Tim and are are looking forward to seeing the exhibit during our Spring break in a couple of weeks. It has been reported to me that the SFMOMA exhibit was quite spectacular and it will be interesting to see what the reception is in NY. Thanks for the preview. Renate
> One if the most moving aspects of the kentridge exhibition -- which > takes several visits it's so extensive-- is how > Well the animation is treated as an art object. It's magnificent . I > hope you all can visit who aren't in NYC. It's all very organic -- the > animations in their rooms with open access ( but it's not distracting > having people come and go) are huge and so different than when small. > Less scrappier. More monumental. More theatrical as i would assume he > prefers. I guess.immersive. There will be some people who might prefer > them smaller, more intimate and as I write both are true -- it has to > do with the tear rather than the cut. His animation called "mine" > though, is "magical" un the sense of moving beyond the process and > hits that pit between awe and ow and just letting one's breath out -- > it's the way ihe uses erasing as opposed to ( or with ir as) drawing > to creatve space and the claustrophobia of the mine. The coal. Drawing > from the darkness in a way. It reminded me of what Leonardo said about > painting light -- it's the darkness not the light. Anyway -- I was > just struck by the perfect match between subject matter, process, and > the erasing drawing animation. > > The show has his 7 parts to melies as an installation too and a > gorgeous small book called "trace" by Judith hecker, which if you > can't get to the show order. The catalogue comes with a DVD . > Thyrza > P.s > Hoping to see animated feature "the book of kells" before oscars > tomorrow . Has anyone seen it? > > Sent from my iPhone > > On Mar 2, 2010, at 10:29 PM, christopher sullivan <csu...@saic.edu> > wrote: > >> >> Again Simon you are not going to the right restaurant. >> There is magic out there. Chris. >> >> Quoting Simon Biggs <s.bi...@eca.ac.uk>: >> >>> I didn¹t say 50/50. Sometimes somebody gives more. One hopes it is >>> the >>> artist, but it isn¹t always the case. In fact, most of the time I >>> get the >>> feeling I am giving more than I am receiving when it comes to >>> popular media. >>> >>> Simon Biggs >>> >>> s.bi...@eca.ac.uk si...@littlepig.org.uk Skype: simonbiggsuk >>> http://www.littlepig.org.uk/ >>> Research Professor edinburgh college of art http://www.eca.ac.uk/ >>> Creative Interdisciplinary Research into CoLlaborative Environments >>> http://www.eca.ac.uk/circle/ >>> Electronic Literature as a Model of Creativity and Innovation in >>> Practice >>> http://www.elmcip.net/ >>> >>> >>> >>> From: christopher sullivan <csu...@saic.edu> >>> Date: Tue, 2 Mar 2010 12:16:37 -0600 >>> To: Simon Biggs <s.bi...@eca.ac.uk> >>> Cc: soft_skinned_space <empyre@lists.cofa.unsw.edu.au> >>> Subject: Re: [-empyre-] animation and short term memory (was, a >>> long time >>> ago: interpreting datasets, etc) >>> >>> >>> I agree that the moment of interchange is the defining moment, but >>> I do not >>> go >>> with the idea that the writer and the reader are 50 50 in the >>> interchange. >>> I actually like being overwhelmed by art, It is what feels best to >>> me. I am >>> not >>> quibbling, I just feel different, I like work made by really smart >>> complex >>> people, and I do not have a need to democratize the giver and >>> receiver. >>> for instance I am not frustrated when watching football, that I am >>> not >>> actually >>> running the ball, I am truly engaged as an observer, and as a reader, >>> watcher, >>> but I feel connection but not an even one. Animation is very >>> particular like >>> this, because it is such a place of amazing craft. >>> I cannot through a football 60 yards, that is OK. >>> of course diversity in thought is important. Chris >>> >>> >>> Quoting Simon Biggs <s.bi...