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/
++++++++++++++++++++++++++++++++++++++++++++++++++
_______________________________________________
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Ada_list@list.waikato.ac.nz
http://ada.net.nz/


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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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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

[Ada_list] The problematics of practice currently

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





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http://ada.net.nz/


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[Ada_list] The problematics of practice currently

Hi ADA'ers,

Recently Creative New Zealand has been doing much to obtain statistics from the creative and cultural sector here, particularly with online benchmarking (see http://tinyurl.com/ke3tmjy) and Cultural Segments (http://tinyurl.com/lbuw833). These align really well with audience orientated performing arts, and it would be beneficial for the electronic arts (or media arts, digital media et al) sector here to have statistical and qualitative information to base assumptions on.

Both ADA and Intercreate will in the coming year be applying for additional funding, which involves speculating in some way, on the coming 1-3year period. While there is a place for blue sky thinking, it also would be good to get some feedback from you in the sector, that records in some way, your thoughts, preferences and speculations about what is important.

Consequently Intercreate has embarked on a process of collecting information, by online discussion, via a survey form and one on one interviews. This is for a period of around a month. We have asked the ADA Board if the online discussion could take place here, and they have approved this. In terms of what we do with the data, we do intend to share it and make it available to those that want it. All cited and survey data will be confidential - names and email addresses are not associated with responses in any way.

Consequently I would like to ask a question here. It is rather open admittedly but here it is:

What are the problematics of practice currently, as you see them?



Ian M Clothier

Executive Director
Intercreate.org
scanz2015:water*peace call http://www.intercreate.org/?p=1092
Like us on Facebook http://tinyurl.com/Fb-Intercreate
Follow us on Twitter https://twitter.com/intercreate

Artist
Art news http://www.artnews.co.nz/winter-2013-feature/
World Tree Orchestra http://ianclothier.com/worldtreeorchestra/
Haiku robots http://vimeo.com/39573417

Curator
Istanbul http://tinyurl.com/isea2011
Albuquerque http://tinyurl.com/wai-albq
3rd nature http://www.intercreate.org/?p=1042

Senior Academic
Western Institute of Technology at Taranaki http://www.witt.ac.nz
Witt Art Dept http://wittart.co.nz/
Research http://www.witt.ac.nz/About-WITT/Research/Ian-Clothier
Academia.edu http://witt.academia.edu/IanClothier

Peer review
Renew Copenhagen 2013 http://re-new.org/
World Water Day 2014 http://tinyurl.com/water2014
ISEA 2014 Dubai http://www.isea2014.org/en

[Ada_list] Digital Art Live call outs

Hello,
Digital Art Live<http://dal.colab.org.nz/> (DAL) is the only permanent interactive art programme in New Zealand. The interactive space is located in Auckland, at the Aotea Centre. This year we have three unique call outs for artists:

1- As announced previously by Vicky, DAL is collaborating with ADA to invite creative practitioners to create an interactive installation for Auckland related to the ADA symposium theme Space : Network : Memory.

2- DAL is also seeking expression of interest for artists interested in collaborating with the collective BoDig<http://www.bodig.org/‎> in Turkey and the digital centre Lieu Multiple<lieumultiple.org/‎> in France to create an unique interactive experience for the First World War commemoration.

3- For the fourth year, DAL invites students to present their work. This year, we are collaborating with DigitalNZ<http://www.digitalnz.org/‎> to encourage students in their use of openly licensed content.
All information about curatorial statement, deadline, artists fee, technical specification are available on DAL website<http://colab.aut.ac.nz/dal/getting-involved/>. For any question, please contact me at nolwennh@the-edge.co.nz
We look forward to receiving innovative and creative proposals from the New Zealand artists.


NOLWENN HUGAIN-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] COPY WILDLY exhibition, Wellington

Dear ADA_list,

I'd like to invite you to my first exhibition in New Zealand:
My show "Copy Wildly" opens next week Thursday, 13 February 2014, 5.30pm at Toi Pōneke Arts Centre in Wellington.

It would be great to meet some of the local ADA_list members,
in case you cannot make it to the opening event,
I'd be happy to show you around on any other day the show is running - just send me an e-mail,
my studio is in the same building as the gallery.

