2nd Mobile Creativity and Mobile Innovation Symposium
http://mina2012.eventbrite.co.nz
[Early bird tickets available till 15th OCT]
The Mobile Innovation Network Aotearoa [MINA] creates interactions between people, content and the creative industries. In its second edition the Mobile Creativity and Mobile Innovation Symposium provides a platform for filmmakers, artists, designers, researchers, 'pro-d-users' and industry professionals to debate the prospect of wireless, mobile and ubiquitous technologies in a changing art and design environment and the creative industries. The symposium will explore these developments and dynamics in a transdisciplinary context.
As part of the program MINA also presents the International Mobile Innovation Screening 2012 at the New Zealand Film Archive in Wellington on Friday 23rd November at 6.30pm (http://mina2012screening.eventbrite.co.nz/).
The Mobile Creativity and Innovation Symposium will take place on Saturday 24th and Sunday 25th November 2012 including a keynote by Prof. Gerhard Goggin (University of Sydney). Please see www.mina.pro for further details and symposium program. On Sunday the 25th November the MINA events conclude with an unconference session (featuring the Mobile Art Lab and eBook Production using iBooks Author workshop by Apple).
Symposium registration: http://mina2012.eventbrite.co.nz
w: http://mina.pro
e: max@mina.pro
t: @MINAmobile
_______________________________________________
Ada_list mailing list
Ada_list@list.waikato.ac.nz
http://aotearoadigitalarts.org.nz/
Sunday, September 30, 2012
Thursday, September 20, 2012
[Ada_list] Fibreculture MESH
Another space for discussion...
The Fibreculture Journal announces the launch of a new yet conjoined publication platform: FCJ-Mesh:
http://mesh.fibreculturejournal.org/about-mesh/
In the age of ubiquitous content curation becomes increasingly important. With that in mind we'd like to offer 'Mesh' as space for reblogging relevant academic material and publishing new material that builds and explores connections (links) between journals, events, blogs and so on; which collates and engages with perspectives from across our extended networks whatever form they may take.
With all that in mind we invite submissions of 1500 words or less that engage with, mobilise, or explore connections between contemporary cultural, philosophical and media theory and its implications and applications. We encourage (active) links between open access journals, blogs, and other sites (on- or off-line) of research creation. We are particularly interested in work that engages, mobilises, or otherwise connects with the issues and research published in the Fibreculture Journal. We also welcome accounts and reviews of relevant events or works in the wide variety of fields and forms relevant to the the Journal and the community of which it is part (Critical and transdisciplinary theory, media and art theory and practice, theories of technology, cultural theory, media & politics, network culture etc.)
FCJ-Mesh will be tightly curated and edited for quality of scholarship, writing and interest. Submissions will not be peer reviewed and works published will be identified as FCJ-Mesh Publications accordingly. We welcome unsolicited work but reserve the right to refuse publication for any reason. We hope to publish or re-publish submissions promptly and continuously without the delays associated with Journal publication.
________________/\_______________________________/\___________
Dr. Su Ballard | Senior Lecturer | Art History, Visual and Media Arts
Faculty of Creative Arts | University of Wollongong
Bld 25, Northfields Ave | NSW 2522, AUSTRALIA
office: 25-135
p: +61 2 4239 2545
cell: +61 448 937 464
e: sballard@uow.edu.au
web: http://www.suballard.net.nz
consultation hours:
Tuesday 9.30-11.30am and Friday 2.30-4.30
____/\______________/\___/\____________________________________
The Fibreculture Journal announces the launch of a new yet conjoined publication platform: FCJ-Mesh:
http://mesh.fibreculturejournal.org/about-mesh/
In the age of ubiquitous content curation becomes increasingly important. With that in mind we'd like to offer 'Mesh' as space for reblogging relevant academic material and publishing new material that builds and explores connections (links) between journals, events, blogs and so on; which collates and engages with perspectives from across our extended networks whatever form they may take.
With all that in mind we invite submissions of 1500 words or less that engage with, mobilise, or explore connections between contemporary cultural, philosophical and media theory and its implications and applications. We encourage (active) links between open access journals, blogs, and other sites (on- or off-line) of research creation. We are particularly interested in work that engages, mobilises, or otherwise connects with the issues and research published in the Fibreculture Journal. We also welcome accounts and reviews of relevant events or works in the wide variety of fields and forms relevant to the the Journal and the community of which it is part (Critical and transdisciplinary theory, media and art theory and practice, theories of technology, cultural theory, media & politics, network culture etc.)
FCJ-Mesh will be tightly curated and edited for quality of scholarship, writing and interest. Submissions will not be peer reviewed and works published will be identified as FCJ-Mesh Publications accordingly. We welcome unsolicited work but reserve the right to refuse publication for any reason. We hope to publish or re-publish submissions promptly and continuously without the delays associated with Journal publication.
________________/\_______________________________/\___________
Dr. Su Ballard | Senior Lecturer | Art History, Visual and Media Arts
Faculty of Creative Arts | University of Wollongong
Bld 25, Northfields Ave | NSW 2522, AUSTRALIA
office: 25-135
p: +61 2 4239 2545
cell: +61 448 937 464
e: sballard@uow.edu.au
web: http://www.suballard.net.nz
consultation hours:
Tuesday 9.30-11.30am and Friday 2.30-4.30
____/\______________/\___/\____________________________________
Wednesday, September 19, 2012
[Ada_list] ISEA2013 - Sydney - CONFERENCE call for participation
Dear All,
Please consider submitting something to the ISEA2013 - Sydney - Conference.
There are many ways too contribute, and there has been a conscious effort to open up the formats and varieties of conference engagement available, and it would be really wonderful to have many many NZ voices here!
Su.
ISEA2013 – 19th International Symposium on Electronic Art
Sydney, Australia - 7th - 16th June 2013
presented by ANAT
Conference Program – Call for Participation
IMPORTANT DATES
Proposals Due (300 word abstract)
Friday, 14th November 2012
Acceptance Notification
Friday, 21st December 2012
The 19th International Symposium on Electronic Art will comprise engaging presentations and thought-provoking speakers and discussions. Join us for informed dialogues, dynamic debates, enlightening keynotes and experimental incursions into the extensive and diverse practice of electronic media arts.
We are keen to connect and intertwine the conference sessions with the wider artistic program, and we are looking for a variety of formats and engagement for presenters and participants to ensure a high quality of thought, deliberation and discussion. Our vision for the conference is to provide sessions with genuine engagement. We ask that our delegates think differently about how they envisage the format of their presentation. To aid this, we have outlined a number of formats for you to choose from:
1. Provocations
This format is ideal for presenting provocative ideas, projects, or works in progress that lend themselves to visual displays or presentations (5-10minutes). In these sessions, a number of presenters have the opportunity to present their work and to engage in informal discussion with other delegates throughout the session. Presentations will be grouped by the committee according to topic, and generous time will be provided after all of the presentations for group discussion.
2. Creator Sessions
This format provides the opportunity to present in a unique location or environment. These are more informal sessions that allow presenters to create their own format and to provide delegates the opportunity to be immersed in a presentation staged away from a typical conference setting. We are particularly looking for engagement with artworks and practices outside of the usual conference venues. The committee will work with you to create an engaging session.
3. Roundtables
These sessions are about the cross-pollination of ideas and philosophies. They are designed to activate collaborations, offer opportunities to build networks and to open up new connections. We will accept ideas for full sessions of 60-90 minutes, and the committee will conceive and design sessions according to topic or perspective. We will work closely with presenters to create original and engaging sessions.
4. Workshops
These sessions are best suited for teaching or demonstrating particular procedures, skills, or techniques. Appropriate considerations for this session format may include: hands-on demonstrations, presentations of a technology or technique, or an extended dialogue with participants. These sessions can take place over an entire day, half day, or scheduled for 60-90 minutes. Workshops will be structured to provide ample time for interaction, participation, and involvement. Workshop conveners should submit a formal description of the proposed workshop.
5. Panels
We will accept proposals for full panels or the committee will group registered participants, whose presentations are based on a shared theme or topic (for example, a Chair and four or five presenters) for inclusion in these sessions. Panel sessions are scheduled for 60-90 minutes. Panels may present complementary aspects of a specific body of work, or contrasting perspectives on a specified topic. The audiences for these sessions will be encouraged to read the abstracts and any associated readings before attending in order to ensure optimal audience engagement and participation. The presenters (along with an ISEA2013 committee member if required) will conceive and design the session to allow time for short individual provocations (approximately 10 minutes each) and 40-60 minutes of audience discussion or Q&A.
