Re: [NetBehaviour] Invitation to Internet of Cars reception and events June 1, Wincester Science Centre. All welcome but please book.

[Helen Sloan]

Here are the correct links to book for the events as they seemed to get lost in 
cyberspace

Reception
http://www.eventbrite.co.uk/e/internet-of-cars-reception-tickets-11542212067

Screenings
http://www.eventbrite.co.uk/e/internet-of-cars-screening-and-artist-discussion-tickets-11646309425

Car Flash Mob
http://www.eventbrite.co.uk/e/internet-of-cars-flashmob-tickets-11543010455

Thanks
Helen


On 23 May 2014, at 13:04, Helen Sloan wrote:

> Hello Netbehaviourists
> 
> Just in case you are interested in SCAN's latest and final offering (sadly, 
> we will close in September) and/or having a debate about the Internet of 
> Things through the lens of the car, visit Winchester and Southampton over 
> June/July. We have special events at Winchester Science Centre on June 1 and 
> everyone is welcome. You will need to book through Eventbrite for all the 
> events that you want to attend. I do hope you will come.
> 
> All the best
> Helen
> Helen Sloan 
> Director
> SCAN
> 
> Internet of Cars
> Turning your car into a data carrier
> Special Reception at Winchester Science Centre: 1 June 2014
> Book through
> http://www.eventbrite.co.uk/e/internet-of-cars-reception-tickets-11542212067
> All welcome to each event but please book
> Special Events
> Winchester Science Centre 1 June: Demo Day, 2 – 5pm
> Demonstrations of mobile phone apps, artists work and the research from Sixth
> Sense Transport. Tickets with admission
> 6 – 7.30pm Special Artist Reception,
> Book to attend through 
> http://www.eventbrite.co.uk/e/internet-of-cars-receptiontickets-
> 11542212067 Entry by ticket only.
> 7.30 – 9pm Screenings and Discussion Session, Planetarium. All welcome but a 
> place
> is only guaranteed through booking at 
> http://www.eventbrite.co.uk/e/internet-ofcars-
> screening-and-artist-discussion-tickets-11646309425
> 9 – 9.30pm Internet of Cars Flash Mob, An orchestra of sounds from car stereos
> Winchester Science Centre Car Park. All welcome. Volunteers required. You need
> a car with a CD player (or a portable CD player) and working headlights.
> Tickets can be booked through 
> http://www.eventbrite.co.uk/e/internet-of-carsflashmob-
> tickets-11543010455
> 
> A Distributed Exhibition
> http://www.internetofcars.org.uk
> This series of exhibitions and events will explore and debate the use and 
> misuse
> of cars in everyday life through the lens of visual arts. Responding 
> creatively to
> data and research derived from traffic flow analysis in Dorset and Hampshire
> using automatic number plate reading (ANPR), six artists will show work 
> alongside
> the results of a research project, Sixth Sense Transport, investigating online
> promotion of a social and shared space for people who use cars and want to
> reduce their carbon footprint.
> Using the concept of the Internet of Things, ANPR cameras on A354 between
> Dorchester and Weymouth and similar carmers in Southampton, artists have
> used the data provided to interpret their own scenarios in this exhibition. 
> Simon
> Hollington & Kypros Kyprianou in The Car That Turned and Steve Beard and
> Victoria Halford in Router have created their own futuristic road movie 
> narratives.
> Stanza in The Agency at the end of Civilization, Duncan Shingleton in Flows 
> and
> Ivar van Bekkum and Esther Polak in Fronting Motion all use the data as it is
> gathered in real time to create various visualisations and sonic 
> interpretations of
> the data by focusing on traffic build up, carbon emissions and patterns of car
> usage. Lanfranco Aceti’s performance Car Park looks at the implication for
> Internet of Things regarding people. Each of the pieces has been specially
> commissioned and premiered for the show.
> Exhibiting Artists
> Stanza’s work will visualise the state of the transport and assess repeat 
> patterns
> overlaying a narrative that can allude to the subjective overtones of the 
> control
> space and surveillance culture. The artwork embeds itself inside the urban
> landscape, surveillance culture, privacy and alienation in the city. The 
> agency
> created in the galley focuses on the patterns we leave behind as well as real 
> time
> networked events that can be re-imagined and sourced for information.
> Hollington & Kyprianou’s film examines the ‘classic’ American road movie which
> was both an emblem of achieving and escaping from the American Dream. The
> car, the road and the hero are the holy trinity of American cinema. But what 
> would
> a convincing UK road movie look like? What architecture would it traverse 
> today?
> Halford & Beard Router is the soundtrack to an imaginary movie which tells the
> story of a secret ‘mobile prison’ experiment by a sinister Ame

[NetBehaviour] Invitation to Internet of Cars reception and events June 1, Wincester Science Centre. All welcome but please book.

[Helen Sloan]

Hello Netbehaviourists

Just in case you are interested in SCAN's latest and final offering (sadly, we 
will close in September) and/or having a debate about the Internet of Things 
through the lens of the car, visit Winchester and Southampton over June/July. 
We have special events at Winchester Science Centre on June 1 and everyone is 
welcome. You will need to book through Eventbrite for all the events that you 
want to attend. I do hope you will come.

All the best
Helen
Helen Sloan 
Director
SCAN

Internet of Cars
Turning your car into a data carrier
Special Reception at Winchester Science Centre: 1 June 2014
Book through
http://www.eventbrite.co.uk/e/internet-of-cars-reception-tickets-11542212067
All welcome to each event but please book
Special Events
Winchester Science Centre 1 June: Demo Day, 2 – 5pm
Demonstrations of mobile phone apps, artists work and the research from Sixth
Sense Transport. Tickets with admission
6 – 7.30pm Special Artist Reception,
Book to attend through 
http://www.eventbrite.co.uk/e/internet-of-cars-receptiontickets-
11542212067 Entry by ticket only.
7.30 – 9pm Screenings and Discussion Session, Planetarium. All welcome but a 
place
is only guaranteed through booking at 
http://www.eventbrite.co.uk/e/internet-ofcars-
screening-and-artist-discussion-tickets-11646309425
9 – 9.30pm Internet of Cars Flash Mob, An orchestra of sounds from car stereos
Winchester Science Centre Car Park. All welcome. Volunteers required. You need
a car with a CD player (or a portable CD player) and working headlights.
Tickets can be booked through 
http://www.eventbrite.co.uk/e/internet-of-carsflashmob-
tickets-11543010455

A Distributed Exhibition
http://www.internetofcars.org.uk
This series of exhibitions and events will explore and debate the use and misuse
of cars in everyday life through the lens of visual arts. Responding creatively 
to
data and research derived from traffic flow analysis in Dorset and Hampshire
using automatic number plate reading (ANPR), six artists will show work 
alongside
the results of a research project, Sixth Sense Transport, investigating online
promotion of a social and shared space for people who use cars and want to
reduce their carbon footprint.
Using the concept of the Internet of Things, ANPR cameras on A354 between
Dorchester and Weymouth and similar carmers in Southampton, artists have
used the data provided to interpret their own scenarios in this exhibition. 
Simon
Hollington & Kypros Kyprianou in The Car That Turned and Steve Beard and
Victoria Halford in Router have created their own futuristic road movie 
narratives.
Stanza in The Agency at the end of Civilization, Duncan Shingleton in Flows and
Ivar van Bekkum and Esther Polak in Fronting Motion all use the data as it is
gathered in real time to create various visualisations and sonic 
interpretations of
the data by focusing on traffic build up, carbon emissions and patterns of car
usage. Lanfranco Aceti’s performance Car Park looks at the implication for
Internet of Things regarding people. Each of the pieces has been specially
commissioned and premiered for the show.
Exhibiting Artists
Stanza’s work will visualise the state of the transport and assess repeat 
patterns
overlaying a narrative that can allude to the subjective overtones of the 
control
space and surveillance culture. The artwork embeds itself inside the urban
landscape, surveillance culture, privacy and alienation in the city. The agency
created in the galley focuses on the patterns we leave behind as well as real 
time
networked events that can be re-imagined and sourced for information.
Hollington & Kyprianou’s film examines the ‘classic’ American road movie which
was both an emblem of achieving and escaping from the American Dream. The
car, the road and the hero are the holy trinity of American cinema. But what 
would
a convincing UK road movie look like? What architecture would it traverse today?
Halford & Beard Router is the soundtrack to an imaginary movie which tells the
story of a secret ‘mobile prison’ experiment by a sinister American G4S-style
company. The company confines four guys in a van and condemns them to travel
the roads of a coastal city in an endless voyage of the damned. Naturally, 
things
go horribly wrong…
Duncan Shingleton will be show at the Turner Sims Concert Hall ‘Flows’ scans
registration plates in real-time across the six camera sites on the A354 between
Dorchester and Weymouth. As vehicles pass the cameras, a vehicle lookup enquiry 
is
made to ascertain data on their CO2 emission rating, which is then used to 
drive Arduino
controlled air turbines, generating movement in six particle filled acrylic 
tubes. As the
total amount of CO2 emitted ebbs and flows, the air rate is increased and 
decreased in
correlation, changing the velocity of the particles.
Esther Polak and Ivar van Bekkum’s Fronting Motion is an outdoor installation 
piece
which will be a fully immersive experience in

