Kia ora koutou,
I thought some of you might find the programme of interest. I'm not going over.
"Besides the Screen: Moving Images during Distribution, Exhibition and Consumption"
media technologies impact cinema well beyond the screen; they also
promote the reorganization of its logic of distribution, modes of
consumption and viewing regimes. Once, it was video and television
broadcast that disturbed traditional cinematographic experience,
revealing the image as soon as it was captured and bringing it into the
home of the audience. Nowadays, computer imaging and online networks
cause an even stronger effect to the medium, increasing the public
agency in the movie market dynamics.
In order to understand how
these significant changes in the modes of accessing and distributing
moving images might affect cinematographic experience, economy and
historiography, we are obliged to rethink not only of its future, but
its past as well. Besides the Screen is a one-day international
symposium that aims to map research projects on new and old forms of
moving image distribution, exhibition and consumption. The conference
will be hosted in Goldsmiths College in November, with the support of
the Graduate School and the Media and Communications Department.
there is more info on their blog. i don't think it is being streamed: http://besidesthescreen.blogspot.com
Saturday, 20th November
9:30 - 10:30 Registration (& coffee) [MRB Foyer]
10:30 - 10:45 Welcome! [MRB Screen 1]
10:45 - 12:30 First Panel Session
Panel 1a [MRB Screen 1]: Distribution & TVKeith Beattie, Exhibiting Direct Cinema: The Realignment of US Broadcast Television and the Development of the Observational ModeJP Kelly, In the “Perpetual Now”: 24 and the Distribution of Real-TimeMelanie Kennedy, High School Musical as a Made-for-Television Tween MusicalHannah Andrews, The BBC Film Network: User-generated Content and the Public Service BroadcasterPanel 1b [MRB Screen 2]: Marketing and/or Participation
Adnan Hadzi, Why Openness Matters: the Deptford.TV ProjectMarc Stumpel, File-sharing or attention-sharing? Implications of the hybrid economyStephanie Janes, Viral Marketing Strategies in Hollywood Cinema12:30 - 14:00 Lunch break [MRB]
14:00 - 15:45 Second panel session
Panel 2a [MRB Screen 1]: The (Archived) ImageMaarten Brinkerink, Open Images: Establishing an Audiovisual CommonsAna Carvalho, The ephemeral in AV realtime practices: an analysis into the possibilities for its documentationEvelin Stermitz, ArtFem.TVClaudy Op den Kamp, The forgotten ones: is audiovisual archival public domain material really freely available?Panel 2b [MRB Screen 2]: The Shape of (Image) SpaceStefania Charitou, Projection dislocatedSudeep Dasgupta, The Screen beside Itself: Situational Transformations in Visual CultureZlatan Krajina, How to Tame the Sun: Visual Indulgences at a Screen-Place as Strategies of Appropriation16:00 - 17:00 Keynote [MRB Screen 1]Julia Knight, Distribution, Diversity and Digitalisation17:00 – 18:30 Networking & Drinks [RHB 247]
Sunday, 21st November
9:30 - 10:30 Registration (& coffee) [BPB Foyer]
10:30 - 12:15 Third Panel Session
Panel 3a [BPB 1]: Remix, Appropriation & the AmateurFelix Seyfarth, Television 2.0: Exploring user-generated video and online participationMarin Hirschfeld, Redacted and the Problems with Appropriating Amateur Digital DiscoursesNicola Evans, Rambo RemixPatricia Moran, The image time: procedure of cultural remixPanel 3b [BPB 2]: (New?) Image AestheticsPatricia Iuva, Trailer aestheticLuca Barbeni, Until the End of CinemaVito Campanelli, The DivX and MP3 Experience12:15 - 13:45 Lunch Break [BPB Foyer]
13:45 - 15:30 Fourth Panel Session
Panel 4a [BPB 1]: The Image on the MoveSimone Knox, Besides, On and Through the Screen: The Transnational Distribution and Consumption of CinemaLaura Rodriguez Isaza, Touring the Film Festival Circuit: Migrating Patterns of Latin American CinemaLeandro Valiati, Cultural Economics and Movies: Indicators and empirical researchPanel 4b [BPB 2]: As Art: Authenticity, Originality & ExhibitionBojana Romic, New Exhibition Spaces: viral video goes offline?Frantisek Zachoval, ART-y-CHOK-eCatrien Schreuder, Pixels and Places: Video Art in Public SpaceDominik Hasler, Party as art? AntiVJ and the migration of VJing into the sphere of fine arts15:30 - 16:00 Conference Closing
I know that many of you were very involved in the Electrosomg
festival, either as watchers, or performers, or curious onlookers from
afar. Below is a final critical reflection by the director of the
festival Eric Kluitenberg.
