| announcer on Fri, 30 Jan 1998 21:09:28 +0100 (MET) |
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NETTIME'S WEEKLY ANNOUNCER - every friday into your inbox
calls-symposia-websites-campaigns-books-lectures-meetings
send your PR to sandra.fauconnier@rug.ac.be in time!
0.......1........2........3........4........5........6
1...Miguel Mera...........School of Sound symposium
London, 98.04.16-19
2...Australian Network....Call for Content:
ANAT newsletter
3...Andrej Tisma..........Voyeur Web Art
4...ARTSPACE Sydney.......Four Mardi Gras Festival
Exhibition Openings
5...FoeBuD................Public Domain
6...John Armitage.........Baudrillard in Leicester
98.02.13
7...J.BRADY@livjm.ac.uk...ISEA98 Programme Committee
........1..............................................
Date: Tue, 27 Jan 1998 09:08:23 -0800
From: Miguel Mera <mmera@rcm.ac.uk>
To: Music and Moving Pictures <music-and-moving-pictures@mailbase.ac.uk>
Subject: School of Sound
I would like to draw everyone's attention to a symposium taking place
from the 16th 19th April 1998 called the "School of Sound." It will deal
with many aspects of sound and moving images ranging from postproduction
sound and editing, music and moving pictures, multimedia, animation etc.
Guest speakers include Walter Murch, David Lynch, Michel Chion, Laura
Mulvey and our own discussion list host Stephen Deutsch.
There is a web site outlining the events in greater detail at:
http://www.virtual.audiorom.com/www.audioarts.com/schoolofsound/
and any further information (including booking details) is available
from:
Larry Sider
E.P.E Projects
6E, The Courtyard
44 Gloucester Avenue
LONDON NW1 8JD
Tel/Fax + 44 (0)171 586 3056
Best wishes,
--
Miguel Mera
Research Assistant, Screen Music Studies
Royal College of Music
.................2.....................................
Mime-Version: 1.0
Date: Tue, 27 Jan 1998 13:20:15 +0930
To: Recipient.List.Suppressed:;@va.com.au
From: Australian Network for Art and Technology <honor@va.com.au>
Subject: Call for Content - ANAT newlstter
Status: RO
X-Status:
Dear All,
I am in the process of researching for the Australian Network for Art &
Technology's forthcoming quarterly newsletter.
I would like to invite you to submit information on the forthcoming
activities of you or your organisation if you would like us to include a
short listing to help with your promotion. Any notices on events with an
art & technology focus, commencing during or after early February, will be
gratefully accepted.
Appropriate notices may include:
* events
* exhibitions
* conferences
* calls for proposals/papers
* workshops
* symposia etc
Bear in mind that, as always, our deadline is approaching fast, so if you
could submit this information by the end of the week, it will have more of
a chance of being included.
Thanks a lot.
Kind Regards
Honor Harger
Australian Network for Art & Technology
PO Box 8029 Hindley St, SA 5000, Australia
wk: 61 8 82319037
hm: 61 8 82320142
anat@camtech.net.au
honor@va.com.au
http://www.anat.org.au/
http://209.130.1.218/isomer/
..........................3............................
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From: ANDREJ TISMA <aart@EUnet.yu>
Organization: Happiness
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http://members.tripod.com/~aaart/voyeurart.html
...................................4...................
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Date: Wed, 28 Jan 1998 12:01:53 +1100
To: "Recipient.List.Suppressed":;
From: ARTSPACE Sydney <artspace@merlin.com.au>
Subject: ANNOUNCEMENT: FOUR MARDI GRAS FESTIVAL EXHIBITION OPENINGS
X-POP-Info: 8912 264
Sender: geert@xs4all.nl
<bold><color><param>FFFF,0000,0000</param><bigger><bigger>FOUR MARDI
GRAS FESTIVAL EXHIBITION OPENINGS
THURSDAY 5 FEBRUARY at 6PM
Exhibitions run until 28 Feburary 1998
at ARTSPACE
43-51 COWPER WHARF ROAD
WOOLLOOMOOLOO NSW 2011
</bigger></bigger></color></bold>-------------------------------------------=
------------------------
<bold><bigger>crosSeXXXamination
Virginia Barratt & Beth Stryker
http://www.artspace.org.au/XXX or http://203.35.148.178/XXX
</bigger></bold>Artspace artist-in-residence Beth Stryker from New York
and artist Virginia Barratt present a collaborative, cross-circuited
webspace and site-specific installation which interrogates the
pathologisation of deviant desires.
crosSeXXXAmination viewers/subjects enter the cross-linked XXX spaces
created by the collaborating artists and writers via an eXXXamination
station with a web-based interface. Viewers/Subjects will be
scrutinised, coded, recombined, exposed. They will be
encouraged/coerced into divulging the secret machinations of their
pathological desires by a number of benevolent exxxaminers who exist
within the system. Classifications and diagnostic practises used to
discipline queer identities, dis/eased subjects, those who are a danger
to themselves and others, will be exploited and inverted.
