| Announcer on Sat, 15 Jun 2002 16:21:47 +0200 (CEST) |
[Date Prev] [Date Next] [Thread Prev] [Thread Next] [Date Index] [Thread Index]
| <nettime> Events [x9] |
Table of Contents:
[transmediale] tm.salon: Nancy Adajania on Indian Media Art, 18. Juni
Andreas Broeckmann <abroeck@transmediale.de>
schnittstellen: media theory conference in basel
"geert lovink" <geert@xs4all.nl>
(OT) N U C T E M E R O N?
Arie van Schuttterhoef <arsche@xs4all.nl>
thundergulch dialogues: race in digital space
"Erin Donnelly" <EDonnelly@LMCC.NET>
THE RULES OF ART Bourdieu symposium / 16 July 2002 (Sydney)
"geert lovink" <geert@xs4all.nl>
New Post Confronts National Insecurity
US Department of Art & Technology <press@usdept-arttech.net>
J18 :: Common-Forum Development Conference
"Jason Diceman" <J.Diceman@westminster.ac.uk> (by way of richard barbrook)
come celebrate the independence of East Timor...
"iara lee / caipirinha" <piranha@caipirinha.com>
Please post on your website - thank you so very much!
iris.klein@bmaa.gv.at
------------------------------
Date: Wed, 12 Jun 2002 13:04:59 +0200
From: Andreas Broeckmann <abroeck@transmediale.de>
Subject: [transmediale] tm.salon: Nancy Adajania on Indian Media Art, 18. Juni
(English version below)
transmediale.salon: Nancy Adajania - Neue Medienkunst in Indien
Dienstag, 18. Juni 2002, 20.00 Uhr
Podewil, Klosterstr. 68-70, 10179 Berlin
Eintritt: EUR 5 / 4
(in Englischer Sprache)
Während die neuen Kommunikations- und Bildtechnologien von den Unternehmern
der indischen Informatinsökonomie weitgehend angenommen worden sind, haben
sich bisher nur wenige indische Künstler mit digitaler Photographie,
Videoinstallationen oder dem Web beschäftigt. Ihnen bleibt oftmals nur die
Wahl zwischen einer generischen, weithin legitimierten Sprache des
Globalen, oder einem lokalen, exotischen Kunstidiom des Lokalen.
Nancy Adajania, Kunsttheoretikerin, Filmemacherin und seit zwei Jahren
Redakteurin der Zeitschrift Art India, diskutiert diese Fragen an Arbeiten
von Künstlern wie Ranbir Kaleka und Satish Sharma, Baiju Parthan, dem Sarai
Kollectiv, Nalini Malani, Sonia Khurana, Sharmila Samant, Shilpa Gupta, und
Vivan Sundaram. (weitere Informationen im englischen Text, siehe unten)
http://www.artindia.co.in
- ----------------------------------------------
transmediale.salon: Nancy Adajania: New Media Art in India
Tuesday, 18 June 2002, 20.00 hrs
Podewil, Klosterstr. 68-70, 10179 Berlin
Entrance fee: EUR 5 / 4
(in English)
Nancy Adajania
The Ground Beneath Their Feet: Contemporary Indian Artists as Free-fliers
in the World of Underpasses
While the new technologies of communication and image production have been
embraced widely by entrepreneurs of India's large informal economy,
contemporary Indian artists have been relatively slow and uncertain in
their adoption of such new media, with only a few artists making bold,
important moves into digital photography, video installations and web-based
works. Indian artists today are poised between the global and the local, in
which the global stands for an aspired-to and legitimising international
art language, while the local is treated merely as an exotic value
addition. Hence the title: the artists as 'free-fliers' in a world of
international bursaries and residencies, who could usefully address the
'underpasses' beneath their feet, and examine the cultural production that
goes on there.
Adajania will be discussing these questions in relation to the photo, video
and web-based work of artists like Ranbir Kaleka and Satish Sharma, Baiju
Parthan, The Sarai Collective, Nalini Malani, Sonia Khurana, Sharmila
Samant, Shilpa Gupta, and Vivan Sundaram.
Nancy Adajania is an art theorist and film-maker, based in Bombay. She has
been Editor of the arts journal, Art India, since March 2000. In this
capacity, she has accentuated the importance of public art and new media
art for the contemporary art situation, emphasising the intimate
connections between the aesthetic and the political, the private
artist-self and the public sphere. Her specific area of interest is the
emergence of what she describes as a 'new folkloric imagination': a
variegated mode of resistance, phrased across an array of cultural
practices including installation, cinema, photography and street theatre.
http://www.artindia.co.in
- ----------------------------------------------
Preview / Vorschau:
transmediale salon: Joe Davis (USA): Undiscovered Genomes
Mittwoch, 3. Juli 2002, 20.00 Uhr
http://www.sciam.com/2001/0401issue/0401profile.html
transmediale salon: David Behrman (USA): 40 years of home-made electronic music
Mittwoch, 10. Juli 2002, 20.00 Uhr
http://www.lovely.com/artists/a-behrman.html
In Kooperation mit Singuhr-Hoergalerie in Parochial und dem Berliner
Kuenstlerprogramm des DAAD.
transmediale salon: Nomeda & Gediminas Urbonas (LT) - Litauische Transaktionen
Donnerstag, 29. August 2002, 20.00 Uhr
http://www.manifesta.org
_______________________________________________
the information list of transmediale
international media art festival berlin
transmediale: http://www.transmediale.de
list-info: http://mailman.transmediale.in-berlin.de/mailman/listinfo/newsletter
------------------------------
Date: Wed, 12 Jun 2002 22:59:50 +1000
From: "geert lovink" <geert@xs4all.nl>
Subject: schnittstellen: media theory conference in basel
SchnittStellen, 1. Basler Kongress für Medienwissenschaft (IfM)
Universität Basel, 20. 23. Juni 2002
Veranstalter: Institut für Medienwissenschaft (IfM), Universität Basel
in Kooperation mit dem Departement of Cultural Studies in Art, Media
and Design, HGK Zürich, der FHBB, HGK Basel u.a.