It is a fascinating read as it addresses the potential or accidental
failure of the dream of telepresence, and ends with some serious
considerations for art practices that engage distance, performance,
labour and the eternal presence of the (spotless) screen.
We hope to be able to continue these discussions of social and
environmental energies very soon at the Whanganui symposium...
so if you haven't registered yet, now is the hour:
see you soon
Begin forwarded message:
> From: Eric Kluitenberg <epk(a)xs4all.nl>
> Date: 29 November 2010 10:20:45 AM
> To: ep k <epk(a)xs4all.nl>
> Subject: / Distance versus Desire - Clearing the ElectroSmog
> Editorial notice:
> This text was written for the upcoming issue in the Acoustic Space
> series (No.8), co-published by RIXC centre for new media culture in
> Riga and the Art Research Lab of Liepaja University: "Following the
> theme of ENERGY this issue will look at different social and
> cultural aspects of energy in the contemporary human society. It
> will also investigate the notion of 'sustainability' from various
> perspectives - artistic, scientific, technological, architectural,
> (More info soon at the RIXC on-line store: http://rixc.lv/kiosks/ )
> The text is an extended version of a talk given at Impakt Festival
> 2010 "Matrix City", in Utrecht as part of the Superstructural
> Dependencies Conference, October 15, 2010.
> ( www.impakt.nl/index.php/festival/
> Conferentie_superstructuraldependen )
> The on-line release of this new essay coincides with the official
> launch of the documentation resources resulting from the ElectroSmog
> Festival for Sustainable Immobility, including all full-length
> webcasts, brought together in an overview page at:
> The ElectroSmog festival was organised in March 2010 and organised
> distributed over 8 main locations and a host of other connected
> sites, interconnected via internet.
> The festival was co-ordinated from De Balie, centre for culture and
> politics in Amsterdam, and execiuted with the following partners:
> ADA – Aotearoa Digital Arts Network, New Zealand / Banff New Media
> Institute, Banff / Chelsea College of Art and Design, London / Cool
> Mediators Foundation, Amsterdam / Engage! Tactical Media, Utrecht /
> Eyebeam – Art + Technology Center, New York / Floss Manuals – Free
> Manuals for Free Software, (international network) / The Green
> Bench, Whanganui, New Zealand / Hivos – Humanist Institute for
> development Cooperation, The Netherlands / Medialab Prado, Madrid /
> m-cult- centre for new media culture, Helsinki / Muffatwerk –
> International Center for Arts and Culture, Munich / REFRAMES,
> Munich / RIXC – Centre for New Media Culture, Riga.
> The radical premise of the festival was to create a truly
> international event without anybody travelling or moving around. We
> found out, however, that our reliance on telepresence technologies
> proved a hard bargain for an international audience event
> (festival). This essay reflects on the outcomes of the festival and
> its implications for the telepresence ideology.
> Distance versus Desire
> Clearing the ElectroSmog
> The desire to transcend distance and separation has accompanied the
> history of media technology for many centuries. Various attempts to
> realise the demand for a presence from a distance have produced
> beautiful imaginaries such as those of telepresence and ubiquity,
> the electronic cottage and the reinvigoration of the oikos, and
> certainly not least among them the reduction of physical mobility in
> favour of an ecologically more sustainable connected life style. As
> current systems of hyper-mobility are confronted with an unfolding
> energy crisis and collide with severe ecological limits - most
> prominently in the intense debate on global warming - citizens and
> organisations in advanced and emerging economies alike are forced to
> reconsider one of the most daring projects of the information age:
> that a radical reduction of physical mobility is possible through
> the use of advanced telepresence technologies.
> ElectroSmog and the quest for a sustainable immobility
> The ElectroSmog festival for ‘sustainable immobility’, staged in
> March 2010 , was both an exploration of this grand promise of
> telepresence and a radical attempt to create a new form of public
> meeting across the globe in real-time. ElectroSmog tried to break
> with traditional conventions of staging international public
> festivals and conferences through a set of simple rules: No
> presenter was allowed to travel across their own regional boundaries
> to join in any of the public events of the festival, while each
> event should always be organised in two or more locations at the
> same time. To enable the traditional functions of a public festival,
> conversation, encounter, and performance, physical meetings across
> geographical divides therefore had to be replaced by mediated
> The festival was organised at a moment when internet-based
> techniques of tele-connection, video-telephony, visual multi-user on-
> line environments, live streams, and various forms of real-time text
> interfaces had become available for the general public, virtually
> around the globe. No longer an object of futurology ElectroSmog
> tried to establish the new critical uses that could be developed
> with these every day life technologies, especially the new breeds of
> real-time technologies. The main question here was if a new form of
> public assembly could emerge from the new distributed space-time
> configurations that had been the object of heated debates already
> for so many years?