The work has been influenced by artificial intelligence icon, queer and
androgyne Alan Turing, whose work suggests new routes for machine
[s]exchange. His Turing test, adopted by the scientific community as
the standard for assessing machine intelligence, originally called for
a computer to be able to convincingly perform as a man, passing as a
woman. In his story the borders between deviancy and discipline,
machine and human blur. Arrested for consensual homosexual sex, Turing
himself underwent the effects of hormonal sex change, as a result of
organotherapy enforced as a 'cure' for his sexual deviancy.
crosseXXXamination performs machine intelligence as machine
transsexualism, reprocessing users, and feeding back a recombinant flow
of body parts and re-written subjectivities.
The Body [S]exxxchange in Glare Window, a window display facing the
street-frontage, will feature: inmate Barratt performing obsessive
compulsive textual reordering behind bars and an ongoing dis/play of
body parts + consumable flesh projected in digital peepshow mode to
passers-by.
Collaborating Artists and Writers: Linda Dement, Rea, Sarah Waterson,
Linda Wallace, Rose Kizinsky, Rachael McLaughlin, Anna Maree Parkinson
with remote visitations by Reia Harvey, Anna Maree Parkinson and
others. Automatic web system programmed by Linda Tauscher. Cubicle
design by Jane Becker. Costumes by Zac Kelly. Opening Night
Performances by The Party Line, Terese Casu, Barbara Clare and Gail
Kelly. A Sydney Gay and Lesbian Mardi Gras Festival Event.
This project has been supported by the Sydney Gay & Lesbian Mardi Gras
and the New Media Fund of the Australia Council.
-------------------------------------------------------------------
<bold><bigger>Specimen
Michele Barker & Anna Munster
</bigger></bold>What has become of the specimen in a digital epoch,
where discrete objects are no longer examined under the lens nor
displayed publicly in the classificatory regime of the museum? This
dissolution of the conditions under which material bodies can be
perceived and known gives way to the computer and monitor as both
generator and display case for mutating codes and fragmented, simulated
organisms.=20
The show, Specimen, looks at a new variety of exhibited object produced
by the play of digital imaging; the 'morpheme'. The morpheme represents
the hybridity which computer imaging makes possible; the specimen, no
longer immobilised by dissection and display, but mutating and
interbreeding over time. However, the morpheme is also representative
of a tension located within the logic of digital technology itself.
This develops between the hierarchical, orderly processing and storing
of data in the computer on the one hand, and the chaos and confusion of
information which deletes itself, mutates and transforms, on the other.
In a sense there is a replaying here of the Enlightenment
classificatory and scientific organisation of the specimen against the
baroque display of the deformity or curio in the Wunderkammer, or
cabinet of wonders.
While conceptually collaborative, the show consists of two separate
pieces each from the artists. Michele Barker uses 3D digital imaging
and sculpture to form an installation titled Monstrance. She also has a
long mural digital print, (A) Theory of Preformation. Both these pieces
look at the place of mutation in the history of science and in our
preconceptions about how bodies should appear and be formed. Anna
Munster's work is a computer-based interactive with three still
accompanying images, taking the user through a series of hypothetical
and labyrinthine detours in a baroque curiosity cabinet.=20
This project has been assisted by the Commonwealth Government through
the Australia Council, its arts funding and advisory body. A Sydney Gay
& Lesbian Mardi Gras Festival Event
-------------------------------------------------------------------
<bold><bigger>She's No Serial Killer
Jasmine Hirst
</bigger></bold>"In May 1992 I saw a photograph of Aileen Wuornos in
the newspaper. She had just received four more death sentences for the
murder of seven men. Aileen claimed that the men, who had picked her up
while she was working as a prostitute on the highways of Florida, had
raped or attempted to rape her. The media labelled her 'the first
female serial killer'. I wrote to her. We have been corresponding ever
since.
On August 20 1997 I finally met Aileen on Florida's death row. It had
taken over five years to get there. I spent two hours with her. Tired
of the media's mistreatment of her, Aileen wished for me to film her
talking about the truth of her life before she is executed. She's No
Serial Killer will eventually be a full length documentary. This
installation at Artspace is an appetiser. I will show a portion of the
interview with Aileen." (JH)
Written, Directed and Produced by Jasmine Hirst
Super 8 black and white film and standard 8 colour film transferred to
video
Duration 4 mins 40 secs. Developed with the assistance of The
Australian Film Commission and the New South Wales Film and Television
Office. Supported by Professional Motion Imaging KODAK (Australasia). A
Sydney Gay & Lesbian Mardi Gras Festival Event
-------------------------------------------------------------------
<bold><bigger>QZP 2
Kaye Shumack
</bigger></bold>A photo-based installation which has been developed as
part of the QueerZone Project exploring issues of community and the
queerness of Sydney life. These works confound the distinction between
the real and the imaginary through ambiguous image narratives which
conflate the mundane everyday, the ominous underworld and the fantastic
hyper-real.
