Re: [spectre] How International is Media Art ? The Role of the Curatorial Practice
I fully agree with Jose-Carlos. Last year was the Year of Brazil in France and the @rt Outsiders Festival was dedicated to Brazilian New media art. In the catalogue, that I guest edited, I included a strong focus on the Brazilian pionneers, such as Cordeiro, Palatnik, but also Oiticica, etc. We also included 2 texts specially about 2 organisations in Brazil that focus on exhibiting new media art. It is only 2, because ... catalogs have limits in term of pages ;-) The catalog, for those of you who might be interested, has been published by Anomalie/Hyx and the texts are both in French and English. Its title is ://Brasil. All the authors are brazilian. It includes texts by the artists in the exhibition and texts about the currents trends in Brazil and historical perspectives that I just mentionned. The exhibition, curated by Jean-Luc Soret, included current Brazilian new media art and an historical piece by Esmeraldo (kinetic work, without motors but based on electro-static electricity). And it was important, as a curatorial statement, to show that new media art exist outside the usual paths with a high level of creativity, understanding, etc. In this case it was Brazil. But Riccardo dal Farra has done a whole research (with the Langlois Foundation) on computer-electronic-music in South America that encompasses many more countries. Also, on the Leonardo/Olats web site, in the Pioneers Pathbreakers (Pionniers et Précurseurs) project, we have information and documentation about Palatnik. I know that this site is mostly in French, but still, it does exist and shows that new media art is not only Western and that pionneers were also, in this case, in South America. Annick Jose-Carlos Mariategui wrote: Dear Chris and friends: I just came up with this interesting announcement of the International Symposium on Curating New Media Art. Yes, but it is Western-side International Symposium, not a real International one. It is a pity that though there are so many projects going on at a wide (real) International Scale, there is still the need to Westernize as much as possible the arts. This is similar to the reasons why in the majority of books on the so-called history of New Media there is not a single discussion on what happened outside Europe, Japan or the USA. This reflects a conformism and lack of a real consideration of the ways in which new media art has been evolving, quite successfully in many cases, through out the world, and I say the world (including the so-called emergent 'others' that in economic terms represented in 2005 more than half world's GDP). So when you discuss of point out questions around 'learning from pioneers', to what pioneers are you referring, to the semi-blind western sight? Is that what makes a good curator of media art? I believe that one of the most important points around the curatorial process is to understand a context and the development of a history (in that sense perhaps the work/efforts of Oliver Grau are worth mentioning) but lets be OPEN, not just in OpenSource terms, lets admit that media art and therefore its curatorial practice is a wide international activity and not just a bunch a friends that talk about the same stuff over and over again. I hope we try in the future to talk about the concept of International in a much more real (or critical) sense, and not just by defining it from one side of the world. Jose-Carlos Mariategui on 3/7/06 2:13 AM, Chris Byrne at [EMAIL PROTECTED] wrote: Art-Place-Technology International Symposium on Curating New Media Art Liverpool School of Art Design and FACT Centre 30 March - 1 April 2006 Just ten days left to take advantage of our early bird registration offer: ends on 17th March. Register now and save 35% on the full registration fee. Further programme details and online registration: http://www.art-place-technology.org New media art is a global phenomenon: a rapidly changing and dynamic field of creative practice which crosses conventional categories and disciplinary boundaries, challenging our assumptions about art. - How do curators engage with new media art? - What makes a good curator of new media art? - What can we learn from the pioneers of this field? - What does the future hold for curating new media art? - What common ground exists with other disciplines? These and other issues will be explored at Art-Place-Technology. Speakers who are shaping the practice and theory of curating new media art include: Inke Arns, Hartware MedienKunstVerein, Dortmund. Sarah Cook, CRUMB, University of Sunderland Pierre-Yves Desaive, Fine Arts Museum of Belgium, Brussels Paul Domela, Liverpool Biennial Lina Dzuverovic, Electra, London Charlie Gere, Lancaster University Beryl Graham, CRUMB, University of Sunderland Ceri Hand, FACT, Liverpool Drew Hemment, Futuresonic, Manchester Kathy Rae Huffman, Cornerhouse, Manchester Stephen Kovats, V2, Rotterdam Amanda McDonald Crowley, Eyebeam Art
[spectre] final call: Computational Models of Creativity in the Arts