> There was a sense of unease when looking back at the bold promises
> of remoter life and work in the ‘electronic cottage’ that
> futurologists such as Alvin Toffler spelled out for us in the early
> 1980s, in books such as “The Third Wave” (the ‘coming information
> age’ as the third wave, after agricultural and industrial society)
> . As part of his near-future explorations conducted well before
> the rise of widespread internet use, Toffler enthusiastically
> embraced the suggestion that a radical reduction of (physical)
> mobility would become possible by the rise of ever more
> sophisticated communication and information technologies and the
> integration of home and workplace in the electronic cottage. Not
> only would this transformation, in Toffler’s vision, reap great
> ecological benefits, it would also initiate a grand revitalisation
> of the ‘oikos’, the household and the family unit.
> The electronic cottage should ideally be a real-time connected
> living and working space, allowing a new kind of digital artisan /
> entrepreneur to emerge who would be absolved from rush hour-traffic
> while being ultimately flexible in making his or her own work and
> private arrangements. The main advantage of the new work/life unit
> was its inherent efficiency, where meetings would be arranged solely
> when strictly necessary and flexible according to need and
> availability of everyone involved in the process. The main element
> won back from the congested systems of collective work and travel
> was time. Time that could instead be invested in the ‘oikos‘, the
> home, family life, and local social relations, that could help to
> restore the psychic fabric of society, which had become unravelled
> through the brutal forces of ‘second wave’ grand scale industrial
> modernisation. Work and life at home could now be brought into
> unison again.
> Today, however, more than 25 years after these all bold claims, we
> can observe exactly the reverse trend: Never before have wo/men
> travelled more and farther. Not least because of their improved
> capabilities to keep in touch with the ‘home base’ from afar. With
> advanced communication techniques work has entered the sphere of
> private life and mostly diminished the space and time for the oikos.
> The simultaneous exponential innovation of transport technologies
> and logistics, in particular in the automobile and aviation
> industry, have had a cataclysmic effect on this ‘fatal’ trajectory.
> The system of hyper-mobility has quite literally overheated itself,
> and seems unstoppably heading for a crash. Even more so, it seems to
> exhaust itself at an exponential rate.
> While most people do enjoy living in a global village, few
> appreciate a forced life in the local village. Rather than moving
> towards a sustainable immobility, we seem to be heading towards a
> global ecological disaster scenario. The crucial question for
> ElectroSmog was whether a critical reconsideration of this idea of a
> sustainable immobility was possible, both in theoretical and
> practical terms.
> Necessity and failure
> The urgency of the search for alternatives for the current crisis of
> hyper-mobility was illustrated graphically by the opening
> conversation of the festival “Global perspectives on the crisis of
> mobility”. In our first video chat with the crew of Sasahivi media
> in Nairobi we talked about the daily commute in Kenya’s capital. The
> city has seen a sharp increase in motorised travel in recent years,
> leading to over-congested roads and unbearably intense rush hour
> traffic. To avoid the worst the people at Sasaivi traditionally
> would leave their homes early in the morning, before rush hour, and
> return only late, often very late at night. During the day roads
> were simply too busy.
> So, how long would a daily commute take? - “about two to three
> hours”, and what distance would they have to cover? - “about 2,5 to
> 3 kilometres” (!).
> Next we connected with Dutch architect Daan Roggeveen who is
> conducting the research project Go West together with journalist
> Michiel Hulshof about the development of new metropolises in Central
> and Western China . They had just come back from a field trip in
> Wuhan, and Roggeveen explained that they had found that about 500
> new cars were entering the streets of Wuhan every day. We then asked
> him how many cities of similar size were currently present in China,
> and he replied about 30, not counting Shanghai and Beijing. In
> short, by a (very) moderate count some 15.000 new cars were entering
> Chinese roads daily as we spoke.
> We then listened to a short video message by Partha Pratim Sarker
> from Dhaka, Bangladesh relating similar experiences and being
> hopeful that new communication technologies could do something to
> alleviate the stress of the streets. Next up film maker Aarti Sethi
> from Delhi told us that by her estimate some 1000 new cars entered
> Delhi roads every day, especially intensified by the introduction of
> the Tata, the low cost automobile that obviously replaces many
> polluting motor-ricksha’s, but still.
> In a nutshell we received a chilling summary of a global exponential
> rise of motorised mobility through these first hand reports. With
> car use, air travel and motorised transportation not diminishing in
> the developed economies this system of hyper-mobility out of control
> seems to approach its limits rather sooner than later, and virtually
> all counter-strategies so far seem entirely ineffective.
