August 2011 - Ada_list - University of Waikato Mail Lists

new workshop for people designing and building musical instruments in Auckland

by Robin Paulson

Hi all, A group of musicians and makers are starting a workshop for anyone in Auckland interested in designing, building and playing acoustic or electronic music instruments, effects units, sound art devices or noise machines. If you are into any of the following, you might like to join us: * Circuit-bending * Musique concrete * Found sounds * Prepared/treated instruments * Home-made instruments The events will be informal and low-key, mainly discussion and building with occasional presenters. Bring an instrument or device you are working on, ask for help, do some collaborative design work Make connections with other musicians and sound artists The location is a community workshop/art space near Karangahape Road with plenty of tools for woodwork, metalwork, electronics, etc., which are available for use. When: Every 4th Sunday of the month, 2pm - 4pm Where: Tangle Ball, 27 Edinburgh Street, Newton The first get together will be on the 25th of September. More info to come here: http://www.tangleball.org.nz/?q=node/208 Any questions please ask. All welcome -- robin http://tangleball.org.nz - Auckland's Creative Space http://bumblepuppy.org/blog/?p=237 - government bill to remove basic human rights in NZ

9 years, 7 months

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Bathing with Elephants - Call for submissions

by Dawn Hutchesson

Bathing with Elephants and other Exotic Reveries Call for submissions Vitamin S, CoLab and THE EDGE co-lab-orate to bring new perspectives to borrowed visions. Set amongst the Civic theatre foyer rooms (Safari & Taj Mahal) depicting ‘romantic images of the east’ ‘Bathing with Elephants and other Exotic Reveries’ mixes genre and technology like a kitchen-whizz in a Bombay spice shop. Performance technologies are cross-bred by musicians, designers, theatre-makers, dancers and visual/performance artists to create their own unimaginable exotic beasts, new worlds and transcendent journeys. Like architects and artists of the old world before them, imagining exotic far-off lands and freely mixing fantasy with reality from the newly accessible scientific world, the artists of ‘Bathing with Elephants and other Exotic Reveries’ will inspire sumptuous futures based on new technologies and unrestrained. CALL FOR SUBMISSIONS Be the exotic adventurer you always knew you were. Take us on an incredible journey that no human has even been on before. Guided by new technologies and media, and an unstoppable desire for uncertainty, Vitamin S in collaboration with CoLab and THE EDGE want you to create a cross-bred exotic performance beast. Call it hybrid, cross-discipline, fusion, mongrel, whatever you like, we seek artists who will present us a vision of the future un-tempered by existing performance models. Inspiration for your proposition should consider the location specific venue – the below-ground-level reception rooms at the Civic Theatre. The Taj Mahal and the Safari Room are dripping with desire to bring audiences to new and exotic places. Your proposal should try to mix new technologies, interactive technology, and folk-truths to create a performance experience for the audience like a ‘ghost train’ of atmospheric performance spaces. This may include sound, light, 3d design, interactive technology, transmedia in order to envelope and emerse the audiences into an exotic or unconventional vision and performance experience. The performance season will be from January 26 to January 28 in the Civic Safari, Taj Mahal and their entrances. Budget A commission budget of $500 for each creator/project (8 spots available). A further $200 to contribute to materials. The profits from the box office (after expenses) will also be shared among the artists/performers from the commissions. Some access to a range of new and established technologies will come from CoLab at AUT and THE EDGE. You should explain how your idea can fit within this budget what resources you have, and what resources we can make available to you in order to carry the installation off. Marketing and publicity will be covered by the festival season.The season performances will be from January 26 to January 28 in the Civic Safari, Taj Mahal and their entrances. There will be a pack in and rehearsal time available within the performance spaces in the week leading up to the opening on 26 January Please contact drew drew(a)vitamin-s.co.nz to submit any vision, proposal, or conceptual ideas. Once your vision, proposal, or concept has been received - we would like to arrange times to meet with you to discuss the project further. All submissions will be received up until the date September the 30th

