From scubitt at unimelb.edu.au Sun Oct 3 22:28:08 2010 From: scubitt at unimelb.edu.au (Sean Cubitt) Date: Mon, 04 Oct 2010 07:28:08 +1100 Subject: ::fibreculture:: CFP: MIRAJ Moving Image Review & Art Journal Message-ID: Though this is formally an announce, I wanted to say that this is really important, and worth a discussion. Not so much on the probity of open access and refereeing, but on the question of medium specificity - as likely topic of an early special issue. But also important to internationalise! Regards Sean The Moving Image Review & Art Journal (MIRAJ) is the first peer-reviewed publication devoted to artists? film and video, and its contexts. It is published twice a year in print by Intellect Books in collaboration with the CCW Graduate School, University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms of artists? moving image and media artworks. The editors invite contributions from art historians and critics, film and media scholars, curators, and, not least, practitioners. We seek pieces that offer theories of the present moment but also writings that propose historical re-readings. We welcome essays that: ? re-view canonical works and texts, or identify ruptures in the standard histories of artists? film and video; ? discuss the development of media arts, including the history of imaging technologies, as a strand within the history of art; ? address issues of the ontology and medium-specificity of film, video and new media, or the entanglement of the moving image in a ?post-medium condition?; ? attempt to account for the rise of projected and screen-based images in contemporary art, and the social, technological, or political-economic effects of this proliferation; ? investigate interconnections between moving images and still images; the role of sound; the televisual; and the interaction of the moving image with other elements including technology, human presence and the installation environment; ? analyse para-cinematic or extra-cinematic works to discover what these tell us about cinematic properties such as temporal progression or spectatorial immersion or mimetic representation; ? explore issues of subjectivity and spectatorship; ? investigate the spread of moving images beyond the classical spaces of the cinema and the gallery, across multiple institutions, sites and delivery platforms; ? consider the diverse uses of the moving image in art: from political activism to pure sensory and aesthetic pleasure, from reportage to documentary testimony, from performativity to social networking; ? suggest new methods of theorizing and writing the moving image. We welcome work that intersects with other academic disciplines and artistic practices. We encourage writing that is lucid without compromising intellectual rigour. We publish the following types of writing: scholarly articles (5000?8000 words); opinion pieces or polemics (1000 words); feature articles and interviews (3000 words); reviews of books, exhibitions, and events (1500?3000 words). Only scholarly articles will be blind peer-reviewed. All writings should propose a central idea or thesis argued through a discussion of the work under review. All submissions should be in English and adhere to the Intellect Style Guide (http://www.intellectbooks.co.uk/journals/page/index,name=journalstyleguide/ ) For scholarly articles, please submit completed manuscripts. For all other types of writing, please only submit 500 word proposals in the first instance. Send all contributions and proposals by e-mail in doc or rtf format to the Editorial Assistant, Kate Pelling, CCW Graduate School, University of the Arts London: k.pelling at arts.ac.uk Deadline for submissions: 31 January 2011. Masthead: Founding Editor: Catherine Elwes, CCW Graduate School, University of the Arts London. Associate Editors: Sean Cubitt, University of Melbourne, Australia; Eu Jin Chua, Unitec, New Zealand; Janine Marchessault, York University, Canada. Reviews Editor: Pryle Behrman, London. Features Editor: Lucy Reynolds, London. Editorial Assistant: Kate Pelling, CCW Graduate School, University of the Arts London. Editorial Board: Rachel O. Moore, Goldsmiths, University of London; A.L. Rees, Royal College of Art, London; Mike Sperlinger, LUX, London. The International Advisory Board includes: Mark Bartlett; Suzanne Buchan; Ian Christie; Stuart Comer; Maeve Connolly; David Curtis; T.J. Demos; Thomas Elsaesser; Stan Frankland; David E. James; Laura Mulvey; Mark Nash; Michele Pierson; Catherine Russell; Tom Sherman; Lisa Steele. Prof Sean Cubitt scubitt at unimelb.edu.au Media and Communications Program Faculty of Arts Room 127?John Medley East The University of Melbourne Parkville VIC 3010 Australia Tel: + 61 3 8344 3667 Fax:+ 61 3 8344 5494 M: 0448 304 004 Skype: seancubitt http://www.culture-communication.unimelb.edu.au/media-communications/ http://www.digital-light.net.au/ http://homepage.mac.com/waikatoscreen/ http://seancubitt.blogspot.com/ http://del.icio.us/seancubitt Editor-in-Chief Leonardo Book Series http://leonardo.info From geert at xs4all.nl Tue Oct 5 17:55:18 2010 From: geert at xs4all.nl (Geert Lovink) Date: Tue, 5 Oct 2010 17:55:18 +0200 Subject: ::fibreculture:: UvA: Assistant Professor of Arts and New Media Message-ID: <77B7D1F3-7C71-4585-B799-720836F25E0B@xs4all.nl> University of Amsterdam Faculty of the Humanities Assistant Professor of Arts and New Media full-time (38 hours per week) vacancy number 10-3048 With support from a generous financial endowment by the "Duurzame Geesteswetenschappen" (Sustainable Humanities Project), the Faculty of Humanities is able to employ a new generation of scholars. This position is for one of them. The successful candidate will be a scholar who takes an active interest into the development of new theoretical and analytical approaches to the arts. Innovative crossovers between fine arts, music, theatre, performance and new media, their role in public and private domains and new forms of (re)presentation require new histories and theories of relations between the arts and new media. Tasks * Teaching and developing teaching activities as part of the programmes Art History, Music, Theatre and Performance and Media (60% of the time) * (Co-)supervising Bachelor's and Master's theses * Independently conducting research in the area mentioned, resulting in contributions to leading international publications (40% of the time) * Co-supervising PhD candidates * Making a contribution to raising contract and indirect funding Requirements * Relevant PhD degree * Experience in research and excellent