Ada_list November 2010

ada_list@list.waikato.ac.nz

21 participants
25 discussions

"Besides the Screen: Moving Images during Distribution, Exhibition and Consumption"

by Sonja van K

Kia ora koutou, I thought some of you might find the programme of interest. I'm not going over. na, sonja "Besides the Screen: Moving Images during Distribution, Exhibition and Consumption" New 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

10 years, 10 months

Eric Kluitenberg/ Distance versus Desire - Clearing the ElectroSmog

by su b

Dear All, 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: http://symposium10.aotearoadigitalarts.org.nz/register see you soon Su. 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, > environmental." > (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: > > www.electrosmogfestival.net/documentation > > 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. > > Enjoy! > > Eric > > ------------ > > 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 [1], 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 > encounters. > > 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) > [2]. 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 [3]. 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 > down. > > 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- > mobility > > 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) > behaviour. > > 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. [4] > > 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 > > > Notes: > > 1 - An overview of documentation resources from the festival can be > found at: > www.electrosmogfestival.net/documentation > > 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 >

10 years, 10 months

FW: | PARIS, 26 NOV - 4 DEC | Centre Pompidou, Palais de Tokyo... FILM / VIDEO / MULTIMEDIA [EN] [FR]

by Brit Bunkley

From: Rencontres Internationales Paris/Berlin/Madrid [mailto:info@art-action.org] Sent: Sunday, 28 November 2010 4:01 p.m. To: brit.b(a)xtra.co.nz Subject: | PARIS, 26 NOV - 4 DEC | Centre Pompidou, Palais de Tokyo... FILM / VIDEO / MULTIMEDIA [EN] [FR] Si ce message n'apparait pas entièrement / If this message do not appear entirely: <http://www.art-action.org/site/_news/10/paris/en.htm> cliquez ici / click here Se désinscrire / Unsubscribe: <mailto:info@art-action.org?subject=unsubscribe_brit.b@xtra.co.nz%0d%0a> cliquez ici / click here <http://art-action.org/site/_news/10/paris/images/bandeau_web.gif> #NEWSLETTER [ <http://art-action.org/site/_news/10/paris/en.htm#retour> IN ENGLISH] [ <http://art-action.org/site/_news/10/paris/fr.htm#retour> EN FRANÇAIS] Du 26 novembre au 4 décembre 2010, les Rencontres Internationales Paris/Berlin/Madrid créeront, au Centre Pompidou, et dans d'autres lieux, à nouveau pendant 9 jours un espace de découverte et de réflexion dédié aux images contemporaines, une programmation inédite entre nouveau cinéma et art contemporain, avec des projections en salle, une exposition multimédia, des débats et tables rondes. programmation | lieux | accréditations | presse | nvx publics | partenaires | hôtel | infos P R O G R A M M E <http://www.art-action.org/fr_index.htm> <http://www.art-action.org/fr_index.htm> <http://www.art-action.org/fr_index.htm> <http://www.art-action.org/fr_index.htm> <http://www.art-action.org/fr_index.htm> <http://www.art-action.org/fr_index.htm> En présence 100 artistes et réalisateurs du monde entier, cette édition exceptionnelle proposera une programmation internationale inédite réunissant 150 oeuvres provenant de 50 pays, la plupart présentées à Paris pour la première fois et en présence de leurs auteurs. Avec de nombreux films présentés en première, une programmation vidéo, des concerts multimédias, des débats. SEANCES EN SALLE <http://www.art-action.org/site/fr/prog/index.htm> >>> cliquez ici (approches documentaires, nouvelles fictions, vidéo, expérimental): Du 26 novembre au 4 décembre au Centre Pompidou (fermé le mardi) Carte blanche à PEDRO COSTA (PT). Avec notamment la projection en première de "O nosso homem" (23mn, 2010. Carte blanche à ANTONI MUNTADAS (ES). Avec notamment la projection en avant-première du dernier film de la série documentaire "On Translation". Première en France. Carte blanche à PERE PORTABELLA (ES). Avec notamment la projection de son dernier film "Mudanza" (20mn, 2008). Première en France. La