9 years, 7 months

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NOP & project CONNECT / free joystick workshops this week

by Nolwenn Hugain-Lacire

NOP.nz (New Orchestra Practices in New Zealand) presents a series of free workshops at Project CONNECT. Anyone can join one workshop to play both sound and images in a joystick orchestra thanks to a device called Meta-Mallette. No particular skills are required; you just have to be open-minded. Monday 29 August / Wednesday 31 August / Thursday 1 September 5.30pm to 6.30pm. The Biz Dojo / Suite 204/ level 2 / IRONBANK Building / 150 Karangahape Road / Auckland. More info on www.nop-project.com --

9 years, 7 months

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[ MINA ] call for Mobile Films & [ MINA ] call for Papers - http://bit.ly/mina2011

by Max Schleser

Mobile Innovation Network Aotearoa [ MINA ] Call for Mobile Films: International Mobile Innovation Screening 2011 23rd – 26th November 2011 Film Archive, Wellington, New Zealand [www.filmarchive.org.nz] The International Mobile Innovation Screening 2011 will showcase films produced on, for and with mobile devices by international filmmakers such as Dario Apostoli (Italy), Camille Baker (Canada/U.K.), Bebe Beard (U.S.A.), Felipe Cardona (Columbia), Louise Botkay Courcier (Brazil), Ayran Kaganof (South Africa), Adam Kossoff (U.K.), Anne Massoni (U.S.A.), Sylvie Prasad (U.K.) and Anders Weberg (Sweden) amongst others. In addition MINA will feature selected mobile film screenings from the Mobilefest (Brazil), Mobile Screenfest International (Australia) and Ohrenblick (Germany). The program is curated by the Mobile Innovation Network Aotearoa [MINA], which aims to explore the possibilities of interaction between people, content and the creative industries. Deadline for submission of Mobile Films: 30th September 2011 Please send proposals of approximately 250 words including the mobile film title, two still images, link to online preview (if available) and a brief biographical note to max(a)mina.pro Contact Max Schleser for further assistance regarding submission enquiries relating to mobile films [email: max(a)mina.pro | mobile: +64 [0] 22 692 0872].Work can be sent in digital format, via post or courier: Dr. Max Schleser c/o MINA Institute of Communication Design Po Box 756 Wellington, New Zealand Call for Papers: [ MINA ] Symposium 26th November 2011 Film Archive, Wellington, NZ [www.filmarchive.org.nz] As part of the International Mobile Innovation Screening, the [ MINA ] symposium will also take place on the 26th November 2011 in the Film Archive in Wellington. The symposium will provide a platform for filmmakers, artists, researchers, ‘pro-d-users’ and industry professionals to debate the prospect of wireless, mobile and ubiquitous technologies in art and design practice and the creative industries. [ MINA ] invites paper proposals relating to mobile technologies, mobile creativity and mobile filmmaking. Mobile aesthetics entered the mediascape from 2004 onwards and illustrate innovation in the creative application of wireless, mobile and ubiquitous technologies. Within the last decade mobile video technology developed from a low-res 3gp video format to HD video and simultaneously embraces the shift towards web 2.0/3.0. In 2006 mobile phones outnumbered the volume of film and digital cameras combined, whilst industry research forecasts a continuous development and innovation in the area of mobile technologies. Yet no industry standards for production and consumption of the emerging video format have been established. Concurrently a proliferation of creative mobile media practices surfaced within the field of documentary filmmaking, art and design practice. Paper proposals should be submitted by the 30th September 2011. Please send a proposal of approximately 250 words with a title and brief biographical note to max(a)mina.pro -- Empfehlen Sie GMX DSL Ihren Freunden und Bekannten und wir belohnen Sie mit bis zu 50,- Euro! https://freundschaftswerbung.gmx.de

9 years, 7 months

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Digital Art Live / Call Out For Artists

by Nolwenn Hugain-Lacire

CoLab (AUT University's creative technologies research centre) and THE EDGE (Auckland's centre for national and international performing arts and entertainment) are working collaboratively to present Digital Art Live, an exciting new initiative to showcase digital and interactive visual art in an interactive space. The interactive space is located in the Owens Foyer on Level 2 of the Aotea Centre in Auckland, New Zealand. The Interactive Programme Committee is calling for applications from creative practitioners and artists interested in presenting interactive works in this space. This call out is made possible through the support of Creative New Zealand. More information on http://www.colab.org.nz/node/1013 ----- Nolwenn HUGAIN-LACIRE Digital Art Live coordinator THE EDGE & CoLab / AUT University