6. Papers
This type of session is best suited for scholarly work and reports on current or completed research. Authors present summaries or overviews of their work, describing the essential features (related to purpose, procedures, outcomes or product). This presentation should be engaging and dynamic and can take on any form. Presentations will be grouped according to topic or perspective into these themed sessions, with time provided after all of the presentations for Q&A and group discussion. Presenters are welcome to include any visual support to assist delivery of their oral presentation.
7. Online Collaborations
We are looking to extend the reach of the Symposium by way of online collaborative environments, and are especially interested in proposals that connect distant artists, writers and collaborators to the physical venue of ISEA2013 Sydney. These collaborations may involve projects that lead-up to and lead-out of the event, and are aimed at establishing relationships and connections with other artists who are not able to physically attend the symposium. The technical systems and platforms used to conduct these sessions need to be widely available and robust enough to be able to function within a university, gallery or museum-style venue and can be live (real-time) or asynchronous.
Submission Information
We are calling for an initial 300 word abstract. On submission of your abstract, you will be asked which format(s) you would like to present in, the committee will take this into consideration when programming the sessions. You will be notified which session format your proposal has been allocated into when notifications are sent.
The abstracts will be available to registered delegates online before the Symposium and an electronic copy will be presented to delegates at the Symposium. Please note, only authors who have registered to attend the Symposium will be published. On completion of the Symposium, those presenters who would like to be included in the full proceedings will be asked to submit a 3,000 word document which will be peer reviewed and published.
Please submit your proposal via OpenConf: www.isea2013.org/submit
We ask that you consider the ISEA2013 theme and sub-themes outlined below. You will be required to allocate your proposal to one of these six sub-themes on submission:
Theme – 'Resistance is Futile'
The cutting edge of digital art has moved from the margins to become part of the fabric of everyday life. At once ubiquitous and unnoticed, resistance to electronic art has proven futile — it now lies embedded in the heart of our contemporary cultures. The symposium events will infuse the city's social, digital and physical infrastructure. ISEA2013 aims to create a fluid body of thought, culture, community, industry, science and technology.
Artists play an important role in this "cutting edge." By creatively investigating the possibilities and pushing the limits of new technologies, artists help us imaginatively experience and critically reflect on their implications for life in the 21st century. Digital electronic art is our source of innovation, the new norm in everything from publishing to TV, to radio, games, film, fashion, music, architecture, design, applications and gadgets. Ubiquitous and pervasive, digital media permeates almost all creative endeavors in everyday life and the city. The urban spaces of Sydney will provide the scene for thinking through the consequences of digital life, creative industries, and contemporary electronic art practice.
Sub-themes/Threads
1. Resistance is Fertile
Resistance is Futile … Resistance is Fertile… Resistance is Necessary. ISEA2013 explores the ways art and new technologies are used in the service of power, politics, protest and resistance.
2. Converging and diverging realities
The virtual bleeds into the real and increasingly our environments are mediated, augmented and transformed through technology. Mixed and augmented realities, obligatory social media, and locative technologies increasingly insert different realities into the physical world while communication simultaneously seduces us away from our immediate surroundings. As the "internet of things" becomes a reality, do we need to resist the ubiquitous society of participation, search, and the culture of always-on surveillance/sousveillance?
3. Life … but not as we know it
Technologies are being used to extend human capabilities and to create new life forms. ISEA2013 explores how life is increasingly becoming a technology that is created, extended, and curated by the influence of artists working with technology. A chance to explore and critique the world of cyborgs, robots, alien life forms and the emergence of unnatural biologies.
4. Histories and Futures of Electronic Art
Where once electronic media technologies were on the margins they now permeate almost all of art, commerce and creativity. Digital cultures, media art histories, and media archeologies permeate contemporary art and design, and inform ways of seeing and understanding the world. ISEA2013 offers a platform to explore where electronic art has come from, where it is going and what it might become.
5. Ecologies and Technologies
The interrelationship of nature, culture and technology lies at the centre-stage of contemporary life. ISEA2013 explores technology as both the problem and solution, celebrating the role of the artist as innovator and provocateur. ISEA2013 engages questions of urban ecologies, consumption, food, climate, and sustainability.
6. Creation, Collaboration and Consumption
Digital technologies and social media are transforming social and cultural interaction on both global and local scales. Everyone is connected, everyone is a creator. But not everybody likes what they see or wants to participate in the prescribed forms of contemporary social media. ISEA2013 encourages debate, provocations and engagement in the global nets of participation.
ENQUIRIES
For information on the ISEA2013 Academic Committee and selection process, or for general
information about ISEA2013, please visit our website www.isea2013.org or contact our
Project Coordinator, Kristen Bowen (isea@anat.org.au).
________________/\_______________________________/\___________
Dr. Su Ballard | Senior Lecturer | Art History, Visual and Media Arts
Faculty of Creative Arts | University of Wollongong
Bld 25, Northfields Ave | NSW 2522, AUSTRALIA
office: 25-135
p: +61 2 4239 2545
cell: +61 448 937 464
e: sballard@uow.edu.au
web: http://www.suballard.net.nz
consultation hours:
Tuesday 9.30-11.30am and Friday 2.30-4.30
____/\______________/\___/\____________________________________
________________/\_______________________________/\___________
Dr. Su Ballard | Senior Lecturer | Art History, Visual and Media Arts
Faculty of Creative Arts | University of Wollongong
Bld 25, Northfields Ave | NSW 2522, AUSTRALIA
office: 25-135
p: +61 2 4239 2545
cell: +61 448 937 464
e: sballard@uow.edu.au
web: http://www.suballard.net.nz
consultation hours:
Tuesday 9.30-11.30am and Friday 2.30-4.30
____/\______________/\___/\____________________________________
Please consider submitting something to the ISEA2013 - Sydney - Conference.
There are many ways too contribute, and there has been a conscious effort to open up the formats and varieties of conference engagement available, and it would be really wonderful to have many many NZ voices here!
Su.
ISEA2013 – 19th International Symposium on Electronic Art
Sydney, Australia - 7th - 16th June 2013
presented by ANAT
Conference Program – Call for Participation
IMPORTANT DATES
Proposals Due (300 word abstract)
Friday, 14th November 2012
Acceptance Notification
Friday, 21st December 2012
The 19th International Symposium on Electronic Art will comprise engaging presentations and thought-provoking speakers and discussions. Join us for informed dialogues, dynamic debates, enlightening keynotes and experimental incursions into the extensive and diverse practice of electronic media arts.
We are keen to connect and intertwine the conference sessions with the wider artistic program, and we are looking for a variety of formats and engagement for presenters and participants to ensure a high quality of thought, deliberation and discussion. Our vision for the conference is to provide sessions with genuine engagement. We ask that our delegates think differently about how they envisage the format of their presentation. To aid this, we have outlined a number of formats for you to choose from:
1. Provocations
This format is ideal for presenting provocative ideas, projects, or works in progress that lend themselves to visual displays or presentations (5-10minutes). In these sessions, a number of presenters have the opportunity to present their work and to engage in informal discussion with other delegates throughout the session. Presentations will be grouped by the committee according to topic, and generous time will be provided after all of the presentations for group discussion.
2. Creator Sessions
This format provides the opportunity to present in a unique location or environment. These are more informal sessions that allow presenters to create their own format and to provide delegates the opportunity to be immersed in a presentation staged away from a typical conference setting. We are particularly looking for engagement with artworks and practices outside of the usual conference venues. The committee will work with you to create an engaging session.
3. Roundtables
These sessions are about the cross-pollination of ideas and philosophies. They are designed to activate collaborations, offer opportunities to build networks and to open up new connections. We will accept ideas for full sessions of 60-90 minutes, and the committee will conceive and design sessions according to topic or perspective. We will work closely with presenters to create original and engaging sessions.
4. Workshops
These sessions are best suited for teaching or demonstrating particular procedures, skills, or techniques. Appropriate considerations for this session format may include: hands-on demonstrations, presentations of a technology or technique, or an extended dialogue with participants. These sessions can take place over an entire day, half day, or scheduled for 60-90 minutes. Workshops will be structured to provide ample time for interaction, participation, and involvement. Workshop conveners should submit a formal description of the proposed workshop.
