Ada_list February 2010

ada_list@list.waikato.ac.nz

23 participants
27 discussions

by Damian Stewart

hey ada, my wife Lia was involved in an exhibition called See This Sound, curated by Sandra Naumann, which happened at the Lentos Kunstmuseum in Linz a while back. it was quite a groundbreaking exhibition in that it was an overview of all different kinds of artworks that used sound, moving image, and other kinds of technology in interesting ways; curatorially it was fantastic, in that it cut across genres/boundaries/ghettoes, putting Laurie Anderson next to Nam June Paik next to La Monte Young next to David Rokeby. i spoke with Sandra Naumann at Transmediale this year and she told me that it wass essentially an attempt to address the notion of 'audiovisuology' across all kinds of art, without feeling a need to segregate the artworks by technique, starting from a new beginning so to speak. the associated book, "See This Sound: Audiovisuology Compendium" edited by Dieter Daniels and Sandra Naumann and has just been published, and it's also very nice: a collection of essays that, like the exhibition, attempt to address the multiple histories that bring forth both the artworks that people are now trying to call 'new media', and contemporary artworks dealing with similar issues. and i think they do so very well. apparently much of the text is available online at http://www.see-this-sound.at , otherwise the book is published by Verlag der Buchhandlung Walther König, Köln 2010. -- damian stewart .. @damiannz .. damian(a)frey.co.nz frey . art with machines . http://www.frey.co.nz

11 years, 10 months

Another submission we could make: CNZ strategic plan

by Douglas Bagnall

So this one is really boring. I mean, "Creative New Zealand Strategic Plan" -- any one of these words would send you to sleep by itself. I won't be surprised if no-one answers. Here's the link http://www.creativenz.govt.nz/WhatWeDo/StrategicPlan/StrategicPlanPublicCon… but don't look. It's boring. It is better that we have an uninformed and interesting debate. Supposing we did submit something, what should we say? The obvious and expected tactic would be to notify them of our unrecognised brilliance and diversity, of the exceptional art experiences that we offer New Zealand and International Audiences, of the warm glow they will feel from seeing our well-funded, important, edgy work rise up on the world stage and represent the wise, culturally aware, courageous CNZ. But we will be cunning, and carefully frame it in such a way that we don't look like greedy sycophants. We don't like money, but we will accept it for the good of the nation. We will also not mention that they are funding our rivals to make crap, nor that they are a bunch of conservative retards, nor anything else at all that might sound disparaging of bureaucrats or strategic plans. That would be expected, and it would probably be wise. Perhaps accurate. But it also sets up the temptation to do the opposite, to scream and yell, and let them know that they have no idea about anything. They are at best irrelevant, we'd say. They should disband and give the money back to the paupers who bought lotto tickets. Then, of course, there's an expanse of middle ground, where we outline the areas about which they have no clue, and try to tell them how they could do better. Most likely they would like to. Which brings us back to: what should they do, actually? Personally, I have few ideas at the moment. That's mainly because it is one in the morning, but also because I haven't had much to do with them for a while. The paperwork is not worth it for the piddly amounts I apply for: I do better just getting a job for the days that I would spend writing proposals and aquittals, and I don't get bound up in the kinds of idiotic commitments I put in funding proposals, nor do I have to wait at the letterbox to know what I'll be doing over the next six months. But you lot will have ideas. Douglas

11 years, 10 months

Re: [Ada_list] Electrosmog programme and remote activities

by Melanie Swalwell

Hi Su, > What we would really like to hear about right now is the kinds of > remote practices that you have already done. Eg. Caro's Picnic, > Upstage, Phil's Earthworks Zita and Adam's re-mote.... and all the > others that I'm sure are out there. > I will be constructing a kind of live-database-wiki where we can make > a record/timeline/history of the kinds of activities that NZers have > already done in this field. As well as be a documentation of our > participation in electrosmog. > > First though it would be great to share some examples of how we > already operate within the boundaries of remote immobility, and some > example of the projects you have done previously... > This sounds great. Don't know if this is the kind of thing you're after (i.e. it's not performance art), but... I worked on a project in 1995 and 96 with designer/artist/programmer Erik Loyer in LA, mostly via text chat. (We made an interactive piece on NZ game history, "Cast-offs from the Golden Age".) We worked this way intensively (on a daily basis) for a period of about 4 months, I guess. It was a great way to work. It was intimate and Erik was a remarkable collaborator -- very forthcoming with responses to my queries etc, more so than I would have hoped of a colleague who was just up the hall. And the time difference worked wholly to our advantage -- eg. by the time I logged on in the morning, he'd have ironed out the bugs I'd advised him of the night before. Melanie