The four fictional characters express a queer identity which is closely
linked to their interactions with the urban landscapes of Sydney's
streets, cafes, bars, bedrooms and public spaces. These stories are
developed through the installation context using slide projection,
video stills and photographic works.
QueerZone Project has been funded and supported by internal research
funds from the University of Western Sydney, Nepean; Women's Research
Centre, UWS Nepean; Sydney Gay and Lesbian Mardi Gras; and Casula
Powerhouse. A Sydney Gay & Lesbian Mardi Gras Festival Event
-------------------------------------------------------------------
Please contact Artspace:=20
- If you wish to be removed from our mailing list or if you are
receiving this message more than once
- If you know of other people who would like to be advised about our
upcoming events and exhibitions
- If you would like announcements sent to an alternative address
- To let us know about your programs, events and exhibitions
- For further information
Please forward this message to other interested people, organisations
and mailing lists (it currently goes to acam-l and
artspace@xcode.com).
Many Thanks
______________________________
Artspace
The Gunnery
43 - 51 Cowper Wharf Road
Woolloomooloo NSW 2011
Australia
tel +61 2 9368 1899
fax +61 2 9368 1705
e-mail artspace@merlin.com.au
URL http://www.culture.com.au/scan/artspace/
............................................5..........
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To: geert@xs4all.nl
Message-Id: <58.60309@bionic.zerberus.de>
Path: bionic.zerberus.de
Subject: PD83: Werner Piepers MedienXperimente
Date: Wed, 28 Jan 1998 00:05:30 +0100
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PUBLIC DOMAIN V 83.0 MedienXperimente
about Hackerbibles and Hempbooks
Werner Pieper on Sunday, 1.2.98,
at Bunker Ulmenwall, Bielefeld, Germany
He publishes books like "Hackerbible 1 and 2", "The German
Cockroach", "The Shitbook", books on drug culture, CDs, MCs,
stamps, and distributes the "Loompanics Catalogue". He helped
many new topics on their way, without devoting himself
completely to them.
Werner Pieper, mediaXperimentator, author and publisher from
Loehrbach (Germany, Heidelberg area), is friends with most of
his writers. There are no written contracts, everything works
on the basis of trust. He does not do any aggressive
advertising for his products, he still relies on being
recommended by others. This rather unusual company conception
works since more than 25 years. Curious?
Background of the PUBLIC DOMAIN events:
PUBLIC DOMAIN is a series of monthly events at Bunker
Ulmenwall in Bielefeld, which runs already since 1987. Every
first sunday of the month there is a lecture, a
demonstration, a workshop or a panel discussion on a
different topic. PUBLIC DOMAIN has become an important
regional and also national monthly meeting point for all
people interested in the fascinating field between future and
society, technology and environment, science and general
knowledge, art and culture and who want to exchange with
others.
PUBLIC DOMAIN welcomes especially those who don't just want
to listen, but contribute by bringing their own work, share
their ideas with others in the network and who like exciting
and controversial discussions.
About our PUBLIC DOMAIN guest in Feburary, Werner Pieper:
Born in the Sauerland he now lives in the Heidelberg area for
more than 30 years. He passed his professional training and
examination as a cook with distinction to start then to work
as a hashish dealer for 7 years. As a mediaXperimentator he
works since 1971 under the label "Gr¸ne Kraft" (green power)
and runs a book and CD publishing house with associated mail
order.
In contrary to conventional publishers he always leaves the
rights of the publications with the authors. His products
don't bear scan codes. Werner Pieper surfs on information
waves, before others even know about their existence. For
instance he published the first book in German language on
organic food (1973), Indians today (1973), juggling (1982),
shit (1986) and the German cockroach (1997).
He published about 150 books so far, works as editor-in-chief
for some magazines (Kompost, Humus, Der gemeine Ketzer,
Liebe) and writes on a (ir)regular basis for papers like taz,
Sounds und Das Parlament. He loves pseudonymes and was seen
under different names on TV (for instance at J¸rgen von der
Lippe's show).
He likes to do things he has never done before - like an
appearance in Bielefeld - despite this is not an easy one for
him as a fan of Borussia Dortmund soccer club...
PUBLIC DOMAIN contact:
FoeBuD e.V.