> The Spectre of Imaginary Media
> Imaginary Media are machines that mediate impossible desires.
> Imaginary media typically emerge in situations where the living
> environment imposes inherent limitations that one cannot transcend.
> The desire to exceed these limitations produces beautiful
> phantasies, and in the case of imaginary media they are projected
> onto technological systems - both existent and inexistent - that are
> supposed to realise what an ordinary human existence is unable to
> deliver. Imaginary media are the techno-imaginary constructs that
> populate the domain of impossibility.
> One manifestation of this desire to transcend the limitations of
> living experience is the longing for immediate contact across any
> distance or divide. And it is this desire for a ubiquitous
> telepresence, replacing the actual presence here and now, more than
> anything else, that has fuelled the development of new media and
> communication technologies. This desire is in fact so strong that
> even in lowest bandwidth environments tremendous investments of
> mental and emotional energy can be observed, across different
> technological and historical settings (recent examples are for
> instance the IRC text chat or SMS text messaging). ‘Signal’ in these
> case is interpreted as ‘contact’, and a phantasmatic projection of
> connection and interaction is projected onto the faintest of
> signals, aided further by the curious emergence of synaesthetic
> perceptions where minute changes in tone, rhythm or even wording can
> produce intense bodily sensations and responses.
> This intermingling of imaginary and actual qualities of connection-
> media has obscured the discussions about the benefits and limits of
> telepresence technologies thoroughly. Regardless if one is talking
> about mobile phone use, deep technological experimentation in
> telepresence labs, on-line virtual environments of the Second Life
> type, high powered tele-work centres, or more regular real-time web
> applications and video chat systems, it seems very difficult to
> escape this aspect of the phantasmatic. Critical scrutiny, however,
> needs to cleanse itself from these phantasmatic distortions if it is
> to get anywhere with its task of establishing clear boundaries and
> areas of possibility.
> For ElectroSmog the central question was, can we convene a public
> event, a festival, with everything you might expect from it, where
> audiences and presenters from a host of different countries and
> regions of the earth can meet, interact, encounter, exchange without
> having to travel outside of their locale? Or in even more mundane
> terms, can an international festival be staged without anybody
> travelling and still be a viable public event? And while the
> technologies used worked fine most of the time, the answer to this
> central question was clearly “No”. However, this ‘failure’ became
> clear in a rather surprising way.
> What the festival showed through its radical approach to this
> question is that remote connection works excellent in an active
> network. In situations where connections were established between
> active contributors to a discussion or project, exchange was often
> very productive and the experience rewarding for all participants.
> But when attempts were made to integrate a public of relatively
> passive observers, the traditional ‘audience’, the experience broke
> Remote connection also did not bring people together locally. The
> overwhelming sense of all festival events was that in the (remote)
> communicative process all nodes of the network must be active
> ‘throughout’. No real sense of co-presence between local audiences
> in different sites (even though they were often visible and audible
> to each other) came about, while locally audiences seemed little
> inspired to physically show up at the networks nodes to witness a
> process they could also follow from the comfort of their home via
> the webcast.
> The interesting question here is why?
> Could playful interfaces, allowing audiences to interact across
> different localities have helped to create this sense of co-
> presence? Certainly it would have helped to create this sense in
> situations where audiences were actually present in different
> connected spaces. However, curiously, exactly those programs were
> generally well visited that showed strong local participation and a
> minimum (the ‘at least one’ rule) of connected localities. Much can
> be done to improve the experience, but even in the deliriously
> transmediated environment of the ElectroSmog central connection
> node, the theatre space of De Balie in Amsterdam, the energy never
> entirely seemed to materialise.
> The rather inevitable conclusion that must be drawn from this is
> that the idea of a replacement of physical encounters by mediated
> encounters is simply an illusion. First of all, this mediated
> encounter denies the unspoken subtle bodily cues that shape actual
> conversation.The experience of co-presence in the same space is
> determined by so many perceptible and sub-liminal incentives that
> digital electronic media do not capture, that the idea of an
> immersive experience relies more on the phantasmatic cover of these
> absent cues and the curious human capacity for synaesthetic
> perception, than on the performative capabilities of the medium. A
> digital video-link certainly does not replace these subliminal cues.
> Still, more important for the ultimate failure of the telepresence
> ideology is that it denies the libidinal drive for encounter,
> belonging, and identification that is so important for a successful
> staging of a public event such as an arts and culture festival.There
> is also a sobering lesson for curators that excellent content and
> contributors as such do not translate into public success. The
> desire for sharing the space with others and with the influential in
> a particular social circle or figuration, is a much stronger motor
> it seems for public appeal. Remoteness, one of the themes in the
> festival, cannot be so easily transcended in the telepresence
> scenario as hoped for.