@eca.ac.uk>: >>> >>>> I am quite a fan of Latour¹s formulation of expanded agency and >>>> Ingold¹s >>>> reading of the Deleuzian idea of becoming, where creation is >>>> located in >>> the >>>> process of exchange that occurs at the moment the art work comes >>>> into >>> being. >>>> This assumes that the art work only comes into being when it is >>>> received, >>>> not when it is produced (although these things can be the same >>>> thing  >>> they >>>> have to be the same thing) and that the work is to be found not in >>>> the >>>> artefact but in its exchange. The reader and writer only come into >>>> being >>> at >>>> this moment too. In this view there is little reason to quibble >>>> over who >>> did >>>> what. The reader and the writer are both implicated in the >>>> outcome. This >>> was >>>> Derrida¹s point. I do not find this a dry proposition at all qu >>>> ite the >>>> opposite. It is a field of complex interplays that is rich in >>>> nuance, >>>> contradiction, conflict and synergy. Random is just another word for >>> complex >>>> ;) >>>> >>>> Best >>>> >>>> Simon >>>> >>>> >>>> Simon Biggs >>>> >>>> s.bi...@eca.ac.uk si...@littlepig.org.uk Skype: simonbiggsuk >>>> http://www.littlepig.org.uk/ >>>> Research Professor edinburgh college of art http://www.eca.ac.uk/ >>>> Creative Interdisciplinary Research into CoLlaborative Environments >>>> http://www.eca.ac.uk/circle/ >>>> Electronic Literature as a Model of Creativity and Innovation in >>>> Practice >>>> http://www.elmcip.net/ >>>> >>>> >>>> >>>> From: christopher sullivan <csu...@saic.edu> >>>> Date: Tue, 2 Mar 2010 07:56:46 -0600 >>>> To: Simon Biggs <s.bi...@eca.ac.uk> >>>> Cc: soft_skinned_space <empyre@lists.cofa.unsw.edu.au> >>>> Subject: Re: [-empyre-] animation and short term memory (was, a >>>> long time >>>> ago: interpreting datasets, etc) >>>> >>>> >>>> Hi Simon, I agree that Patrick Smith is light in some ways, and to >>>> be >>>> honest, I >>>> show him in class as a classical animator making independent work. >>>> But it >>> is >>>> interesting that you pick the one you do not like, as opposed to >>>> the one >>> you >>>> did. Have not seen Michael Joaquin Grey, will check him out. I >>>> agree with >>>> your >>>> descriptions of narrative. For me it is not really that black and >>>> white. >>>> I still feel that some of the New Media Rules," Non-linear >>>> animation would >>>> require multiple streams or be generated on the fly, usually in >>>> response >>> to >>>> user >>>> activity." implies that there is truth in chaos, and control is in >>>> some >>> ways >>>> problematic. user activity often manifests itself as the >>>> narrative of the >>>> art >>>> opening, which is to me a pretty dry interface. I think that the >>>> idea of >>>> interactivity by an unblindfolded collaborator engaged in the >>>> content of >>> the >>>> work, and on board with the works purpose, and someone with creative >>>> strengths, >>>> has a lot more potential than leaning towards, the unknowing, random >>>> outsider. >>>> I say this because the latter his been my most common model with >>> interactive >>>> digital media. chris. >>>> >>>> >>>> Quoting Simon Biggs <s.bi...