[NetBehaviour] Call for Applications - MA in Media Design and Communication, Piet Zwart Institute 2016

[Richard Wright]

Call for Applications - MA in Media Design and Communication, Piet Zwart 
Institute 2016 

The Media Design and Communication MA is a two year, experimentally orientated 
programme, working across audio visual and computational media to include 
students from cinema, animation and photography to games, networked and 
interactive media. This makes for a very rich interdisciplinary environment 
with a strong emphasis on developing technical literacy and supporting studio 
practice with critical theory.


*

The PIET ZWART INSTITUTE, MASTER IN MEDIA DESIGN AND COMMUNICATION (LENS-BASED 
MEDIA / NETWORKED MEDIA) is an intensive project-based research degree that 
will equip you to create a distinctive voice as an artist/designer in the 
contemporary media landscape.

Our programme encourages students to explore the new possibilities released by 
the friction between media forms, critically working across the historical gaps 
between photography, cinema, animation, mobile media, information systems and 
technological networks. This course does not believe in old media and new 
media, nor in the pattern of media extinctions that punctuate traditional media 
histories: we believe in the cross fertilisation of a thriving media ecology.

Digital media can be thought of as a field in which radically different 
materialities of software, interface and human behaviour are being brought 
together for the first time. This is often experienced as tensions between 
computer code and the images that this code generates but does not explain; a 
clash between abstract symbols and concrete models, between concept and 
sensation. This course does not try to resolve these tensions but uses them to 
stimulate new ways to think about how we might live with information today.

The following principles are central to the course:

• the placing of equal value on artistic forms including moving image 
production, data driven and network based art and cross-platform approaches 
such as transmedia narrative.
• a strong emphasis on providing students with basic technological 
skills ranging from computer programming to cinematography, the synthesis and 
manipulation of digital imagery, from beginners to advanced levels.
• a critical engagement with Open Source and Free Software development, 
especially in its implicit “hacker” attitude to opening up media for 
experimental purposes.
• the integration of theoretical inquiry, critical analysis and studio 
based practice into research methodologies that can support artists practice 
and artistic research.

Our teaching plan is comprised of four main methods:

• Thematic Seminars – are short, intensive modules that concentrate on 
exploring a particular topic through practice and theory, such as Art 
Factories, Archives and Databases, Chain Reactions and Sniff, Scrape, Crawl.
• Technical Prototyping Sessions – these deliver specialist technical 
skills and overviews of the basic grammars of different media forms through 
guided practical projects and workshops.
• Research Methodologies Seminars – give you the intellectual 
disciplines needed to conduct research, to analyse and to gain insights into 
the current media landscape.
• Self-Directed Projects – longer, independent projects closely 
supported by our staff and tutors.

The course is taught by staff with international reputations in their 
respective fields: course Leader Simon Pummell is a BAFTA winning filmmaker 
currently completing his fourth feature film; MIT Media Lab graduate Michael 
Murtaugh is a pioneer of the online video “active archives” project which he 
presented at Documenta 13; Aymeric Mansoux is a multi-awarded artist and media 
researcher;  Steve Rushton is a curator, writer and editor for a range of 
projects with artists such as Rod Dickinson and Thomson & Craighead; Annet 
Dekker is an independent curator/ researcher; Barend Onneweer runs the film VFX 
company R3MWERK; André Castro is a media artist and technical teacher.

Our recently expanded department is part of a leading international centre for 
the study of art, design and media, housed in a dedicated building with its own 
studios, facilities and project spaces. Piet Zwart enjoys strong links with a 
range of arts organisations in Rotterdam, from established contemporary arts 
spaces like TENT and the Netherlands Photo Museum in Rotterdam, the Eye in 
Amsterdam to independent spaces like WORM and the V2 Institute for Unstable 
Media and a regular presence in the International Film Festival Rotterdam.


Application Deadlines

Each Piet Zwart Masters programme is highly competitive, places are given on a 
rolling basis, therefore early submissions are encouraged. Due to the time 
required to complete enrolment requirements, non-European applicants must 
submit their materials no later than March 1st 2016.

Priority deadline - Non European and European students: 

Re: [NetBehaviour] EvenSalon: Anti-Natural, Saturday November 7th, Apiary Studios, Hackney, London 19.30pm+

[Richard Wright]

“... the diagonalising of new ecologies and forms of life without the 
supra-prosthetic of ‘Nature’ itself".

Yes mate.


> 
> From: jk 
> Subject: [NetBehaviour] EvenSalon: Anti-Natural, Saturday November 7th, 
> Apiary Studios, Hackney, London 19.30pm+
> Date: 27 October 2015 19:45:12 GMT
> To: netbehaviour@netbehaviour.org
> Reply-To: NetBehaviour for networked distributed creativity 
> 
> 
> 
> 
> Anti-Natural prompts invited artists and theorists into a range of responses 
> to notions on the production of the natural, where the human imperative is 
> the need to produce or 
> change nature, to re-nature nature, and so to make the highest poverty, the 
> diagonalising of new ecologies and forms of life without the supra-prosthetic 
> of ‘Nature’ itself.
> 
> In an evening of inevitable naturalism, of condemnation by the condemned, 
> Anti-Natural includes works by:
> 
> ±  Callum Gunn
> ±  Dani Ploeger
> ±  Danilo Mandic
> ±  Himali Singh Soin
> ±  Inigo Wilkins
> ±  Jelena Stojkovic
> ±  Jonathan Kemp
> ±  Laboria Cuboniks
> ±  Marina Vishmidt
> ±  Nihal Yesil
> ±  Paul Abbott
> ±  Roc Jimenez de Cisneros 
> ±  Sabina Ahn
> ±  Tim Goldie
> ±  ΦΛΞ
> ±  _blank
> 
> Even Salon
> Apiary Studios
> 458 Hackney Rd
> London E2 9EG
> 
> 7.30pm doors for 8pm | £5
> 
> Full lineup details: http://even.org.uk/ 
> Apiary Studios: http://www.apiarystudios.org  
> 
> Anti-Natural is the first of a series of themed bi-monthly Even Salons, 
> offering a platform for exchanges by a range of invited participants. 
> After each event a pamphlet will be collated and produced for hand out at the 
> next salon.
> 