> It is this libidinal drive for connection, identification and
> belonging that propels the development of new media and
> communication technologies. These technologies are greeted with
> great enthusiasm as long as they are able to conjure up a
> phantasmatic image of connectedness that is able to cover ip the
> lack of actual presence and (physical) contact. However, this
> phantasmatic projection is never able to displace the feeling of a
> lack entirely, and thus a surplus desire remains that needs to be
> satisfied by other means. The consequence is that an intensified use
> of communication technology does not lead to less, but instead to an
> increased desire for physical encounter.
> This observation is also remarkably concurrent with what mobility
> researchers have concluded about the actual behaviour of people in
> environments deeply saturated with advanced communication
> technologies. While some effects can be observed that can lead to a
> moderation of certain forms of travel and transport (tele work, on-
> line and phone conferences and so on), the indirect generative
> effects of these communication media tend to create intensified
> mobility patterns in these same regions (i.e. not necessarily work
> of profession related).
> Communication media serve all kinds of practical purposes,
> obviously, and also those that can replace the necessity of physical
> encounter, movement, travel and its associated hassles. There is,
> however, a point at which the lack presence and contact brings the
> phantasmatic projection of the technologically enabled communication
> process to a point of crisis. And this is the moment when people
> start up the engine of their cars - the moment when the imaginary
> medium and the libidinal drive meet in a frontal crash.
> Dilemmas after the crash of media and before the crash of hyper-
> In all this the urgency of our quest for a sustainable immobility is
> not lessened. The apparent failure of telepresence technologies
> leaves us stranded with a huge dilemma. Not to act is really not an
> option given the intensified pressures of a mobility system out of
> control. But are there any solutions?
> Unfortunately there are as yet not too many reasons to be hopeful.
> The first step forward towards a new more sustainable regime of
> mobility and connectivity, and a new balance between mobility and
> immobility, would be not to believe in linear narratives, neither
> positivistic nor fatalistic. More communication technology does not
> automatically lead to less physical mobility. But equally, the
> current systems of hyper-mobility cannot grow at an exponential rate
> indefinitely. They will encounter new energetic, ecological, and
> with that also increasingly economic limits. The other observation
> that mobility researchers generally point to (next to the failure of
> communication technology) is that price is about the only mechanism
> that does seem to have a discernible effect on actual (mobility)
> As currently widely used energy systems (fossil fuels) become
> increasingly scarce, their price will inevitably go up. This will
> transform mobility from a right (or a perceived right) into a
> privilege, constructed along the traditional lines of socio-economic
> segregation (income, profession, class). The struggle over the
> privileges of mobility and movement will create a new consciousness
> about their spatial deployment (who is allowed to travel where and
> by which means?). This new consciousness of segregation will
> undoubtedly spark conflict and critical debate.
> The second step would be to accept the need for hybrid and therefore
> ‘messy’ solutions. The economics of mobility will undoubtedly play
> an important role in shaping future mobility regimes. The
> exploration of alternative sources of energy and alternative
> transportation systems and technologies provide another avenue to
> look for viable escape routes. The on-going refinement of
> communication tools, media environments, tele-work arrangements and
> 21st century electronic cottages and other models of sustainable
> immobility will also play a role in those situations where practical
> advantages take priority over the libidinal drive for encounter.
> (Tele-)Presence researcher Caroline Nevejan emphasises that the new
> communication technologies do not offer us ideal solutions at all,
> but they will in the future become increasingly indispensable. 
> The least desirable scenario is that of the crash, the ‘accident-
> catastrophe’ preprogrammed in current systems of hyper-nobility.
> Given the tidings from a confused planet rushing at high-speed into
> a global traffic jam, reported at ElectroSmog, this scenario cannot
> be excluded from our considerations for now.
> Eric Kluitenberg
> Amsterdam, November 2010
> 1 - An overview of documentation resources from the festival can be
> found at:
> 2 - Alvin Toffler, The Third Wave, Bantam Books, New York, 1980.
> 3 - www.gowestproject.com
> 4 - See for Nevejan’s research on Witnessed Presence: www.systemsdesign.tbm.tudelft.nl/witness
Dear mediagallery friends and supporters
This is my flnal week at the New Zealand Film Archive. Please direct all enquiries for exhibition and screening to marksweeney(a)nzfa.org.nz.
