[Ada_list] King Kapisi opens Digital Art Live exhibition Mata Mata 2.0

From: Nolwenn Lacire <NolwennL@aucklandlive.co.nz>

Hello,
Join us for the opening of Digital Art Live interactive exhibition Mata
Mata 2.0 by Vaimailla Urale and Rangituhia Hollis is collaboration with
Taura Greig.
Wednesday 23 July / 5.30 to 7.30 pm / Aotea Centre, Auckland / Nibbles and
Happy Hour drinks available

5.30pm – 6pm : DJ set by King Kapisi
6pm – 6.15pm: Artists Vaimaila Urale and Rangituhia Hollis, Developer Taura
Greig and Curator Nolwenn Lacire will share their insights into Mata Mata
2.0
6.15pm – 6.30 pm: Dances performed by Samoan Siva dancer Vaimaila Baker and
the Kapa haka group Te Tai Tonga.
6.30pm – 7.30pm: DJ set by King Kapisi

Look forward to seeing you there.

Nolwenn Lacire


Digital Art Live Programme Developer | colab.aut.ac.nz/dal/
In collaboration with Colab/AUT University

Arts Accessibility Programme Coordinator | aucklandlive.co.nz/signal.aspx

DDI +64 9 307 5446 | Mobile +64 21 550 397

Level 4, Aotea Centre, 50 Mayoral Drive, Auckland 1010
PO Box 5749, Wellesley Street, Auckland 1141
New Zealand

Working days: Mond to Thurs

[Ada_list] Fwd: ADA Mesh Cities Symposium 12-14 September - 2nd Call for proposals open Now

Kia ora Whanau

The second call for Papers and Panel proposals in particular is now open

*Call for Proposals: Round 2 – proposals Due Friday July 27*
(response by Friday 1st of August)

The* Space : Network : Memory *symposium in* Auckland 12-14 September
2014 *asks
what roles are digital networks playing in our ability to reveal and
understand the layers of a city? How does this affect contemporary
practices in art, architecture, urban planning and related fields?

We invite responses that might engage physically, psychologically,
spiritually and/or playfully with the visible and hidden structures and
systems of Auckland – Tamaki Makaurau.

*Space : Network : Memory* welcomes proposals for provocations, panel
participation and presentations of work engaging with aspects of the broad
range of practices and approaches necessary for rethinking the contemporary
city, the networks that surround and emerge from it, and the memories it
holds.

- *Proposals for short provocations* that respond to histories,
architectures, art and media as they interplay and feedback with civic
processes, and/or re-engage people in urban and public spaces.Your abstract
should include: name, contact information, title and a 300 word abstract
referencing the relevant symposium theme, and any technical requirements.
Please expect to give a ten minute presentation and contribute to a panel
discussion – online resources to support your presentation are welcome.

*proposals Due Friday July 27 *
- *Panel proposals*. These abstracts should include: name of at least
three people to form a panel, contact information, title and a 300 word
abstract referencing the relevant symposium theme, and any technical
requirements.Please expect to present a collaborative 30 – 40 minute panel
– online resources to support your panel presentation are welcome.

*proposals Due Friday July 27 *
- *Presentations of work*. These should include; name, contact details,
an image or documentation of the work (if possible), and a 150 word
abstract for a five minute discussion. Online resources to support your
works are welcome. *proposals Due Friday July 27*

*Space : Network : Memory* in Auckland is the 9th ADA Network symposium.
ADA symposia have a formidable reputation for critical collegial exchange
within the expanded field of digital and media arts. This September we
extend that conversation through participation with Digital Art Live and
again foray into the urban environment around the venue responding to the
themes generated by the ADA Network research project Mesh Cities
Christchurch.

- *Please email any* *requests for information to*
adasymposium2014_at_ada_dot_net_dot_nz

Details of the ADA Mesh Cities Symposium including the *registration*
process can be found here:
http://www.ada.net.nz/symposia/auckland-symposium-september-2014/

The initial programme outline and accommodation options can be found here:
http://www.ada.net.nz/meshcities/auckland-local-information/


*The 9th ADA Symposium in Auckland is part of 'Mesh Cities
Christchurch'**http://www.ada.net.nz/meshcities/ada-mesh-cities-christchurch/
<http://www.ada.net.nz/meshcities/ada-mesh-cities-christchurch/>*

*Full details here:*
http://www.ada.net.nz/meshcities/ada-symposium-auckland-september-12-14-cfp/


*More information is available here:*
http://www.ada.net.nz/symposia/auckland-symposium-september-2014/

[Ada_list] MINA2014 - Call out

*CALL FOR PAPERS, WORKSHOPS, PROJECT SHOWCASES &*

*CALL FOR SMARTPHONE, MOBILE AND POCKET CAMERA FILMS*



The MINA *Mobile Creativity and Innovation Symposium* and the *International
Mobile Innovation Screening *provide a platform for filmmakers, artists,
designers, researchers, educators and industry professionals to debate the
prospect of wireless, mobile and ubiquitous technologies in art and design,
education, and the creative industries and on-going development of mobile
social media, mobile technologies, mobile production and mobile aesthetics.

This year, the fourth MINA *Symposium* edition is centred around the
question: *What are current, potential and inspiring mobile opportunities
for the future of universities, of the private sector, of individuals and
digital communities?* and will seek to answer this question through
presentations of papers, panels discussions, workshops, performances and
mobile screenings.

MINA invites any submission relating, but not limited to the following:

¬ MOBILE & AESTHETIC

¬ MOBILE & COMMUNITIES

¬ MOBILE & HYBRID ART

¬ MOBILE & INTERACTIVITY

¬ MOBILE & MARKETING

¬ MOBILE & PEDAGOGY

¬ MOBILE & MEDIA PRODUCTION

¬ MOBILE & SOUND

¬ MOBILE & SPACE

¬ MOBILE & STORY-TELLING

Selected papers will be published in the *Creative Technologies *journal –
Special *Mobile*Edition.



*FORMAT*

Papers and pre-constituted panels can be delivered in-situ and via live
web/video-broadcast.

A. For each *PAPER submission*, please submit:

- a *proposal / abstract *of approximately *300 words*, including the title

- a *brief biographical *(100 words maximum) per author(s)

The paper presentation should be planned around 20 min, plus 10 min Q&A



B. For each* PANEL / WORKSHOP / PERFORMANCE proposals*, please submit:

- name of at least *three people to form a panel*

- a *proposal / abstract *of approximately *300 words*, including the title

- any technical requirement, if not standard (computer, Internet, video
projector, microphone)

- each panel / workshop member *brief biographical *(100 words maximum),
including their personal contact information

The panel discussion should be planned around 30 – 40 minute, the workshop
and performance format is flexible.

–––––––––

The *International Mobile Innovation Screening 2014 *will showcase short
films produced on and with smartphones, mobile and pocket cameras. In its
4th edition the MINA showcase will include micro-movies and micro-formats
(Vine, Vyclone and live streaming apps), travel, mobility and adventure
films (i.e. sports or drone videos) including projects realised with GoPro
cameras. Selected mobile films will be featured in the MINA showreel, MINA
DVD, MINA eBook and MINA's international partner festivals.

*Submisson via *http://mina.pro/submit/

––––––––––

*KEY DATES*

Deadline for paper proposals and pre-constituted panels, workshops
submission and screening:

-*28st of July 2014.*

All *PAPER submissions, PANEL and/or Workshop, Screening proposals* will be
double peer reviewed and presenters will be notified of acceptances by:

-* 29th of September 2014*.

MINA will take place on the 20th & 21st November (TBC) at AUT University
(Auckland, NZ/Aotearoa)



*SUBMISSION*

Please use the following submission link:

- https://www.easychair.org/conferences/?conf=mina2014

––––––––––



If you have any questions related to the *Symposium* please contact

Laurent Antonczak [ laurent@mina.pro | +64 211 625 072 ].



If you have any questions related to the *Screening* please contact

Max Schleser [ max@mina.pro | +64 22 692 0872 ].



For further information, please check also:www.mina.pro

and #MINA2013 eBook: http://bit.ly/eBook2013



Follow MINA on Twitter: @MINAmobile

and LIKE MINA on Facebook: http://goo.gl/EjnpMV

[Ada_list] Invitation to exhibition

Ola from Portugal, where I am doing a two months residency till the end of July. I am quickly going back to London next week to participate in a group show before breakfast we talked about the furthest visible point before it all disappeared with Cathy Haynes, Fay Nicolson, and The School of the Event Horizon at Tenderpixel. Preview is at 1900 on Thu 26 June

Exhibition runs till 26 July

Tenderpixel, 10 Cecil Court London WC2N 4HE

[http://www.tenderpixel.com/before-breakfast-conversations]

Also my solo presentation at MARS! in Munich is going through to 27 June. http://www.mars-contemporary.com [http://www.mars-contemporary.com/]

before breakfast we talked about the furthest visible point before it all disappeared examines the construct of objects that are informed by a relation to space, time and materiality. According to Bruno Latour, objects exist in the axis of their networks and bring with them a sense of connectedness, or an expanded anamnesis triggered by their ambiguous qualities. [...continue reading] [http://www.tenderpixel.com/before-breakfast-conversations]

Please click here to unsubscribe from this list http://email.kentaroyamada.com/t/r-u-xktjllt-dyjutjuuu-i/

[Ada_list] Performance Ethics Working Group Podcasts

Hi, I'd like to share with ADA the recently completed Performance
Ethics Working Group Podcasts. Enjoy listening.