11 years, 10 months

ADA artist projects for Electrosmog

by Zita Joyce

Dear ADA From the call for proposals I posted a few weeks ago the ADA board selected three works to support with a small amount of money ($200 each) for the Electrosmog festival. We have also commissioned Sean Kerr to create a new version of his 'Music 4' projects. We'll announce the performance times and / or online locations of these projects as soon as we've worked out all of the logistics, as some of them need to be synched into the discussion timetable at De Balie in Amsterdam, but all will take place or be launched on the weekend of March 19-21 during the Electrosmog festival. More on the rest of the festival in the next couple of days. best zita M4RI ( MUSIC 4 REMOTE IMPROVISATION) Sean Kerr Collaborative remote improvisation by four distributed performers in New Zealand. >> performance time and online location to be announced 'Backyard Dances' - being everywhere at once, while staying at home, in our own backyard. Becca Wood + globally distributed collaborators ‘Backyard Dances’ transports the backyard as actuated space for live choreography using web cameras, chat rooms, transcriptions, the imagination, text to speech software and the dancing body. >> performance time + online / physical location to be announced X marks the spot Vicki Smith and Helen Varley Jamieson x marks the spot - explores in many forms the ways in which location is recorded, the methods used to form connections and record distances in time and space. This project is happening in real time in UpStage [an open source online performance venue] and over time through other web tools - participation is invited in the work in progress at electrosmog and the performance opening the 101010 online festival of cyberformance. >> Presentation time and online locations to be announced Klanggang / Soundwalk Sam Hamilton and Luke Munn Two iconic streets from Auckland and Berlin are sonified and mapped in this web-based project, allowing users to explore the echoes and architecture of two spaces at once. >> URL to be announced

11 years, 10 months

Online FLOSSManuals Translation Sprint

by Medialab-Prado comunicacion

*FLOSSManuals Translation Sprint (Spanish)* *March 2 - 6**, 2010* **Where: *Medialab-Prado* in Madrid (Spain) Translation Sprint of 2 FLOSS Manuals in Medialab-Prado (Madrid) from March 2 through 6. We we'll be collaboratively translating into Spanish **Inkscape Manual** and **Collaborative Futures**. Participation is free but previous registration is required. You can also participate online! Event organized by FLOSSmanuals and Medialab-Prado, in collaboration with Escuela de Arte 10 of Madrid, and coordinated by Jennifer Dopazo. All the info here: http://medialab-prado.es/article/encuentro_flossmanuals_en_espanol http://en.flossmanuals.net/Inkscape http://en.flossmanuals.net/collaborativefutures/ Medialab-Prado Plaza de las Letras Calle Alameda, 15 28014 Madrid (Spain) -- Nerea García Garmendia Comunicación / Press Medialab-Prado Área de Las Artes, Ayuntamiento de Madrid Plaza de las Letras Alameda, 15 28014 Madrid Tfno. +34 914 202 754 difusion(a)medialab-prado.es www.medialab-prado.es "Antes de imprimir este documento asegúrate de que es realmente necesario. ¡Gracias por tu colaboración!"

11 years, 10 months

Filter 73 - Interdisciplinary Collaborations

by Amanda Matulick

Filter's newest issue is NOW LIVE! Issue 73 discusses interdisciplinary collaborations as critical to the success and survival of creative practitioners in a heavily competitive and commercially focused market. Alan O'Connor discusses entrepreneurship and multidisciplinary learning, whilst ANAT CEO, Gavin Artz, outlines various approaches to interdisciplinary practice and the changing contexts in play across the field. Lucy Benson reviews Transmediale 10, in particular its futuristic themes and the financial sustainability of the creative industries, while Daniel Kotja and Gordon Monro share their experiences at Super Human: Revolution of the Species. We invite a continuing dialogue to these and all previous Filter articles. Come. Collaborate. http://filter.anat.org.au ANAT is assisted by the Australian Government through the Australia Council http://www.australiacouncil.gov.au its arts funding and advisory body, by the South Australian Government through Arts SA http://www.arts.sa.gov.au and the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

