/== apologies for cross-posting//==/
The 10th birthday of UpStage will be celebrated on 9-10 January 2014
with three performances, a symposium on remote collaboration, a planning
meeting and the launch of UpStage v3.
*/*The full programme is now online at
Since 2004, artists and students around the world have collaborated via
the internet to create real-time interactive performances
(cyberformance) using the web-based platform UpStage. Annual festivals
have involved hundreds of artists and thousands of audience members, and
a strong community has developed. To celebrate ten years of UpStage,
three new performances have been created; a networked symposium -
between Wellington, Munich and other locations - will address remote
collaboration; and a planning meeting will bring together key people to
discuss possible futures for UpStage.
The third version of the UpStage software will be launched at the
birthday celebrations. Incorporating full audio-visual streaming, new
features and many enhancements, v3 has been developed by Martin
Eisenbarth (Germany) and the UpStage student team at Auckland University
of Technology (New Zealand). It is a significant leap forward for the
software, not only in terms of features and usability but also in
stability and documentation.
_*Three New Cyberformances*_
Five veteran cyberformers and their collaborators are busy creating
three new works to be presented at the birthday celebrations: /Vita
Cyberformativa/by Miljana Peric', /Balloon/by Petyr Veenstra, Floris
Sirag and Gabriella Sacco, and a new work by Etheatre Project and
Miljana Peric' first became involved in UpStage in 2006, and has
presented work at all but one of the festivals. Her energetic and
humorous shows blend theory with politics, and always have strong audio
content, reflecting her background as a musician, ethnomusicologist and
sound artist. The trio creating /Balloon/previously presented /A Plunge
in the Pool/at the 121212 UpStage Festival and /Flat Earth/at 11:11:11.
With backgrounds in theatre, visual arts and music, the group's shows
are like audiovisual poetry, gradually unfolding stories through rich
imagery and haunting text. Etheatre director and theatre researcher
Christina Papagiannouli explores and discusses political issues through
cyberformance. Previous work has addressed the Egyptian revolution (/The
Cyberian Chalk Circle, /2011) and the Greek crisis (/Merry Crisis and a
Happy New Fear/, 2012). For this new work, she has gathered an
international group to develop a performance that uses internal European
migration as a starting point.
_*The Networked Symposium*_
An online symposium addressing the topic of remote collaboration in
cyberformance and networked performance will accompany the performances.
Hosted by Signalraum (Munich) with guest speaker Annie Abrahams, the
symposium aims to provide a space for reflection, discussion, and
analysis. Audiences will be able to participate online as well as at the
venues in Munich and Wellington. Remote presentations will be given by
Isabel Valverde (Portugal) and Christina Papagiannouli (London).
_*The Planning Meeting*_
A meeting in Wellington and online will discuss the current situation of
UpStage and plan for its sustainable future in an increasingly difficult
*Surprise us with a birthday present for UpStage!*
*Donate here: *_*http://upstage.org.nz/blog/?page_id=278*__
_/(if you are a New Zealand tax payer, donations over $5 are tax
*More information about the 10th Birthday: *_*www.upstage.org.nz
*_*Contact: *_*info(a)upstage.org.nz*_ <mailto:email@example.com>
helen varley jamieson
*apologies for cross posting*
ANAT is calling for applications from artists and scientists/researchers
for the prestigious Synapse Residency program. Now in its eighth round, the
program is a core element of the Synapse initiative of the Australia
Council for the Arts and ANAT, which supports collaboration between artists
The residencies are open to Australian artists working in any discipline
and/or medium. Residencies shall take place over 16 weeks full-time (or
part-time equivalent) during the 2014 calendar year.
To ensure a good fit between the artist and host organisation, a joint
application must be submitted. It is the responsibility of the applicants
to establish contact and to identify the nature of the proposed
collaboration prior to application. Those with existing relationships are
strongly encouraged to apply.