The Performance Ethics Working Group has been talking to people about
ethics and performance for the last two years and now we've gone
public with the results in a series of podcasts that look at what
ethics has to do with performance. Investigating the legacy of
transgressive performance art, the ethics of working with communities,
traditional knowledges and audiences, not to mention the ethics of how
performers are treated and paid the podcasts address some of the most
complex issues confronting contemporary theatre, dance and visual arts
practitioners today.

Drawing from their direct experiences of making, commissioning and
viewing performance work, the participants discuss these complex
questions using concrete examples, exposing their failures to secure
the wellbeing of audiences, communities and performers alongside their
successes.

There are nine podcasts in total bringing together the voices of 23
different creators, directors, curators, producers, and researchers
including: Hadleigh Averill, Stephen Bain, Sally Barnett, Chris
Braddock, Carol Brown, Craig Cooper, David Cross, Sean Curham, Alison
East, Murray Edmond, Brent Harris, Mark Harvey, Mark Jackson, Alys
Longley, Rose Martin, Sally J Morgan, Moana Nepia, Tru Paraha, Val
Smith, Louise Tu'u, Kalisolaite 'Uhila, Alexa Wilson, and Becca Wood.

Listen via the University Without Conditions website:
universitywithoutconditions.ac.nz/?page_id=201
Subscribe on itunes:
https://itunes.apple.com/au/podcast/performance-ethics-working/id846935903

Episodes include:

Episode 1: What is ethics? (launched at the Festival of Uncertainty,
23 March 2014)
This first podcast introduces the idea of ethics as a daily practice
and philosophical enquiry, exploring what we think the broad concept
of ethics covers.

Episode 2: How we treat our audiences (published April 8, 2014)
The second podcast asks what responsibilities performers and producers
have towards their audiences and talks about how these can conflict
with the conceptual integrity of the work. We raise the question of
how we determine what is offensive and who gets to decide that.

Episode 3: Reviewing performance art and ethics historically
(published April 11, 2014)
During the interviews a number of historical examples from performance
art were reviewed such as Marina Abramovic's Rhythm 0 (1974), along
John Duncan's Blind Date (1980), along more contemporary works like
Pania Lincoln and Hadleigh Averill's Lunchtime Scrabble (1996), in
which a shooting was too effectively simulated and Mike Parr's Kingdom
Come and/or Punch Holes In The Body Politic (2005) at Sydney Artspace.
All of these works have challenged the performers and the audience to
identify what their limits are, and when they will say stop.

Episode 4: The ethics of community engagement (published April 16, 2014)
The fourth episode explores the issues which research in and with
communities brings up. Consent, collaboration, going undercover and
the imbalances of power between the artist and community are all
talked about while we investigate how community arts projects and
relational aesthetics projects can be ethically approached

Episode 5: Ethics of working with traditional and indigenous
knowledges (published April 24, 2014)
Recognising that the performing arts in Aotearoa New Zealand are
structured and understood through dominantly western paradigms the
fifth podcast examines the complexities of decolonising performance
exploring the strategies we can employ to work intelligently work
across cultures.

Episode 6: How we manage the ethics of money (Published April 30, 2014)
Episode six turns to the vexed question of money in the economically
marginal field of performance. Discussing neoliberalism and cultures
of exploitation, internships, alternative economies, unequal financial
distribution and the decommodification of art the participants speak
frankly of the ways they have approached the issue of equitable
sharing funds and enabling work to be created.

Episode 7: Working relationships within the performance community
(Published May 8, 2014)
The seventh podcast deals with ethical labour relationships between
performers and institutions, festivals, curators, directors and
choreographers. It addresses the issue of protecting of the performer
from real physical risks as well as ensuring they have the
psychological resilience necessary to make specific works before
moving into the history of poor treatment and sometimes outright abuse
of performers in the field of dance.

Episode 8: The University ethics process (Published May 22, 2014)
The eighth episode turns to the University, an institution which has
long addressed the issue of applied ethics in research. However,
these processes were initially developed for medical, sociological and
anthropological research. Drawing from the participants experiences at
Universities across New Zealand, Australia and the UK this podcast
explores the positive benefits and negative effects of submitting work
in development to the ethics committee.

Episode 9: Authorship in collaboration (Published May 28, 2014)
This bonus episode focusses on how we handle authorship in
collaborative processes. It brings together the participants thoughts
on the topic from debunking the myth of solo authorship and
recognising the positivity of influence, to adequate programme credits
and audience or community participation.

The Performance Ethics Working Group is research cluster in the
University Without Conditions, a free university and self-organising
collective, without ties to Government or corporations. We exist not
to produce 'degrees for jobs', but to enable a human being to improve
themselves and the society in which they exist.


Melissa Laing
melissa@melissalaing.com

www.melissalaing.com
www.universitywithoutconditions.ac.nz




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[Ada_list] The Performance Arcade 2015 Call For Proposals

Hi everyone,

We are pleased to announce our open call to artists from New Zealand and
around the world for The Performance Arcade 2015 programme. Please consider
making a proposal, and forward this call to any networks, platforms, or
individuals who may be interested.

The Performance Arcade 2015 is also proud to be affiliated with
International Programme Sponsors Bolton Hotel
<http://www.boltonhotel.co.nz/>, and supported with Creative New Zealand
funding. A new development is a partnership with 30 Upstairs Gallery
<http://www.30upstairs.co.nz/>(Wellington) that provides an exhibition
opportunity for artists in the lead-up to The Performance Arcade 2015. This
includes a Performance Series exhibition for selected works in November
2014.

Proposals are invited for The Performance Arcade 2015:

(1) *The Container Series:* shipping container-situated installations /
performances
(2) *The City Series:* a programme of performance events / installations
occurring along the
Wellington Waterfront, or extending into the nearby city.
(3) *The Stagespace*: a sheltered outdoor stage behind the Arcade, with a
bar, seating*, *lights and
sound system. Ideal for live music, culinary art, and other performances.
(5) *The Audio-Visual Series: *curated by Jacqui Wilson and Johann
Nortje, this programme of moving
image and sound works will be installed on screens and projection surfaces
around the Arcade
architecture.
(4) The Arcade also welcomes proposals for *new initiatives and concepts*
that may not fit the above.
We encourage proposals that radicalise the event or add new programmes or
features.

*PROPOSALS ARE DUE ON 1 AUGUST 2014 AT 5PM.*

The Call For Proposals can be downloaded here:

https://theplaygroundnz.files.wordpress.com/2011/06/pa2015_cfp.pdf


More information about The Performance Arcade can be found here:

http://theplaygroundnz.com/the-performance-arcade-2/



Sam Trubridge

Artistic Director

The Performance Arcade

The Playground NZ Ltd.

+ 64 (0) 210653992


www.theplaygroundnz.com

[Ada_list] Deep Anatomy Call for Applications - Fluid States 2015

The Playground NZ in association with Vertical Blue 2015 announce the *Call
For Applications for dEEP ANATOMY **- *a special symposium on Long Island,
The Bahamas in April 2015.

Artists, academics, scientists, and athletes are invited to participate in
this two-week long incubator of new dialogues between extreme sport,
performance, and a Caribbean island community.


The event is a part of *Fluid *States: the Performance Studies
International (PSi) #21 circuit of globally dispersed conference events.
Further information is included at the following website:

theplaygroundnz.com/deep-anatomy/


Sam Trubridge

Director - The Playground NZ Ltd (*The Performance Arcade, Sleep/Wake,
Ecology in Fifths*)

Associate Editor - *World Scenography* publication (OISTAT and York
University)

Director - *Deep Anatomy *(Long Island, Bahamas) cluster for the Fluid
States dispersed conference, PSi 2015

www.theplaygroundnz.com

http://www.yorku.ca/wrldscen/

www.waking.co.nz

[Ada_list] CSAA Conference at UOW

Hello all,

It would be great to see some ADA faces at this event later this year:

This year's Cultural Studies Association of Australasia conference, which will be hosted by the University of Wollongong.

CfP Due Date: 13th June, 2014.

For further details: lha.uow.edu.au/hsi/csaa2014
Cultural Studies Association of Australasia Conference 2014
3 - 5 December 2014
University of Wollongong
Conference Theme: Provocations
Keynote Speakers: Professor Joseph Pugliese, Associate Professor Katina Michael, Dr Kath Albury, and Profs. Erin Manning and Brian Massumi
The 2014 Cultural Studies Association of Australasia (CSAA) conference theme 'provocations' calls for papers that pursue various forms of action, change, or questioning. Such critical responses might be in reaction to global social transformations or the local minutiae of everyday life, and might be incited by creative practice, cultural analysis or imaginings of a more ethical present. Provocations might be understood to operate at the macro level in terms of politics, governance and law or at the scale of individual bodies, artistic endeavours and engagements with new technologies and social networks.