Sekretariat: Institut für Medienwissenschaften, Universität Basel,
Bernoullistrasse 28, CH-4056 Basel
Email: sekretariat-mewi@unibas.ch, Tel: 061/ 2670889, Fax: 2670890
Anmeldung via Internet: http://
www.mewi.unibas.ch/schnittstellen/Anmeldeformular.html
Programm
Donnerstag, 20. Juni 2002 (Aula im Kollegienhaus der Universität,
Petersplatz) Moderation Prof. Dr. G. C. Tholen
14.00 Einlass / Registration Kongressteilnehmerinnen und
Kongressteilnehmer
15.00 Begrüssung /Einleitung
Prof. Dr. Achatz von Müller, Prof. Dr. G. C. Tholen,
Prof. Dr. Sigrid Schade
Plenarvorträge
Donnerstag, 20. Juni, Nachmittag, 15.15 - ca. 18.15 Uhr
(Kollegienhaus der Universität, Aula, Petersplatz)
Moderation Prof. Dr. G. C. Tholen
1. Plenarvortrag
Prof. Dr. Helga Finter, Giessen
Vom Buch zum Spektakel. Das Paradies Dantes als Theatermaschine
2. Plenarvortrag
Dr. Markus Kutter, Basel
Inwiefern Basel eine Medienstadt war
Pause 16.30 bis 17 Uhr
3. Plenarvortrag
Prof. Dr. Ernest W.B. Hess-Lüttich, Bern
Projekt Mediensemiotik. Vom Wandel sozialer Verständigungspraxis in
der Informationsgesellschaft
Freitag, 21. Juni 2002
Plenarvorträge
(Grossen Hörsaal im Pharmazentrum, Klingelbergstrasse 50)
Freitag, 21. Juni, Vormittag, 9.00 - ca. 12.30 Uhr
Moderation: Prof. Dr. G. C. Tholen, PD. Dr. R. Gschwind
4. Plenarvortrag
Prof. Dr. Sabine Süsstrunk, Lausanne
Vermeer für CHF 0.00 - oder wie digitale Bildagenturen
zur Demokratisierung unseres Kulturgutes beitragen
5. Plenarvortrag
PD Dr. Wolfgang Hagen, Basel/Berlin
Das dritte Bild. Epistemologische Anmerkungen zur
Technikgeschichte des Fernsehens
Pause 10.30 bis 11 Uhr
6. Plenarvortrag
Prof. Dr. Sabine Maasen, Basel
"Science by press conference": Zur Medialisierung der
Wissenschaft
7. Plenarvortrag
Prof. Dr. Sigrid Schade, Zürich, Bremen
WissensArten. Künstlerischer Transfer
zwischen den Kulturen
Sektionsvorträge
Freitag, 21. Juni, Nachmittag, 15-18 Uhr
Sektion I A
Literatur, Sprache und Medien
(Grossen Hörsaal, Physik. Chemie, Klingelbergstrasse 80)
Freitag, 21. Juni, Nachmittag, 15.00 - 18.00 Uhr
Moderation: Dr. V. Huszai
1. Vortrag
PD Dr. Johannes Fehr, Zürich
Von Rhapsoden, Instrumenten & Apparaturen. Expeditionen
ins Literaturreich
2. Vortrag
Dr. Silvia Henke, Basel
Arbeit, Liebe, Krankheit: Alte Texte im Fenster neuer
Medien
Pause 16 bis 16.30 Uhr
3. Vortrag
Dr. Martin Stingelin, Basel
Widerstand und Eigenwille der Schreibwerkzeuge. Schreiben
an der Schnittstelle zwischen Menschen und Maschine
4. Vortrag
Dr. Frank Haase, Baden-Baden
Zurück zu de Saussure - Sprache und Medien angesichts der
Konvergenz der Medien
5. Vortrag
Prof. Dr. Christian Doelker, Zürich
Semantische Tiefe von Bildern
Sektion II A Intermedialität - Film, Musik, Photographie, Theater
(Hörsaal, Musikwissenschaftliches Seminar, Petersgraben 27)
Freitag, 21. Juni, Nachmittag, 15.00 - 18.00 Uhr
Moderation: Prof. Dr. G. C. Tholen
1. Vortrag
Dr. Beate Ochsner, Mannheim
Zwischenraum: Thomas Struths Portraitfilme
2. Vortrag
Dr. Wolf-Dieter Ernst, Prof. Dr. Gabriele Brandstetter,
Basel
Seen and be scene. Zur Medialität aktueller Performance-
Kunst
Pause 16 bis 16.30 Uhr
3. Vortrag
Dr. Susanne Winnacker, Amsterdam
Information Diet! Über die Infantilisierung der
performativen Künste im Zuge des "Computeranalphabetismus"
4. Vortrag
Dr. Hansmartin Siegrist, Basel
Spiegel und Leinwand: "Zwischenräume der Zeit" ?
5. Vortrag
Manfred Riepe, Frankfurt
Bildgeschwüre. (Fremd)Körper in den Filmen David
Cronenbergs
Sektion III Erhalt des Kulturgutes und digitale Archivierung
(Kleiner Hörsaal, Physik. Chemie, Klingelbergstrasse 80)
Freitag, 21. Juni, Nachmittag, 15.00 - 18.00 Uhr
Moderation: PD. Dr. R. Gschwind / Dr. L. Rosenthaler
1. Vortrag
Kurt Deggeller, Bern
Schnittstellen der zeitgeschichtlichen Überlieferung:
aus der Praxis der Erhaltung des audiovisuellen
Kulturgutes
2. Vortrag
Dr. Josef Zwicker, Basel
Augenblick und Ewigkeit. Vom Leben und Überleben
historischer Fotoarchive
Pause 16 bis 16.30 Uhr
3. Vortrag
PD. Dr. Rudolf Gschwind, Basel
Computer und Langzeitarchivierung - ein Widerspruch?
4. Vortrag
Dr. Lukas Rosenthaler, Basel
Archivieren durch Verteilen - eine Strategie im Netz
Sektion IVA Cultural Studies in Art, Media and Design
(Kleiner Hörsaal im Pharmazentrum, Klingelbergstrasse 50)
Freitag, 22. Juni, Nachmittag, 15.00 - 18.00 Uhr
Moderation: Prof. Dr. S. Schade / Dr. O. Marchart
1. Vortrag
Lic. phil. I Yvonne Volkart, Zürich
Kunst - Medien - Geschlecht. Die Bedeutung von Kunst und
Geschlecht in der Kultur- und Mediengesellschaft
2. Vortrag
Prof. Giaco Schiesser, Zürich
Das Erfreuliche am ganz alltäglichen Rassismus oder:
Wider den hilflosen Anti-Rassismus
Pause 16 bis 16.30 Uhr
3. Vortrag
Dr. Urs Stäheli, Bielefeld
Die mittelbare Unmittelbarkeit des Börsentickers
4. Vortrag
Dr. Oliver Marchart, Basel
Anmerkungen zum Begriff der Kultur und der Medien in den
Cultural Studies
Sektion VMedien - Kunst - Performanz
(plug - in, St.Alban-Rheinweg 64)
Freitag, 21. Juni, Nachmittag, 15.00 - 18.00 Uhr
Moderation: Lic.phil. I Th. Sieber
1. Vortrag
Lic. phil. I Sibylle Omlin/Lic.phil. I Thomas Sieber,
Zürich/ Basel
Ohne Netz ? Medium - Metapher -Materialität
2. Vortrag
Prof. René Pulver/ Lic.phil. I Alexandra Stäheli, Basel/
Zürich
Fernsehen - Video -Kunst: Visuelle und andere
SchnittStellen
3. Vortrag
Lic. phil. I Irene Schubiger, Basel
Videokunst und Selbstdarstellung
Pause 16 bis 16.30 Uhr
4. Vortrag
Verena Formanek
http://www.dip.mak.at Design beyond Art ?
5. Vortrag
Margarete Jahrmann/Max Moswitzer/F.E. Rakuschan, Zürich/
Wien
Nybble Engine - a modular lecture on arts network
programms for digital roadmovies and data objectiles by
www.climax.at
6. Performance
Muda Mathis/Andrea Saemann/Sus Zwick, Basel
Performance Medium - Body -Art
Samstag, 22. Juni 2002
Plenarvorträge
(Grosser Hörsaal im Pharmazentrum, Klingelbergstrasse 50)
Samstag, 22. Juni, Vormittag, 9.00 - 13.00 Uhr
Moderation: Prof. G. C. Tholen, / Dr. V. Huszai
8. Plenarvortrag
Prof. Dr. Peter Rusterholz, Bern
Die wächserne Nase der Schrift im Wechsel der Medien
9. Plenarvortrag
Prof. Dr. Jochim Paech, Konstanz
Schnittbilder
Pause 10.30 bis 11Uhr
10. Plenarvortrag
Inke Arns M. A., Berlin
Netzkulturen
11. Plenarvortrag
Prof. Dr. Anne C. Shreffler, Basel
"Du kleiner Kasten ...": Hören im Zeitalter der
technischen Reproduzierbarkeit
Sektionsvorträge
Samstag, 22. Juni, Nachmittag, 15.00 - 18.00 Uhr
Sektion I B Literatur, Sprache und Medien
(Grossen Hörsaal, Physik.Chemie, Klingelbergstrasse 80)
Samstag, 22. Juni, Nachmittag, 15.00 - 18.00 Uhr
Moderation: Prof. G. C. Tholen
1. Vortrag
Prof. Dr. Wolfram Malte Fues, Basel
Anteilnahmsfreie Gewalt. Zur Semiotik des Fernsehens.