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[NetBehaviour] Piet Zwart Institute, Media Design MA - final deadline for applications

[Richard Wright]

The PIET ZWART INSTITUTE MASTER IN MEDIA DESIGN (LENS-BASED / NETWORKED MEDIA) 
is an intensive project-based research degree that will equip you to create a 
distinctive voice as an artist/designer in the contemporary media landscape.

The course encourages students to explore the new possibilities released by the 
friction between media forms, critically working across the historical gaps 
between photography, cinema, animation, mobile media, information systems and 
technological networks. This course does not believe in old media and new 
media, nor in the pattern of media extinctions that punctuate traditional media 
histories: we believe in the cross fertilisation of a thriving media ecology.

Digital media can be thought of as a field in which radically different 
materialities of software, interface and human behaviour are being brought 
together for the first time. This is often experienced as tensions between 
computer code and the images that this code generates but does not explain; a 
tension between abstract symbols and concrete models, between concept and 
sensation. This course does not try to resolve these tensions but uses them to 
stimulate new ways to think about how we might live with information today.

The following principles are central to the course:

   the placing of equal value on artistic forms including moving image 
production, data driven and network based art and cross-platform approaches 
such as transmedia narrative.

   a strong emphasis on providing students with basic technological skills 
ranging from computer programming to the cinematography, synthesis and 
manipulation of digital imagery, from beginners to advanced levels.

   a critical engagement with Open Source and Free Software development, 
especially in its implicit “hacker” attitude to opening up media for 
experimental purposes.

   the integration of theoretical inquiry, critical analysis and studio 
based practice into research methodologies that can support artists practice 
and artistic research.

Based in Rotterdam, our recently expanded department is part of a leading 
international centre for the study of art, design and media, housed in a 
dedicated building with its own studios, facilities and project spaces. The 
Piet Zwart Institute enjoys strong links with a range of organisations, from 
established contemporary arts galleries and science museums to independent arts 
spaces and a regular presence in the International Film Festival Rotterdam. The 
course is taught by staff with international reputations in their respective 
fields and in addition we invite a wide range of international practitioners 
and theorists as guest lecturers and tutors.



Application Deadlines

Based on merit, places will be filled from the first deadline onwards, 
therefore early submissions are encouraged.

Priority deadline - Non European and European students: January 31 2014

Second deadline - Non European and European students: March 3 2014

Third and final deadline - For European students only: April 1st 2014



Tuition Fees

European students - For EU/EEA students (who apply for their first master 
course in the Netherlands), the annual tuition fee for the full-time course in 
2014/15 is 1,906 Euros. The annual tuition fee for the part-time course is 
1,576 Euros.

Non European students - For non-EU/EEA students, the fee for the full-time and 
part-time course in 2014/15 is 9,400 Euros.



For more info please see: http://pzwart.wdka.nl/nl/courses/mmdc/



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[NetBehaviour] self funding

[Richard Wright]

Up until maybe as recently as ten years ago, it was considered a  
slight embarrassment to admit that you'd funded your own work, as  
though you were admitting that your work wasn't good enough for  
someone to give you money. Now that culture has very much shifted. To  
say you've funded yourself is taken more as a sign of commitment to  
or belief in your own work.

Richard
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Re: [NetBehaviour] Zone experimental film in London on Friday

[Richard Wright]

I'm sorry I missed it and would love to come to a future Zone.
Perhaps this time announced more than two days in advance (like we  
used to do)?





From: Michael Szpakowski szp...@yahoo.com
Date: 28 April 2012 00:44:18 BDT
To: Simon Mclennan mitjafash...@hotmail.com, NetBehaviour for  
networked distributed creativity netbehaviour@netbehaviour.org

Subject: Re: [NetBehaviour] Zone experimental film in London on Friday
Reply-To: Michael Szpakowski szp...@yahoo.com, NetBehaviour for  
networked distributed creativity netbehaviour@netbehaviour.org



and very good it was too..not only lots of interesting vids but  
some nice live sound and performance.

Great! - here's to lots more Zones...
michael
From: Simon Mclennan mitjafash...@hotmail.com
To: Michael Szpakowski szp...@yahoo.com; NetBehaviour for  
networked distributed creativity netbehaviour@netbehaviour.org

Sent: Friday, April 27, 2012 1:14 PM
Subject: Re: [NetBehaviour] Zone experimental film in London on Friday

yes - people..!
Looking forward too,

S
On 27 Apr 2012, at 13:07, Michael Szpakowski wrote:


Looking forward to this, hope maybe to see some folk there...
michael

From: Simon Mclennan mitjafash...@hotmail.com
To: NetBehaviour for networked distributed creativity  
NetBehaviour@netbehaviour.org

Sent: Wednesday, April 25, 2012 4:09 PM
Subject: [NetBehaviour] Zone experimental film in London on Friday

Real breathing people, standing together in a room, looking at
projected films - together, like we used to do..