@eca.ac.uk>: >>>> >>>>> Coming from digital arts rather than animation I probably have a >>> stricter >>>>> definition of non-linearity. What you are calling non-linearity I >>>>> would >>>> call >>>>> complex or multi-layered narrative or perhaps open narrative. >>>> Non-narrative >>>>> would have no narrative at all, as in no plot, no story. This >>>>> could be >>>>> applied to abstract work, but even then there is usually some >>>>> sort of >>>>> logical development which can still be considered a narrative. >>>>> Non-linearity, to me, involves things like coding, rapid access >>>>> media, >>>>> heuristics, etc. Conventional animation is linear as it is a >>>>> single data >>>>> stream that does not materially change. Non-linear animation would >>> require >>>>> multiple streams or be generated on the fly, usually in response >>>>> to user >>>>> activity. This is what I make but I don¹t consider it animation, >>> although >>>> it >>>>> uses many of its techniques. >>>>> >>>>> Did I like the work? I have been familiar with these makers for a >>>>> long >>>> time. >>>>> I use to attend and present at Siggraph, back in the 1980¹s, a >>>>> long with >>>>> people like Duesing, Kawaguchi, Lasseter and others. My interest >>>>> then >>> was >>>>> not animation but experimental digital art. However, at that time >>>>> if you >>>>> were into computers and creative practice then you tended to get >>>>> tossed >>>> into >>>>> the same box, even if your creative intent was profoundly >>>>> different. I >>>>> didn¹t warm to Patrick Smith¹s work it is conventional animat >>>>> ion but >>>> with >>>>> a hint of street-cred thrown in, some Keith Haring and Jean >>>>> Dubuffet. >>> This >>>>> is evident in the paintings on his website too. Michael Joaquin >>>>> Grey¹s >>>> work >>>>> is more to my taste. Some of it reminded me of the early Vasul >>>>> ka¹s. >>>>> >>>>> Best >>>>> >>>>> Simon >>>>> >>>>> >>>>> Simon Biggs >>>>> >>>>> s.bi...@eca.ac.uk si...@littlepig.org.uk Skype: simonbiggsuk >>>>> http://www.littlepig.org.uk/ >>>>> Research Professor edinburgh college of art http://www.eca.ac.uk/ >>>>> Creative Interdisciplinary Research into CoLlaborative Environments >>>>> http://www.eca.ac.uk/circle/ >>>>> Electronic Literature as a Model of Creativity and Innovation in >>> Practice >>>>> http://www.elmcip.net/ >>>>> >>>>> >>>>> >>>>> From: christopher sullivan <csu...@saic.edu> >>>>> Date: Mon, 1 Mar 2010 22:39:04 -0600 >>>>> To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au>, Simon Biggs >>>>> <s.bi...@eca.ac.uk> >>>>> Cc: soft_skinned_space <empyre@lists.cofa.unsw.edu.au> >>>>> Subject: Re: [-empyre-] animation and short term memory (was, a >>>>> long >>> time >>>>> ago: interpreting datasets, etc) >>>>> >>>>> Hi Simon, perhaps there are degrees of narrative linearity, for >>>>> me there >>>>> does >>>>> not have to be a literal audience manipulation, or chance >>>>> operation to >>>>> create >>>>> experiments in narrative, it is done in literature all the time. >>>>> taking a film like Jim Duesings Tender bodies, or Nancy Andrews >>>>> strange >>>>> work, >>>>> or lewis klahr, there is I think very interesting stuff going on. >>>>> did you like the work you saw? that is all that maters for me. >>>>> Chris >>>>> >>>>> >>>>> Quoting Simon Biggs <s.bi...