[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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