may be of interest to some on this list :)
-------- Original Message --------
Subject: [cc-nz] InternetNZ Community Funding
Date: Thu, 25 Sep 2014 09:33:27 +1200
From: Matt McGregor <matt(a)creativecommons.org.nz>
Reply-To: cc-nz(a)groups.creativecommons.org.nz
To: cc-nz(a)groups.creativecommons.org.nz
Hi all,
Our partners at InternetNZ have announced a significant community funding
round that some CCers might considering applying for. From the press
release:
"InternetNZ has launched two funding rounds as it continues its work to
with the Internet community in New Zealand to advance its vision of a
better world through a better Internet.
The Community Projects funding round is to help fund community projects
that will extend the availability, use and benefit of the Internet and its
associated technologies and applications in New Zealand, while the
Conference Attendance funding round provides support for attendance at
conferences where that attendance will assist in the achieving of
InternetNZ’s Objects and where it will grow the pool of expertise in
particular areas in NZ.
InternetNZ has a total of $80,000 for its Community Projects funding and
$20,000 for conference attendance."
The first stage – Expressions of Interest – closes on 16 October 2014,
details and application forms are at
https://internetnz.net.nz/forms/Community-Projects-Funding-Round and
https://internetnz.net.nz/forms/Conference-Attendance-Funding-Round.
Cheers,
Matt
--
Matt McGregor
Public Lead
Creative Commons Aotearoa New Zealand
027 337 8668
creativecommons.org.nz
groups.creativecommons.org.nz
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Hello, For anyone in the Berlin area this Saturday, the INSTITUT FÜR ALLES MÖGLICHE (I-A-M.TK) will present IZABELA LESKA - SUBJECTIVE WALKS
DOWNLOAD FILE, and ABJECT, QUARANTINED, AND TRANSFORMED MONUMENTS
by Brit Bunkley at 5:00 at 11 and 10 Shererstrase http://www.i-a-m.tk/coming-soon.html . And also a W. Mark Sutherland performance at the Quiet Cue, a nonprofit space for intermedia art - http://quietcue.blogspot.ca/
OPEN DOORS WEDDING
27.09.2014 / 5 – 7 PM
@ ZENTRALE + NIEDERLASSUNG BERLIN / SCHERERSTR 11+10 / BERLIN-WEDDING
SUBJECTIVE WALKS
BY IZABELA ŁĘSKA (PL) (WWW.IZABELALESKA.COM)
31.08 - 28.09.2014
OPEN STUDIO: 27.09.2014 / 5 PM
NIEDERLASSUNG BERLIN
DURING A PERIOD OF ONE MONTH I’M GOING TO TAKE A SERIES OF WALKS. EVERY DAY I GO OUT INTO THE CITY OF BERLIN AND I GIVE MYSELF BEAR HIS RHYTHM. I SAVOR THE ACT OF WALKING ITSELF AND I RECORD THE EXACT COURSE OF EACH WALK. IT RESULTS IN A LINEAR IMAGE, WHICH BECOMES A FORM OF AN URBAN DRAWING.
IZABELA LESKA - SUBJECTIVE WALKS
DOWNLOAD FILE
ABJECT, QUARANTINED, AND TRANSFORMED MONUMENTS
BY BRIT BUNKLEY (NZ) (WWW.BRITBUNKLEY.COM)
27.09.2014 / 6 PM
ZENTRALE
A TALK ABOUT THE CURRENT PROJECT ON 3D SCANNED AND VIDEOED MONUMENTS - E.G. THE BRIKENAU GATE, THE TEUFELSBERG NSA STATION ON TOP OF A MANMADE MOUNTAIN MADE FROM THE RUBLE OF BERLIN, A LENIN STATUE IN THE COMMUNIST MUSEUM (ANTI-COMMUNIST MUSEUM) IN PRAGUE, BULLET HOLE RIDDEN COLUMNS ON MUSEUM ISLAND, KAFKA'S HOMES, AND ETC. AS WELL AS other RELATED WORK. http://www.i-a-m.tk/coming-soon.html
Cheers,
Brit Bunkley
This may be of interest to the digital deletion people who spoke at mesh cities
Begin forwarded message:
> From: Sean Bowden <s.bowden(a)deakin.edu.au>
> Date: 16 September 2014 5:17:45 PM NZST
> To: "ascp-news(a)lists.unsw.edu.au" <ascp-news(a)lists.unsw.edu.au>
> Subject: [Ascp-news] Second CFP: "Living with the Digital Dead"
>
> Second Call for Papers:
>
> "Living With the Digital Dead"
>
> Burwood Corporate Centre, Deakin University, Melbourne, Friday 7th November
>
> Researchers across a number of disciplines have noted that the internet, and especially the increasing ubiquity of social media, is changing the ways in which the dead figure in the lives of the living. New means of commemorating, remembering, forgetting, interacting with and even denigrating the dead have emerged in online contexts, from online memorial sites, to new conventions of public mourning, to Facebook users continuing to post on the walls of deceased friends, to speculative new technologies that will create interactive avatars of the dead. Such practices raise important questions about the ontological, ethical, and social standing of the electronically-mediated dead and the digital 'remains' in which they are instantiated.