@eca.ac.uk>: >>>>> >>>>>> I think I am little confused about what non-linear means in this >>>> context. >>>>> I >>>>>> assume it to mean a time based artefact that can exist as a >>>>>> number of >>>>>> distinct material timelines. That is, the timeline bifurcates in >>> various >>>>>> ways that allow the viewer to experience distinctly different >>>>>> aspects >>> of >>>>> the >>>>>> work. In my experience there are only two ways to do this. One >>>>>> is to >>> use >>>> a >>>>>> hypermedia approach, such as the World Wide Web is predicated >>>>>> upon, >>>> which >>>>>> allows you to select from multiple routes through a number of >>>>> possibilities. >>>>>> The other is to use generative techniques, where the viewer¹s >>>> interaction >>>>>> with the artefact causes it to re-author itself in real-time, the >>>> outcome >>>>>> most likely being a novel instance of the work that only that >>>>>> viewer >>>> will >>>>>> ever experience (this approach is more common in simulation based >>>> computer >>>>>> games). I have googled some of the names Chris suggested but so >>>>>> far as >>> I >>>>>> could see they are making traditional linear animations. Am I >>>>>> missing >>>>>> something? >>>>>> >>>>>> Best >>>>>> >>>>>> Simon >>>>>> >>>>>> >>>>>> Simon Biggs >>>>>> >>>>>> s.bi...@eca.ac.uk si...@littlepig.org.uk Skype: simonbiggsuk >>>>>> http://www.littlepig.org.uk/ >>>>>> Research Professor edinburgh college of art http:// >>>>>> www.eca.ac.uk/ >>>>>> Creative Interdisciplinary Research into CoLlaborative >>>>>> Environments >>>>>> http://www.eca.ac.uk/circle/ >>>>>> Electronic Literature as a Model of Creativity and Innovation in >>>> Practice >>>>>> http://www.elmcip.net/ >>>>>> >>>>>> >>>>>> >>>>>> From: Eileen Reynolds <eyelen...@hotmail.com> >>>>>> Reply-To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au> >>>>>> Date: Sat, 27 Feb 2010 11:02:57 -0700 >>>>>> To: <empyre@lists.cofa.unsw.edu.au>, <futurenatu...@blueyonder.co.uk >>>>>> > >>>>>> Subject: Re: [-empyre-] animation and short term memory (was, a >>>>>> long >>>> time >>>>>> ago: interpreting datasets, etc) >>>>>> >>>>>> Hi Chris. Thanks for the list of names. I had not heard of some >>>>>> who I >>>>>> really ought to have known. Rose bond. wonderful. Intra Muros is >>>> superb. >>>>> I >>>>>> recently attended the introduction master class given by Patrick >>>>>> Smith >>>> in >>>>>> Singapore and was impressed by Drink and Puppet. The >>>>>> transformation is >>>>> quite >>>>>> nice. True, there is an endless supply of animated non-linear >>>>>> shorts >>> out >>>>>> there. >>>>>> >>>>>> >>>>>> Lately I've been absorbed in pre cinema tech and toys and also >>>> pixilation. >>>>>> In my opinion the visual power of such simple in camera effects >>>>>> can¹t >>> be >>>>>> beat. Yay Melies. Yeah and the tilt shift time lapse you >>> mentioned >>>>> the >>>>>> other day was another fine example of using limited technology, an >>> older >>>>>> technique, but bringing it one step further into video and >>>>>> creating >>>>>> something fresh. Also I find that the use of physical space in >>>>>> the >>>>> process >>>>>> of animation is becoming more extravagant... as in stop motion >>>>>> in the >>>>> urban >>>>>> space (Muto by Blu), or staging larger productions like that sony >>>> bravia >>>>>> clay bunny commercial or more involved pixilations like the >>>>>> video Oren >>>>> Lavie >>>>>> - Her Morning Elegance. The physical act of creation comes to >>>>>> the >>>>>> forefront and in a way makes the animated short that much more >>>> impressive. >>>>>> Perhaps the use of space is a reaction against the world of CG >>>> animation, >>>>>> which can be quite sedentary. Or perhaps it's just fun. Some >>>>>> random >>> and >>>>>> unrelated films/people I appreciate right now are Kihachiro >>>>>> Kawamoto, >>>>> Javan >>>>>> Ivey and his stratastencils, and Separation by Robert Morgan. >>>>>> Have a >>>> good >>>>>> day. Cheers. Eileen >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> >>>>>>> Date: Sat, 27 Feb 2010 00:05:06 -0600 >>>>>>> From: csu...