2. Vortrag
Prof. Dr.Winfried Nöth, Kassel
Selbstreferenz in den Medien
Pause 16 bis 16.30 Uhr
3. Vortrag
Dr. Karin Wenz, Kassel
Der Avatar als Schnittstelle
4. Vortrag
Dr. Uwe Wirth, Frankfurt
Die Schnittstelle zwischen Riss und Sprung. Vom
herausgerissenen Manuskript zum Hypertext-Link
Sektion II B Intermedialität - Film, Musik, Photographie, Theater
( Hörsaal, Musikwissenschaftliches Seminar, Petersgraben 27)
Samstag, 22. Juni, Nachmittag, 15.00 - 18.00 Uhr
Moderation: Dr. B. Flückiger/ Dr. M. Kirnbauer
1. Vortrag
Dr. Stefanie Wenner, Berlin
Too shy to stare. Vermittelte Nähe in Performances von
Davis Freeman
2. Vortrag
Dr. Barbara Flückiger, Basel/Zürich
Intermediale Genese von Stereotypen
Pause 16 bis 16.30 Uhr
3. Vortrag
Dr. Martin Kirnbauer, Basel
"oir, sonner et veir" - Zu einer intermedialen
Schnittstelle von Bild und Klang in spätmittelalterlicher
Kunst und Musik
4. Vortrag
Michael Harenberg, Bern
Die Ästhetik der Simulation. Virtuelle Räume musikalischer
Produktion
5. Vortrag
Dr. Roberto Simanowski, Berlin/Jena
Transmediale Autorenschaft oder: Wie man aus obszönen
Readymades des Internet Offline-Kunst macht
Sektion IV B Cultural Studies in Art, Media and Design
(Kleiner Hörsaal im Pharmazentrum, Klingelbergstrasse 50)
Samstag, 22. Juni, Nachmittag, 15.00 - 18.00 Uhr
Moderation: Prof. Dr. S. Schade / Dr. O. Marchart
1. Vortrag
Prof. Dr. Jörg Huber, Zürich
Schnittstellen - Übergänge
2. Vortrag
Prof. Dr. Marion Strunk, Zürich
Mit und zwischen den Künsten. Gender Studies und
Kulturwissenschaften
Pause 16 bis 16.30 Uhr
3. Vortrag
Lic. phil. I Werner Oeder, Zürich
Design-Dispositive. Gestaltungsorte technologischer
Innovation
4. Vortrag
Prof. Dr. Dieter Daniels, Leipzig
Interaktion versus Konsum 1920 - 2002: oder Wie die
Massenmedien das Konzept der Interaktivität aus den
Medienkünsten gestohlen haben.
Sektion VI Netzkultur zwischen künstlerischem Experiment und
Massenmedium
(HyperWerk, Totentanz 17 - 18)
Samstag, 22. Juni, Nachmittag, 15.00 - 18.00 Uhr
Moderation: Dr. V. Huszai
1. Vortrag
Dr. Villö Huszai, Basel
Netzkunst und Medienwissenschaft
2. Vortrag
Reinhard Storz, Basel
Onlinekunst - zwischen den Medien
Pause 16 bis 16.30 Uhr
3. Vortrag
Knowbotic Research, Zürich
Intervention in die Codes des Teil-Öffentlichen
4. Vortrag
Adi Blum, Beat Mazenauer, Luzern
Surf, Sample, Manipulate
Copyleft, Basel
5. Vortrag
Etoy, Zürich
Internet: Pubertätsphase abgeschlossen?
Sektion VII Geschichte und Medien
( Literaturhaus, Gerbergasse 30)
Samstag, 22. Juni, Nachmittag, 15.00 - 18.00 Uhr
Moderation: Prof. Dr. A. von Müller
1. Vortrag
Prof. Dr. Lucian Hölscher
2.Vortrag
PD Dr. Valentin Groebner, Basel
"Content" historisch: Was verbindet Medienwissenschaft
mit der Geschichte der Vormoderne ?
3.Vortrag
Dr. Lucas Burkhart
Pause 16 bis 16.30 Uhr
4. Vortrag
Lic. Phil. I Gunnar Mikosch, Basel/ Bern
Transgression der Schnittstelle: ,Ekklesia' und
,Synagoge' als subversive Ikonographie am Strassburger
Münster
5. Vortrag
Dr. Patrick Kury
Schnittstellen und Interdiskurse am Beispiel der
Überfremdungsdebatten im 20. Jahrhundert
6. Vortrag
Prof. Dr. Achatz von Müller
Das Un-Bildnis: Dürers Erasmusportrait
Sektion VIII QuerSchnittStellen. Basler Projekte zur Interaktivität
(HyperWerk, Totentanz 17 - 18)
Samstag, 22. Juni, Abend, 18.30 - 20.30 Uhr
Moderation: Dr. R. Halter, HyperWerk/ FHBB
Die Realität neuer Medien fordert dazu heraus, neue
Formen der Interaktion und Kollaboration zwischen
akademischen und experimentellen Diskursen zu
entwickeln.
Die Veranstaltung folgt dieser Perspektive und stellt
für VertreterInnen der Basler Medienszene eine Plattform
bereit, um die interaktiven Dimensionen in der Arbeit
mit neuen Medien zu demonstrieren und zu diskutieren.
HyperWerk, das Hochschullabor der FHBB im Bereich
interaktiver Medien, übernimmt neben einer eigenen
Präsentation auch die Funktion des Vermittlers und
stellt sich als Ort der Interaktion und Intervention,
der Präsentation und Diskussion experimenteller
Medienproduktionen zur Verfügung.
Dieser Beitrag zum 1. Basler Kongress für
Medienwissenschaft «SchnittStellen» soll nicht nur den
interdisziplinären Charakter der Tagung erweitern,
sondern ein erster Schritt bei der Erprobung neuer
Formen der Zusammenarbeit in Forschung und Lehre sein.
VertreterInnen der Basler Medienszene stellen ihre
Arbeit vor und diskutieren die interaktiven Dimensionen
in der Arbeit mit neuen Medien. Damit soll nicht nur der
interdisziplinäre Charakter der Tagung Schnittstellen
erweitert, sondern ein erster Schritt bei der Erprobung
neuer Formen der Zusammenarbeit in Forschung und Lehre
getan werden.
Gäste und Legenden
co-Lab (führt Menschen und Ideen zur interdisziplinären
Teamarbeit im Spannungsfeld von neuen Technologien,
Kunst und Körper zusammen)
I love U (produziert ein monatlich erscheinendes e-zine
für Multimediakunst, immer neue Themen, ist eine nicht
kommerzielle Plattform für Cyberkünstler, Fotografen,
Screen-Designer, E-Musiker, Filmemacher, Comiczeichner.
[plug in] (initiiert, fördert und vermittelt innovative
Beiträge zur Erweiterung des künstlerisch-
experimentellen Umgangs mit neuen Medien)
point de vue (agiert als Schnittstelle von low-tech und
high-tech für Kunst- und Autorenprojekte, ist ein
Medienlabor, das seit über 20 Jahren professionelles
Arbeiten und Lebensqualität verbindet)
TWEAKLAB (bietet medienspezifische Lösungen für
interdisziplinäre Anwendungen an den Schnittstellen von
Video, digitalen Medien und Sound)
VIA AudioVideoFotoKunst (betreibt und unterhält seit
1988 die technische Infrastruktur für künstlerisches
Arbeiten mit Video, Audio und Fotografie)
VIPER (veranstaltet jährlich ein internationales
Festival für Film, Video und neue Medien. 1980
gegründet, ist die VIPER seit zwei Jahren in Basel und
bald unter neuer Leitung aktiv)
.und als Gastgeber
HyperWerk/FHBB (entwickelt als Hochschullabor der FHBB
interaktive Medien, Werkzeuge und teamorientierte
Strategien für Arbeit und Bildung und wurde 1999 als
Pilotstudium gegründet)
Sonntag 23. Juni, 2002
Plenarvorträge
(Grosser Hörsaal im Pharmazentrum, Klingelbergstrasse 50)
Moderation: Prof. Dr. G. C Tholen, Dr. O. Machart
09.30 Prof. Dr. Philipp Sarasin, Zürich
Anthrax/ »Anthrax ». Über die politische Funktion von
Kulturwissenschaft
10.15
Prof. Dr. Jochen Hörisch, Mannheim
Medialer Terrorismus. Kommunikation nach dem 11
September.