11 years, 10 months

Multisensory Perception

by Raewyn Turner

Hi ADA-ers please join us in this discussion! cheers Raewyn Announcing March 2010 YASMIN discussion: Multisensory Perception Multisensory perception Introduction by Raewyn Turner and Richard Newcomb Invited Respondents: Jenny Marketou, Hilda Kozari, Sergio Basbaum and Ian Ferguson Yasmin_discussions mailing list Yasmin_discussions(a)estia.media.uoa.gr http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions Yasmin URL: http://www.media.uoa.gr/yasmin HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page. We are perceiving the world with all our senses; In visual media we've become mesmerised by the vibrancy of saturated coloured light, it reminds us of the colours of the hypnagogic fireworks in our minds. Ipods and MP3 players allow singular insular worlds of sound, which have become a personal soundtrack to real life instead of its own sound. Our sense of smell is informed by a synthetic overlay of fragrance in our personal space, the larger environment is re-perfumed with substitutes for the smells of nature and we make new associations with smells never before encountered. How do these combined nuances of mediated sensing feel under our skins? What would a synthetic smell receptor be able to sense in 2020? and what are the consequences of being able to smell more-are we numbed to most of the fragrance of our time? Although we seem to be 'anosmic?'?.. (the term for a lack of sense of smell) to most of the fragrance of our time, odour signals are being transmitted, received, translated and associated by all living beings in nature. Could we grow an awareness of the full cross-sensory fragrance of life? These are some of the questions we would like to discuss in the coming weeks. Our first venue for discussing these issues was through a public theatre/laboratory we constructed called 'Crossing Wires' which ran over three weeks during November 2009 in a downtown storefront in Auckland, New Zealand. The installation was both a working laboratory and a performative spacewhich provided us with an alternative venue to develop our dialogue on cultural, social and temporal constructions of olfactory sensing, building a relationship between the languages of science and art. Human smells were collected and processed, and passers-by were invited to experience, the smells and engage in dialogue. The lab was the 1st step towards collecting, categorising and coding of the human plume. For more detail see our blogsite for the installation (www.crossingwireslab.tumblr.com) Our respondents: Jenny Marketou, Hilda Kozari, Sergio Basbaum and Ian Ferguson will join this discussion. Richard Newcomb is a molecular biologist interested in the mechanism and evolution of odour sensing in animals. Current projects include the development of an olfactory biosensor using insect odorant receptors and understanding the genetic bases of odour sensory acuity and food preference in humans. Richard conducted his PhD in Canberra. In 1996 he returned to New Zealand and has been based at The Mt Albert Research Centre where he is Science Team Leader, Molecular Sensing, Plant & Food Research, and Associate Professor of Evolutionary Genetics at the University of Auckland. Richard is an author on over 50 publications and is an inventor on five patents. He is an investigator at two of New Zealand's Centres for Research Excellence: a Principle Investigator at the Allan Wilson Centre for Molecular Evolution and Ecology and an Associate Investigator at the Maurice Wilkins Centre for Molecular Biodiscovery. Raewyn Turner is an interdisciplinary artist investigating cross- sensory perception and the uncharted territories of the senses. Her multi-sensory, mixed media works have been shown in numerous national and international exhibitions and performances, including Museum of Contemporary Art, LA, Parque de las Ciencias, Granada, Spain, 11th Prague Quadrennial of Scenography and Theatre Architecture 2007,Prumyslovy Palace, Prague, Argentina, Georges Pompidou Center, and Te Papa Museum of New Zealand. Her work includes video, smell, coloured light, artefacts, and live performance with orchestras, jazz and contemporary music and dance; and has been published in 'Art of the Biotech Era', International Congress Synaesthesia, Art and Science 2009, 2007, Generative Art 2006, 2004, and Performance Research 2003 'On Smell'. Yasmin_discussions mailing list Yasmin_discussions(a)estia.media.uoa.gr http://estia.media.uoa.gr/mailman/listinfo/yasmin_discussions Yasmin URL: http://www.media.uoa.gr/yasmin HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page. HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page"). HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.