Re: [NetBehaviour] "Deller's British pavilion strikes a combative note"

[Helen Sloan]

Hi Dave and Netbehaviourists

It takes a lot for me to comment on things these days but I'm behind you here 
mostly Dave.

I was at Venice Biennale in 2003 when there was actually a brilliant and brave 
exhibition curated by Hou Hanru Z.O.U Zone of Urgency. It didn't focus on the 
individual artist but was rather a packed environment that dealt with daily 
living and culture to create a both chilling and exciting environment cutting 
across national boundaries.  It didn't go down very well with the critics but 
that year being the year of the war with Iraq was hailed as brave in its 
politicisation. I still reel from the time I was watching a video about 
homelessness in South America (in the exhibition The Structure of Survival) in 
the same year  while a group of people around me were very loudly discussing 
how they could get entry to Jay Jopling's 40th birthday party (after a short 
two sentences about how moving the show was). Where the politics exist, it is 
an opportunity for people to absolve their conscience. They've seen the work, 
commented sympathetically, which makes them politically motivated

Regarding Jeremy Deller, I actually think that he means what he says in his 
work and as you say 'he does it well'. But he has successfully negotiated the 
art market - does that mean he's a sellout? Probably  yes. He probably thinks 
that it is good that he has been able to manoeuvre into this position and get 
on message. I probably feel like Dave on this one - not good enough...and it 
will just be bought by those people wealthy enough to buy it. However, I can't 
help but like the images I've seen.

The bigger problem is Venice Biennale. Most people involved in the arts go 
there at some point whatever their thoughts about it (I've been twice and 
represented an artist once while not liking the experience much and I'm not 
alone) - it is an opportunity to network with a range of people (not just 
investment bankers). But for me it is a horrible sociopathfest in the name of 
art that mostly misses the point of what the power of art can be in a 
socio/political context. It was ok when there were outlets for experimental 
practice but visual arts has been reduced to community/wellbeing and/or the art 
market.  Venice Biennale shows both with only surface gloss around concepts, 
ideas and sociopolitical issues. It's not that the work is not good, but it is 
the environment in which it is shown in and the complicity of the artist  to 
that environment that is negative. There are always some great shows in Venice 
but it takes a lot and a "critical" mass to make it so.  

Unfortunately I suspect  that art no longer occupies the Zone of Urgency. Some 
of its language does though and there are many on this list that are involved 
in activism and interesting art approaches. At the moment I really have to 
salute Mark McGowan for his work (which is some really hardcore performance) on 
politics in UK and of course Furtherfield who make it possible for people to 
post on this list in this way without worrying about a whole agenda about the 
history of media/arts and the key players in it.

I have a couple of projects on the go at the moment for next year that I hope 
will broach some of these issues. More on that later... Meantime thanks for 
reading if you got this far. It's time we were more vocal.

All the best
Helen
Helen Sloan
Director
SCAN

On 28 May 2013, at 21:10, dave miller wrote:

> or is it just fake rage?
> 
> http://www.guardian.co.uk/artanddesign/gallery/2013/may/28/venice-biennale-jeremy-deller-in-pictures#/?picture=409654763&index=2
> and this...
> http://www.guardian.co.uk/artanddesign/2013/may/28/venice-biennale-jeremy-deller-british-pavilion
> 
> Maybe more like theft - an establishment artist stealing from the rest
> of us? He does it well though.
> Calculated fake political art that will most likely get bought by an
> investment banker, as for sure these will be good investments.
> 
> dave
> ___
> NetBehaviour mailing list
> NetBehaviour@netbehaviour.org
> http://www.netbehaviour.org/mailman/listinfo/netbehaviour

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[NetBehaviour] Art Image Politics Conference University of Southampton UK March 10, Booking Essential, All welcome

[Helen Sloan]

Apologies for cross posting

Art Image Politics

One Day Symposium, University of Southampton
Building 58, Murray Lecture Theatre and John Hansard Gallery

10 March 2012 / 9.30am – 6.30pm Booking Essential / Tickets: £10 (includes
refreshments, light buffet and evening gallery reception)

To book: call 023 8059 2158 or email i...@hansardgallery.org.uk
Limited student bursary places are available – for details contact Ronda
Gowland Pryde at r...@soton.ac.uk

Convened by John Hansard Gallery with SCAN (digital and interdisciplinary
arts agency) as part of  the extended programme for the exhibition David
Cotterrell: Monsters of the Id
http://www.hansardgallery.org.uk/exhibition/future.html
11  Feb – 31 March, 2012
   
Nation States, world power, economic models, the role of the  citizen have
all been in a state of change and flux over the last ten years.
Historically art has been a good reflection of change and in some cases has
led  the way in reworking policy. There is a resurgence of art work around
new political  agendas that either reflects directly current world themes or
employs  predominant new technologies or other materials and concepts
inventively to  make more subtle comment. While, since its inception, the
photographic image  has been questioned for its ‘truth’, it is now accepted
that images are routinely manipulated and mediated in order to convey a
message or context.  This one day symposium will address the ways that
artists in  21st Century are using new technologies, reflecting new
political  agendas, and are constructing imagery or concepts to represent
the current  world situation. Papers will explore issues surrounding  the
following themes: Image Manipulation  and Politics – How much has the
ubiquity of image manipulation changed  views on current affairs and their
authenticity? How have artists responded to  this? Hacking, art and the
political agenda – Artists have in the post WWII decades manipulated
software and hardware to convey ideas and concepts. How are they responding
now? How are they dealing with the standardisation of proprietary software
and  hardware? Is the current trend in content and platform separation
appropriate  for artists? New display  technologies, art and politics –
After decades of working within the  constraints of the screen or
photographic image, artists are beginning to look  at new forms of display.
How have artists used new display devices as a  conceptual tool? Which
artists alongside David Cotterrell are using new  displays to convey
meaning? New Politics and  Artist Responses – Artists are beginning to
emerge that embody strong  political ideas in their work. How are they
responding across a range of media?  How is this different from previous
work that has a strong political agenda?
  
Speakers: 
Roger Kneebone Professor of Surgical Education at Imperial  College London

Gunther Kress Professor of Semiotics and Education at the  Institute of
Education, University of London

David Cotterrell Artist, Monsters of the Id

Michaela Crimmin Course Tutor, Art in the Public Domain,
Curating Contemporary Art Programme, Royal College of Art and Co-Director,
Culture and Conflict

Carina Brand,  Centre for Art, Design, Research and  Experimentation,
University of Wolverhampton

Mafala Dâmaso Department of Visual Cultures, Goldsmiths,  University of
London

Ian Kirkpatrick Southampton-based artist and researcher

Helen Sloan Director, SCAN

Neja Tomšič Researcher / curator at MoTA – Museum of Transitory Art,
Ljubljana, Slovenia

Georgina Williams Winchester School of Art, University of  Southampton

Matthew Cornford Artist, Cornford & Cross and Professor  of Fine Art,
University of Brighton

Hydar Dewachi Photographer, artist and engineer

Ian Gwilt Professor of Design and Visual Communication,  Sheffield Hallam
University and Digital Artist



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[NetBehaviour] David Cotterrell, Monsters of the Id, John Hansard Gallery, Opening 11 Feb (free coach from London)

[Helen Sloan]

Hi NetBehaviour

Sorry for the promotional email but...

