Re: [NetBehaviour] Maecenas

[Edward Picot]

Rob,

As far as I'm concerned your help would be greatly appreciated. I've had 
several looks at Ethereum, but I don't feel at all confident that I 
could actually implement something and make it work. Your coloured art 
coins look as if they at least halfway there. Do I gather that you 
created 13 of each colour, and offered them for sale?


On the presentational side of this, the art listed on Maecenas, 
according to their site, 'will be held in purpose-built art storage 
facilities that not only ensure that the artwork is safe but also 
guarantee that it’s properly looked after', and the ArtReview article 
mentions that artworks are 'increasingly bought to be hidden away in 
warehouses in the peculiar nonzones known as freeports - tax- and 
customs-free spaces where objects are, legally, indefinitely ‘in 
transit’ between countries'. So I was wondering if  our non-existent 
artwork should have some kind of physical location. An empty crate 
housed at the Furtherfield gallery might be nice. The other option that 
occurred to me derives from Flann O'Brien's novel The Third Policeman. 
One of the policemen in the book (MacCruiskeen) has a hobby of making 
tiny boxes, each tinier than the previous one, which he keeps one inside 
the other. When he unpacks them the tiniest of the lot is completely 
invisible, and in fact there's really no way of telling that it exists 
at all.  'The one I am making now,' he says, 'is nearly as small as 
nothing.' So another option would be to say that our on-existent artwork 
was housed inside MacCruiskeen's tiniest box, and perhaps give a 
map-reference for it, whilst warning people that unfortunately it's so 
small that it can't be seen.


What do other people think?

Edward



On 18/10/17 05:04, Rob Myers wrote:

Yes I can help if anyone is interested.

Precedent-wise there's -

http://interaccess.org/event/2017/bitcoin-ethereum-and-conceptual-art

Or my own -

http://robmyers.org/art-coins-coloured/

But neither of these are *nothing*. :-)

- Rob.


On Sun, 15 Oct 2017, at 10:36 AM, Edward Picot wrote:

Great! - I'm not sure where you go with it after that, though.

You could offer something non-existent for sale on OpenBazaar easily 
enough. That would be one option. What appealed to me, though, was 
the idea of selling shares in a non-existent work of art, in the hope 
that the shares would keep changing hands and their value would keep 
increasing, so that if you retained something like a 25% stake in the 
work, that stake would keep increasing in value too.


The paradox, of course, would be that by announcing that you were 
creating a non-existent work of art, and offering shares in it, you 
would in effect be creating an actual conceptual work of art about 
the marketing and the market value of art. That's why I thought the 
images from Curt Cloninger's essay about nothing would be appropriate 
(for advertising the existence, or rather non-existence, of the work 
and the availability of shares), because he's investigating the 
paradox that you can't create a representation of nothing without 
that representation being a something.


I expect Rob could advise about how to set up the shares thing.

Edward

On 15/10/17 16:22, ruth catlow wrote:

Not sure this is the best tool
https://etherpad.net/p/MarlyStudiedTheQuotations

but a place to start

On 15/10/17 16:15, ruth catlow wrote:

I'd be up for thinking this one through.
Let's do it.

On 13/10/17 20:34, Edward Picot wrote:
Oops! Apologies for posting this twice. I thought the first one 
hadn't worked.


On 13/10/17 19:10, Edward Picot wrote:
Can't we do something with this? Couldn't we create a conceptual 
work of art that didn't actually exist at all - we could use some 
ideas from Curt Cloninger's 'Essay About Nothing' to represent it 
- and market shares in it via the Blockchain? Proceeds to 
Furtherfield, unless the value went above a trillion dollars, in 
which case I want a cut.


Edward

On 11/10/17 18:56, Rob Myers wrote:

On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote:

Perfectly put Helen!
Art reframed as a new asset class for fractional ownership 
ain't my idea of utopia.


"""Marly studied the quotations. Pollock was down again. This, 
she supposed, was the aspect of art that she had the most 
difficulty understanding. Picard, if that was the man's name, 
was speaking with a broker in New York, arranging the purchase 
of a certain number of "points" of the work of a particular 
artist. A "point" might be defined in any number of ways, 
depending on the medium involved, but it was almost certain that 
Picard would never see the works he was purchasing. If the 
artist enjoyed sufficient status, the originals were very likely 
crated away in some vault, where no one saw them at all. Days or 
years later, Picard might pick up that same phone and order the 
broker to sell. """


- William Gibson, "Count Zero", 1986.



_

Re: [NetBehaviour] Maecenas

[Edward Picot]

Great! - I'm not sure where you go with it after that, though.

You could offer something non-existent for sale on OpenBazaar easily 
enough. That would be one option. What appealed to me, though, was the 
idea of selling shares in a non-existent work of art, in the hope that 
the shares would keep changing hands and their value would keep 
increasing, so that if you retained something like a 25% stake in the 
work, that stake would keep increasing in value too.


The paradox, of course, would be that by announcing that you were 
creating a non-existent work of art, and offering shares in it, you 
would in effect be creating an actual conceptual work of art about the 
marketing and the market value of art. That's why I thought the images 
from Curt Cloninger's essay about nothing would be appropriate (for 
advertising the existence, or rather non-existence, of the work and the 
availability of shares), because he's investigating the paradox that you 
can't create a representation of nothing without that representation 
being a something.


I expect Rob could advise about how to set up the shares thing.

Edward

On 15/10/17 16:22, ruth catlow wrote:

Not sure this is the best tool
https://etherpad.net/p/MarlyStudiedTheQuotations

but a place to start

On 15/10/17 16:15, ruth catlow wrote:

I'd be up for thinking this one through.
Let's do it.

On 13/10/17 20:34, Edward Picot wrote:
Oops! Apologies for posting this twice. I thought the first one 
hadn't worked.


On 13/10/17 19:10, Edward Picot wrote:
Can't we do something with this? Couldn't we create a conceptual 
work of art that didn't actually exist at all - we could use some 
ideas from Curt Cloninger's 'Essay About Nothing' to represent it - 
and market shares in it via the Blockchain? Proceeds to 
Furtherfield, unless the value went above a trillion dollars, in 
which case I want a cut.


Edward

On 11/10/17 18:56, Rob Myers wrote:

On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote:

Perfectly put Helen!
Art reframed as a new asset class for fractional ownership ain't 
my idea of utopia.


"""Marly studied the quotations. Pollock was down again. This, she 
supposed, was the aspect of art that she had the most difficulty 
understanding. Picard, if that was the man's name, was speaking 
with a broker in New York, arranging the purchase of a certain 
number of "points" of the work of a particular artist. A "point" 
might be defined in any number of ways, depending on the medium 
involved, but it was almost certain that Picard would never see 
the works he was purchasing. If the artist enjoyed sufficient 
status, the originals were very likely crated away in some vault, 
where no one saw them at all. Days or years later, Picard might 
pick up that same phone and order the broker to sell. """


- William Gibson, "Count Zero", 1986.



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--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
registered in England and Wales under the Company No.7005205.
Registered business address: Ballard Newman, Apex House, Grand 
Arcade, Tally Ho Corner, London N12 0EH.



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--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
registered in England and Wales under the Company No.7005205.
Registered business address: Ballard Newman, Apex House, Grand Arcade, 
Tally Ho Corner, London N12 0EH.



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Re: [NetBehaviour] Maecenas

[Edward Picot]

Oops! Apologies for posting this twice. I thought the first one hadn't 
worked.


On 13/10/17 19:10, Edward Picot wrote:
Can't we do something with this? Couldn't we create a conceptual work 
of art that didn't actually exist at all - we could use some ideas 
from Curt Cloninger's 'Essay About Nothing' to represent it - and 
market shares in it via the Blockchain? Proceeds to Furtherfield, 
unless the value went above a trillion dollars, in which case I want a 
cut.


Edward

On 11/10/17 18:56, Rob Myers wrote:

On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote:

Perfectly put Helen!
Art reframed as a new asset class for fractional ownership ain't my 
idea of utopia.


"""Marly studied the quotations. Pollock was down again. This, she 
supposed, was the aspect of art that she had the most difficulty 
understanding. Picard, if that was the man's name, was speaking with 
a broker in New York, arranging the purchase of a certain number of 
"points" of the work of a particular artist. A "point" might be 
defined in any number of ways, depending on the medium involved, but 
it was almost certain that Picard would never see the works he was 
purchasing. If the artist enjoyed sufficient status, the originals 
were very likely crated away in some vault, where no one saw them at 
all. Days or years later, Picard might pick up that same phone and 
order the broker to sell. """


- William Gibson, "Count Zero", 1986.



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Re: [NetBehaviour] Maecenas

[Edward Picot]

Can't we do something with this? Couldn't we create a conceptual work of 
art that didn't actually exist at all - we could use some ideas from 
Curt Cloninger's 'Essay About Nothing' to represent it - and market 
shares in it via the Blockchain? Proceeds to Furtherfield, unless the 
value went above a trillion dollars, in which case I want a cut.


Edward

On 11/10/17 18:56, Rob Myers wrote:

On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow wrote:

Perfectly put Helen!
Art reframed as a new asset class for fractional ownership ain't my 
idea of utopia.


"""Marly studied the quotations. Pollock was down again. This, she 
supposed, was the aspect of art that she had the most difficulty 
understanding. Picard, if that was the man's name, was speaking with a 
broker in New York, arranging the purchase of a certain number of 
"points" of the work of a particular artist. A "point" might be 
defined in any number of ways, depending on the medium involved, but 
it was almost certain that Picard would never see the works he was 
purchasing. If the artist enjoyed sufficient status, the originals 
were very likely crated away in some vault, where no one saw them at 
all. Days or years later, Picard might pick up that same phone and 
order the broker to sell. """


- William Gibson, "Count Zero", 1986.



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[NetBehaviour] ArtReview: Will the Blockchain make Art Disappear?

[Edward Picot]

More about the blockchain - this time an article about Maecenas, a 'new 
art registry and trading platform'.


https://artreview.com/home/ar_october_2017_opinion_will_the_blockchain_will_make_art_disappear
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Re: [NetBehaviour] of thinking through years, the 'grasp' or the known'

[Edward Picot]

Beautiful!

On 05/10/17 01:11, Alan Sondheim wrote:



of thinking through years, the 'grasp' or the known'


http://www.alansondheim.org/found33.jpg
http://www.alansondheim.org/found16.jpg
http://www.alansondheim.org/found28.jpg

- - -

well, i wrote that in 1974, many years ago. well, that was 43
years ago to be exact.

well, it was almost half a century ago. a lot of things happen
in half a century. well, it feels a lot closer than that, just
yesterday or even today, today in the late morning or around
noon. on the other side of noon perhaps.

well, that's what happens. that's always what happens. and it
gives you pause.

it gives anyone pause.

it gives pause because it's that way, and you know implicitly,
that the interval will grow every day. well, it will keep on
growing, day after day.

other things will intervene. other things will come along, it
will become part of the usual course of history. well, by that i
mean that things recede, no matter what, that people die, new
people, new events, occur. it's always like that.

well, as you grow older, you get to see this happen, history
growing, everything forgotten, no matter what it is. and a half
century seems an inconceivable amount of time. there aren't even
that many century, it just seems to be overloaded, all of that.

then you move away from these things, don't you. you move away
because, well, it doesn't make sense to hold onto things, not
under these conditions. so you move away. well, that's not
entirely true, what is true is that you're moved away, you have
no choice in the matter. you're a witness to the moving.

well, there's no one you can talk to about this. that's true,
it's cone constantly narrowing, separating from all the others.
well, by death and experience. yes, and by enumeration as well,
these things which come along, pass by. we mourn people and
events no one else has ever heard of, no one else has been
there, not now, not ever.

well, this is the condition of the world, isn't it. or the
condition of the world as we know it, these passings which are
forms of universal decathecting, detaching, letting-go. well,
all of that happens of its own accord, we have no say in the
matter, then we'll be gone, soon, and we'll be part of this.
well we want our names at the very least to be there, at least
for a little while, on our passing.

and our things, the care we've taken or not taken with our
things, we want those to survive, to breathe just a little while
longer, isn't that the case.

well, i suppose it's the case, something else we have no control
over, something else that's already evaded us in a perverse form
of the future anterior, we can't grasp that.

we can't grasp anything, can we. or we can grasp things, just
for a short while, the shortest while, and the noise is always
there, always moving, the incredible granularity of the real,
and a kind of dust or sinter, we're there within it, there's no
escaping.

it's as if there's a calling or a calling-forth that we must
answer, that's an imperative, that leaves us choiceless, not
even the semblance of a choice. and that goes all the way back,
i close my eyes, clothe my eyes, and already there are
recessions, lapses, gaps in everything all the way back, 1974 or
the subduction of 1974 or any other year, the grasping too is
absorbed, vanquished, well, not vanquished, that movement
though, always continuing, even the vanquishing becomes a
whisper, a collocation of particles already separating, the buzz
of gravitational waves, dark matter, neutrino transformations,
anything we might name now, giving a name to something just as
the names are already disappearing, already the uncanniness of
unaccountable vanishings, and, well, that's one way to look at
it, and ways, and lookings, disappearing as well, soon almost a
century, corrosions of databases, sparks across any conceivable
form of storage, all those useless protocols. well, just think,
though, for the moment. that moment has already fled, what we're
part of is completely determined, not by anything, not even by
blind or mute mechanisms, not by automata or control, not by the
dreams of eternal life or wars spanning galaxies, or federations
across globular clusters, none of that. well, then it's
universal momentum, it happens, there's nothing outside of this
happening.

well, that's exactly it, there's nothing outside of it, nothing
inside of it, it doesn't matter where we're staying if we're
staying. well, or when for that matter.

well i remember, a few years back, neti neti, which i think of
as not this, not that, but now i think, momentum.

well, it doesn't matter what you think.

well, it doesn't matter at all, does it, it's always already
gone, this thought or that, this place or that, a splinter or
fold in a piece of paper, the suspension of a vase by a spring,
a sprig carried by a stranger, someone we have always known.

well, we have always known this, haven't we. we have always
known.

this is the 'grasp' or the 'known.'

[NetBehaviour] Call for submissions - The 3rd Cranbrook Video Festival : Family

[Edward Picot]

Dear all,

The third Cranbrook Video Festival is now open for submissions.

For the second successive year the Festival will be held at the Crane 
Surgery in Cranbrook, and the theme of the festival this year will be 
'Family'. Videos on other subjects will be accepted for consideration, 
but videos about family are particularly welcome.


At the surgery we have been running a Wellbeing Project for the last few 
months, and feedback from patients indicates that the one thing they 
identify as most important to their wellbeing is family. But families in 
the modern world are under increasing stress from consumerist values, 
the struggle to make ends meet, rising divorce rates, homelessness and 
displacement, and of course the dementia 'tsunami'.


For this year's Festival, we'd particularly like to receive videos on 
the subject of family, whatever your take on that subject may happen to 
be.  Videos should ideally be under 10 minutes in length, but longer 
work will be considered.


The festival will be held at the Crane Surgery in Cranbrook, Kent on 
Saturday 17/2/18. The deadline for submissions is 30th December. If 
interested, please contact julian.les...@gmail.com with "Video festival 
submission" in the subject-line.