The residencies have a creative research focus and it is not expected that
they will result in the production of new work. The residencies may also be
approached as a platform for testing and informing a longer-term research
project suitable for submission to the ARC Synapse Linkage program.
*DEADLINE FOR APPLICATIONS IS 5PM (CDT), FRIDAY 7th of FEBRUARY 2014*
Guidelines, including an application cover sheet, can be downloaded here:
Synapse 8 GUIDELINES<http://www.anat.org.au/wp-content/uploads/2013/11/Synapse-8-GUIDELINES.doc>
This is a highly competitive program. We encourage you to discuss your
project proposal with us prior to the deadline. To do so, or for more
information about the residencies, please contact:
Tel +61 8 8231 9037
www.anat.org.au | www.filter.org.au | www.synapse.net.au
Twitter: __ANAT | Facebook: http://bit.ly/bF9fXl
For 25 years ANAT has championed and supported Australian artists working
at the intersection of art, science and technology.
ANAT is supported by the Visual Arts and Craft Strategy, an initiative of
the Australian, State and Territory Governments, and by the Australian
Government through the Australia Council, its arts funding and advisory
The Audio Foundation is proud to announce the November edition of the SoundBleed online journal featuring writing by Jo Contag, Ducklingmonster, Rory Storm and Angeline Chirnside!!!
You can read it right here - https://soundbleedjournal.wordpress.com/
This will be our last edition for 2013, the next one will be online in Feb 2014.
As ever, comments are open and we encourage discussion!
Please email admin(a)audiofoundation.org.nz with expressions of interest
On behalf of Lena Plaksina,
We are organising a mobile cinema for the 2014 Dunedin Fringe Festival. I am hoping filmmakers in the ADA network will be interested in submitting their work for this special event.
Film on Wheels
- Film will be an important part of the 2014 Festival, not least because we are creating an event specifically to showcase film makers.
The Festival Kiosk, otherwise known as a small caravan, will be fitted out as a mobile cinema and will be touring the city and suburbs in the lead up to and during the Festival.
This is a chance for filmmakers to showcase their work to a wide audience. We are looking for innovative and experimental films under 15 minutes in length in any genre and suitable for a general audience.
An application form for Film on Wheels can be found on the Fringe Festival website (http://landing.dunedinfringe.org.nz/). The deadline for applications is 30 November 2013.
Please also distribute this call out to those who may be interested in participating!
Please contact me at events.fringe(a)gmail.com if you have any questions or comments about the event and/or the application process.
Events Assistant for the Dunedin Fringe
= = =
One of the most extreme and uncompromising musicians of the 21st Century is coming to New Zealand this November - playing all major centres!!! Worshipped internationally for his brutal, speaker destroying sonic assault, underground Japanese industrial noise musician Merzbow (Masami Akita) is a true legend for both his relentless solo releases since 1980 (via Tzadik, Digital Hardcore, Extreme, Relapse and his own ZSF Product) and his crucial collaborations with heavy-hitters Boris, Genesis P-Orridge (Psychic TV), Eye (Boredoms) and more! DON'T MISS OUT on this pivotal tour by the definitive dark master of Japanese noise – presented by Altmusic. Bring earplugs, this show will be LOUD!
Delving deep into otherworldly extremes of industrial, metal machine noise and beyond, Merzbow's blistering output runs the gauntlet of his definitive brand of Japanese noise - from charred & blackened subterranean lows to interstellar cosmic highs. Punishing, remorseless frequencies pour forth in a relentless onslaught of pure sound, decomposing electronic textures devolve into tsunamis of brutal guitar wreckage. Impossible to pin down due to his uncomprehendingly vast ouvre, simultaneously contemplative & aggressive, Merzbow's sound is way beyond music, it simply IS.