5. Panels
We will accept proposals for full panels or the committee will group registered participants, whose presentations are based on a shared theme or topic (for example, a Chair and four or five presenters) for inclusion in these sessions. Panel sessions are scheduled for 60-90 minutes. Panels may present complementary aspects of a specific body of work, or contrasting perspectives on a specified topic. The audiences for these sessions will be encouraged to read the abstracts and any associated readings before attending in order to ensure optimal audience engagement and participation. The presenters (along with an ISEA2013 committee member if required) will conceive and design the session to allow time for short individual provocations (approximately 10 minutes each) and 40-60 minutes of audience discussion or Q&A.
6. Papers
This type of session is best suited for scholarly work and reports on current or completed research. Authors present summaries or overviews of their work, describing the essential features (related to purpose, procedures, outcomes or product). This presentation should be engaging and dynamic and can take on any form. Presentations will be grouped according to topic or perspective into these themed sessions, with time provided after all of the presentations for Q&A and group discussion. Presenters are welcome to include any visual support to assist delivery of their oral presentation.
7. Online Collaborations
We are looking to extend the reach of the Symposium by way of online collaborative environments, and are especially interested in proposals that connect distant artists, writers and collaborators to the physical venue of ISEA2013 Sydney. These collaborations may involve projects that lead-up to and lead-out of the event, and are aimed at establishing relationships and connections with other artists who are not able to physically attend the symposium. The technical systems and platforms used to conduct these sessions need to be widely available and robust enough to be able to function within a university, gallery or museum-style venue and can be live (real-time) or asynchronous.
Submission Information
We are calling for an initial 300 word abstract. On submission of your abstract, you will be asked which format(s) you would like to present in, the committee will take this into consideration when programming the sessions. You will be notified which session format your proposal has been allocated into when notifications are sent.
The abstracts will be available to registered delegates online before the Symposium and an electronic copy will be presented to delegates at the Symposium. Please note, only authors who have registered to attend the Symposium will be published. On completion of the Symposium, those presenters who would like to be included in the full proceedings will be asked to submit a 3,000 word document which will be peer reviewed and published.
Please submit your proposal via OpenConf: www.isea2013.org/submit
We ask that you consider the ISEA2013 theme and sub-themes outlined below. You will be required to allocate your proposal to one of these six sub-themes on submission:
Theme – 'Resistance is Futile'
The cutting edge of digital art has moved from the margins to become part of the fabric of everyday life. At once ubiquitous and unnoticed, resistance to electronic art has proven futile — it now lies embedded in the heart of our contemporary cultures. The symposium events will infuse the city's social, digital and physical infrastructure. ISEA2013 aims to create a fluid body of thought, culture, community, industry, science and technology.
Artists play an important role in this "cutting edge." By creatively investigating the possibilities and pushing the limits of new technologies, artists help us imaginatively experience and critically reflect on their implications for life in the 21st century. Digital electronic art is our source of innovation, the new norm in everything from publishing to TV, to radio, games, film, fashion, music, architecture, design, applications and gadgets. Ubiquitous and pervasive, digital media permeates almost all creative endeavors in everyday life and the city. The urban spaces of Sydney will provide the scene for thinking through the consequences of digital life, creative industries, and contemporary electronic art practice.
Sub-themes/Threads
1. Resistance is Fertile
Resistance is Futile … Resistance is Fertile… Resistance is Necessary. ISEA2013 explores the ways art and new technologies are used in the service of power, politics, protest and resistance.
2. Converging and diverging realities
The virtual bleeds into the real and increasingly our environments are mediated, augmented and transformed through technology. Mixed and augmented realities, obligatory social media, and locative technologies increasingly insert different realities into the physical world while communication simultaneously seduces us away from our immediate surroundings. As the "internet of things" becomes a reality, do we need to resist the ubiquitous society of participation, search, and the culture of always-on surveillance/sousveillance?
3. Life … but not as we know it
Technologies are being used to extend human capabilities and to create new life forms. ISEA2013 explores how life is increasingly becoming a technology that is created, extended, and curated by the influence of artists working with technology. A chance to explore and critique the world of cyborgs, robots, alien life forms and the emergence of unnatural biologies.
4. Histories and Futures of Electronic Art
Where once electronic media technologies were on the margins they now permeate almost all of art, commerce and creativity. Digital cultures, media art histories, and media archeologies permeate contemporary art and design, and inform ways of seeing and understanding the world. ISEA2013 offers a platform to explore where electronic art has come from, where it is going and what it might become.
5. Ecologies and Technologies
The interrelationship of nature, culture and technology lies at the centre-stage of contemporary life. ISEA2013 explores technology as both the problem and solution, celebrating the role of the artist as innovator and provocateur. ISEA2013 engages questions of urban ecologies, consumption, food, climate, and sustainability.
6. Creation, Collaboration and Consumption
Digital technologies and social media are transforming social and cultural interaction on both global and local scales. Everyone is connected, everyone is a creator. But not everybody likes what they see or wants to participate in the prescribed forms of contemporary social media. ISEA2013 encourages debate, provocations and engagement in the global nets of participation.
ENQUIRIES
For information on the ISEA2013 Academic Committee and selection process, or for general
information about ISEA2013, please visit our website www.isea2013.org or contact our
Project Coordinator, Kristen Bowen (isea@anat.org.au).
________________/\_______________________________/\___________
Dr. Su Ballard | Senior Lecturer | Art History, Visual and Media Arts
Faculty of Creative Arts | University of Wollongong
Bld 25, Northfields Ave | NSW 2522, AUSTRALIA
office: 25-135
p: +61 2 4239 2545
cell: +61 448 937 464
e: sballard@uow.edu.au
web: http://www.suballard.net.nz
consultation hours:
Tuesday 9.30-11.30am and Friday 2.30-4.30
____/\______________/\___/\____________________________________
________________/\_______________________________/\___________
Dr. Su Ballard | Senior Lecturer | Art History, Visual and Media Arts
Faculty of Creative Arts | University of Wollongong
Bld 25, Northfields Ave | NSW 2522, AUSTRALIA
office: 25-135
p: +61 2 4239 2545
cell: +61 448 937 464
e: sballard@uow.edu.au
web: http://www.suballard.net.nz
consultation hours:
Tuesday 9.30-11.30am and Friday 2.30-4.30
____/\______________/\___/\____________________________________
Monday, September 17, 2012
[Ada_list] Creative Commons Guide and Case Studies
Hi all,
Apologies if you've received this message on the CC-NZ list. I'm currently working on two overlapping projects.
The first is gathering case studies on the use and reuse of Creative Commons licensed material. The second is developing a 'Guide to Creative Commons for Artists,' which outlines some of the main arguments for using open licensing. It's relatively easy to make these arguments in the abstract, but I think it would be much stronger with the input of some of the people on this list.
I'd love to hear the thoughts of anyone who uses CC licences or reuses CC materials. Feel free to pass this message on, or nominate someone for a case study.
I'm at: matt.mcgregor@royalsociety.org.nz<mailto:matt.mcgregor@royalsociety.org.nz>
Examples of the kinds of case studies I'm writing can be found at: www.creativecommons.org.nz<http://www.creativecommons.org.nz>
Thanks,
Matt
Matt McGregor
Public Lead
Creative Commons Aotearoa New Zealand
------------------------------------------------------------------------------------------
The Royal Society of New Zealand
Twitter: @cc_aotearoa
Website: creativecommons.org.nz
DDI: +64 4 4705779 | MOB: 027 3378668
4 Halswell Street, Thorndon, PO Box 598, Wellington 6140, New Zealand
www.royalsociety.org.nz<http://www.royalsociety.org.nz>
Please consider the environment before printing this email. The information contained in this email message is intended only for the addressee and may be confidential. If you are not the intended recipient, please notify us immediately.
Apologies if you've received this message on the CC-NZ list. I'm currently working on two overlapping projects.
The first is gathering case studies on the use and reuse of Creative Commons licensed material. The second is developing a 'Guide to Creative Commons for Artists,' which outlines some of the main arguments for using open licensing. It's relatively easy to make these arguments in the abstract, but I think it would be much stronger with the input of some of the people on this list.