In the immediate future I will be undertaking a number of independent projects. I can be contacted via mark_williams_1(a)yahoo.com. Many thanks to all who attended screenings, exhibitions and events over the past 12 years.
A special thanks to all the film-makers and artists for all their generosity of work and spirit.
The Film Archive mediagallery
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
UNTIL SATURDAY NOV 27
A Horse Walks into a Bar - Exploring the Mechanics of Humour
Works by Caroline Johnston & John Lake, Dick Whyte, Claire Harris and Glen Stewart
Opening 5.30pm, Wednesday 6 October
Film Archive mediagallery
Corner of Taranaki and Ghuznee Sts
Kia ora Ada members,
Still a week to go so if you have any great projects please let them
know - very easy to enter.
Tx Jan Bieringa
Aotearoa New Zealand at the World Summit Award 2010-2011
CALL FOR SUBMISSIONS IN 8 CATEGORIES
e-Health & Environment
e-Science & Technology
e-Business & Commerce
e-Inclusion & Participation
e-Learning & Education
e-Government & Institutions
e-Entertainment & Games
e-Culture & Heritage
Refer http://www.wsa-awards.org.nz/ for further detail.
For submissions http://www.wsa-awards.org.nz/categories/submissions.html
If you have a project that you would like considered for the World
Summit Award, please submit the following:
A paragraph or background information on the project
A website reference, if valid
The category of the submission
Please contact one of the following panel members with this
information or if you have any further queries:
Jan Bieringa - jan(a)bwx.co.nz
Jess Prendergast - jessica.prendergast(a)gmail.com
Pete Macaulay - peter(a)no1.co.nz
About: The World Summit Award (WSA) have been a resounding success for
New Zealand since 2003. The awards provide the opportunity to shift
the focus from technology, networks and access issues to the actual
applications and the resultant digital content, while increasing the
visibility of the application projects to a global audience. Whilst
simultaneously encouraging an inclusive information society which
supports the UN Millennium Development Goals through the creative use
The WSA results in a global showcase of 40 outstanding projects, in
eight categories, with a special emphasis on those projects which show
the benefits of information and communication technology for the
development of communities and society at large.
Refer World Summit Award site for further detail.
New Zealand has been successful from the first competition in 2003,
which resulted in two projects being included in the global top 40. In
2005 New Zealand received two Special Mentions and in 2007 we
supported two Winners and three Special Mentions. 2009 produced three
Winning New Zealand projects. For further details on past project
winners from New Zealand: http://www.wsa-awards.org.nz/showcase/showcase.html
. International http//www.wsis-award.org/winners
These achievements were subsequently shown around the world in the WSA
global Road Show.
WORLD SUMMIT AWARD 2010 - 2011 are being held again and we encourage
all to enter.
NATIONAL CONTEST 2010 Call for submissions: 1 October - 30 November
Judging will take place in early December and NZ finalists will be
announced by mid December 2010
Registration for the 8 NZ Finalists
15 December - 15 January 2011
WSA GRAND JURY 2011
March 2011 in Hong Kong
WSA WINNERS EVENTS, EXHIBITION AND GALA 2011
June 2011, Egypt.
Jan Bieringa: jan(a)bwx.co.nz;
Jess Prendergast: jessica.prendergast(a)gmail.com;
Pete Macaulay: peter(a)no1.co.nz;
For further info please call Jan 04 385 9435
World Summit Awards is supported by InternetNZ and the site is
generously supported by Actrix Networks
This is the basic programme for the symposium, and it will be updated
with more detail on the symposium website regularly:
Friday December 10:
9:30 registrations, tea and coffee
10:00am Waka workshop. Putiki boat ramp. 1 Tikarangi Street.
1:00pm Workshop exploring Whangnui led by American artist John Hopkins
5:30pm: Sargeant Gallery opening of Ozinal (2010) a radio station from
the sun, by Joyce Hinterding and David Haines, courtesy of the Artists
Saturday December 11:
9:00 - registrations and coffee
9:30 - Symposium Welcome
10:00 - 10:45 Remote Keynote presentation: Graham Harwood live from
London, Artist and creator of the coal fired computer
10.45 - 11:15 Morning Tea
11:15 - 12.30 Themed session - Sustainable Media
12.30-2:00 Lunch + Curators Talk at The Green Bench
2:00-3:00 Short presentations session 1
3:00-3:30 Q+A session: CNZ's New Media/ Experimental Arts Strategy
3:30-4:00 Afternoon tea
4:00-5:00 ADA AGM (open to all ADA members) + Alternative activity in
6:00 - 7:00 Keynote presentation: Douglas Kahn - Sound and Media
Theorist, Professor of Media and Innovation at the National Institute
of Experimental Arts (NIEA), the University of New South Wales: 'Music
7:30 - 9:00 Dinner
9.30 - 10.30 Outdoor Screenings on the Sargeant Gallery
Sunday December 12:
10:00 - 10.45 Keynote presentation David Haines and Joyce Hinterding -
Artists from Sydney
10.45 - 11.15 Morning Tea
11.15 - 12.45 Themed session - Energy Networks
12.45 - 1.45 Lunch
1.45 - 2:45 Short presentations session 2
2:45 - 3:15 Afternoon Tea
3:15 - 4:30 Themed session - Social Energy
4.30 - 6:00 Closing discussion
6:00 - 7:30 Dinner
Monday December 13:
10:00 - 12:00 Energy themed open artist presentations and feedback
session with Caro McCaw and Douglas Kahn.