Friday 27th
Hundred Years Gallery - Kingsland Rd
7.30pm

see blog for address and programme which includes amongst others:

Michael Szpakowski
Sean Reynard
Ian Helliwell
David Grundy

www.thezonebrighton.blogspot.com

Simon


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Re: [NetBehaviour] NetBehaviour Links

[Richard Wright]

From: Rob Myers r...@robmyers.org
Date: 31 March 2012 17:16:33 BDT
To: netbehaviour@netbehaviour.org
Subject: [NetBehaviour] Links
Reply-To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org




Security companies and governments conspire to discover and hide  
software vulnerabilities that can be used as spyware vectors -


http://feedproxy.google.com/~r/boingboing/iBag/~3/nbSQqsfIPbE/ 
security-companies-and-governm.html



I like the way the phrase spyware vectors is in itself concealing...___
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Re: [NetBehaviour] newscientist - analysis shows a small group of companies control the global economy

[Richard Wright]

Half of these companies I've never even heard of.
I am particularly worried by the company called Dodge  Cox...




From: dave miller dave.miller...@gmail.com
Date: 11 March 2012 12:15:47 GMT
To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org
Subject: [NetBehaviour] newscientist - analysis shows a small group  
of companies control the global economy
Reply-To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org



http://www.newscientist.com/article/mg21228354.500-revealed–the- 
capitalist-network-that-runs-the-world.html


“AS PROTESTS against financial power sweep the world this week,
science may have confirmed the protesters’ worst fears. An analysis of
the relationships between 43,000 transnational corporations has
identified a relatively small group of companies, mainly banks, with
disproportionate power over the global economy.

The idea that a few bankers control a large chunk of the global
economy might not seem like news to New York’s Occupy Wall Street
movement and protesters elsewhere. But the study, by a trio of complex
systems theorists at the Swiss Federal Institute of Technology in
Zurich, is the first to go beyond ideology to empirically identify
such a network of power. It combines the mathematics long used to
model natural systems with comprehensive corporate data to map
ownership among the world’s transnational corporations.”

The top 50 of the 147 superconnected companies
1. Barclays plc
2. Capital Group Companies Inc
3. FMR Corporation
4. AXA
5. State Street Corporation
6. JP Morgan Chase  Co
7. Legal  General Group plc
8. Vanguard Group Inc
9. UBS AG
10. Merrill Lynch  Co Inc
11. Wellington Management Co LLP
12. Deutsche Bank AG
13. Franklin Resources Inc
14. Credit Suisse Group
15. Walton Enterprises LLC
16. Bank of New York Mellon Corp
17. Natixis
18. Goldman Sachs Group Inc
19. T Rowe Price Group Inc
20. Legg Mason Inc
21. Morgan Stanley
22. Mitsubishi UFJ Financial Group Inc
23. Northern Trust Corporation
24. Société Générale
25. Bank of America Corporation
26. Lloyds TSB Group plc
27. Invesco plc
28. Allianz SE 29. TIAA
30. Old Mutual Public Limited Company
31. Aviva plc
32. Schroders plc
33. Dodge  Cox
34. Lehman Brothers Holdings Inc*
35. Sun Life Financial Inc
36. Standard Life plc
37. CNCE
38. Nomura Holdings Inc
39. The Depository Trust Company
40. Massachusetts Mutual Life Insurance
41. ING Groep NV
42. Brandes Investment Partners LP
43. Unicredito Italiano SPA
44. Deposit Insurance Corporation of Japan
45. Vereniging Aegon
46. BNP Paribas
47. Affiliated Managers Group Inc
48. Resona Holdings Inc
49. Capital Group International Inc
50. China Petrochemical Group Company


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Re: [NetBehaviour] The BBC Microcomputer and me, 30 years down the line.

[Richard Wright]

I programmed this, my first computer animation on an Atari in 1985,  
then ran out of memory and ported it to a BBC micro, then ran out of  
memory and ported it to a Commodore64, then took too long to render  
so ported it to a big fat IBM mainframe.

http://futurenatural.pwp.blueyonder.co.uk/pics/CELLS1.jpg
http://futurenatural.pwp.blueyonder.co.uk/pics/CELLS2.jpg





 On 2 Dec 2011, at 11:38, IR3ABF wrote:


 hi Marc and list

 UK had its BBC Micro, while at the same time in continental  
 Europe, Commodore introduced the famous VIC20, the  
 *Volkscomputer* with about the same specs apart from its slower  
 microprocessor, both equiped with the famous 6502

 the acronym i.e. ARM is somewhat misleading as it suggest an A 
 (dvanced) R(educed instruction set) M(icroprocessor) which was  
 certaintly not the case with the 6502, which had a huge set of  
 ASM 6502 machine instructions as was the first commercially  
 succesfull Apple IIe

 I wonder how first generation programmers (like I did with the  
 VIC 20) used the Acorn in The UK to create, well pieces of the  
 practice formerly called art? I remember there was and there  
 still is a lively demoscene using asm 6502 or derivates as  
 language of choice

 Would be nice to somehow showcase these early examples at -for  
 instance- Furtherfield?