Edward

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[NetBehaviour] I hate blockchain plantoids by O’Khaos - that's probably why they are great

[Edward Picot]

Annie,

I love this response! - and I think you've really latched onto something 
here. '/Being made of code and rules is not the same as//having a 
soul... //Plantoid seems to be conservative, reinforcing the 
characteristics it//started with...' /There's a real sense of 
claustrophobia and frustration about some of the Blockchain-based 
artworks, unquestionably brilliant though they are, in that although 
they seem to be offering a commentary on the shortcomings and 
limitations of the Blockchain, they seem at the same time to be binding 
us to those shortcomings and limitations, freezing us into that world, 
suggesting that we are all going to be subject to this new version of 
reality and unable to escape from it. Yes, this stuff is creeping into 
every aspect of our culture. Yes, we are all going to be touched by it 
and influenced by it, directed by it, shaped by it, just as we are by 
capitalism, mass marketing and mass media. But no, it doesn't define us 
or completely contain us. We can still be human in spite of it. At least 
I hope we can: and I hope that along with Blockchain art and the like, 
we can still have an art that celebrates and explores the bits of 
existence that the Blockchain and the like can't comprehend. Beyond the 
plantoids there are still real plants.


Edward


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[NetBehaviour] Dr Hairy and the QCQ, part 7

[Edward Picot]

Dear all,

The seventh in a new series of puppet-animations about the life and 
misadventures of an ordinary (but rather hirsute) GP.


Grabber's mother goes through a bright door, Grabber comes into some 
property, and Dr Hairy's outspoken email about the results of his QCQ 
inspection finds its way to the Department of Health - with hilarious 
results!


YouTube - https://youtu.be/YOgYy2WooOI
Vimeo - https://vimeo.com/232352229

- Edward Picot, personal website http://edwardpicot.com

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[NetBehaviour] Lost & Oodlala

[Edward Picot]

Tamar -

I agree with Alan, the Oodlala project is beautiful too, and the 
contrast with 'Lost' is fascinating. The 'Lost' project is mostly about 
people's experiences of losing things, or experiencing loss - the 
Oodlala project is more about the history of the things themselves, and 
from it you get a sense of how objects can sometimes travel through 
history and geography, meaning different things to different people in 
different contexts - accumulating stories and associations, yet somehow, 
especially in the case of beautiful objects, retaining a core identity 
of their own, which seems to shine more strongly as they pass through 
more pairs of hands, as if they were being polished by the transit. It 
puts me in mind of 'The Hare with the Amber Eyes', Edmund de Waal's book 
about a collection of Japanese netsuke that has belonged to his (Jewish) 
family for a century and a half, right through the period of Nazi 
persecution. De Waal says on his website "How things are made, how they 
are handled and what happens to them has been central to my life for 
over thirty years... How objects embody memory - or more particularly, 
whether objects can hold memories - is a real question for me."


Edward

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Re: [NetBehaviour] trAce, LOST project

[Edward Picot]

Alan,

That link didn't work for me: I kept getting a 'not found' error. But I 
managed to find the project on 
http://web.archive.org/web/20131130140831/http://tracearchive.ntu.ac.uk:80/lost/


There's some really good stuff on there, too!

Edward


On 30/08/17 22:25, Alan Sondheim wrote:


(From Sue Thomas on Facebook; she headed trAce at Nottingham-Trent;
I was the 2nd virtual writer-in-residence. Think this might be of
interest here because of the networking involved, which was also a
metaphor for lost packets, lost archives, disappearances, ruptures,
etc. in online worlds.)


Sue Thomas
August 26 at 12:26pm

My favourite trAce project ever - Lost, by Alan Sondheim . It no longer
judders on the page as it was designed to do but the entries are as
haunting as ever. Users were invited to fill in the form and write about
things they have lost. Many entries very sad, some very funny!
L*O*S*T

http://web.archive.org//20/http://trace.ntu.ac.uk:80/lost/
(From Sue Thomas, and trAce) -
L*O*S*T
web.archive.org

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[NetBehaviour] Dr Hairy and the QCQ, part 6

[Edward Picot]

Dear all,

The sixth in a new series of puppet-animations about the life and 
misadventures of an ordinary (but rather hirsute) GP.


Dr Hairy strikes up an unlikely friendship with Jiminy Simmons, the QCQ 
inspector; Grabber visits his Mum in order to put red dots on all her 
stuff; and then Dr Hairy receives his QCQ inspection report - with 
hilarious results!


YouTube - https://youtu.be/2FlPz1XdJEU
Vimeo - https://vimeo.com/229318912

- Edward Picot
http://edwardpicot.com - personal website

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[NetBehaviour] Fwd: Research fellow, Digital Humanities

[Edward Picot]

This might be of interest:


 Eastern ARC Research Fellow - Digital Humanities


 *University of Essex* - Faculty of Humanities - The Fellow will
 work within a relevant discipline-related Department

Location:   Colchester
Salary: £32,004 to £38,183 per annum.
Hours:  Full Time
Contract Type:  Fixed-Term/Contract

Placed on:  27th July 2017
Closes: 26th August 2017
Job Ref:REQ00744

*Digital Humanities
*Digital technologies have the power to enable new ways of working in 
the humanities: allowing new questions; facilitating access to research 
materials; and providing forms of output and dissemination that span the 
humanities. The Digital Humanities represent an interdisciplinary range 
of research, united by a common methodological and theoretical interest 
in information technologies and providing opportunities to connect with 
the social sciences, sciences and cultural heritage sector. We have 
significant expertise in digital creative arts, digital curation, big 
data, particularly visualisation, digital heritage and geographical 
information systems.


The Eastern ARC Fellow in Digital Humanities will be based at the 
University of Essex, but will work across all three universities in the ARC.


*Eastern ARC
*Eastern Academic Research Consortium (Eastern ARC) is a research 
collaboration between the Universities of Essex, East Anglia, and Kent. 
The consortium builds upon recent partnership bids for doctoral training 
awards in the natural and environmental sciences and the arts and 
humanities, as well as a range of other bilateral research relationships.


Eastern ARC builds on strengths in three key areas: Synthetic Biology; 
Digital Humanities; and Quantitative Social Sciences.


*The Role and Duties
*The main duties of the post will include undertaking high quality, 
independent research within the Eastern ARC thematic priority, 
contributing to public engagement and impact, developing collaborations 
across the Eastern ARC, supporting the research culture of the host 
institution, applying for grants, supervising students, supporting the 
host institution administratively and teaching undergraduates.


The appointment as Eastern ARC Research Fellow will be fixed-term from 1 
October 2017 to 31 August 2019, during which time the fellow will be 
supported in their professional development. Subject to successful 
completion of the Fellowship, at the end of this period the Fellow will 
be considered for a permanent academic position (Lectureship).


*Qualifications and Skills required
*Applications are invited from researchers with sufficient postdoctoral 
research experience to demonstrate potential for independence and with 
an emerging reputation for research leadership. Candidates must have a 
PhD (or be close to completion) or equivalent level of qualification in 
a relevant discipline or subject area.


At the University of Essex internationalism is central to who we are and 
what we do. We are committed to being a cosmopolitan, 
internationally-oriented university that is welcoming to staff and 
students from all countries and a university where you can find the 
world in one place.


Please use the ‘Apply’ button below to read further information about 
this role including the full job description and person specification 
which outlines the full duties, skills, qualifications and experience 
needed for this role. You will also find details of how to make your 
application here.


Our website http://www.essex.ac.uk  contains more information about the 
University of Essex.  If you have a disability and would like 
information in a different format, please telephone (01206) 874693 / 873521.


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Re: [NetBehaviour] On art and art-making: I do or do not make pictures.

[Edward Picot]

Alan and everyone,

Just to flog this to death...

I had a conversation the other day with my brother Justin, who's into 
philosophy. I asked him what he was reading, and he said he was reading 
a book about 'universals'. As he explained it (and I'm not into 
philosophy, so this is from memory) a 'universal' is something like 
'yellow' or 'tree' or 'justice' - a class or category which can contain 
many individual examples, examples which may sometimes differ from one 
another in quite puzzling ways, so that when you stop and think about it 
you may wonder how they can be grouped together at all - but 
nevertheless we do recognise them as having enough similarities to 
belong in the same family. And the philosophical problem is, where do we 
get this idea of a 'universal' from, this concept of an overarching 
class or category to which all these family-members belong, when if you 
examine the individual examples they often seem to conform in some ways 
but not in others, and when it may be the case that no individual 
example completely matches the 'ideal model' that comes to mind when you 
mention the universal's name?


Apparently, says my brother, philosophers have come up with various 
different ideas about this. Firstly there's the Platonic ideal - Plato's 
idea that there actually exists a perfect yellow, or a perfect tree, or 
a perfect justice, somewhere beyond the world in which we live, and the 
things we see here are imperfect reflections of this ideal. Secondly 
there's the idea that these universals don't have any concrete existence 
at all, but are inculcated into us by language and cultural usage until 
we come to accept them, generally without analysing them closely - 
people keep showing us different yellows, or different trees, or 
different examples of justice, and repeating the names 'yellow', 'tree' 
and 'justice', until we just 'get the idea' that these things belong 
together in associative groups. A variation on this - a different way of 
arguing that universals are imposed on us by our language - is that we 
have to make do with broad classes because language generally doesn't 
provide us with fine gradations and distinctions. We say 'That yellow 
flower' rather than 'That lemony yellow flower which has got a slightly 
more buttery tint at the moment because of the way the light's catching 
it' - we exist in a world of shorthand, rapid notation and rather 
blunted perception, because we mostly don't have the time or the 
vocabulary to be really precise about things, and therefore we learn to 
lump things together in broad categories rather than separate them out 
through minute observation and painstaking distinction. And fourthly 
there's the idea that we group things together into classes because it's 
just one of the things we instinctively do, we're born like that, we 
like to group things into classes, and our language has got these broad 
and flexible terms in it as a reflection of the way our minds are built, 
rather than our ideas about things being governed by broad and flexible 
terms because of the way our language is built.


I'm inclined to the fourth view - our language has got 'universals' in 
it because our minds are built to organise our experiences in that way - 
but whether you think language reflects how our minds are built, or our 
minds are shaped by our language and culture, it does seem to be the 
case that we recognise things as belonging to certain classes without 
necessarily being able to precisely define how they qualify for that 
membership. In other words, it's generally easier for us to recognise 
and label things as 'yellow' or 'trees' or 'just/unjust' than to 
precisely define what we mean by those terms. Usage comes first, 
definition afterwards (if at all).


So I think that's really part of what I was trying to say about art, by 
talking about children. We don't necessarily need a precise definition 
of art: in fact it may be impossible to arrive at one, since one of the 
tropes of art, particularly in the modern era, is self-reinvention, a 
deliberate attempt to get beyond its own boundaries. What may be more 
important is to recognise it as a 'universal' - a category with many 
meanings, which can be discovered at different times in different forms 
and in different places in pretty much all human cultures. And I'd push 
it a bit further than that: since I incline to the belief that the 
universals embedded in our language and culture are derived from our 
habits of mind, and not the other way around, I would also be inclined 
to believe that even if people (or children) were completely isolated 
from ideas about art and had never heard any poetry or music or seen any 
examples of sculpture or painting, they would still spontaneously start 
to do things like playing 'let's pretend', making up stories, thinking 
of rhymes, building models out of plasticine or mud, humming tunes, and 
so on - activities which all contain at least the potential 

[NetBehaviour] Alan Sondheim's 'Suicide' and the Sublime

[Edward Picot]

I attended Alan's presentation at Furtherfield Commons yesterday 
evening, and one of the pieces he showed was a Second Life-based piece 
called 'suicide' (http://www.alansondheim.org/suicide.mp4) which I 
hadn't seen before, and which made a strong impression on me. For those 
who don't know it, it's a blurry grey-green maelstrom of shapes and 
transitions - one of Alan's characteristic 'edgespace' experiments, 
where he takes a virtual 3D environment and pushes it to the point where 
the software can't handle what he's trying to make it do, and everything 
starts going into meltdown. This one is a particularly extreme example, 
and seems to have caught even Alan himself off-guard, as you can see 
from a number of text-comments he posts on-screen as the piece unfolds - 
'What the hell? Where did that come from?' etc. All of a sudden, in the 
middle of this whirling chaos, a cube appears - Alan comments that he's 
sure he didn't put that in there - followed by what looks startlingly 
like a fertilized egg trying to achieve its first cell-division - 'Fuck 
it's a cell of some kind... It's a ctenophore', says Alan. Then the 
software crashes, or rather jams, and the message 'You have committed 
suicide' appears onscreen.


It struck me on the way home that this piece ticks a lot of the boxes in 
Edmund Burke's theory of the sublime, from the eighteenth century -


'Edmund Burke was not the first philosopher to be intrigued by the power 
and complexity of the idea of the sublime but his account of it was 
exceedingly influential. He broke the idea of the sublime down into 
seven aspects, all of which he argued were discernible in the natural 
world and in natural phenomena:


Darkness – which constrains the sense of sight (primary among the five 
senses)

Obscurity – which confuses judgement
Privation (or deprivation) – since pain is more powerful than pleasure
Vastness – which is beyond comprehension
Magnificence – in the face of which we are in awe
Loudness – which overwhelms us
Suddenness – which shocks our sensibilities to the point of disablement'

(http://www.tate.org.uk/art/research-publications/the-sublime/christine-riding-and-nigel-llewellyn-british-art-and-the-sublime-r1109418)

In a nutshell Burke's theory was that things which overwhelm and 
bewilder us, fill us with awe, carry us beyond the bounds of our own 
power of comprehension and force us to confront the otherness of the 
non-human world, have a more profound affect on us than things which are 
orderly, harmonious, symmetrical, explicable and unsurprising. The 
sublime was therefore more profoundly affecting than the beautiful and 
the picturesque: mountains, cataracts, thunderstorms, ravines, 
avalanches and so forth were more profoundly affecting than placid 
rivers, lakes, sandy beaches, gardens and pastures.


Of course in Alan's piece we're getting the sense of obscurity, 
confusion/privation of the senses, shock, bewilderment and otherness 
described by Burke - but we're not getting them from nature. On the 
contrary, we're getting them in just about the most unnatural way 
possible. And for Burke, the fact that we were getting these experiences 
from nature meant that we were getting them from God. A glimpse of the 
sublime was a glimpse of the Almighty. Yet here we are, it seems, having 
those same experiences in an environment which is entirely man-made, 
albeit distorted and pushed beyond the limit of its own rules to the 
point where those rules seem to disintegrate and something else seems to 
emerge. I think Alan made the remark 'It felt as if some other 
intelligence was in there' - because the cube and the cell-creature 
seemed to pop up of their own accord, without any agency on his part. A 
glitch of the software and a trick of the imagination no doubt, but a 
bona fide experience of the sublime nevertheless, which is what's so 
intriguing about it.


Just thought I'd mention it.

Edward
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[NetBehaviour] Dr Hairy and the QCQ, part 5

[Edward Picot]

Dear all,

The fifth in a new series of puppet-animations about the life and 
misadventures of an ordinary (but rather hirsute) GP.


The day of Dr Hairy's QCQ inspection has come. Unfortunately, he's been 
dragged away from the surgery on an emergency visit to his mother. While 
he's out, Jiminy Simmons, the QCQ Inspector, interviews first Ruthie 
Bear and then Grabber's sisters, Pongo and Krups; and when Dr Hairy gets 
back, he has to find a way quickly to get rid of a sample from his 
mother - with hilarious results!


YouTube - https://youtu.be/XLg6cN0aaLU
Vimeo - https://vimeo.com/223946398

- Edward Picot
http://edwardpicot.com - personal website

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Re: [NetBehaviour] An Interview with Alan Sondheim @furtherfield

[Edward Picot]

The interview is really absorbing, and the exhibition sounds excellent 
too. I'm off work next week, so I'll try to make Alan's talk on 
Wednesday evening if I can. Is it a 7 p.m. start? And am I right in 
thinking that the Commons is at the far end of the park from the Manor 
House tube station?