11 years, 10 months

Call For Work: OPEN SPACE/SINGAPORE/SOUTHEAST ASIA

by Jenna

OPEN SPACE/SINGAPORE/SOUTHEAST ASIA CALL FOR SUBMISSIONS We seek submissions for a curated online and on-site exhibition exploring the theme of Open Space. This exhibition will be showcased at the International Communication Association (ICA) Conference in Singapore from June 22-26, 2010. Open Space is mounted as the digital arts exploration of the conference theme Im/Material. WHAT IS OPEN SPACE? Open Space imagines a zone of horizontality mobilizing collaboration, participation, complex interactive dialogues, process, permeability, and community. The term open space originates in landscape design, where space is privileged over mass to stage meaningful and often surprising encounters and interactions. It has also emerged as a key environmental concept in the greening of global cities, in architecture, and in international organizational design. Indeterminancy, flexibility, and contingency constitute key strategies in open space. Open Space proposes a relational mode rather than a fixed object. Open Space suggests work that mobilizes an ethics of convenings and encounters in a sustainable zone. Open Space spurs collaborative knowledges and produces new provisional microterritories through engagement. Open Space is where technologies meet people meet spaces. WHAT ARE WE LOOKING FOR? We seek works and makers exploring the concepts and practice of Open Space in Singapore and Southeast Asia (Thailand, Cambodia, Vietnam, the Philippines, Malaysia, Brunei, Burma/Myanmar, and Indonesia). We are particularly interested in makers, artists, collectives, and collaborative projects from these regions. Works that are transnational and translational with a central concern of Southeast Asia as nexus will also be considered. The Open Space/Singapore/Southeast Asia exhibition is looking for digital arts and design projects in any of the following forms/interfaces: online art projects, Alternate Reality Games (ARGs), social gaming, creative robotics and digital devices, locative media, mobile applications, ambient screens, user-generated community narratives and maps, innovative digitally-based cartography projects, web-based archival projects, social media interfaces and projects, installation, live DJ/VJ remixes Additionally, any other digital and analog forms that engage a collaborative aesthetic and participatory ethics are eligible for inclusion. PRACTICAL DETAILS FOR PARTICIPATING PROJECTS Deadline: March 3, 2010 To submit work: Please send a short, one paragraph description of your project, a short bio, and a link to your project or documentation of your project in an email inquiry to Patricia Zimmermann, Shaw Foundation Professor, Wee Kim Wee School of Communication and Information, Nanyang Technological University, Singapore, at tpatricia(a)ntu.edu.sg no later than March 3, 2010 Exhibition: Projects will be featured on the ICA/WKWSCI website as the Open Space Exhibition. A limited number of artists/makers/collaborative teams will be selected from the overall exhibition to present at sessions and venues at ICA in Singapore June 22-26, with airfare and accommodation provided. CURATORIAL TEAM Patricia R. Zimmerman, Nikki Draper, Sharon Lin Tay, at Nanyang Technological University, Singapore and Wenjie Zhang, Singapore, with curatorial associate Jenna Ng, Sweden. INTERNATIONAL COMMUNICATIONS ASSOCIATION The International Communications Association (ICA) (http://www.ica2010.sg) is the largest international academic association for scholars interested in the study, teaching, and application aspects of human and mediated communication. ICA has over 4,500 members from 76 countries. Over 2,000 scholars, writers, and communications practitioners from around the world attend the conference. ICA 2010 is the first time in seven years that the annual conference will be held in Asia. ICA 2010 CONFERENCE THEME: IM/MATERIAL Communication is in many respects im/material because it constitutes the very nexus where the material and immaterial dimensions of our world meet each other. Communication is indeed spectral or ghostal because our interactions consist of making present what could have remained absent from a debate, a discussion, a conversation and so on. (from the conference website: http://www.ica2010.sg/conference.html) WEE KIM WEE SCHOOL OF COMMUNICATION AND INFORMATION The host for ICA 2010 is the Wee Kim Wee School of Communication and Information (WKWSCI)(http://www3.ntu.edu.sg/sci), at Nanyang Technological University (NTU)in Singapore. Ranked as one of the world’s top 100 universities, NTU(http://www.ntu.edu.sg) is a research-intensive university with globally acknowledged strengths in science and engineering. WKWSCI is one of the premiere institutions for research and teaching in communication and information in Asia. It houses the Asian Media Information and Communication Centre , the Asian Communication Resource Centre, and the Singapore Internet Research Centre.