@saic.edu >>>>>>> To: empyre@lists.cofa.unsw.edu.au; futurenatu...@blueyonder.co.uk >>>>>>> CC: empyre@lists.cofa.unsw.edu.au >>>>>>> Subject: Re: [-empyre-] animation and short term memory (was, a >>>>>>> long >>>>> time >>>>>> ago: >>>>>> interpreting datasets, etc) >>>>>>> >>>>>>> Hi Richard, there are plenty of non-linear narrative >>>>>>> animations, not >>>> too >>>>>> many >>>>>>> feature ones, but then there are not all that many feature length >>>>>> animations. >>>>>>> here are a few animators, off the top of my head, and the >>>>>>> Quay's as >>>>> well; >>>>>> janie >>>>>>> Gieser. Lewis Klahr, Nancu Andrews, me Chris Sullivan, Jim >>>>>>> Trainor, >>>>> Simon >>>>>>> Pummel, Amy Kravitze, Karen Yasinsky, Lilli Carre, Patrick Smith, >>> Don >>>>>>> Hertzfeld, Rose Bond, Joshua Mosely, Jim Duesing, Pritt Parn, >>>>>>> Brent >>>>> Green, >>>>>>> Piotr Dumala, and check out the nice work funded by the >>> organization, >>>>>> Animate >>>>>>> Projects, great british wonders. have a good night. Chris. >>>>>>> >>>>>>> >>>>>>> >>>>>>> Quoting Richard Wright <futurenatu...@blueyonder.co.uk>: >>>>>>> >>>>>>>> I always liked the quality in the Quay films where time seems to >>>> lose >>>>>>>> all its reference points. Those shots of dust settling or >>>>>>>> shadows >>>>>>>> dancing where you are no longer sure whether you are watching in >>>>>>>> "realtime" or over the course of hundreds of years. >>>>>>>> >>>>>>>> This also made me wonder why certain kinds of narrative and time >>> are >>>>>>>> almost never used in animation. For instance, why are there no >>> non- >>>>>>>> linear narrative animations? They are not that uncommon in live >>>>>>>> action films - I am thinking of Memento that goes backwards in >>> story >>>>>>>> time (with one b/w stream going forwards), Amores Perros that >>> jumps >>>>>>>> repeatedly backwards and forwards, The Hours with its parallel >>>>>>>> storylines running in different historical times periods. The >>>>>>>> only >>>>>>>> example of an animated film that has anything like these kinds >>>>>>>> of >>>>>>>> narrative structure is Waltz with Bashir with its persistent >>>>>>>> flashbacks. And that was made by a live action director. >>>>>>>> >>>>>>>> I wonder if this has something to do with the way that animators >>>>>>>> work, concentrating as they do on building up a sequence of >>> actions >>>>>>>> bit by bit, are they generally less directed towards the larger >>>>>>>> narrative structures of time? By focusing on the duration of the >>>>>>>> immediate event, is it as though they assume a sort of "short >>>>>>>> term >>>>>>>> memory"? >>>>>>>> >>>>>>>> Richard >>>>>>>> >>>>>>>> On 25 Feb 2010, at 03:34, T Goodeve wrote: >>>>>>>> >>>>>>>>> Hello everyone: >>>>>>>>> >>>>>>>>> Sorry I¹ve been so lax as a discussant-generator but here I am >>>> with >>>>>>>>> some thoughts and reflections. If it¹s okay just an as >>>>>>>>> ide first: >>>>>>>>> off the top of my fingertips<many of you make stuff you love >>>>>>>>> and >>>>>>>>> live for, also write about with great passion, and the animated >>>>>>>>> worldscape is still and ever will be one of magic and wonder I >>>> hope >>>>>>>>> (you have the romantic here), i.e., endless visual and aural >>>>>>>>> reimagings via