I'd love to hear the thoughts of anyone who uses CC licences or reuses CC materials. Feel free to pass this message on, or nominate someone for a case study.
I'm at: matt.mcgregor@royalsociety.org.nz<mailto:matt.mcgregor@royalsociety.org.nz>
Examples of the kinds of case studies I'm writing can be found at: www.creativecommons.org.nz<http://www.creativecommons.org.nz>
Thanks,
Matt
Matt McGregor
Public Lead
Creative Commons Aotearoa New Zealand
------------------------------------------------------------------------------------------
The Royal Society of New Zealand
Twitter: @cc_aotearoa
Website: creativecommons.org.nz
DDI: +64 4 4705779 | MOB: 027 3378668
4 Halswell Street, Thorndon, PO Box 598, Wellington 6140, New Zealand
www.royalsociety.org.nz<http://www.royalsociety.org.nz>
Please consider the environment before printing this email. The information contained in this email message is intended only for the addressee and may be confidential. If you are not the intended recipient, please notify us immediately.
Thursday, September 13, 2012
[Ada_list] Fwd: [NEW-MEDIA-CURATING] Claire's Bishop's digital divide piece in Art Forum
Hi all,
There has been a very interesting discussion on Crumb about new media and art, Claire Bishop, digital art, mainstream gatekeeping (does the mainstream have gates?) recognising our own histories, etc etc etc… and here is a nice NZ tangent.
Su
________________/\_______________________________/\___________
Dr. Su Ballard | Senior Lecturer | Art History, Visual and Media Arts
Faculty of Creative Arts | University of Wollongong
Bld 25, Northfields Ave | NSW 2522, AUSTRALIA
office: 25-135
p: +61 2 4239 2545
cell: +61 448 937 464
e: sballard@uow.edu.au
web: http://www.suballard.net.nz
consultation hours:
Tuesday 9.30-11.30am and Friday 2.30-4.30
____/\______________/\___/\____________________________________
Begin forwarded message:
> From: Andreas Broeckmann <broeckmann@LEUPHANA.DE>
> Subject: Re: [NEW-MEDIA-CURATING] Claire's Bishop's digital divide piece in Art Forum
> Date: 13 September 2012 5:30:17 PM AEST
> To: NEW-MEDIA-CURATING@JISCMAIL.AC.UK
> Reply-To: Andreas Broeckmann <broeckmann@LEUPHANA.DE>
>
> folks,
>
> maybe some useful, though anecdotal evidence for this debate is the fact that, yesterday evening, a "media artist" was announced as one of the four candidates for the Young Artist Award of the Neue Nationalgalerie Berlin (an initiative that is trying to be the german Turner Prize). i think the case is interesting because, given the quite conservative selection of the other candidates, *this* is apparently what the jury could recognise as interesting media art.
>
> regards,
> -a
>
>
> http://www.preis2013.de/index.php?id=1290&L=1
>
> Simon Denny
>
> (born in 1982 in Auckland, lives and works in Berlin)
>
> New Zealand artist Simon Denny investigates the means used by the media to convey information: television programmes, mobile telephones, window displays, Powerpoint software, or internet networks, which he re-evaluates for his artwork. Each time, his extensive research results in exaggerated and often also ironic sculptures and spatial designs dedicated to separate media events. His installations, which are sometimes displayed on public buildings remote from the venues of the world of art, cunningly oscillate between cultural criticism and an information campaign carried to the extreme.
>
>
>
> Am 03.09.12 18:12, schrieb Hamilton, Kevin:
>> What remains less questioned in this discussion? The ways in which subjectivities are shaped by professions as well as media.
There has been a very interesting discussion on Crumb about new media and art, Claire Bishop, digital art, mainstream gatekeeping (does the mainstream have gates?) recognising our own histories, etc etc etc… and here is a nice NZ tangent.
Su
________________/\_______________________________/\___________
Dr. Su Ballard | Senior Lecturer | Art History, Visual and Media Arts
Faculty of Creative Arts | University of Wollongong
Bld 25, Northfields Ave | NSW 2522, AUSTRALIA
office: 25-135
p: +61 2 4239 2545
cell: +61 448 937 464
e: sballard@uow.edu.au
web: http://www.suballard.net.nz
consultation hours:
Tuesday 9.30-11.30am and Friday 2.30-4.30
____/\______________/\___/\____________________________________
Begin forwarded message:
> From: Andreas Broeckmann <broeckmann@LEUPHANA.DE>
> Subject: Re: [NEW-MEDIA-CURATING] Claire's Bishop's digital divide piece in Art Forum
> Date: 13 September 2012 5:30:17 PM AEST
> To: NEW-MEDIA-CURATING@JISCMAIL.AC.UK
> Reply-To: Andreas Broeckmann <broeckmann@LEUPHANA.DE>
>
> folks,
>
> maybe some useful, though anecdotal evidence for this debate is the fact that, yesterday evening, a "media artist" was announced as one of the four candidates for the Young Artist Award of the Neue Nationalgalerie Berlin (an initiative that is trying to be the german Turner Prize). i think the case is interesting because, given the quite conservative selection of the other candidates, *this* is apparently what the jury could recognise as interesting media art.
>
> regards,
> -a
>
>
> http://www.preis2013.de/index.php?id=1290&L=1
>
> Simon Denny
>
> (born in 1982 in Auckland, lives and works in Berlin)
>
> New Zealand artist Simon Denny investigates the means used by the media to convey information: television programmes, mobile telephones, window displays, Powerpoint software, or internet networks, which he re-evaluates for his artwork. Each time, his extensive research results in exaggerated and often also ironic sculptures and spatial designs dedicated to separate media events. His installations, which are sometimes displayed on public buildings remote from the venues of the world of art, cunningly oscillate between cultural criticism and an information campaign carried to the extreme.
>
>
>
> Am 03.09.12 18:12, schrieb Hamilton, Kevin:
>> What remains less questioned in this discussion? The ways in which subjectivities are shaped by professions as well as media.
Wednesday, September 5, 2012
[Ada_list] CyPosium (Cyberformance Symposium) 12-10-12
Media Release
6 September 2012
info@cyposium.net
CyPosium celebrates cyberformance
An online symposium on 12 October 2012 will celebrate and discuss the field of cyberformance - live, online performance - that has evolved over the last two decades.
The CyPosium aims to create a space for artists, researchers and interested participants to discuss the field of cyberformance, referring to and remembering past works. The programme includes nine presentations and an introduction, and facilitated discussion sessions. Some of the pioneers of online performance will discuss live internet works created in chatrooms during the mid-1990s, alongside artists currently working in a variety of purpose-built cyberformance platforms.
The number and quality of proposals received made the selection process challenging, but this was also an affirmation of the timeliness of this event. There is now a considerable body of work, research and critical thinking in this field, and a desire amongst practitioners to share and discuss their experiences with their peers.
The CyPosium will open with an introduction by Maria Chatzichristodoulou, who is a cultural practitioner and digital performance scholar at the University of Hull (UK). There will then be three blocks, each consisting of three presentations followed by a facilitated discussion with the online audience, and breaks between each of the blocks. The CyPosium will begin at 15.00 GMT on Friday 12 October and finish at about 2am GMT; the complete schedule is available on the CyPosium web site. The CyPosium is free to attend and will be accessible via a standard internet connection and web browser.
For more information, visit www.cyposium.net or email info@cyposium.net
Selected Presentations
(bios and abstracts are below)
Introduction
Cyberformance? Digital or Networked Performance? Cybertheaters? Or Virtual Theatres? … or all of the above?: Maria Chatzichristodoulou
Block 1
Wirefire: A Complete History of Love in the Wires (parts 17–24): Auriea Harvey and Michaël Samyn
We Have Always Been Avatars, and Avatars Must Die: Alan Sondheim
More/Less Than a Cyberfession: A few theoretical short-(cir)cu(i)ts from Learn to hear through the lies of your eyes: Miljana Perić
Block 2
ATHEMOO and NetSeduction: Censorship and The Art of Sexting Before Cell Phones: Stephen A. Schrum HEAD SHOT! Performative Interventions in Mixed Realities: Joseph DeLappe
So far, and yet, so close: Lessons from Telematic Improvisation: Adriene Jenik
Block 3
Re-Calling Home!: ActiveLayers
Ethernet Orchestra: Networked Intercultural Improvisation: Roger Mills
Transmittance — a telematic performance: Maja Delak and Luka Prinčić
The cyposium is organised by Annie Abrahams, Christina Papagiannouli, Francesco Buonaiuto, Helen Varley Jamieson, Katarina DJ Urosevic, Martin Eisenbarth, Nathalie Fougeras, Suzon Fuks and Vicki Smith.