Podiumsdiskussion, BaZ Aeschenplatz
11.30 - Thema: Medienumbrüche in Gesellschaft, Kultur und
13.30 Wissenschaft.
(Moderation: Heinz Eckert, Christoph Heim, BaZ.
Podiumsteilnehmer u.a.:
Prof. Dr. Roger Blum (Bern), Dr. Klaus Goldhammer
(Berlin), Prof. Dr. Balz Engler (Basel, RFB), Michael
Koechlin (Basel, DRS), Prof. Mischa Schaub
(HyperWerk/FHBB), Anette Schindler ( PlugIn), Viper
(Basel), Prof. Alois Müller (FHBB/HGK Basel), Prof. Dr.
Hans-Peter Schwarz (HGK Zürich), Prof. Dr. G.C. Tholen
(IfM Basel)
Abendprogramm: Donnerstag 20. Juni - Montag 24. Juni
QuerschnittSchnittStellen. Basler Projekte zur Interaktivität
Samstag 22. Juni, 18.30 - 20.30 Uhr
HyperWerk/FHBB, Totentanz 17/18
Die HyBar ist bis 23.30 Uhr geöffnet.
Filmprogramm im Stadtkino, Klostergarten 5, Eingang via
Kunsthallengarten
(Konzeption und Leitung: Corinne Siegrist). Reduzierter
Eintrittspreis für Kongressteilnehmer, gegen Vorweisung des
Kongressabzeichens: 10,-- SFr.
Kinokasse: T.: +61/272 66 88, F.: +61/272 66 89
Do. 20.6., 21.00 Der schöne Augenblick (Fotografie)
Fri. 21.6., 21.00 Denise Calls Up Telephonie), 23.00 eXistenZ
(Video)
Sa. 22.6., 21.00 Radio Days (Radio)
So. 23.6. 20.30 eXistenZ
Mo 24.5. 18.00 Radio Days
------------------------------
Date: Wed, 12 Jun 2002 22:30:17 +0200
From: Arie van Schuttterhoef <arsche@xs4all.nl>
Subject: (OT) N U C T E M E R O N?
N U C T E M E R O N
- -a multimedia performance based
on a hermetic-alchemistical text by
Apollonius Tyanaeus.-
A Video-performance and a Composition for
voice, violin, clarinets, percussion and electronics,
with 3 Video-screens and 4 Loudspeakers by
Hans van Eck and Arie van Schutterhoef.
The Basis
The origin of the text Nuctemeron is very unclear. Apollonius
Tyanaeus, a teacher from the school of Pythagoras, is mentioned
as the author. The earliest publication is by Lorenzo de Mosheim
in Amsterdam in 1721. This text is in Greek, which is probably
also the language it was written in. It became better known through
the translation/adaptation by Eliphas Levi in his Dogme et Rituel
de Haute Magie, Paris 1861. The English translation that sir Arthur
Conan Doyle made, is based on this particular version. As well as
all the other contemporary versions.
The Nuctemeron describes in a powerful and ornate style, the
transfiguration of the human soul in a cycle of twelve hours. Short
aphorisms, that penetrate deep into the essence of every step taken.
PERCEIVABLE AUDIO-MATERIAL (MP3-format):
"Nuctemeron, First Hour":
http://knorretje.hku.nl/~schreck/HD/html/nuct.html
"Nuctemeron, Second Hour":
http://knorretje.hku.nl/~schreck/HD/html/nuct2.html
"Nuctemeron, Third Hour":
http://knorretje.hku.nl/~schreck/HD/html/nuct3.html
"Nuctemeron, Fourth and Fifth Hour":
http://knorretje.hku.nl/~schreck/HD/html/nuct4.html
"Nuctemeron, Sixth and Seventh Hour":
http://knorretje.hku.nl/~schreck/HD/html/nuct6.html
"Nuctemeron, Eighth and Ninth Hour":
http://knorretje.hku.nl/~schreck/HD/html/nuct8.html
"Nuctemeron, Tenth and Eleventh Hour":
http://knorretje.hku.nl/~schreck/HD/html/nuct10.html
PERCEIVABLE IMAGE-MATERIAL (MOV-format):
"Nuctemeron, Fourth Hour":
http://knorretje.hku.nl/~schreck/HD/NUCT-folder/sepulcher.mov
"Nuctemeron, Fifth Hour":
http://knorretje.hku.nl/~schreck/HD/NUCT-folder/Voice_of_Water.mov
"Nuctemeron, Seventh and Eighth Hour":
http://knorretje.hku.nl/~schreck/HD/NUCT-folder/initiate.mov
"Nuctemeron, Tenth and Eleventh Hour":
http://knorretje.hku.nl/~schreck/HD/NUCT-folder/AQsup1.mov
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
..................................................................
^ Arie van Schutterhoef | arsche@xs4all.nl
^_±±±±±±±±±±±±±±±±±±±±±±±__""""""""""""""""""""""""""""""""" |
` |Schreck Ensemble http://www.xs4all.nl/~schreck/ |
` |# -laboratory for live electro-acoustic music- # |
` |Tel: 00-31-71-5612287 Fax: 00-31-70-3859268 |
*========================================================++
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
..................................................................
------------------------------
Date: Thu, 13 Jun 2002 18:20:58 -0400
From: "Erin Donnelly" <EDonnelly@LMCC.NET>
Subject: thundergulch dialogues: race in digital space
Thundergulch Dialogues:
Race in Digital Space
Thursday, June 20th, 6:00 PM, 2002 --- FREE
56th Street between Madison and Fifth Avenues
Directions: The Sony Wonder Technology Lab is located on 56th Street
between Madison and Fifth Avenues. Take the 4/5/6 trains to
59th/Lexington Avenue, the E/V trains to Fifth Avenue/53rd Street, or
the N/R trains to Fifth Avenue/60th Street. Bus: M1, M2, M3, M4, M5, and
M57.
Featuring:
LEAH GILLIAM, Assistant Professor of Film & Electronic Arts, Division of
the Arts, Bard College
TANA HARGEST, Curator of New Media Initiatives, The Bronx Museum of the
Arts
PAMELA JENNINGS, Assistant Professor, School of Art and the Human
Computer Interaction Institute, Carnegie Mellon University
ERIKA DALYA MUHAMMAD, Writer and curator
THUNDERGULCH, the new media initiative of the Lower Manhattan Cultural
Council, is pleased to present conversations with artists from the
Studio Museum in Harlem's acclaimed exhibit "Race in Digital Space."
Organized by guest curator, Erika Dalya Muhammad, "Race in Digital
Space" featured the work of over 50 artists using film, video, audio,
and digital media to explore how technology influences and changes
social ideas of race and ethnicity.
The evening features: Leah Gilliam's "Split: Whiteness, Retrofuturism,
Omega Man," a CD-ROM that examines narratives of race and gender in the
science fiction genre through manipulated texts and images; Tana
Hargest's "Bitter Nigger, Inc.," a humorous, albeit biting web
work/installation exploring racism through the mediation of the
pharmaceutical, entertainment, and consumer cultures; and Pamela
Jennings's CD-ROM "Solitaire: dream journal," a three-dimensional
computer game used to navigate through graphically luscious and
sonically rich dream journals.