Edward


Thanks Mark!

And thanks Michael and Alan.

The interview is superb and reinforces my conviction that whenever 
possible we should tip ourselves *Art First* into life.


Please any Netbehaviourists get to the Children of Prometheus 
exhibition opening this Friday if you can. 
http://furtherfield.org/programmes/exhibition/children-prometheus


You will meet Alan in the flesh and/or attend his talk at 
Furtherfield Commons next Wednesday evening. It would be so brilliant 
to manifest the NB network in the flesh.


Lahhh!
Ruth







On 29/06/17 11:35, Mark Hancock wrote:

This is a great interview.

Can I just say: I don't know what's in the cyber-water across 
Furtherfield and associated collaborator networks right now, but the 
past few months have been totally invigorating and inspiring. Stay 
strong and keep doing whatever it is everyone who drinks deep from 
the well of net art/digital media art does.


You are all needed today more than ever before.

On 28 June 2017 at 10:45, Marc.garrett > wrote:


An Interview with Alan Sondheim

By Michael Szpakowski.

On the occasion of his talk at Furtherfield Commons this coming
Wednesday 5 July, and participation in the Children of Prometheus
exhibition at Furtherfield Gallery we present an interview
conducted by the artist and writer Michael Szpakowski in which
Sondheim gives a broad overview of his artistic formation,
practice and philosophy. Alan Sondheim has been ploughing a very
singular furrow through art, music, writing, philosophy,
technology, and much else since the late sixties.

http://bit.ly/2s17rtN

Wishing you well

marc

Marc Garrett

Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org

Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQ
http://www.furtherfield.org/gallery

Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett


Curating, Touring Exhibition
Monsters of the Machine:Frankenstein in the 21st Century
At Laboral, Spain until Sept 2017 http://bit.ly/2eGdpw1
Visiting other countries soon...

Sent with ProtonMail  Secure Email.


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Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
registered in England and Wales under the Company No.7005205.
Registered business address: Ballard Newman, Apex House, Grand Arcade, 
Tally Ho Corner, London N12 0EH.



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Re: [NetBehaviour] Turn your photos into impressionist paintings

[Edward Picot]

Pall,

This is great! It runs slower the bigger the image, which I suppose is 
obvious, but it creates some really beautiful effects. Jim Andrews did 
something similar a few years ago, but his all came out looking more 
like spirograph patterns or the patterns you see in the background on a 
ten pound note: yours are more like a collage made out of millions of 
coloured post-it notes.


Edward


On 24/06/17 17:48, Pall Thayer wrote:

http://pallthayer.dyndns.org/impressionist/
--
P Thayer, Artist
http://pallthayer.dyndns.org


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[NetBehaviour] Fwd: Open call for Cumbrian Artist to create Digital Artwork

[Edward Picot]

Don't know if anybody on this list is Cumbria-based, but if so this 
might be of interest:



   OPEN CALL FOR CUMBRIAN ARTIST TO CREATE DIGITAL ARTWORK, Signal Film
   and Media

 * LocationNorth West
 * Type
 * Salary
 * Artformfilm, interdisciplinary arts, photography, visual arts,
   Other, sound
 * ContactJoanna Roy joa...@signalfilmandmedia.co.uk
   



   Description

MICRO-COMMISSION OPPORTUNITY:

DEADLINE: Midnight 17th July 2017

Please follow this link for details of how to apply 



Signal Film and Media is delighted to announce a new micro-commission 
opportunity, as part of its year-long Lost Stations digital arts 
programme. The micro-commission is designed to showcase digital artwork 
by a Cumbrian-based artist, based on the theme of Lost Stations.


*The Brief*

We are looking for an artist to respond to the theme of Lost Stations, a 
huge network of disused train lines and stations that once ran across 
Barrow-in-Furness and the legacy of its boom years. Now almost 
invisible, these ‘Lost Stations’ reflect key moments in Barrow’s 
history, serving as a metaphor for the changing fate of a town and a 
ghost image of its past.


Artworks must incorporate the digital, but submissions may include film, 
photography, sound, animation, mixed media or performance art. The work 
will be open for public viewing for a number of weeks, or it can take 
place on a shorter timeframe if they include a live element.


Artists will receive:

-   £500 bursary towards production and materials

-   An additional £500 of in-kind support including: 2 x mentoring 
meetings, installation support from technical staff, access to Signal’s 
in-house technical equipment and travel costs.


Applications will be reviewed by a panel including Loren Slater, 
Director of Signal Film and Media, Phil Northcott, Curator, Bren 
O’Callaghan, Visual Art Programme Manager at HOME, Manchester & Dani 
Admiss, Independent Digital Curator, London.


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Re: [NetBehaviour] Mickiewicz / IDS ‘what we were trying to get away with…’ / Laura Vane 110% remix

[Edward Picot]

Michael,

Excellent! 'Let June be the end of May' is a really nice bit of 
wordplay, and a neat ending.


Edward


On 05/06/17 13:26, Michael Szpakowski wrote:
Mickiewicz has made a get the Tories out on Thursday video - helped by 
Ian Duncan Smith's splendid 'What we were trying to get away with, 
with our manifesto' on Saturday last


If you like this and think  it works please disseminate the link 
widely - FB, Twitter, carrier pigeon ,whatever...


https://youtu.be/rLUZutY-bPw

 best wishes

Michael


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Re: [NetBehaviour] on beauty

[Edward Picot]

Ruth,

I wasn't disagreeing with Michael; I was endorsing his disagreement with 
Adorno.


Being prescriptive about art is always a mug's game, in my view. Even 
saying that you should never be prescriptive about art is probably too 
prescriptive - because I do quite like some manifestos, for example the 
Imagist manifesto.


Edward


On 05/06/17 09:35, ruth catlow wrote:

Edward

I didn't take Michael's text as a rule or a command. More as a 
heartfelt invitation to use all our powers to co-create an expanded 
and enriched vision of life and communality, in which humans have a 
central role ...


...which I greatly appreciated.

Ruth

 On 04/06/17 21:07, Edward Picot wrote:

Michael,

I agree. We have to try to be adequate to our feelings about the time 
in which we live - but ruling certain things either in or out of art 
because they don't or do seem 'appropriate to our era' isn't really 
an adequate response, I don't think.


Edward

On 04/06/17 12:06, Michael Szpakowski wrote:

https://www.flickr.com/photos/szpako/34244779394/

michael


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--
Co-founder Co-director
Furtherfield

www.furtherfield.org

+44 (0) 77370 02879

Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i

Furtherfield is the UK's leading organisation for art shows, labs, & 
debates

around critical questions in art and technology, since 1997

Furtherfield is a Not-for-Profit Company limited by Guarantee
registered in England and Wales under the Company No.7005205.
Registered business address: Ballard Newman, Apex House, Grand Arcade, 
Tally Ho Corner, London N12 0EH.



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Re: [NetBehaviour] on beauty

[Edward Picot]

Michael,

I agree. We have to try to be adequate to our feelings about the time in 
which we live - but ruling certain things either in or out of art 
because they don't or do seem 'appropriate to our era' isn't really an 
adequate response, I don't think.


Edward

On 04/06/17 12:06, Michael Szpakowski wrote:

https://www.flickr.com/photos/szpako/34244779394/

michael


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[NetBehaviour] Last night's attacks

[Edward Picot]

Horrific stuff at London Bridge yesterday. It turned my stomach over 
when I saw it on the news this morning. Is everybody on this list all 
right?


Edward

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[NetBehaviour] FWD: Part-time creative coding teacher

[Edward Picot]

From ArtsJobs -


   Part-time creative coding teacher, blue{shift} creative coding

 * Closes6th June 2017
 * LocationLondon
 * TypePart time
 * SalaryPaid (£10k-15k pro rata)
 * Artformcombined arts ,
   visual arts , Other, animation
 * ContactHeather Lyons j...@blueshiftcoding.com
   



   Description

blue{shift} is looking to grow our team of teachers and educators who 
want to inspire children to express their creativity through the 
language of code. We are specifically looking for team members to fulfil 
the following roles:


 *

   Minecraft Expert & Creative Coding Teacher

 *

   Creative Coding Teacher of JavaScript, Python and/or P5.js

 *

   Creative Technologist

 *

   Creative Coding Teacher of Robotics

 *

   Creative Coding and Animation Teacher

Short Description:

Would you like to empower children by helping them understand how the 
technology they use every day works? Are you passionate about education 
and creative coding? If your answer is yes, then get in touch! 
blue{shift} is looking for regular weekly part-time teachers for our 
after school clubs and holiday camps. Our current courses focus on 
teaching the fundamentals of programming using Scratch, Processing, 
JavaScript, web based tools and coding for Minecraft.


This is a flexible freelance role and would be ideal for recent 
graduates or current students who are passionate about creative 
computing. We are looking for experts and innovators who want to inspire 
the next generation of technology users and creators.


Requirements:

 *

   Our camps and clubs cover a wide range of content and you will not
   necessarily be expected to be an expert in all areas and in fact we
   are interested in people who may be expert in one area rather than
   basicly proficient in all.

 *

   Being an engaging and passionate teacher with experience working in
   a school setting or with school aged children is also of huge
   importance to this role.

 *

   A degree in Computing or related field or sufficient experience in
   programming

To apply, please email j...@blueshiftcoding.com a CV, along with a cover 
letter that explains how you would fit with blue{shift}, and answer the 
following questions:


 *

   What’s your favourite piece of tech for kids, either in or out of
   the classroom?

 *

   Imagine an  8 year old coder says they are bored in class and their
   refusal to continue is distracting the other class members. How
   would you deal with this issue

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[NetBehaviour] Dr Hairy and the QCQ, Part 4

[Edward Picot]

Dear all,

The fourth in a new series of puppet-animations about the life and 
misadventures of an ordinary (but rather hirsute) GP.


Dr Hairy is nervously awaiting a surgery inspection from the QCQ. 
Grabber decides to help him out - and then, just as the inspection is 
about to take place, his mother rings - with hilarious results!


YouTube - https://youtu.be/vMxmpgXVeAE
Vimeo - https://vimeo.com/218506525

- Edward Picot
http://edwardpicot.com - personal website

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Re: [NetBehaviour] linux laptops

[Edward Picot]

Helen,

Good for you! I agree that Linux is much less deterring than we are 
generally led to believe. I started by putting it on an old spare 
computer a few years ago, and since then I've been buying cheap laptops 
and over-writing the existing Windows operating system with Linux, which 
always gives me a bit of a transgressive thrill. Apart from anything 
else you save a fortune in anti-virus fees. I started out with Mandriva 
Linux - which was probably an odd choice, but I came across a disc for 
it somewhere - but I now use Ubuntu. Unfortunately Ubuntu 16, which is 
the one I'm currently using, has some well-documented wireless 
connectivity problems, so I have to connect to my router via an ethernet 
cable, not that that's the end of the world. There are some rather 
lengthy fixes out there, but I haven't got round to trying them yet.


The range and quality of software available for Linux never ceases to 
amaze me. Libre Office, the Gimp, Audacity, Kdenlive and Inkscape are 
all wonderful. As for Blender, it's mind-bending to be able to get your 
hands on a piece of software that powerful for nothing, although it's 
extremely challenging to learn (I've only scratched the surface). The 
only thing I genuinely miss is Flash - but Flash in its Adobe 
incarnation is now so expensive that I wouldn't be able to afford it anyway.


Edward

On 22/05/17 09:47, helen varley jamieson wrote:


hi everyone,

more than a year ago i wrote to this list asking for advice about 
buying a linux laptop. it took me a while, but i'm now happily working 
with ubuntu mate on a no-brand machine :)


i spent quite a lot of time looking at second-hand & B-ware 
(ex-display) machines, & also at new models (lenovo, dell, hp, acer, 
asus, etc etc ... ) & got quite overwhelmed by the choice & variables. 
nothing was exactly what i wanted, & i couldn't decide on what to 
compromise. i had a couple of things that were definite - not bigger 
than 14", must have ethernet port, prefereably separate audio in & 
out; so that narrowed things down quite a bit, but still i wasn't 
finding anything that felt right.


then i found a uk company that sells no-brand laptops with linux 
pre-installed (https://www.entroware.com). i could choose the hard 
drive, RAM, keyboard layout, etc & it arrived 5 days after i ordered 
it. i took it out of the box, turned it on, & started using it. the 
trickiest thing i've had to do so far was use the command line to get 
it to talk nicely to my printer - & i managed that without incident.


i'm still adjusting to the non-mac keyboard shortcuts - it's easier to 
take a screenshot but more difficult to do an umlaut (ü), & there are 
a couple of things i still need to work out. & one loss is that there 
are no linux drivers for my wireless webcam, so i'm back to a tethered 
webcam for now. but it is s much faster than my old mac, & i've 
found most of the software that i need.


so if anyone else out there is also considering making the switch to 
linux, i say - just do it! :)


h : )
--
helen varley jamieson
he...@creative-catalyst.com 
http://www.creative-catalyst.com
http://www.upstage.org.nz

*We have a situation, Coventry! *
24 November 2016



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[NetBehaviour] Bad Shibe

[Edward Picot]

I'm a bit late responding to this, but I just wanted to say I liked it. 
It's a bit of a stretch calling it a novella, when it's only about 5,000 
words long, and its weakness is that in story terms nothing much really 
happens, apart from the lead character realising that people are 
'tipping' each other to artificially boost their online ratings. Having 
said this, what really works is the idiomatic/slang language, 
reminiscent in a way of Anthony Burgess' book A Clockwork Orange; and 
through that language a really strong sense of a particular mindset and 
environment. I also like the fact that a lot of stuff in the background 
is just suggested, not fully explained - working in the orchard, eating 
lots of apples, going to school at night because it's so hot during the 
day, etc. You don't have to know about where the terms 'doge' and 
'shibe' come from to enjoy the story, but if you do take the time to do 
a bit of background exploring (assuming you don't know all that stuff 
already, which I didn't), it certainly contributes a sense of extra 
depth. Also, the central character is very likeable, a sweet kid who 
wants to get a book of old Green Shield stamps to please his mum, which 
is rather nice to find in a dystopian story like this.


Edward

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Re: [NetBehaviour] ( () () ()

[Edward Picot]

Alan,

I really like this - the way the typography matches the image!

- Edward

On 21/04/17 23:17, Alan Sondheim wrote:



http://www.alansondheim.org/manque.jpg

(manque (manque (manque (manque (manque (manque (manque (manque
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)))
)))
)))
)))
)))
)))
)))
)))


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Re: [NetBehaviour] a little project

[Edward Picot]

Michael -

I like it! I found myself reading about forty of them. They're oddly 
moreish. The brevity of the text helps. I like the little arrows which 
point from sections of the text to the places on the map where the thing 
being described occurred or was seen - partly because I think your 
inclination as a reader is just to read the text and ignore the maps, 
and the arrows help to tie the two things together. Another thing I like 
is that each separate run-route with its accompanying block or  blocks 
of text has its own visual identity, which helps you to keep track of 
where you've got to in the Flickr thumbnails at the bottom of the 
screen. Writing-wise I think the weaker sections are the more 
self-consciously descriptive ones, where the diction can sometimes get a 
bit 'poetic' or bogged down with artistic references. The best bits are 
the sections where the thing you're describing seems to absorb you more 
completely - the pairs of gloves appearing mysteriously on the grass 
verge, for example, or the ginger-haired boy smashing twigs in half with 
his forehead.


At first I found myself thinking, 'It's a shame to waste this on Flickr; 
he should work it up into some kind of web installation'; but then after 
a bit I started to think that maybe using a ready-made facility like 
Flickr for this kind of new media diary was the most appropriate 
thing... I still can't quite make up my mind.