= = = =
Presenter Bios and Abstracts
Cyberformance? Digital or Networked Performance? Cybertheaters? Or Virtual Theatres? … or all of the above?
Maria Chatzichristodoulou [aka Maria X] will give an introduction to cyberformance and the CyPosium, followed by a discussion. Maria is a cultural practitioner (curator, performer, producer, writer), Director of Postgraduate Studies and Lecturer in Theatre and Performance at the School of Arts and New Media, University of Hull, and holds a PhD in Art and Computational Technologies from Goldsmiths University of London. She is co-editor of the volume Interfaces of Performance (Ashgate, 2009) and the forthcoming volume Intimacy Across Visceral and Digital Performance (Palgrave MacMillan), which follows the Intimacy festival and Symposium that Maria initiated and co-directed in London (2007). She also co-editor of the forthcoming volume From Black Box to Second Life: Theatre and Performance in Virtual Worlds, which follows a day of round table discussions Maria initiated at the University of Hull (Scarborough, 2011).
Abstract: Steve Dixon, in the preface to his book Digital Performance (2007), acknowledges the problematic nature of the term, which is due to the wide-ranging applications of both its elements: 'digital' and 'performance'. According to Dixon, '"Digital" has become a loose and generic term (…) and the term "performance" has acquired wide-ranging applications and different nuances (…)' (p. x). Though the terms remain contested, there is no doubt that the last two decades have witnessed a proliferation of performance practices that unfold not in physical or proximal environments but online, in purpose-built platforms or appropriated virtual environments and worlds. This paper will offer a condensed art historical overview of the newly emergent genre of digital performance (or whatever else you want to call it), focusing in particular on performance practices that develop exclusively (or primarily) online.
Wirefire: A Complete History of Love in the Wires (parts 17–24)
Auriea Harvey and Michaël Samyn started their collaboration in 1999. Harvey and Samyn have devoted their lives to the creation of elegant and emotionally rich interactive entertainment. As Entropy8Zuper! they created many websites and internet artworks, such as "Skinonskinonskin", a series of interactive love letters. "The Godlove Museum" which fuses love, religion, politics and sex, and "Wirefire" which was their web-based performance environment. In 2003 they founded independent game development studio Tale of Tales in Gent, Belgium, where they live and work, making genre defying videogames such as "The Endless Forest", "The Graveyard" and "The Path".
Abstract: "Wirefire" was an online performance that occurred between July 8, 1999 and January 9, 2003 every Thursday night, at midnight in Belgium. It began as a way for Auriea and Michaël to communicate with one another when she still lived in New York City, USA and he in Ronse, Belgium. Text chat seemed too limited. Video chat too factual. Desiring a communication channel that went beyond mere word and image they built one themselves. Believing in the network and their life that began there, this communication needed to be shared with others who were also searching for a meaning of love. Thus, "Wirefire" was built for: desire, intimacy and an audience.
We Have Always Been Avatars, and Avatars Must Die
Alan Sondheim was born in Wilkes-Barre, Pennsylvania; he lives with his partner, Azure Carter, in Brooklyn NY. A cross-disciplinary artist, writer, and theorist, he has exhibited, performed and lectured widely. In the past year, Sondheim has had a successful residency at Eyebeam Art + TechnologyCenter in New York; while there he worked with a number of collaborators on performances and sound pieces dealing with pain and annihilation. He also created a series of texts and 3d printing models of 'dead or wounded avatars.'
Abstract: It's dangerous to consider the virtual as a brave new world; the virtual has always been with us. But the lure now is the supposition that it engenders the potential of eternity, and escape from pain and death. In the meantime, the physical world is the Disaster of the Anthropocene. We must look, with open eyes, at the obdurate nature of the Real, through any means possible. We must accept our own deaths. I will discuss my work in virtual worlds and performance (with the collaboration of others) in this regard.
More/Less Than a Cyberfession: A few theoretical short-(cir)cu(i)ts from Learn to hear through the lies of your eyes
Miljana Perić holds an MA in ethnomusicology from the Faculty of Music in Belgrade. As a student in the Theory of Arts and Media department at the Interdisciplinary PhD studies of the University of Arts in Belgrade, she works on her thesis named Critical and Analytical Theory and Practice of the Activist Digital Theatre.
Abstract: The basic conceptual structure of the critical textual cyberformance is organized around notions of the cyber-net-confessions as:
(1) an artist statement about her work in the form-of– or sound-like "confession",
(2) performance itself as theatricalising of a confession act, and
(3) questions around issue of con-versation (ie. chat) between performers (derived from the proposed formula of UpStage e-quality: cyberaudience+cyberplayers=cyberformers), which can be viewed, problematized and discussed as element of self-expressive and con-fessional creative processes.
ATHEMOO and NetSeduction: Censorship and The Art of Sexting Before Cell Phones
Stephen A. Schrum, PhD is Associate Professor of Theatre Arts at Pitt-Greensburg. His research area is currently "The Perception of Presence in Virtual Performance," and he has directed virtual productions of "The Bacchae" and "Prometheus Bound" in Second Life (SL). He began teaching with technology in 1993, and his publications include the book, Theatre in Cyberspace: Issues of Teaching, Acting and Directing (as editor, 2000); "Theatre in Second Life® Holds the VR Mirror Up To Nature," in Handbook of Research on Computational Arts and Creative Informatics (2009), and "Teaching in the Virtual Theatre Classroom," in Teaching Through Multi-User Environments (2010).
Abstract: This session will recall the production of "NetSeduction" staged in ATHEMOO in 1996. Though only a text-based virtual reality, it caused consternation and efforts of censorship by the moderator of ATHEMOO, who was worried that the frank sexual dialogue would cause offense. (This, of course, assumed that anyone would actually log in and show up for the performance.) Flash-forward to 2012, with cell phone users "sexting" and Second Life avatars participating in consensual "pixel sex." Was text-only more dangerous than full-frontal cartoonage? Or has culture change that makes text-only less powerful, by virtue of their ubiquity in a constantly-texting society?
HEAD SHOT! Performative Interventions in Mixed Realities
Joseph DeLappe is a Professor of the Department of Art at the University of Nevada where he directs the Digital Media program. He has worked with electronic and new media since 1983, in online gaming performance and electromechanical installation. Through description and analysis, DeLappe contextualized an approach to creative activities in computer games and online communities as locations for interventionist performances and/or sites for data extraction for the creation of artifacts. He traced a history of performative agency in computer games starting in 1997 when he first engaged with creating abstract drawings while playing "first person shooters" with an Apple mouse reconfigured as a drawing tool. Since then, he has engaged in a series of performances in online shooter games using the in game text chat that combine aspects of political protest, historical reenactment, and street theater.
Abstract: Joseph DeLappe will contextualize an approach to creative activities in computer games as locations for interventionist performances and/or sites for data extraction for the creation of artifacts. DeLappe's presentation will focus on several of his most recent projects engaging in activist oriented performance and internet-based art projects. He will as well discuss "dead-in-iraq" (2006–2011), his 2008 project, "The Salt Satyagraha Online, Gandhi's March to Dandi" in Second Life, "Chatroulette: Discipline and Punish" (2011) and "Taliban Hands" (2012), among others.
So far, and yet, so close: Lessons from Telematic Improvisation
Adriene Jenik is a telecommunications media artist, research professor and Katherine K. Herberger Endowed Chair in Fine Arts at Arizona State University's School of Art. Her works, including "Mauve Desert: A CD-ROM Translation", "El Naftaazteca" (with Guillermo Gomez-Pena), Desktop Theatre (with Lisa Brenneis and the Desktop Theater troupe), SPECFLIC, and Open_Borders (with Charley Ten), harness the collision of "high" technology and human desire to propose new forms of literature, cinema, and performance.
