this from Tapio Makela re: a baltic residency program
-------- Original Message --------
From: Tapio Makela <tapio(a)translocal.net>
Date: Mon, 28 Feb 2011 10:03:48 +0200
Media Art Research Interdisciplinary Network – M.A.R.I.N. – will
organize two one month long residencies during June and August 2011
around the Baltic Sea. We invite proposals by artists, scientists or
collaborative initiatives to attend either for June or August 2011.
While we are open to many ideas, we hope to get research-oriented
proposals that relate with the marine environment. Also projects that
look at alternative energy in a nomadic camp, environmental sensors, low
power computing are on our wish-list. (In other words, no poetic videos
contemplating the sea!)
The June residency themed Sensing the Baltic Sea (June 1st-30th) will be
situated on three Baltic Sea islands in Finland and end in Tallinn,
Estonia. On each island there are basic facilities, and we will set up
our own camp using wind and solar power.
The August residency, themed Cartography and Everyday at Sea (August
1st-31st) will start in Stavanger in Norway, shift to an island in
Sweden and finish on a beautiful peninsula in Lithuania.
CALL OPEN FEB 26th – MAR 21st 2011
HOW TO SUBMIT?
Fill in the on-line form:
Send any additional material to:
Download the FULL CFP as a PDF:
Or read here:
We look forward to receive your fab proposals!
-------- Original Message --------
Subject: [NetBehaviour] Locusonus and Daybreak forever
Date: Fri, 25 Feb 2011 14:42:19 -0500
From: Pall Thayer <pallthay(a)gmail.com>
Reply-To: NetBehaviour for networked distributed creativity
To: NetBehaviour for networked distributed creativity
Ragnar Helgi Ólafsson and I currently have a piece on exhibition at
the Icelandic National Gallery titled "Daybreak, forever". It uses
live audio streams from the Locusonus project
(http://locusonus.org/soundmap/024/) to follow the rising sun around
the globe as an audible experience. Although Western Europe is well
represented, Locusonus could use some more streams to tighten the
circle. It would be especially nice if they had some streams in
Australia and New Zealand. So if anyone on this list, residing in
Australia or New Zealand, would like to participate in the project,
you can find info at:
You can see the "Daybreak, forever" project at http://tltc.dyndns.info/daybreak
NetBehaviour mailing list
*Please join us at 5:30pm this Friday 25th at projectspace B431, Elam School
of Fine Arts to celebrate the closing of the exhibition 'CAUCASIA' and
launch of the free digital exhibition catalogue, with performances by Radio
Cegeste, Sam Hamilton & DJ Tom Henry.*
A big thank you to Kirin Beer for their support.
These prolific sound artists will perform live works in response to Emil
McAvoy's 'CAUCASIA: Selling New Zealand at the 1970 Japan World Expo,' a
suite of digitally restored New Zealand Government Publicity photographs
documenting the New Zealand Pavilion, alongside a projection of the National
Film Unit documentary 'This is Expo.'