 And to juxtapoint contentinental versus UK approaches and  
 trying to point to a certain distinction between the two, as  
 for instance: subject matter, technical point of view, art  
 historical context, the role of BBC compared to educational  
 programs from ZDF, NOS nl (which happened to broadcast 6502  
 code hidden in television transmission signal in the 1980ties),  
 the role of influential technical publishers like Data Becker,  
 Germany and finally the impact of the commercial take-over  
 around 1989 by AOL et al US which gave rise to the mainstream  
 popularity of Home Computers (PC's)

 Just wondering

 Best

 Andreas


 Sent from my eXtended BodY

 On 2 dec. 2011, at 11:55, marc garrett  
 marc.garr...@furtherfield.org wrote:

 The BBC Microcomputer and me, 30 years down the line.

 The BBC has an article on the BBC Microcomputer, designed and
 manufactured by Acorn Computers for the BBC's Computer  
 Literacy project.
 It is now 30 years since the first BBC Micro came out — a  
 machine with a
 2 MHz 6502 — remarkably fast for its day; the Commodore  
 machines at the
 time only ran at 1MHz. While most U.S. readers will never have  
 heard of
 the BBC Micro, the BBC's Computer Literacy project has had a  
 huge impact
 worldwide since the ARM (originally meaning 'Acorn Risc  
 Machine') was
 designed for the follow-on version of the BBC Micro, the  
 Archimedes,
 also sold under the BBC Microcomputer label by Acorn. The  
 original ARM
 CPU was specified in just over 800 lines of BBC BASIC. The ARM  
 CPU now
 outsells all other CPU architectures put together. The BBC  
 Micro has
 arguably been the most influential 8 bit computer the world  
 had thanks
 to its success creating the seed for the ARM, even if the  
 'Beeb' was not
 well known outside of the UK.

 http://www.bbc.co.uk/news/technology-15969065
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Re: [NetBehaviour] NetBehaviour Digest, Vol 1100, Issue 1

[Richard Wright]

I have known people who offered grant writing services, though only  
as a sideline...


I think a big issue is that many arts projects are by their nature  
not easily fundable. Some do not fall easily into the funding  
priorities of public bodies. Currently the Arts Council wants to fund  
participatory projects. In the past this policy was different. In the  
future it will be different again. Other projects are difficult to  
describe as sexy one-liners that people can instantly latch onto. In  
the past when I have served as a panel member the most successful  
applicants were those who had either very writerly projects or who  
were already established so funders knew what they were getting.


The Arts Council's long-gone Film and Video Broadcast dept once had a  
method of peer reviewing you could opt for by which they looked at  
your work and you gave them a notion of the sort of film you wanted  
to make - it's a bit like this and a little like that (I am writing  
purely from memory here). I do not know any body that now operates  
this way.


Sometimes one feels one is only working on projects for the sake of  
the funding. A healthier response is to decide what one feels is  
really worthwhile and then argue the case to the funding bodies to  
the utmost extent regardless of their priorities.


Richard



From: Simon Biggs si...@littlepig.org.uk
Date: 7 November 2011 16:49:17 GMT
To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org
Subject: Re: [NetBehaviour] Arts funding: why so many artists don't  
apply for the money.
Reply-To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org



The fact there is nobody out there offering their services to write  
grants applications to the ACE suggests that there would be little  
profit in doing so.


best

Simon


On 7 Nov 2011, at 16:17, dave miller wrote:


Or is there an opportunity here for no Arts Council funding no fee
services - following the idea of those insurance experts who  
advertise

on afternoon TV and specialise in victim compensation? I'm being
cynical I suppose ...

dave



On 7 November 2011 14:55, Simon Biggs si...@littlepig.org.uk wrote:
Most times I've been successful in acquiring Arts Council funds  
it has been
through indirect means - somebody applying on my behalf, usually  
through a
commissioning body (gallery, producer, festival, etc). The people  
who hold
responsible positions in such organisations are expert grant  
writers and
have a much better hit-rate than 2.5%. If that is the likely  
success rate
then I'd tend to feel it is not worthwhile applying. You need a  
better
likelihood than that. Even 10% is marginal. 20% is about when it  
starts to

get worthwhile, in terms of the odds.
One of the main reasons I shifted from being a freelance artist  
to working
in academia was due to issues around funding. During the 80's and  
90's I'd
been lucky with ACE, British Council and other funders. But in  
the late 90's
the new government changed the focus of arts funding, which  
resulted in many
of the key funding avenues being closed down (like the new film  
fund - which
happily funded new media projects with reasonably serious amounts  
of money).
The writing was on the wall and the research councils started to  
look like a
better bet, with relatively generous fellowships available, as  
well as
medium to large project funds being available to creative  
practice based
projects, especially if technology was involved (eg: six or seven  
figures).

Things are more competitive now, with less money available and more
applicants than ever, but the hit-rate is still better than 10%  
and, for
some funds, much better than that. Follow-on funding, for those  
who have

already held research council funds, is better than 50/50.
State funding of the arts is in a dire situation now and it is  
little
surprise that many feel it is pointless to apply - but if you  
look at it
another way, somebody has to apply and you can't win it if you  
aren't in
it. I'd recommend you develop a relationship with one or more  
sponsoring
organisations that can work with you on developing a relationship  
with the
funders. They need to know you a bit, understand what you are  
doing and why
and to develop a trust based relationship. In hard times they are  
even more

risk averse than normal.
best
Simon

On 7 Nov 2011, at 12:09, dave miller wrote:

I'm guilty of this - have never applied for funding. I always  
assume I'd
never get any and with the scale of the cuts going on, I've more  
or less

forgotten that funding even exists!
dave


On 7 November 2011 11:45, marc garrett  
marc.garr...@furtherfield.org

wrote:


Arts funding: why so many artists don't apply for the money.