“Think of those artists who overpowered the grind of their eras: Bach, Wagner, Miles Davis, The Beatles - all of these people were consistently displaced of their time by the striking originality of their work... there is a case for including Masami Akita (Merzbow) in such a group.” - Pitchfork
“Everyone should own at least one Merzbow record.” - Tiny Mix Tapes
“Though the work is largely atonal and non-harmonic, it is bursting with timbre and texture and vibrancy” - The New Yorker
Thanks to Asia New Zealand Foundation for their support of this tour. This tour is part of Altmusic's programme of independent & adventurous international musicians touring New Zealand in 2013 – special thanks to CNZ for their continued support.
Presale tickets available via Undertheradar - http://www.undertheradar.co.nz/tour/2928/Altmusic-Presents-Merzbow.utr
Auckland - Saturday 16 November, Kings Arms Tavern w/ Memory Burn (Dun) and Chronic Fatigue Syndrome, 9.30 pm
Wellington - Sunday 17 November, Bodega Bar w/ boneAhead, 8pm
Dunedin - Tuesday 19 November, Chicks Hotel w/ Our Love Will Destroy the World, 8.30pm
Christchurch - Thursday 21 November, Dux Live w/ Acclimate, Stanier Black-Five, 9pm
I wanted to let you know that the Popular Memory Archive has launched, and is now open for business! This is the work of my New Zealand and Australian game history and preservation team, known as Play It Again. In it, you’ll find an exhibition on 50 locally written computer games of the 1980s. You can read about our endeavours in the story/press release below, or just check it out for yourself, at www.playitagainproject.org<http://www.playitagainproject.org>
Let the blogging begin! Upload your files! Contribute your memories!
Please help us to get the word out to those who are in the know about 1980s games history.
@AgainPlay & http://www.facebook.com/playitagainproject
Creating a piece of playable history
Games are one of the most significant cultural forms of modern society yet their story is poorly documented in Australia and New Zealand, according to Flinders University Screen and Media Associate Professor Melanie Swalwell.
Associate Professor Swalwell and her research team, together with colleagues from the Australian Centre for the Moving Image, the New Zealand Film Archive and the Berlin Computerspiele Museum, have now launched a project to document and preserve locally-made computer games of the 1980s.
Funded by the Australian Research Council, the Popular Memory Archive (PMA) aims to explore the story of the production and reception of local games, interviewing game creators but also collecting resources and memories from the public who played their way through the history of 1980s computer games.
“The game culture in the 1980s was highly participatory, hands-on and often characterised by a do-it-yourself ethic which is why we are aspiring to create a history of games as they have been used and experienced,” Associate Professor Swalwell said.
The material will then be collated and added to the Play it Again database – an online portal of playable Australasian computer games, developed by the team as a method for documenting and preserving these historic digital artefacts.
Dr Swalwell said the database would provide vital insights into Australia and New Zealand’s early gaming history.
“Until recently, digital software in any form wasn’t regarded as something that should be saved,” Associate Professor Swalwell said.
“As a consequence we have very little information about computer games, despite the prominent cultural function they have in today’s society,” she said.
Flinders PhD candidate Helen Stuckey, who helped design the PMA, said there was no official public record of historic computer games.
“Knowledge about the history of games is overwhelmingly held by private collectors and fans, with ephemera and other primary sources located among the general public,” Ms Stuckey said.
“Much of the existing work on the preservation of early games has been be done by passionate and well organised online fan communities,” she said.
“The PMA in part looks at what institutions can learn from the practices of these groups.”
Featuring a curated selection of games, Dr Swalwell said the PMA will also host monthly panel discussions with invited guests, including Australia and New Zealand game designers of the 1980s, on a range of topics such as gaming pioneers, collectors and copyright.
“We want to hear what people did with early computers and games, what games they wrote, what these games mean and meant to them, what records they have, and what difference their involvement with games made.
“It is hoped these contributors will offer not only their experiences but also artefacts in need of preservation, including images, videos and documentation about programmers, designers and publishers, so that we can have a central, publicly-compiled repository of gaming history.”
During the 18-month project users will be able to submit comments, images, videos and other files to the site.
Visit the website<http://www.playitagainproject.org> for more information or follow the progress on Twitter @AgainPlay or at facebook.com/playitagainproject.