In anticipation of exploring these ideas, the conference is organised around six thematic streams and each stream will have an individual call for papers:

· Catastrophe

· Secrets

· Flesh

· Harm

· Exposure

· Activism

Committee: Dr Lisa Slater, Dr Nadine Ehlers, Professor Mark McLelland, Professor Sue Turnbull, Dr Ruth Walker, Dr Nicky Evans
Website:lha.uow.edu.au/hsi/csaa2014
Email:csaa-2014@uow.edu.au





________________/\_______________________________/\___________
Dr. Su Ballard | Senior Lecturer | Art History and Contemporary Arts |
University of Wollongong
office: +61 242392545

____/\______________/\___/\____________________________________

[Ada_list] Fwd: Registrations open for the 9th ADA Symposium - 12-14 September at AUT Aucland

Kia ora ano ADA

Also on the to do list of ADA events - the *ADA Mesh Cities Symposium *(Space:
Network:Memory)

The 9th in the symposia series this event engages in the civic and the
social in media arts in the city and is hosted alongside the Auckland
Architecture week

*The programme overview and your link to Register is here:*
http://www.ada.net.nz/meshcities/auckland-local-information/

*More Information Here*:
http://www.ada.net.nz/symposia/auckland-symposium-september-2014/

A second round of calls will be advised in the coming weeks,

[Ada_list] A reminder about the Sound-Sky workshop in Dunedin 10 June 1-4pm

Morena Whanau

Get in quick to reserve your free spot at the 3rd in the ADA Mesh Cities
Touring Artists workshop - Coming to you live and direct from Dunedin

Check it out here:
http://www.ada.net.nz/projects/meshcities-artist-tour-2014/
and register here:
http://www.ada.net.nz/events/mesh-cities-artist-tour-2014-sound-sky-workshop-3/

The 4th workshop will be in Wellington (date TBA)

[Ada_list] Sound Sky workshop 3 in Dunedin - Tuesday June 10 (1-4pm)

Kia ora Whanau

Thanks for your patience! The wait is now over for the next exciting
instalment of the Sound Sky tour series :)

Registrations are open for the 3rd workshop in the Sound Sky Artists tour
(Dunedin Tuesday June 10 1-4pm)
http://www.ada.net.nz/events/mesh-cities-artist-tour-2014-sound-sky-workshop-3/

Information about the project is available here
http://www.ada.net.nz/projects/meshcities-artist-tour-2014/

The workshop is free but places are limited
so book early to avoid disappointment :)

[Ada_list] Invitation to exhibition - b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.

b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.

Exhibition at MARS!

Preview 1800 Friday 23 May 2014

Exhibition runs till 27 June

Adalbertstr.19, 80799 Munich, Germany

Facebook Event [https://www.facebook.com/events/468981829898876]

http://www.mars-contemporary.com [http://www.mars-contemporary.com/]

MARS! is pleased to present b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d., a solo exhibition by London based artist Kentaro Yamada.

In this exhibition at MARS!, Yamada presents a series of objects and situations that address his interests in the intersection between human creativity, subjectivity and our relationship with bare material that came to form our surroundings from the beginning of time.

The artist will be present at the opening on Friday.

An additional work by the artist will be displayed in the exhibition cabinet [ ] Theresienstr. 48, opposite the Museum Brandhorst.

Please click here to unsubscribe from this list http://email.kentaroyamada.com/t/r-u-xiyhrjy-dyjutjuuu-j/

[Ada_list] On Behalf - National Digital Forum 2014 - Call for Papers due 30th May

The National Digital Forum is a network of people working together to
enhance digital interaction with culture and heritage. Their conference is
on 25-26 November 2014 - at Te Papa, Wellington.

- - -
Call for presentations NDF2014

We're delighted to announce the call out for presenters for the National
Digital Forum 2014 (25–26 November, Museum of New Zealand Te Papa
Tongarewa, Wellington).

The conference will be a mixture of keynote presentations, plenary sessions
and lightning talks. We are also interested in running pre/post conference
workshops, so do get in touch if you have an idea for those.

To get a sense of the National Digital Forum, please take a look at the
line up for past conferences http://www.ndf.org.nz/past-conferences/
What are we looking for this year?

We are keen to hear from practitioners from across the GLAM sector. If you
would like to raise a pressing issue, share an inspiring project, or
discuss opportunities and challenges in the sphere of digital cultural
heritage, we look forward to hearing from you.

We welcome proposals on any topic that's affecting the culture and heritage
sector, but if that's too broad here are a few starters:

- Cross-sector GLAM initiatives – how can we work together better? Where
are the most interesting and useful points of connection?
- Crowd sourcing and gamification – how can our users helpfully
contribute to our work? And what are some smart ideas for managing those
relationships?
- Indigenous knowledge and digital preservation – how do we build and
preserve the memory of a multicultural nation?
- The evolution of libraries as community hubs – what is the future of
libraries? What does major change mean for core users and traditional
services?
- DIY archives – how can we respond as the conventional parameters of
our sector expand? What new platforms does the collective memory inhabit?

The conference is not limited to these topics however, and we encourage you
to submit your abstract even if it falls outside of this framework.

Please feel free to email Conference Convenors, Thomasin and Matthew at
conference@ndf.org.nz if you would like to discuss your proposal prior to
submitting.

Proposals are due *Friday 30 May*.

Submit your proposals via the form on this page
http://www.ndf.org.nz/speaking-proposal/

[Ada_list] For : Janine Randerson - Press release - Action and Delay

*Press Release:*

Action and Delay

a symposium and workshop on temporality
in performance and media arts, AUT University, Auckland

day one symposium Friday 30 May-
day two workshop Saturday 31 May 2014

*Keynote addresses: Bruce Barber and Laresa Kosloff,*

*with live performances from Darcell Apelu and a tour by Christina
Houghton.*

Symposium (day one) The AUT Art & Performance Research Group, in
association with the Masters of Performance and Media Arts, is hosting
'Action and Delay' a critically engaging one day symposium followed by a
one day workshop that focuses on AUT's new performance facilities. The
symposium features highly respected media and performance practitioners
including Melbourne-based artist Laresa Kosloff (featured in 'Made Active'
at the AAG, 2012) and New Zealand-born Bruce Barber, a curator, writer and
performer who is well known for his explorations of the radical nature of
performance.

Workshop (day two) For the workshop AUT's performance space and motion
capture facilities will host the experimental workshop 'Mediating
performance systems'. The open workshop includes live performers,
responsive sound platforms and live-streaming to the AUT TV screens.
Researchers include Jennifer Nikolai, Andrew Denton, Greg Bennett, Janine
Randerson, Javier Esteves from AUT and Teresa Connors and Sean Castle
(University of Waikato).

Symposium and Workshop Themes

Live actions and recorded events have multiple modalities in contemporary
performance and media arts practice; live in the sense of 'being there', as
an audience/performer in physical space*, *or,
a mediated understanding of an event and its remote unfolding. This
symposium profiles forays into the unstable binaries of proximity and
remoteness, liveness and delay, the spontaneous and the staged, bodies and
technologies, performance and reenactment, the 'delegated' performance and
'live' installation.

Convened by Greg Bennett, Chris Braddock and Janine Randerson in
conjunction with the Art & Performance Research Group and in association
with the Masters of Performance and Media Arts Degree, School of Art &
Design at AUT .

*The symposium is free but spaces are limited, *

*please register now by emailing symposium co-ordinator Ziggy Leverr: *
ziggylever@gmail.com

Dr Janine Randerson

Senior Lecturer

Programme Leader Masters of Performance and Media Arts (MPMA)

AUT University

Building WM 208


ph: +64 9 921 9999 extension 6261

mb: 021 166 4096

email: jranders@aut.ac.nz

web: http: janineranderson.com

[Ada_list] DAL opening / Cut And Paste by Jenna Gavin / Thursday 15 May 5.30 pm

Digital Art Live invites you to join us for the opening of the new interactive exhibition Cut and Paste by Jenna Gavin

Thursday 15 May from 5.30 to 7 pm

Auckland, Aotea Centre, Level 2

Happy Hours drinks and nibbles provided


Cut and Paste is a refreshing exhibition that mixes play, art and literature. Using the metaphor of a scrapbook, this interactive work invites the audience to select words from New Zealand poems. These words become a trigger for a digital poetry lexicon, creating a brand new poem that will appear on the screen. The underlying message of this artist's work is that new concepts stem from existing ideas and this is the nature of creativity.

At 6 pm, discover more about the work with a short presentation by the artist Jenna Gavin and the curator Nolwenn Lacire. Then in celebration of the Auckland Writers Festival, New Zealand poets Siobhan Harvey and Maris O'Rourke will read a selection of their poems.

More info<http://colab.aut.ac.nz/dal/exhibitions/cut-and-paste/>



The exhibition will then be accessible until Monday 14 July 2014
Monday to Friday 7.30am to 6pm*
*Digital Art Live will remain open late and during weekends if there is a show in the Aotea Centre.