It would be great if you could come to our opening next Saturday (2pm - 4pm)
in Southampton of David Cotterrell's - http://www.cotterrell.com -
exhibition of interactive video works, Monsters of the Id. This is a new
body of work, 3 years in development,  based on his residencies in
Afghanistan and research into developing new display technologies (see below
for more info). 

There is also a free coach from London leaving outside Madame Tussauds at
11.45am (opposite Kinetica Art Fair for which people booked for the coach
can get 20% discount on a ticket if they buy in advance for Saturday) and
returning from John Hansard Gallery at 4pm. You will need to book places by
contacting i...@hansardgallery.org.uk by 10 February.

Hope to catch up with some of you there.

All the very best
Helen
Helen Sloan
Director
SCAN

David Cotterrell: 
Monsters of the Id 11 February ­ 31 March 2012
John Hansard Gallery, Southampton
   
David Cotterrell's work spans video, audio,interactive media, artificial
intelligence and  hybrid technology. Derived from the artist's  journeys to
Afghanistan, Monsters of the Id tests our expectations of cinematic and
media representation, presenting a series of new works that experiment with
advanced display technologies. The exhibition captures the disorientation of
a civilian observer within a militarised environment.  Upon entering the
gallery, visitors are immersed in a landscape that crosses the physical and
the virtual. The disquieting Observer Effect presents viewers with a
projected image of a distant, self-absorbed population. As audiences remain
within the space, this virtual community grows in number and becomes
distracted by their presence.  Searchlight 2 reveals illusory human shadows
traversing a low platform terrain, suggestive of the desert landscape as
seen by an aerial drone. The unnerving movements of this unidentified
population are  computer-generated and directly mirror the actions seen in
Observer Effect.  Apparent Horizon renders immersive, virtualised vistas of
a desert landscape. As viewers, our role hovers between sublime reverie and
the quiet anxiety between of periods of violence. The exhibition ends with a
final cinematic flourish, enabling visitors to consider their role in the
exhibition and its dialogue of control, observation truth and contradiction.

Monsters of the Id is a John Hansard Gallery exhibition co-curated with
Helen Sloan, SCAN, and is accompanied by a new, fullyillustrated
publication. The development of the exhibition has been supported through
residencies with the Joint Forces Medical Group in Helmand province and
civilian agencies in the northern provinces of Afghanistan enabled by
Wellcome Trust and the RSA, and supported by a Philip Leverhulme Prize for
research, Danielle Arnaud, Sheffield Hallam University, Wellcome Trust and
Arts  Council England.

John Hansard Gallery
 University of Southampton
 Highfield
 Southampton
 SO17  1BJ  
 Tel: +44 (0)23 8059 2158
 i...@hansardgallery.org.uk
 http://www.hansardgallery.org.uk/


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[NetBehaviour] Like Shadows: A Celebration of Shyness (in pervasive media) for White Night Brighton, Saturday 29th October - all welcome

[Helen Sloan]

Hi Netbehaviour

A bit of promotion here, but if you can get to Brighton on Saturday there's
our project and many others that might be of interest.

Best
Helen

Dear Colleagues and Friends

It would be great if you could join us at Phoenix in Brighton for SCAN,
University of Sussex and Phoenix Brighton's contribution to the huge number
of events happening in Brighton throughout the night on Saturday 29th
October.

Please check out the full programme at: http://www.whitenightnuitblanche.com

Details of our event are below -  a curated exhibition and event in response
to the findings from a research project 'Supporting Shyness in Pervasive
Media' by the Departments of Informatics and Sociology at University of
Sussex.

Very best
Helen
Helen Sloan
Director, SCAN and Curator of Like Shadows: A Celebration of Shyness

---
Like Shadows: A Celebration of Shyness
A night of exhibition, interactive installations, performance, intervention,
screening, music and contemplation
29 October 2011, 20.00 (BST) ­ 02.00 (GMT), Phoenix Brighton
10 - 14 Waterloo Road, Brighton
http://www.phoenixarts.org
 
The contemporary Œideal¹ visitor to an art event is considered to be
extrovert, visibly active and willing to participate. This extends to social
networking where we are encouraged to share our lives, take part and
interact in surveys, games and flash mobs. ŒShare or die¹ is the mantra of
the 21st Century for those with a lifestyle based on the network.  But what
about people who want to be private and to share their experiences in more
contemplative ways? Inspired by research on Shyness in Pervasive Media from
the Departments of Informatics and Sociology, University of Sussex, Like
Shadows offers the opportunity to experience and participate in events at a
range of levels to suit the visitor.  While most artworks gently encourage
participation from the audience, there will also be quiet areas for
different forms of engagement and reflection. Comments and quotes about
shyness or the exhibition can be left visibly or anonymously. Some work is
playful and humorous, other work seriously looks at the behaviours exhibited
through shyness and plays or experiments with that. As with all art,
engagement is necessary to have a good experience but how you choose to
engage is up to you.  There is live music at the end of the evening (as well
as most exhibits still running).  And remember that the DJ or performer
might be hiding behind the performance to avoid direct social contact.

One of the projects involves shredding waste paper. If you would like to
bring any paper for shredding on the night that would be very welcome. You
can shred in public or in private, it is your choice.
 
Artists and performers: Jeannie Driver, Anna Dumitriu (the artist partner on
the project), Foundations of Software Systems Lab, Tina Gonsalves with Matt
Iacobini, Peter Hardie, Tom Keene and Kypros Kyprianou, Alex May, Rebecca
Helen Page, Olu Taiwo and  Alexa Wright.

Music from: Richard Davis, Timothy Didymus and Morgan

Running order

20.00 (BST) - 02.00 (GMT)
Jeannie Driver
Foundations of Software Systems Lab
Ben Swailes
Tina Gonsalves with Matt Iacobini
Peter Hardie
Tom Keene and Kypros Kyprianou
Alex May
Alexa Wright


20.00 - 0.00 Anna Dumitriu
20.00 - 00.00 (earliest) Alternate performances on the hour Rebecca Helen
Page and Olu Taiwo
00.30 Timothy Didymus, Live performance
01.15 Ricard Davis, Live performance
1.30 - 2.00 (GMT) Morgan, DJ (1.5 hour set celebrating 2.00 twice)

Curated by Helen Sloan, SCAN
 
Like Shadows: A Celebration of Shyness is supported by the Engineering and
Physical Sciences Research Council, as part of Supporting Shy Users in
Pervasive Computing
http://www.informatics.sussex.ac.uk/research/projects/shyness/tiki-index.php
?page=Supporting+Shy+Users+in+Pervasive+Computing undertaken by the
departments of Informatics http://www.sussex.ac.uk/informatics/  and
Sociology http://www.sussex.ac.uk/sociology/ at The University of Sussex and
by Brighton and Hove City Council.

http://www.scansite.org






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Re: [NetBehaviour] Iteracy And The Digital Humanities

[Helen Sloan]

James

I am already learning about my garden and have many of the things bad and
good going on - much of which you documented.
My point was - do we programme or learn to work the land? Which I suspect
you know. And my feeling is that both are going to be very useful.
I am also aware that I am lucky to have a garden to work in. Both
programming literacy and the ability to work land might be tricky in the
medium to longterm future.

I don't need lessons in gardening (I am learning on the job) but I might in
programming. And the other point I made is that programming and technology
might have many contexts.