9 years, 7 months

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Digital Art Live gets happy at "Be My Mirror"

by Nolwenn Hugain-Lacire

Digital Art Live is pleased to present its new interactive exhibition "Be My Mirror" by James Charlton. Join us tomorrow for Happy Hour with drinks from $4 and be ready to blow up really hard! Friday 26 August / 6 to 8 pm / Owens Foyer, Aotea Centre, THE EDGE. This event is in conjunction with We Can Create. More information on http://www.the-edge.co.nz/Event-Pages/B/Be-My-Mirror.aspx Nolwenn HUGAIN-LACIRE Digital Art Live coordinator THE EDGE & CoLab / AUT University

9 years, 7 months

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ENVISAGE 7 SPORT & TECHNOLOGY

by Dawn Hutchesson

ENVISAGE 7: SPORT AND TECHNOLOGY Presentation Series Date: Thursday 22 September Time: 6.30 - 8:30 pm Venue: AUT Conference Centre WA224, 55 Wellesley Street West, Auckland Central Admission: FREE Entry details: REGISTRATION ESSENTIAL Our next Envisage Program, brought to you by CoLab in partnership with ATEED and FILM AUCKLAND, will focus on new developments and opportunities in Sport and Technology with speakers from leading research centres and design companies. Our guest speakers include people from leading companies from the design and sport industries. STEPHEN KENT ZEPHIR TECHNOLOGIES Monitoring the Human Sports Machine - The evolution of technology to monitor athletes. Stephen will discuss in part what role Zephyr has in this area and companies we have worked with. He will also discuss the future of sports monitoring in the exciting world of social networking, open source development and cloud computing technology. DR. NICHOLAS GILL ALL BLACKS TRAINER Nicholas Gill will expand on the uses and applications of technology in rugby union to improve athlete's performance and reduce injury risk. MARIO WYNANDS MANAGING DIRECTOR SIDHE The Making of Rugby Challenge - A look behind the scenes at major console game Rugby Challenge, discussing the design philosophy, processes and technologies at Sidhe that have gone into creating the largest videogame production in New Zealand. Mario Wynands is the Managing Director and co-founder of Sidhe, New Zealand's largest game development studio. In his 14 years at the company, he has run studio operations, managed numerous games and overseen the creation of many successful titles including Shatter, GripShift, and Speed Racer. Wynands also introduced the company’s PikPok label which has released multiple hits for iOS and Android. Wynands is a graduate of Victoria University in Wellington with degrees in business management and computer science, and has studied at MIT Sloan. GLENN JENKINS SPEED POWER & STABILITY SYSTEMS Commercialising Elite Rugby Knowledge through Innovative Technology Solutions.The Crusaders player development and coaching systems lead the way, setting standards many aspire to reach. Cornerstone to the Crusaders powerful history is the unique training environment and culture within which they operate. Registration is essential as places are limited to 150 people. Please RSVP contacting patricia.aguilera(a)aut.ac.nz or visit www.colab.org.nz for more information.

9 years, 8 months

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An invitation to make-shift - online, Saturday 20th August