Auckland, Aotea Centre, Level 2

Free




NOLWENN LACIRE
Digital Art Live Coordinator | THE EDGE & Colab | colab.aut.ac.nz/dal/<http://colab.aut.ac.nz/dal/>
Signal Coordinator | THE EDGE | www.the-edge.co.nz/signal.aspx<http://www.the-edge.co.nz/signal.aspx>‎
Working days: Mond to Thur

DDI +64 9 307 5446
Level 4, Aotea Centre, 50 Mayoral Drive, Auckland 1010
PO Box 5749, Wellesley Street, Auckland 1141, New Zealand

[Ada_list] The Weight of Information - launch attempt

Hi all,

There will be an early morning screening of the launch attempt of
Space-X CRS-3 which is carrying Julian Priest's artwork 'The Weight of
Information' as part of the Kicksat program.

http://julianpriest.org/twoi

1. Saturday 19.04.2014

Location 39°55′59″S 175°02′57″E
The Ward Observatory,
St. Hill St,
Whanganui
New Zealand

Program Starts: 07:00 *AM NZST (UTC+12)
Launch Expected: 07:25 AM NZST (UTC+12) [18.04.2014,15:25 EDT]

The weather forecast at Cape Canaveral is not looking promising for this
launch attempt with
possible thunderstorms and only a 40% chance of launch predicted by the
NASA weather team.

A backup launch attempt is scheduled for the following day (Sunday in
Whanganui) when the outlook is better:

2. Sunday 20.04.2014

Program Starts: 06:30 AM NZST (UTC+12)
Launch: 07:02 AM NZST (UTC+12) [18.04.2014,15:02 EDT]

For on-line coverage please check:

http://www.ustream.tv/nasaedge
http://www.nasa.gov/multimedia/nasatv/

cheers

/julian
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[Ada_list] Conference: Born Digital and Cultural Heritage

Apologies for x-postings.


The International Born Digital and Cultural Heritage conference will be held on 19-20 June, 2014, at the Australian Centre for the Moving Image. The event is one of the outcomes of the 'Play It Again' project, which is focused on 1980s Australian and New Zealand game history and preservation. It is a collaboration between Flinders University, University of Melbourne, Victoria University of Wellington (NZ), the Australian Centre for the Moving Image, the New Zealand Film Archive, and the Berlin Computerspiele Museum.

The program features an exciting line-up of papers from scholars, artists, and practitioners from Finland, U.S., U.K., Germany, Poland, Japan, Samoa, New Zealand and Australia on topics from: demoscene history to manuscripts, archiving tweets to the 'right to be forgotten', Japanese game preservation efforts to artist's apps, and much much more.

Our two keynote speakers -- Dr Henry Lowood (Stanford, U.S.), and Dr Anne Laforet (ESADS, France) - are experts in digital game and net art preservation, respectively.

All the program details, plus abstracts and speaker's bios are on the conference website: http://playitagainproject.org/conference

Registration:
Full $210 (early bird is $180, valid until 18th April, so be quick!), $110 single day.
Student $100 ($80 early bird), $50 single day.

Please share with your networks. A poster is available for printing at https://dl.dropboxusercontent.com/u/33143419/born%20digital_16%204%2014_print_smaller.pdf

I look forward to seeing some of you in Melbourne!

Regards,

Melanie



--
Assoc. Prof. Melanie Swalwell
ARC Future Fellow

Screen and Media,
Flinders University
GPO Box 2100
Adelaide SA 5001

Ph: +61 8 8201 2619
278 Humanities Bldg
www.flinders.edu.au<http://www.flinders.edu.au/>
http://www.flinders.edu.au/people/melanie.swalwell

Popular Memory Archive: http://playitagainproject.org<http://www.playitagainproject.org/>
Play It Again blog: http://blogs.flinders.edu.au/play-it-again/
Australasian Heritage Software Database: www.ourdigitalheritage.org<http://www.ourdigitalheritage.org/>

CRICOS Provider: 00114A
This email and any attachments may be confidential. If you are not the intended recipient, please inform the sender by reply email and delete all copies of this message.

[Ada_list] Free seminar to discuss interactive art and science communication / Auckland 29 April

We invite you to join us for a seminar to discuss interactive art and
science communication in relation to the interactive exhibition Spectrum.

Tuesday 29 April, 2 to 4 pm
AUT university, Sir Paul Reeve building, lvl 4 , room WG404
Free with afternoon tea provided after the seminar


Colab and School of Computer and Mathematical Sciences (Auckland University
of Technology) invited the artists of the collective Unguarded Intersection
to work with the PhD students Shuaib Memon and Akbar Hossain whose focussed
on emergency Wi-Fi and cognitive radio. At first, this seemed an unlikely
partnership; however Unguarded Intersection were surprised by the visual
similarities between popular social games and technical depictions of radio
frequency spectrums.

This unusual collaboration between scientists and artists was the starting
point of the interactive exhibition Spectrum. It utilizes aspects of
gaming, popular culture and mobile storytelling to draw the audience into
the unseen world of digital communications and networks.

The seminar will discuss the challenge of science communication and will
use the project Spectrum as a case study. The artists from Unguarded
Intersection Fiona Milburn and Mark Shafer, the PhD students Shuaib Memon
and Akbar Hossain, Colab co-director Frances Joseph, the leader of the
network research group Associate Professor Nurul Sarkar and Digital Art
Live curator Nolwenn Hugain-Lacire will discuss this experience. Professor
Shaun Hendy from Auckland University department of Physics will expand on
this discussion. The programme will be chaired by Colab co-director
Associate professor Charles Walker.

Please RSVP to nolwennh@the-edge.co.nz by 22 April

The Spectrum exhibition is free and accessible at Aotea Centre, level 2,
weekdays from 7.30 am to 6 pm (open late and during weekends if there is a
show in the Aotea Centre).


NOLWENN LACIRE
Digital Art Live Coordinator | THE EDGE & Colab | colab.aut.ac.nz/dal/
Signal Coordinator | THE EDGE | www.the-edge.co.nz/signal.aspx‎
Working days: Mond to Thur

DDI +64 9 307 5446
Level 4, Aotea Centre, 50 Mayoral Drive, Auckland 1010
PO Box 5749, Wellesley Street, Auckland 1141, New Zealand

[Ada_list] 2014 Artist tour - Sound Sky - update

kia ora whanau

Thanks for those who booked and for everyone else thinking of attending I
am sorry to inform you that the next workshop for the

*2014 Artist tour - Sound Sky - Trudy Lane and Halsey Burgund *

http://ada.net.nz/projects/meshcities-artist-tour-2014/

is now postponed until sometime between 9-27th of June (dates to be
confirmed and you will be advised once this has been done)

This is due to a personal tragedy for one of the artists, we hope you are
still keen and can make the new date but are unable to run the workshop on
thursday as planned

many thanks and hopefully see you in June!

[Ada_list] Forwarding a link to the Green Party survey for Arts, Culture and Heritage

Kia ora,

The Green Party is seeking the views of people working within New Zealand's
arts, culture and heritage sectors so it can better reflect their views in
Parliament. Please take a moment to have your say by filling in this survey
- https://www.greens.org.nz/artscultureheritagesurvey.

This is your chance to share some of the issues and challenges you face as
New Zealand artists, cultural facilitators, creative educators, community
arts practitioners, or heritage workers, and suggest ways the government
might help you to tackle them.

Please forward this survey on to your members or anyone else in your
networks you know would like to be heard: the more responses we get, the
better we can reflect your views in Parliament.


Thank you,

Catherine Kan-Shaw

Intern for Holly Walker Green MP

Spokesperson for Arts, Culture and Heritage

[Ada_list] jobs at Goldsmiths

there are four jobs going at Goldsmiths that might be of interest to ada/medianz subscribers - allowing for bias, I'd say we have the best department on the planet, even tho it's a long way from Aotearoa

apologies for cross-posting

sean

The posts have all now been advertised - closing date is 22 April.

Senior Lecturer/Professor of Film and Television - http://jobs.goldsmiths.ac.uk/fe/tpl_goldsmiths01.asp?s=4A515F4E5A565B1A&jobid=89819,0258992386&key=89246514&c=724787722347&pagestamp=sexhbuxjwcbmlfrtdq

Senior Lecturer in Television Journalism - http://jobs.goldsmiths.ac.uk/fe/tpl_goldsmiths01.asp?s=4A515F4E5A565B1A&jobid=89824,9398472386&key=89246514&c=724787722347&pagestamp=sehcbollwqxgbptqfj<http://jobs.goldsmiths.ac.uk/fe/tpl_goldsmiths01.asp?s=7077796D6F777C616469717E7C1A&key=89246514&c=724787722347&pagestamp=seqseicvjxqeuwiynt>
​

[Ada_list] Sound Sky workshop - Dunedin 10 April 1-4pm

Kia ora Whanau

Registrations are open for the 3rd workshop in the Sound Sky Artists tour
(Dunedin April 10 1-4pm)

http://www.ada.net.nz/events/mesh-cities-artist-tour-2014-sound-sky-workshop-3/

Information about the project is available here

http://www.ada.net.nz/projects/meshcities-artist-tour-2014/

The workshop is free but places are limited
so book early to avoid disappointment :)

[Ada_list] Arduino Day Wellington 29 March 2014

Dear ada_list,

Arduino Day is a worldwide celebration of Arduino's first 10 years on 29 March 2014. Globally, it's 24 hours full of events, and we are hosting the Wellington event in the Media Lab of Victoria University's School ofDesign.

Arduino Day is a free event: Anyone interested in physical computing, all makers, designers, artists, hackers, geeks of all ages and levels of expertise are welcome to join uns.
There will be talks, demos, show&tell, workshops and the chance to win a prize sponsored by JayCar. Come and spend the day with us and have fun with microcontrollers.