its ability, or definition, whether anlogue or >>>>>>>>> digital, to do anything and everything within and beyond the >>>>>>>>> spacetime continuum. But sometimes I miss the basic humor, >>> wonder, >>>>>>>>> and sheer ³wow² of the simplicity of animation. I ment >>>>>>>>> ioned in a >>>>>>>>> post. The blank page and the dot. We lose track, myself >>> included, >>>>>>>>> analyzing the life out of things sometimes and to do this with >>>>>>>>> animation seems particularly perverse. I realize I set myself >>>>>>>>> up >>>>>>>>> for a bit of ridicule here but alas, someone has to speak up >>>>>>>>> for >>>>>>>>> the puppet doll in Street of Crocodiles who cradles the bare >>> light >>>>>>>>> bulb baby in its arm and brings it back to life with light, or >>> the >>>>>>>>> frayed and earnest bunny who does his best to keep up with the >>>>>>>>> spinning demented ping pong balls and a pair of disembodied >>>>>>>>> knee >>>>>>>>> socks and slippers moving up and down on tip toes in the Quays >>>> ³Are >>>>>>>>> We Still Married² <up and down, up and down. I think C >>>>>>>>> hristopher >>>>>>>>> Sullivan was trying to get at this but not everyone is out to >>>>>>>>> do >>>>>>>>> what he does nor interested in the way I am or the Quays or for >>>>>>>>> that matter, those who use it for visualization, but depending >>> on >>>>>>>>> why you do what you do we are here to discuss the breakthrough >>>>>>>>> insights of theory and technology and animation, but it¹s just >>>>>>>>> sometimes I¹ve felt we¹ve let the technology get away >>>>>>>>> with doing >>>>>>>>> too much of the talking, not that it doesn¹t have a lo >>>>>>>>> t to say. >>>>>>>>> >>>>>>>>> But a more hardy, if overly general, topic is temporality and >>>> time, >>>>>>>>> now-time vs say the way cinema¹s capturing, sculpting, control >>> of >>>>>>>>> time was such a huge part of its magic. Siegfried Kracauer >>>> describe >>>>>>>>> in an essay how powerful just ³having² the wind in the >>>>>>>>> trees <a >>>>>>>>> moment< captured on film is for him. How different from one of >>> my >>>>>>>>> students when I showed some film, perhaps Tarkovsky,² Why does >>> he >>>>>>>>> keep leaving the camera on the trees so long?² Students of >>> cinema >>>>>>>>> are different. We know this: ADD and short digitized attention >>>>>>>>> spans. But how do you see this in your worlds of animation >>> either >>>>>>>>> in terms of resistance or something emerging that is part of >>> this. >>>>>>>>> One thing I thought was very relevant was the post of the shift >>>>>>>>> tilt which is amazing and disturbing in this respect. Lots to >>> say >>>>>>>>> about it: not only the time lapse but the way the world is >>>>>>>>> miniaturized. Here the real profilmic world is literally made >>> into >>>>>>>>> an stop motion animated ³cartoon². One could talk about the >>> Quays >>>>>>>>> work and time both in terms of period and affect; rhythm and >>>>>>>>> texture of their worlds (In Absentia, the film they made with >>>>>>>>> Stockhausen, is in some ways about light/time, metaphorically >>>>>>>>> written all at once over and over (the character n the film) >>> hence >>>>>>>>> no time. Endless time. Speed of lightS .) But I do not know >>> what >>>>>>>>> people have seen. I am more interested in hearing you all >>> discuss >>>>>>>>> temporality and animation ³today²<both theoretically and >>> examples. >>>>>>>>> These discussions are so energetic. They amaze me. >>>>>>>>> >>>>>>>>> Thanks, Thyrza >>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>>> On Wed, Feb 24, 2010 at 12:39 AM, christopher sullivan >>>>>>>>> <csu...