Dany Louise introduces a report she wrote on arts funding that  
reveals

some surprising statistics.

The key finding is that surprisingly few individual artists  
apply for
money in their own right and 

Re: [NetBehaviour] Man gets smartphone dock built into prosthetic arm.

[Richard Wright]

Curious to see that sexy new smartphone docked next to his prosthetic  
hook-for-a-hand that is more reminiscent of a seventeenth century  
pirate captain. That is cyberpunk indeed...






From: marc garrett marc.garr...@furtherfield.org
Date: 28 October 2011 10:10:16 BDT
To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org
Subject: [NetBehaviour] Man gets smartphone dock built into  
prosthetic arm.
Reply-To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org



Man gets smartphone dock built into prosthetic arm.

A British man has become the world's first ever patient to have a  
smartphone docking system built into his prosthetic arm.


Trevor Prideaux, who was born without his left arm, used to have to  
balance the smartphone on his prosthetic arm or put it on a flat  
surface to use it.


But now Mr Prideaux, 50, can call and text his loved ones without  
moving the mobile, which is embedded into his fibreglass and  
laminate limb.


The catering manager sought help from medical experts and  
communications chiefs at Nokia to build the special prosthethic.


They carefully carved a phone shaped fibrecast cradle into the skin- 
coloured prototype, allowing his Nokia C7 to sit inside it.


http://www.telegraph.co.uk/technology/news/8848476/Man-gets- 
smartphone-dock-built-into-prosthetic-arm.html




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Re: [NetBehaviour] Artist Injects Herself With Horse Blood, Wears Hooves

[Richard Wright]

I've been drinking a glass of horse blood every morning for the last  
34 years. But my penis still hasn't grown any larger...





From: Ana Valdés agora...@gmail.com
Date: 11 August 2011 00:19:30 BDT
To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org
Subject: Re: [NetBehaviour] Artist Injects Herself With Horse  
Blood, Wears Hooves
Reply-To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org



Nice someone remember the old gifted writer Cordwainer Smith. I  
read it when I was quite young and became impressed with his theory  
of making people with animal qualities, people similar to cats who  
could see in the dark, people strong as lions, fast as leopards...

He was a weird person, worked for FBI or the CIA.
Ana



On Aug 10, 2011, at 21:08, Annie Abrahams bram@gmail.com wrote:


May the horse live in me
Interesting experiment, interesting storytelling, but far beyond  
reality


She explained to Centre Press that the whole process made her  
feel “hyper-powerful, hyper-sensitive and hyper-nervous.” She  
added: “I had a feeling of being superhuman. I was not normal in  
my body. I had all of the emotions of a herbivore. I couldn’t  
sleep and I felt a little bit like a horse.”


Interpretation, wishful thinking - bullshit.

Anyone who had medical tests done in an hospital to check out the  
heart and who has been injected with chemicals knows it needs  
little (these chemicals) to make you feel a completely different  
person. (anxious, calm, nervous etc)
Chemicals have a deep impact on our being (all drug users know  
this too), feelings, experiences of ourselves, so it's no wonder  
horse proteins make you feel changed, anything would.


I like the experiment, the discussion it triggers, but I abhor  
the biased language used by these artists. In my opinion it  
doesn't take science serious, only uses it for something else.


Yours
Annie



On Wed, Aug 10, 2011 at 7:24 PM, Rob Myers r...@robmyers.org wrote:
On 10/08/11 18:17, marc garrett wrote:
 Artist Injects Herself With Horse Blood, Wears Hooves

 By Olivia Solon

 Laval-Jeantet and her creative partner Benoit Mangin (working as
 collective Art Orienté Objet) were keen to explore the blurring of
 boundaries between species in the piece, entitled May the Horse  
Live in
 Me. Laval-Jeantet prepared her body to accept the horse blood  
plasma by
 getting injected with different horse immunoglobulins over the  
course of

 several months.

 http://www.wired.com/underwire/2011/08/horse-blood-art



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Re: [NetBehaviour] Darcus Howe on the BBC

[Richard Wright]

Those policemen should take a Hobnob out of Nick Clegg's packet and  
just sit down with the rioters over a nice cup of tea...





From: Michael Szpakowski szp...@yahoo.com
Date: 10 August 2011 11:44:26 BDT
To: netbehaviour netbehaviour@netbehaviour.org
Subject: [NetBehaviour] Darcus Howe on the BBC
Reply-To: Michael Szpakowski szp...@yahoo.com, NetBehaviour for  
networked distributed creativity netbehaviour@netbehaviour.org



Darcus Howe responding superbly to BBC fatuousness:

http://youtu.be/biJgILxGK0o


Nick Clegg predicts riots if cuts go through in April 2010:

http://www.youtube.com/watch?v=YItK1izQIwo

ha!
m.



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Re: [NetBehaviour] NetBehaviour Digest, Aftung Derisive

[Richard Wright]

I'd say that a non-narrative film does not necessarily imply a work  
of art (consider many pop promos). It could be an experimental  
film, which although I would argue is art, some would argue is not  
specifically contemporary art (mainly because of the anti-craft  
attitude that currently dominates the art world, mistakenly in my  
opinion). Inversely, it could be Media Art, which is often seen as  
part of contemporary art, but not part of film making. Or it could be  
avant garde film, although for many people this is a historical form  
that had ended by WWII. (Incidentally, a disharmony between image and  
soundtrack was something promoted by Adorno and Eisler during the  
1930s, to shatter the established standards of middle-class art.  
Needles to say it didn't succeed, and probably contributed to the  
current confusion).