research skills, evidenced by publications in renowned international professional journals or in book form * Multidisciplinary background in order to be able to participate in multiple areas of the Faculty's curriculum * Teaching experience at the university level and demonstrable didactic abilities and/or training, evidenced by an educational portfolio * Experience with digital and audio-visual equipment; affinity with ICT in academic education * Team spirit and organisational experience and skills * Thorough knowledge of Dutch and English; non-native Dutch speakers must achieve fluency in Dutch within two years Further information Further information can be obtained from Prof. Deborah Cherry (d.cherry at uva.nl), Prof. Kati R?ttger (k.e.rottger at uva.nl), Prof. Rokus de Groot (r.degroot at uva.nl). See for more information about the research priority areas www.hum.uva.nl/research/priority-areas.cfm and for the BA and MA programmes www.hum.uva.nl/education/default.cfm Appointment The initial appointment will be in the Department of Art, Religion and Cultural Studies on a temporary basis for a period of no more than two years. Subject to satisfactory performance, this will be followed by a permanent appointment. You will teach in this Department, but also for a minimum of 300 hours (teaching related duties) in the Department of Media Studies. There may also be an option to teach in the programmes of the College of Humanities or Graduate School for Humanities. You will carry out research within the Amsterdam School for Cultural Analysis (ASCA) or the Institute of Culture and History (ICG). The gross monthly salary will range from ?3,195 (scale 11) to ? 4,970 (scale 12), based on a full-time appointment (38 hours a week). Job application Applications should be sent before 17 November 2010 to the Universiteit van Amsterdam, to the attention of the dean of the Faculty of Humanities, Prof. J.F.T.M. van Dijck, Spuistraat 210, 1012 VT Amsterdam. Please state the vacancy number in the upper left corner of the envelope. You may also submit your application by email; solliciteren2010-fgw at uva.nl. In this case please state the vacancy number in the subject field. Applications should include: * a curriculum vitae * a research proposal related to one of the research priority areas: ?Cultural Transformations and Globalisation' (ASCA) or ?Cultural Heritage and Identity' (ICG) * a proposal for a course, which potentially fits in the Faculty's curriculum The selection process will include a trial lecture. The interviews and trial lectures are scheduled for December 20, 2010. Invitations for the interviews and lectures will be sent out by December 6, 2010. From stephen at melbpc.org.au Wed Oct 6 09:30:11 2010 From: stephen at melbpc.org.au (stephen at melbpc.org.au) Date: Wed, 6 Oct 2010 07:30:11 GMT Subject: ::fibreculture:: Graphene Message-ID: <20101006073011.B8FEE98E@eagle.melbpc.org.au> http://nobelprize.org/nobel_prizes/physics/laureates/2010/ What's graphene, and why is its development worth a Nobel Prize? Alan Boyle writes: In just a few years you might be riding in it, tapping on it as you use your iPhone 9, or watching 3-D TV on a lightweight, big- screen panel made using graphene. But wait ... there's more. Sheets of graphene could also be tweaked to create electronic circuits that are mere molecules thick, or built into a new generation of body scanners for hospitals or airports. And it all basically started with a strip of Scotch tape. The researchers who shared the physics Nobel today, Konstantin Novoselov and Andre Geim of the University of Manchester, reported back in 2004 that they were able to demonstrate interesting electronic effects with ultra-thin sheets of carbon that they created "by mechanical exfoliation ... of small mesas of highly oriented pyrolytic graphite." In other words, they used Scotch tape to pull thin layers of carbon off a block of pencil lead. That was the start of something big. Atom for atom, graphene turned out to be 100 times stronger than steel, in large part because the single- layered atoms are tightly bonded together in a honeycomb lattice. Stronger, lighter composites One atom-thick sheet is not that tough, but when graphene sheets are incorporated into composites, you could come up with a material that's many times stronger than Kevlar. The Chinese are already working on carbon-nanotube yarn for spacesuits and bulletproof vests. Graphene composites could be produced less expensively than the current generation of carbon-nanotube composites. That opens the way for lighter, cheaper body armor, as well as lighter auto bodies and airplane fuselages as well. Maybe "graphene golf-club shafts" will become the status symbols of 2015. Graphene in your touchscreen If you make the graphene sheets thin enough, they basically become transparent ... which has led some experts to suggest that the material could be used in a new generation of low-cost, crack-resistant display screens for televisions and laptops. This year, researchers reported that they created a working touch-screen display using graphene. Maybe the stuff will be ready for the market by the time that future iPhone 9 is ready to pop. Will graphene replace silicon? There could be graphene inside the guts of that mobile device as well. Geim and Novoselov pioneered the study of graphene's electronic effects, but that work has been accelerating in the years since then. Electricity flows easily through graphene without losing much energy along the way. And scientists are finding ways to "dope" the material with other elements, opening the way for ultra-thin, ultra-fast circuitry. This year, IBM demonstrated a graphene-based transistor that operates 10 times faster than the fastest silicon chip. Maybe graphene is the thing that will keep Moore's Law going beyond the current age of silicon. T-ray scanners The fast frequencies that can be achieved using graphene circuits are the key to another potential application. "Graphene might emerge as a basis for chemical sensors and for generators of terahertz-range light," Inside Science News Service's Philip Schewe explains. Terahertz radiation, or T-rays, are particularly well-suited for detecting hidden objects at airport security checkpoints without the health risk posed by X-rays. T-rays could also serve as the basis for medical scanning devices that come even closer to the "Star Trek" tricorder. T-ray scanning is already being used in Britain for skin- cancer screening and tooth-cavity detection. Maybe graphene will hasten the arrival of those brave new T-ray