Marktstr. 18
D-33602 Bielefeld
Tel: +49-521-175254 Fax: +49-521-61172
eMail: foebud@bionic.zerberus.de
infoclick: http://www.foebud.org
......................................................6
From: John Armitage <john.armitage@unn.ac.uk>
Organization: University of Northumbria
To: sandra.fauconnier@rug.ac.be
Date: Thu, 29 Jan 1998 10:08:04 GMT
Subject: Baudrillard in Leicester
Reply-To: john.armitage@unn.ac.uk
X-Confirm-Reading-To: john.armitage@unn.ac.uk
X-Pmrqc: 1
Priority: normal
**** HYPER - REALITY AND HYPER - THEORY****
JEAN BAUDRILLARD SYMPOSIUM IN LEICESTER, UK
Dear all,
Jean Baudrillard is appearing 'live' in Leicester in the UK on Friday
13 February 1998 at the Phoenix Arts Centre 1 - 4.30pm. Tickets are
stlg7.50 - and selling fast.
Mike Gane and Nicholas Zerbrugg will also be speaking. The event is
also a book launch for N Zerbrugg (ed) _Jean Baudrillard: Art and
Artefact_ and the opening of 'Strange World' - The first UK
exhibition of Baudrillard's photographs.
Best wishes,
John Armitage
7......................................................
Date: Thu, 29 Jan 1998 16:49:06 +0000
From: J.BRADY@livjm.ac.uk
Subject: Liverpool ISEA98 Programme Committee
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SUBJECT: ISEA98 Symposium Programme Committee
The International Symposium on Electronic Arts is an academic conference and
exhibition programme of the highest calibre. It has been staged yearly in a
different world city since 1989. Rotterdam was host in 1996, Chicago in 1997.
Authority to host the annual symposium is by way of competitive tender to the
Inter Society of Electronic Arts, Montreal. Late in 1995 a partnership
comprising Liverpool Art School (LJMU), Manchester Metropolitan University
Dept.
of Fine Arts and the Foundation for Creative Art and Technology (FACT)
successfully bid to co-stage the ninth symposium at 02-07 September 1998.
This
will be the first staging of the ISEA symposium in the U.K.
The ISEA98 Partnership is determined to curate and present an exciting and
coherently themed programme. To this end, an international group (of 16) is
being invited to comment on proposals from academics, artists and others
wishing
to participate in the symposium. This group, or Liverpool ISEA98 Programme
Committee (LPC), will be chaired by Sean Cubitt, Reader in Video and Media
Studies at John Moores University. Sean is also Chair of the Board of Trustees
of our partner organisation FACT.
After consultations with Sean Cubitt, Colin Fallows(Reader in Audio & Visual
Arts and Contextual Studies Head of Department at Liverpool Art School) and
others a consensus has been reached concerning membership of the LPC. I hope
you will be able to accept this invitation to join the LPC. Please find
attached
a full list of invitees.
I am aware your time is valuable and have sought to minimise LPC demands
upon it
(see schedule below).
I am informed that, for university research purposes, participation in the LPC
may be cited as an output under the category Membership of Professional
Bodies.
There are two routes for symposium proposals to be considered for ISEA98:
(1) An open call for proposals with a deadline of 15.01.98 produced a response
of 160 abstracts.
(2) A small group of academics at LJMU are calling for specific responses to
tightly themed symposium panels they will directly curate and manage. Deadline
for this will be early March and, by definition, will elicit a numerically
limited response.
Schedule and process for Route No1:
LPC members will be paired (8 groups of two). A group will read the same 20
proposals and provide comment to the LPC Chair using a straightforward
criteria
template based on the ISEA98 theme of Revolution. Thus all 160 proposals will
be commented on by at least two LPC members i.e. 160 ÷ 16 x 2. If it
takes 15
minutes to read/assess each proposal then each LPC member will spend
approximately five hours (20 x 15 minutes) in relation to Route No1.
The easiest means of communication is via a closed email list-server
whereby you
will be able to see all proposals and all comments by LPC members. This would
be a paperless process and I am able to set it up immediately. If you
prefer to
handle real paper I have two Project Assistants working with me who will look
after administration. Comments on Route No1 need to be completed within
February.
The smaller task of commenting on Route No2 needs to be completed in March,
however the bulk of this work will be carried out by the academics who are
convening/ curating the panels.
Would you please indicate your availability / or not to join the LPC as soon as
possible.
thank you for your attention in this matter.
Best regards,
John Brady
ISEA98 Research Co-ordinator
Liverpool Art School.
Invited to LPC membership (from John Moores University): Professor Merilyn
Smith, Professor Peter Fowler,
Dr. Julie Sheldon, Dr. Richard Williams & Jagjt Chuhan.
Invited to LPC membership:
Nina Edge, Kath Moonan, Dr. Julia Hallam, Nina Czegledy, Niranjan Rajah,
Ziauddin Sardar, Gillane Tawadros,
Pit Schultz, Rachel Greene, Niko Waesche, Tessa Elliot & Alain Mongeau.
---
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