Feel free to bring along your own kit and showcase your work, share your experiences, ask questions and present your ideas in a lightning talk.

When: Saturday, 29 March 2014, 11am-6pm
Where: 139 Vivian Street, Wellington Te Aro, Media Lab, 4th floor
Admission: Free, RSVP: http://attending.io/events/arduino-day-wellington-nz
Check the full programme here: http://arduinodaynz.hotglue.me/

Please feel free to share this event within your networks and we hope to see many of you on Saturday.

Regards,

Birgit Bachler &
Walter Langelaar

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[Ada_list] New-Media Master Class with Golan Levin.

*New-Media Master Class with Golan Levin*
Monday May 5 | 10am - 4pm

AUT City campus , Room WA616, Level 6
WA Building 55 Wellesley St East
Cost: $80

*Master Class Format:*

In this five-hour Master class and guided group critique, Golan Levin will
bring his expertise and experience in computational arts and interaction
design to the problem of advising your projects. Each participant should
expect to present (from a laptop/projector) a project or proposal for
approximately ten minutes. Levin will then provide feedback, brainstorming,
and guided discussion for each project. Projects may be in any discipline
of new-media arts and/or design, and in any state of completion. Limited to
15 participants (or participant-teams). This workshop will be what you make
it, so be prepared to share your work, enthusiasm, and curiosity!

*Registration:*
Please email Harry Silver: harry.silver@aut.ac.nz


*Golan Levin:*

Golan Levin is concerned with reclaiming computation as a medium of
personal inquiry and cultural innovation. He teaches "studio art courses in
computer science," on themes like interactive art, generative form, digital
fabrication, information visualization, gestural robotics, and audiovisual
performance. Levin has particular expertise in the application of computer
vision, signal processing, and statistical data mining techniques to
problems in interaction design, visualization and user experience.

Levin is Associate Professor of Computation Arts at Carnegie Mellon
University, where he also holds courtesy appointments in the School of
Computer Science and the School of Design. Levin is also Director of CMU's
Frank-Ratchye STUDIO for Creative Inquiry, a laboratory for atypical and
anti-disciplinary research across the arts, science, technology and
culture. A two-time TED speaker and recipient of undergraduate and graduate
degrees from the MIT Media Laboratory, Levin was named one of "50 Designers
Shaping the Future" by Fast Company magazine in October 2012. Golan has
spent half his life as an artist embedded within technological research
environments, in places like the MIT Media Laboratory, the Ars Electronica
Futurelab, and the former Interval Research Corporation in Palo Alto.



Best regards,
Harry Silver

Interactive Practitioners Community Coordinator
Colab | AUT University | 027 2465332
colab.aut.ac.nz | @Colab_AUT

Convergence // Collaboration // Communication

[Ada_list] Reminder of the Call out for the Digital Art Live due this weekend :)

hey ADA whanau

*Expressions of interest: March 16, 2014*

Digital Art Live <http://colab.aut.ac.nz/dal> in association with Aotearoa
Digital Arts network (ADA) <http://www.ada.net.nz/>and
AUTv<http://www.autv.aut.ac.nz/> are
calling for applications from creative practitioners interested in
presenting digital interactive works during the Auckland ADA symposium in
September 2014.

*Curatorial statement:*
We are interested in proposals *questioning the role that digital networks
are playing in our ability to reveal and understand the layers of a city* and
how this affects contemporary practices in art, architecture, urban
planning and related fields. We invite responses that might engage
physically, psychologically, spiritually and/or playfully with the visible
and hidden structures and systems of Auckland / Tamaki Makaurau.

*Budget:*
NZ$1,200 for artistic fee and possibility to support production costs.

Please contact Nolwenn Hugain-Lacire - NolwennH@the-edge.co.nz to discuss
your ideas and if you require some flexibility around the deadline.

More information and call documents can be found on
http://colab.aut.ac.nz/interactive-artworks-for-ada-sypmosium/

[Ada_list] Two cyberformances this week - Thursday/Friday depending on your time zone

hi everyone,
i made a time mistake in my email yesterday: the programme starts at
*5pm UK time on Thursday 13 March* (not 6pm as i mistakenly said). Those
of you who already checked for your local time
(http://tinyurl.com/nzy9k7u) will have already picked up on this. Sorry
for the confusion!

More information is available here: http://upstage.org.nz/blog/?p=5875,
where you will also find live links to the stages on the day.

see you in UpStage,
--
vicki smith & helen varley jamieson
UpStage festival architects
info@upstage.org.nz
www.upstage.org.nz

*Ten Years of UpStage! 9-10 January 2014 <http://upstage.org.nz/blog/>*

[Ada_list] Two cyberformances this week - Thursday/Friday depending on your time zone

hi everyone,
this week two performances are happening in UpStage, with screenings at
the University of Creative Arts in Farnham, UK.

The programme starts at *6pm UK time on Thursday 13 March* (that will be
early morning on Friday 14th for some of you). Find your local time
here: http://tinyurl.com/nzy9k7u. A short introductory talk will be
streamed in UpStage.

The first performance, beginning at about 6.15pm on the same stage as
the introduction will be streamed, is */The Ultimate Flood Survival
Guide/*. This show has had input from around 50 students at two of the
university's campuses (Farnham and Rochester), and is presented by staff
and students who have participated in UpStage workshops during Helen's
residency at UCA.

The second performance is /*Balloon*/, by Petyr Veenstra, Floris Sirag
and Gabriella Sacco. A mesmerising poetic and visual journey, /Balloon/
was first presented at the 10th Birthday celebrations in January. It
will begin at 6pm UK time - find your local time here:
http://tinyurl.com/qz8c48g

More information is available here: http://upstage.org.nz/blog/?p=5875,
where you will also find live links to the stages on the day.

see you in UpStage,
--
vicki smith & helen varley jamieson
UpStage festival architects
info@upstage.org.nz
www.upstage.org.nz

*Ten Years of UpStage! 9-10 January 2014 <http://upstage.org.nz/blog/>*

[Ada_list] Refining Light | Event

Hi ADA list,


Here is an invitation to the event Refining Light, this Saturday in Port
Chalmers, Dunedin.


Refining Light is multi-media 'expanded cinema', with film as the dominant
medium.


The Anteroom, Port Chalmers

Saturday 15th of March

2pm - 10pm


25 local filmmakers and musicians combine to bring you this event.


A sister event to the long-running Lines of Flight festival, it shares many
of the same participants and organisers. The combination of experimental
film-making, improvised musical accompaniment, and a character-filled venue
and garden promises to make this a wonderful community event.


The two shows have separate content.


In the afternoon session (not confirmed playing order!)


Film by Kim Pieters with soundtrack from Peter Stapleton and Peter Porteous

Rubbish Film Unit - Chris Schmeltz and Kerian Veraine

Anet Neutze and W. Belfry Bats

Phoebe Mackenzie and Nick Graham


Evening session


Tokerau Wilson, Jumps White and Murderbike

Campbell Walker and Radio Cegeste

Esta de Jong and Motoko Kikkawa

Ted Whitaker and Troy Naumoff

Charlotte Parallel


This event is totally free!!!


Afternoon session - 2pm - 4.30pm

Evening session - 7pm - 9.30pm


https://www.facebook.com/events/412144918921241/?ref_newsfeed_story_type=regular

[Ada_list] Mesh Cities Artists workshops - Auckland March 13

kia ora whanau

Trudy Lane and Halsey Burgund, fresh from their time at the fantastic
Audacious festival in Christchurch, are bringing the next Sound Sky
workshop to Auckland.

When: 2-4pm next Thursday March 13
Where: Colab, WG Sir Paul Reeves Building, 2 Governor Fitzroy Place, AUT
University

Workshop 2 will review the Sound Sky project launched at the Audacious
Festival, and the software Roundware that it is built with. Participants
will be invited to experiment with a local installation of a
location-sensitive audioscape and be guided through how to use the platform
for their own creative work.

Register here:
http://www.ada.net.nz/events/mesh-cities-artist-tour-auckland-sound-sky-workshop2/

Check out more details of the tour at;
http://www.ada.net.nz/projects/meshcities-artist-tour-2014/

Sound Sky: http://soundsky.org/

[Ada_list] Copy Wildly Workshop and Finissage, this Saturday 2pm

Dear ADA_list,

my exhibition Copy Wildly at Toi Pōneke Arts Centre is closing this Saturday 4pm.
At 2pm I will be holding a workshop on how to copy the exhibition,
with the help of the material on the USB-stick.

This will also be the last chance to copy (or buy) a USB-stick.

We'll start off with a tour through the show and then have a look together how to rebuild/recreate the artworks with the help of the data on the stick:

We'll discuss the technical and conceptual aspects of the works. I can give you a peek behind the interfaces, show and explain the hardware and software behind all works. We'll have a look at some of the code (Python, Bash, Processing), web interfaces (HTML, CSS), hardware (Arduino) and discuss possibilites of rebuilding/modifying the existing works with and without previous coding experience.

There will be drinks (thanks, Garage Beer!) to celebrate the last hours of the show.

Thanks to all who made it to the opening,
hope to see some of you on Saturday.