scanners, for better or worse. Geim and Novoselov aren't in on all those applications, but their initial Scotch-tape experiments along with the even more rigorous lab work that followed are why they won a Nobel Prize today. So how long will it be before all these graphene dreams turn into real products? "I can only accurately predict the past, not the future," Geim told Reuters. "I would compare this situation with the one 100 years ago when people discovered polymers. It took quite some time before polymers went into use in plastics and became so important in our lives." But it's a sure thing that graphene will eventually make an impact and for that we have Geim and Novoselov to thank .. To learn more about the Nobel-winning pair's achievement, check out the background material from the Nobel Prize website, or read their detailed scientific paper about "The Rise of Graphene." http://arxiv.org/ftp/cond- mat/papers/0702/0702595.pdf http://cosmiclog.msnbc.msn.com/_news/2010/10/05/5235400-graphene-thin- stuff-is-a-big-fat-deal -- Cheers, Stephen From monica.capsula at gmail.com Thu Oct 7 14:52:50 2010 From: monica.capsula at gmail.com (monica) Date: Thu, 7 Oct 2010 14:52:50 +0200 Subject: ::fibreculture:: CALL FOR ENTRIES: VIDA 13.0 Art and artificial life international awards Message-ID: Call for entries: VIDA 13.0 Art and artificial life international awards Deadline: 7th of November 2010 Fundaci?n Telefonica announces the VIDA 13.0 Art & Artificial Life International Competition, which for the last twelve years has awarded prizes for artistic projects using technological mediums offering innovative approaches to research into life and artificial life. At a time when the notion of life is once again located in an uncertain domain, a wide range of artistic initiatives come together to illustrate and investigate this phenomenon; they examine the impact on the collective conscience and the way it is manifested in cultural, technological and social thought. Over the last decade, in the same formal space, VIDA has been bringing together interdisciplinary projects that respond to this situation. By means of formal strategies that defy the boundaries between existing practices, these projects offer new ways of reflecting on what we understand by life and artificial life. As in previous years there are two categories to the competition: FINISHED PROJECTS In this category VIDA 13.0 will award prizes to artistic ALife projects developed after 2008. The sum of 40,000 Euros will be shared between the projects selected by the jury: First Prize: 18,000 Euros, Second Prize: 14,000 Euros, and Third Prize: 8,000 Euros. In addition seven honourable mentions will be awarded. PRODUCTION INCENTIVES In this category VIDA 13.0 helps to fund artistic ALife projects that have not yet been produced. This is aimed at citizens or residents of countries comprising Latin America, Spain and Portugal. The sum of 40,000 Euros will be shared between the selected projects. You will find the competition guidelines and the on line entry form in VIDA website: www.fundacion.telefonica.com/vida The period for submission of projects will end on 7th November 2010. We would appreciate your help in spreading this initiative and encourage you to participate. Should you need any further information. Please do not hesitate to contact us at vida at telefonica.es http://www.fundacion.telefonica.com/vida -------------- next part -------------- An HTML attachment was scrubbed... URL: From monica.capsula at gmail.com Thu Oct 7 14:52:50 2010 From: monica.capsula at gmail.com (monica) Date: Thu, 7 Oct 2010 14:52:50 +0200 Subject: ::fibreculture:: CALL FOR ENTRIES: VIDA 13.0 Art and artificial life international awards Message-ID: Call for entries: VIDA 13.0 Art and artificial life international awards Deadline: 7th of November 2010 Fundaci?n Telefonica announces the VIDA 13.0 Art & Artificial Life International Competition, which for the last twelve years has awarded prizes for artistic projects using technological mediums offering innovative approaches to research into life and artificial life. At a time when the notion of life is once again located in an uncertain domain, a wide range of artistic initiatives come together to illustrate and investigate this phenomenon; they examine the impact on the collective conscience and the way it is manifested in cultural, technological and social thought. Over the last decade, in the same formal space, VIDA has been bringing together interdisciplinary projects that respond to this situation. By means of formal strategies that defy the boundaries between existing practices, these projects offer new ways of reflecting on what we understand by life and artificial life. As in previous years there are two categories to the competition: FINISHED PROJECTS In this category VIDA 13.0 will award prizes to artistic ALife projects developed after 2008. The sum of 40,000 Euros will be shared between the projects selected by the jury: First Prize: 18,000 Euros, Second Prize: 14,000 Euros, and Third Prize: 8,000 Euros. In addition seven honourable mentions will be awarded. PRODUCTION INCENTIVES In this category VIDA 13.0 helps to fund artistic ALife projects that have not yet been produced. This is aimed at citizens or residents of countries comprising Latin America, Spain and Portugal. The sum of 40,000 Euros will be shared between the selected projects. You will find the competition guidelines and the on line entry form in VIDA website: www.fundacion.telefonica.com/vida The period for submission of projects will end on 7th November 2010. We would appreciate your help in spreading this initiative and encourage you to participate. Should you need any further information. Please do not hesitate to contact us at vida at telefonica.es http://www.fundacion.telefonica.com/vida -------------- next part -------------- An HTML attachment was scrubbed... URL: From geert at xs4all.nl Tue Oct 12 09:44:02 2010 From: geert at xs4all.nl (Geert Lovink) Date: Tue, 12 Oct 2010 09:44:02 +0200 Subject: ::fibreculture:: CCCS Public Lecture: 14th October @ 5.30pm. Prof Graeme Turner - Humanities and the University in Australia References: Message-ID: <52C80950-3863-4DE9-81FD-9C34A68C9FA9@xs4all.nl> > Thursday 14th October 5.30-6.30pm > Social Sciences and Humanities Library Conference Room > Level 1 Duhig Building (Bldg 2) St Lucia Campus > > > > The Humanities and the University in Australia > > Professor Graeme Turner > > Over the last two decades we have seen successive governments > downgrade the value and importance of higher