- Edward

On 13/04/17 14:13, Michael Szpakowski wrote:

https://www.flickr.com/photos/szpako/albums/72157676652502324



Last summer, after a gap of some years, I started running daily again. 
I did this because I had stopped taking a small dose of an 
antidepressant and although I was careful to withdraw slowly it hit me 
hard - I experienced a renewed depression and anxiety which was much 
worse than that which I had originally taken the drugs to combat. I 
was unwilling, though, to return to the drugs if I could possibly 
avoid this.
The running helped me cope and, as I get slowly better, continues to 
do so.
In early 2017 I started documenting some of my runs using the ‘measure 
distance’ function on Google maps,taking a screenshot of the resulting 
image and posting it to the photo sharing service Flickr. I have been 
interested for a long time in things that somehow hover between image, 
diagram and text and this seemed like a fruitful example of that. Once 
I’d made and posted a few these it seemed only natural to append to 
the image some commentary on my run, things and people seen and noted, 
my state of mind, the weather… a kind of highly compressed diary 
superimposed on the run documentation and something which fitted with 
my long standing interest in the way that the internet allowed very 
naturally for long form aggregations of often diverse and lapidary 
components. (For years, from 2003 to the present day, I have been 
making small videos and posting them to the internet, a practice I 
have compared to the Japanese literary form Zuihitsu, literally 
‘following the brush’ - a kind of miscellany.)
Each piece takes quite a long time to make and I’m very conscious of 
working against the clock to complete and post each one. I’m also 
mindful that, although I work hard to make my texts flow, sometimes, 
to meet my self-imposed requirement of posting on the same day as I 
run, I have to accept a certain improvisatory quality (which might be 
a polite way of saying the texts are not always as polished as I would 
ideally like.)
I was deeply involved in almost the first wave of ‘net-art’ - it 
brought me into image wrangling and gave me an opportunity to have 
people look at my work and even to get it shown in institutions too. 
I’m saddened by the now overwhelming corporatisation of this space 
which has, it seems to me, destroyed many of the possibilities for art 
which were so exciting in the late nineties of the last century and 
the early noughts of this one. Much digital and networked art now 
seems to require large amounts of tech and funding and to have moved 
closer and closer to everything many of us felt was disagreeable and 
backward looking about the art world. Little of it now lives on the 
net. The kind of enthusiast I was would now get channelled into spaces 
specifically made for ’enthusiasts’, for ‘amateurs’ - the kind of 
intermingling that was completely natural back then has almost 
completely disappeared.
One of my responses ( the other is to work in more traditional 
practices, such as painting) is to try and maintain a toehold in 
places like Flickr, which although certainly corporate and equally 
regarded by both art world commentators and those who own it as a 
space for the masses rather than the charmed circles of the art world, 
nevertheless retain, if one looks carefully, echoes of that earlier 
promise. One finds artists, who, whether they would style themselves 
such or not, are making work of depth and lasting interest as well as 
in some sense pushing back 

[NetBehaviour] Fwd: Digital Art Co-commission w/ British Science Festival, Brighton Digital Festival

[Edward Picot]

From the Arts News list:


   OPEN CALL Digital Art Co-Commission w/ British Science Festival,
   Brighton Digital Festival

 * LocationSouth East, Brighton & Hove
 * Artformcombined arts, film, interdisciplinary arts, photography,
   music, visual arts, Other, Digital culture
 * ContactMelissa Ray meli...@brightondigitalfestival.co.uk
   



   Description

The British Science Festival and Brighton Digital Festival are looking 
to co-commission a new digital artwork that will be presented in a 
gallery space at the University of Brighton, Edward St Campus throughout 
the British Science Festival and Brighton Digital Festival (5 September 
to 13 October 2017).


We are particularly interested in works that explore and respond to 
themes of place: the shifting horizons of physical and virtual 
environments; the possibilities of technology to reimagine, reinvent and 
reinterpret space and place, and new opportunities to facilitate 
collaboration and connect people, place and things.


A budget of up to £5,000 is available for this commission, to include 
all fees, design, production and installation. Installation support 
through the University may be available.


*Deadline for proposals is 12 noon Monday 24 April 2017.*

Please send all proposals to meli...@brightondigitalfestival.co.uk

For more information contact Rosie Waldron on 
rosie.wald...@britishscienceassociation.org or Laurence Hill on 
laure...@brightondigitalfestival.co.uk.


*
*

For more information download the commission brief here: 
http://brightondigitalfestival.co.uk/wp-content/uploads/2017/03/BSF__BDF_commission_brief.pdf


*Timeline:*

24th March - Call Opens
24th April - Call Closes
w/c 1st May 27th June - Artist Confirmed
5th September - BSF Programme launch Public display

14th September - BDF launch

*About the British Science Festival*

Taking place in Brighton from 5-9 September 2017, the British Science 
Festival will be co-hosted by the Universities of Brighton and Sussex, 
with a focus on showcasing cutting-edge science. Thousands of people 
come together to celebrate the latest developments in science and to 
engage in open discussion about issues that affect our culture and society.


*About Brighton Digital Festival*

BDF is an annual month-long celebration of the creativity that makes 
Brighton unique, its innovative digital economy and top-level arts 
scene. We are the fastest growing digital festival in the UK, with an 
audience of more than 60,000 in 2016 for 190+ events and a far-reaching 
reputation.


The festival is a platform that supports and encourages people across 
the city to experience and explore digital technology and culture. We 
run an open programming model that is supported by a curated arts and 
education strand.


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[NetBehaviour] Dr Hairy and the QCQ, Part 3

[Edward Picot]

The third in a new series of puppet-animations about the life and 
misadventures of an ordinary (but rather hirsute) GP.


Mrs Hattersley wants to reorganise Dr Hairy's surgery to make it more 
Feng Shui. When he refuses to allow her, she decides to report him to 
the QCQ. In the meantime, Grabber is anxious to try out his new app, 
LifeTunes - with hilarious consequences!


YouTube - https://youtu.be/igTNByhWDTU
Vimeo - https://vimeo.com/211002674

- Edward Picot
http://edwardpicot.com - personal website

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[NetBehaviour] Fwd: Open call for online commissions, Queen's Hall Digital

[Edward Picot]

This looks interesting:


   OPEN CALL FOR ONLINE COMMISSIONS, Queen's Hall Digital

 * LocationAll regions
 * Type
 * Salary
 * Artformfilm, interdisciplinary arts, photography, music, visual
   arts, Other, digital
 * contactcommissi...@queenshalldigital.com
   



   Description

*An ongoing programme to commission a regular new artwork for the 
Queen’s Hall Digital site. *


*http://www.queenshalldigital.com*

This call is open to all UK-based artists, technologists and digital 
makers regardless of nationality, age, or career stage. We are looking 
for a simple piece, an idea, a sketch or a piece of work you haven’t 
shown yet. Something that can start a conversation, spark a new idea or 
a better understanding of something you think more people should know 
about. This can be a short film, an animation, a slideshow, a drawing, 
a sketch, a piece of audio, written and/or spoken work. We are also open 
to new ways of experimenting with the way work is shown and shared online.


There is a one-off commission fee of £250 (to include research and all 
stages of production for the work). This is a micro-commission 
opportunity which is reflected in the fee. It is intended to cover one 
day's work so please bear that in mind when submitting your proposal.


*The deadline for submissions is 5pm (UK time) on Monday the 3rd of 
April 2017.*


*Apply here: *http://www.queenshalldigital.com/artist-opportunities/

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[NetBehaviour] Fwd: Graduate school full bursary PhD scholarship: Creative digital technology for performing arts education

[Edward Picot]

Might be of interest:


 Graduate School Full Bursary PhD Scholarship: Creative digital
 technology for performing arts education


 *De Montfort University* - School of Arts / Faculty of Arts,
 Design and Humanities

Qualification type: PhD
Location:   Leicester
Funding for:UK Students, EU Students
Funding amount: £14,296 per annum
Hours:  Full Time

Placed on:  24th February 2017
Closes: 10th April 2017
Reference:  ADHFB1

*School of Arts, Faculty of Arts, Design and Humanities with the 
Institute of Creative Technologies De Montfort University, Leicester*


*COMMENCING OCTOBER 2017*

A PhD research scholarship including stipend and tuition fee costs is 
offered within the School of Arts and Institute of Creative 
Technologies. It is available to UK or EU students who are suitably 
qualified and have outstanding potential as researchers.


In offering this scholarship the University aims to further develop its 
proven research strengths in Digital Performance. It is an excellent 
opportunity for a candidate of exceptional promise to contribute to a 
stimulating, world-class research environment.


This is a frontier research project that will investigate the role of 
digital performance creativity (practice, technologies and 
story-telling) in pre-HE Performing Arts Education (BTEC, GCSE), with 
the intention of finding solutions that can re-dress the national 
shortfall in performing arts students entering HE with digital 
performance capabilities and openness. The aim of this research project 
is to seek to understand how creative digital technology can enhance 
learning in pre-HE performing arts education. The projected objectives 
might therefore be to define the pedagogic context and rationale for 
this field*; *develop technological tools and learning resources; 
analyse engagement learning, human-computer interaction and creative 
cognition in the context of this project; and/ or develop the groundwork 
for the beta design of a live-coding software environment for this sector.


For a more detailed description of the scholarship, the subject area at 
DMU and an application pack please visit 
http://www.dmu.ac.uk/research/graduate-school/phd-scholarships.aspx. 
Please direct academic queries to Professor Craig Vear on +44 (0)116 207 
8131 or email cv...@dmu.ac.uk . For 
administrative queries contact the Graduate School office email: 
_researchstude...@dmu.ac.uk ,_ tel : 
0116 250-6309. Completed applications should be returned together with 
two supporting references and an academic transcript.


Applications are invited from UK or EU students with a Master’s degree 
or good first degree in a relevant subject (First, 2:1 or equivalent). 
Doctoral scholarships are available for up to three years full-time 
study commencing in October 2017 consisting of a bursary of £14,296 per 
annum in addition to waiver of tuition fees.


*Please quote ref:* ADHFB1

*CLOSING DATE: Monday 10^th April, 2017. Interviews for shortlisted 
candidates will be held by Friday 28^th April approximately.*


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[NetBehaviour] Dr Hairy and the QCQ, Part 2

[Edward Picot]

Dear all,

The second in a new series of puppet-animations about the life and 
misadventures of an ordinary (but rather hirsute) GP.


Dr Hairy has to visit first his own mother, then Grabber's mother - plus 
Grabber's two sisters Pongo and Krups - with hilarious results!


YouTube - https://youtu.be/JOdVB3IzxGE
Vimeo - https://vimeo.com/205105659

- Edward Picot
http://edwardpicot.com - personal website

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[NetBehaviour] Gnossiennes (interludes for the Wellbeing project)

[Edward Picot]

Three short videos based on Eric Satie's Gnossiennes, and designed to be 
used as interludes between the text-videos in the Wellbeing project.


The paintings in Gnossienne 2 are by Edward Hopper.

Gnossienne 1 - https://youtu.be/4ktm1Cw7xKE
Gnossienne 2 - https://youtu.be/mVfII9Cnq2U
Gnossienne 3 - https://youtu.be/CZwS9Vv1zP0

Happy Christmas!

- Edward

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[NetBehaviour] The Wellbeing Project, Part 3

[Edward Picot]

Numbers nine to eleven in a series of eleven short information-videos 
about wellbeing and life-satisfaction, designed to be shown in the 
Waiting Room of the doctor's surgery where I work.


9. Social Media - https://youtu.be/VCaz82zE76U
6. Humour - https://youtu.be/rHoSGD2PKEQ
7. Resilience - https://youtu.be/leBqSKJuU-8

- Edward

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[NetBehaviour] The Wellbeing Project, Part Two

[Edward Picot]

Numbers five to eight in a series of eleven short information-videos 
about wellbeing and life-satisfaction, designed to be shown in the 
Waiting Room of the doctor's surgery where I work.


5. Creativity - https://youtu.be/iysdK3FdcK8
6. Pets - https://youtu.be/cE5AyfyVWWs
7. Money - https://youtu.be/FPzjg6A5qN8
8. Mindfulness - https://youtu.be/tEN0a711PoM

- Edward

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[NetBehaviour] The Wellbeing Project, Part One

[Edward Picot]

The first four in a series of ten short information-videos about 
wellbeing and life-satisfaction, designed to be shown in the Waiting 
Room of the doctor's surgery where I work.


1. Introduction - https://youtu.be/Lon8w_dACC4
2. Connecting with other people - https://youtu.be/B19GFLNAMuk
3. Learning - https://youtu.be/Ot4A6xOrOdQ
4. Staying active - https://youtu.be/EUwIK6poKJI

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[NetBehaviour] Cranbrook Video Festival - Wellbeing - submissions close 31/12/16

[Edward Picot]

Dear all,

There's less than a month left to make a submission to the Cranbrook 
Video Festival!


This year the Festival is going to be held at the Crane Surgery in 
Cranbrook, and the theme of the festival is 'Wellbeing'. Videos on other 
subjects will be accepted for consideration, but videos about wellbeing 
are particularly welcome.


At the surgery we're currently putting together a series of 
instructional videos about wellbeing, to be displayed in our Waiting 
Room. Research has shown that a sense of wellbeing is just as powerfully 
associated with long life and good health as all the usual physiological 
stuff: weight control, blood pressure control, low cholesterol, plenty 
of exercise, plenty of roughage, etc. Yet most people are very much in 
the dark about what practical things they can do to promote their own 
mental and spiritual good health. But the information's out there: 
creative activity, learning new things, staying active, socialising, 
giving to others and mindfulness are all good for your wellbeing.


For the Festival, we'd particularly like to put together some videos on 
the theme of wellbeing - activities that promote wellbeing, 
circumstances that prevent wellbeing, philosophy of wellbeing, things 
that make you happy, representations of happiness, etc.  Videos should 
ideally be under 10 minutes in length, but longer work will be considered.


The festival will be held at the Crane Surgery in Cranbrook, Kent on 
Saturday 18/2/17. The deadline for submissions is 31st December. If 
interested, please contact julian.les...@gmail.com with "Video festival 
submission" in the subject-line.


PS - a big thank you to all those who have already submitted.

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[NetBehaviour] Andrew Klobucar, on Alan Sondheim's Writing Under

[Edward Picot]

Alan -

I read this with great interest, and I think it's a very worthwhile 
piece. I think he spends a bit too long talking about the 
cultural-historical context of your work, at the expense of coming to 
grips with more examples of the work itself: but having said this, it's 
an extremely valuable essay in terms of that context.


- Edward

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Re: [NetBehaviour] toegristle #354

[Edward Picot]

I like these too. I went back through the last 20 or so, and they're 
really absorbing. The JavaScript slide-show would be nice, but some of 
the designs are really quite intricate - the ones around 349, for 
example - so you wouldn't want to deprive people of the option to stop 
and look at particular ones more closely, or shuffle backwards and 
forwards to check the development from one to the next.


- Edward

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[NetBehaviour] Dr Hairy and the QCQ, Part 1

[Edward Picot]

Dear all,

The first in a new series of Dr Hairy puppet-animations. The 
Under-Secretary for Health cooks up a fiendish inspection regime for 
doctors' surgeries, and Dr Hairy gets a bizarre phonecall from his 
mother - with hilarious results!


YouTube - https://youtu.be/azwID6hgXOs
Vimeo - https://vimeo.com/191198092

- Edward Picot
http://edwardpicot.com - personal website

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Re: [NetBehaviour] When fascism comes to the us, it will be wrapped in a flag and carrying a cross

[Edward Picot]

Really good!