11 years, 10 months

CNZ moving image fund is smaller, better, doomed

by Douglas Bagnall

This is quite old news, but I'll repeat it in case someone missed it. For a long time Creative NZ have funded moving image work though a special pool, known lately as the Independent Filmmakers Fund. The strange thing about this fund is that some of the money has always come from the Film Commission, who have twisted its terms toward dull and expensive narrative films. Now the Film Commission think they have better ways of engendering drivel, and they have pulled out. So the fund is smaller. But CNZ have gone through the terms and crossed out every word that the Film Commission ever made them put in. So it is better. You *have* to make experimental work. *All* the money is for people like you. It won't last, though: next year they'll roll it into the general Arts Board fund (I'm reading between lines here), and moving image will be demoted, in their terms, from "artform" to just another medium. That is probably due anyway. Website: http://www.creativenz.govt.nz/funding/independent_filmmakers_fund Below is their version. Douglas > February 2, 2010 > > > News about changes to the Independent Filmmakers Fund > > Creative New Zealand and the New Zealand Film Commission are writing to > you with news concerning the future of the Independent Filmmakers Fund > (IFF). > > The New Zealand Film Commission has informed Creative New Zealand that > they are withdrawing as a partner in the Independent Filmmakers Fund. > This decision comes as a result of economic pressure and their need to > focus their investment in long and short form narrative films, including > the recently announced low budget initiatives. > > Creative New Zealand will continue to offer IFF in 2010, independent of > the New Zealand Film Commission, but with a reduced investment and > revised criteria. The main changes relate to eligible genre, which have > been tailored to reflect the change in partnership. Narrative short film > and feature film projects will no longer be eligible for the IFF as > these will be supported separately by the New Zealand Film Commission. > Please find a link below to 2010 application criteria and guidelines. > > The New Zealand Film Commission has greatly valued its long relationship > with Creative New Zealand, and the filmmakers that both organisations > have collectively been able to support. The partnership began in 1984 > and continued for 25 years. It was initially set up as the Creative Film > and Video Fund and in 1996 became known as the Screen Innovation > Production Fund and more recently the Independent Filmmakers Fund. > Creative New Zealand entered into the partnership to support artists in > creating excellent, innovative and distinctive work and will develop > alternative options for supporting this artform post 2010. > The closing date for the 2010 IFF round is *5pm Friday 4 June*. For more > information about the changes to the fund or the 2010 application > guidelines please go to the Independent Filmmakers Fund webpage on the > Creative New Zealand website here > <http://creativenewzealand.createsend1.com/t/r/l/uyukjk/tykdwhjj/r>. > > To contact the Creative New Zealand Programme Adviser for this fund, > Emma Ward, please email her > <mailto:emma.ward@creativenz.govt.nz?subject=Changes%20to%20IFF> or call > her on 09 365 1416. >

11 years, 11 months

Invitation - Narvik's blogspot

by Mark Williams

As part of the exhibition Narvik's Complaint, we invite you to visit http://narviks.blogspot.com/ Updated daily, the blog presents artist Jeremy Diggle in dialogue with his 1976 self. Topics range from the Large Hadron Collider experiment in Switzerland to warnings about the future. At the conclusion of the exhibition the contents will form the basis of a hyper-text novel. "Today I saw teenagers pouring petrol down the drain at the back of Speedwell House. They were lighting the fumes at a drain further down the road. The whole surface of the road shook with the ignition... Fascists, they ran away..." --------------------------------------------------------------------------------------------- Mark Williams Exhibitions/Project Developer 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 ON NOW Narvik's Complaint - an installation by Jeremy Diggle http:// narviks.blogspot.com Mon-Weds 9-5pm Thurs-Fri 9-7pm Sat 4-7pm UPCOMING Do Art and Science tell the same story? - a conversation between Jeremy Diggle and Adrian Currie Thursday March 18, 7pm New Zealand Film Archive mediatheatre

11 years, 11 months

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Ada_list February 2010