rétrospective intégrale WERNER SCHROETER, LA BEAUTÉ INCANDESCENTE organisée par le Centre Pompidou du 2 décembre au 22 janvier. Une séance événement en présence de MARK LEWIS (CA) pour la projection de son film "Backstory" (39mn, 2009). La projection en avant-première du long-métrage de ANGE LECCIA (FR) Nuit Bleue (1h26, 2009) La programmation en salle des Rencontres Internationales est composée de 27 autres séances thématiques - chacune construite autour dun sujet ou d'une question transversale à différents genres (approches documentaires, nouvelles fictions) et différentes pratiques audiovisuelles - où nous retrouveront notamment les dernières réalisations (en première française ou internationale) de : Knut Asdam (Norvège), Hisham Bizri (Liban), Daya Cahen (Pays-Bas), Peter Downsbrough (USA), Ange Leccia (France), Francis Naranjo (Espagne), Christian Merlhiot (France), Erwin Olaf (Pays-Bas), Volker Schreiner (Allemagne), Shelly Silver (USA), Liu Wei (Chine) EXPOSITION RE:MADE <http://www.art-action.org/site%0cr/prog%08/paris/prog_expo.htm> >>> cliquez ici Ouverture le 26 novembre à 19h au Centre Pompidou, Forum -1 - ACCES LIBRE Du 26 novembre au 4 décembre au Centre Pompidou (fermé le mardi) - ACCES LIBRE L'exposition "RE:MADE" présente neuf installations vidéo, multimédia, net art autour des notions de relecture et de réinterprétation. Plusieurs oeuvres font l'objet d'une production spéciale. Artistes présentés: Christophe Bruno (France), Tony Cokes (USA), Ryoji Ikeda (Japon), JoDi (Pays-Bas), Joan Leandre (Espagne), Ubermorgen.com (Suisse/Autriche), Manuel Saiz (Espagne), Alexander Schellow (Allemagne), Antoine Schmitt (France). CONCERT MULTIMEDIA <http://www.art-action.org/site/fr/prog/10/paris/prog_perf.htm> >>> cliquez ici Le mardi 30 novembre au Palais de Tokyo, Auditorium - ENTREE LIBRE Un concert multimédia événement. Première en France. "Variation VII" est la réinterprétation d'une oeuvre majeure du compositeur américain John Cage, créée en 1966, utilisant le son créé par les outils de communication. Quatre artistes contemporains, Atau Tanaka, Matt Wand et le duo zoviet-france, transposent l'oeuvre de nos jours, le concert est interprété avec l'ensemble des médias contemporains analogiques et numériques existants (téléphone, télévision, ordinateurs, internet...), pour un résultat sonore étonnant. DEBATS / FORUM <http://www.art-action.org/site/fr/prog/10/paris/deb_11_27.htm> >>> cliquez ici Samedi 27 Novembre à 18H/ 28 et 29 novembre, 3 et 4 Décembre à 16H /Centre Pompidou, Forum -1 Mardi 30 Novembre à 16H / Palais de Tokyo, Auditorium Jeudi 2 Décembre à 16H / Châtelet Theatre, Foyer Nijinski. Le programme est complété avec des discussions et des tables rondes avec les artistes et des experts invités du monde entier. Avec notamment des curateurs, directeurs et programmateurs du Musée National Reina Sofia (Espagne), du MNAC Musée National d'Art Contemporain de Bucarest (Roumanie), MOCCA Museum of Contemporary Canadian Art (Canada), du LABoral Centro de Arte y Creación Industrial (Espagne), Istanbul Modern (Turquie), Ars Electronica (Autriche), FACT Foundation for Art and Creative Technology (Royaume-Uni), Tate Modern (Royaume-Uni). Les débats proposés permettent de dégager les préoccupations et les pistes explorées dans chaque pays pour rendre compte de la création audiovisuelle et mult! imédia, la soutenir et la diffuser. TV LAB <http://www.art-action.org/site/fr/prog/livestream.htm> >>> cliquez ici Du 26 novembre au 4 décembre au Centre Pompidou (fermé le mardi) Les Rencontres Internationales installent, dans le Forum du Centre Pompidou, un studio TV diffusant en direct sur le web. Réminiscence du Forum et de son histoire comme lieu de débat et de questionnement, cette TV éphémère fonctionne comme un espace laboratoire où les invités de la manifestation, artistes, curateurs, experts, parlent de leurs activités, partagent leurs questionnements et leurs recherches. Conçue comme une chaîne d'information en continu, elle propose également un accès direct à la programmation avec des reportages, des extraits de film et des vidéos, à destination d'un public en ligne ne pouvant assister physiquement à la manifestation. Initialement entre Paris et Berlin, les Rencontres Internationales se sont ouvertes en 2007 à une troisième ville de présentation, Madrid. La manifestation est une plate-forme unique