Abstract: When improvising across distances (as in telematic improvisation), how do artists utilize the unique properties of distance? What types of performance cues develop within a networked improvisatory environment? This paper draws upon my experience directing improvisational performance projects (Desktop Theater, SPECFLIC and Open_Borders Lounge) to address these and other questions. In doing so, I hope to expand the understanding of telematics performance practice and address not only differences in form and technique; but the ways in which socio-political context, language differences, and time zone shifts can contribute to a critical conversation on improvisation. I will examine long-held notions of the centrality of proximal bodies in improvisation. Though the subject of the live body has been interrogated in relation to technological prosthesis and the residue of the live body has been acknowledged even in its mediated form, much remains to understand.
Re–Calling Home!
ActiveLayers was formed in March 08 by Liz Bryce, Cherry Truluck, Suzon Fuks and James Cunningham. Their work has spanned site-specific networked performance and cyberformance. They performed in Cherry Truluck's Masters presentation (07), the UpStage festivals of 07, 08 and 10, and Mediatised Sites Performance Festival (08). Works include "The Old Hotel II" (07), "The Old Hotel III" (07), "Calling Home!" (a 3-part project, 08, Part 1: "Getting to Know One Another", Part 2: "Staying in Touch", Part 3: "The Big Get-Together") and "Aquifer Fountain" (10). They have explored various online platforms and contributed to labs in the development of Waterwheel and its Tap interface.
Abstract: Using the Waterwheel Tap, the four members of ActiveLayers will chronicle the development of the 3-part work "Calling Home!" created in 2008. We will describe our collaborative process, challenges encountered and how we addressed them, how our diverse backgrounds influenced our processes, the development of the story and characters, the specificities of the three parts and ways in which we tried to engage audiences and challenge the mediums used.
Ethernet Orchestra: Case Studies of Networked Intercultural Improvisation
Roger Mills is a musician, sound artist and writer whose practice and research focuses on networked music performance, sound installation and experimental radio. International performance and production credits includes a Golden Eye award for contrapuntal radio performance "Idea of South" (Sydney), score for BAFTA award winning dance performance "At Swim Two Boys" by Earthfall, UK, and album production and performances with Turkish singer Mircan Kaya (UCM). Roger is currently undertaking a doctorate at the University of Technology, Sydney, where he also lectures in media arts production and sound and music design.
Abstract: This paper evaluates two intercultural improvisatory performances by the networked music ensemble Ethernet Orchestra. It examines the creative and cognitive challenges faced by musicians collaborating across distance, and cultural and musical traditions. The multimodal analysis investigates the strategies that musicians develop in action, as they are "thinking of what they are doing, and, in the process, evolving their way of doing it (Schön, 1995). Viewed through a semiotic framework, the analysis focuses on "aural perspective" (Leeuwen, 1999), representation and cross-cultural interpretation in improvisatory dialogues, and the ways in which they intersect during synchronous telematic performance.
Transmittance — a telematic performance
Transmittance is a project proposed by Maja Delak and Luka Prinčič but it usually involves more artists. Maja Delak is a choreographer and a dancer. Luka Prinčič is a musician,a sound designer and a media artist. Together (also known as Wanda and Nova deViator) they are an artistic duo who work with a variety of media (performance, sound, video, physical computing, texts, situations) in order to research and reflect the state of contemporary living. Their collaboration started in 2009.
Abstract: Transmittance is an experiment of collision of two performative worlds: physical and telematic. Through careful attention to questions and how are they communicated to two-fold online & offline public a locally situated artistic group of performers, visual artists, musicians and computer programmers create a situation of intense non-linear storytelling. In this presentation we would like to trace a personal history of mediated art and non-art that we find referential for our project. We would briefly tap into thematic and methodological approaches present in Transmittance in the context of other artistic online live art — namely cyber-performance — which we tackle here in no way as an exhaustive analysis.
kia ora
vicki ")
≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈∆∆≈≈≈≈≈
: vicki smith
www.upstage.org.nz
vickismith@paradise.net.nz
+64 21 778 067
Cyposium: 12 October 2012
121212 UpStage Festival of Cyberformance: 5-12 December 2012
Art projects:
: http://tinyurl.com/vickismithBoatProject - Navigation speculation
: http://tinyurl.com/vickismithSCANZ2013 - Pattern Recognition
: http://www.avatarbodycollision.org
: http://www.flickr.com/photos/upstage
≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈
6 September 2012
info@cyposium.net
CyPosium celebrates cyberformance
An online symposium on 12 October 2012 will celebrate and discuss the field of cyberformance - live, online performance - that has evolved over the last two decades.
The CyPosium aims to create a space for artists, researchers and interested participants to discuss the field of cyberformance, referring to and remembering past works. The programme includes nine presentations and an introduction, and facilitated discussion sessions. Some of the pioneers of online performance will discuss live internet works created in chatrooms during the mid-1990s, alongside artists currently working in a variety of purpose-built cyberformance platforms.
The number and quality of proposals received made the selection process challenging, but this was also an affirmation of the timeliness of this event. There is now a considerable body of work, research and critical thinking in this field, and a desire amongst practitioners to share and discuss their experiences with their peers.
The CyPosium will open with an introduction by Maria Chatzichristodoulou, who is a cultural practitioner and digital performance scholar at the University of Hull (UK). There will then be three blocks, each consisting of three presentations followed by a facilitated discussion with the online audience, and breaks between each of the blocks. The CyPosium will begin at 15.00 GMT on Friday 12 October and finish at about 2am GMT; the complete schedule is available on the CyPosium web site. The CyPosium is free to attend and will be accessible via a standard internet connection and web browser.
For more information, visit www.cyposium.net or email info@cyposium.net
Selected Presentations
(bios and abstracts are below)
Introduction
Cyberformance? Digital or Networked Performance? Cybertheaters? Or Virtual Theatres? … or all of the above?: Maria Chatzichristodoulou
Block 1
Wirefire: A Complete History of Love in the Wires (parts 17–24): Auriea Harvey and Michaël Samyn
We Have Always Been Avatars, and Avatars Must Die: Alan Sondheim
More/Less Than a Cyberfession: A few theoretical short-(cir)cu(i)ts from Learn to hear through the lies of your eyes: Miljana Perić
Block 2
ATHEMOO and NetSeduction: Censorship and The Art of Sexting Before Cell Phones: Stephen A. Schrum HEAD SHOT! Performative Interventions in Mixed Realities: Joseph DeLappe
So far, and yet, so close: Lessons from Telematic Improvisation: Adriene Jenik
Block 3
Re-Calling Home!: ActiveLayers
Ethernet Orchestra: Networked Intercultural Improvisation: Roger Mills
Transmittance — a telematic performance: Maja Delak and Luka Prinčić
The cyposium is organised by Annie Abrahams, Christina Papagiannouli, Francesco Buonaiuto, Helen Varley Jamieson, Katarina DJ Urosevic, Martin Eisenbarth, Nathalie Fougeras, Suzon Fuks and Vicki Smith.
= = = =
Presenter Bios and Abstracts
Cyberformance? Digital or Networked Performance? Cybertheaters? Or Virtual Theatres? … or all of the above?
Maria Chatzichristodoulou [aka Maria X] will give an introduction to cyberformance and the CyPosium, followed by a discussion. Maria is a cultural practitioner (curator, performer, producer, writer), Director of Postgraduate Studies and Lecturer in Theatre and Performance at the School of Arts and New Media, University of Hull, and holds a PhD in Art and Computational Technologies from Goldsmiths University of London. She is co-editor of the volume Interfaces of Performance (Ashgate, 2009) and the forthcoming volume Intimacy Across Visceral and Digital Performance (Palgrave MacMillan), which follows the Intimacy festival and Symposium that Maria initiated and co-directed in London (2007). She also co-editor of the forthcoming volume From Black Box to Second Life: Theatre and Performance in Virtual Worlds, which follows a day of round table discussions Maria initiated at the University of Hull (Scarborough, 2011).
Abstract: Steve Dixon, in the preface to his book Digital Performance (2007), acknowledges the problematic nature of the term, which is due to the wide-ranging applications of both its elements: 'digital' and 'performance'. According to Dixon, '"Digital" has become a loose and generic term (…) and the term "performance" has acquired wide-ranging applications and different nuances (…)' (p. x). Though the terms remain contested, there is no doubt that the last two decades have witnessed a proliferation of performance practices that unfold not in physical or proximal environments but online, in purpose-built platforms or appropriated virtual environments and worlds. This paper will offer a condensed art historical overview of the newly emergent genre of digital performance (or whatever else you want to call it), focusing in particular on performance practices that develop exclusively (or primarily) online.