H


On 13/10/11 23:53, "James Morris"  wrote:

> On Thu, 13 Oct 2011 20:30:04 +0100
> Helen Sloan  wrote:
> 
> ...
> 
>> So now, my thought is do I go back to my garden and learn to grow
>> vegetables for subsistence (which I've spent some months working on)
>> or do I sign up for that Java/C course I've been meaning to learn for
>> 10 years? Both I suspect will be great skills to have now and in the
>> future.
> 
> If you spend most of your time inside currently then I would say get
> out into you garden! My partner and I have been growing our own veg for
> a couple of years now and it's really satisfying (when it goes right).
> 
> Though depending on the size of your patch, you might find you have
> time to do both. The vegetables themselves do most of the hard work, we
> just prepare the ground for them and a little maintenance such as
> weeding and watering.
> 
> If you are space-limited it can be a bit tricky working out where to
> place things especially while considering the seasons.
> 
> Runner beans, broad beans, potatoes, courgettes, chard, tomatoes, all
> easy to grow :-)
> 
> Having massive problems at the moment with slugs, snails, and
> caterpillars devouring kale, spring cabbage, and purple-sprouting, but
> they seem to leave the chard alone.
> 
> 
> James.
> 
> 


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Re: [NetBehaviour] Pioneer of C - Progamming Language Dennis Ritchie R.I.P.

[Helen Sloan]

Thanks for posting that.


On 13/10/11 21:55, "Fung-Lin Hall"  wrote:

>
> 
>   
>  nguage-and-unix-repo/>
>  
> R.I.P Denis Ritchie - Pioneer of C- Programming language
>  
>  
> http://www.engadget.com/2011/10/13/dennis-ritchie-pioneer-of-c-programming-lan
> guage-and-unix-repo/
>  nguage-and-unix-repo/>
>  
>  Fung Lin Hall
>  http://www.mutanteggplant.com/vitro-nasu/
>  
>  
>  
> 
> ___
> NetBehaviour mailing list
> NetBehaviour@netbehaviour.org
> http://www.netbehaviour.org/mailman/listinfo/netbehaviour


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Re: [NetBehaviour] Iteracy And The Digital Humanities

[Helen Sloan]

This is a very interesting strand.

I wish poetry or code were easy for me and I'm on draft 5 of this response
so lists aint easy either...

Firstly, and I'm surprised, I feel myself largely drawn to Doug Rushkoff in
this instance. As someone who probably has the Digital Bildung (and an
uncanny knack of understanding some simple code due to my maths background
and a little bit of BASIC, Cobol and Pascal in the old days - was never any
good at any of it), in any contemporary context I am  largely programming
illiterate. Not what Ruth called for really.

As a curator who surrounds myself with artists who program, hack (in the
broadest sense of the word so it could be toys or cameras as much as
software) and generally work in the context of reconfiguring to suit their
needs, I am disappointed to find that not only is programming largely
ignored at statutory education level, it is often ignored at higher
education level. Whilst some people will always break through, this is going
to be a decreasing number as people are only taught the rudiments of
proprietary packages in a very formulaic way. As James W pointed out, this
is what many corporates, ISP Providers and so on want to maintain dominance.

As technology proliferates, I have three questions that have been playing on
my mind that relate to programming as much as anything and ask about
our/humanity's/people's relationship with technology and programming and
vice versa. They are very broad but I think they are relevant to the
discussion:

1) Is it as Transhumanists and Posthumanists suggest, the next step of
evolution either enhancing people or making people subservient to
technology? Computational programming might look very different in those
contexts and not just in terms of Deleuze.

2) Is the technology there to help people live on their terms?

3) Is technology contributing to the gradual decline of the dominance of
people since it relies (like so much of what we do) on unsustainable
resources? 

I always advocated question 2 but now I am a bit resigned to question 3. 1
concerns me greatly but I watch the debates with interest. There are of
course other questions and hybrids of those.

At the end of it we need to understand what we are up against. This list is
the converted and I really do think that understanding programming is
something everyone needs to be taught. The catholic church kept everyone at
bay with Latin - is this not the same?

So now, my thought is do I go back to my garden and learn to grow vegetables
for subsistence (which I've spent some months working on) or do I sign up
for that Java/C course I've been meaning to learn for 10 years? Both I
suspect will be great skills to have now and in the future.

All the best
Helen



On 13/10/11 19:55, "Rob Myers"  wrote:

> On 13/10/11 19:16, Andreas Maria Jacobs wrote:
>> 
>> but apart from being able to oversee the more complex structures dealt
>> within and surrounding the coded environment, programming skills are
>> more a starting point than a goal in itself
> 
> It's an important step. And one that can disrupt later steps.
> 
>> I also was dissapointed by the meager observations your previous link
>> led me to i.e. the introduction of the term 'iteracy' more or less a
>> word play with 'literacy' and 'iteration' a much used softeware practise
> 
> I enjoy word play and the possibilities it opens up. When it's
> recognized as such.
> 
>> I honestly think that oppositional thoughts regarding the establishment
>> and societal future influences of studying and trying to define 'Digital
>> Humanities'  is necessary and certainly valuable not only for its
>> eventual progress but also for the pitfalls it implies
> 
> The critical techniques of the digital humanities are being critiqued by
> those who are otherwise silent on the efficacy and social context of
> critique. My concern at present is that academic politics mean some of
> the threatened middle management of the humanities are trying to
> strangle what they view as a more successful rival for funding in the crib.
> 
>> For instance the connection between computing and voting is nowadays
>> common practise in almost all 'democracies' , although in India a Dutch
>> scientist is prosecuted because he proved the system to be easely
>> forged. In the EU a Dutch minister fought for the introduction of open
>> source software replacing the MS dominated softwares used before, she
>> succeeded!
> 
> I really recommend "The Philosophy Of Software" by the same author for
> this. :-)
> 
> Certainly, being able to read the code used by voting machines is a very
> direct link between programming literacy and democracy. The
> techno-progressive consensus on voting machines is currently to *reject*
> them. This might appear counter-intuitive to the non-programming public.
> 
>> Software Studies as a science to investigate and explore the broader
>> ways in which people, corporate power and individuals use software on a
>> more or less daily basis s

[NetBehaviour] Open Letter to Arts Council England about development of Digital Arts in UK

[Helen Sloan]

Dear Netbehaviour

Many of you will have seen the open letter to ACE (Arts Council England)
that is being circulated for signatures. It is a positive letter calling for
a dialogue about the current and future development of digital arts practice
in UK and consequently in terms of its position internationally. As you may
be aware there have been considerable cuts to arts funding in England and
digital arts seems to have been hit particularly hard by this process.

A debate leading up to the letter has developed on a google group:

https://groups.google.com/group/acedigitaluncut?hl=en


Digital arts organisations and artists in UK have been part of an effective
international network and we would like to be able to continue this work
with strong support, both funding and advocacy, from Arts Council England.
If you feel able to sign the letter please do:
 
http://www.coda2coda.net/

Thanks in advance.

All best wishes
Helen
Helen Sloan
Director
SCAN 




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Re: [NetBehaviour] Lunch [Re: Art Doesn't Make Us Better People]

[Helen Sloan]

Simon/Ana and list

I was aware of MARCEL for a long time and was sceptical of it (I think it is
okay to say that as I have talked about it openly). MARCEL is a fantastic
project that now feels very timely which is why I'm now signed up. Standard
protocols are pretty much what they are looking for so that we all have a
universal standard through which to be creative and some things are elusive
on this front. It is , as you mentioned Simon,  still in development - but
along that process a lot of interesting questions have been addressed.The
archive that is being built up through MARCEL should not be underestimated
and includes a back catalogue of Steina and Woody Vasulka and Gary Hill.

Ana - I think that your question is about scale. If you think about the web,
apple and facebook, they were set up as very small ventures and then grew to
become the market forces. If we can figure out scalability on a lot of
things, we might get an answer. That's my take on it anyway.