- Edward

On 13/11/16 05:12, Pall Thayer wrote:

http://pallthayer.dyndns.org/uswrappedinflagcarryingcross_session.wav
--
P Thayer, Artist
http://pallthayer.dyndns.org


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[NetBehaviour] The Squeaker

[Edward Picot]

A short song/video about the tribulations of a professional busybody - 
an inspector of doctors' surgeries, in fact. This will eventually appear 
as part of the third series of Dr Hairy videos (collectively entitled 
"Dr Hairy and the QCQ"), but hopefully it also works as a stand-alone. 
Loosely based on "The Seeker" by The Who, which is a particular 
favourite of mine. Made using InkScape, Blender, Kdenlive, Audacity and 
the Gimp.


YouTube - https://youtu.be/dRWQEC1YbEc
Vimeo - https://vimeo.com/189668021

- Edward Picot
http://edwardpicot.com - personal website

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[NetBehaviour] Fwd: Media Wall call

[Edward Picot]

From the ArtsJobs listing:


   WRITERS and ARTISTS WANTED FOR NEW LITERARY ARTS COMMISSION, Bath
   Spa University

 * Closes14th November 2016
 * LocationSouth West
 * TypePart time
 * SalaryPaid (£25k-30k pro rata)
 * Artformcombined arts ,
   film , interdisciplinary arts
   , literature
   , visual arts
   , Other, media arts
 * ContactBambo Soyinka writ...@papernations.org
   



   Description

*Paper Nations and Mix Conference call for Artwork*

For more information of how to apply go to: 
http://mixconference.org/mediawall-call/


Deadline midnight, Monday 14th November 2016.

*About Mix Conference artwork call*

The biannual conference, Mix 2017 has teamed up with Paper Nations to 
commission a writer or artistic team to create a new literary artwork 
for the Bath Spa University’s MediaWall. Total budget £8000 (including 
all expenses).


http://mixconference.org/

For the month of July 2017, we want to commission a new artwork by an 
artist/writer or team of international standing, launched as part of the 
MIX 2017 conference. The artwork will need to include original writing 
from young people age 8-14. The aim is to encourage a high level of 
engagement from all young people across England and we would welcome 
innovative methods for mass participation such as crowdsourcing.


Following the successful delivery of the artwork the Paper Nations team 
may wish to work with you to further develop the scope of your project. 
We are keen to use the MediaWall project as a model of best practice for 
embedding digital writing outreach programmes in schools across England 
and especially the South-West.


*About Paper Nations*

Funded by Arts Council England, Paper Nations is the country’s first and 
only creative writing hub for young people. This ambitious project 
brings together the best and most innovative arts organisations, 
creative writers and educators with a common purpose: to inspire a 
creative nation of young writers.


www.papernations.org 

*About MediaWall*

MediaWall is a uniquely positioned digital gallery space consisting of a 
large set of 55 inch video screens viewable in daylight. It is situated 
in the Newton Park Campus of Bath Spa University, built into the Commons 
building and surrounded by green fields, hills and trees. The nearly 8 
metre high, 3x10 screen wall stands like a monolith awaiting an inscription.



http://mixconference.org/mediawall-call/

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[NetBehaviour] The NHS and the blockchain

[Edward Picot]

I've now made so many unsuccessful and partially-successful attempts to 
get my head round the Blockchain concept that I'm starting to think I 
might have some form of early dementia.


However, there's one field in which I dimly understand what the 
implications might be: namely, the health service, where I work. Since 
the Labour government introduced the 'Payment by Results' system into 
the NHS about fifteen years ago, and then the Conservative government 
put groups of GPs (clinical commissioning groups, or CCGs) in charge of 
local health budgets, there's been no end of muddle about how to get 
good reliable statistics out of the system as regards which patients are 
being treated where, what they're having done, how much it's costing, 
and which health authorities they belong to. The blockchain is probably 
an answer to this problem.


Let's say a patient rings 999 one weekend because he's having a 
heart-attack. The ambulance takes him to the local A department at the 
Tunbridge Wells Hospital. He gets investigated, and after investigation 
he gets transferred to St Thomas's Hospital in London for a triple 
bypass. Then he's discharged to a Cottage Hospital in Hawkhurst, and 
eventually back home.


At each stage of the journey he has incurred costs. First of all the 
ambulance trust charges for transporting him (once to the Tunbridge 
Wells Hospital, then from Tunbridge Wells to the St Thomas' Hospital, 
then back to the Cottage Hospital). Then his A attendance and 
investigations in Tunbridge Wells will all incur costs (via the 
Maidstone and Tunbridge Wells Hospital Trust); then his treatment and 
stay in St Thomas's (via the Guys and St Thomas' Hospital Trust); and 
finally his stay in the Cottage Hospital (which comes under the 
Maidstone and Tunbridge Wells Hospital Trust again).


Now, all of these costs and data about what treatments were carried out, 
length of stay, drugs dispensed to the patient while in hospital, etc, 
are supposed to find their way into our local health informatics system, 
which is a big 'data silo', so that if we want to (or, more to the 
point, if the CCG wants to) it's possible to 'drill down', as they call 
it, and find, under the Cardiology costs for a particular financial 
year, the treatment and costs for that particular patient as a result of 
that particular health episode. The difficulty is that the information 
has to be pulled in from various different trusts - our local hospital, 
the hospital in London, and the local ambulance service - and compliance 
varies from trust to trust. So the information from our local hospital 
trust will probably be available more or less straight away, the 
information from the ambulance trust a bit more slowly, and the 
information from London a bit more slowly again. Things can get even 
more complicated if our patient has his heart attack while he's on 
holiday in Dorset - because all the costs he incurs should still come 
back to the area in which he is a registered patient, but of course a 
hospital in Dorset feeds back information much more slowly to Kent than 
it would to its own health authority. And things can also get more 
confusing if parts of the patient journey, while still chargeable to the 
NHS, are carried out by one of the private hospitals - let's say the 
patient, instead of having a heart attack, has a cataract operation at a 
private hospital, which is doing cataract operations on an NHS contract 
as part of the Any Qualified Provider arrangements. The private hospital 
may not have good arrangements in place for feeding back data into the 
NHS system.


A big part of the problem is that you've got all these different 
organisations operating within the NHS - hospital trusts, ambulance 
trusts, CCGs, individual surgeries, private hospitals etc. - and they've 
all got their own bespoke computer systems with their own bespoke ways 
of recording patient data, and it's a constant struggle to get them to 
talk to one another. A blockchain distributed ledger would surely be an 
improvement on the existing system. You'd just have to enter a 
transaction onto the blockchain every time you performed some kind of 
service for a patient - anything from a prescription for paracetamol to 
a hip replacement - and as soon as the transaction was recorded the 
information would be available from one end of the system to the other, 
with the costs correctly allocated both to that particular patient and 
to the patient's own health authority. Of course you'd also have to 
record the same event on the patient's clinical records, in order to 
keep an accurate clinical history, so you'd either have to enter it 
twice, once on the clinical record and once on the blockchain, or (much 
better) you'd have to get every clinical system in the country to 
communicate with the blockchain, which would probably be a lot easier 
than trying to get them all to talk to each other.


So far so good. However, what do you do in the case 

[NetBehaviour] Fwd: Call to Artists for Currents New Media Festival 2017

[Edward Picot]

From the Arts News listing:


   Call to Artists for CURRENTS NEW MEDIA festival 2017, CURRENTS NEW MEDIA

 * LocationUSA
 * ContactHannah Kramm han...@currentsnewmedia.org
   



   Description

CURRENTS is an international NEW MEDIA ART festival. We showcase a 
variety of art that pushes the boundaries of art and technology, 
experimental films, installation, and performance. This is a call for 
our 2017 show June 9th-25th 2017 in Santa fe, New Mexico. Last year we 
counted over 7,000 visitors at our festival events.


Some artists who are accepted into the festival are eligible for full 
coverage of lodging, travel, and shipping.


We are accepting submissions in the following categories:

• New Media Installations,

• Outdoor Video and New Media Installations,

• Single Channel Video and Animation,

• Multimedia Performance,

• Fulldome,

• Experimental or Interactive Documentary,

• Web-Art / Art-Gaming / Mobile Device Apps,

• Virtual Reality Environments,

• Robotics,

• Digitally Generated Objects (ie. 3D Printing)

• Interactive Installations for Children

For more information about our festival and our submission guidelines:

https://currentsnewmedia.org/festivals/currents-new-media-2017/

CURRENTS serves as a platform for artistic experimentation and generates 
exploration into all forms of new media art, while providing the public 
with an opportunity to experience an outstanding selection of innovative 
work. Committed to making this extraordinary work available to everyone, 
the CURRENTS Festivals are free to the public.


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[NetBehaviour] Borrowers texts and music again

[Edward Picot]

Alan,

The MP3s are lovely, and I particularly like the line 'I am a snail in a 
shell/my shell is memory'.


- Edward

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[NetBehaviour] New interview on 'Publishing Talks' with David Wilk

[Edward Picot]

http://www.writerscast.com/david-wilk-interviews-peter-costanzo-of-associated-press

I've been following David Wilks' 'Publishing Talks' podcasts for some 
years now, and every so often he comes up with something really 
interesting. This one is an interview with Peter Costanzo, currently 
working for the Associated Press, but formerly associated with digital 
publishing ventures for NBC and various others; and it's full of 
perceptive remarks about why ebooks haven't supplanted print books, why 
'enhanced' ebooks (new media literature) have failed to take off 
commercially, how the publishing industry has managed to protect the 
status quo in the face of digital change more effectively than the 
record industry, and just the mechanics of the modern publishing 
marketplace in general - the dominance of Amazon, the failure of both 
Apple and Google to challenge that dominance, the dominance of the 
Kindle as the main reading device, etc. Well worth a listen if you've 
got 45 minutes to spare.


- Edward

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[NetBehaviour] The Cranbrook Video Festival - Wellbeing

[Edward Picot]

The Cranbrook Video Festival is now open for submissions.

This year the Festival is going to be held at the Crane Surgery in 
Cranbrook, and the theme of the festival is 'Wellbeing'. Videos on other 
subjects will be accepted for consideration, but videos about wellbeing 
are particularly welcome.


At the surgery we're currently putting together a series of 
instructional videos about wellbeing, to be displayed in our Waiting 
Room. Research has shown that a sense of wellbeing is just as powerfully 
associated with long life and good health as all the usual physiological 
stuff: weight control, blood pressure control, low cholesterol, plenty 
of exercise, plenty of roughage, etc. Yet most people are very much in 
the dark about what practical things they can do to promote their own 
mental and spiritual good health. But the information's out there: 
creative activity, learning new things, staying active, socialising, 
giving to others and mindfulness are all good for your wellbeing.


For the Festival, we'd particularly like to put together some videos on 
the theme of wellbeing - activities that promote wellbeing, 
circumstances that prevent wellbeing, philosophy of wellbeing, things 
that make you happy, representations of happiness, etc.  Videos should 
ideally be under 10 minutes in length, but longer work will be considered.


The festival will be held at the Crane Surgery in Cranbrook, Kent on 
Friday 19/2/16. The deadline for submissions is 30th December. If 
interested, please contact julian.les...@gmail.com with "Video festival 
submission" in the subject-line.


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[NetBehaviour] The artist is typing

[Edward Picot]

I like it! I was initially disappointed, like others, that it was only 
going to indicate whether Guido was typing or not, rather than let us 
see his text - but then I went online and had a look at it, and 
initially got a grey-on-white screen telling me that he wasn't typing, 
which changed all of a sudden to a white-on-green screen saying that he 
was, and then it switched back and forth between the two screens several 
times in quick succession, which was oddly exciting and also oddly 
physical, as if you could hear him breathing. It's very elegant, in a 
way that it wouldn't be if you could see the text; and also the sense 
that somebody is there one minute, palpable, and that you've lost 
contact with them the next, is more visceral than I expected.


I also love Bjorn's response, which completely boggled my mind.

- Edward

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[NetBehaviour] Cover version/The Girl from the North Country

[Edward Picot]

Michael,

I've been meaning to post a comment about this - beautifully restrained 
arrangement! It also sent me back to Dylan's original, then to a recent 
(2012) version of the song by Neil Young, and then to Neil Young's live 
rendition of Heart of Gold, which is priceless. That's what I call a 
well-spent forty-odd minutes.


- Edward

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[NetBehaviour] Music vid may enjoy

[Edward Picot]

James -

I thought this was brilliant, and I've managed to track down the 
original here: https://youtu.be/YJg02ivYzSs . The guy at the far end of 
your link evidently found this video, cut it down a bit and fitted it to 
some techno music which he didn't own either - the end products works 
really well, though. A very creepy and believable sci-fi vision of the 
near future, or rather an extension of what we've already got now. Seems 
to originate in South Amercia, possibly Brazil, although the 
video-maker, Keiichi Matsuda, sounds to me like he either comes from or 
has ancestry in Japan.


- Edward

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[NetBehaviour] Fwd: Digital Participatory Artist Residency, Quad, Derby

[Edward Picot]

Just came across this -


 Digital Participatory Artist Residency

*Location:* QUAD

*Position:* Temporary

*Salary/Rate:* £2500.00 (inc vat)

*Closing Date:* 09 September 2016


QUAD invites expressions of interest for UK based artists or creative 
educators to undertake a practice based Digital Participatory Residency 
at QUAD, in Derby. We are looking for an artist who is engaged with the 
theory and practice of innovative digital arts practices and research, 
someone who is happy to share their ideas with the public through 
workshops as appropriate and who wants to develop their work in a 
creative supportive environment. QUAD has an artist’s studio and digital 
studio facilities available, the residency would be supported by 
experienced members of the QUAD programme team.


The residency will need to take place between Feb and June 2017.

The fee for the residency is £2500.00 (inc vat), £1000 of which should 
be used towards engagement with children and young people and/or 
schools, colleges or universities. This can coincide with the Family 
Arts or Into Film Festivals.



To apply, email us no more than four sides of A4 to tell us:

Why you would like to undertake the residency and outline in general 
what you would like to do during your time at QUAD. Please propose a 
framework of activity that takes the following into account:


• An outline timescale/schedule (indicating any other commitments)
• Materials and equipment you would be working with (QUAD has a range of 
materials/equipment which could be available depending on availability)

• Thoughts on potential term time and school holiday activities
• QUAD’s existing programme of visual art and participatory activity 
(www.derbyquad.co.uk)

• QUAD as a public space
• QUAD’s online presence and engagement
• Promotion of activities through our existing and/or new channels
• Links to your website, images or any appropriate supporting material, 
e.g. youtube, vimeo etc.
• Your bio outlining your career history and digital participatory 
experience

• Contact details of two referees who are familiar with your work

Send your application or questions to: jo...@derbyquad.co.uk
Deadline: 9 September 2016

About QUAD

QUAD is an international centre for engagement in contemporary art and 
film, based in Derby. The year round programme focuses on major 
exhibitions, professional practice for artists, mass participation, 
commissions, independent film and the creative use of emergent 
technologies. QUAD is a charity focused on intercultural dialogue 
through supporting diverse audiences to engage, develop skills and 
contribute to contemporary culture. Major projects include FORMAT 
International Photography Biennale and the UK’s largest international 
portfolio review, as well as recent exhibitions by Gibson/Martelli, 
Susan MacWilliam, Benedict Drew, susan pui san lok, Animate Projects and 
our current exhibition Doug Fishbones Leisure Land Golf.