RSVP via e-mail or Facebook https://www.facebook.com/events/1406038429654128

Thanks,

Birgit
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[Ada_list] Call for performances and papers: Action and Delay: temporality in performance and media arts

Action and Delay
a symposium on temporality in performance and media arts
30-31 May 2014 - AUT University Auckland



We are pleased to invite you to send an abstract for blind peer review for an academic paper and/or performance for participation in a two-day symposium in the School of Art & Design at AUT University, Auckland. Topics may be situated across a range of disciplines in relation to notions of temporality in performance and media arts. We anticipate a broad exploration of disciplines such as dance, theatre, public art, social practices, online media, sound works, performance art and video installation.



Live actions and recorded events have multiple modalities in contemporary performance and media arts practice; live in the sense of 'being there', as an audience/performer in physical space, or, a mediated understanding of an event and its remote unfolding. This discussion asks questions about spectatorship (how performance is experienced) and temporality (when does performance happen). In this context, performance and its relationship to media arts might provoke reflections on multiple temporal schemas, or the potential of broader social access generated through live-casting or streaming. We invite forays into the unstable binaries of proximity and remoteness, liveness and delay, the spontaneous and the staged, bodies and technologies, performance and reenactment, the 'delegated' performance and 'live' installation.

In the 1960s experiments with 'liveness', 'real-time' and 'feedback' spread through avant-garde media and performance practice. Nam June Paik delighted in the spontaneous affects of the closed circuit loop of real-time video, Joan Jonas rolled with the camera, Lygia Clark introduced 'dialogue goggles' and Hans Haacke fused real-time social, ecological and informational systems. By the early 1990s Stelarc's robotic arm could be manipulated by audiences in distant countries. In New Zealand in the 1970s Jim Allen conjoined performance and the camera in live actions and, this year at Te Papa, Shigeyuki Kihara exhibited herself as a live museum exhibit. With these histories in mind, on day two of the symposium AUT's performance space and motion capture facilities will become sites for experimenting with how so-called moments of live creation become entangled with emergent media technologies.

Convened by Greg Bennett, Chris Braddock and Janine Randerson in conjunction with the Art & Performance Research Group and in association with the Masters of Performance and Media Arts Degree, School of Art & Design at AUT.

Paper length: 20 minutes; suggested performance length: 20-40 minutes

Free Registration

Please submit a 150 word abstract using the form overleaf to Robyn Ramage by March 31st 2014 email robyn.ramage@aut.ac.nz<mailto:robyn.ramage@aut.ac.nz>, Postgraduate Coordinator, School of Art + Design, Faculty of Design & Creative Technologies, AUT University.



Dr Janine Randerson
Senior Lecturer
Programme Leader Masters of Performance and Media Arts (MPMA)
AUT University
Building WM 208

ph: +64 9 921 9999 extension 6261
mb: 021 166 4096
email: jranders@aut.ac.nz
web: http: janineranderson.com

Re: [Ada_list] The problematics of practice currently

Thanks John,

That has pretty much laid out the landscape of current practice, in terms of the necessary negotiations around funding. I'm thinking most practitioners can find themselves somewhere in what you have written. And it is very good to have that Kickstarter experience as part of the mix, congrats on that it was quite an effort, yes?

It's quite true that there has been for some time now, a reliance on text and words for audiences in visual and fine arts. One aspect that marks the electronic arts sector, is the use of Open Call, and online forms to register submissions. These are used a little in visual arts (Puke Ariki's Taranaki "Home Work" show for which applications just closed, is an example) but online submission is endemic it seems to me, to electronic arts.

Obviously I'm not wanting to argue this is an exclusive property, but I think it does point to something that is part of the culture of electronic arts practice. There is a kind of openness to events and practice. There are some relatively open and wide shows in the visual arts, such as the upcoming "Tools of the Trade" in Gisborne http://tinyurl.com/mchas3w, but much happens curatorially behind the scenes in the visual arts. Whereas most events in electronic arts are open call plus invite to submit.

There was an attempt made by Edward Shanken at Art Basel 2011 to bring the discourses of relational aesthetics and electronic arts together - a panel with Peter Weibel and Nicola Bourriard http://medianewmediapostmedia.wordpress.com/2011/01/26/edward-shanken/

On the face of it this seemed like the most likely area of interconnection between the two. However bringing these discourses together didn't work, in part because there was a clash of cultures and frameworks for understanding projects and this gulf appeared too far to bridge. In particular there was no agreement on the foundation principles/assumptions that might facilitate a discussion.

Currently around ISEA's advisory committee and board there is much discussion about the values and culture of the ISEA audience, as various strategies for ongoing funding are evaluated. One potential for example is to make online access to papers subscriber based, but this is unlikely to occur (though may, who knows) because many people within ISEA's network do all that extra work in terms of projects and papers as a way of giving to the community. So giving to the community is a primary motivation, rather than career or financial advantage.

So what does the use of Open Call point to? What are the values of the culture of the electronic arts sector here?

It would be interesting to receive some input on this topic.

Best

Ian


-----Original Message-----
From: ada_list-bounces@list.waikato.ac.nz on behalf of John Hopkins
Sent: Fri 2/28/2014 2:43 PM
To: ada_list@list.waikato.ac.nz
Subject: Re: [Ada_list] The problematics of practice currently

Seems the first time I sent this it didn't make it...

On 20/Feb/14 16:21, Ian Clothier wrote:

Hei Ian!

Here's my rambling rant ... based in a wide range of experiences across Europe,
the US, and the Antipodes...

> Forwarded below is a message from Damian Stewart. What he talks about is one
> facet of a bunch of issues for media practice.

Hasn't it always been about PR, promotion, and one's abilities with
self-re-presentation, especially text-spinning. And this quite independent from
the actual work being done. At least that's what I've observed with practices
across Europe, the US, and the antipodes. Of course, who you know remains a
factor as well.

If you can write convincingly, seductively, provocatively about what you do, or
can spin what you do as being something that ticks off a box in the
cultural-industry manager's funding application ('creative industries' pops into
mind as being just one of those mind-numbingly stupid spin phrases) -- you are
set at least from the fiscal pov!

One alternative is to happen on, find, pay, or just plain be lucky to stumble on
someone else who will write about you and what you do.

A social system is structured to reward participants that augment the
survivability of the wider system, not the individual. This makes it necessarily
conservative, resistant to change, and risk averse. Somehow in all this, a text
is reassuring to the arbiters of culture: Reading the label next to the abstract
painting makes everything safe; being able to select which kind of artist you
actually are from a state-sanctioned list (What? You aren't a painter, an actor,
a sculptress, a musician, a dancer? What's a network media artist working on
sustainability and community gardening?)

There seldom seems to be much correlation between the intensity/quality of work
and the social rewards conferred to those who are spending the
life-time/life-energy necessary to bring work into being. A far more direct
correlation is between the socially relevant *representation* of work and funding.

And, okay, concerning a media-arts practice, this already assumes wide-scaled
acquiescence to an array of dominant techno-social protocols that deeply affect
the autonomy of your work in general ... First we had to learn ftp way back in
the late 80s, then html, then a variety of image, audio, and video codecs, then
php, and now the rigid white cubes of social media. That and trying to raise
funds to stay somewhere on the curve of technological innovation (or at least
slightly ahead of technical obsolescence)...

Having said all this, speaking as someone who has a tremendous documentary
archive of my own praxis, along with audio-video-text-images of many other
folk's projects, collaborative events, objects (off- and) on-line for the last
20 years. The personal cost in life-time and life-energy has been substantial --
both directly and indirectly (raising money to support the technical maintenance
of archive along with some level of public access to it) ...

(http://tech-no-mad.net/blog/)

As a non-citizen resident in Europe and the Antipodes over the years, I've not
had much access to public funding directly, though I've benefitted from said
funding on numerous occasions.

And recently, I ran a very successful Kickstarter (practically the only way of
raising cultural funding in the backwaters of the US West!). Representation
there is crucial, obviously. Although the majority of my funders were people who
knew my work over many years, many campaigns raise phenomenal chunks of funding
with populist representations. (Of course, not to mention the questionable
cultural value of many crowd-funded projects...). I know I could have probably
increased my take if I had the skills to be populist in my representations. It's
a bit like populism in politics -- that there is a seductive power in being the
object of wide social adulation and reward. In my mind, representing one's self
with this goal in mind (to be accepted as being a valuable contributor to a
pre-determined cultural trajectory decided by those arbiters), is ultimately
self-defeating.

And in the end, it's a game, a distraction, a time-drain on the creative praxis,
this process of representation. The process of (self-)documentation steals one
away from the immediacy of lived-life, the recording device changes that which
is documented (the observer changes that which is observed). And yet many of us
persist in this strange activity...

enough for tonight...

Cheers,
JH


--
++++++++++++++++++++++++++++++++++++++++++++++++++
Dr. John Hopkins, BSc, MFA, PhD
photographer, media artist, archivist
http://tech-no-mad.net/blog/
++++++++++++++++++++++++++++++++++++++++++++++++++
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Re: [Ada_list] The problematics of practice currently

Seems the first time I sent this it didn't make it...

On 20/Feb/14 16:21, Ian Clothier wrote:

Hei Ian!

Here's my rambling rant ... based in a wide range of experiences across Europe,
the US, and the Antipodes...

> Forwarded below is a message from Damian Stewart. What he talks about is one
> facet of a bunch of issues for media practice.