Best
Helen


On 19/10/10 21:41, "Simon Biggs"  wrote:

> Around 2001 I sought to engage with Marcel but found, after discussing its
> aims and objectives with Don Forester, vague. Looking at their technology at
> the time it didn't seem bespoke but relying on standard protocols and
> systems. Nothing seems to have developed since then. Have they managed to
> progress it beyond an idea?
> 
> Best
> 
> Simon
> 
> 
> Simon Biggs
> s.bi...@eca.ac.uk  si...@littlepig.org.uk
> Skype: simonbiggsuk
> http://www.littlepig.org.uk/
> 
> Research Professor  edinburgh college of art
> http://www.eca.ac.uk/
> Creative Interdisciplinary Research in CoLlaborative Environments
> http://www.eca.ac.uk/circle/
> Electronic Literature as a Model of Creativity and Innovation in Practice
> http://www.elmcip.net/
> Centre for Film, Performance and Media Arts
> http://www.ed.ac.uk/schools-departments/film-performance-media-arts
> 
> 
>> From: Helen Sloan 
>> Reply-To: NetBehaviour for networked distributed creativity
>> 
>> Date: Tue, 19 Oct 2010 12:32:01 +0100
>> To: "he...@creative-catalyst.com, NetBehaviour for networked distributed
>> creativity" 
>> Subject: Re: [NetBehaviour] Lunch [Re:  Art Doesn't Make Us Better People]
>> 
>> MARCEL has been trying to develop a platform since 1997 with a range of
>> partners - it has an archive of video and papers and a network of about 150
>> members (made up of institutions and individuals). All are welcome to join -
>> it is driven by Don Foresta (who worked on one of the first networking
>> projects in Venice Biennale with Roy Ascott in 1980s?) with a strong network
>> of supporters around it. http://www.mmmarcel.org. To date a universal
>> platform for streaming has been elusive as we've discussed. The ethos behind
>> MARCEL is open source and the idea is to create a platform that can be
>> shared and developed. It would be great to have more info on panoplie.
>> 
>> 
>> On 19/10/10 12:07, "helen varley jamieson" 
>> wrote:
>> 
>>>   the other platform that we haven't mentioned yet here is panoplie,
>>> annie's web-streaming interface - which actually does a lot of what
>>> we're talking about (multi-location audio-visual streaming to a browser
>>> interface that's accessible to audiences at the click of a link). BUT i
>>> am not sure if the project is ongoing at the moment - annie or clement,
>>> perhaps you can tell us more?
>>> 
>>> i have heard about mmarcel.org but don't know much about it - are they
>>> actually developing a live platform, or is it more of a
>>> respository/network kind of a thing?
>>> 
>>> h : )
>>> 
>>> On 18/10/10 9:44 PM, Helen Sloan wrote:
>>>> Alan, Helen, Ana and List
>>>> 
>>>> This info is really helpful and I will let you know how it all goes. It's a
>>>> project that I'm following collaboratively and slowly with organisations,
>>>> among them Furtherfield and MARCEL (worth looking them up
>>>> http://mmmarcel.org - they have been pursuing this since mid 1990s and I'm
>>>> sure many of you know of it - they really set the vision and precedent for
>>>> some of this as far as I can see).
>>>> 
>>>> What should be a simple issue of many to many shared spaces on the network
>>>> seems to be proving elusive - it's possible to obtain good sound or visuals
>>>> but not both. Clearly telematic work has been around for a while and is
>>>> being developed but there do seem to be issues with what exists.
>

Re: [NetBehaviour] Lunch [Re: Art Doesn't Make Us Better People]

[Helen Sloan]

MARCEL has been trying to develop a platform since 1997 with a range of
partners - it has an archive of video and papers and a network of about 150
members (made up of institutions and individuals). All are welcome to join -
it is driven by Don Foresta (who worked on one of the first networking
projects in Venice Biennale with Roy Ascott in 1980s?) with a strong network
of supporters around it. http://www.mmmarcel.org. To date a universal
platform for streaming has been elusive as we've discussed. The ethos behind
MARCEL is open source and the idea is to create a platform that can be
shared and developed. It would be great to have more info on panoplie.


On 19/10/10 12:07, "helen varley jamieson" 
wrote:

>   the other platform that we haven't mentioned yet here is panoplie,
> annie's web-streaming interface - which actually does a lot of what
> we're talking about (multi-location audio-visual streaming to a browser
> interface that's accessible to audiences at the click of a link). BUT i
> am not sure if the project is ongoing at the moment - annie or clement,
> perhaps you can tell us more?
> 
> i have heard about mmarcel.org but don't know much about it - are they
> actually developing a live platform, or is it more of a
> respository/network kind of a thing?
> 
> h : )
> 
> On 18/10/10 9:44 PM, Helen Sloan wrote:
>> Alan, Helen, Ana and List
>> 
>> This info is really helpful and I will let you know how it all goes. It's a
>> project that I'm following collaboratively and slowly with organisations,
>> among them Furtherfield and MARCEL (worth looking them up
>> http://mmmarcel.org - they have been pursuing this since mid 1990s and I'm
>> sure many of you know of it - they really set the vision and precedent for
>> some of this as far as I can see).
>> 
>> What should be a simple issue of many to many shared spaces on the network
>> seems to be proving elusive - it's possible to obtain good sound or visuals
>> but not both. Clearly telematic work has been around for a while and is
>> being developed but there do seem to be issues with what exists.
>> 
>> Access Grid is still only accessible ( ;-)) if you are part of an academic
>> network or attached to one - that has not changed but as Alan says it's
>> possible to see some very interesting material from other organisations and
>> to make connections with them; skype as far as I know does not support
>> multiple connections through video and sound (only sound to date). CuSeeMe
>> I've heard of but have not looked into - thanks for the pointer Alan. Also
>> as you say, Second Life does seem to be developing some more convincing
>> spaces than a couple of years ago.
>> 
>> There are developments in industry and there seem to be a large number of
>> videoconferencing packages available to buy - but what they can do is
>> limited for artists.
>> 
>> Ana, regarding the social networking I thought that Google Wave was going to
>> do what you suggested but I've not heard about it for a while??; also
>> joindiaspora.com looks like it might have potential - there are probably
>> others who know much more than I do about this and my suggestion is
>> certainly not all open source.
>> 
>> Of course the multicasting raises many issues: access, bandwidth and
>> sustainability to name some big ones. And the issues also depend on the
>> approach of the government that is regulating the internet - in UK emphasis
>> on basic infrastructure and strong regulation of the net. What seems like a
>> simple issue starts to become a more substantial question.
>> 
>> My knowledge of the technical side is limited although I am learning - I am
>> working with a team of others who have more of a grasp of it than I do and I
>> know that many on this list have done much more work than I have. I'm keen
>> to develop the possibilities of its use though and look forward to continued
>> discussions even if they do take a while to emerge, at least from me...
>> 
>> Helen
>> 
>> PS Marc, congratulation on the Mphil/PhD
>> 
>> On 18/10/10 20:46, "Alan Sondheim"  wrote:
>> 
>>> Please let us know what you come up with here? I know Foofwa has used
>>> Skype for teaching dance - but the video's projected. There was the old
>>> CuSeeMe which was really buggy, but it was many-to-many and it might have
>>> been updated in some dark corner of the Internet... It did work on dialup
>>> even. -
>>> 
>>> - Alan
>>> 


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Re: [NetBehaviour] Lunch [Re: Art Doesn't Make Us Better People]

[Helen Sloan]

Alan, Helen, Ana and List

This info is really helpful and I will let you know how it all goes. It's a
project that I'm following collaboratively and slowly with organisations,
among them Furtherfield and MARCEL (worth looking them up
http://mmmarcel.org - they have been pursuing this since mid 1990s and I'm
sure many of you know of it - they really set the vision and precedent for
some of this as far as I can see).

What should be a simple issue of many to many shared spaces on the network
seems to be proving elusive - it's possible to obtain good sound or visuals
but not both. Clearly telematic work has been around for a while and is
being developed but there do seem to be issues with what exists.

Access Grid is still only accessible ( ;-)) if you are part of an academic
network or attached to one - that has not changed but as Alan says it's
possible to see some very interesting material from other organisations and
to make connections with them; skype as far as I know does not support
multiple connections through video and sound (only sound to date). CuSeeMe
I've heard of but have not looked into - thanks for the pointer Alan. Also
as you say, Second Life does seem to be developing some more convincing
spaces than a couple of years ago.

There are developments in industry and there seem to be a large number of
videoconferencing packages available to buy - but what they can do is
limited for artists.