We're looking forward to seeing you in Whanganui in December!
**Energetics and Informatics: the 7th ADA Symposium, Whanganui,
December 10-12 2010**
The 7th ADA Network Symposium examines the relationship between energy
and information in media arts. We ask how sustainable is the
technology that supports media art? What new forms of practice are
developing at the intersection of energy conservation and production,
technology, and art? And how can we balance a global arts practice
with the ethical complexities of global air travel, and the social
complexities of remote participation?
These issues will be explored through keynote presentations,
discussions, artist presentations, workshops, a screening programme
and two exhibitions.
The symposium features keynote presentations by internationally
renowned sound and media arts theorist Douglas Kahn, and Australian
artists Joyce Hinterding and David Haines, and a remote conversation
with London-based media artist Graham Harwood, creator of the Coal
A wide range of artists and researchers from Whanganui and around New
Zealand will present current projects in art and sustainable energy,
in conference sessions including Sustainable Media (Art), Energy
Networks, and Social Energy.
Friday December 10 is dedicated to a day long workshop with American
artist John Hopkins that will explore Whanganui and its river, via
Waka. This is a parallel event organised by The Green Bench, with
support from Creative Communities.
An outdoor screening programme on the exterior of the Sargeant
Gallery on Saturday December 11, curated by Sophie Jerram, Julian
Priest and Ana Terry, includes films by artists such as Superflex,
Hans Uber Morgen, Brit Bunkley, Amelia Hitchcock, Erin Coates, Karen
Curley and Don Hunter.
In association with ADA, The Sargeant Gallery presents 'Ozinal' 2010
(a radio station from the sun) by Joyce Hinterding and David Haines,
courtesy of the Artists and Breenspace, opening December 10 at 5:30.
And the Green Bench Gallery will be showing 'Burn', an exhibition of
work about Oil, curated by Julian Priest, Sophie Klerk, and Sophie
Jerram. This opens on December 3 at 5:30, and features works by
artists including Superflex, Hans Uber Morgen, Felicity Priest, and
the Whanganui Rock and Lapidary Club
The ADA Network Trust invites artists, researchers, curators, art
enthusiasts, energy researchers, and all those interested in energy,
information, and media art from Whanganui and around New Zealand to
Energetics and Informatics takes place December 10-12, at the War
Memorial Conference Centre, Watt St, Whanganui
Cost: registration is $30, this includes symposium, workshop, outdoor
screening, exhibitions and the 'ADA free lunch.'
For registration and more information see http://symposium10.aotearoadigitalarts.org.nz/
Energetics and Informatics is supported by Creative New Zealand,
Whanganui District Council, Hikurangi Trust, Green Bench Ltd, UCOL,
Sarjeant Gallery, Whanganui School of Design, Quay School of the Arts,
Art Crew Ltd, Ana Terry Design, Whanganui Green Bikes and The Physics
Douglas Kahn's keynote is part of a distributed series of talks and
discussions occurring throughout New Zealand in December 2010. Parts
two and three will occur in Christchurch and Auckland respectively.
The distributed masterclass is generously supported by Creative New
Zealand, The Physics Room and the Gus Fisher Gallery.
After last year's bold experimentation with a multi-venue ADA AGM we
are going old-school and having the 2010 meeting at this year's
symposium in Whanganui.
Once again we are calling for nominations, this time for two places on
the board. All ADA members (list subscribers for more than 6 months,
who have posted to the list or participated in a symposium), are
eligible to vote and to be board members. You can nominate yourself or
someone else, and each nomination needs a seconder.
The board oversees a range of projects intended to support and promote
'digital' art from Aotearoa. This includes our regular symposia,
projects like the Aotearoa Digital Arts Reader, Electrosmog and the
equipment loan scheme in partnership with the Physics Room .