For more information about QUAD programmes see:
www.derbyquad.co.uk
http://www.derbyquad.co.uk/create-and-learn
http://quadparticipate.tumblr.com/
http://quadcreativewellbeing.tumblr.com/

*Skills Required:*
We are interested in working with an artist or creative educator:

• With an exciting digital participatory practice open to experiment and 
explore ideas and demystify digital processes for diverse audiences. A 
digital practice can include on and offline, hacktivism, mass 
participation using social media tools and photography through to 
circuit bending and digital knitting - we are open to a challenge on the 
definition of digital participation!
• With experience of public speaking and of facilitating workshops for 
diverse groups of people
• Who is interested in engaging our audiences both online and in the 
public spaces at QUAD through a range of creative activities

• With a focus on audience participation and engagement in digital art/media
• Who is able to develop an exciting and engaging range of 
workshops/activities for a wide range of ages and abilities


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[NetBehaviour] Fwd: Visiting Lecturer in Interactive Narratives/Digital Storytelling

[Edward Picot]

This looks interesting - from the jobs.ac.uk list:


 Visiting Lecturer in Interactive Narratives / Digital story telling


 *University of Hertfordshire* - School of Creative Arts

Location:   Hatfield
Salary: Not specified
Hours:  Full Time
Contract Type:  Permanent

Placed on:  27th July 2016
Closes: 14th August 2016
Job Ref:013839

We require enthusiastic, experienced individuals to teach on the 
successful BA Digital Media Arts programme. An effective approach to 
teaching and the design of learning is core to the role, as well as 
curriculum development and innovation.


The School invites applications for Visiting Lecturers for the following 
area: Visiting Lecturer in Interactive Narratives / Digital story telling


We require a Visiting Lecturer to cover a creative project in 
interactive narrative and/or elements of game design. You will be 
expected to have knowledge and skills in the following:


 * Background in interactive narrative / theory and/or game design
 * Support students in the production of a digital interactive
   narrative piece / game
 * The focus is on ideas of branching narrative and narrative – led
   game play. (Software skills in these areas could be beneficial but
   not required).

The successful candidate will have specialist subject knowledge and 
skills, completed a postgraduate qualification and have teaching 
experience in the relevant subject area.


Please do not apply online. To apply for the position, please email a 
current CV and covering letter to Mr Doros Polydorou at 
d.polydo...@herts.ac.uk  and quote 
reference number 013839.


D

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[NetBehaviour] Dr Hairy at the Exploding Cinema

[Edward Picot]

If anyone happens to be in the Peckham/Nunhead area on Saturday evening, 
one of the Dr Hairy videos - 'Dr Hairy's Christmas Carol', very seasonal 
- is being shown at the Exploding Cinema, as one of a programme of 
fifteen, and I'd  be delighted to see anyone that can make it. I'll have 
to leave at about 9.30, however, otherwise I won't be able to get home. 
Here are the show details:


Exploding Cinema
Saturday 23rd July
The Ivy House
40 Stuart Road
Nunhead
London SE15 3BE

Doors 6.30pm
Show starts 7.30pm
£ 6 entry

Overground: Peckham Rye
Bus 484 or 343

- Edward Picot



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Re: [NetBehaviour] then making story

[Edward Picot]

Alan -

I love this, and the whole 'story' strand has been really fine.

- Edward

On 15/07/16 05:31, Alan Sondheim wrote:



then making story

http://www.alansondheim.org/bctrip2571.jpg

down, beneath

I am lying on the floor, in the ground, underground, where the
animal lives, I am going to lie down on the floor.

Where the red horse lives, that is where I am going to lie down.
In the red horse, in the belly of the red horse. It might as
well be in the moon. It might as well be in the well.

the existence

I'm the one, it's me, I am born. We're the one. But the red
horse, it's yours, or is it mine. It's not a house. But I have
no house. I have a red horse. I don't want anything else.
There's nothing to eat, there's nothing here to eat at all.

then

Then the red horse was away for a long time and just recently
she came back, just recently. And I was born. And she gave birth
to me. And I was born and there was nothing to eat.

They say I was born in Oklahoma. I was born in Oklahoma. They
say that.

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Re: [NetBehaviour] 5 Operas

[Edward Picot]

Wonderful! I'd forgotten how good these were/are, even though I've got 
them on a disc on my shelf. I played them to my father-in-law, Jack 
Hindmarsh (now deceased), who was a church organist and a music teacher, 
and he really enjoyed them. Looking at them again, I found myself 
thinking 'Oh, this is the best one' as I came to each of them in turn, a 
bit like you do with the tracks on a really good album you haven't heard 
for ages.


I love the mixture of different techniques and materials used in the 
them - hi-tech and lo-tech cobbled together - and, as Ruth says, the 
unexpectedness of the subjects. And just the sheer exuberant 
inventiveness of the whole thing!


- Edward

On 10/07/16 12:02, Michael Szpakowski wrote:
In 2003 I put out a call for opera libretti of exactly 100 words, 5 of 
which I then developed into internet resident tiny operas,


with performances by a chorus of primary school students and with the 
principals sung by local FE students.
The format in which I made them, shockwave movies, is increasingly 
unreliable nowadays


so I am converting them all into videos and re-posting them here

https://www.flickr.com/photos/szpako/albums/72157670738115225


and on my own website. If you're interested the original project is here:

http://www.somedancersandmusicians.com/5operas.html


cheers

michael


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[NetBehaviour] #PostRefArt

[Edward Picot]

I would rather that the referendum vote had gone in favour of staying in 
the EU, but I don't think the result was all that surprising and I don't 
think we should be too dismayed by it either.


Certainly there are people who will have voted out on the basis that 
they don't like immigrants and they don't like being told what to do by 
foreigners. Probably a lot of people. But beyond that, I think it was a 
case of ordinary people voting against the establishment, because they 
feel that the establishment has betrayed them. Essentially it was the 
same kind of vote that brought Jeremy Corbyn to power. 'Anything's 
better than what we've got now.'


The Remain party made the mistake of basing their campaign on the line 
that the UK ought to stay in the EU because that was the best thing for 
big business. But ordinary people dislike and distrust big business as 
much as they do politicians. They've just been through a recession which 
was caused by big business. Why should they vote the way big business 
wants them to vote in a referendum?


I was in favour of staying in Europe because Europe has forced the 
British Government to accept certain environmental standards and 
workers' rights - and also because we need a Europe-wide solution to the 
refugee crisis. But to many people, the EU is virtually synonymous with 
things like the IMF and the G7. It's overwhelmingly monetarist in 
philosophy. It subscribes to the model of everlasting growth rather than 
sustainability. Countries have to be profitable first: they can only 
afford a welfare system afterwards. Business is the most important layer 
of society, from which everything else flows. Governments are actually 
controlled by markets and banks, not vice versa. So when a crash comes, 
the markets and the banks don't have to pay for it, the poor people do. 
And countries like Greece have to be forced to pay debts they can't 
really afford, in case they set a bad example that leads to the collapse 
of the whole system.


In or out of the EU, this is the status quo against which people are 
kicking. Immigration and sovereignty are really side-issues. We have to 
find more sustainable, environmentally-friendly, inclusive and humane 
ways of organising society. We have to find ways of generating wealth 
that also generate wellbeing.


On the subject of artworks, it would be nice if we could launch an 
artwork that allowed people from the Calais refugee camp to enter the UK 
virtually, as they're prevented from entering it physically. It would be 
nice if they could scan themselves from head to foot, and life-size 
images of them could be printed off by 3D printers within the UK. 
Failing that, life-size pictures, complete with writeups of who they 
are, where they come from, how they have travelled to Calais and why 
they want to come to the UK, which could be guerilla-pasted onto the 
walls of UK towns and cities, Banksy-style, during the night. Or maybe 
even virtual 'empty shell' identities could be created here, complete 
with National Insurance and National Health numbers, ready for the 
refugees to step into if they ever manage to get this far.


- Edward
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[NetBehaviour] La Cura: possibilities?

[Edward Picot]

Salvatore -

Thank you for your answer to me - but thank you even more for your 
answer to Annie, which is just fantastic!


I wanted to ask you about commiseration, though. Somewhere - I'm not 
sure if it's on one of your websites or in one of your TED talks - you 
mentioned about all these people getting in touch with you, but none of 
them commiserating; and from the tone, I gathered that you see this lack 
of commiseration as a positive thing. Can you explain a bit more? Do you 
feel that commiseration forces you into the role of helpless patient - 
'Patient X' as you put it - and stops both you and other people from 
doing anything creative and positive about your illness?


- Edward
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[NetBehaviour] La Cura: Possibilities?

[Edward Picot]

Salvatore -

This is really inspiring and fascinating.

The fact that being diagnosed with a serious illness is a dehumanising 
thing, and that people begin to see you in terms of what you've got 
rather than who you are, is a familiar observation in medicine. But I 
think you've broken new ground in identifying the way that your illness 
effectively belongs to a bunch of experts rather than yourself - you're 
the one that's 'got' it, yet you don't seem to own it - and this 
appropriation is reinforced by the way it's translated into a different 
language - the technical language of medicine, which is unfamiliar and 
disorienting to 'ordinary' people - and then reinforced again, in modern 
medicine, by the way that your data is wrapped up in proprietorial 
software, so that you can't get hold of it and do your own thing with it 
unless you happen to have quite a lot of technical knowhow.


Then on top of this, the different schools or philosophies of medicine - 
'evidence-based' Western medicine, Homeopathic medicine, Chinese 
medicine, etc. - generally tend to be mutually exclusive, which means 
that normally the patient, once he or she is committed to one particular 
school, is effectively cut off from access to any of the other schools. 
So what you've done, in taking back possession of your own data, 
throwing it open to a much wider community and using that as a means of 
developing a completely personalised health plan incorporating elements 
from lots of different traditions, is a very rare and experimental thing.


Good for you!

- Edward
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[NetBehaviour] Fwd: Artist survey: Pace of Production

[Edward Picot]

From the Arts News list, from somebody called Dolly Kershaw 
(dollykers...@hotmail.com 
). 
I've asked her to send me the results when her survey is complete:


https://www.surveymonkey.co.uk/r/VV25NXF

Hi all! This survey is about how artists find their creativity time, its 
relationship to their day job if applicable, and the impact that this 
has on their productivity and project timescales. This research will 
help me to produce something visual and comprehensive (hopefully more 
interesting than a graph!) that I plan to exhibit.


I am interested in the immeasurability of the creative process, and that 
all we can go by is the amount of hours we have free, or perhaps not 
'free', to estimate our productivity that can perhaps only be proven by 
the outcome(s). I think that this would demystify or perhaps mystify 
further, to others and ourselves, the flexibility that we are adopting 
and how we feel about it. I believe that an idea has an urgency that is 
traceable to a particular moment in time, and wonder if the pace at 
which I myself am able to work might affect its timeliness; what do you 
think?



Please only complete this survey if you would describe yourself as a 
visual artist, eg. performance, painting, installation, video, 
photography etc.



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[NetBehaviour] Fwd: Bitcoin tech applied to clinical trial documents

[Edward Picot]

From the Digital Health Intelligence website: 
http://www.digitalhealth.net/infrastructure/47678/bitcoin-tech-applied-to-clinical-trial-documents 
.

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[NetBehaviour] Fwd: Researcher/creator, ambient literature, University of Bristol

[Edward Picot]

This looks interesting:


 Research Fellow Ambient Literature Production


 *University of the West of England, Bristol* - Faculty of Arts,
 Creative Industries & Education

Location:   Bristol
Salary: £31,656 to £37,768
Hours:  Full Time
Contract Type:  Contract / Temporary

Placed on:  9th May 2016
Closes: 27th May 2016
Job Ref:1550990

What new kinds of stories can we tell as our media become pervasive? 
What kinds of new experiences do location based technologies offer readers?


Ambient Literature is a two-year research project, a collaboration 
between UWE Bristol, Bath Spa, and Birmingham Universities, involving a 
combination of historical and theoretical research and tangible 
practice-led inquiry. The post will be based at the Pervasive Media 
Studio Bristol.


We are commissioning three authors to make original works and working 
with readers to understand the beauty and the power of situated literary 
experiences. The post will run over the length of the project, the post 
holder assisting with research and delivery in the process of production 
for each of the three original Ambient Literature works.


As such the post is aimed at a suitably qualified creative producer, who 
is committed to both delivering excellent projects as well as furthering 
their research by practice or publication. This research may be in the 
field of – for example - digital cultural forms, creative practice or 
new markets in publishing.


To apply: Go to http://www.uwe.ac.uk/ , find your way to the jobs page, 
and search for vacancy 1550990.


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[NetBehaviour] Turbulence to end

[Edward Picot]

Blimey! Turbulence!

When I first started to take an interest in net/new media 
art/literature, or whatever this stuff is that we're all involved in, 
the first organisations I became aware of were WebArtery, TrAce, 
Furtherfield, Rhizome and Turbulence, pretty much in that order. Now 
it's just Furtherfield and Rhizome, and Rhizome's gone all kind of 
corporate and glossy.


There are other things that are still going, like the Electronic 
Literature Organisation, the Electronic Book Review and Grand Text Auto, 
but I never really got into any of them.


I suppose it's ironic to expect an organisation with a name like 
Turbulence to always be around...


- Edward
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[NetBehaviour] Xenofeminism cutup

[Edward Picot]

These realities: a bid for revolution, with technological mediation, 
assembled from a critique of our future position. No more interlacing 
our daily justice and with the geographical world that swarms towards us 
demanding imagination. Dexterity, race, ability. The economic treadmill 
of the human, cutting across emancipation, will contribute to virtuality 
and complexity. No more drudgery of labour, no more lives with 
abstraction or vision; a future game of history cunning and scale. Ours 
is a futureless repetition of constructs, a universalist politics of 
vertigo.  Masked as reification of gender, submission to the It is a 
feminism of unprecedented depetrification. But a wager requires 
productive and reproductive capital.


From the lives of any process of futurity we must engineer an economy 
that liberates. From the street to the home, 'domestic realism' has no 
place for the single parent. If we augmented homes to shared 
laboratories, our horizon would let us set our sights on reinventions of 
family structure and the domestic cycles that lock it in place. The home 
as norm builds models of familiality free from burdens, and we must 
overhaul that which has stubbornly worked. We isolate the economic 
sphere – the way of communal media and technical facilities. Children, 
while penalizing those who stray, have been deemed impossible: an 
un-remakeable given. Stultifying and stereoscopic. We see too well that 
the home is ripe for spatial life. Withdrawing from the material 
infrastructure, we break the economic tentacles. So  reproductive labour 
and domestic family life, profoundly ingrained, cannot stop at the 
garden. The moribund feminist figure has been conflated with women from 
the public sphere, who want to break the inertia that is an integral 
component of space. Disembedded, manyfold, spatial transformation too 
must not escape.


So - the given, illusion; freedom and naturalism, illusion. Ontological 
nothing. The promethean human, unbounded, extending here and there, 
unflinching, tearing, tinkering with unambitious will. That which is, 
is: that which is towards, is. Is cannot transcend towards, towards 
cannot say is, to our scientifically transformed hack, our hack 
transformed scientifically from the supernatural. Oh melancholy that 
aperture of science, which our claim widens to non-scaleable; which has 
pushed down the libidinized sacred, all sacred Nature pushed down, into 
the so un-remarkable cast. There is nothing understood: nothing. The 
arena is manipulated to say nothing to those in the know. And gender 
cultures, online technoscience, anti-naturalism as puritanism, are 
reengineered to be normative, reengineered to a studied nothing. Oh 
melancholy the promethean human!