Ana, regarding the social networking I thought that Google Wave was going to
do what you suggested but I've not heard about it for a while??; also
joindiaspora.com looks like it might have potential - there are probably
others who know much more than I do about this and my suggestion is
certainly not all open source.

Of course the multicasting raises many issues: access, bandwidth and
sustainability to name some big ones. And the issues also depend on the
approach of the government that is regulating the internet - in UK emphasis
on basic infrastructure and strong regulation of the net. What seems like a
simple issue starts to become a more substantial question.

My knowledge of the technical side is limited although I am learning - I am
working with a team of others who have more of a grasp of it than I do and I
know that many on this list have done much more work than I have. I'm keen
to develop the possibilities of its use though and look forward to continued
discussions even if they do take a while to emerge, at least from me...

Helen

PS Marc, congratulation on the Mphil/PhD

On 18/10/10 20:46, "Alan Sondheim"  wrote:

> 
> Please let us know what you come up with here? I know Foofwa has used
> Skype for teaching dance - but the video's projected. There was the old
> CuSeeMe which was really buggy, but it was many-to-many and it might have
> been updated in some dark corner of the Internet... It did work on dialup
> even. -
> 
> - Alan
> 
> 
> On Mon, 18 Oct 2010, helen varley jamieson wrote:
> 
>>  hi helen & alan :)
>> 
>> as i said my experience of access grid is limited; i didn't know it was
>> possible to have it on one's own laptop - how does this work if you are
>> not connected to an institution? can you set up your own conference
>> independently, &/or tune in on things that are being done from within an
>> institution?
>> 
>> the two disadvantages of skype are that (as far as i know) video
>> conferencing is still only one-to-one; & the audio quality varies
>> enormously - i can have a 2 hour conversation that sounds absolutely
>> perfect then suddenly it disintegrates into completely unintelligible
>> underwater bubble talk. occasionally i just can't get a good audio
>> connection at all. the only time i have tried to use skype in a
>> performance (other than as a back-channel), it worked perfectly until
>> the moment i was supposed to start, then it crashed, right on cue ...
>> 
>> helen - i am in exeter now, for the next couple of weeks, & i believe
>> we're meeting next monday 25th (with paula crutchlow) - looking forward
>> to it, & to talking more about this :)
>> 
>> h : )
>> 
>> On 18/10/10 4:45 PM, Helen Sloan wrote:
>>> Hi Helen and Alan
>>> 
>>> Thanks for responding.
>>> 
>>> We are trying to create spaces that can synchronise sound and visuals and
>>> allow for high resolution of sound and image. It is possible that we've got
>>> a bit obsessed with this. It does however have an impact on the dialogue we
>>> are trying to produce given the nature of the artists we are working with.
>>> Access Grid works well with some of this but not all.
>>> 
>>> However, I agree with both of you that there is little 

Re: [NetBehaviour] Lunch [Re: Art Doesn't Make Us Better People]

[Helen Sloan]

Hi Helen and Alan

Thanks for responding.

We are trying to create spaces that can synchronise sound and visuals and
allow for high resolution of sound and image. It is possible that we've got
a bit obsessed with this. It does however have an impact on the dialogue we
are trying to produce given the nature of the artists we are working with.
Access Grid works well with some of this but not all.

However, I agree with both of you that there is little point in doing
something that is beyond the reach of audiences and other contributors. It
needs to be simple - we're trying to work all that out; and do something
that is not already covered by broadcast ;). Hence my questions.

I've got Access Grid on my computer at work and do use it occasionally - but
given what my computer (or I...) can do, skype is just as good at the
moment. It is a bit different in the studio.

Alan, what was your experience of Access Grid? Helen, if you are in Exeter
later in the month it would be great to talk some more - or on the list if
not.

Best
Helen


On 18/10/10 16:26, "Alan Sondheim"  wrote:

> 
> Access grid requires a couple of tables and computers; we never used a
> control room at all. The quality is camera-dependent, but that's true of
> any conferencing software.
> 
> It was fun to use; I used it all the time when I was working at WVU - both
> at the university and at 'home' on a laptop or desktop. Fun to tinker with
> as well.
> 
> - Alan
> 
> 
> On Mon, 18 Oct 2010, helen varley jamieson wrote:
> 
>> hi helen,
>> i don't know that much about who developed the interface for the DIAL event,
>> as i was just a participant in the larger project which was produced by
>> horst konietzky, in munich. he worked with an IT company that handled the
>> streaming & set up the browser interface (i think it must have been
>> interlake media, as they are named on the "partner" page on the DIAL web
>> site). the interface was a simple html web page with the 5 streams embedded
>> in it (& i was able to quickly adapt it for one part of the project where we
>> wanted only 2 streams visible, sitting right beside each other).
>> 
>> suzon fuks used the same interface for one of the "tankman tango" events
>> last year, this time with 6 streams embedded in a web page, & there is a
>> video (http://www.youtube.com/watch?v=R2CXW2Z0WYo) that gives quite a good
>> idea of how it worked.
>> 
>> this kind of streaming SHOULD be really simple - it just requires a host
>> server that with streaming server software set up on it, & a webcam. there
>> are a number of different open source streaming server applications around.
>> but somehow it always seems to be more difficult than it should be (i am
>> working right now to set up something that we can use for "make-shift" -
>> hopefully we will have that going soon).
>> 
>> access grid (as far as i understand it) requires high bandwidth, plus
>> high-end cameras & mics, & a technician in a separate control room behind
>> soundproof glass to operate the whole thing ... which is out of reach of
>> independent artists & also quite over the top when working online. for
>> ordinary people to have a good experience at home, it just needs to be at
>> the level of skype or iVisit. if the audio/video is at higher resolution
>> then it slows everything down.
>> 
>> i used to use iVisit quite a lot with avatar body collision; the main
>> disadvantage was that we couldn't really use it with online audiences,
>> because of the limited number of connections but also because it required
>> the audience to download & install the software & then successfully find us
>> in the chatrooms. we stopped using iVisit because we made UpStage, but while
>> UpStage has lots of great functionality including live video images, it
>> doesn't have actual streaming - yet! one day ... then everything will be
>> easy :)
>> 
>> h : )
>> 
>> On 18/10/10 3:05 PM, Helen Sloan wrote:
>>   Hi Helen
>> 
>>   This is really interesting. We?re trying to work with Access
>>   Grid and other things dependent on the country etc and it all
>>   very quickly starts to become unwieldy ? competition for systems
>>   to use etc... It would be interesting to run iVisit past our
>>   tech people ? but would you be able to give more details on who
>>   developed your ?day in the life? event and how it was done?
>> 
>>   Just had lunch too...
>> 
>>   Best
>>   Helen (Slo

Re: [NetBehaviour] Lunch [Re: Art Doesn't Make Us Better People]

[Helen Sloan]

Hi Helen

This is really interesting. We¹re trying to work with Access Grid and other
things dependent on the country etc and it all very quickly starts to become
unwieldy ­ competition for systems to use etc... It would be interesting to
run iVisit past our tech people ­ but would you be able to give more details
on who developed your Œday in the life¹ event and how it was done?

Just had lunch too...

Best
Helen (Sloan)


On 18/10/10 14:48, "helen varley jamieson" 
wrote:

>access grid is also only accessible to those who have access to academic
> networks. from my (limited) experience of it, it doesn't do anything that
> iVisit can't do - altho with the free iVisit you can only have up to 8 people
> in the video conference.
>  
>  we had a networked breakfast as part of the "day in a life" event in 2008
> (http://www.a-day-in-a-life.de/) between munich, brighton, skopje, brisbane &
> curitiba. this was using a simple custom-built streaming interface (i think
> using redhat) in a browser interface, so accessible to others to watch.
>  
>  just had lunch now ...
>  h : )
>  
>  On 17/10/10 2:59 PM, Ruth Catlow wrote:
>>Hi Neil,
>>  
>>  YES!
>>  We have been dreaming of multi-site telematic global lunching for a while
>> now.
>>  
>>  Here's an image created for us by Natalie Turturro a while back.
>>  
>>  
>>  
>>  We thought we could use Access Grid which is the multicast FOSS video
>> conferencing software used by Academic networks. But the interface is still a
>> bit cludgey.
>>  
>>  Have you seen anything better?
>>  
>>  Omlowen dha bos! (cornish for Bon Appetite! : )
>>  
>>  Ruth
>>  
>  
>  


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Re: [NetBehaviour] on holiday

[Helen Sloan]

Jennie's just got married. Perhaps we should text her as an emergency to say
that a lot of marriages end in tears and acrimonious break ups. No, please
don't - it's not you it's me. Or even congratulate her.