>
> This workshop aims to bring together researchers working on this topic from a range of interdisciplinary perspectives, including philosophy, media studies, cultural studies and sociology. A small number of speaking slots are still available and the deadline has now been extended: prospective speakers are asked to email a short (<300 word) summary to patrick.stokes(a)deakin.edu.au by Friday 26th September.
>
> If you would like to attend this workshop please email Neil Henderson (njhen(a)deakin.edu.au); attendance is free but registration is required for catering purposes.
>
> This event is being held as part of "Online Interactions with the Dead" (http://www.deakin.edu.au/arts-ed/centre-for-citizenship-and-globalisation/r…), a one-year research project funded by Deakin University. The workshop is hosted by the European Philosophy and the History of Ideas group (http://www.deakin.edu.au/arts-ed/centre-for-citizenship-and-globalisation/r…)
>
> ---------------------
> Dr Patrick Stokes
> Lecturer in Philosophy
> School of Humanities and Social Sciences
> Deakin University
>
> D5.18 Melbourne Campus
> 221 Burwood Highway, Burwood VIC 3125, Australia
> Ph. +61 3 9244 3941 : Fx. +61 3 9251 7394
> Email: patrick.stokes(a)deakin.edu.au
> Web: www.deakin.edu.au : www.patrickstokes.com
>
> Sean Bowden
> Lecturer in Philosophy
> School of Humanities and Social Sciences, Faculty of Arts & Education
>
>
> Deakin University
> Melbourne Burwood Campus, 221 Burwood Highway, Burwood, VIC 3125
> +61 3 92468295
> s.bowden(a)deakin.edu.au
> www.deakin.edu.au
> Deakin University CRICOS Provider Code 00113B
>
>
> Important Notice: The contents of this email are intended solely for the named addressee and are confidential; any unauthorised use, reproduction or storage of the contents is expressly prohibited. If you have received this email in error, please delete it and any attachments immediately and advise the sender by return email or telephone.
>
> Deakin University does not warrant that this email and any attachments are error or virus free. _______________________________________________
> ascp-news mailing list
> ascp-news(a)lists.unsw.edu.au
> https://www.lists.unsw.edu.au/mailman/listinfo/ascp-news
Melissa Laing
melissa(a)melissalaing.com
www.melissalaing.comwww.universitywithoutconditions.ac.nz
Morena
http://www.ada.net.nz/projects/meshcities-artist-tour-2014/
If you are in or visiting Wellington on Friday come along to the last of
the ADA mesh Cities Artist Tour workshops for 2014
Its a chance to look at the SoundSky app and to meet with artists behind it
(Trudy on site and Halsey from Boston), hear about the thinking and
technology behind it, and to play with a local instance that is set up
especially for the workshop
Follow the link above for the flyer and to register
Join us at Massey College of Arts Block 2, Room 2d09 ~ Friday 19 September
10-12noon
it is FREE but does require a registration
Hope you can join us :)
Hey ADAers,
Great to meet a lot of you on the weekend at the Auckland Mesh Cities
symposium. Had some great conversations and saw some really interesting
work.
The 'Engaging Publics' conference at the AAG was on at the same time and
the topics of community and socially engaged art came up a lot of the
weekend. So I thought it was worthwhile to clarify a few of my critiques of
it, and mention some of the ideas which have been kicking around for a few
years in the UK especially but perhaps not so much in Aotearoa.
Very simplified, the process goes something like this:
1. Work is done in the community.
If this was simple community or social work with the goal of connecting
with people or creating community, then the process would stop there, but
because this is an arts project, we move on to the next step...
2. This project is converted to cultural capital by presenting it in an
arts context.
As I mentioned at the conference and reiterated by Bishop below, the
'proof' of successful art is often done with statistics around
participation rates or anecdotes about meaningful conversations, the same
kinds of metrics that governments use. In many ways, it's irrelevant
whether the content of this project is critical of current social or
political conditions. Indeed, as the popularity of Banksy's work attests
to, this 'counter cultural' stance can often be the most effective in
creating significant cultural capital.
3. This cultural capital is distributed and reconverted to financial
capital.
Similar to intellectual property or cognitive capital, this cultural
capital enriches not just the artist but her surrounding network of
cultural, civic and business institutions. This can then be capitalized on
by a range of industries, the first of which are tourism boards and city
councils, cashing in on their locations as vibrant, culturally rich areas
unique from the cookie-cutter homogeneity of globalized spaces.
4. This financial capital amplifies the pressures on any kind of community
via typical neoliberal operations.
The familiar processes of gentrification are amplified, landlords
increasing rent with demand and property developers producing spaces more
suited for consumers higher on the socioeconomic spectrum. As Jonathan
Crary has noted, these neoliberal pressures are towards individualization
and atomisation, obliterating any kind of meaningful communality. And as
Zygmunt Bauman has shown, this extends to architecture and civic space,
replacing for example, public squares with the quasi-public shopping mall
and neighbourhoods with gated communities. Obviously, this is not a rapid
process with any beginning or end, but more a series of subtle
transformations over a range of time frames.