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[NetBehaviour] The Xenofeminism manifesto

[Edward Picot]

I like the design of that xenofeminism manifesto site! 
(http://www.laboriacuboniks.net/) 


I like the way it's all in different colours, and the text is all in 
different little blocks, and the little blocks all link to each other. 
As manifestos go, I find it quite absorbing. Which isn't to say that I 
agree with it.


- Edward
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[NetBehaviour] Accelerationist health policy

[Edward Picot]

The Royal College of Physicians have just announced their approval of 
e-cigarettes. Since the reason smokers smoke is in order to get 
nicotine, but the thing that makes smoking bad for your health is tar, 
e-cigarettes evidently reduce the harm caused by smoking by 95%, which 
means that actually you can probably vape all you like and it's still 
going to be fairly innocuous compared with other activities like 
drinking too much or eating lots of cream cakes or cheeseburgers.


Furthermore, for smokers, e-cigarettes seem to represent a far more 
effective way of giving up tobacco cigarettes than the more traditional 
willpower + nicotine patches or gum. This is partly because, like 
cigarettes, they combine the delivery of nicotine with certain other 
forms of satisfaction - something to fiddle about with, something that 
gives you a certain 'look', the satisfaction of blowing out smoke (which 
I used to love when I was a smoker) and oral satisfaction (the 'mother's 
nipple' effect).


What's more, the Royal College has also concluded that there is no 
evidence of e-cigarettes leading people towards tobacco cigarettes (the 
so-called 'gateway effect').


So, is this an example of new technology offering a breakthrough which 
years of health advice, taxation and public health policy have been 
unable to deliver? Probably yes, but it's a nuanced yes.


For one thing, even though nicotine by itself is nowhere near as bad for 
you as nicotine + tar, it's still bad for you, and obviously the effect 
of e-cigarettes over a period of many years hasn't yet been 
investigated, because they haven't been around all that long.


For another thing, as far as I know there haven't been any proper 
environmental costings of e-cigarettes (although you can find some 
fairly poor-quality ramblings on the subject via Google), but it seems 
likely that they will be considerably more energy-expensive to 
manufacture than traditional cigarettes, and considerably more 
landfill-expensive to dispose of. The nicotine in e-cigarettes is 
presumably still mostly extracted from plants, especially tobacco, which 
must be much more energy-costly than just drying it and rolling it up. 
Fag-butts do tend to end up getting flushed into the water-supply in 
huge numbers, which is much less likely to happen with e-cigarettes, but 
other than that the environmental impact of a transition from tobacco 
cigarettes to e-cigarettes seems likely to be negative.


But that's typical of new technology, isn't it? It gives with one hand, 
and takes away with the other.


- Edward


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[NetBehaviour] besides, slowed by communication / chronicles of the future

[Edward Picot]

Johannes -

Thanks so much for the response! - and for picking out those themes: the 
sensorial, duration, accrual. I think they're important.


- Edward
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[NetBehaviour] Accelerationism

[Edward Picot]

I can kind of see where Accelerationism's coming from - assuming that I 
understand Accelerationism correctly, which I more than likely don't. 
After you've repeated a certain number of times the usual breast-beating 
and groaning about the commodification of personal space and 
relationships, the world-domination of monster Web-based corporations, 
the failure of monetarist democracy to deliver either equality or 
political enfranchisement, the destructiveness of the endless-growth 
model of capitalism, the damage it does to our environment, the damage 
being done to our minds and our souls as the online/virtual/social 
media/gaming/dating app world comes to dominate our attention more and 
more thoroughly at the expense of the here-and-now, etc. etc. - after 
you've repeated those things a certain number of times, they start to 
feel not only tiresome and futile, but inadequate as a response to the 
situation in which we find ourselves. You can't keep simply rejecting 
and vilifying the new reality which is now our everyday world. You have 
to find a way of responding to it, representing it, coming to term with 
it, living in it. So perhaps the answer is to embrace it. Instead of 
running for the hills, ride the surf. Go with it. Use its energy. Find 
ways of making it work for you. As Rob says in his article about 
Accelerationist art, the idea is to 'grab the wheel rather than slam on 
the brakes'.


The example of Futurism, however, is a deterring one. The 
Accelerationists, from what I can gather, are at pains to say that 
they're not like the Futurists, but the parallels are difficult to 
ignore - here's Wikipedia's take: 'The Futurists admired speed, 
technology, youth and violence, the car, the airplane and the industrial 
city, all that represented the technological triumph of humanity over 
nature... They repudiated the cult of the past and all imitation... 
dismissed art critics as useless, rebelled against harmony and good 
taste, swept away all the themes and subjects of all previous art, and 
gloried in science.' And despite their objectionable ideas, the 
Futurists produced some strikingly original and challenging work. Their 
determination to embrace the new and their contempt for 'established' 
art with its traditions, its nostalgia, its sentimentality about nature 
and landscape, its distrust of urban environments and technology, 
allowed them to wipe the artistic slate (almost) clean and stake a big 
claim for themselves in an area into which (almost) nobody had ventured 
before. And like the Accelerationists, their agenda was political as 
well as artistic. Of course it's difficult to discuss the political 
aspects of their ideas now without flinching at their Fascist tendencies 
- actually 'tendencies' is putting it mildly - "We will glorify war — 
the world's only hygiene — militarism, patriotism, the destructive 
gesture of freedom-bringers, beautiful ideas worth dying for, and scorn 
for woman." But the feeling behind this inhumane super-macho posturing 
was that just as existing art, existing criticism and existing aesthetic 
perspectives were not only inadequate but rotten to the core, based on 
falsehoods, and needing to be junked before anything of real value could 
be constructed, so too with society and its values - everything would 
have to be smashed to pieces and scoured clean by technology, war, or 
better still techno-war, and only then could proper foundations be put 
in place and a proper society be constructed.


The problem is, of course, that when society actually reaches the 
melting-point, what follows is not a rebirth, a clean slate, a chance to 
start all over again, but terrible human suffering on a massive scale, 
followed by a slow and painful, often tyrannical, process of 
reconstruction. The meltdown-and-rebirth process has been envisioned 
before: here is the poet Robert Graves writing in the 1961 edition of 
The White Goddess: 'No: there seems no escape from our difficulties 
until the industrial system breaks down for some reason or other, as it 
nearly did in Europe during the Second World War, and nature reasserts 
herself with grass and trees among the ruins.' But the reality, as we 
ought to be able to see with the benefit of fifty years of hindsight, is 
more likely to look like post-revolutionary Russia or China than some 
kind of return to primal innocence, assuming that there ever was such a 
thing as primal innocence.


Of course, the Accelerationists would probably argue that the 
let's-crank-everything-up-until-it-breaks philosophy, or the 
let's-step-on-the-gas-until-we-achieve-escape-velocity philosophy, are 
only minor strands of what they've got to say, and perhaps only 
expressed by a few nutcases on the fringe of the movement. Just as 
important is the attempt to create some kind of new hacktivist politics 
that gets beyond the 'folk politics' of the Occupy movement. Just 
sitting down and protesting isn't enough: that's been 

Re: [NetBehaviour] Besides, compressed by communication

[Edward Picot]

Annie -

This is just wonderful! It's so still and contemplative, playful and 
philosophical. The symmetry/asymmetry, both between the two halves of 
the screen and the two voices, is endlessly fascinating. I love the bit 
where you (Annie) turn into an alien, and also that orange plastic bag 
that slowly unscrunches itself.


- Edward
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[NetBehaviour] Drinking a glass of water for Sport Relief

[Edward Picot]

Edward Picot attempts to drink a glass of water for Sport Relief.

YouTube - https://youtu.be/u2ksFoPmhcY
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[NetBehaviour] Eating crisps for Sport Relief

[Edward Picot]

Edward Picot attempts to eat a packet of crisps for Sport Relief.

YouTube - https://youtu.be/mZhp3nLgz_E
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[NetBehaviour] The Calamitous Tale of Mr Punch, Part 5

[Edward Picot]

Dear all -

Concluding my puppet-animation version of the Punch and Judy story.

Mr Punch finds the baby, but loses his sausages!

YouTube - https://youtu.be/zVwpROEc048
Vimeo - https://vimeo.com/157936396

- Edward Picot
http://edwardpicot.com - personal website
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[NetBehaviour] Publishing Talks: David Wilk talks to James Sherry of Segue Foundation

[Edward Picot]

I've been following David Wilk's 'Publishing Talks' podcasts for three 
or four years now: they're always worth a listen and every now and again 
he comes up with something really interesting. People like Alan Sondheim 
may already know of James Sherry - he's a computer programmer who has 
been involved in poetry publishing in his spare time since the 1980s, 
and he has links with groups/movements such as 
L=A=N=G=U=A=G=E 
and Flarf. The interview is here: 
http://www.writerscast.com/david-wilk-talks-with-james-sherry-of-segue-foundation/


Incidentally, at one point he refers to the fact that the 'conceptual 
school of writing' had become very celebrated in the last few years, 
especially in the person of Kenny Goldsmith, 'and then it imploded, with 
events that we know about last year'. I didn't know anything about this, 
but poking around online I gather that it's probably a reference to 
Goldsmith reading out the autopsy of Michael Brown, an African-American 
teenager who was shot and killed by a white police officer in 2014, as a 
poem entitled 'The Body of Michael Brown'. He did this in March 2015 at 
Brown University, and it kicked up a big controversy, including 
accusations of racism against Goldsmith because he, a white man, had 
appropriated the autopsy of a black boy and re-used it as a poem. I can 
quite see how this might cause offence, although I must say I would 
count myself as an admirer of Goldsmith, both as an experimental writer 
and as the founder of UbuWeb, which is a fantastic resource.


- Edward
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[NetBehaviour] The Calamitous Tale of Mr Punch, Part Four

[Edward Picot]

Dear all -

Continuing my puppet-animation of the Punch and Judy story.

After dark, Mr Punch is paid a visit by the Devil, who says he's come to 
claim his soul. Naturally, Mr Punch tries to wriggle out of it...


YouTube - https://youtu.be/p1sfrIXeaFw
Vimeo - https://vimeo.com/154755476

- Edward Picot
http://edwardpicot.com - personal website
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[NetBehaviour] Fwd: Headlong Digital Artist 2016, Headlong

[Edward Picot]

This might be of interest: from the ArtsJobs list:


 Call for Submissions: Headlong Digital Artist 2016, Headlong

*London* Closes Friday 26 February 2016 Paid (£10k-15k pro rata) Part 
time *Artform:* crafts , combined 
arts , dance 
, film 
, interdisciplinary arts 
, literature 
, photography 
, music 
, theatre 
, visual arts 
 *Contact:* Sarah Grochala 
sa...@headlong.co.uk 




   Description

Headlong makes exhilarating theatre for audiences across the UK. A 
touring company with a big imagination, we interrogate the contemporary 
world through a programme of fearless new writing, re-imagined classics 
and potent twentieth century plays.


Via a combination of bold artistic leadership and the championing of 
visionary artists we are able to create spectacular work with the 
highest possible production values. By positioning the next generation 
of theatre makers alongside artists of international standing, Headlong 
ensures it consistently creates work that is bold and original.


*Headlong Digital Artist Scheme*

Since 2014, Headlong has been working with ground-breaking artists to 
imagine the future of digital theatre.


In 2014, the visual artist Michael Takeo Magruder created an interactive 
world,The Nether Realm, which explored the fine line between reality and 
virtual reality in the modern world. The artwork was installed as a 
physical installation in the foyer of the Royal Court Theatre throughout 
the run of Jennifer Haley’s The Nether.


During 2015, interactive theatre maker Tassos Stevens (Coney) has been 
working on creating an interactive online story about identity and 
addiction that will be launched during the West End run of People, 
Places and Things in Spring 2016.


For 2016, we have decided to select our digital artists through an open 
application process.


We welcome applications from artists from all backgrounds and at all 
stages of their careers, who are working with or have an interest in 
working with digital media.


The scheme offers the selected digital artist:

 * A year long attachment with Headlong.
 * A £5000 commission for a digital artwork.
 * Mentoring
 * An allowance to cover travel expenses

For further information and to apply please visit Headlong's website at: 
http://headlong.co.uk/opportunities/headlong-digital-artist-award-2016/


The deadline for applications is *5pm on Friday 26 February*.


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[NetBehaviour] The Cranbrook Video Festival

[Edward Picot]

Dear all,

On Friday February 19th, 12.30 - 3.30 p.m, I'll be hosting the first 
Cranbrook Video Festival at the Sixth Form Centre, High Weald Academy, 
Angley Road, Cranbrook, Kent TN17 2PJ (my daughter's school). Entrance 
is £2 per head.


It isn't really a festival, more of a show, but it's got some really 
good stuff in it, including Michael Szpakowski's "OK, Good, Stand Clear" 
(which is one of his 12 Remixes); "Helgi & Hroar", which he made a 
couple of years ago with the pupils of Southward Park School and Sophia 
Lovell Smith; "Magic Blood Machine" by Ingrid Torvund, about which I 
published an article in Furtherfield a couple of months back; a 
brilliant surrealist video called "The Interpreter" by Noriko Okaku, 
which was originally commissioned by Animate Projects as part of their 
Parts and Labour show; and my own "The Calamitous Tale of Mr Punch".



Do come along if you happen to be able to make it!


- Edward Picot
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[NetBehaviour] More on We Are Not Alone @ 20-21 visual arts centre

[Edward Picot]

Ruth -

Great pictures from the show, and I really like the online version of 
your piece too - the two frames one above the other, and the red 
indicator mapping out the progress of the video down the right-hand side 
of the web page.


Interesting what you say about mechanical time as opposed to natural 
cycles - the sun, the moon, the tides, the seasons and so forth. But 
mechanical time/digital time is an expression of what's already going on 
in our minds, I think: the mapping-out, dividing-up, analysing and 
manipulation, not only of time but everything else, that gives us a 
measure of control over our environment, but only a measure, and at a price.


- Edward
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[NetBehaviour] That familiar sight of a patch of sunlight where you are not on a cloudy day...

[Edward Picot]

Pall -

Brilliant title -  but I also really like the track!

- Edward
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[NetBehaviour] Please staple me to this list (Mark Garrett cut-up)

[Edward Picot]

In 2016, try it. Over other groups, we may have that something. A living 
best culture, artistic techno-culture for many, our many trusted 
friends, our many trusted grounded friends; yes, those everyday 
challenges of living and quality, building alongside class, race, 
gender, liberalism, dedication, intentions. We propose to continue 
doing, adapting, top down, in out, soulful/working; people and position, 
systems and groups; we propose, in spite of terrible pressures, hope, 
help, respect. For you're the best, easy as all, long close and 
alongside, in important ways. So hope, hope, help. Building is the thing 
in pressures. I and my intentions, we continue and remain. Close and 
best. Hope and help. Try it in 2016. Try it for life.


- Edward
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[NetBehaviour] The Calamitous Tale of Mr Punch, Part Three

[Edward Picot]

Dear all -

Mr Punch has lost the baby - or possibly turned the baby into sausages - 
and Judy has called the Policeman.


YouTube - https://youtu.be/ZNXtiPSDgS0
Vimeo - https://vimeo.com/150680440

- Edward Picot
http://edwardpicot.com
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[NetBehaviour] Artware

[Edward Picot]

Marc -

How are you defining 'artware'? As software that's designed for the 
production of art, or maybe new kinds of digital art, as Randall's 
example seems to suggest? Or did you have something else in mind?


- Edward
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[NetBehaviour] a sitcom for xmas

[Edward Picot]

Dave -

Savage stuff! I can see this in speech-balloons, embellishing one of 
your comic-strips.