Sam Hamilton will perform 'Easy Listening Postcards of New Zealand Volcanoes
& Other Auto-Tuned Eruptions,' a live sound souvenir processing field
recordings of New Zealand volcanic regions put to disco beats. Think
Antipodean musique concrete meets Arthur Russell. Sam Hamilton is a prolific
Auckland based artist, musician, interdisciplinary collaborator, event
organiser and audiovisual festival programmer:
Sally Ann McIntyre AKA Radio Cegeste will perform 'more scenic aviaries of
the radio: a collection for the birds of CAUCASIA,' a live mini-FM
performance focusing around the cultural place of native New Zealand birds,
the bounded transmission space of micro radio and its relation to the
territorialisation of birdsong, and the tension between the
archival/museological nature of the sonic object and the soundmarks of the
McIntyre's performance, part of an ongoing series of performances/programmes
focused around such themes, collectively entitled 'Radio d’Oiseaux,'
utilises historic, commercially available field recordings in multiple sound
formats from the New Zealand radiophonic archives, re-placing them in live
radiophonic space alongside contemporary field recordings and other birdsong
related popular-cultural and touristic sonic ephemera. In particular it
draws from respected National Publicity Studios photographer Kenneth and
wife Jean Bigwood's c.1960s recordings of native birds, and references the
recordings of endemic avian species heard through speakers within the
fabricated 'bush walk' in the 1970 New Zealand Pavilion. It also draws from
recordings from the archives of veteran New Zealand Wildlife Service sound
recordist John Kendrick, (selected by McIntyre and McAvoy from National
Library collections), as well as location recordings taken by McIntyre in
the controlled environments of Orokonui Ecosanctuary near Dunedin and the
extinct endemic bird collections of the Museum of New Zealand Te Papa
Tongarewa, Wellington. Guests are invited to bring FM friendly radio
receivers to augment their listening experience. Radio Cegeste is a
transmission art project by Sally Ann McIntyre, an independent writer,
curator and broadcaster currently based in Dunedin:
Also featuring selections from DJ Tom Henry, who will draw inspiration from
the cosmopolitan Expo '70 bar scenes, and describes his set as “a
nationalist cocktail party hijacked by lysergic revolutionaries.” Tom Henry
is an Auckland based artist, regular DJ and a student at the Elam School of
Fine Arts. Tom will also be DJing at Golden Dawn from 8-11pm:
*CAUCASIA closing celebration*
5:30-7pm Friday 25 February
Main Fine Arts Building
Elam School of Fine Arts
University of Auckland
20 Whitaker Place
*CAUCASIA: Selling New Zealand at the 1970 Japan World Expo*
24-26 February, 11am-4pm
or by appt. ph +64 27 425 6498
Free digital exhibition catalogue available at
Media and enquiries about the exhibition or closing event contact *
CAUCASIA is an outcome of a University of Auckland 2010-11 Summer Research
Scholarship and is supported by Archives New Zealand and the National
Greetings everyone, and a somewhat belated "Happy new year"!
reviewing the Symposium in Wanganui and would very much appreciate your
feedback on the event.
Please take a few minutes to answer these
questions (word doc attached) and reply to this email address or the ADA
A reminder that this call is still open for a few more days, for
abstracts only at this stage, please.
Special Issue for the Fibreculture Journal: Networked Utopias and
Call for Abstracts
Please note that for this issue, initial submissions should be
abstracts (200 - 350 words) only.
Editors: Susan Ballard, Zita Joyce and Lizzie Muller
abstract deadline: February 20, 2011
article deadline: May 30, 2011
publication aimed for: November, 2011
"Since most of history’s giant trees have already been cut down, a new
Ark will have to be constructed out of the materials that a desperate
humanity finds at hand in insurgent communities, pirate technologies,
bootlegged media, rebel science and forgotten utopias." Mike Davis
“Who Will Build an Ark: The Utopian Imperative in an Age of
Catastrophe” in Telepolis [Germany], 12/11/2008.
For many centuries the dawn of the new millennium –the year 2000–
epitomised the future to come. The twentieth century raced eagerly
towards this most dazzling of dates fuelled by the cult of modernity
and the turbo-charged transformations of globalisation and digital
communication. Now, a decade past the threshold of what was meant to
be the future, we look up, blinking, and find ourselves gazing at a
terrifying void. We are living in a time where our present actions are
destroying our own future. This issue of the Fibreculture Journal
asks, as we struggle to imagine what the next decades may bring, is
this any time to think about utopia?
The rhetoric of utopia is well-worn territory, explored from one
magnificent boundary to the other, and now requires new treatments
according to the impact of networked cultures and digital media.
Historically, utopian societies are often portrayed as physical
spaces, bordered and isolated in some way from other social
structures. However, the utopian effort to make things better has been
a core activity for networked communities and social groups operating
both on and offline. In the techno-utopian world of the 1990s
communities formed around the emergence of the world wide web. These
moments of intensive thought formed genealogies for our current dreams
of the network. New tools of networked cultures and digital media open
up possibilities for imagining, mapping, reaching towards, narrating,
and critiquing models of the future. In the space between ever-hopeful
techno-futurism and the realities of a world forever changed by the
pursuit of the resources required to fuel it, how can the concept of
networked utopias help us speculate on the future?