en Europe où les artistes peuvent se rencontrer, échanger avec un large public, initier de nouveaux projets. En 2010, les lieux de présentation sont notamment le Centre Pompidou à Paris, la Haus der Kulturen der Welt à Berlin, le Musée national Reina Sofia et la Cinémathèque espagnole à Madrid. Les Rencontres Internationales rendent compte des spécificités et des convergences des pratiques artistiques entre nouveau cinéma et art contemporain, explorent les formes artistiques émergentes et leurs propos critiques, et permettent ce temps nécessaire où les points de vue se croisent et s'échangent. Les Rencontres Internationales ont pour vocation de faire découvrir ces oeuvres à un large public, de créer des circulations entre différentes pratiques artistiques et entre différents publics, de susciter des échanges entre artistes, réalisateurs et acteurs de la vie artistique et culturelle. La manifestation souhaite ainsi contribuer à une réflexion sur notre culture contemporaine de l'image, au travers d'une programmation exigeante ouverte à tous. PROGRAMME COMPLET SUR <http://www.art-action.org/fr_index.htm> www.art-action.org retour au sommaire/ programmation | lieux | accréditations | presse | nvx publics | partenaires | hôtel | infos L I E U X. D U. F E S T I V A L Centre Pompidou Exposition, projections, tables rondes Place Georges Pompidou 75004 Paris Métro: Hôtel de Ville, Rambuteau, Les-Halles, lignes 1, 4, 11 <http://www.centrepompidou.fr> www.centrepompidou.fr <http://art-action.org/site/_images/info/lieux_paris_09/lieux_cgp_small.jpg> Palais de Tokyo Débats, performance multimédia Mardi 30 novembre 16h à 22h 13 Avenue du Président Wilson 75116 Paris Métro : Iéna www.palaisdetokyo.com <http://art-action.org/site/_images/info/lieux_paris_10/lieux_pdt.jpg> Théâtre du Châtelet Débats 2 décembre, de 18h à 20h Place du Châtelet - 75001 Paris Métro: Châtelet, lignes 1, 4, 7, 11, 14 <http://art-action.org/site/_images/info/lieux_paris_09/lieux_chatelet_small .jpg> Autres lieux Institut Néerlandais - Le 29 nov. de 12h à 13h30 121 Rue de Lille - 75007 Paris Centre Culturel Suisse - Le 2 déc. de 12h à 13h30 32 Rue Francs Bourgeois - 75003 Paris Centre Culturel Wallonie-Bruxelles - Le 3 déc. de 12h à13h30 7 Rue Venise - 75004 Paris retour au sommaire/ programmation | lieux | accréditations | presse | nvx publics | partenaires | hôtel | infos A C C R E D I T A T I O N S . E T . P A S S Accréditations et pass professionnels - presse et professionnels uniquement - donnent accès à l'ensemble de la programmation (dans la limite des places disponibles): séances de projection, concerts, espace de consultation. Ils sont strictement personnels. Chaque demande est soumise à l'approbation des services concernés. ACCREDITATION Presse, artistes programmés, invités, institutions culturelles publiques, professionnels étrangers, et autres demandeurs. L'accréditation est gratuite. PASS PROFESSIONNEL Le pass professionnel fait l'objet d'une participation forfaitaire de 80 Euros Pour toute demande d'accréditation et de pass <http://www.art-action.org/site/fr/info/pass_accred.htm> >>> cliquez ici <http://www.art-action.org/fr_info_presse.htm> retour au sommaire/ programmation | lieux | accréditations | presse | nvx publics | partenaires | hôtel | infos P R E S S E ACCUEIL PRESSE Du 26 novembre au 4 décembre, de 13h à 21h (fermé le mardi 30 novembre): au Centre Pompidou, accueil festival au Forum -1. Place Georges Pompidou, 75004 Paris - Métro : Hôtel-de-ville, Rambuteau, Les Halles / lignes 1, 4, 11 Le 30 novembre, de 16h à 20h: au Palais de Tokyo, 13 avenue du Président Wilson - 75116 Paris - Métro: Iéna, ligne 9 Contact presse <http://www.art-action.org/site/fr/contact/index.htm> >>> cliquez ici <http://art-action.org/site/_images/info/lieux_paris_09/lieux_cgp_small.jpg> ESPACE PRESSE Accédez à lespace presse pour télécharger les images extraites des oeuvres, les communiqués, le dossier de presse, consulter les archives... Accès à lespace presse <http://www.art-action.org/site/fr/info/press_desk_1.htm> >>> cliquez ici Ou bien contactez-nous par email, en nous précisant les informations suivantes: Noms, prénoms Nom du média ou de l'organisme Adresse et téléphone professionnels Contact <http://www.art-action.org/site/fr/contact/index.htm> >>> cliquez ici <http://www.art-action.org/site/_images/info/presse/icone_presse.gif> retour au