Hasn't it always been about PR, promotion, and one's abilities with
self-re-presentation, especially text-spinning. And this quite independent from
the actual work being done. At least that's what I've observed with practices
across Europe, the US, and the antipodes. Of course, who you know remains a
factor as well.

If you can write convincingly, seductively, provocatively about what you do, or
can spin what you do as being something that ticks off a box in the
cultural-industry manager's funding application ('creative industries' pops into
mind as being just one of those mind-numbingly stupid spin phrases) -- you are
set at least from the fiscal pov!

One alternative is to happen on, find, pay, or just plain be lucky to stumble on
someone else who will write about you and what you do.

A social system is structured to reward participants that augment the
survivability of the wider system, not the individual. This makes it necessarily
conservative, resistant to change, and risk averse. Somehow in all this, a text
is reassuring to the arbiters of culture: Reading the label next to the abstract
painting makes everything safe; being able to select which kind of artist you
actually are from a state-sanctioned list (What? You aren't a painter, an actor,
a sculptress, a musician, a dancer? What's a network media artist working on
sustainability and community gardening?)

There seldom seems to be much correlation between the intensity/quality of work
and the social rewards conferred to those who are spending the
life-time/life-energy necessary to bring work into being. A far more direct
correlation is between the socially relevant *representation* of work and funding.

And, okay, concerning a media-arts practice, this already assumes wide-scaled
acquiescence to an array of dominant techno-social protocols that deeply affect
the autonomy of your work in general ... First we had to learn ftp way back in
the late 80s, then html, then a variety of image, audio, and video codecs, then
php, and now the rigid white cubes of social media. That and trying to raise
funds to stay somewhere on the curve of technological innovation (or at least
slightly ahead of technical obsolescence)...

Having said all this, speaking as someone who has a tremendous documentary
archive of my own praxis, along with audio-video-text-images of many other
folk's projects, collaborative events, objects (off- and) on-line for the last
20 years. The personal cost in life-time and life-energy has been substantial --
both directly and indirectly (raising money to support the technical maintenance
of archive along with some level of public access to it) ...

(http://tech-no-mad.net/blog/)

As a non-citizen resident in Europe and the Antipodes over the years, I've not
had much access to public funding directly, though I've benefitted from said
funding on numerous occasions.

And recently, I ran a very successful Kickstarter (practically the only way of
raising cultural funding in the backwaters of the US West!). Representation
there is crucial, obviously. Although the majority of my funders were people who
knew my work over many years, many campaigns raise phenomenal chunks of funding
with populist representations. (Of course, not to mention the questionable
cultural value of many crowd-funded projects...). I know I could have probably
increased my take if I had the skills to be populist in my representations. It's
a bit like populism in politics -- that there is a seductive power in being the
object of wide social adulation and reward. In my mind, representing one's self
with this goal in mind (to be accepted as being a valuable contributor to a
pre-determined cultural trajectory decided by those arbiters), is ultimately
self-defeating.

And in the end, it's a game, a distraction, a time-drain on the creative praxis,
this process of representation. The process of (self-)documentation steals one
away from the immediacy of lived-life, the recording device changes that which
is documented (the observer changes that which is observed). And yet many of us
persist in this strange activity...

enough for tonight...

Cheers,
JH


--
++++++++++++++++++++++++++++++++++++++++++++++++++
Dr. John Hopkins, BSc, MFA, PhD
photographer, media artist, archivist
http://tech-no-mad.net/blog/
++++++++++++++++++++++++++++++++++++++++++++++++++
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[Ada_list] New Director at Audio Foundation

Hi All
In case some of you haven't heard the news, it is the founder and Director Zoe Drayton's last day at Audio Foundation after 10 years of building and growing AF as an organization and arts infrastructure.

Zoe is heading off to study Psychotherapy at AU full-time, but will be still be on the AF Trust Board and doing the accounts for the year.

Jeff Henderson will be taking over the helm from Monday onwards and his contact will be
jeff@audiofoundation.org.nz

Welcome to Jeff!

Many thanks to Zoe!!





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[Ada_list] 2014 ADA Artists Tour - Sound Sky workshops as part of the Audacious Festival - Christchurch March 1&2

*2014 Artist tour - {Sound Sky} Trudy Lane and Halsey Burgund*

http://www.ada.net.nz/projects/meshcities-artists-tour-2014/

The ADA Mesh Cities Artist Tour 2014 is being facilitated by the creative
team Trudy Lane and Halsey Burgund.

Trudy and Halsey have been working on the contributory artwork Sound
Sky, ADA are supporting their workshops and they're in Christchurch as part
of the Audacious festival March 1-2 - this weekend

*Sound Sky*

Their project *Sound Sky* (http://soundsky.org/) is a new geo-located audio
work envisioned for Christchurch, which emerged out of discussions of
memory, place and the CEISMIC archive at the first ADA Mesh Cities
gathering<http://www.ada.net.nz/meshcities/roundtablelaunch-event-physics-room-30313/>
.

Partnerships have since formed with the
organisationsCEISMIC,<http://www.ceismic.org.nz/>
Gap Filler <http://www.gapfiller.org.nz/>, and the Cantabrian Society for
Sonic Artists <http://cssa.org.nz/> (CSSA), allowing the project to take a
long-term, localised and collaborative approach. Contributed voices of the
public of Christchurch-- recalling histories, reflecting on today and
planting hopes and dreams for the future -- are the raw materials of the
work, which is to be combined with a musical score. It is a large-scale
project, which will benefit from widespread participation and community
adoption.


Artists Trudy Lane (Aotearoa/NZ, http://www.thehouseofwonder.org/) and
Halsey Burgund (USA, http://halseyburgund.com) will be presenting the
workshop series. The workshops will see participants take part in various
stages of the development of the site-specific installation audio-scape *Sound
Sky* and also introduce creative practitioners to the open source platform
Roundware (http://www.roundware.org/) being used to make the work.

Workshop 1

*Christchurch, March 1 and 2, 10.00am--12.00pm.*
Held in association with the Audacious Festival of March 1-2. (
http://audacious.org.nz/). This workshop will be combined with a project
soft launch with local promotion (flyers, stencils, events), inviting the
download and use of the first version of the mobile app, workshops with
Audacious audience,and general networking with local Christchurch audiences.
*Venue: *Pallet Pavilion, 70 Kilmore Street, Christchurch
*Register:* Workshop 1 registration (Saturday)
<http://www.ada.net.nz/events/sound-sky-workshop-1-saturday/>*Register:*
Workshop
1 Registration (Sunday)
<http://www.ada.net.nz/events/sound-sky-workshop1-sunday/>



// Aotearoa Digital Arts Network *www ada.net.nz <http://ada.net.nz>*

Re: [Ada_list] The problematics of practice currently

On 20/Feb/14 16:21, Ian Clothier wrote:

Hei Ian!

Here's my rambling rant ... based in a wide range of experiences across Europe,
the US, and the Antipodes...

> Forwarded below is a message from Damian Stewart. What he talks about is one
> facet of a bunch of issues for media practice.

Hasn't it always been about PR, promotion, and one's abilities with
self-re-presentation, especially text-spinning. And this quite independent from
the actual work being done. At least that's what I've observed with practices
across Europe, the US, and the antipodes. Of course, who you know remains a
factor as well.

If you can write convincingly, seductively, provocatively about what you do, or
can spin what you do as being something that ticks off a box in the
cultural-industry manager's funding application ('creative industries' pops into
mind as being just one of those mind-numbingly stupid spin phrases) -- you are
set at least from the fiscal pov!

One alternative is to happen on, find, pay, or just plain be lucky to stumble on
someone else who will write about you and what you do.

A social system is structured to reward participants that augment the
survivability of the wider system, not the individual. This makes it necessarily
conservative, resistant to change, and risk averse. Somehow in all this, a text
is reassuring to the arbiters of culture: Reading the label next to the abstract
painting makes everything safe; being able to select which kind of artist you
actually are from a state-sanctioned list (What? You aren't a painter, an actor,
a sculptress, a musician, a dancer? What's a network media artist working on
sustainability and community gardening?)

There seldom seems to be much correlation between the intensity/quality of work
and the social rewards conferred to those who are spending the
life-time/life-energy necessary to bring work into being. A far more direct
correlation is between the socially relevant *representation* of work and funding.

And, okay, concerning a media-arts practice, this already assumes wide-scaled
acquiescence to an array of dominant techno-social protocols that deeply affect
the autonomy of your work in general ... First we had to learn ftp way back in
the late 80s, then html, then a variety of image, audio, and video codecs, then
php, and now the rigid white cubes of social media. That and trying to raise
funds to stay somewhere on the curve of technological innovation (or at least
slightly ahead of technical obsolescence)...

Having said all this, speaking as someone who has a tremendous documentary
archive of my own praxis, along with audio-video-text-images of many other
folk's projects, collaborative events, objects (off- and) on-line for the last
20 years. The personal cost in life-time and life-energy has been substantial --
both directly and indirectly (raising money to support the technical
maintenance of archive along with some level of public access to it) ...

(http://tech-no-mad.net/blog/)

As a non-citizen resident in Europe and the Antipodes over the years, I've not
had much access to public funding directly, though I've benefitted from said
funding on numerous occasions.