Wirefire: A Complete History of Love in the Wires (parts 17–24)
Auriea Harvey and Michaël Samyn started their collaboration in 1999. Harvey and Samyn have devoted their lives to the creation of elegant and emotionally rich interactive entertainment. As Entropy8Zuper! they created many websites and internet artworks, such as "Skinonskinonskin", a series of interactive love letters. "The Godlove Museum" which fuses love, religion, politics and sex, and "Wirefire" which was their web-based performance environment. In 2003 they founded independent game development studio Tale of Tales in Gent, Belgium, where they live and work, making genre defying videogames such as "The Endless Forest", "The Graveyard" and "The Path".
Abstract: "Wirefire" was an online performance that occurred between July 8, 1999 and January 9, 2003 every Thursday night, at midnight in Belgium. It began as a way for Auriea and Michaël to communicate with one another when she still lived in New York City, USA and he in Ronse, Belgium. Text chat seemed too limited. Video chat too factual. Desiring a communication channel that went beyond mere word and image they built one themselves. Believing in the network and their life that began there, this communication needed to be shared with others who were also searching for a meaning of love. Thus, "Wirefire" was built for: desire, intimacy and an audience.
We Have Always Been Avatars, and Avatars Must Die
Alan Sondheim was born in Wilkes-Barre, Pennsylvania; he lives with his partner, Azure Carter, in Brooklyn NY. A cross-disciplinary artist, writer, and theorist, he has exhibited, performed and lectured widely. In the past year, Sondheim has had a successful residency at Eyebeam Art + TechnologyCenter in New York; while there he worked with a number of collaborators on performances and sound pieces dealing with pain and annihilation. He also created a series of texts and 3d printing models of 'dead or wounded avatars.'
Abstract: It's dangerous to consider the virtual as a brave new world; the virtual has always been with us. But the lure now is the supposition that it engenders the potential of eternity, and escape from pain and death. In the meantime, the physical world is the Disaster of the Anthropocene. We must look, with open eyes, at the obdurate nature of the Real, through any means possible. We must accept our own deaths. I will discuss my work in virtual worlds and performance (with the collaboration of others) in this regard.
More/Less Than a Cyberfession: A few theoretical short-(cir)cu(i)ts from Learn to hear through the lies of your eyes
Miljana Perić holds an MA in ethnomusicology from the Faculty of Music in Belgrade. As a student in the Theory of Arts and Media department at the Interdisciplinary PhD studies of the University of Arts in Belgrade, she works on her thesis named Critical and Analytical Theory and Practice of the Activist Digital Theatre.
Abstract: The basic conceptual structure of the critical textual cyberformance is organized around notions of the cyber-net-confessions as:
(1) an artist statement about her work in the form-of– or sound-like "confession",
(2) performance itself as theatricalising of a confession act, and
(3) questions around issue of con-versation (ie. chat) between performers (derived from the proposed formula of UpStage e-quality: cyberaudience+cyberplayers=cyberformers), which can be viewed, problematized and discussed as element of self-expressive and con-fessional creative processes.
ATHEMOO and NetSeduction: Censorship and The Art of Sexting Before Cell Phones
Stephen A. Schrum, PhD is Associate Professor of Theatre Arts at Pitt-Greensburg. His research area is currently "The Perception of Presence in Virtual Performance," and he has directed virtual productions of "The Bacchae" and "Prometheus Bound" in Second Life (SL). He began teaching with technology in 1993, and his publications include the book, Theatre in Cyberspace: Issues of Teaching, Acting and Directing (as editor, 2000); "Theatre in Second Life® Holds the VR Mirror Up To Nature," in Handbook of Research on Computational Arts and Creative Informatics (2009), and "Teaching in the Virtual Theatre Classroom," in Teaching Through Multi-User Environments (2010).
Abstract: This session will recall the production of "NetSeduction" staged in ATHEMOO in 1996. Though only a text-based virtual reality, it caused consternation and efforts of censorship by the moderator of ATHEMOO, who was worried that the frank sexual dialogue would cause offense. (This, of course, assumed that anyone would actually log in and show up for the performance.) Flash-forward to 2012, with cell phone users "sexting" and Second Life avatars participating in consensual "pixel sex." Was text-only more dangerous than full-frontal cartoonage? Or has culture change that makes text-only less powerful, by virtue of their ubiquity in a constantly-texting society?
HEAD SHOT! Performative Interventions in Mixed Realities
Joseph DeLappe is a Professor of the Department of Art at the University of Nevada where he directs the Digital Media program. He has worked with electronic and new media since 1983, in online gaming performance and electromechanical installation. Through description and analysis, DeLappe contextualized an approach to creative activities in computer games and online communities as locations for interventionist performances and/or sites for data extraction for the creation of artifacts. He traced a history of performative agency in computer games starting in 1997 when he first engaged with creating abstract drawings while playing "first person shooters" with an Apple mouse reconfigured as a drawing tool. Since then, he has engaged in a series of performances in online shooter games using the in game text chat that combine aspects of political protest, historical reenactment, and street theater.
Abstract: Joseph DeLappe will contextualize an approach to creative activities in computer games as locations for interventionist performances and/or sites for data extraction for the creation of artifacts. DeLappe's presentation will focus on several of his most recent projects engaging in activist oriented performance and internet-based art projects. He will as well discuss "dead-in-iraq" (2006–2011), his 2008 project, "The Salt Satyagraha Online, Gandhi's March to Dandi" in Second Life, "Chatroulette: Discipline and Punish" (2011) and "Taliban Hands" (2012), among others.
So far, and yet, so close: Lessons from Telematic Improvisation
Adriene Jenik is a telecommunications media artist, research professor and Katherine K. Herberger Endowed Chair in Fine Arts at Arizona State University's School of Art. Her works, including "Mauve Desert: A CD-ROM Translation", "El Naftaazteca" (with Guillermo Gomez-Pena), Desktop Theatre (with Lisa Brenneis and the Desktop Theater troupe), SPECFLIC, and Open_Borders (with Charley Ten), harness the collision of "high" technology and human desire to propose new forms of literature, cinema, and performance.
Abstract: When improvising across distances (as in telematic improvisation), how do artists utilize the unique properties of distance? What types of performance cues develop within a networked improvisatory environment? This paper draws upon my experience directing improvisational performance projects (Desktop Theater, SPECFLIC and Open_Borders Lounge) to address these and other questions. In doing so, I hope to expand the understanding of telematics performance practice and address not only differences in form and technique; but the ways in which socio-political context, language differences, and time zone shifts can contribute to a critical conversation on improvisation. I will examine long-held notions of the centrality of proximal bodies in improvisation. Though the subject of the live body has been interrogated in relation to technological prosthesis and the residue of the live body has been acknowledged even in its mediated form, much remains to understand.
Re–Calling Home!
ActiveLayers was formed in March 08 by Liz Bryce, Cherry Truluck, Suzon Fuks and James Cunningham. Their work has spanned site-specific networked performance and cyberformance. They performed in Cherry Truluck's Masters presentation (07), the UpStage festivals of 07, 08 and 10, and Mediatised Sites Performance Festival (08). Works include "The Old Hotel II" (07), "The Old Hotel III" (07), "Calling Home!" (a 3-part project, 08, Part 1: "Getting to Know One Another", Part 2: "Staying in Touch", Part 3: "The Big Get-Together") and "Aquifer Fountain" (10). They have explored various online platforms and contributed to labs in the development of Waterwheel and its Tap interface.
Abstract: Using the Waterwheel Tap, the four members of ActiveLayers will chronicle the development of the 3-part work "Calling Home!" created in 2008. We will describe our collaborative process, challenges encountered and how we addressed them, how our diverse backgrounds influenced our processes, the development of the story and characters, the specificities of the three parts and ways in which we tried to engage audiences and challenge the mediums used.
Ethernet Orchestra: Case Studies of Networked Intercultural Improvisation
Roger Mills is a musician, sound artist and writer whose practice and research focuses on networked music performance, sound installation and experimental radio. International performance and production credits includes a Golden Eye award for contrapuntal radio performance "Idea of South" (Sydney), score for BAFTA award winning dance performance "At Swim Two Boys" by Earthfall, UK, and album production and performances with Turkish singer Mircan Kaya (UCM). Roger is currently undertaking a doctorate at the University of Technology, Sydney, where he also lectures in media arts production and sound and music design.