I do hope this helps,

Richard



From: Mark Hancock mark.r.hanc...@gmail.com
Date: 9 July 2011 14:50:09 BDT
To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org

Subject: [NetBehaviour] Aftung Derisive
Reply-To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org



Hi All,

I've finished editing a short video piece that I've been working on  
and off with for a few months. It doesn't have a narrative so I  
guess it's an art movie or something?


The soundtrack is an exploration of glitchy ticks and beats that  
constantly tries to work in time with the edits but ends up  
opposing it. Too often we're lead into the rhythm of a film by the  
music. I often wonder if this is a coping mechanism for 'bad'  
editing rhythms? Anyway, this doesn't try to marry the two so I  
guess creates a disharmony of sorts.


Enjoy, or as Warhol said to one of his brothers, when he threatened  
to come watch one his his movies (i'm wildly paraphrasing here):  
Instead of watching this, save your money and bang your head on a  
wall for five minutes.


http://youtu.be/ik4YdCOt-HM

Filmed during the winter of 2009 at Hillfields Farm Coventry. It  
felt, walking out into the snow, as though everything had been  
reduced to a homogenous mass, inverted shadows laid across the  
landscape. The editing style explores the idea of cutting up the  
frames and replaying/rearranging the sequences and finding a rhythm  
at odds with the soundtrack. This dislocation of temporality and  
the quick cut frames reflect the eye's random tracking movements,  
searching for anything to land on within the mass of white.


The title, Aftung Derisive, menas nothing at all. I just liked to  
sound of it and I'd been listening to a lot of German electronica  
when I created the soundtrack.


http://youtu.be/ik4YdCOt-HM



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Re: [NetBehaviour] Fwd: Fwd: open source film event

[Richard Wright]

...ideally these would be short documentary films but we will  
consider appropriate films from other genres.


I've come across this sort of thing before. It doesn't sound like  
it's for thematic reasons. I wonder what the assumed affinity is  
between the documentary form and open source media?



Richard


From: Steph Fletcher steph.fletc...@folly.co.uk
Date: 7 June 2011 11:39:28 BDT
To: Michael Szpakowski szp...@yahoo.com,  
netbehaviour@netbehaviour.org

Subject: [NetBehaviour] Fwd: Fwd: open source film event
Reply-To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org


From: L Alexander lc...@yahoo.com
To: enquir...@folly.co.uk
Sent: Friday, June 3, 2011 10:23:07 AM
Subject: open source film event

Hello Folly

I'm a filmmaker who makes open source films for Access Space  
Digitial Media in Sheffield.


Access Space Sheffield (UK) is an open source digital media lab,  
urgently looking for Open Source films to be shown at a free fringe  
event as a part of Sheffield Doc/Fest (8th-12th June). On Friday  
9th June, Access Space is putting on an afternoon of Open Source  
films where we want to showcase the range of filmakers from around  
the world who are working within an open source ethos or using any  
Open Source software such as Cinelerra or Kino or even animation  
software such as Blender.


We would like to see films of around 5 to 15 minutes in length and  
ideally these would be short documentary films but we will consider  
appropriate films from other genres. We would like filmmakers to  
send 50-200 words background about themselves, the film and their  
use of Open Source as we would like to be able to present the films  
and give the audience a bit of info at the viewing. Filmmakers  
would also be more than welcome to attend if they wish and give a  
short presentation to their films.


As the 9th of June is next week (!) we obviously would like to see  
films ASAP. Please could applicants forward online links (e.g.  
vimeo/youtube/dropbox) to this email address.


Please forward this on to any open source video mailing lists or  
filmmakers you know.


Kind regards

Laurence Alexander,
Digital Arts Programme Volunteer,
ACCESS SPACE, 3-7  Sidney St, Sheffield, S1 4RG, UK
t: +44 (0) 114 249 5522   w: www.access-space.org
Events mailing list: http://tinyurl.com/2wpe7ts
Facebook Group: http://tinyurl.com/37j7gh4
Twitter: http://twitter.com/accessspace
Reg. Charity 1103837

Supported by the National Lottery through the Arts Council England.



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Re: [NetBehaviour] Abstract Machines: Nonlinear dynamics and the films of Manuel DeLanda.

[Richard Wright]

I remember a screening in the mid 1990s where De Landa was showing  
his film Raw Nerves. He spent so long describing how the film was  
exemplary of various Deleuzean concepts that there was no time left  
to show my own film. I should have phase transitioned his arse off  
the stage.





From: info i...@furtherfield.org
Date: 6 March 2011 13:14:10 GMT
To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org
Subject: [NetBehaviour] Abstract Machines: Nonlinear dynamics and  
the films of Manuel DeLanda.
Reply-To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org



Abstract Machines: Nonlinear dynamics and the films of Manuel DeLanda.

By Ed Halter.