education in Australia. > The Rudd government may have temporarily arrested the steady decline > in the funding environment, but there remains much to be done to > keep our higher education system operating at an international > standard. A most worrying long term trend has been the steady > instrumentalisation of higher education ? a focus on vocational and > professional outcomes as the primary purpose of its teaching > programs, and a privileging of industry partnerships in research > funding. The controversy over the restructuring of the Gillard > government ministry is among the more recent indicators of this > trend, as the initial removal of portfolio titles which explicitly > mentioned education and research was seen as signalling an alarming > narrowing of the presumed function of higher education. In this kind > of context, the humanities disciplines have been especially > disadvantaged. Many research funding programs and many of the > national research strategies exclude the participation of the > humanities, and the case for a humanities education is looking > increasingly vulnerable as the broader function of education seems > no longer to be recognised, let alone advanced, by government. In > this lecture, drawing on many years of working between the > university sector, government and other peak organizations dealing > with the humanities, Professor Turner will discuss what he describes > as a crisis for the humanities disciplines as they struggle to > maintain their distinctive presence in Australian universities today. > > Professor Graeme Turner FAHA is ARC Federation Fellow and Director > of the Centre for Critical and Cultural Studies at the University of > Queensland. His research has produced 21 books, and his work has > been translated into 9 languages, but this lecture will draw upon > his experience in dealing with government and the university sector > as a representative of the humanities over many years. In recent > years, Professor Turner was the chair of the trial ERA for > Humanities and Creative Arts (2009), the chair of the National > Collaborative Research Information Strategy Working Group for > Humanities and Creative Arts (2008), a member of the ARC ERA > Indicators Committee for Humanities and Creative Arts (2008), and > the ARC College of Experts for the Humanities and Creative Arts > (2002-2004). As President and, before that, Vice-President, of the > Australian Academy of the Humanities (2002-2007), he has represented > the humanities on the National Academies Forum, the Australian > Research Information Infrastructure Committee, the National > Curriculum and Achievement Standards Committee, and many other fora, > such as the National Summit on National Research Priorities. He is > one of only two humanities academics to have been appointed as a > personal member of the Prime Minister?s Science, Engineering and > Innovation Council since the Council was established during the > Hawke government. > > This lecture will be chaired by Professor Gay Hawkins, Deputy > Director, CCCS, UQ. Members of the public are invited to attend > this free lecture, after which light refreshments will be served. > Getting here: We encourage people to use public transport to reach > the University where possible ? for more details on this please > follow the link: http://www.translink.com.au/uq alternatively, > parking vouchers for the UQ multi-level parking building [see map] > at the St Lucia Campus are available to assist members of the > community who attend this free public lecture. The vouchers, which > waive the parking fees for the multi-story parking building, are > only available for collection from Centre staff at the event. > > Further information: Rebecca Ralph- ph. > 3346 7407 or email on admin.cccs at uq.edu.au > -------------- next part -------------- An HTML attachment was scrubbed... URL: From josephine.starrs at sydney.edu.au Sun Oct 17 00:52:58 2010 From: josephine.starrs at sydney.edu.au (Josephine Starrs) Date: Sun, 17 Oct 2010 09:52:58 +1100 Subject: ::fibreculture:: Incompatible Elements at Performance Space Carriageworks Message-ID: In Incompatible Elements, environments and ecologies that are hanging in the balance; from the Ganges Delta to the Coorong in SA, are rendered as aerial landscapes that sweep slowly by. Embedded in these scapes are texts that emerge from the manipulation of pixels representing earth and water ? and so Starrs & Cmielewski engage in kind of digital geochemistry, terraforming new waterways and barren patches of sand that tell stories in winding, cursive script. Bec Dean, performance Space video installation by josephine starrs & leon cmielewski sound by alex davies 6-8pm thursday 21st october 2010 performance space at carriageworks 245 wilson st. everleigh http://www.performancespace.com.au -- Josephine Starrs Senior Lecturer & Chair of Film & Digital Art Sydney College of the Arts University of Sydney +612 9351 1035 http://lx.sysx.org http://www.realtimearts.net/article/95/9793 From baden.offord at scu.edu.au Mon Oct 25 03:54:27 2010 From: baden.offord at scu.edu.au (baden.offord at scu.edu.au) Date: Mon, 25 Oct 2010 12:54:27 +1100 Subject: ::fibreculture:: EARLY BIRD Deadline for CSAA Conference 29 October Message-ID: DEADLINE FOR EARLY BIRD REGISTRATIONS IS 29 OCTOBER 2010Cultural Studies Association of Australasia Conference 'A Scholarly Affair' 7-9 December 2010 Beautiful Byron Bay 200+ papers and presentations Conference Website: http://www.scu.edu.au/research/cpsj/asa/index.html Featured Speakers: Vinay Lal, UCLA and University of Delhi Title: "The Intellectual in an Age of Violence:? Criticism, Ethics, and Democratic Futures" Gerard Goggin, University of New South Wales Title: "Borderlands or Enclosures?: Technology, the University and Cultural Studies" Raewyn Connell, University of Sydney Title: "Fringe of Leaves: Re-thinking Australian modernity from southern perspectives." Melissa Lucashenko, author Title: "Duggai Yugam Binung - the White People Have No Ears for Stories" Catherine Manathunga, University of Queensland Title: "Re-imagining the place of the Australian scholar: reflections on time, location, identity and power" Deborah Bird-Rose, Macquarie University Title: "Slow Scholarship: entanglements of love and death" Trevor Gale, University of South Australia Title: "The politics of scholarship in policy production: a very public affair" Katrina Schlunke, University of Technology, Sydney Title: "After the affair? Cultural Studies, Historicism and the Queer Mourning After." Susan Ballyn, University of Barcelona "Looking backwards to look forward. English Studies in Spain." REGISTRATION FEES Registration Fee includes: Conference Welcome Reception 8pm Tuesday 7th December at the Conference Venue Participation in all conference sessions Tuesday 7th December through Thursday 9th December 2010 Conference materials including:? program booklet/proceedings and conference folder or satchel Arrival tea/coffee, morning tea, lunch and afternoon tea Tuesday 7th December through Thursday 9th December 2010 (excluding lunch on Wednesday 8th December) Membership of the CSAA Early Bird Registration Fee(If registering before 29th October 2010)?