sommaire/ programmation | lieux | accréditations | presse | nvx publics | partenaires | hôtel | infos E T U D I A N T S . E T . N O U V E A U X . P U B L I C S INSCRIPTION Plusieurs avantages sont proposés gratuitement aux élèves et aux étudiants (collèges, lycées, universités, écoles d'art, écoles de cinéma, autres écoles), aux enseignants, notamment un accueil personnalisé, un accès à des ressources pédagogiques, un accès à l'espace de consultation, un accès prioritaire à la soirée de clôture. Peuvent s'inscrire uniquement: Les élèves et étudiants détenteurs d'une carte d'étudiant ou de moins de 25 ans souhaitant assister à une ou plusieurs séances à titre individuel. Les enseignants souhaitant assister à une ou plusieurs séances avec un groupe d'élèves (4 personnes minimum). Pour plus de détails et inscription <http://www.art-action.org/site/fr/info/pass_public.htm> >>> cliquez ici <http://www.art-action.org/site/_images/info/icone_etudiant.gif> retour au sommaire/ programmation | lieux | accréditations | presse | nvx publics | partenaires | hôtel | infos P A R T E N A I R E S INSTITUTIONS CULTURELLES - PARIS 2010 <http://www.art-action.org/site/_images/soutien/10/paris/inst_paris.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/inst_conseil_region al.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/inst_ministere_cult ure.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_espagne.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_esp_cervantes.j pg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_esp_llull.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_allemagne.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_allemagne_goeth e.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_canada_ccc.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_canada_calq.jpg > <http://www.art-action.org/site/_images/soutien/10/paris/amb_pays_bas_mondri aan.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_portugal_camoes .jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_pays_bas.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_pays_bas_instit ut.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_finlande_frame. jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_suisse_pro_helv etia.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_suiss_ccs.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_autriche_forum. jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_uk_art_council. jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_uk_britishcounc il.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_ireland_culture .jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_centre_culturel _irlandais.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_norvege_oca.jpg > <http://www.art-action.org/site/_images/soutien/10/paris/amb_norvege.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_danemark.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_suede_inst.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_roumanie_instit ut.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_belgique_cwb.jp g> <http://www.art-action.org/site/_images/soutien/10/paris/amb_luxembourg.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/amb_bresil.jpg> <http://www.art-action.org/site/_images/soutien/10/paris/tram.jpg> Avec le soutien de : Drac Ile-de-France - Ministère de la Culture et de la Communication, Conseil Régional d'Ile-de-France, Ville de Paris, Ambassade d'Allemagne, Goethe Institut, Ambassade d'Espagne, Institut Cervantes, Institut Ramon Llull, Forum Culturel Autrichien, Ambassade du Brésil, Centre Culturel Canadien, Conseil des Arts et des Lettres du Québec, Arts Council England, British Council, Ambassade du Portugal, Instituto Camões, OCA Office for Contemporary Art Norway, Ambassade Royale de Norvège, Pro Helvetia Fondation Suisse pour la culture, Centre Culturel Suisse, Institut Néerlandais, Mondriaan Foundation, Institut Culturel Roumain, Culture Ireland, Frame Finish Fund for art Exchanges, Ambassade Royale du Danemark, Ambassade du Grand-Duché du Luxembourg par Mission Culturelle du Luxembourg en France, Institut Suédois, Centre Wallonie Bruxelles. LIEUX PARTENAIRES - PARIS 2010 <http://art-action.org/site/_images/soutien/10/paris/lieu_centre_pompidou.jp