Congratulations Jennie. Hope it's okay to broadcast that you are Mrs Jennie
on Netbehaviour.

Cut her some slack and enjoy her predictable emails... She's back on 9th
August  and then we'll miss them.


Helen




On 6/8/10 00:16, "Alan Sondheim"  wrote:

> 
> 
> MY FOOT! I LOST MY FOOT!
> 
> (SINCE I NOW ONLY HAVE ONE, I DON'T KNOW WHICH! GOD HELP US!)
> 
> On Fri, 6 Aug 2010, James Morris wrote:
> 
>> MY GOD! WHAT DOES EMERGENCY MEAN!?!?!?!?!
>> 
>> 
>> $ dict emergency
>> 3 definitions found
>> 
>> From The Collaborative International Dictionary of English v.0.48 [gcide]:
>> 
>>  Emergency \E*mer"gen*cy\, n.; pl. {Emergencies}. [See
>> {Emergence}.]
>> 1. Sudden or unexpected appearance; an unforeseen occurrence;
>>a sudden occasion.
>>[1913 Webster]
>> 
>>  Most our rarities have been found out by casual
>>  emergency.--Glanvill.
>>[1913 Webster]
>> 
>> 2. An unforeseen occurrence or combination of circumstances
>>which calls for immediate action or remedy; pressing
>>necessity; exigency.
>>[1913 Webster]
>> 
>>  To whom she might her doubts propose,
>>  On all emergencies that rose. --Swift.
>>[1913 Webster]
>> 
>>  A safe counselor in most difficult emergencies.
>>--Brougham.
>> 
>> Syn: Crisis; conjuncture; exigency; pinch; strait; necessity.
>>  [1913 Webster]
>> 
>> From WordNet (r) 2.0 [wn]:
>> 
>>  emergency
>>   n 1: a sudden unforeseen crisis (usually involving danger) that
>>requires immediate action; "he never knew what to do in
>>an emergency" [syn: {exigency}, {pinch}]
>>   2: a state in which martial law applies; "the governor declared
>>  a state of emergency"
>>   3: a brake operated by hand; usually operates by mechanical
>>  linkage [syn: {hand brake}, {emergency brake}, {parking
>>  brake}]
>> 
>> From Moby Thesaurus II by Grady Ward, 1.0 [moby-thes]:
>> 
>>  78 Moby Thesaurus words for "emergency":
>> X ray, blood bank, breakers ahead, cardhouse, cause for alarm,
>> charity ward, climacteric, clinic, clutch, consultation room,
>> contingency, convergence of events, crisis, critical juncture,
>> critical point, crossroads, crucial period, crunch, danger,
>> dangerous ground, delivery room, difficulty, dispensary,
>> endangerment, examining room, exigency, extremity, fever ward,
>> gaping chasm, gathering clouds, hazard, high pressure, hinge,
>> hospital room, house of cards, imperativeness, imperilment,
>> intensive care, isolation, jeopardy, labor room, laboratory,
>> maternity ward, menace, nursery, operating room, pass, peril,
>> pharmacy, pinch, plight, predicament, press, pressure, prison ward,
>> private room, push, quicksand, recovery room, risk, rocks ahead,
>> rub, semi-private room, storm clouds, strait, stress, surgery,
>> tension, therapy, thin ice, threat, treatment room, turn,
>> turn of events, turning, turning point, urgency, ward
>> 
>> 
>> On 5 August 2010 19:35, Alan Sondheim  wrote:
>>> 
>>> 
>>> She's asking for texts - don't you realize that? As if - "Please send a
>>> text in an envelope." So we must construct an emergency - but then if it's
>>> sent, for example, "Help, we're a text in an emergency!" - how do we know
>>> we won't get the same reply?
>>> 
>>> - Alan, in an emergency
>>> 
>>> On Thu, 5 Aug 2010, Antonio Roberts wrote:
>>> 
 Only 4 days until she's back. We should hold a party to welcome her back
 
 On 5 August 2010 12:06,   wrote:
> Hi, Thanks for getting in touch. I am away on holiday until 9th August and
> won't be able to access my emails,
> please send a text in an emergency.
> 
> best wishes
> jennie
> 
> 
> 
> 
> 
> ___
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> 
 ___
 NetBehaviour mailing list
 NetBehaviour@netbehaviour.org
 http://www.netbehaviour.org/mailman/listinfo/netbehaviour
 
 
>>> 
>>> 
>>> ==
>>> email archive: http://sondheim.rupamsunyata.org/
>>> webpage http://www.alansondheim.org
>>> music archive: http://www.espdisk.com/alansondheim/
>>> ==
>>> ___
>>> NetBehaviour mailing list
>>> NetBehaviour@netbehaviour.org
>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>>> 
>> ___
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>> NetBehaviou

Re: [NetBehaviour] Invitation to join me

[Helen Sloan]

Looking forward to seeing what happens next.
H


On 11/7/10 16:45, "karen blissett"  wrote:

> yes - it has begun
> 
>   )
> /  )
>/  / )
>   -   /  / /
>  '  / / -
> / _/ / /
>   _/ _/_, /  ,
> + $$$ / _/_/_/  \   |
>   /- + $$/ _/_/_/  /
>   \`_ $$/'_/_/.__   _
>  \ (  / ___,_ _ _,
>  |  `(|/_,_,__ /
>  |.   |''_,___)
>   \   (_
>\  / |-._
> \.' /|/ \_._
> /_/   _//-'__
>   \ \'   \.___
>'.   /, |_/_   |._
>  \ / )   '. '_/, )
>   (_( -\_   /  \ \
>  \__  |-'   |/
>\._  /_/_
>   \_/\' )
>   \ |
>   |/
> 
> karen
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Re: [NetBehaviour] Invitation to join me

[Helen Sloan]

Hi 

Netwurker - It would be great to find out more about your opinions.

Alan ­ your practice is not miserable

And I remember runme.org a little.
  
My posts were just a little caution on causing potential for a community to
implode when there are enough sectors and people out there who would be glad
if that happened. Look at something like Republika and Big Society in UK. It
uses much of the language that has been used by net artists and theorists
over the last two decades and yet most likely has a very particular and
negative approach to self organised communities.   In some ways it relates
to Marc¹s previous post on Digital Surplus. I¹ve not got time to write about
this now but was alluding to it last night rather badly... After my festival
finishes I¹ll try to articulate better next week in a post if it is still
relevant.

All best
Helen


On 12/7/10 00:51, "mez breeze"  wrote:

> hi helen,
> 
> i'm not dismissing your comments at all, i'm simply responding directly to
> simon. in terms of your opinion that my actions accelerated syndicate's
> decline, I respectfully disagree. if you have any qs or would like my direct
> opinion, pls don't hesitate to ask [here or back-channel].
> 
> chunks,
> @netwurker
> 
> In which case my own practices are probably miserable...

> - Alan
> 

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Re: [NetBehaviour] Invitation to join me

[Helen Sloan]

Shuffling off to bed and considering the mortal coil in a few years.
To be glib about this sort of stuff is exactly what pushes into really
difficult territory.

Look at Respublica in UK. Take the rise out of me if you like...

Off to bed.
H


On 12/7/10 00:24, "James Morris"  wrote:

> you will all die just the same.
> ___
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> NetBehaviour@netbehaviour.org
> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
> 


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Re: [NetBehaviour] Invitation to join me

[Helen Sloan]

Well

Netwurker and others, I am rather offended that you dismiss my comments.
As I¹ve said, don¹t  implode. At this point, it¹s a bad idea.

As for the filters comment, we all discussed it ­ you even gave
instructions, but you accelerated a cultural death to the Syndicate that was
unfair.