@saic.edu> wrote: >>>>>>>>> Hi Richard, I am the guy that wants animations about love, >>>>>>>>> hate, >>>>>>>>> birth, sex, and >>>>>>>>> death.(not necessarily in that order) >>>>>>>>> your rules of engagement leave me a little cold. why would this >>> be >>>>>>>>> a goal? >>>>>>>>> >>>>>>>>> "greatest possible distance between >>>>>>>>> human senses and computer code that is achievable through the >>>>>>>>> simplest material means" >>>>>>>>> >>>>>>>>> what part of the human condition would make this a mandate? >>>>>>>>> why would this be effective, or rather effective at doing what? >>>>>>>>> I know I am being a little aggressive here, but this is coming >>>> from >>>>>>>>> someone who does not think Data means anything, nor does >>> emulsion. >>>>>>>>> >>>>>>>>> chris. >>>>>>>>> >>>>>>>>> >>>>>>>>> >>>>>>>> >>>>>>>> >>>>>>> >>>>>>> >>>>>>> Christopher Sullivan >>>>>>> Dept. of Film/Video/New Media >>>>>>> School of the Art Institute of Chicago >>>>>>> 112 so michigan >>>>>>> Chicago Ill 60603 >>>>>>> csu...@saic.edu >>>>>>> 312-345-3802 >>>>>>> _______________________________________________ >>>>>>> empyre forum >>>>>>> empyre@lists.cofa.unsw.edu.au >>>>>>> http://www.subtle.net/empyre >>>>>> >>>>>> >>>>>> Hotmail: Powerful Free email with security by Microsoft. Get it >>>>>> now. >>>>>> <http://clk.atdmt.com/GBL/go/201469230/direct/01/> >>>>>> >>>>>> _______________________________________________ >>>>>> empyre forum >>>>>> empyre@lists.cofa.unsw.edu.au >>>>>> http://www.subtle.net/empyre >>>>>> >>>>>> >>>>>> Edinburgh College of Art (eca) is a charity registered in >>>>>> Scotland, >>>> number >>>>>> SC009201 >>>>>> >>>>>> >>>>>> >>>>> >>>>> >>>>> Christopher Sullivan >>>>> Dept. of Film/Video/New Media >>>>> School of the Art Institute of Chicago >>>>> 112 so michigan >>>>> Chicago Ill 60603 >>>>> csu...@saic.edu >>>>> 312-345-3802 >>>>> >>>>> >>>>> Edinburgh College of Art (eca) is a charity registered in Scotland, >>> number >>>>> SC009201 >>>>> >>>>> >>>>> >>>> >>>> >>>> Christopher Sullivan >>>> Dept. of Film/Video/New Media >>>> School of the Art Institute of Chicago >>>> 112 so michigan >>>> Chicago Ill 60603 >>>> csu...@saic.edu >>>> 312-345-3802 >>>> >>>> >>>> Edinburgh College of Art (eca) is a charity registered in >>>> Scotland, number >>>> SC009201 >>>> >>>> >>>> >>> >>> >>> Christopher Sullivan >>> Dept. of Film/Video/New Media >>> School of the Art Institute of Chicago >>> 112 so michigan >>> Chicago Ill 60603 >>> csu...@saic.edu >>> 312-345-3802 >>> >>> >>> Edinburgh College of Art (eca) is a charity registered in Scotland, >>> number >>> SC009201 >>> >>> >>> >> >> >> Christopher Sullivan >> Dept. of Film/Video/New Media >> School of the Art Institute of Chicago >> 112 so michigan >> Chicago Ill 60603 >> csu...@saic.edu >> 312-345-3802 >> _______________________________________________ >> empyre forum >> empyre@lists.cofa.unsw.edu.au >> http://www.subtle.net/empyre > _______________________________________________ > empyre forum > empyre@lists.cofa.unsw.edu.au > http://www.subtle.net/empyre Renate Ferro Visiting Assistant Professor Department of Art Cornell University, Tjaden Hall Ithaca, NY 14853 Email: <r...@cornell.edu> Website: http://www.renateferro.net Co-moderator of _empyre soft skinned space http://www.subtle.net/empyre http://en.wikipedia.org/wiki/Empyre Art Editor, diacritics http://muse.jhu.edu/journals/dia/ _______________________________________________ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre
