiley :) adam -- Adam Hyde Founder FLOSS Manuals German mobile : + 49 15 2230 54563 Email : adam(a)flossmanuals.net irc: irc.freenode.net #flossmanuals "Free manuals for free software" http://www.flossmanuals.net/about

11 years, 6 months

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ADA Symposium Keynote Conversation: Digital Matters - Second Life and live stream details

by Zita Joyce

Hi ADA Here are the location details for following and participating in Digital Matters: the ADA Symposium networked keynote conversation between Su Ballard (ADA), Matthew Fuller (London), and Eric Kluitenberg (Amsterdam) Please join us if you can Second Life Venue: - Outside Wellington Railway Station. At Koru educational sim (owned by NMIT in Nelson, NZ) http://slurl.com/secondlife/Koru/111/22/33 [The Wellington Railway Station 3D build is part of the art installation: "In the Company of Strangers" by Mike Baker (aka Rollo Kohime in SL) Regular live stream can be picked up here: www.debalie.nl/live Multiple options so please refer to this page. The direct link to the live-stream is: rtsp://darwin02.engagetv.com/debalie.sdp

11 years, 7 months

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ADA Symposium registration details

by Zita Joyce

Digital-Critical-Matter, the 6th ADA Symposium, is happening this weekend at the Victoria University School of Design, 139 Vivian Street, Wellington On Saturday registration will begin at 9am before the main symposium, in the Atrium of the VUW School of Design. On Friday registration will be open for half an hour before each workshop session - 9:30-10am, and 1:30-2pm The full programme and details of specific sessions are all on the website (http://symposium09.aotearoadigitalarts.org.nz/), and this will be updated again before the symposium begins. Before Saturday night we'll also announce the details for participating in the remote networked keynote. The symposium will also be blogged, twittered, and all that, and we'll post details of those locations etc on the website tomorrow Looking forward to seeing many of you here in wellington in the next few days. Zita

11 years, 7 months

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S U P E R H U M A N Masterclass call for Applications

by ANAT Communications

Super Human: Revolution of the Species 5 November - 5 December 2009, Melbourne Curating Masterclass 25 - 26 November 2009 Call for Applications - Deadline 31 July 2009. Inspired by the 150th publication anniversary of The Origin of Species, Darwin's evolutionary treatise, Super Human: Revolution of the Species turns the spotlight on collaborations between artists and scientists and the impact these investigations have on what it means to be human, now and into the future. This unsurpassed opportunity to engage with the world's leading curators bringing emerging artforms to broad-based audiences is now calling for applications. The masterclass - a two-day intensive workshop limited to 40 participants - provides the essential skills and knowledge necessary for curators and writers to introduce audiences to these exciting new practices. Presenters include: Christiane Paul, Whitney, USA; Jens Hauser Independent Curator, Paris; Sarah Cook, Curatorial Fellow, Eyebeam, USA and Co-founder CRUMB, UK; Erich Berger, Independent Curator (ex Laboral, Spain & Ars Electronica, Austria); Amanda McDonald Crowley, Eyebeam, USA; Doug Kahn, Sound Theorist, USA; Angela Main, Artist, NZ; and, from Australia: Oron Catts, Kathy Cleland, Tina Gonsalves, George Poonkhin Khut, Kim Machan, Lizzie Muller, Helen Stuckey and Paul Thomas. For further information and to apply, please visit http://superhuman.org.au/ Applicants will be notified by 31 August 2009 if their application has been successful. Late applications will only be considered in the event of spaces still being available and on a case-by-case basis. Presented by ANAT in association with the Australian Centre for Moving Image (ACMI). **Please forward on to relevant networks. ___________________________________________________________________ ANAT <www.anat.org.au> is assisted by the Australian Government through the Australia Council <http://www.australiacouncil.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 with 'Unsubscribe' in the subject line.

11 years, 7 months

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S U P E R H U M A N Masterclass call for Applications

by ANAT Communications

Super Human: Revolution of the Species 5 November - 5 December 2009, Melbourne Curating Masterclass 25 - 26 November 2009 Call for Applications - Deadline 31 July 2009. Inspired by the 150th publication anniversary of The Origin of Species, Darwin's evolutionary treatise, Super Human: Revolution of the Species turns the spotlight on collaborations between artists and scientists and the impact these investigations have on what it means to be human, now and into the future. This unsurpassed opportunity to engage with the world's leading curators bringing emerging artforms to broad-based audiences is now calling for applications. The masterclass - a two-day intensive workshop limited to 40 participants - provides the essential skills and knowledge necessary for curators and writers to introduce audiences to these exciting new practices. Presenters include: Christiane Paul, Whitney, USA; Jens Hauser Independent Curator, Paris; Sarah Cook, Curatorial Fellow, Eyebeam, USA and Co-founder CRUMB, UK; Erich Berger, Independent Curator (ex Laboral, Spain & Ars Electronica, Austria); Amanda McDonald Crowley, Eyebeam, USA; Doug Kahn, Sound Theorist, USA; Angela Main, Artist, NZ; and, from Australia: Oron Catts, Kathy Cleland, Tina Gonsalves, George Poonkhin Khut, Kim Machan, Lizzie Muller, Helen Stuckey and Paul Thomas. For further information and to apply, please visit http://superhuman.org.au/ Applicants will be notified by 31 August 2009 if their application has been successful. Late applications will only be considered in the event of spaces still being available and on a case-by-case basis. Presented by ANAT in association with the Australian Centre for Moving Image (ACMI). **Please forward on to relevant networks. ___________________________________________________________________ ANAT <www.anat.org.au> is assisted by the Australian Government through the Australia Council <http://www.australiacouncil.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 with 'Unsubscribe' in the subject line.

11 years, 7 months

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LEF at ADA

by Ian Clothier

Hi, One of the discussion points at the ADA LEF is the role of Institutions/Organisational Capacities and Benchmarks. This intersects an international discussion under the topic 'New Criteria for New Media'. To assist framing the Friday workshop, below is a thread of the discussion. FORWARDED MESSAGE: Date: Thu, 9 Apr 2009 13:09:40 -0400 From: Jon Ippolito <jippolito(a)MAINE.EDU> Subject: New criteria for new media academics To: NEW-MEDIA-CURATING(a)JISCMAIL.AC.UK _SUMMARY_ I know some folks on this list have already requested these guidelines privately, but now that Leonardo has published them you can refer your peer committee to their Winter 2009 issue. Kudos to Roger Malina and co. for nudging academia into the 21st century! Leonardo publishes "New Criteria for New Media" Academia's goal may be the free exchange of ideas, but up to now many universities have been wary--if not downright dismissive--of their professors using the Internet and other digital media to supercharge that exchange, especially in the arts and humanities. Peer review committees are supposed to assess a researcher's standing in the field, but to date most have ignored reputations established by blogging, publishing DVDs, or contributing to email lists. In a signal that some universities are warming to digital scholarship, however, the winter 2009 issue of MIT's Leonardo magazine--itself a traditional peer review journal, though known for experimenting with networked media--has published a feature on the changing criteria for excellence in the Internet age. To make its point as concretely as possible, the feature includes the recently approved promotion and tenure guidelines of the University of Maine's New Media Department, together with an argument for expanding recognition entitled "New Criteria for New Media." Rather than throw time-honored benchmarks for excellence out the window, "New Criteria for New Media" tries to extend them into the 21st century. To supplement the "closed" peer review process familiar from traditional journals, U-Me's criteria recognize the value of the "open peer review" employed in recognition metrics such as ThoughtMesh and The Pool. As the name suggests, open peer review allows contributions from any community member rather than a group of experts, and all reviews are public; when combined with an appropriate recognition metric, the result is much faster evaluations than possible via the customary approach. "New Criteria for New Media" also urges academic reviews to reward collaboration in new media research; valuable roles include conceptual architect, designer, engineer, or even matchmaker (e.g., introducing two other researchers whose collaboration results in a publication). Because the University of Maine hopes other institutions will adopt these criteria and adapt them to their own needs, it is releasing them under a Creative Commons (CC-by) license. (Due to a misprint by MIT Press, the Leonardo article highlights the authors' copyrights rather than the CC license; it's surprisingly hard to give things away in a print economy!) The new criteria have already been sought after by individual tenure candidates and cited in the Chronicle of Higher Education. You can find them in Leonardo's winter 2009 issue (vol. 42 no. 1) or online at these links: "New Criteria for New Media" (white paper) http://newmedia.umaine.edu/interarchive/new_criteria_for_new_media.html "Promotion and Tenure Guidelines" (sample redefined criteria) http://newmedia.umaine.edu/interarchive/promotion_tenure_redefinitions.html For more information, please email me or the Still Water lab at the University of Maine http://newmedia.umaine.edu/stillwater/ COMMENTS: Date: Fri, 10 Apr 2009 From: Simon Biggs <s.biggs(a)ECA.AC.UK> Subject: New criteria for new media academics The peer reviewers are, to some extent, right. In the UK the assessment of staff research performance is ultimately achivied through the research assessment exercise (every several years), which is not run by the institution but by the Higher Education Funding Council, the QANGO responsible for the entire university sector in the UK. Staff teaching performance is assessed similarly, although at more regular intervals. Institutions do of course have their own internal monitoring and evaluation schema, but in a context where external oversight is so strong these internal systems are light touch. HEFCEs evaluations underpin how institutions perceive their staff, effecting promotion and job security (there is no automatic promotion here, nor tenure). Where the US system is decentralised and devolved the UKs is highly centralised. Given that all but one university in the UK are public institutions (the University of Buckingham is the only private university in the UK licensed to accredit its own degrees) this level of centralisation is not surprising. Expenditure of public money gained through the tax system has to be assured publicly. However, there are elements of the U-Maine guidelines that we in the UK can learn from. In particular, we could benefit from a broader definition of what constitutes research and what constitutes a valid research output. That said, my impression is that UK already uses a broader definition of these things, with the RAE assessing creative practice as research and HEFCE having a funding council in part dedicated to supporting practice-led research. We also have well developed doctoral study programmes in the creative arts. This broad undertsanding of what can be research has been reflected in what the RAE can consider a research output (an exhibition, for example, or an artefact). However, proposed changes to this process would seem to be moving in the other direction, with a renewed emphasis on more traditional measures of research quality (so-called metrics), where journals will be ranked according to importance and research council funding given more prominence in measuring success. This approach will function to penalise research that is disseminated outside more narrowly defined and recognised platforms. We will see where we are in 2013, when the next assessment exercise will be but I think in retrospect we will regard, with nostalgia, the period of 1996-2008 as a golden age for creative arts funding in UK higher education. I hope I am wrong... Regards Simon Simon Biggs Research Professor edinburgh college of art s.biggs(a)eca.ac.uk www.eca.ac.uk www.eca.ac.uk/circle/ <http://www.eca.ac.uk/circle/> From: roger malina <rmalina(a)ALUM.MIT.EDU> Date: Fri, 10 Apr 2009 13:22:47 +0200 Subject: New criteria for new media academics Jon I have to mention that as you know your article was peer reviewed before publication= and received several negative peer reviews which I over ruled !!! One of the concerns raised by one peer reviewer was that the U Maine Approach was very specific to a US american university and that they were maybe inapplicable in non usa educational systems. Roger END FWD Best Ian M Clothier Faculty of Art, Commerce and Technology Western Institute of Technology at Taranaki www.witt.ac.nz 0064 6 757 3100 x 8895 intercreate.org ianclothier.com This communication - including any attachments - may contain legally privileged information, and is confidential to the addressee. If you are not the intended recipient you should delete the communication and contact the sender immediately. If you have received this e-mail in error, you must not read, copy, disseminate, distribute or otherwise use or disclose any part of this communication, or any information on matters or persons to which it refers. WITT reserves the right to monitor all e-mail communications sent through its network.

11 years, 7 months

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Last call for Arduino workshop

by Zita Joyce

Hi ADA Today (wednesday) is your very last chance to let us know if you would like to attend the Arduino workshop We're putting in an order for some kits that fit the specs Phil will be working with, so if you would like to order one you will need to let me know by midday today (wednesday). It will be $82, for an arduino and a slection of cables, LEDs, resistors, buttons, and a breadboard. email symposium(a)aotearoadigitalarts.org.nz thanks ----------------------------- Workshop at ADA digital-critical-matter, the 6th ADA symposium, Victoria University, Wellington 26th June. *Introduction to Arduino and physical computing 2-5pm - Phil Lindsay* This workshop will provide an overview of how Arduino works, and how it can be used to add an interactive element to projects. There will also be an opportunity to try setting up and using an Arduino board and software. Please email symposium(a)aotearoadigitalarts.org.nz by Friday June 20 if you are interested in attending this workshop. Workshops are included in the cost of the whole symposium: $50 waged, $30 unwaged For workshops alone the cost is $20 for a full day (2 workshops) or $15 for one. This cost includes lunch and coffee. http://symposium09.aotearoadigitalarts.org.nz/

11 years, 7 months

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ADA Symposium Keynote: Phil Dadson - Digital Resonances

by Zita Joyce

Time: 10:00 to 11:30 Date: Saturday June 27 Victoria University School of Design, 139 Vivian Street Phil Dadson: Digital Resonances In terms of pure sound, I am attracted to intricate texture; the microscopic, the unexpected, the naturally rhythmic and the adventurous; to sound atmospheres and layered perspectives, to sounds that conjure mood and imagination, that convey ideas and express the human heart and soul. Phil Dadson Phil Dadson is an artist working in sound, music, performance and moving image. His practice includes solo and collaborative performances, video, installations, sound-sculptures and invented experimental musical instruments. An artist imbedded in the physicality of sound, whose practice straddles the physical and the digital, Phil will be presenting work from early performances and events utilising radio to recent collaborations. An Arts Foundation Laureate widely recognised as one of New Zealand's leading artists, Phil has performed and exhibited internationally since the 1970s. Born in Napier, New Zealand 1946, Phil studied at Elam School of Fine Arts. Travelling to London, from 1968–9 he was a member of the foundation group for a scratch orchestra, with Cornelius Cardew, Michael Parsons and others. Returning to New Zealand to continue his studies, in 1970 he founded scratch orchestra (NZ) and From Scratch (1974–2002). Phil was lecturer in Intermedia at Elam from 1977–2001. From Scratch's innovative performances included sculptural, ritual and theatrical elements. Large custom-built instruments of industrial and natural materials were used to create a variety of non-electronic sounds and energetic rhythms. In 1998, Global Hockets, a collaborative project with Frankfurt-based group Supreme Particles toured Europe. Since 2002, Phil has continued working under the name sonicsfromscratch. Co-author of the From Scratch Rhythm Workbook, he has also collaborated on two international award-winning performance films of From Scratch with director Gregor Nicholas, has released numerous LPs and CDs and is a co-author with Bart Hopkin of Plosive Aerophones, a book on the design and construction of slaptube instruments (see www.windworld.com/emi). Phil Dadson contributes a unique understanding of Critical-Digital- Matter, exploring materiality through resonance. http://www.sonicsfromscratch.co.nz/ http://www.artsfoundation.org.nz/phil.html http://sounz.org.nz/contributor/composer/1026

11 years, 7 months

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Perlonex June 25th at Cross St Studios

by Zoe Drayton

Alt Music, Vitamin S and HSP present PERLONEX supported by Dr Quirky's Good Time Emporium Band The performance will also be preceded by an artist talk at 6 p.m at Cross Street Studios. Ignaz Schick - turntables, live-electronics Jörg Maria Zeger - electric guitars Burkhard Beins - percussion, objects The Berlin group PERLONEX’s flurrying micro textures and corrupted electro-acoustic zones have taken them on a twisting incursion across some of the most persistently radical and inventive musical fields of thought and experimentation. While the trio have collaborated and played alongside an esteemed line-up of disparate spirits that have included pianist Charlemagne Palestine and Keith Rowe (AMM), its individual members have done time with an even more proliferate array of iconoclastic luminaries, such as Don Cherry, Zbigniew Karkowski, Jason Forrest, Anla Courtis (Reynols), Philip Jeck, The Haters’s GX Jupitter-Larsen, Xavier Charles, Valerio Tricoli, Toshimaru Nakamura, Phil Minton, and our own Greg Malcolm. Percussionist Burkhard Beins’ Polwechsel has appeared on fabled UK label Erstwhile in tandem with Fennesz and prolific Swiss imprint Hat Hut, alongside AMM’s John Tilbury. As The Wire Magazine's Nick Cain writes, Perlonex’s “music is in a state of constant movement and advance, and though the rate and speed at which it shape-shifts varies greatly, it is never static. Comparison has been made to AMM, and there are surface similarities in the use of layers of sound in the construction of the improvisations, but Perlonex’s electronic source material is significantly more dynamic, and the range of sounds it generates broader”. Dr Quirky's Goodtime Emporium Band is: Daniel Beban on guitar and Chris O'Connor on drums... "both frenetic and meditative...intense, wondrous, and focused... " PERLONEX also play: WGTON - June 27th at Happy, 8 pm with Bad Statistics CHCH - June 30th at Provincial Chambers, Durham St, 7.30 pm with PreSchool

11 years, 7 months

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UNSUBSRCIBE

by Nicole Edwards

Please cancel my submission tot his newsletter. Thank you

11 years, 7 months

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Ada_list June 2009