_______________
S P E A K E R S:
LEAH GILLIAM is Assistant Professor of Film & Electronic Arts, Division
of the Arts, Bard College. Her media projects have been exhibited
widely in such venues as Thread Waxing Space; the Museum of Contemporary
Art (Chicago); the Institute of Contemporary Art, Boston; the Whitney
Museum of American Art; and the San Francisco International Film
Festival.
TANA HARGEST is a multimedia artist and Curator of New Media Initiatives
at The Bronx Museum of the Arts. Her work has been exhibited at the
Walker Art Center as part of the screening and exhibition Women in the
Director's Chair, at The Studio Museum in Harlem as part of the
traveling exhibition Freestyle, and at GAle GAtes et al. as part of the
group show Mimic.
PAMELA JENNINGS is Assistant Professor at Carnegie Mellon University
with a joint appointment in the School of Art in the College of Fine
Arts and Human Computer Interaction Institute in the School of Computer
Science. Jennings is the author New Media Arts | New Funding Models, a
report commissioned by the Rockefeller Foundation and papers and reviews
of her work have appeared in numerous books and journals. She has
received New York State Council on the Arts grants and is a MacDowell
Artist Colony Fellow and CAiiA-STAR research consortium member.
http://digital-bauhaus.com/
ERIKA DALYA MUHAMMAD is a curator and writer. Muhammad explores how
digital encounters and cut-and-mix culture work to transform issues of
race, ethnicity, and nationhood. In addition to curating the "Race in
Digital Space" exhibition (with travels to the Spelman College Museum of
Fine Arts this Fall), Muhammad has held curatorial positions at both the
Whitney Museum of American Art and the American Museum of the Moving
Image.
- -----------------------------------------------------------
Reservations are not required but for further information please contact
Wayne Ashley, Guest Curator, Thundergulch at (212)219-9401 x106,
washley007@yahoo.com, or Erin Donnelly, Visual and Media Arts Program
Associate, Lower Manhattan Cultural Council at (212)219-9401 x107 or
edonnelly@lmcc.net
Support for Thundergulch audience development is provided by American
Express Company. Funding for Thundergulch is generously provided by
Cowles Charitable Trust, Experimental Television Center, the Greenwall
Foundation, the Rockefeller Foundation and the May and Samuel Rudin
Family Foundation. This project is made possible, in part, with public
funds from the Electronic Media and Film Program and the Media Arts
Technical Assistance Fund of the New York State Council on the Arts, a
State Agency. This program is supported, in part, by public funds from
the New York City Department of Cultural Affairs.
http://www.lmcc.net
http://www.thundergulch.org
http://www.sonywondertechlab.com/
Thundergulch, the new media initiative of the Lower Manhattan Cultural
Council
Lower Manhattan Cultural Council
145 Hudson Street, Suite 801, New York, NY 10013
212-219-9401
212-219-2058 fax
info@lmcc.net
Liz Thompson, Executive Director
Moukhtar Kocache, Director of Visual & Media Arts
Erin Donnelly, Visual & Media Arts Program Associate
Wayne Ashley, Guest Curator, Thundergulch
------------------------------
Date: Fri, 14 Jun 2002 17:03:36 +1000
From: "geert lovink" <geert@xs4all.nl>
Subject: THE RULES OF ART Bourdieu symposium / 16 July 2002 (Sydney)
From: ARTSPACE <artspace@artspace.org.au>
THE RULES OF ART
A Symposium on the Work of Pierre Bourdieu and Social Science Thinking about
the Arts
Presented by ARTSPACE and The Division of Society, Culture, Media &
Philosophy, Macquarie University
Date: Tuesday 16th of July 2002
Venue:
Artspace, 43-51 Cowper Wharf Rd, Woollomooloo
Tel 02 9368 1899 Fax 02 9368 1705
Email artspace@artspace.org.au
Booking:
Full conference $80 / $40 concession gst inc.
Conference cost include lunch and tea/coffee.
Priority will be given to all full conference bookings.
We encourage you to book for the full conference.
Please note session bookings may be made, however these will only be
confirmed after full conference bookings have been finalised.
Session 1: Morning (9.25am - 12.30) $50 full / $25 concession gst inc.
Session 2: Afternoon (1.30pm - 6pm) $50 full / $25 concession gst
inc.
The Rules of Art
The idea that art is a social activity is neither new nor particularly
remarkable. But what is the sociology of art and how does it differ from an
aesthetic theory of art? And what do we learn about the arts by
understanding them in their social context?
The sociology of art advanced by the late Pierre Bourdieu highlights the
type of issues at stake. Bourdieu's sociology of art has often been accused
of being 'reductionist' and of failing to appreciate the specificity of
artistic texts and intentions. Yet, in The Rules of Art, Bourdieu felt he
could claim that a social science 'analysis of the social conditions of the
production and reception of a work of art, far from reducing it or
destroying it, in fact intensifies theS [aesthetic] experience'. Responding
to the accusation that social science explanation runs the risk of 'killing
the pleasure' associated with experiencing art, Bourdieu suggests that
uncovering the social conditions surrounding the 'genesis' of a work of art
can complement the love of art and fulfill that love in a sort of 'amor
intellectualis'.
But what kind of dialogue and relationship is possible between these
unlikely bedfellows? Social science analysis often speaks a different
language to the art world and to art criticism. It employs methodologies,
produces findings, and has claims to 'value-neutrality' that might appear to
contradict the logic and raison d'être of the arts. However, the
relationship between the social sciences and the arts is hardly static. We
now live in societies where artistic goods are economically more important
than ever before; and where the distinction between the arts and other types
of goods and experiences is less well defined. This symposium proposes to
debate what the social sciences can offer the study of the arts, and will
ask: in the current climate of globalization, privatization of funding,
'niche marketing', and the supposed blurring of the high culture/ low
culture divide, is it all the more necessary to understand and 'love' the
arts in their social context?
PROGRAM
9:00 Registration
9:25: Welcome
Nicholas Tsoutas, Director of Artspace, and Associate Professor John Lechte,
Director of the Creative Arts program, Macquarie University.
9:30 Session 1
Bourdieu and contemporary 'art worlds'
BEYOND THE INSTITUTIONAL THEORY OF ART: BOURDIEU AND THE NOTION OF AN ART
WORLD
Dr Eduardo de la Fuente, Department of Sociology, Macquarie University
CONTEMPT AND CONTRETEMPS
Dr Garry Stevens, Private Scholar.
THE GAME OF ART AND THE GAME OF POWER: DIALOGUES BETWEEN PIERRE BOURDIEU AND
HANS HAACKE
Professor Gill Bottomley, Department of Anthropology, Macquarie University
11:15 Coffee break
11:30: Keynote address
HISTORICAL UNIVERSALISM: THE VALUE OF THE AESTHETIC IN THE WORK OF PIERRE
BOURDIEU
Professor Tony Bennett, Director, Pavis Centre for Social and Cultural
Research, Open University, UK
1:30 Session 2
The local, urban and global contexts of art
THE ROLE OF THE ARTS IN URBAN CULTURAL DYNAMICS
Professor Arturo Rodríguez Morató, Department of Sociological Theory,
University of Barcelona, Spain.
LOCAL IDENTITY AND ARTISTIC PRODUCTION: SOCIAL CONDITIONS AND FORMATION OF
TALENTS IN BRASILIA
Dr João Gabriel L. C. Teixeira, Department of Sociology, University of
Brasilia, Brazil
CONTEMPORARY ART AND GLOBALISATION: HOW REALLY INTERNATIONAL IS
'INTERNATIONAL CONTEMPORARY ART'?
Professor Alain Quemin, Sociology, University of Marne-la-Vallée, and French
National Center for Scientific Research, France.