Abstract: This paper evaluates two intercultural improvisatory performances by the networked music ensemble Ethernet Orchestra. It examines the creative and cognitive challenges faced by musicians collaborating across distance, and cultural and musical traditions. The multimodal analysis investigates the strategies that musicians develop in action, as they are "thinking of what they are doing, and, in the process, evolving their way of doing it (Schön, 1995). Viewed through a semiotic framework, the analysis focuses on "aural perspective" (Leeuwen, 1999), representation and cross-cultural interpretation in improvisatory dialogues, and the ways in which they intersect during synchronous telematic performance.
Transmittance — a telematic performance
Transmittance is a project proposed by Maja Delak and Luka Prinčič but it usually involves more artists. Maja Delak is a choreographer and a dancer. Luka Prinčič is a musician,a sound designer and a media artist. Together (also known as Wanda and Nova deViator) they are an artistic duo who work with a variety of media (performance, sound, video, physical computing, texts, situations) in order to research and reflect the state of contemporary living. Their collaboration started in 2009.
Abstract: Transmittance is an experiment of collision of two performative worlds: physical and telematic. Through careful attention to questions and how are they communicated to two-fold online & offline public a locally situated artistic group of performers, visual artists, musicians and computer programmers create a situation of intense non-linear storytelling. In this presentation we would like to trace a personal history of mediated art and non-art that we find referential for our project. We would briefly tap into thematic and methodological approaches present in Transmittance in the context of other artistic online live art — namely cyber-performance — which we tackle here in no way as an exhaustive analysis.
kia ora
vicki ")
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: vicki smith
www.upstage.org.nz
vickismith@paradise.net.nz
+64 21 778 067
Cyposium: 12 October 2012
121212 UpStage Festival of Cyberformance: 5-12 December 2012
Art projects:
: http://tinyurl.com/vickismithBoatProject - Navigation speculation
: http://tinyurl.com/vickismithSCANZ2013 - Pattern Recognition
: http://www.avatarbodycollision.org
: http://www.flickr.com/photos/upstage
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Monday, September 3, 2012
[Ada_list] SCANZ 2013 hui-symposium reminder
Hi everyone,
Just a reminder that abstracts for SCANZ 2013 (Feb 1-3 2013) are due September 7th. Following is a list of people who are presenting and their affiliations:
Dr Te Huirangi Waikerepuru Ahorangi, Western Institute of Technology at Taranaki; Nina Czegledy University of Toronto; Dr Brian Degger Culture Lab Newcastle University; Pinar Yoldas Duke University; Vanessa Ramos-Velasquez Artist, Brazil/Germany; Gabriel Vanegas Universität der Künste Berlin; Ricardo Dal Farra Concordia University; Vicky Sowry Australian Network for Art and Technology; Cecelia Cmielewski Symbiotica, University of Western Australia; Dr Tracey M Benson Australian National University; Dr Josh Wodak Australian National University; Leah Barclay Artist, Australia; Jock McQueenie Cultural Broker, Australasia; Diane Bradshaw Institute of Geological and Nuclear Sciences; Associate Professor Mike Paulin University of Otago; Fiona Clark Artist; Dr Mark Harvey University of Auckland; Dr Dermott McMeel University of Auckland; Dr Te Oti Rakena University of Auckland; Becca Wood University of Auckland; Deborah Lawler-Dormer University of Auckland; Ana Terry & Don Hunter Independent artists; Dr Mark Jackson Auckland University of Technology; Maria O'Connor Auckland University of Technology; Margaret Smith Western Institute of Technology at Taranaki; Lesley Pitt Western Institute of Technology at Taranaki.
That doesn't include residency artists.
A reminder of the thematic framework
"Developing the culture to create a sustainable civilisation"
Integrating indigenous perspectives with creative, environmental, scientific and academic views on reality is essential to a sustainable future. At the same time, computing and digital media are changing our relationship to culture and the environment.
On the one hand digital technology allows us to analyse and display data in new ways, as when anthropologists use language databases to shed light on the movement of culture.
On the other hand digital technology adds to our senses, and extends them beyond the body to the forests and the land. Scientists, artists and others are transforming the environment into an organism, as Maori and indigenous peoples have always known it to be.
SCANZ 2013: 3rd nature will bring together diverse people to discuss how to approach working together across culture, discipline and media. We must work together to resolve the issues emerging at the boundary between fresh knowledge and deep knowledge, beginning with sharing knowledge and projects.
More info and submission process at: http://www.intercreate.org/2012/07/scanz-2013-hui-symposium-second-call/
regards
Ian M Clothier
Faculty of Humanities
Western Institute of Technology at Taranaki
www.witt.ac.nz
0064 6 757 3100 x 8895
Artist
ianclothier.com
Executive Director
Intercreate.org
2012
March Waterwheel (online) presentation Tunisia
May Presentation at Technoetic telos - Planetary Collegium, Kefalonia Greece
Sept Wai (curator) at 516Arts, ISEA 2012 Albuquerque
Sept Bus garden at ISEA 2012 Albuquerque
2013
Jan-Feb SCANZ 2013 3rd nature (creative director)
Jun Sea of Ubiquity ISEA 2013
Just a reminder that abstracts for SCANZ 2013 (Feb 1-3 2013) are due September 7th. Following is a list of people who are presenting and their affiliations:
Dr Te Huirangi Waikerepuru Ahorangi, Western Institute of Technology at Taranaki; Nina Czegledy University of Toronto; Dr Brian Degger Culture Lab Newcastle University; Pinar Yoldas Duke University; Vanessa Ramos-Velasquez Artist, Brazil/Germany; Gabriel Vanegas Universität der Künste Berlin; Ricardo Dal Farra Concordia University; Vicky Sowry Australian Network for Art and Technology; Cecelia Cmielewski Symbiotica, University of Western Australia; Dr Tracey M Benson Australian National University; Dr Josh Wodak Australian National University; Leah Barclay Artist, Australia; Jock McQueenie Cultural Broker, Australasia; Diane Bradshaw Institute of Geological and Nuclear Sciences; Associate Professor Mike Paulin University of Otago; Fiona Clark Artist; Dr Mark Harvey University of Auckland; Dr Dermott McMeel University of Auckland; Dr Te Oti Rakena University of Auckland; Becca Wood University of Auckland; Deborah Lawler-Dormer University of Auckland; Ana Terry & Don Hunter Independent artists; Dr Mark Jackson Auckland University of Technology; Maria O'Connor Auckland University of Technology; Margaret Smith Western Institute of Technology at Taranaki; Lesley Pitt Western Institute of Technology at Taranaki.
That doesn't include residency artists.
A reminder of the thematic framework
"Developing the culture to create a sustainable civilisation"
Integrating indigenous perspectives with creative, environmental, scientific and academic views on reality is essential to a sustainable future. At the same time, computing and digital media are changing our relationship to culture and the environment.
On the one hand digital technology allows us to analyse and display data in new ways, as when anthropologists use language databases to shed light on the movement of culture.
On the other hand digital technology adds to our senses, and extends them beyond the body to the forests and the land. Scientists, artists and others are transforming the environment into an organism, as Maori and indigenous peoples have always known it to be.
SCANZ 2013: 3rd nature will bring together diverse people to discuss how to approach working together across culture, discipline and media. We must work together to resolve the issues emerging at the boundary between fresh knowledge and deep knowledge, beginning with sharing knowledge and projects.
More info and submission process at: http://www.intercreate.org/2012/07/scanz-2013-hui-symposium-second-call/
regards
Ian M Clothier
Faculty of Humanities
Western Institute of Technology at Taranaki
www.witt.ac.nz
0064 6 757 3100 x 8895
Artist
ianclothier.com
Executive Director
Intercreate.org
2012
March Waterwheel (online) presentation Tunisia
May Presentation at Technoetic telos - Planetary Collegium, Kefalonia Greece
Sept Wai (curator) at 516Arts, ISEA 2012 Albuquerque
Sept Bus garden at ISEA 2012 Albuquerque
2013
Jan-Feb SCANZ 2013 3rd nature (creative director)
Jun Sea of Ubiquity ISEA 2013
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