And recently, I ran a very successful Kickstarter (practically the only way of
raising cultural funding in the backwaters of the US West!). Representation
there is crucial, obviously. Although the majority of my funders were people who
knew my work over many years, many campaigns raise phenomenal chunks of funding
with populist representations. (Of course, not to mention the questionable
cultural value of many crowd-funded projects...). I know I could have probably
increased my take if I had the skills to be populist in my representations. It's
a bit like populism in politics -- that there is a seductive power in being the
object of wide social adulation and reward. In my mind, representing one's self
with this goal in mind (to be accepted as being a valuable contributor to a
pre-determined cultural trajectory decided by those arbiters), is ultimately
self-defeating.

And in the end, it's a game, a distraction, a time-drain on the creative praxis,
this process of representation. The process of (self-)documentation steals one
away from the immediacy of lived-life, the recording device changes that which
is documented (the observer changes that which is observed). And yet many of us
persist in this strange activity...

enough for tonight...

Cheers,
JH


--
++++++++++++++++++++++++++++++++++++++++++++++++++
Dr. John Hopkins, BSc, MFA, PhD
photographer, media artist, archivist
http://tech-no-mad.net/blog/
++++++++++++++++++++++++++++++++++++++++++++++++++
_______________________________________________
Ada_list mailing list
Ada_list@list.waikato.ac.nz
http://ada.net.nz/


Manage your list membership (Subscribe, Change to digest, Unsubscribe)
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Re: [Ada_list] The problematics of practice currently

Thanks Luke and Damian for your input in regard to the problematics of
practice and highlighting this aspect of the documentation condition of
projects.

I suppose I had been viewing this from a more experiential perspective.
Keith Armstrong (http://embodiedmedia.com/) who has done some amazing
work, truly, and did rise quickly in the scheme of things. He was also
an early adopter of video as a documentation tool for projects and I
always saw his rise and the use of video as related. Keiths origin was
not in the visual or media arts initially, but outside which is an
interesting side note to this.

All of us regularly apply for exhibitions, awards and projects using
documentation. Consequently although it seems a bit weird to write it
now, creative practice in electronic media appears bookended by
documentation. Use documentation to apply, if accepted document the
project and add it to your archive or site. Perhaps this goes some way
to explaining how documentation got into the position that Damian and
Luke are talking about?

In terms of education context as a result of these considerations, in my
New Media class the final project is the work and the video
documentation of the work.

But as I say, up till now I saw this mostly from the basis of personal
experience (Keith and I shared a room at Solar Circuit Tasmania in 2002
and have kept in touch since) and the pragmatics of applying. But
perhaps it is much more of a broad feature of practice today.

So is there further comment on this, or other issues of practice that
are worthwhile taking into account?

Best

Ian


-----Original Message-----
From: Luke Munn [mailto:luke.munn@gmail.com]
Sent: Fri 2/21/2014 1:27 PM
To: Ian Clothier
Cc: Aotearoa Digital Arts
Subject: Re: [Ada_list] The problematics of practice currently

I'm going to take documentation to mean work documented in media form
and residing online. Damian's point is well observed, although it's
not just a media art issue and stems from the shift in art consumption
from on site to online. One curator I recently spoke to said the ratio
is about 90/10: visitors to the exhibition website versus physical
gallery visitors.

There's a great essay on this shift from the gallery to the phone in
Artforum, and some of the particular qualities that experience
foregrounds. It notes, for example, that the grey, monochromatic
paintings of Fredrik Vaerslev tend to break the 'pattern matching'
visual behaviour which we engage in when consuming art in this
infinite scrolling mode (tumblr especially but also facebook, g
images, et al). Here's a copy from Tanya Leighton because the Artforum
version is now behind a paywall
(http://www.tanyaleighton.com/p/p000420/Artforum_summer_2013.pdf).

Actually media arts has an advantage here, in that in many cases the
work was conceived and produced specifically to be presented /
experienced / executed online. Particularly in terms of software or
code-based art, the 'primary work' enjoys all the advantages of the
network in terms of accessibility and distribution, making any
documentation (stills, screencaps, etc) rather moot. Artists like
Rafael Rozendaal or Jonas Lund, making work specifically for the
browser, or the Speed Show format which rents net cafes and presents
one work on each machine, are great examples of leveraging the medium.

I know Damian and others make more installation-based or physical
media work, and as mentioned it's a harder task to shoot, edit and
communicate this back to an online audience. I blame Kickstarter in
setting up an expectation where everyone needs a professionally
produced video under 3 minutes to convey any idea. ;-)

Interestingly though over the last couple years I've noted several
artists, media especially, who have opted to keep these spaces
somewhat separate. That is, letting events and performances IRL occur
while their web presence (site, fb, twitter) is left 'incomplete' or
tangential. Incomplete in that works are just listed in plain text or
referenced, or tangential in that their own work is hardly referred
to, other/wider topics frequently tweeted about, social connections
become more important, etc. Jesse Darling and Ryan Trecartin exemplify
this latter approach, while Brad Troemel (he of thejogging fame) has a
great essay on some of these strategies in "artists looking for an
audience"
(http://main.bradtroemel.com/Writing/The%20Accidental%20Audience.pdf).

cheers,
Luke

lukemunn.com
twitter:@lukemunn


On 21 February 2014 12:21, Ian Clothier <I.Clothier@witt.ac.nz> wrote:
> Hi,
>
> Forwarded below is a message from Damian Stewart. What he talks about
is
> one facet of a bunch of issues for media practice.
>
> Hi Ian,
>
> To my mind the biggest 'problematic of practice' is that work exists
> primarily in documentation: that the immediacy of experiencing a work
in
> person becomes secondary to the quality of the documentation. Which
> means, that both a) having a nice camera and a good eye for film
editing
> techniques (or budget to hire someone who does) is more important than
> the actual work itself, and b) works that film well get more exposure.
>
> cheers
> D
>
>
>
>
>
> _______________________________________________
> Ada_list mailing list
> Ada_list@list.waikato.ac.nz
> http://ada.net.nz/
>
>
> Manage your list membership (Subscribe, Change to digest, Unsubscribe)
> http://list.waikato.ac.nz/mailman/listinfo/ada_list




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Re: [Ada_list] The problematics of practice currently

I'm going to take documentation to mean work documented in media form
and residing online. Damian's point is well observed, although it's
not just a media art issue and stems from the shift in art consumption
from on site to online. One curator I recently spoke to said the ratio
is about 90/10: visitors to the exhibition website versus physical
gallery visitors.

There's a great essay on this shift from the gallery to the phone in
Artforum, and some of the particular qualities that experience
foregrounds. It notes, for example, that the grey, monochromatic
paintings of Fredrik Vaerslev tend to break the 'pattern matching'
visual behaviour which we engage in when consuming art in this
infinite scrolling mode (tumblr especially but also facebook, g
images, et al). Here's a copy from Tanya Leighton because the Artforum
version is now behind a paywall
(http://www.tanyaleighton.com/p/p000420/Artforum_summer_2013.pdf).

Actually media arts has an advantage here, in that in many cases the
work was conceived and produced specifically to be presented /
experienced / executed online. Particularly in terms of software or
code-based art, the 'primary work' enjoys all the advantages of the
network in terms of accessibility and distribution, making any
documentation (stills, screencaps, etc) rather moot. Artists like
Rafael Rozendaal or Jonas Lund, making work specifically for the
browser, or the Speed Show format which rents net cafes and presents
one work on each machine, are great examples of leveraging the medium.

I know Damian and others make more installation-based or physical
media work, and as mentioned it's a harder task to shoot, edit and
communicate this back to an online audience. I blame Kickstarter in
setting up an expectation where everyone needs a professionally
produced video under 3 minutes to convey any idea. ;-)

Interestingly though over the last couple years I've noted several
artists, media especially, who have opted to keep these spaces
somewhat separate. That is, letting events and performances IRL occur
while their web presence (site, fb, twitter) is left 'incomplete' or
tangential. Incomplete in that works are just listed in plain text or
referenced, or tangential in that their own work is hardly referred
to, other/wider topics frequently tweeted about, social connections
become more important, etc. Jesse Darling and Ryan Trecartin exemplify
this latter approach, while Brad Troemel (he of thejogging fame) has a
great essay on some of these strategies in "artists looking for an
audience" (http://main.bradtroemel.com/Writing/The%20Accidental%20Audience.pdf).

cheers,
Luke

lukemunn.com
twitter:@lukemunn


On 21 February 2014 12:21, Ian Clothier <I.Clothier@witt.ac.nz> wrote:
> Hi,
>
> Forwarded below is a message from Damian Stewart. What he talks about is
> one facet of a bunch of issues for media practice.
>
> Hi Ian,
>
> To my mind the biggest 'problematic of practice' is that work exists
> primarily in documentation: that the immediacy of experiencing a work in
> person becomes secondary to the quality of the documentation. Which
> means, that both a) having a nice camera and a good eye for film editing
> techniques (or budget to hire someone who does) is more important than
> the actual work itself, and b) works that film well get more exposure.
>
> cheers
> D
>
>
>
>
>
> _______________________________________________
> Ada_list mailing list
> Ada_list@list.waikato.ac.nz
> http://ada.net.nz/
>
>
> Manage your list membership (Subscribe, Change to digest, Unsubscribe)
> http://list.waikato.ac.nz/mailman/listinfo/ada_list
_______________________________________________
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