One of the ideas that philosopher Manuel DeLanda frequently returns  
to is that of phase transitions, a term from thermodynamics for  
“events which take place at critical values of some parameter  
(temperature, for example), switching a physical system from one  
state to another, like the critical points of temperature at which  
water changes from ice to liquid, or from liquid to steam,” as he  
writes in Intensive Science and Virtual Philosophy (2002). Phase  
transitions are a central concept of his best-known book, A  
Thousand Years of Nonlinear History (1997), in which he attempts to  
rethink typical narratives of human development in favor of the  
dynamic shifts from one structural form to another: imagine nomadic  
societies flowing like liquid, for example, then crystallizing into  
cities, only to atomize into diaspora under pressure. In Deleuze:  
History and Science (2010), he evokes the related mathematical  
concept of phase space, a way to picture all the potential states a  
system might undergo. “This set of states,” he writes, “may be  
represented as a space of possibilities with as many dimensions as  
the system has degrees of freedom.”


http://www.movingimagesource.us/articles/abstract-machines-20110304




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Re: [NetBehaviour] Ronald Topor?!

[Richard Wright]

I know he did the drawings for many of Rene Laloux's early  
animations. Laloux said that after he had done the designs for their  
first feature film he dropped out of the production because his  
mother had told him that no good would come of it. The film was Le  
Planete Sauvage and became a huge international success. Laloux  
referred to her as his castrating mother.





From: ajaco c/o bid aj...@xs4all.nl
Date: 5 February 2011 01:20:02 GMT
To: manik ma...@sbb.rs, NetBehaviour for networked distributed  
creativity netbehaviour@netbehaviour.org

Subject: Re: [NetBehaviour] Ronald Topor?!
Reply-To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org



Thanks for pointing to Saitinac!

Wondering if anyone else has read the bizarre and funny stories of him
(Topor)

Apart from being his novel 'La Locataire' on which Polanski's movie is
based, I remember him from being one of the French connected to  
Boris Vian

and sideways to Serge Gainsbourg

In a long forgotten time of liberation of the arts, in the  
seventies that

was.

Helas nowadays the guys who were young then grew, old and blocked the
entrance to freedom for the new generation, so they are having bad  
luck

now.

It is a shame that a lot of governors both in art politics and in  
-- hmm
-- 'real' politics forgot their youth and developed an extreme  
suppressing

grip on society.



...and..yes...if you like that kind of art that's under Topor's  
influence

-
http://www.sajtinac.fr/index.php?category/Dessins
- Original Message -
From: ajaco c/o bid aj...@xs4all.nl
To: netbehaviour@netbehaviour.org
Sent: Friday, February 04, 2011 11:10 PM
Subject: [NetBehaviour] Ronald Topor?!


Anyone remembers Roland Topor, absurdist writer from France?

--AA



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Re: [NetBehaviour] supporting furtherfield?

[Richard Wright]

I'd agree with Alan that group governance or collaborative management  
can become unexpectedly manipulated (especially when money or status  
is at stake). Accountability and communication may be more practical  
goals. And professionalism is an unfairly derided term.


A lot of non-profit organisations are now juggling with the option of  
becoming charitable bodies so they can take advantage of taxes and  
donations. But it seems to impose somewhat restrictive regulations on  
what you can do (e.g. nothing remotely political)  and is heavily  
bureaucratic in its management. So take lots of advice on that route.  
One alternative is to become a Community Interest Company which is  
easy but the only real advantage is to advertise the fact that your  
org operates for the public good. So it may prove an additional  
attraction for more institutional donors and partners and so forth.  
(Of course this all begs the question of who to target as potential  
donors).


My recollection was that the Lux was rescued after its Hoxton square  
decline for similar reasons that the banks were recently bailed out.  
Because of its large library and distribution of publicly funded  
artists moving image it could not be allowed to fail completely. So  
an analogous ransom scenario might be that Furtherfield archives so  
much artists work and documents and texts and databases that it  
simply has to be funded!


Happy New Year,
Richard

On 1 Jan 2011, at 17:30, Alan Sondheim wrote:




Do let us know about the write-in campaign!

I want to add that I'd be careful of group runnings of a non- 
profit; I've seen politics develop constantly that way, and almost  
always not for the better. One of the things that, in the US,  
seemed the most problematic, was the idea of matching funds -  
suddenly the *donor* appears who wants some decision-making powers.  
One of the great things about Furtherfield is its openness and the  
kindness of people here - it's wonderful - and in a way that, and  
the creative work that emerges - are the most important things!


Happy New Years!

- Alan, glad we have the prime number (2011) back


==
email archive: http://sondheim.rupamsunyata.org/
webpage http://www.alansondheim.org
music archive: http://www.espdisk.com/alansondheim/
current text http://www.alansondheim.org/qv.txt
==


On 1 Jan 2011, at 12:38, Ruth Catlow wrote:


And a Happy New Year to you : )))

Thanks Helen, Rob, Richard, Sal, Mez and Renee for your  
encouragement and suggestions.


We think that we have a bodacious thing going here at Furtherfield!  
This is all down to the energy and persistence of the people who  
take part in the ongoing exchange of the content and contexts of  
our lives as artists, explorers, thinkers and doers- not forgetting  
the all the things that make up the ever-changing infrastructures  
in which this takes place.


It's pretty rare to have a shared space where people bother to  
grapple with the complexities of hyper-connected network culture in  
the way - at once scrappy, rigorous and unexpected - that happens  
on this list.


In addition to giving me a warm fuzzy feeling, your comments have  
crystallised a practical thought we hadn't quite got to yet...  
online donation facility.