3:45 Aesthetics, sociology and method
THE BEAUTY OF BOURDIEU
Associate Professor John Lechte, Director of the Creative Arts Program,
Macquarie University
INTERROGATING SOCIOLOGY: DADA AS METHOD
Dr Jeff Halley, Sociology Program, University of Texas, San Antonio, USA
5:00 Valuing the arts
PANEL DISCUSSION
Professor David Throsby, Department of Economics, Macquarie University
Elizabeth Ann MacGregor, Director of the Museum of Contemporary Art, Sydney
Dr Gay Hawkins, School of Media and Communications, University of New South
Wales
Professor Arturo Rodríguez Morató, Department of Sociological Theory,
University of Barcelona, Spain.
ABSTRACTS
In order of presentation
BEYOND THE INSTITUTIONAL THEORY OF ART: BOURDIEU AND THE NOTION OF AN 'ART
WORLD'
Eduardo de la Fuente
The so-called institutional theory of art, as espoused by Danto and Dickie,
claimed that art is basically whatever comes to be consecrated as 'art' by
the institutions of the 'art world'. Rejecting traditional aesthetics, and
attentive to the theoretical problems posed by post-Duchampian modern art,
this account emphasized the historical and contextual character of what we
regard as art. Bourdieu's sociology of art has always had an uneasy
relationship with this account of art. On the surface, Bourdieu's sociology
appears to share the 'contextualism' and apparent 'constructivism' of the
institutional account. Yet Bourdieu has criticized the inherent fuzziness of
the concept of an 'art world', as well as the theory's tendency to conflate
'art worlds' with specific populations of people involved in making,
evaluating, disseminating and consuming art.
However, the limitations of the institutional theory are not purely
conceptual; they are also empirical. Today the notion of an 'art world',
understood as a set of institutions that exists in a given time and in a
concrete place, is challenged by the fact that art works have become mobile
objects traversing geographical and other spatial boundaries. Furthermore,
contemporary artistic practices routinely contest the boundary between the
gallery and the 'outside world'; and policy makers often refer to art's
economic 'value' thereby conflating it with other goods and services. So
what kind of concept would we want to replace 'art world' with? This paper
proposes that Bourdieu's concept of the 'field' is well placed to explain
the dynamics of artistic production in a culture where 'art worlds' collide
and blur with a range of other social worlds.
Eduardo de la Fuente teaches in the Department of Sociology, Macquarie
University. He has published articles on the philosophy of music, the
political economy of arts patronage, the role of aesthetics in sociological
theory, and Weber's sociology of religion. He is currently working on a book
that applies the insights of the sociology of modern culture to the field of
20th century art music, with the working title 'From Max Weber to John
Cage'.
CONTEMPT AND CONTRETEMPS
Abstract: The French sociologist Pierre Bourdieu's analysis of the world of
art is not only the best examination of that world that you can get: it's
the only one that makes any sense. Then why do artists despise it?
Dr Garry Stevens has degrees in architecture, computer-aided architectural
design, sociology and philosophy. His books have been translated into five
languages. He is best known for his book 'The Favored Circle' (The MIT
Press), which subjected the art and profession of architecture to the
Bourdivin gaze.
THE GAME OF ART AND THE GAME OF POWER: DIALOGUES BETWEEN PIERRE BOURDIEU AND
HANS HAACKE
Gillian Bottomley
In Bourdieu's analytical framework, individual artists must be located in
specific cultural and historical fields. There is an ongoing process of
refraction in which concepts of strategy and trajectory are important in
describing the relationship between artist and field. A series of dialogues
between Bourdieu and Haacke offer a stimulating re-evaluation of the
relative autonomy of works of art, and the possibility of `an industry of
conscience'.
Gillian Bottomley is Emeritus Professor of Anthropology and Comparative
Sociology at Macquarie, with research interests in culture, ethnicity,
gender, international migration, music, dance, art and literature. Her
books include: From Another Place : Migration and the Politics of
Culture(1992), Intersexions: Gender/Class/Ethnicity/ Culture (1991) and
After the Odyssey: A Study of Greek Australians (1979).
HISTORICAL UNIVERSALISM: THE VALUE OF THE AESTHETIC IN THE WORK OF PIERRE
BOURDIEU
Tony Bennett
Best known for his pioneering study Distinction: A Social Critique of the
Judgment of Taste, and especially for its concluding discussion of Kant's
aesthetics, in which the aesthetic attitude of disinterestedness is
accounted for as the expression of a class ethos, Bourdieu has become
something of an icon of relativism. Discrowning official hierarchies of the
arts, he is often celebrated for his concern to place all tastes, popular
and high, on a similar footing, equally rooted in specific class practices.
Only a careless inattention could support such a conclusion. From his early
interventions in French cultural policy debates up to and including The
Rules of Art and Pascalian Meditations, Bourdieu has consistently repudiated
the view that a sociological approach to questions of aesthetic judgment
must result in a leveling form of relativism. In exploring why this should
be so, this paper will look at what is at issue - theoretically, politically
and in cultural policy terms - in the forms of 'historical universalism'
that are associated with Bourdieu's account of the autonomy of the aesthetic
sphere.
Tony Bennett is Professor of Sociology at the Open University where he moved
to recently after serving as Professor of Cultural Studies and Director of
the Australian Key Centre for Cultural and Media Policy at Griffith
University. His publications include the Formalism and Marxism, Outside
Literature, The Birth of the Museum, Culture: A Reformer's Science, and
(with Michael Emmison and John Frow) Accounting for Tastes: Australian
Everyday Cultures. He recently co-edited (with David Carter) Culture in
Australia: Policies, Publics and Programs.
THE ROLE OF THE ARTS IN URBAN CULTURAL DYNAMICS
Arturo Rodríguez Morató
Cultural activities and the arts are assuming a new central and strategic
role in the contemporary metropolis, involving more and more the entire
citizenry. The cultural metropolitan space tends to become a global matrix
of cultural actors, resources and processes, well beyond the limits of the
artistic sphere but none the less centered on it. Here we will consider the
relationship between the artistic sphere and culture at large in the
contemporary metropolis, we will examine how they constantly intertwine
there in different and changing ways, and taking Barcelona as an example we
will argue for a theory of urban cultural dynamics centered on the arts.
Arturo Rodríguez Morató is Professor of Sociology in the Department of
Sociology, University of Barcelona, Spain, and Director of CESAC a center
devoted to the study of the arts and culture. He is also President of the
International Sociological Association Research Committee for the Sociology
of the Arts. He is author of a book length study of the Spanish composer,
Los Compositores Españoles: Un Análisis Sociológico [The Spanish Composer: A
Sociological Analysis] (CIS, 1996) and 'The Culture Society: A New Place for
the Arts in the Twenty-First Century' A. Sales (ed.) Social Transformations
at the Turn of the Millennium (Sage, 2001).
LOCAL IDENTITY AND ARTISTIC PRODUCTION: SOCIAL CONDITIONS AND FORMATION OF
TALENTS IN BRASILIA
João Gabriel L. C. Teixeira
This paper will deal with the process of constitution of local identity in a
modern, planned city, Brasília, the national capital of Brazil. It will show
how local elites and the media are utilizing the apparent higher fertility
of Brasilia in the production of art as a means to construct the local
identity and develop the self esteem of the "brasilienses". The analysis
will concentrate in the social trajectories of local artists of high
prestige, either nationally or internationally, as related in their
interviews.
João Gabriel L. C. Teixeira, is Professor of Sociology in the Department of
Sociology, University of Brasilia, Brasil. In addition to the sociology of
culture, he has published in the areas of citizenship, the sociology of
work, rural workers, and Freudian social theory.
CONTEMPORARY ART AND GLOBALIZATION: HOW REALLY INTERNATIONAL IS
'INTERNATIONAL CONTEMPOARY ART'?