To be clear, this is not an attack on community or socially engaged arts as
such. Instead, I think we simply need to be very aware of how these art
forms are instrumentalised and co-opted, and clear about what our
intentions are and what other 'stakeholders' intentions are. Despite the
glut of mediocre public art projects, I still believe public and community
art holds a lot of potential. This is not because it is de-facto more
public or democratic than the 'elitist' white cube. As Felix
Gonzales-Torres commented, accessibility doesn't equate to public
engagement. Instead, public art is simply a different form, with different
considerations, which has yet to be fully explored and investigated. Like
Bishop, I'm interested in an uneasy public art which can't function as
aspirational model, the work of Christoph Schlingensief being a prime
example of this approach.
I've included a couple quotes below, with links to the full texts.
The problem is that neoliberal governments also instrumentalise art for
social ends, privileging participatory art as away to provide homeopathic
solutions to problems that are systemic. Socially participatory art often
serves to fulfil these government agendas for ‘social inclusion’ (ie
compulsory participation in a consumer society), even though its rhetoric
is ostensibly oppositional. Both camps spurn a framework for accounting for
these gestures as art: the artists because they tend to view artistic
questions as elitist and synonymous with privilege; governments (ie
cultural policy makers) because it is easier to deal with art
quantitatively (ie as a matter of statistics - who participates, how many
etc) than qualitatively.
-Claire Bishop
https://www.academia.edu/771895/On_participatory_art_Interview_with_Claire_…
Even putting aside the exploitation of the writer/artist: we have still not
reached a point where we critically analyze whether or not an art/social
justice project is actually left/radical/progressive; we simply assume it
to be so. Art/ social justice projects are well intentioned and some are
insightful, but the politics of these works rarely does much to challenge
the status quo. Instead, the overwhelming message is usually that certain
systems of oppression, like racism, sexism, and homophobia, are bad. There
is little consideration given to a more nuanced and more devastating
analysis of the ideological forces and the economic inequality that keeps
those systems alive.
-Yasmin Nair
http://www.yasminnair.net/content/make-art-change-world-starve-fallacy-art-…
Within a relatively small country like New Zealand its often difficult to
be critical because everyone is somehow linked and the arts scene has
external pressures as it is. But I think it's important to have these
conversations, not as a way to knock others down, but as a way to push our
practices forward. Simply put, to make better work.
best,
Luke
lukemunn.com
twitter:@lukemunn
Kia ora Whanau
As advised in the ADA Symposium programme, today is the ADA AGM for 2014
which you are all invited to attend we intend to start at 1pm
Please search and ask for a connect to exitstagewest if you wish to join
remotely
The agenda for the meeting is linked from the programme;
http://www.ada.net.nz/symposia/auckland-symposium-programme/
or here http://www.ada.net.nz/symposia/symposium2014-symposia/ada-agm-2014/
Those not in Auckland today, and not able to connect by Skype please email
admin(a)ada.net.nz to indicate your wish to add apologies to the notes
Many thanks for your support of Aotearoa Digital Arts (ADA) Network
Vicki Smith for the ADA Board
And another oneŠ:-)
Lecturer/Senior Lecturer in Digital Media
PERMANENT
1.0 FTE
The School of Communication
Studies, within the Faculty of Design and Creative Technologies seeks
applications for a permanent, full time Lecturer or Senior Lecturer
within its Digital Media programmes.
The preferred applicants will
be required to have proven professional expertise and teaching
experience across at least three of the following specialisations:
- animation
- 3D modelling
- compositing and visual effects
- digital video production/postproduction
- interactive media design
- mobile communication design
- motion graphic design
- project management
- sound design/digital audio production
- transmedia communication
- web design and development
- visual communication
The
preferred applicants are also expected to be proficient in several
areas of digital media theory and related disciplines and to contribute
to the teaching and research culture of the School, with a particular
emphasis on preserving the vital link between professional practice and
the best practice examples of digital media education and research,
nationally and internationally.
Individuals who can demonstrate,
within their specialism, research potential, industry experience and an
inspiring approach to teaching are particularly invited to apply.
The
salary level offered and the appointment at the level of Lecturer or
Senior Lecturer will be commensurate with the skills and experience of
the successful applicants.
You must be eligible to work in New Zealand to be considered for this
position.
Job Reference: 28370
Close Date: Wednesday 15th October 2014, 5.00 PM
Commencement Date of role: 1 February 2015
just in case ...
Applications are invited for a three-year fixed-term Lectureship specialising in digital media production within the Media Studies and Expressive Arts programmes at Massey University Wellington. Digital media production involves the making of screen media texts, the study of the ways in which they construct and convey meaning, and of the social, cultural and political contexts of media production and reception. See more at:http://www.thebigidea.co.nz/work/jobs-opportunities/digital-culture/145277-lecturer-media-studies
____________________________________________________________________________________
Sonja van Kerkhoff
ART: sonjavank.com DESIGN: sonjavank.com/design
VIDEOS: youtube.com/sonjavank VIDEOS: vimeo.com/sonjavank