$420 (incl. gst) Early Bird Registration Fee for Post? Graduate / Unwaged / Students(if registering before 29th October 2010)?$270 (incl. gst) Registration Fee (If registering after 29th October 2010) $470 (incl. gst) Registration Fee for Post Graduate / Unwaged / Students (if registering after 29th October 2010) $300 (Incl gst) *****************************************************************************************************8 Cultural Studies Association of AustralasiaPostgraduate & ECR Pre-Conference Day (Supported by the ARC Cultural Research Network) Join other Postgrads and Early Career Researchers (ECRs) from around Australasia for a great day of networking, professional development and stimulating conversation on 6 December 2010 (immediately prior to the CSAA National Conference from 7-9 Dec). The day will be a great opportunity to share research ideas and interests in a supportive collegial atmosphere, discuss the challenges Postgrads and ECRs are facing in a rapidly changing academic world, connect with senior scholars in the field and establish ongoing networks that will sustain us into the future. The Postgrad & ECR Day is free and fully catered (lunch + morning and afternoon tea) and located right in the heart of beautiful Byron Bay. There are limited spaces available, so make sure you register asap through the conference website: http://www.scu.edu.au/research/cpsj/asa/registration.html Come along, have a great time and join the main conference already knowing some of your fellow travellers! For questions contact Soenke Biermann: soenke.biermann at scu.edu.au or (02)6620 3936. -------------- next part -------------- An HTML attachment was scrubbed... URL: From monica.capsula at gmail.com Mon Oct 25 10:04:52 2010 From: monica.capsula at gmail.com (monica) Date: Mon, 25 Oct 2010 10:04:52 +0200 Subject: ::fibreculture:: Call for entries: VIDA 13.0 Art and Artificial Life International Awards Message-ID: Call for entries: VIDA 13.0 Art and artificial life international awards Deadline: 7th of November 2010 Fundaci?n Telefonica announces the VIDA 13.0 Art & Artificial Life International Competition, which for the last twelve years has awarded prizes for artistic projects using technological mediums offering innovative approaches to research into life and artificial life. At a time when the notion of life is once again located in an uncertain domain, a wide range of artistic initiatives come together to illustrate and investigate this phenomenon; they examine the impact on the collective conscience and the way it is manifested in cultural, technological and social thought. Over the last decade, in the same formal space, VIDA has been bringing together interdisciplinary projects that respond to this situation. By means of formal strategies that defy the boundaries between existing practices, these projects offer new ways of reflecting on what we understand by life and artificial life. There are two categories to the competition: FINISHED PROJECTS In this category VIDA 13.0 will award prizes to artistic ALife projects developed after 2008. The sum of 40,000 Euros will be shared between the projects selected by the jury: - First Prize: 18,000 Euros, - Second Prize: 14,000 Euros - Third Prize: 8,000 Euros. In addition seven honourable mentions will be awarded. PRODUCTION INCENTIVES In this category VIDA 13.0 helps to fund artistic ALife projects that have not yet been produced. This is aimed at citizens or residents of countries comprising Latin America, Spain and Portugal. The sum of 40,000 Euros will be shared between the selected projects. ------------- m?nica bello bugallo artistic director of VIDA art and artificial life international competition www.fundaciontelefonica.com/vida -------------- next part -------------- An HTML attachment was scrubbed... URL: From stephen at melbpc.org.au Wed Oct 27 19:31:15 2010 From: stephen at melbpc.org.au (stephen at melbpc.org.au) Date: Wed, 27 Oct 2010 17:31:15 GMT Subject: ::fibreculture:: Gephi .. Exploratory Data Analysis Message-ID: <20101027173115.3AA6D983@eagle.melbpc.org.au> Powerful science .. your own Hubble telescope, for patterns in any data. Gephi. Runs on Windows, Linux and Mac OSX, Gephi is open-source and free. http://gephi.org Like Photoshop, but for data, the user interacts with the representation, manipulates the structures, shapes and colors to reveal hidden properties The goal is to help data analysis, to make hypothesis, intuitively discover patterns, isolate structure singularities or faults during data sourcing. It is a complementary tool to traditional statistics, as visual thinking with interactive interfaces is now recognized to facilitate reasoning. This is a software for Exploratory Data Analysis ... http://en.wikipedia.org/wiki/Exploratory_data_analysis "EDA development: Tukey held that too much emphasis in statistics was placed on statistical hypothesis testing (confirmatory data analysis); more emphasis needed to be placed on using data to suggest hypotheses to test." (and) http://www.aaai.org/ocs/index.php/ICWSM/09/paper/view/154 Gephi: An Open Source Software for Exploring and Manipulating Networks by Mathieu Bastian, Sebastien Heymann, Mathieu Jacomy Abstract: Gephi is an open source software for graph and network analysis. It uses a 3D render engine to display large networks in real- time and to speed up the exploration. We present several key features of Gephi in the context of interactive exploration and interpretation of networks. Gephi provides easy and broad access to network data and allows for spatializing, filtering, navigating, manipulating and clustering. Finally, by presenting dynamic features of Gephi, we highlight key aspects of dynamic network visualization." -- Cheers, Stephen From jhuns at vt.edu Thu Oct 28 01:36:45 2010 From: jhuns at vt.edu (jeremy hunsinger) Date: Wed, 27 Oct 2010 19:36:45 -0400 Subject: ::fibreculture:: images of global politics (Game