As a board member you need to be available for semi-regular skype
meetings, which increase in number leading up to specific project
deadlines. You also need to be willing to join in with writing funding
applications, acquittals and other bits and pieces in a fairly
collaborative manner, to work on organising the symposia, and to come
up with ideas for new projects that you are willing and able to
actually make happen. The position involves a fair amount of heavy
lifting – the current board has spent a lot of time and energy being
the ADA board, and we anticipate that this will continue to be the
case as ADA continues to evolve. It's not all printer ink and hard
graft though, you also get to help shape an organisation that does
cool stuff with lovely and interesting people.
To propose a nomination you need to write about 50 words explaining
why you (or someone else) would be a great board member. If you
nominate somebody else they need to know about it, and be happy with
the idea! Nominations should be sent to our impartial returning
officer Zoe Drayton (who is not a board member) by Sunday December 5
at 5pm: zoe(a)audiofoundation.org.nz
Please include the email address you are subscribed to the list under.
Each nomination needs a seconder, so you need to arrange for someone
else to email Zoe to support the nomination.
The seconded nomination blurbs will be compiled and sent to the list
before the AGM.
Voting will take place at the meeting and by email before the
meeting. Email votes must be sent to Zoe by 5pm on Friday December
10. Once again, when voting, please include your full name and the
email you subscribe to the list under. You can vote for up to two
candidates. If there are only two nominees for the available
positions, they will be elected automatically.
Nominations Open: right now
Nominations Close: Sunday 5 December, 5pm
AGM: Saturday December 11, 4–5pm
Email Voting Opens: when the nominees are announced on the list
Email Voting Closes: Friday December 10, 5pm
Appointments Announced: Monday 13 December
First Board Meeting: Thursday 20 January
The Aotearoa Digital Arts Trust
Zita Joyce, Stella Brennan, Su Ballard, Douglas Bagnall, Honor Harger,
ST PAUL St Gallery cordially invites you to the opening of the following
In My Empty House - Ruark Lewis with Loma Bridge
ST PAUL St Gallery One
Bricolage Disco - Wade Marynowsky
ST PAUL St Gallery Two
26 November – 23 December, 2010
Opening: Thursday, 25 November, 2010, 5:30 pm
Artist Talk: Wade Marynowsky, Thursday, 25 November, 4:30 pm (before the
opening), Gallery Two
Performance: Ruark Lewis Epigrams and Defiant Dialogues, Thursday, 25 November
(during the opening), Gallery One
Artist Talk: Ruark Lewis with Loma Bridge, Saturday, 27 November, 12:30 pm,
ST PAUL St Gallery is pleased to present two exhibitions from Sydney based
artists Ruark Lewis, Loma Bridge and Wade Marynowsky, exploring aspects and acts
of accumulation and shedding, cluttering and decluttering.
Gallery One will feature Ruark Lewis’ work In My Empty House made with
experimental film maker Loma Bridge. This installation performs a dual
examination of the home environment of his friends Alex and Vivienne Kondos, and
their lifelong academic engagement with Nepalese and Hindu culture. Using film,
photography, textual transcriptions and sound In My Empty House explores
multiple ideas of existence and the nature of households. Ruark Lewis will
perform from Epigrams and Defiant Dialogues, with a newly commissioned sound
design by Sydney composer Rik Rue at the opening event.
Across the foyer in Gallery Two, Wade Marynowsky’s work Bricolage Disco is
activated by an opposing movement towards accumulation. Collecting obsolete
technology over his month long residency period, Marynowsky has combined these
objects to create choreography of machines, sound and light, activated through
the intervention of digital technology. At 4:30 pm on 25 November, Marynowsky
will talk about his art practice and the work Bricolage Disco at ST PAUL St as
well as sharing inside technical information on how he used Arduino, relay
switches and MAX/msp.
In My Empty House and Bricolage Disco are supported by the NSW Government,
Australia through Arts NSW. In My Empty House has received additional support
from the Janet Holmes a Court Artists' Grant, a NAVA initiative, made possible
through the generous sponsorship of Mrs Janet Holmes a Court and through the
support of the Visual Arts Board, Australia Council for the Arts. Bricolage
Disco is the outcome of a artist residency jointly funded by ST PAUL St and
Left: Ruark Lewis, 2010
Right: Wade Marynowsky, Celtic Frost, 2010, found acoustic guitar, motor,
smashed mirrors, glue.
If you no longer wish to receive information about St Paul St Gallery, please
reply to this message with “REMOVE” in the subject line.
We will immediately remove your contact information from our database.
St Paul St Gallery
40 St Paul St
Level 1 WM Building
School of Art & Design
Ph: +64 9 921 9999 extn: 8313
Fax: +64 921 9916