by helen varley jamieson

Dear Friends, We are performing 'make-shift' again and we would love you to join us for the online event at 10am (UK time), Saturday 20th August. 'make-shift' is programmed as part of Magdalena - Legacy and Challenge <http://www.chapter.org/23438.html> Festival at Chapter, Cardiff, UK so both Helen and Paula will be in houses in Cardiff (only streets away from each other... actually we could probably shout to each other instead...) To access the performance go to www.make-shift.net and follow the LIVE LINK in the top right hand corner of the home page. Please get there a few minutes early to make sure that everything loads ok. There is more information about the work below and we look forward to you joining us on Saturday. Best wishes Paula and Helen / "When I was growing up and something important got sucked up the hoover, my mum could be persuaded to get a piece of newspaper, unfold it on the floor and empty the cloth bag to try and find the missing thing. I don't do that. Barbie shoes, fuzzy felt animals, bits of lego that are really important parts of a helicopter, multi-coloured beads from broken bracelets. I don't care. Up into the hoover it goes and away with it. To somewhere else. Outside my home. To where I can't see it anymore."/ ??make-shift is a unique and intimate networked performance that speaks about the fragile connectivity of human and ecological relationships. Devised by Paula Crutchlow (Devon based performer and director) and Helen Varley Jamieson (NZ writer and cyberformer) the performance takes place simultaneously in two separate houses that are connected through a specially designed online interface. Paula and Helen (one in each house) stage their part of the work with the help of a group of around 15 local audience members. Scripted and visually poetic performance is interspersed with webcam videography, avatar puppetry and audience interaction in the format of a performative salon. Everything that happens in the houses is streamed to online audiences who can also contribute text chat visible on the interface to everyone throughout the event. make-shift is an ecologically aware house party with a difference. As well as experiencing the intimacy, viscerality and shared experience of a live performance event; local and online audiences participate in a call-and-response between people, landscape and culture to discuss the theme of 'disposability' in its broadest sense. On 18th September at ISEA in Istanbul, we will giving a presentation on make-shift as part of the Furtherfield panel -- "Media Art Ecologies -- is digital culture a contributor to climate change?" /"Helen and Paula arranged the magical elements of telematic performance for the make-shift event at HTTP Gallery in a montage of stuff, poetry, sound, images, dialogue, polemic and actions. It was utterly engrossing and left us all with a thrilling sense of the unexplored potential of theatre and performance in the networked age." /Ruth Catlow, HTTP Gallery. -- BLIND DITCH performance. installation. intervention. participation e:paula@blindditch.org t: +44 (0) 7881 862714 w:www.blindditch.org www.vanland.org Blind Ditch is a Company Limited by Guarantee Registered in England No 06701599 Registered Office - 2 Barnfield Crescent, Exeter, EX11QT This email and associated attachments are sent in confidence for the addressee(s) only. Unauthorised use, dissemination, distribution, publication or copying of this communication without permission is strictly prohibited. If you receive this communication in error, please notify us immediately and delete any copies. Blind Ditch cannot accept responsibility for any loss or damage arising from any use of this e-mail or attachments. Any views expressed may not necessarily be the views of the company.

9 years, 8 months

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Digital Art Live / Be My Mirror by James CHarlton

by Nolwenn Hugain-Lacire

Digital Art Live is pleased to present the interactive exhibition Be My Mirror by James Charlton. 19 August to 2 October 2011 / Free / Aotea Centre, Owens Foyer, level 2 EXHIBITION In 1966 when Andy Warhol presented his installation "Silver Clouds", visitors were invited to playfully interact with large helium filled balloons. In a contemporary take on Warhol's work, James Charlton's Digital Art Live exhibition asks people to inflate virtual balloons by blowing into specially designed exhalant devices in front of the interactive screen. Balloons appear and inflate in the endless void of the interactive screen, floating gently around until eventually, colliding with each other and bursting. If Warhol's balloons were about the artist sense of himself, then Charlton's balloons speak to the audience's sense of themselves. Come down and inflate virtual balloons to your hearts content - or until your bubble bursts! ARTIST James Charlton immigrated to New Zealand from the UK in 1973 gaining his BFA from Auckland University in 1982. As a Fulbright recipient he completed his MFA at the University at Albany in 1986. Remaining in the US until 1990, he exhibited extensively in solo and group exhibitions and was represented by Akin Gallery in Boston and John Gibson Gallery in New York. During this time he lectured in sculpture at the University of New Hampshire, Monserrat College of Art. Returning to New Zealand in 1991, Charlton became one of the founding members of the ASA School of Art Visual Arts Degree, and was subsequently appointed Curriculum Leader of Sculpture in the Visual Arts Programme at Auckland University of Technology. In 2008 he left to take up the position of Programme Leader for the newly established Bachelor of Creative Technologies at AUT where he lectures in Sculpture and Interactive Media. While his practice is clearly located in the context of sculptural practice he engages a range of physical, digital and performative approaches in an exploration into the nature of the artefact as a field of activity in which the viewer is implicated. EVENTS AROUND THE EXHIBITION Digital Art Live gets happy at Be My Mirror. Join us for Happy Hour with drinks from $4. Friday 26 August / 6 to 8 pm / Owens Foyer, Aotea Centre, THE EDGE. This event is in conjunction with We Can Create. Artist talk with James Charlton presenting his work Be My Mirror. James will also discuss with audience how the software Max/MSP/jitter can be used to create interactive works. Monday 26 September / 5.30 pm / FREE / Owens Foyer, Aotea Centre, THE EDGE Part of Deep & Meaningful at THE EDGE Nolwenn HUGAIN-LACIRE Digital Art Live coordinator THE EDGE & CoLab / AUT University