related) Message-ID: <14661D49-C9F8-4023-B6B3-E2544F0B0868@vt.edu> Hi everyone, Please respond to jeremy at tmttlt.com and i'll be willing to share the list with anyone that asks. I'm looking for the images of global, world, or international politics that are canonical to your mind. Keep in mind that these things can be intensely local, so I'm asking for as many thing as you can imagine that you think you would share with people from your community/ies as you imagine them. This is for a project that I'm working on in the Spring that will integrate video/images/texts/ and videogames into a course on global politics targeted at freshmen and sophomores. I've found that most of my undergraduate students haven't even seen the Tiananmen square tank video, images from the Bhopal disaster, the Challenger explosion, and a myriad of other highly symbolic videos that have influenced world events. Some have seen video of the fall of the Berlin wall, and such, but none had seen the canonical picture of President Richard Nixon and Elvis (which is sort of symbolic of the transformation of the role of global leaders in the media age). It doesn't have to be explicetly politics either, because media and civil society events have had significant effect too So if you would send me your list of images, televised, from newspapers, from the internet, or otherwise mediated to you. I don't need urls, i just need the Event. I would be most grateful. Note this project is for teaching, not research, the contents of your emails will be compiled and anonymized and shared with whomever asks for copies. As such, none of your personal information will be published or otherwise disseminated in any manner. Please send them to jeremy at tmttlt.com (it is actually a gmail address, so if you want to avoid sending things to gmail, don't send, i'm using it because it has better spam filters, not that you are going to send me spam, but that the address will be public and thus be spammed by spammers) Thanks and if you want a copy of the list ask off list. Jeremy Hunsinger Political Science Center for Digital Discourse and Culture Virginia Tech () ascii ribbon campaign - against html mail /\ - against microsoft attachments http://www.tmttlt.com You cannot depend on your eyes when your imagination is out of focus. --Mark Twain From jhuns at vt.edu Fri Oct 29 14:02:06 2010 From: jhuns at vt.edu (jeremy hunsinger) Date: Fri, 29 Oct 2010 08:02:06 -0400 Subject: ::fibreculture:: Open access book: Putting Knowledge to Work and Letting Information Play Message-ID: <96CAF7B5-8656-4B7A-B40E-6A2EEF6A2059@vt.edu> Distribute as appropriate, and apologies for x-posting/multiples -jh http://www.cddc.vt.edu/10th-book/ is where you can download the e-book produced for the 10th anniversary of my research center at Virginia Tech, the Center for Digital Discourse and Culture. The e-book is free in cost, free to copy, free to distribute. The volume confronts many of the issues in contemporary academia as it meets the internet and computing in all of its sphere with many specific contributions on academic publishing, e-research, the history of the center, and related topics Contributions to the volume are: Introduction Timothy W. Luke and Jeremy Hunsinger The Book Unbound: Reconsidering One-Dimensionality in the Internet Age Ben Agger Fluid Notes on Liquid Books Gary Hall What Can Technology Teach Us about Texts? (and Texts about Technology?) Jean-Claude Gu?don Open Works, Open Cultures, and Open Learning Systems Michael A. Peters Textscapes and Landscapes: A Settler Poet Goes On-Line Brian Opie Reweaving the World: The Web as Digital Discourse and Culture Timothy W. Luke Electronic Theses and Dissertations: Progress, Issues, and Prospects Edward A. Fox, Gail McMillan, and Venkat Srinivasan From gunny sacks to mattress vine: notes on Douglas Engelbart, Tim O'Reilly, and the natural world Sue Thomas The Pleasures of Collaboration Thom Swiss Info-Citizens: Democracy, Expertise and Ownership in European Research Funding Timothy W. Luke and Jeremy Hunsinger The New River: Collected Editors? Notes Ed Falco, et. al. On the Origins of the Cute as a Dominant Aesthetic Category in Digital Culture Dylan E. Wittkower Culture, Media, Globalization Mark Poster Barack Obama and Celebrity Spectacle Douglas Kellner A Short History of the Center for Digital Discourse and Culture Jeremy Hunsinger Digital Research and Tenure & Promotion in Colleges of Arts and Sciences: A Thought Piece Theodore R. Schatzki -- jeremy hunsinger Center for Digital Discourse and Culture Virginia Tech www.tmttlt.com () ascii ribbon campaign - against html mail /\ - against microsoft attachments http://www.stswiki.org/ sts wiki http://transdisciplinarystudies.tmttlt.com/ Transdisciplinary Studies:the book series I am always doing that which I can not do, in order that I may learn how to do it. -Pablo Picasso From melinda at subtle.net Sun Oct 31 02:44:28 2010 From: melinda at subtle.net (Melinda Rackham) Date: Sun, 31 Oct 2010 11:14:28 +1030 Subject: ::fibreculture:: =?utf-8?q?Manifest_Dynasty_=3A_Media_Arts_in_Chi?= =?utf-8?b?bmEgIOW9sOaYvueahOeOi+acne+8muaWsOWqkuS9k+iJuuacr+WcqOS4rQ==?= =?utf-8?b?5Zu9?= Message-ID: -empyre- in November Manifest Dynasty : Media Arts in China ?????????? ???? [Scroll down for Mandarin] It is said that a new Gallery or Museum opens in China every 3 days; Ai Weiwei installs another monumental sculpture across the globe; and 70 million visitors trudge through the World Expo in Shanghai. Three or so centuries after Chinoiserie entered the Western Art Vocabulary, and despite some recent market deflation, China is definitely still IT. Like Chinese contemporary art, media art is flourishing beyond the Great Firewall, and increasingly appearing in the international Media Festival scene. There has been a rush in Western Europe and Australia to introduce regional specific art to China and embrace Chinese cultural exchanges. Whilst the concept of equal exchange beyond the social, political and geographical constraints of a supposed globalised world is problematic in so many ways, the number of new collaborative projects is accelerating. A recent example is 2010 -The Year of Australian Culture in China, where a dizzying array of Opera, Exhibition, Film, Theatre and Dance events were produced and mediatised. Reciprocally, 2011 is The Year of Chinese Culture in Australia. As part of this cultural exchange the DreamWorlds: Australian Moving Image introduced diverse genres of Australian media art to Chinese audiences outside the art gallery context, exhibiting continually