Alain Quemin
Nowadays, the art market in general and the contemporary art market in
particular are clearly international in scope. Globalization tends to be
stronger today than it was twenty years ago as contemporary art fairs and
biennials developed in various countries and even sometimes in Third world
countries in South America, Asia or even Africa. However, we will show that
Western Europe and the USA still concentrate a high proportion of those
major events constituted by contemporary art fairs and biennials and using
an indicator of fame called the "Kunstkompass", we will stress the fact
that, although fame is generally believed to depend only on purely
individual talent, the most renowned contemporary artists still belong to
the Western world. Moreover, even when artists belonging to the "periphery"
(i.e. non-Western part) of the international art world can accede to the
core of the scene, they often have to be sold by a Western art gallery and
live in the Western world. What we would like to do in our presentation is
show the former assumptions by presenting quantitative data that we recently
developed. A second part of the presentation will analyze the role of
"informal academies" that evaluate "international" contemporary art and show
that, despite its global dimension and the present fashion for
pluriculturalism, the international art world is still highly concentrated
in the Western world and regulated by this part of the world.
Alain Quemin is presently an Associate Professor of Sociology at the
University of Marne-la-Vallée (Paris, France) and a researcher for the
French National Centre for Scientific Research (CNRS / LATTS). He is also
secretary of the Research Committee for the Sociology of the Arts of the
International Sociological Association and Vice-President of the equivalent
research network of the European Sociological Association. His main works
focuses on the sociology of art. He is author of the following books : Les
commissaires-priseurs. La mutation d'une profession, ( Anthropos-Economica,
1997); with Clara Lévy, Commerce électronique et produits culturels, (la
Documentation française, 2000); Le rôle des pays prescripteurs sur le marché
et dans le monde de l'art contemporain, (Ministère des Affaires Etrangères,
2001); and L'art contemporain international, (Artprice / Jacqueline Chambon,
2002).
THE BEAUTY OF BOURDIEU
John Lechte
In this paper I examine the place of art and the artist in Bourdieu's work
on art in particular, and in sociology in general. Specifically, I want to
explore the extent to which the artist can be a significant, autonomous
figure in Bourdieu's sociology. By this I also mean: the extent to which the
work of art can be more than a mirror of society.
To develop this theme, I look at Kant's notion of beauty and aesthetic
sensibility and reflect on the way a subject-object relation is both
presupposed and undermined. Bourdieu's reading of Kant is also an important
element here, and I shall endeavour to evaluate the implications of
Bourdieu's 'vulgar critique of pure critiques'.
Having set the scene in this way, I want to compare the sociology of art
with a philosophy art. To my mind the difficulty posed for philosophy by a
sociology of art as represented by Bourdieu, is not that it is reductionist
and therefore unusable, but that it is eminently plausible. The 'rules of
art' are surely undeniable, even in the event that the (existing?) rules of
art are opposed. Through reference to poetry and cinema, we will see how the
sociologist uses ideas and terms already developed in the field of art.
The issue for the sociologist, however, is whether art is best revealed by
the rules (also: conventions, tradition, orthodoxy) that give it currency,
or whether it is precisely the willful refusal of rules which constitutes
the art work as a work. It is here that Kant's synthetic notion of beauty
(without a subject, without prior rules) becomes a challenge for sociology.
Can sociology, as embodied in the example of Bourdieu, meet this challenge?
John Lechte teaches cultural sociology at Macquarie University where he is
Director of the Bachelor of Creative Arts degree program. He has published a
number of reviews and articles on Bourdieu's theory of society. He is also a
former student of Julia Kristeva and has published a number of books and
articles on her work. He is the author of Julia Kristeva, and editor, with
Mary Zournazi, of After the Revolution (Artspace 1998) and the Kristeva
Reader, to be published by Edinburgh University Press. He is also working on
a new introduction to Kristeva's work, to be published by Continuum in 2003.
Also forthcoming from Sage is his Key Contemporary Concepts: Insights into
Thought and Society.
INTERROGATING SOCIOLOGY: DADA AS METHOD
Jeff Halley
Although the conference theme concerns the "rules of art," the conference
blurb hints that there can be a two-way flow, that is, art and art practices
may have some power to inform the social sciences. This paper entertains
that question by looking at the critical practices of the dada art movement,
in particular, those of collage, shock, and chance. The notions of
critique, contradiction, and subversion are traced in both the social
sciences and the arts. These techniques from dada are used to interrogate
sociological texts, treated as "ready-mades" or found objects. A random
selection of textual fragments from 30 sociology sources is generated and
juxtaposed. What does this new text achieve? What is the effect on the
reader?
Jeffrey A. Halley teaches at the University of Texas at San Antonio, where
he is Chair of the sociology department. He is a Vice-President of the ISA
Research Commitee on the Sociology of the Arts, and on knowledge,
communication and culture. He is on the editorial board of Sociologie de
l'art.
Panelists
David Throsby is Professor of Economics at Macquarie University, a post he
has held since 1974. He has published widely in the economics of art and
culture. He has authored and co-authored several books including: Economics
and Culture (Cambridge, 2001) and with B. Thompson But What do You do for a
Living? A New Economic Study of Australian Artists (Australia Council,
1974). He is a past President of the Association for Cultural Economics
International, on the editorial boards of the Journal of Cultural Economics
and the International Journal of Cultural Policy, and a member of Scientific
Committee for UNESCO's World Culture Report.
Elizabeth MacGregor is Director of the Museum of Contemporary Art, Sydney.
Before holding this post she was Visual Arts Officer for the Arts Council of
Great Britain and Director of Ikon Gallery, one of Britain's leading
contemporary art galleries.
Gay Hawkins teaches in the School of Media and Communications, University of
New South Wales. She is the author of From Nimbin to Mardi Gras:
Constructing Community Arts and co-editor of Culture and Waste: the Creation
and Destruction of Value . She researches in the areas of media tastes and
values, poststructuralist political theory and waste.
Arturo Rodríguez Morató (see biographical details above).
For further information contact:
Artspace Visual Arts Centre
The Gunnery
43 - 51 Cowper Wharf Road
Woolloomooloo NSW 2011
Australia
tel +61 2 9368 1899
mob: 0414 363 234
fax +61 2 9368 1705
mailto:artspace@artspace.org.au
http://www.artspace.org.au
------------------------------
Date: Thu, 13 Jun 2002 08:49:46 -0400
From: US Department of Art & Technology <press@usdept-arttech.net>
Subject: New Post Confronts National Insecurity
US Department of Art & Technology
PO Box 32265 Washington, DC 20007
http://www.usdept-arttech.net
press@usdept-arttech.net
Press Secretary
For Immediate Release: June 14, 2002
Appointment of New Post
Confronts National Insecurity
Abe Golam, Director of the
Office of Political and Economic Insecurity
WASHINGTON, DC - Responding to criticism of the Bush Administration's
handling of national security in its recent proposal to create the
Department of Homeland Security, Secretary Randall M. Packer has
called for the creation of the Office of Political and Economic
Insecurity within the Department of Art & Technology, to confront
rising insecurity in the nation and around the world as a result of
the administration's plan to restructure the US government. The
Secretary has appointed Abe Golam, legendary info-shaman, cracker of
the sorcerer-code and creator of Nanoscript, as its Director.
Mr. Packer's proposal would place into a single office the
Department's Office of Artist & Homeland Insecurity, Bureau of
Cultural Transformation and Paradigmatic Shifts, the Bureau for the
Protection & Immunization Against Mediation & Alienation, the Bureau
for Rhizomatics, Community & Generative Data, and the Office of
Freedom of Speech.
"Since September 11, all levels of government have been pointing
fingers like never before while our airports become Keystone cop
scenarios and our border security remains a farce," Mr. Golam stated
in a recent memorandum to the Secretary. "Even as they pretend to be
taking steps toward improving information sharing among our
intelligence agencies, and suggest in their media-manipulated spin
doctoring that we are beginning to deploy more resources and
personnel to protect our critical infrastructure, our federal
investigators are still working with computer technology manufactured
in the dark ages. Our children have access to better technology than
our federal intelligence agents."