- Edward
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[NetBehaviour] The Calamitous Tale of Mr Punch, Part Two

[Edward Picot]

Mr Punch has been left in charge of the baby, but all he can think about 
is sausages. To make matters worse, once the sausages are made, both 
Toby the dog and Mr Punch's enemy the Crocodile seem to be trying to 
steal them...


YouTube - https://youtu.be/NaxzyVl5-yw
Vimeo - https://vimeo.com/147765266

- Edward Picot
http://edwardpicot.com
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[NetBehaviour] Fwd: Digital creators wanted

[Edward Picot]

From the Arts News listing:


 Digital creators wanted for exciting arts associate programme,
 Eastleigh Borough Council

*South East* *Artform:* interdisciplinary arts, photography, visual 
arts, Other, digital arts *Contact:* James Hibberd 
james.hibb...@eastleigh.gov.uk 




   Description

Eastleigh’s *Tec Hub* is on the lookout for fresh digital artists and 
multimedia creators to join its exciting new *Digital Arts Programme 
Eastleigh* *(DAPE) *launching in the New Year.**


Whether you’re working in interactive storytelling, digital performance, 
multimedia development or augmented reality the hub wants to hear from you.


The year-long programme will provide associates with the opportunity to 
get their digital arts business off the ground with:


 * *Free* workspace for a year
 * Dedicated Mentor
 * Business planning support
 * *Free* access to monthly workshop sessions and events to help them
   create their business
 * Discounts on equipment and software
 * Participation in live projects
 * Promotion through events and media

For those involved with the digital performing arts, there will also be 
opportunities to work closely with the borough’s two thriving theatres, 
*The Point *and *The Berry Theatre*.


Applications are open to all those aged 18 and over that are interested 
in breaking into Digital Arts and Multimedia and who want to develop 
their ideas and skills using creative digital technology and turn them 
into new business ventures.


Supported by *Eastleigh Borough Council *and overseen by its Head of 
Culture *Dr Cheryl Butler*, DAPE will run from Tec Hub, Eastleigh’s 
supportive flexible working space designed especially for start-ups 
working in the digital and tech creative industries, based at Wessex 
House Business Centre.


Mentor for the programme*Marcus Pullen*, managing director at multimedia 
production company Blue Donut Studios, said:


“We’re looking for artists, writers, musicians, programmers, engineers, 
filmmakers and performers who have bright ideas and want to stand on 
their own two feet in the digital arts business world.”


The criteria for applications are as follows:

 * A current form of documented evidence of ability such as:
 o Printed portfolios
 o Showreels
 o Published writing
 o Demo sound/music reels
 o Websites
 * Must have completed full-time education.
 * Part-time employed adults will be considered.

Applications are now open – for more information and to apply for this 
fantastic opportunity, email d...@eastleigh.gov.uk 
. Closing date for applications is 29th 
January.


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[NetBehaviour] The Calamitous Tale of Mr Punch, Part One

[Edward Picot]

Dear all -

Mr Punch wants to spend the day making big fat sausages for his lunch, 
but his wife Judy tells him he's got to look after the baby.


YouTube - https://youtu.be/KkYZuGXPPRY
Vimeo - https://vimeo.com/144360662

- Edward Picot
http://edwardpicot.com - personal website
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[NetBehaviour] Mark Esper, rest in peace

[Edward Picot]

Alan -

Thanks for posting those links. Wonderful work!

- Edward
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[NetBehaviour] Cloud Chasers - a video game about refugees

[Edward Picot]

I just came across this - 
http://mic.com/articles/126455/cloud-chasers-game-will-change-how-we-think-of-the-migrant-experience


'An upcoming game called /Cloud Chasers 
/ puts you in the shoes of the migratory 
experience, and tries to impart much needed 
 
understanding of the desperation and hardship faced by those trying to 
make a better life far from their homes. The game, set to hit the App 
Store and Google Play on Oct. 15, has been in the works since last 
September — long before the world turned its eyes to therefugee crisis 
 
in Europe.'


- Edward
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[NetBehaviour] 50 email subject lines you just can't ignore

[Edward Picot]

James -

The one I genuinely couldn't ignore was 'Fishing and Ultraviolence' - so 
much so that I Googled it, hoping for a bizarre story about fishermen 
busting each other's faces in the heat of a fishing competition, or 
because they were arguing over a particular stretch of riverbank. But it 
turned out to be another Islamic State scare-story. Imagination is 
always better than reality...


- Edward
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Re: [NetBehaviour] David Cameron Solves the Refugee Crisis

[Edward Picot]

James -

Thanks for responding. I don't like to spell out messages, but there's 
nothing complicated about this one: Cameron's response to the refugee 
crisis has been to tell it to go away, in the same way that Canute told 
the tide to go back, and with the same effect.


- Edward
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[NetBehaviour] David Cameron Solves the Refugee Crisis

[Edward Picot]

Too late to be relevant, and with little blue lines all across it.

YouTube - https://youtu.be/s_5OgBlHu5g
Vimeo - https://vimeo.com/141825303

- Edward Picot
http://edwardpicot.com - personal website
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[NetBehaviour] Opinion in a Cube

[Edward Picot]

Dave -

The 'Daily Mailograph' cube-face is really excellent. You should get it 
printed up as an A2 poster and go round London sticking it on walls (but 
you'd probably get arrested).


- Edward
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[NetBehaviour] Fwd: Research Associate (Digital Creativity Hub, Goldsmith's University)

[Edward Picot]

This could be of interest - although the ad contains some rather iffy 
language: 'Within the DC Hub scientists, social scientists, government 
and the third sector will work together to harness the enormous 
potential of games and interactive media to achieve social good.' Is it 
an established fact that games and interactive media actually have that 
enormous potential?



 Research Associate (Digital Creativity Hub)


 *Goldsmiths, University of London* - Department: Computing

Location:   London
Salary: £36,009 to £40,161
Hours:  Full Time
Contract Type:  Contract / Temporary

Placed on:  17th September 2015
Closes: 29th September 2015
Job Ref:171


*Interview Date: *w/c 19 October 2015

The Digital Creativity Hub (DC Hub) is a major (£18 million) investment 
by two UK research councils, four universities, and over 80 
collaborative stakeholder organisations to create a world centre of 
excellence for impact-driven research in digital creativity, which will 
launch in late 2015. The DC Hub will focus on digital interaction and 
media convergence: digital games, interactive media and the rich space 
between. In the DC Hub researchers, industry, government, the third 
sector and the general public will co-create the means for interaction 
and expression in the future digital society, jointly realising the huge 
potential of games and interactive media for economic, social and 
cultural impact. Research ideas will find a fast route into the 
commercial space through close partnerships between the Hub and 
industry. Within the DC Hub scientists, social scientists, government 
and the third sector will work together to harness the enormous 
potential of games and interactive media to achieve social good. The DC 
Hub will engage with museums, galleries and publishers of games and 
media to maximise the positive impact of the digital world on creative 
culture. We have a growing group of more than 80 collaborative partners 
(over half of them small- and medium-sized) across digital games, media, 
heritage, museums and galleries, education, healthcare and analytics. We 
also have strong support from key organisations such as the Knowledge 
Transfer Network, TIGA, UKIE, Game Republic, funding agencies and local 
and national government.


The project is seeking to appoint a Research Associate to work on the 
core research themes of: Art, Data Visualisation, Virtual Reality, 
Graphics, Interactivity, Procedural Content Generation and Design under 
the DC Hub Project, performing research work and carrying out software 
design and development work. The successful applicant will work with a 
range of collaborators in multiple disciplines across two principal 
sites: at Goldsmiths and at the Hub site at the University of York, as 
well as working with partners at other UK sites.


You should have a PhD in an appropriate computing, scientific or art 
discipline or equivalent work experience or publication record in the 
games, computing and movie special effects industries, or other Creative 
Industries. It is essential that you have a proven track record in 
software development and design in some or all of the domains of Data 
Visualisation, Art, Graphics, Interactivity, Virtual Reality, Procedural 
Content Generation and Design.


Based at Goldsmiths. Strong candidates with a preference for living in 
the York area and being based at The University of York, should not be 
deterred from applying.


Candidates will be expected to undertake regular travel between 
locations, and the cost of this will be met by the DC Hub.


https://jobs.gold.ac.uk/vacancy/research-associate-digital-creativity-hub-229868.html

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[NetBehaviour] "Objects of Art"

[Edward Picot]

Leaving on one side the question of whether people ought to be able to 
save their code-amendments, I love this project! Really clever and witty.

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[NetBehaviour] Fwd: Digital Artist, The Bare Project

[Edward Picot]

From the Arts Jobs listing -


 Digital Artist, The Bare Project

*Yorkshire, Sheffield* Closes Wednesday 16 September 2015 Paid (£15k-20k 
pro rata) Part time *Artform:* combined arts 
http://www.artsjobs.org.uk/combined-arts/, interdisciplinary arts 
http://www.artsjobs.org.uk/interdisciplinary-arts/, theatre 
http://www.artsjobs.org.uk/theatre/ *Contact:* Malaika Cunningham 
bareprojectthea...@gmail.com 
mailto:bareprojectthea...@gmail.com?subject=Re%20Digital%20Artist



   Description

*About The World Foreign (working title)*

The World Foreign is a verse play informed by the symptoms of psychosis; 
a portrayal of a world that no longer feels real.  We are working with 
world-renowned experts in psychosis, and collecting testimonies from 
those who have experienced it, to create a theatrical experience which 
questions your sense of reality.


*About the job*

We are looking for an experienced digital artist to help us develop our 
immersive theatre approach in a new direction. The ideal candidate will 
see this as an experimental opportunity for their own practice as well 
as an opportunity to develop their existing skills. The media we will 
need will be decided as part of the development process, however we are 
looking for someone with experience in:


-  Projection

-  Film editing

-  Live feed

-  Animation

-  Audio effects

-  Interactive technology (eg. offering audience equipment that 
will feed into performance)


*The fee for this development work will be £1035 based on roughly 9 days 
work between October and December at a rate of £115 a day. *


*To Apply*

Please read about this position and the project in more detail at 
http://thebareproject.me/job-opportunities/ 
http://thebareproject.me/job-opportunities/


and then send us a cover letter stating why you would like to be a part 
of this project and detailing how you fulfil the criteria, and also an 
up to date CV.


All applications to be sent to bareprojectthea...@gmail.com 
mailto:bareprojectthea...@gmail.com by 5pm on the 16th September. 
Interviews will take place in the week beginning 21st September.


For more information about The Bare Project, please visit 
www.thebareproject.me http://www.thebareproject.me



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[NetBehaviour] Fwd: Blaze Artist Commission, Blaze

[Edward Picot]

Another one from the Arts Jobs list -


 Blaze Artist Commission, Blaze

*North West* Closes Friday 28 August 2015 Paid (£10k-15k) Full time 
*Artform:* film http://www.artsjobs.org.uk/film/, interdisciplinary 
arts http://www.artsjobs.org.uk/interdisciplinary-arts/, libraries 
http://www.artsjobs.org.uk/libraries/, music 
http://www.artsjobs.org.uk/music/, visual arts 
http://www.artsjobs.org.uk/visual-arts/ *Contact:* Bethany Houldsworth 
bethany.houldswo...@lancashire.gov.uk 
mailto:bethany.houldswo...@lancashire.gov.uk?subject=Re%20Blaze%20Artist%20Commission



   Description

Blaze is seeking expressions of interest from artists that use digital 
media including light and sound media who would like to be considered to 
engage with young people from the local area in producing a piece/ 
installation. We will be looking to utilize the spaces in Fleetwood 
Library in an imaginative way. The experience will feature as part of 
Blaze Festival in October 2015


The artist's role will be to work with young people’s ideas and through 
workshops develop a piece based on Alternative words that incorporates 
sound. We expect that the artist will guide the young people in the 
design possibilities and practicalities using the library space to 
produce a quality piece in the library. This will be done via the artist 
working with local groups of young people and leading them through this 
process.


*Budget *

There is an artist fee of £1500attached to this project which will cover 
the director’s time for all workshops, development work, launch event, 
all travel, accommodation and other expenses.


There will be additional budget of up to £500 for materials and 
installation.


*Application *

**

Please include the following when sending us your expression of interest 
proposal:


 * Brief outline of initial ideas of how you would interpret and
   approach the project.
 * Outline of your ideas including how you would plan to work with
   young people
 * Details of materials/resources you might need for sessions
 * Details of any specific technical requirements/specifications
 * Links to websites containing examples of previous work
 * CV

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[NetBehaviour] Former Trader Tom Hayes Sentenced to 14 Years for Libor Rigging

[Edward Picot]

Dave -

One of your best. And as you said to Michael, I think what makes it 
especially strong is the way it encapsulates a sneaky feeling that mere 
condemnation isn't enough - you find yourself thinking 'Yeah, that's 
right actually' - the need to earn a living compromises all of us. To 
different degrees, obviously.


- Edward
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[NetBehaviour] drawings from the art review power 100

[Edward Picot]

Michael -

I'm just catching up with about a week's worth of NetBehaviour, and I 
wanted to say how much I liked these! The Serota drawing, done without 
looking at the paper or lifting the pen, is especially good. You should 
get it blown up big and stick it in the RA Summer Exhibition!


- Edward
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[NetBehaviour] Fwd: Digital Creative Residency

[Edward Picot]

This could be of interest - from the Arts Jobs list:


 Sprint: digital creative residency, Rambert

*London* Closes Thursday 10 September 2015 Paid (£10k-15k pro rata) Part 
time *Artform:* dance http://www.artsjobs.org.uk/dance/, visual arts 
http://www.artsjobs.org.uk/visual-arts/, Other, Digital Creatives 
*Contact:* Grace Hopkins grace.hopk...@rambert.org.uk 
mailto:grace.hopk...@rambert.org.uk?subject=Re%20Sprint%3A%20digital%20creative%20residency



   Description

*Sprint: digital creative residency*

Sprint is a new initiative to foster relationships between digital 
creatives and Rambert’s dance practitioners. Sprint aims to facilitate 
experimentation and exchange of knowledge, and open up approaches using 
technology.


We are looking for artists and creatives working with technology as a 
medium to experiment and develop their practice, and who wish to work in 
close collaboration with Rambert’s dancers, choreographers and staff. 
This includes (but is not restricted to): digital artists, creative 
technologists, interaction designers.


Over a residency period of four or eight months, resident digital 
creatives will be expected to:


 * Create digital prototypes and/or experimental artworks
 * Use emerging and current digital technologies
 * Combine the physical and the digital
 * Be open about process
 * Share skills and best practice
 * Explore user testing and iteration of prototypes based on feedback
 * Work closely with Rambert’s dancers, staff and the residency producers
 * Showcase work internally and externally.

Residents will be paid a fee and materials allowance totaling £7,500 (4 
month residency) or £15,000 (8 month residency).


Full details are in the Call for Submissions which can be downloaded 
below. You should read this in full before applying by completing the 
online application form which can be found 
at http://www.rambert.org.uk/about-us/jobs-auditions/sprint/


Closing date for applications:
8pm Thursday 10 September 2015.

Interviews will be held on Monday 14 / Tuesday 15 September 2015.

If you have any questions or would like to chat informally before 
submitting your application, email he...@wearecaper.com 
mailto:he...@wearecaper.com.


Sprint is a project designed by Rambert and Caper 
http://wearecaper.com/?utm_source=remutm_medium=bodyutm_campaign=linktrackutm_content=wysiwyg; and 
produced in collaboration with Alpha-ville 
http://www.alpha-ville.co.uk/?utm_source=remutm_medium=bodyutm_campaign=linktrackutm_content=wysiwyg;.



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