on massive urban screens in Beijing and Xi?an. The DreamWorlds project was also designed as catalyst for a more specific exploration of media art in China:- How do exhibitions, symposia or publications decode across cultural sexual and political bounds to Chinese audiences? What are the emergences, frictions and dialogues between artists and curators within contemporary Chinese distributed and digital practices? We welcome you join us at -empyre- in November to engage in critical enquiry, beyond the 20th century spectres of censorship and conservatism, of the complexity of media art production, curation, exhibition and networks in China. Melinda Rackham and Edward Sanderson http://www.subtle.net/empyre Facilitators: Melinda Rackham Curator, artist and writer, Adelaide, Australia http://www.subtle.net Edward Sanderson ??? Writer, cultural producer at CPU:PRO Beijing, China http://blog.escdotdot.com Guests: Aaajiao (Xu Wenkai) Artist and producer, We need Money not Art, Dorkbot, CornerSound, Beijing http://www.eventstructure.com/#85868/aaajiao Rececca Catching, Director and curator, OV Gallery, Shanghai http://www.ovgallery.com Alvis Choi , Project Coordinator, Videotage, Hong Kong http://www.videotage.org.hk/ Stephanie Hemelryk Donald Scholar of Film, Media, and the Politics of Visual Culture in China, RMIT, Melbourne http://www.stephaniedonald.info Isaac Leung Artist, curator and researcher on art, technology and sexuality, Hong Kong http://www.isaacleung.com/ Ellen Pau Filmmaker, media artist and curator, Founder of Videotage, Hong Kong Robin Peckham Writer and curator, Society for Experimental Cultural Production, Kowloon http://www.kunsthallekowloon.org Li Zhenhua Multi-media artist, curator and producer, Laboratory Art, Beijing/Zurich http://www.bjartlab.com/ Michael Yuen Media Artist, DICA; DreamWorlds Producer Beijing/Melbourne http://www.michaelyuen.com.au/ -empyre- ??? ?????????????? ???????????????????????? ???????????????????????? ???????????????????????? ???????????????????????? ????????? ???????????????????????? ???????????????????????? ???????????????????????? ???????????????????????? ??????????????????????? ???????????????????????? ??? ??????????2010??????????? ???????????????????????? ???????????????2011??????? ???????????????????????? ???????????????????????? ???????????????????????? ???????????? ???????????????????????? ???????????????????????? ???????????????????????? ???????????????????????? ???????????????????????? ?????????????????empyre????20 ???????????????????????? ??????????????????????? ?? Melinda Rackham?Edward Sanderson http://www.subtle.net/empyre ???? Melinda Rackham ???????????????????????? ?? http://www.subtle.net Edward Sanderson ??? ?????????CPU:PRO????? http://blog.escdotdot.com ??? Aaajiao (Xu Wenkai) ???????????????????Dorkbot, CornerSound, ?? http://www.eventstructure.com/#85868/aaajiao Rececca Catching ???????OV ??, ?? http://www.ovgallery.com Alvis Choi ??????Videotage??? http://www.videotage.org.hk/ Stephanie Hemelryk Donald?? ?????????????????RMIT???? http://www.stephaniedonald.info Isaac Leung ????????????????????? http://www.isaacleung.com/ Ellen Pau ????????????????Videotage????? ? Robin Peckham ??????????????????? http://www.kunsthallekowloon.org Li Zhenhua ???????????????Laboratory Art???/? ?? http://www.bjartlab.com/ Michael Yuen ??????DICA?????????????/??? http://www.michaelyuen.com.au/ From stephen at melbpc.org.au Sun Oct 31 07:27:30 2010 From: stephen at melbpc.org.au (stephen at melbpc.org.au) Date: Sun, 31 Oct 2010 06:27:30 GMT Subject: ::fibreculture:: Future Internet Scenarios Message-ID: <20101031062730.0C19473E@eagle.melbpc.org.au> Future Internet Scenarios: http://www.isoc.org/tools/blogs/scenarios What Will The Internet Look Like In 10 Years? The Internet Society engaged in a scenario planning exercise to reveal plausible courses of events that could impact the health of the Internet in the future. While obviously not intended to be a definitive overview of the landscape or all potential issues, we believe the results are interesting and, we hope, thought-provoking. We are sharing them in the hope that they will inspire thought about possibilities for the future development of the Internet, and involvement in helping to make that happen in the best possible way. 1. Common Pool Scenario Positive ?generative? and ?distributed & decentralised? properties. Opportunity and growth abound, with no insurmountable barriers to entry for those wishing to take part. Disputes and challenges are resolved through competition, as opposed to negotiation or inherited rights. Constant evolution and features a healthy ecosystem of interlinked network operators, developers, infrastructure providers, resource management organisations, etc. Organisation and operation tends to be ?horizontal?, not ?vertical?, so that the underlying building blocks (technologies, networks, etc.) are available to all to build upon. The ?win? for the Internet is that it remains able to react and respond to new requirements. 2. Boutique Networks Scenario Envisions a future in which political, regional and large enterprise interests fail to maximise the social and economic potential of a shared, global set of richly connected networks (the Internet). It carries the weight of self-interest brought by factions seeking to optimise control in small sectors (political and otherwise). It also suggests these fractionalised networks will continue to leverage the benefits of existing Internet standards and technology. Each proprietary provider draws as much as possible from the common pool while giving little back. 3. Moats and Drawbridges Scenario Suggests the world of the Internet would be heavily centralised, dominated by a few big players with their own rules in ?big-boys? clubs.? Conflicts would be resolved through negotiation, not competition. Connections between networks would be the result of extensive negotiation and deal making. There would likely be strong regulation as governments seek to impose some public interest obligations and perhaps even controls on the equipment users can connect to the network. Much content would be proprietary and protected by strong intellectual property rights. Governments would control the behaviour of networks and network users through legal mechanisms and sanctions. Barriers to entry would be high, with little incentive to expand networks beyond the largest and richest customers or regions. Innovation would be slow, only occurring when it would benefit the network owners. All players would have close political links to their mutual benefit. 