g> <http://art-action.org/site/_images/soutien/10/paris/lieu_tokyo.jpg> <http://art-action.org/site/_images/soutien/10/paris/lieu_chatelet.jpg> <http://art-action.org/site/_images/soutien/10/paris/amb_pays_bas_institut.j pg> <http://art-action.org/site/_images/soutien/10/paris/amb_belgique_cwb.jpg> <http://art-action.org/site/_images/soutien/10/paris/amb_suiss_ccs.jpg> Centre Pompidou, Palais de Tokyo, Théâtre du Châtelet, Institut Néerlandais, Centre Wallonie Bruxelles, Centre culturel suisse. MEDIAS PARTENAIRES - PARIS 2010 <http://art-action.org/site/_images/soutien/10/paris/media_artpress.jpg> <http://art-action.org/site/_images/soutien/10/paris/media_etapes.jpg> <http://art-action.org/site/_images/soutien/10/paris/media_nova.jpg> <http://art-action.org/site/_images/soutien/10/paris/media_vimeo.jpg> <http://art-action.org/site/_images/soutien/10/paris/media_livestream.jpg> <http://art-action.org/site/_images/soutien/10/paris/media_premiereheure.jpg > PARTENAIRES PRIVES - PARIS 2010 <http://art-action.org/site/_images/soutien/10/paris/priv_tram_bresil.jpg> <http://art-action.org/site/_images/soutien/10/paris/priv_pegasusl.jpg> retour au sommaire/ programmation | lieux | accréditations | presse | nvx publics | partenaires | hôtel | infos H O T E L. P A R T E N A I R E Hôtel Duo 11, rue du Temple - 75004 Paris Tel: +33 (0)1 42 72 72 22 - [Email <mailto:contact@duoparis.com> ][Site web <http://www.duo-paris.com> ] <http://www.louvre-saint-romain.fr/> Hôtel Bourg Tibourg 19, rue du Bourg-Tibourg - 75004 Paris Tel: +33 (0)1 42 78 47 39 [ <mailto:hotel@bourgtibourg.com> Email] [ <http://www.bourgtibourg.com/> Site web] <http://www.bourgtibourg.com> Astor Saint-Honoré 11, rue Astorg - 75008 Paris Tel: + 33 (0)1 53 05 05 05 [ <mailto:etrolliard@astor-sth.com> Email] [ <http://www.astorsainthonore.com> Site web] <http://www.astorsainthonore.com> Hôtel Windsor Opéra 0, rue Gabriel Laumain 75010 Paris Tel: +33 (0)1 48 00 98 98 [ <mailto:hotel.windsor.opera@wanadoo.fr> Email] [ <http://www.hotelwindsor.com/> Web site] <http://www.duo-paris.com> Vaneau Saint-Germain 6 rue de Turenne - 75004 Paris Tel: +33 (0)1 42 74 10 72 [ <mailto:hotel@vaneausaintgermain.com> Email] [ <http://www.vaneausaintgermain.com> Site web] <http://www.vaneausaintgermain.com> Bellechasse Hôtel 8, rue de bellechasse - 75007 Paris Tel: +33 (0)1 45 50 22 31 [ <mailto:info@bellechasse.com> Email] [ <http://www.lebellechasse.com> Site web] Hôtel Notre-Dame 1, quai saint-michel - 75005 paris Tel: +33 (0)1 43 54 20 43 [ <mailto:info@notredameparis.com> Email] [ <http://www.hotelnotredameparis.com> Site web] <http://www.hotelnotredameparis.com> Hôtel Design Sorbonne 6, rue Victor Cousin - 75005 - Paris Tél. : +33 (0)1 43 54 58 08 [ <http://www.hotelsorbonne.com> Site web] <http://www.hotelsorbonne.com> Mama Shelter 109 rue de Bagnolet - 75020 - Paris Tel: + 33 (0)1 43 48 48 48 [ <http://www.mamashelter.com> Site web] <http://www.mamashelter.com> Kubehotel 1-5, passage Ruelle - 75018 Paris Tel : +33 (0)1 42 05 20 00 [ <mailto:paris@kubehotel.com> Email] [ <http://www.kubehotel.com> Site web] <http://www.hotelnotredameparis.com> Hôtel Turenne Le Marais 6, rue de Turenne - 75004 - Paris Tel : +33 (0)1 42 78 43 25 [ <mailto:hotel@turennemarais.com> Email] [ <http://www.kubehotel.com> Site web] <http://www.kubehotel.com> retour au sommaire/ programmation | lieux | accréditations | presse | nvx publics | partenaires | hôtel | infos I N F O R M A T I O N L'équipe des Rencontres Internationales se tient à votre disposition pour vous renseigner. INFORMATION PRESSE Contact: Mathieu Ruffa/ Niko de Lafaye Tel: +33 (0)1 40 18 00 20 Email presse: presse(a)art-action.org Nous contacter <http://www.art-action.org/site/fr/contact/index.htm> >>> cliquez ici INFORMATION PROFESSIONNELS ET NOUVEAUX PUBLICS Contact: Delphine Blondin / Constance Duchamp Tel: +33 (0)1 40 18 00 20 Email : info(a)art-action.org Nous contacter <http://www.art-action.org/site/fr/contact/index.htm> >>> cliquez ici INFORMATION PUBLIC Sur Internet : <http://www.art-action.org> www.art-action.org Nous contacter <http://www.art-action.org/site/fr/contact/index.htm> >>> cliquez ici PROGRAMME DETAILLE Le programme détaillé est disponible sur notre site : <http://www.art-action.org> www.art-action.org retour au sommaire/ ========================== Unsubscribe / Se désinscrire: <mailto:info@art-action.org?subject=unsubscribe_brit.b@xtra.co.nz%0d%0a> click here ==========================