This issue of the Fibreculture Journal brings together studies in
networked communities with novel, historical and creative approaches
to utopia in order to examine the productivity of future-thinking from
our present location. The network may be technical and interpersonal,
a mesh of servers and routers, connectivity, participation, creation,
and support. It may exist in the physical location of its
infrastructure, in a shared no-place of communication, or both. It is
as much a body as an event. What then is the relationship between an
idealistic transcendent no-place, and the embodied realities and
contingencies of the changing world in which our selves and our
technologies are actually located? How have current practices broken
down this opposition between virtual and real? We ask: is it possible
to create more sustainable narratives out of the current moment, and
explore imaginative solutions on the verge of near-future crisis?
We invite papers that look at the convergence of technology and
foresight; forethought, imaginings, and speculation. We seek research
that explores the future worlds, experiences, technologies, peoples
and events of networked technology. We are romantics dreaming of
wishworlds; networked utopias and connections hovering between time,
place, and being.
all contributors and editors must read the guidelines at;
before working with the Fibreculture Journal
email correspondence for this issue:
Susan dot Ballard at op dot ac dot nz
lizzie at lizziemuller dot com
zita dot joyce at canterbury dot ac dot nz
Topics and papers might include discussions of:
- internet DIY
- experimental communalism (on and off-line)
- economic collectivism
- studies in prototypes
- speculation on alternative futures in media arts
- grass roots community organisation: free software, DIY,
neo-liberalism, survivalist modes
- the technological sublime
- the Internet of Things
- communities and architectures formed around media technologies
- radio as a harbinger of things from the future
- technofeminist utopias / cyberfeminism / feminist science fiction
- social/ethical/technological experiments
- the technosublime
- studies in futurism (past/ historical/ present)
- speculation and future imagining
- digital speculative objects, prototypes, thought experiments etc.
- the deficiency of the actual
- the space race
- cloaning, cloaking and invisibility
- deferring the future
- curation of/ for the future
- speculative social/ethical/technological experiments – either real
(lived) or imagined, fictionalised or proposed
- networked community formation or disintegration
- the angel of history – historical networked utopias
- dreams of ubiquitous connectivity, of communication and connection
- transcendent myths of wirelessness
- Web 3.0, 4.0 5.0…
- re-enactments and wistful thinking
- imaginary museums
- industrial utopias: the Ford Motor company, The Bata shoe factory,
Phillips’ forbidden city
- The EPCOT centre
- cold war science fictions
- incomprehensible technologies
- military research & development
- information design
- open-source cultures and ‘free’ media
- cities of the future
- optimism and cynicism in post war culture
Interactive Programme Developer - AUT & The Edge
(PART-TIME 20 hours/week)
AUT University and The Edge are looking for an Interactive Programme Developer to help curate and manage a year-long pilot project for the permanent interactive screen at The Edge based at the Aotea Centre.
Key Skills Sought:
Curatorial or media programming experience
Business administrative knowledge.
Full driver's licence preferable
The successful applicants should have:
A formal qualification at degree level
Excellent communication skills (oral and written)
A high level of organisational and time management skills
The ability to work independently.
AUT University is an EEO employer; committed to the Treaty of Waitangi and to equity. AUT aspires to be the University of choice for Maori and Pacific communities
You must be eligible to work in NZ to be considered for this position
Closing Date: 28 February 2011 - 9pm
For more information about this position you can contact the AUT Human Resources Department on (09) 921 9995begin_of_the_skype_highlighting (09) 921 9995 end_of_the_skype_highlighting or hr.enquiries(a)aut.ac.nz or see http://careers.aut.ac.nz/jobdetails?ajid=eq2x7
Ph: +64 (09) 921-9566
Mobile: 021 275 2243
Convergence Collaboration Communities
VISUALIZAR'11: Understanding Infrastructures
Call for Projects and Papers
*Deadline: March 21, 2011*
*Call for collaborators: April 11, 2011*
*Dates of the workshop: June 14 through July 1, 2011*
Medialab-Prado and EOI Business School call for projects and papers that
will investigate, analyze and represent through data the running of
infrastractures and global systems. Selected projects will be
collaboratively developed during the Visualizar'11: Understanding
infrastructures workshop, that will be held in Madrid from *June 16 to
July 1, * *2011*.