Hope to see some of you there!

best,

Birgit

--
COPY WILDLY

'Copy Wildly' is a new exhibition by Austrian artist Birgit Bachler featuring a playful
electronic spectacle of internet culture, media interventions and data appropriation.
The entire content and source code of the show is re-distributed on custom made USB-sticks.'

The show is part of this year's Fringe Festival and runs from 14 February - 8 March 2014.

The accompanying workshop will be held on Saturday March 8 at 2.00pm in the gallery.

Facebook event: https://www.facebook.com/events/441226452670981/
Fringe page: http://www.fringe.co.nz/COPY-WILDLY
Toi Pōneke Gallery on Google Maps: http://goo.gl/maps/9Wx9h
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http://ada.net.nz/

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[Ada_list] ADA Mesh Cities Activities for 2014 and a new Call for Proposals announced

kia ora whanau

we hope everyone is having a fun and productive start to the year and would
like to invite you to join the 2014 activities planned for the ADA Mesh
Cities project

*>> ADA Mesh Cities Touring Artists 2014 = Trudy Lane and Halsey Burgund &
their project { Sound Sky }*

The ADA Board takes great pleasure in announcing the successful applicants
for the 2014 Artist Tour are Trudy Lane and Halsey Burgund with their
project {Sound Sky} - a geo-located audio work envisioned for Christchurch.
Workshop participants will discuss and participate in the project as well
as learn about the software *Roundware*.

Full details of the workshop tour, dates and how to register, will be
coming out shortly, in the meantime background information may be found
here:
http://www.ada.net.nz/projects/meshcities-artist-tour-2014/

Congratulations Trudy and Halsey!

*>> 9th ADA Symposium Space : Network : Memory Auckland September 12-14*

Space : Network : Memory is a multi-city symposium that emerged out of the
events and transitional architectures of Christchurch, engaging in
discussions of urban space, social engagement, memory and speculative
futures. Following on from the successful event in Dunedin last year we
travel to the other end of the motu and bring you the Auckland event in
conjunction with Colab and AUT

The 9th ADA symposium would like you to consider; 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?

Further details of the Auckland Symposium and Calls will be posted on the
list shortly

Background information is here*:*
http://colab.aut.ac.nz/dal/getting-involved/

*>> Aotearoa Digital Arts (ADA) network & Digital Art Live (DAL) Call for
proposals*

ADA in collaboration with DAL announce the latest Call for Proposals for a
work to be realised on the interactive screen at The Edge venue in Aotea
Square and launched as part of the 9th ADA Symposium Space : Network :
Memory Auckland September 12-14

The Call details and the forms for application can be found here:
http://colab.aut.ac.nz/dal/getting-involved/

Expressions of interest are due on March 16 2014

= = =

*Please visit:* the ADA website www.ada.net.nz and
www.ada.net.nz/meshcities for
more information on the ADA Mesh Cities Project

or email admin@ada.net.nz with any questions or suggestions you might have

on behalf of the ADA Trust Board

kia pai to apopo for Waitangi Day everyone
vicki ("

[Ada_list] Masters of Performance and Media Arts (MPMA) starts 2014 at AUT University

The School of Art & Design at AUT University, Auckland, is delighted to
announce the appointment of Dr Janine Randerson to the role of Programme
Leader of the new Postgraduate Diploma of Performance and Media Arts and
Masters of Performance and Media Arts (MPMA).

Janine is joined by an exciting team of specialist staff in performance and
media arts such as Greg Bennett (Digital Design), Dr Chris Braddock (Visual
Arts), Andrew Denton (Digital Design) and Sue Gallagher (Scenography and
Spatial Design).

This innovative new postgraduate degree is cross disciplinary and will
appeal to people with backgrounds in dance, performance, theatre, visual
arts, digital and analogue moving image and sound.

- - -

Papers in the first year PG Dip include the following:

SPACE, IMAGE, SOUND & PERFORMANCE (15 point)

EMERGING PARADIGMS OF PERFORMANCE (15 point)

PERFORMING BODIES (15 point)

INTERACTIVE PERFORMANCE AND MEDIA ARTS (15 point)

CONTACT Janine Randerson for further information on:

janinedorothyranderson@gmail.com

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