10 years, 10 months

mediagallery enquiries

by Mark Williams

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. best wishes, Mark Williams --------------------------------------------------------------------------------------------- Mark Williams Exhibitions/Project Developer 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 http://www.filmarchive.org.nz 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 Mon-Weds 9-5pm Thurs-Fri 9-7pm Sat 4-7pm

10 years, 11 months

Final Call for Submissions for the World Summit Awards - to 30 November 2010

by Jan Bieringa

Kia ora Ada members, Still a week to go so if you have any great projects please let them know - very easy to enter. Nga mihi 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 of ICT's. 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. TIMETABLE: 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. The judges: 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

10 years, 11 months

Programme Announcement: Symposium 2010

by Zita Joyce

Dear ADA This is the basic programme for the symposium, and it will be updated with more detail on the symposium website regularly: http://symposium10.aotearoadigitalarts.org.nz/ 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 and Breenspace. 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 Whanganui 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 from Brains' 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.

10 years, 11 months

Symposium updates

by Zita Joyce

Dear ADA 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 Fired Computer. 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 participate. 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 Room. 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.

10 years, 11 months

ADA Board Nominations

by Stella

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. IMPORTANT DATES: 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, Julian Priest

10 years, 11 months

In My Empty House and Bricolage Disco, ST PAUL St Gallery, Opening Thursday, 25 November, 2010, 5:30pm

by melissa melissa

ST PAUL St Gallery cordially invites you to the opening of the following exhibitions. 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, Gallery One 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 CoLab. Image credits: 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 AUT University Ph: +64 9 921 9999 extn: 8313 Fax: +64 921 9916 www.stpaulst.aut.ac.nz

10 years, 11 months

DYNDY: new website on alternative currency/ies

by Sonja van K

new website on alternative currency/ies an effort at building a Pattern Language for Alternative and Complementary Money Systems to inform and empower grassroots communities with concepts and tools to overcome scarcity, instruments and reflections for the Exodus from proprietary money. from Jaromil >FYI - we launched our new project DYNDY: http://www.dyndy.net http://www.dyndy.net/2010/11/launch-at-ecommons2-in-de-balie http://ecommons.tuxic.nl/?p=2156 the website just started growing and we are confident it will become a useful reference for community developers who like to empower their networks with a more efficient media that doesn't decays along with > the dead horse of capitalism. ciao jaromil, dyne.org developer, http://jaromil.dyne.orgnfo/brico Sonja van Kerkhoff _________________ www.sonjavank.com

10 years, 11 months

2021

2020

2019

2018

2017

2016

2015

2014

2013

2012

2011

2010

2009

2008

2007

2006

2005

2004

2003

Ada_list November 2010