Papers will be publicly presented during the previous international
seminar on June 14 and 15, 2011.
- Energy infrastructures. Power grids, gas and oil distribution
networks, renewable energy production networks...
- Transport infrastructures. Aerial and sea routes, road and rail
networks, urban mobility networks...
- Information infrastructures. Radio and TV broadcasting, data networks,
communications satellites, underwater cables, wireless urban networks,
terrestrial and mobile telephony.
- Supply chain infrastracture. Processes and systems of the
agro-alimentary production, goods and products distribution networks...
- Removal Chain. Waste collection systems, treatment plants, recycling
- Economy and financial infrastructures. Banks, trade zones, processes
and agents of the financial markets...
- Legal infrastructures. International agreements, regulation bodies,
territory regulation plans... (See the list of related links and references)
Medialab-Prado's Visualizar program is a research and education platform
devoted to exploring the culture of Big Data and its impact today in
science, society and the arts.
Since its first edition in 2007 the program has gathered more than one
hundred participants from all over the world who have developed projects
explaining stories about phenomena like pollution levels and traffic
flows within big cities, the use of social networks in political
campaigns or the financing of cultural institutions.
Each Visualizar edition includes an intensive project development
workshop, a conference, educational activities open to the public and
the exhibition of the developed projects.
Directed by José Luis de Vicente. With the support of Bestiario
Those interested may apply until March 21 through the online form
available at http://medialab-prado.es
Nerea García Garmendia
Comunicación / Press
Área de Las Artes, Ayuntamiento de Madrid
Plaza de las Letras
Alameda, 15 28014 Madrid
Tfno. +34 914 202 754
"Antes de imprimir este documento asegúrate de que es realmente necesario. ¡Gracias por tu colaboración!"
The official call for proposals for performances for the 111111 UpStage
Festival is now open, from 11022011.
/eclectic electric excitement!/
The fifth annual festival of cyberformance in UpStage
<http://upstage.org.nz/blog/?page_id=1958> will take place live online,
on and around 11 November 2011. UpStage is a web-based platform for
cyberformance: remote performers combine images, animations, audio, web
cams, text and drawing in real-time for an online audience.
This year, the festival coincides with the full moon, and we encourage
proposals that incorporate this, but you do not need to be restricted to
this theme. The only limitations are that all shows must be created and
performed in UpStage, and must not be longer than 20 minutes and 11
seconds (during the festival a performance begins every half hour).
Before submitting a proposal, you are welcome to join us in UpStage to
learn about the platform and the festival, discuss project ideas and
meet potential "co-conspirators". There will be online sessions on:
9 March: introduction to UpStage
=> 9am NZ time (find your local time here <http://tinyurl.com/5tb59zb>)
=> 9pm NZ time (find your local time here <http://tinyurl.com/4dlhnvb>)
6 April: pitching and matchmaking (artists seeking collaborators can
pitch ideas to others seeking a group to join). Times will be advertised
on the web site, www.upstage.org.nz <http://www.upstage.org.nz>.
Please email info(a)upstage.org.nz <mailto:firstname.lastname@example.org> if you
need a guest log-in for these sessions or have any questions. The
sessions will be held in the Swaray stage
Proposals must be emailed to info(a)upstage.org.nz
<mailto:email@example.com> by *April 11 2011.*
- the title of the show (it can be a working title);
- explanation of the concept (not more than one page);
- names and locations of people involved;
- brief background/bios (not more than 300 words each);
- an image that gives an idea of the thematic content;
- contact email and postal address.
All proposals will be considered by the 111111 UpStage Festival
curatorial panel and the selection will be announced on 11 May. The
selected performances will be supported with mentoring and training as
required. The festival will take place on and around 11 November 2011
(depending on your time zone) and each performance will normally play
2-3 times during the festival. The exact schedule will be negotiated
between everyone involved and announced on 11 October 2011.
Information about past festivals, including showreels, can be found here
<http://upstage.org.nz/blog/?page_id=1958>. You are welcome to email
info(a)upstage.org.nz <mailto:firstname.lastname@example.org> with any questions.
Vicki Smith & Helen Varley Jamieson
111111 UpStage Festival Architects
helen varley jamieson: creative catalyst