9 years, 8 months

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Two seminars on creative practice and university knowledge

by Danny Butt

Kia ora koutou My first presentations of a lot of recent research happening in Auckland this week if anyone's interested. Hope you're all keeping warm! Danny ---------- Department of Film, Television and Media Studies Research Seminar Series AUDIO-VISUAL PRODUCTION IN THE UNIVERSITY: RESEARCH, KNOWLEDGE, AND CREATIVE PRACTICES. Danny Butt, Elam School of Fine Arts, University of Auckland. Thursday 18th August, 4:15 sharp, drinks to follow. Pat Hanan Room, Room 501, Arts 2, University of Auckland. The emergence of practice-based PhDs in audio-visual fields is usually viewed by other university disciplines as a bureaucratic response to academic professionalisation of audio-visual production, or a marker of academic qualification inflation. Meanwhile, in the professional audio-visual environment the qualifications symbolise a needless academicisation of fields that rely on artistic freedom implicitly located in the market. While these cases have merit (and no shortage of empirical support), historically informed writers on the university such as Jacques Derrida and Bernard Stiegler have for many years urged a response to the decline of the library as “the ideal form of archive,” in a world increasingly shaped by the technics of audio-visual reproduction. Such a response would involve greater consideration of performative rather than constative modes of knowledge. For Derrida, an institutional response appropriate to the times should involve a fundamental return to a university “without condition”, where research and re-elaboration can take place without presupposition, not to enclose itself in the university, but “on the contrary, so as to find the best access to a new public space transformed by new techniques of communication, information, archivization, and knowledge production.” Despite the language of the “return”, Derrida is under no illusions of a prior golden age, noting that the unconditional university has never been in effect. Finding access to the newly mediated public space will involve raising questions about “the form and the authority of the question, about the interrogative form of thought.” Derrida raises the example of the fine arts and literature as works the university to come should support, although he notes that the question remains of how the modes of reflexivity in such works can be productively sutured to the critical-textual traditions of the historical university and its qualifications. This paper traces the historical roots of this problematic and identifies a number of implications for practice-based research qualifications in the contemporary research university. Elam Friday Lecture Series Danny Butt - HISTORIES OF ART EDUCATION AND MODALITIES OF ARTISTIC KNOWLEDGE.* Friday 19th August, 3pm. Elam Lecture Theatre, Elam School of Fine Arts, University of Auckland. From the time of Alberti’s On Painting (1435), art theory has considered the equivalence of the visual arts to other forms of knowledge, specifically the seven liberal arts. The development of the European academy as a basis for theoretical knowledge can be seen in the context of the professional search for autonomy and a gentlemanly aspiration to court society, reflected in the “elitist” reputation of the academy (and the "artworld") at various points in its history. The primary institutional force in Anglophone art and design education, however, emerges from the state-sponsored compulsory drawing education programmes of 19th century Britain, which appropriated instructional models from the French free drawing schools to provide industry-relevant skills and moral discipline. The famous German institutions of the Werkbund and Bauhaus appropriated these UK developments in turn (with a dash of Romanticism) to inaugurate a “scientific humanist” approach to visual arts instruction, aligning with the newly “scientific” form of the university founded in Berlin in the early 19th century. By the 20th century the incorporation of visual arts into the now-dominant U.S. university model had been achieved by the teachers of art education, rather than the teachers of professional artists. The result is that many doctoral programmes adopted the psychological-academic mode of knowledge production, where artists were expected to account for the usefulness of their own work in writing, rather than the customary professional form of knowledge being transmitted by an independent critic. This presentation will show how the diverse constituents of the studio art discipline and the resulting tensions in the role of writing in studio art instruction are at the basis of debates over the doctorate in studio art today. * This paper is conceived as a supplement to my seminar for the Department of Film, Television and Media Studies the day before. While this paper will hopefully be enjoyable on its own, potential audiences are encouraged to also attend the Thursday seminar. -- http://www.dannybutt.net +64 21 456 379

9 years, 8 months

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Ada_list August 2011