Mr. Golam expressed his anger at the administration for not seeking
support from the nation's artists in its response to recent
international crises, "The changing nature of the threats facing
America requires a new government, a new administration, a new way of
looking at the world that protects the environment, that celebrates
diversity, takes care of the poor, and prioritizes the development of
new forms of art using advanced digital technologies that will help
us find a cure to the 'death-denial' of our present leaders." In a
stinging acknowledgment of failures that took place during the
administration's watch, Mr. Golam directly attacked Bush's new
homeland policies and its impact on civil liberties, "Our domestic
agenda has been hijacked by far right wing ideologues and
military-religious zealots who are trying to whittle away at the
basic rights of all US citizens as guaranteed by our Constitution."
Under Mr. Packer's proposal, the new office would put at least 22
separate bureaus, programs and media research centers under one
umbrella group. But the conceptual framework of the new office is
clear: each division is supposed to handle a different element of the
country's ability to confront the administration's emerging
death-wish before it happens, or respond to it should prevention
fail. Mr. Golam's memorandum notes that "The one thing Americans,
perhaps more than any other nation on the planet, fear - is death
itself. Under the protective guise of 'Homeland Security', we find
ourselves primarily a nation of insecure workers scared to death of
our future, of our ability to consume corporate food at any cost, of
our right to buy gas guzzling vehicles that double as tanks."
Mr. Golam's memorandum concludes with an existential portrayal of the
administration's position as he warns, "For those of our fellow
citizens who fear death, we should ask them to remember that death is
an advisor. Death is always there, always with you, watching your
every move. Death has only one thing to say to you and says it over
and over again: live this life to its fullest and find security in
your own heart, the way you act toward others, the things you create."
For the full transcript of Abe Golam's Memorandum to the Secretary:
http://www.usdept-arttech.net/golam.html
##
The US Department of Art and Technology is the principal conduit for
facilitating the artist's need to extend aesthetic inquiry into the
broader culture where ideas become real action. It also serves the
psychological and spiritual well-being of all Americans by supporting
cultural efforts that provide immunity from the extension of new
media technologies into the social sphere.
URLs:
US Department of Art & Technology: http://www.usdept-arttech.net
Contact: Press Secretary of the US Department of Art & Technology
press@usdept-arttech.net
# 01-101
------------------------------
Date: Wed, 12 Jun 2002 14:42:00 +0100
From: "Jason Diceman" <J.Diceman@westminster.ac.uk> (by way of richard barbrook)
Subject: J18 :: Common-Forum Development Conference
Apologies for any cross-postings.
- - - - - - - - - - - - - - -
DON'T HATE THE MEDIA. REPLACE IT!
** The Common-Forum Development Conference **
On Tuesday June 18th 2002, on the 3rd year anniversary of the J18 Carnival
Against Capitalism, the Common-Forum development group invites you to a
night of introductions, discussions, information and community celebration
at the Global Cafe, London UK.
- --
Based on the success of desktop publishing, the World Wide Web, low budget
audio/video production, peer-to-peer file sharing applications (e.g.
Napster, Kazaa, & Gnutella), community radio and other ‘guerilla media’ we
have already proven that mainstream media is not the only choice.
What is needed is a centralized network system for exchanging independent
media. An accessible & common database that lets users organize, relate,
sort and filter content in a completely democratic fashion.
We call this system the Common-Forum and we need your help to build it.
- --
Conference details:
June 18th 2002 - 7pm
Global Cafe - 15 Golden Square - London UK
Free Entrance - Donations Appreciated
The night will include:
- - A talk by Richard Barbrook, author of Media Freedom
- - A presentation by Communication Rights in the Information Society (CRIS)
- - A question & answer session with Jason Diceman, Common-Forum project
manager
- - A consensus discussion on the Common-Forum's potential role in the global
social movement
- - Information displays from publishers and progressive communication
organizations
- - An open and friendly environment for meeting like minded individuals
- - Drinks, chill background music and more...
Visit: www.common-forum.org for details.
Email: cforum@communicationism.org to get involved.
- - - - - - - - - - - - - - -
------------------------------
Date: Wed, 12 Jun 2002 11:16:45 -0500
From: "iara lee / caipirinha" <piranha@caipirinha.com>
Subject: come celebrate the independence of East Timor...
Please support our friends at ETAN who will be hosting a special
event to celebrate the independence of East Timor...
East Timor
From Annihilation to Celebration to ???
Eyewitness Accounts of the Birth of the New Nation
June 19, 2002
7:30 p.m.
Brecht Forum, 122 West 27th St. 10th Flr.
New York City (Between. 6th & 7th Aves.)
(1,9,N,R to 28th St., F/C/E to 23rd St., PATH to 23rd St)
with
Amy Goodman, Democracy Now!
Deepa Fernandes, Free Speech Radio News
Brad Simpson, ETAN
and more
Independence is just a beginning.
A look at East Timor's past, present and future
$10 Donation requested, no one turned away
Contact: East Timor Action Network, 718-596-7668, etanny@etan.org,
www.etan.org. To be added directly to ETAN's list just e-mail us.
etanetanetanetanetanetanetanetanetanetanetanetan
John M. Miller Internet: john@etan.org
Media & Outreach Coordinator
East Timor Action Network: 10 Years for Self-Determination & Justice
48 Duffield St., Brooklyn, NY 11201 USA
Phone: (718)596-7668 Fax: (718)222-4097
Mobile phone: (917)690-4391
Web site: http://www.etan.org
Support ETAN, make a secure financial contribution:
http://etan.org/etan/donate.htm
Send a blank e-mail message to info@etan.org to find out
how to learn more about East Timor on the Internet
etanetanetanetanetanetanetanetanetanetanetanetan
luko / caipirinha productions
510 la guardia place 4th &5th floor. nyc, ny 10012
T: 212.780.5737 F: 212.260.3237
www.caipirinha.com
- ---
You are currently subscribed to caipirinha as: nettime-l@bbs.thing.net
To unsubscribe send a blank email to leave-caipirinha-5081781R@burst.sparklist.com
------------------------------
Date: Fri, 14 Jun 2002 00:20:24 +0200
From: iris.klein@bmaa.gv.at
Subject: Please post on your website - thank you so very much!
Please join us for the opening of
SINKEN
A symphonic loop for the Austrian Cultural Forum by
GRANULAR SYNTHESIS/Kurt Hentschlager & Ulf Langheinrich
Opening Reception on June 18, 6 - 10 pm
Austrian Cultural Forum
11 East 52nd Street, New York
SINKEN
Is a twenty-minute piece for audiovisuals and string instruments.
SINKEN is a meditative and insistent composition in slow motion.
SINKEN is a steady glissando created by forty-eight string instruments
accompanied by minimal movements. Flickering audiovisuals are introduced
towards the end. The piece starts with a narrow band of detuned violins and
finally ends in a rumble of deep double bass notes.
After overcoming the challenge posed by the initial lack of any obvious
development or action, the audience reaches a state of concentration and
fascination.
Originally commissioned for a string orchestra, the version of SINKEN
performed at the ACF is an adaptation for the intimate screening situation
in the auditorium and runs in a loop to create an endless state of sinking.
June 19 through June 30, 2002, 10 am - 6 pm
For more information please call 212/319-5300 ext. 211
****************************************************************************
**************************************************************************
Iris Klein-Bernier
Executive Assistant to the Director
Austrian Cultural Forum
11 East 52nd Street
New York, NY 10022
Tel: 212/319-5300 x 211
Fax: 212/644-8660
iklein@acfny.org <mailto:iklein@acfny.org>
www.acfny.org <http://www.acfny.org>
------------------------------
# distributed via <nettime>: no commercial use without permission
# <nettime> is a moderated mailing list for net criticism,
# collaborative text filtering and cultural politics of the nets
# more info: majordomo@bbs.thing.net and "info nettime-l" in the msg body
# archive: http://www.nettime.org contact: nettime@bbs.thing.net