A group of Furtherfielders have been holed-up in the sweat lodge of  
web development and data migration at Furtherfield for the last 9  
months (at least). We hope to have the new Furtherfield site live  
by the end of next week. The purpose of this work has been to make  
the every day life and work of this community more visible and open  
to newbees and also to create a more sustainable and flexible back  
end (now running in Drupal).


So Helen, thanks for the prompt! We are going to attempt to set up  
a donations facility in the new site. At this time all donations  
will go towards technical work on the site (hopefully with  
everyone's feedback and suggestions). Great stuff!


Over the last few years, funding from the Arts Council has made it  
possible for us to run an exhibition programme and to develop tech  
infrastructure. In the face of the coming landslide in public  
funding for the arts in the UK we are doing what we can at the  
moment to argue for the ongoing public value of this work- both  
Furtherfield's contribution and the wider contribution and impact  
of this area of work (do we still call it new media art, media  
art?) to wider society. I think what is interesting is that orgs/ 
communities like ours produce extraordinary value but not  
necessarily in terms that relate to GDP.


Your answers on a postcard please :)

I may ask this again soon- be ready with your postcards : )))

Once we are awake to the new year it would be good to have a proper  
conversation about different organisational and constitutional  
structures for a small group such as ourselves too.


Furtherfield is currently registered as a not-for-profit LTD company
Richard what is your experience of a company 

Re: [NetBehaviour] supporting furtherfield?

[Richard Wright]

Why not buy shares in Furtherfield Ltd?



From: helen varley jamieson he...@creative-catalyst.com
Date: 31 December 2010 11:03:16 GMT
To: netbehaviour@netbehaviour.org
Subject: Re: [NetBehaviour] supporting furtherfield?
Reply-To: he...@creative-catalyst.com, NetBehaviour for networked  
distributed creativity netbehaviour@netbehaviour.org



alternatives to paypal would also be welcome ... :)

On 31/12/10 9:48 AM, Renee Turner wrote:


I'm in on that idea too!

x Renee
On Dec 30, 2010, at 8:26 PM, mez breeze wrote:


agreed. paypal button-it-up marc  ruth:)

On Fri, Dec 31, 2010 at 2:03 AM, xDxD.vs.xDxD  
xdxd.vs.x...@gmail.com wrote:

that's a fantastic point you make. :)


On Thu, Dec 30, 2010 at 3:35 PM, helen varley jamieson  
he...@creative-catalyst.com wrote:
yesterday i received an email from rhizome requesting donations.  
i've
been a rhizome member since forever, i.e. before they started  
charging
a membership fee,  have been dutifully paying the basic  
membership of
US$25 for the last however many years. but the reality is that i  
almost
never read the emails  almost never go to the rhizome web site.  
i last
updated my profile in february 2009  it's not even my own  
profile, it's

for avatar body collision.

so, why give $25 to rhizome, which is largely irrelevant to me  
now, 
not to furtherfield, which is a much more interesting, useful   
relevant
part of my life? the only reason i have is that i can't find  
anywhere on

the furtherfield site to make a donation ...

h : )



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Re: [NetBehaviour] NetBehaviour Digest, Vol 779, Issue 1

[Richard Wright]

Why not just enter China's web site?: http://en.china.cn/




From: Simon Biggs si...@littlepig.org.uk
Date: 20 December 2010 14:51:44 GMT
To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org
Subject: Re: [NetBehaviour] Call for Submissions. The Presence of  
Future
Reply-To: NetBehaviour for networked distributed creativity  
netbehaviour@netbehaviour.org



But is it the same thing ;)

Best

S


On 20/12/2010 13:54, marc garrett marc.garr...@furtherfield.org  
wrote:



Hi Simon,

Perhaps a virtual ready-made work of China would suffice, although  
even

that costs money and time...

marc

I would have liked to submit China as a ready-made work that  
evokes our

future, but as the event does not provide financial support for

submissions

and as I am not sure how I would transport or install the work I

think this

might be a little too ambitious.

Best

Simon


On 20/12/2010 13:29, info i...@furtherfield.org wrote:


Call for Submissions.

The Presence of Future
http://www.divisionofhumanworks.org/now.html

Division of Human Works is accepting submissions for a
curated show dealing with ideas of future and how it has
inundated into our society and environment. Feel free to
submit completed works or submit a proposal for the creation
of new work. Relevant off-site work may also be submitted
for promotion via the event.

We are nearing the end of 2010, the year portrayed as a futuristic
utopia in the classic animated sitcom, The Jetsons. We are five  
years
away from 2015, the farthest year ahead Marty and Doc Brown  
traveled to
in Back to the Future. The years of our future, anticipated for  
decades,
are here. How similar are our present times to what was  
imagined? We do
have some very fancy gadgets and nuclear physicists working with  
a Big
Bang replicator, the Large Hadron Collider, at the Cern research  
center

in Switzerland. Yet, we are certainly not traveling in personal
hovercrafts and many of us are living in old decrepit buildings.  
What do
you think Joseph Beuys would think about the current state of  
the Green

Party?

Things are not quite what we had expected them to be. Yet then  
again,
things are definitely in an extreme state of flux. Change is on  
a steep
exponential rise. Some things are parallel with this  
acceleration and

some things are being dragged along for the ride.

What are your interpretations of our current evolutionary or de-
evolutionary status? What are your reactions to how far we¹ve  
come, why
do you think our present times have turned out as they have, and  
what

may or may not change current trends.


*** ALL SUBMISSIONS MUST BE RECEIVED BY 1/15/11.



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