Please circulate to colleagues relevant lists - and apologies for any duplication (the usual oxymoron) DEADLINE APPROACHING 19 March 2006 Computational Models of Creativity in the Arts a two-day workshop Wednesday 16 to Thursday 17 May 2006 A partnership between Goldsmiths and Birkbeck Colleges and the University of Sussex Hosted by Goldsmiths Digital Studios, Ben Pimlott Building, Goldsmiths College, University of London Including a public evening performance/exhibition event on the 16 May curated by BLIP and the Computer Arts Society at the Science Museum's Dana Centre in Knightsbridge The proceedings will be a special issue of Digital Creativity Journal (2007:1), Routledge Call for Participation This workshop will bring together practitioners and researchers who are involved in the use of computational systems in the fine and performing arts, literature, design and animation as well as the associated fields of aesthetics, cognitive science, art history and cultural theory. It especially invites those involved in the computational analysis and modelling of creative behaviour to meet and share their experiences and explore the potential of co-operative future ventures. It is intended that this call should interest the widest possible constituency. However a very broad list of (non-exclusive) descriptors might include: * the application of computational and generative methodologies in the arts and related creative disciplines * computational approaches to creativity, cognition and aesthetics * the application of artificial intelligence and artificial life * the application of evolutionary and adaptive systems * cultural applications of computing and digital electronics in general Categories of Submission * Position papers, posters, abstracts, etc... Places are limited! Please send in a one-page (maximum) outline of why you (and your colleagues) would like to attend and what you could contribute and/or how you might benefit. Include URLs to relevant projects/experience where possible * Artworks, performances, etc... Please submit a one-page proposal including technical requirements. Include URLs where possible Deadline The deadline for outlines and proposals is 19 March 2006. They should be sent to the conference chairs as PDF attachments to an email with the subject CMCA Workshop Submission Co-Chairs * Paul Brown, University of Sussex - [EMAIL PROTECTED] * Janis Jeffries, Goldsmiths - [EMAIL PROTECTED] * Nick Lambert, Birkbeck - [EMAIL PROTECTED] Organising Committee * Catherine Mason, Birkbeck * Tim Blackwell, Goldsmiths * Jon Bird, University of Sussex * Miguel Andres-Clavera, Goldsmiths * In-Yong Cho, Goldsmiths * Maria x, Goldsmiths Advisory Committee * Margaret Boden, University of Sussex * Phil Husbands, University of Sussex * Ernest Edmonds, University of Technology, Sydney * Charlie Gere, University of Lancaster * Mitchell Whitelaw, University of Sussex * Sue Gollifer, University of Brighton * Tony Longson, California State University, Los Angeles * Adrian David Cheok, Nanyang Technological University, Singapore * Dustin Stokes, University of Sussex Funded by the London Centre for Arts and Cultural Enterprise - LCACE - and the University of Sussex __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
Re: [spectre] How International is Media Art ? The Role of the Curatorial Practice
Annick, it's true. We love Sao Paulo. http://www.mobilefest.com.br/en/symposium.htm Message du 09/03/06 13:04 De : Annick Bureaud [EMAIL PROTECTED] A : Jose-Carlos Mariategui [EMAIL PROTECTED] Copie à : Spectre spectre@mikrolisten.de, iberoamerica ACT [EMAIL PROTECTED] Objet : Re: [spectre] How International is Media Art ? The Role of the Curatorial Practice I fully agree with Jose-Carlos. Last year was the Year of Brazil in France and the @rt Outsiders Festival was dedicated to Brazilian New media art. In the catalogue, that I guest edited, I included a strong focus on the Brazilian pionneers, such as Cordeiro, Palatnik, but also Oiticica, etc. We also included 2 texts specially about 2 organisations in Brazil that focus on exhibiting new media art. It is only 2, because ... catalogs have limits in term of pages ;-) The catalog, for those of you who might be interested, has been published by Anomalie/Hyx and the texts are both in French and English. Its title is ://Brasil. All the authors are brazilian. It includes texts by the artists in the exhibition and texts about the currents trends in Brazil and historical perspectives that I just mentionned. The exhibition, curated by Jean-Luc Soret, included current Brazilian new media art and an historical piece by Esmeraldo (kinetic work, without motors but based on electro-static electricity). And it was important, as a curatorial statement, to show that new media art exist outside the usual paths with a high level of creativity, understanding, etc. In this case it was Brazil. But Riccardo dal Farra has done a whole research (with the Langlois Foundation) on computer-electronic-music in South America that encompasses many more countries. Also, on the Leonardo/Olats web site, in the Pioneers Pathbreakers (Pionniers et Précurseurs) project, we have information and documentation about Palatnik. I know that this site is mostly in French, but still, it does exist and shows that new media art is not only Western and that pionneers were also, in this case, in South America. Annick Jose-Carlos Mariategui wrote: Dear Chris and friends: I just came up with this interesting announcement of the International Symposium on Curating New Media Art. Yes, but it is Western-side International Symposium, not a real International one. It is a pity that though there are so many projects going on at a wide (real) International Scale, there is still the need to Westernize as much as possible the arts. This is similar to the reasons why in the majority of books on the so-called history of New Media there is not a single discussion on what happened outside Europe, Japan or the USA. This reflects a conformism and lack of a real consideration of the ways in which new media art has been evolving, quite successfully in many cases, through out the world, and I say the world (including the so-called emergent 'others' that in economic terms represented in 2005 more than half world's GDP). So when you discuss of point out questions around 'learning from pioneers', to what pioneers are you