4. Porous Garden Scenario Sees networks staying global but with access to content and services tied to the use of specific networks and associated information appliances. Individual (business) viability would triumph over the economic potential of the common pool of the Internet. Financial incentives for content producers and software developers would mean continued innovation within the appliance-based model. Control over content, pricing, licensing and other concerns would be firmly in the hands of relatively few large commercial organisations. Proprietary, closed technologies would abound and exclusive deals with content producers and physical communications networks would oblige consumers to purchase multiple appliances and associated subscriptions to avail themselves of the full range of innovation on the network. Have your say We want to hear from you. What do you think is the biggest threat facing the future of the Internet? Share your thoughts by filling out the poll below and feel free to leave comments about this question and the above scenarios as well. What's the biggest threat to the future of the Internet? 1 Limited access to content and services 2 Increased government control 3 Limited IPv6 deployment 4 Lack of privacy 5 Increase in Internet security threats Vote Here (website) View Results, Share This, Polldaddy.com -- Cheers, Stephen From mitch.goodwin at jcu.edu.au Mon Oct 25 15:06:40 2010 From: mitch.goodwin at jcu.edu.au (Goodwin, Mitch) Date: Mon, 25 Oct 2010 06:06:40 -0700 Subject: ::fibreculture:: Screengrab 2010 : Winners Announced In-Reply-To: <8059E20751B3714B93052424BADD23AF1A24C918@SG1RD3XVS051.red003.local> References: <8059E20751B3714B93052424BADD23AF1A24C918@SG1RD3XVS051.red003.local> Message-ID: <8059E20751B3714B93052424BADD23AF1A24C93E@SG1RD3XVS051.red003.local> SCREENGRAB 2010 : "The Network will be visualised" On Friday night (15.10.10) at James Cook University?s eMerge Media Space the 2010 winner of the Screengrab New Media Arts Prize was awarded to Italian artists, Juliana Gotilla and Izabel Rainer Harbach. The Italian duo?s video art piece, Fluid Network, captured the judge?s attention for the $2000 award with its intriguing execution and quirky interpretation of this year?s theme ? the Network. A strangely nostalgic construction, Fluid Network torments and seduces the viewer with the familiar sound bites of network communication technolgies ? Skype, IM, modems, ICQ chat alerts and the dystopian bleeps of distance ? as pools of liquid with an uncanny resemblance to a map of the earth are slowly flooded by drops of liquid. Judges Bernadette Ashley, Jak Henson and Dr Steven Campbell awarded this year?s prize to Gotilla and Harbach after a lengthy deliberation which saw several other works factoring heavily in the discussions, including : Golden Shield Music by Marco Donnarumma (UK) (http://marcodonnarumma.com/works/the-invisible-suns-project/) Spam : The Musical by Boris Eldagsen (Germany) (http://www.youtube.com/spamthemusical) SILICA-ESC by Vladimir Todorovic (Singapore) (http://vimeo.com/10154340) PRESS + by Benjamin Ducroz (Australia) (http://ducroz.com/_html/press+.html) Several other Australian artists also feature prominently including Benjamin Forster (http://vimeo.com/6993958) and renowned Flash artist Jason Nelson (http://www.secrettechnology.com/sydney/sibera.html). A full list of all the short listed artists whose work is now on show in the 2010 Screengrab exhibition can be found here : http://www.jcu.edu.au/soca/JCUPRD1_066890.html The 2010 Screengrab exhibition will be on show at the School of Creative Art?s eMerge Media Space at James Cook University, Townsville, until Friday 19th December. Entry is free. Link to winning artist's blog site : http://rapadurastudio.wordpress.com/ Link to winning work on Vimeo : http://vimeo.com/15953531 All media inquiries : screengrab at jcu.edu.au | +61 74781 3142 eMerge Media Space opening hours and events calender : www.jcu.edu.au/soca/gallery/ This project is sponsored by James Cook University's School of Creative Arts and the eMerge Media Space, Townsville, Australia. MG-EM-RG-20-10-2010 "Time sneaks up on you like a windshield on a bug." - John Lithgow From manovich.lev at gmail.com Fri Oct 29 23:48:25 2010 From: manovich.lev at gmail.com (Lev Manovich) Date: Fri, 29 Oct 2010 14:48:25 -0700 Subject: ::fibreculture:: MAPPING TIME: Visualization of temporal patterns in media and art - please share In-Reply-To: References: Message-ID: sualization of temporal patterns in media and art - please share To: r.loconte at ucl.ac.uk MAPPING TIME: Visualization of temporal patterns in media and art -------------------------------------------------------------------- http://lab.softwarestudies.com/2010/10/mappingtime.html Exhibition by Lev Manovich, Jeremy Douglass, William Huber With: Adelheid Heftberger, Agatha Man, Alex Avrorin, Bertrand Grandgeorge, Bob Li, Chanda L. Carey, Christa Lee, Christine Pham, Colin Wheelock, Daniel Rehn, Devon Merill, Jia Gu, Kedar Reddy, Laura Hoeger, Michael Briganti, Nichol Bernardo, Ong Kian Peng (aka Bin), Rachel Cody, Sergie Magdalin, So Yamaoka, Steven Mandiberg, Sunsern Cheamanunku, Tara Zepel, Victoria Azurin, Xiangfei Zeng, Xiaoda Wang. October 4 - December 10, 2010 gallery at Calit2 University of California, San Diego ------------------------------------------------------------------- Since 2008, the Software Studies Initiative has been developing new methods and techniques for the analysis and visualization of visual and interactive media. ?The exhibition "Mapping Time" includes visualizations of novels, video game play, web comics, manga, motion graphics, feature films, and mass media publications presented via large-scale prints, animations and real-time generative projections. The visualized data sets range from 4535 covers of Time magazine (1923-) to 1 million Manga pages. The exhibition coincides with the lab releasing a number of open-source tools which were used to create all works in the exhibition. The lab uses the term Cultural Analytics to refer to its techniques for the analysis and visualization of large cultural data sets. For the "Mapping Time" exhibition, the concept is to render the "shapes" of cultural time. According to Manovich, "our goal is to demonstrate how we can visualize gradual changes over time at a number of scales - from a single minute of a video game play, to 11 years of the popular manga title Naruto, to 130 years of the journal Science (1880-2010).? The lab is directed by Lev Manovich, UCSD Professor of Visual Arts and