referring, to the semi-blind western sight? Is that what makes a good curator of media art? I believe that one of the most important points around the curatorial process is to understand a context and the development of a history (in that sense perhaps the work/efforts of Oliver Grau are worth mentioning) but lets be OPEN, not just in OpenSource terms, lets admit that media art and therefore its curatorial practice is a wide international activity and not just a bunch a friends that talk about the same stuff over and over again. I hope we try in the future to talk about the concept of International in a much more real (or critical) sense, and not just by defining it from one side of the world. Jose-Carlos Mariategui on 3/7/06 2:13 AM, Chris Byrne at [EMAIL PROTECTED] wrote: Art-Place-Technology International Symposium on Curating New Media Art Liverpool School of Art Design and FACT Centre 30 March - 1 April 2006 Just ten days left to take advantage of our early bird registration offer: ends on 17th March. Register now and save 35% on the full registration fee. Further programme details and online registration: http://www.art-place-technology.org New media art is a global phenomenon: a rapidly changing and dynamic field of creative practice which crosses conventional categories and disciplinary boundaries, challenging our assumptions about art. - How do curators engage with new media art? - What makes a good curator of new media art? - What can we learn from the pioneers of this field? - What does the future hold for curating new media art? - What common ground exists with other disciplines? These and other issues will be explored at Art-Place-Technology. Speakers who are shaping the practice and theory of
[spectre] Re: new trans
On 8 Mar 2006, at 08:57, [EMAIL PROTECTED] wrote: what is the new in new media...what is the Trans in transmedia. definitions to contrast them from the existing, the established, rather than attempt to define them as they are still emerging how do codifying phrases as linguistic constructs benefit and hinder work that appears online or on computers ? usually they hinder more than benefit, think about the enormous problems the unwieldily term post-modern has created it is 1 am and I am working on a weather driven narrative...rambling. rambling is good. a+ gar __ [EMAIL PROTECTED] http://www.asquare.org/ __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] plenum- 12 hour- 5 acts - expandable software
in the context of Node London media season, in consideration of poly-media self-structuring, the durational acts of totally expanded, expandable software. PLENUM at NodeL - A plenary meeting session in 12 hours, 5 acts , 2 interludes. - Plus the optional epilogue. - 7pm, March 25 to 7am, March 26, 2006 (door opens 6pm) - Lime House Townhall, East London - admission by a piece of raw (meat, fish, veggie +++) PLENUM is a KOP + x collaboration in association with Open Congress and Boxing Club PLENUM is a novel event format governed by a live-algorithm that can variably be adapted to a number of issues affecting communities, groups and initiatives within the independent, self- organising framework of net culture today. PLENUM refers to the space of open public meetings and public speeches/debates as a commons. The project relates to the current discourse on open source software and open culture practice. It strives to probe consensual and participatory organisations, hold to account notions of transparency, shared commons and the underlying power structures. PLENUM comes out of KOP's Kingdom of Piracy ongoing research project Commons/Tales and its RULE OUT: Autonomy takes on Openness workshop session at Open Congress, Tate Britain 2005. PLENUM at NodeL takes into account the media funding initiative and self-organizing efforts that produces this citywide London media season of March, 2006. On a larger scheme, PLENUM is concerned with the poly-independent system that we operate within. In collaboration with KOP, X orchestrates five expanded software acts with readily extendible Pd (pure data), SuperCollider patches or any networked OSC-enabled code. The software is concerned with an interface which operates in two directions - from the realm of speculative or expanded software (aka. the social) to the reduced yet equally effective realm of codified software and (as output, as interference, as noise) the entry of executed results back. A repetitive return trip. A two way street. We invite media practitioners , cultural workers , Pders and all speculative coders in any chosen language, who are part or not part of NodeL as speakers, moderators, performers, and participants for PLENUM's 12 hour tour de force. With an aim at developing a working module for agenda setting and self-organization, PLENUM further explores the tension between the individual and the group voice, the human material and machine factor, the coming together and the falling apart, ultimately, the potential escalation of arguments leading to the (un)aviodable crash of self-made social units. Hopefully, a final walk out to River Thames at sunrise would revive the drained codes and souls. *** Totally expanded software exercise bike supreme work out.*** http://kop.kein.org/plenum http://x.1010.co.uk Node London media season http://www.nodel.org PLENUM at NodeL Call for remote and local participation of Pders and all speculative coders no/any SC3, OSC (bitte RSVP) with five software patches or modules being all extensible, expandable, open to any further interpretation. All code strategies, such as the neural, audience simulation, timeslicing, and rabbit holing welcome. send e-mail to m [EMAIL PROTECTED] __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