You will probably respond to Simon rather than me ­ we were around at the
same time and still operate. What is that all about?

Helen


On 12/7/10 00:08, "mez breeze"  wrote:

> ...having been 1 of the celebrated "spam artists" back in the days of
> Integer>NN, it was a [relatively easy] option then [as it is now] 2 set up
> filters/blocks in regards 2 material list users find
> objectionable/overloading. i do agree, simon, that it might b deemed arrogant
> to deluge ppl with mammoth data hits: i think to associate this with the 7-11
> list outpourings we did back in the late 90's is misleading. the art lists we
> "spam"/net.artists utilized knew full-well about our art practices + most
> encouraged it. context, content + the mechanisms of exclusion should b
> examined here as well as allusions 2 data-deluges;)
> 
> chunks,
> @netwurker


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Re: [NetBehaviour] Invitation to join me

[Helen Sloan]

Hey Simon

To allow multiple people to take on your own identity is an interesting and
risky idea. It should not be discouraged especially in our current political
climate. But my last post asked that it be done in a considered way.

I share your cynicism which is why I sent a gentle email of caution; but I
really don't think it is up to us to be so directive in our responses to why
it is a bad idea.

You make a good point about cost of downloads (which is why it's so sad that
syndicate burnt out) but let everyone work it out for themselves.
Netbehaviour beware and focus on YouTube etc. Or even better ResPublica

Best
Helen


On 11/7/10 23:56, "Simon Biggs"  wrote:

> Spammer art was a pain when we all had dial up and slow connections. It cost
> money as we paid for the minute (or MB). These days, for most of us, spam,
> art or not, is more an annoyance than an injury. However, there are many
> parts of the world who are still on capped, slow and pay per unit
> connections. In that context it is potentially arrogant, even injurious, to
> deluge people with data who weren't expecting it.
> 
> Best
> 
> Simon
> 
> 
> Simon Biggs
> s.bi...@eca.ac.uk  si...@littlepig.org.uk
> Skype: simonbiggsuk
> http://www.littlepig.org.uk/
> 
> Research Professor  edinburgh college of art
> http://www.eca.ac.uk/
> Creative Interdisciplinary Research into CoLlaborative Environments
> http://www.eca.ac.uk/circle/
> Electronic Literature as a Model of Creativity and Innovation in Practice
> http://www.elmcip.net/
> Centre for Film, Performance and Media Arts
> http://www.ed.ac.uk/schools-departments/film-performance-media-arts
> 
> 
>> From: Helen Sloan 
>> Reply-To: NetBehaviour for networked distributed creativity
>> 
>> Date: Sun, 11 Jul 2010 22:19:40 +0100
>> To: NetBehaviour for networked distributed creativity
>> 
>> Subject: Re: [NetBehaviour] Invitation to join me
>> 
>> Dear Karens,
>> 
>> I remember Integer, NN etc well and spent hours deleting their prolific
>> contributions to listings ­ some of which I looked at and others went
>> unread. It¹s true that there was a mass exodus from Syndicate during that
>> time which was a pity as it did good things ­ and it never really recovered.
>> Finally, I understood what was going on but felt  a little sad as well. I¹m
>> not up for a culture that¹s worth preserving eating itself.
>> 
>> I¹m all for this activity in a way but why ( as happened in Syndicate¹s
>> case) do it to ourselves? There must be much more of a statement to be made
>> to do it in other contexts. In this respect, I really liked what Heath
>> Bunting and Rachel Baker et al did with supermarkets at about the same time
>> as these others.
>> 
>> We¹re entering hard times and in my opinion we should be careful about the
>> way we do these kinds of interventions now.
>> 
>> But hey, you can tell me that I don¹t understand and I can take it. Just a
>> thought. I look forward to hearing more from Karens but hope you don¹t
>> implode.
>> 
>> Best
>> Helen
>> Helen Sloan
>> SCAN
>> 
>> 
>> On 11/7/10 21:40, "Michael Szpakowski"  wrote:
>> 
>>> I absolutely agree that this is more interesting than the Mandiberg, and for
>>> much the same reasons. Certainly there's a wild unpredictability to the
>>> ceding
>>> of something so personal as an e mail address which in terms of *real*
>>> consequences might play out much more creatively than the actually rather
>>> measured, prescriptive & essentially conservative feel of the MM piece.
>>> (There always seemed to be a continual *desperation* with him to be on top
>>> of
>>> the next new thing, even when the result in art terms was not all that
>>> interesting.
>>> However he was a good egg in that he voluntarily gave his time to running an
>>> excellent calls and opps list for several years & for that I am grateful...)
>>> cheers
>>> michael
>>> 
>>> --- On Sun, 7/11/10, Ruth Catlow  wrote:
>>>> 
>>>> From: Ruth Catlow 
>>>> Subject: Re: [NetBehaviour] Invitation to join me
>>>> To: "NetBehaviour for networked distributed creativity"
>>>> 
>>>> Date: Sunday, July 11, 2010, 5:46 PM
>>>> 
>>>> Great stuff so far Karen(s) and Marc and Michael and Alan,
>>>> 
>>>> It seems to me Karen that you are likely to be closer to nn than to "the
>>>> essential guide to mandiberg"...
&g

Re: [NetBehaviour] Invitation to join me

[Helen Sloan]

Dear Karens,

I remember Integer, NN etc well and spent hours deleting their prolific
contributions to listings ­ some of which I looked at and others went
unread. It¹s true that there was a mass exodus from Syndicate during that
time which was a pity as it did good things ­ and it never really recovered.
Finally, I understood what was going on but felt  a little sad as well. I¹m
not up for a culture that¹s worth preserving eating itself.

I¹m all for this activity in a way but why ( as happened in Syndicate¹s
case) do it to ourselves? There must be much more of a statement to be made
to do it in other contexts. In this respect, I really liked what Heath
Bunting and Rachel Baker et al did with supermarkets at about the same time
as these others.

We¹re entering hard times and in my opinion we should be careful about the
way we do these kinds of interventions now.

But hey, you can tell me that I don¹t understand and I can take it. Just a
thought. I look forward to hearing more from Karens but hope you don¹t
implode.

Best
Helen
Helen Sloan
SCAN


On 11/7/10 21:40, "Michael Szpakowski"  wrote:

> I absolutely agree that this is more interesting than the Mandiberg, and for
> much the same reasons. Certainly there's a wild unpredictability to the ceding
> of something so personal as an e mail address which in terms of *real*
> consequences might play out much more creatively than the actually rather
> measured, prescriptive & essentially conservative feel of the MM piece.
> (There always seemed to be a continual *desperation* with him to be on top of
> the next new thing, even when the result in art terms was not all that
> interesting.
> However he was a good egg in that he voluntarily gave his time to running an
> excellent calls and opps list for several years & for that I am grateful...)
> cheers
> michael
> 
> --- On Sun, 7/11/10, Ruth Catlow  wrote:
>> 
>> From: Ruth Catlow 
>> Subject: Re: [NetBehaviour] Invitation to join me
>> To: "NetBehaviour for networked distributed creativity"
>> 
>> Date: Sunday, July 11, 2010, 5:46 PM
>> 
>> Great stuff so far Karen(s) and Marc and Michael and Alan,
>> 
>> It seems to me Karen that you are likely to be closer to nn than to "the
>> essential guide to mandiberg"...
>> more anarcho-cyborg than the bureaucractic-art-twonk that is the
>> over-surveyed subject of mandiberg's alter-ego; )
>> 
>> I think that's something to do with that fact that you are inviting people to
>> join you by opening up your email.
>> It is not "about" being multiple.
>> It "is" being multiple.
>> 
>> You have already told us a bit about your celebrity art parents.
>> 
>> Do you feel that you are following in their footsteps?
>> 
>> Why have you issued this invitation to join you now? And why by email when
>> everyone is so busy socialising in sites like Facebook and Twitter?
>> 
>> Cheers
>> Ruth
>> 
>> 
>> 
>> 
>> 
>> 
>> 
>> -Original Message-
>> From: karen blissett > <mailto:karen%20blissett%20%3ckaren.bliss...@googlemail.com%3e> >
>> Reply-To: NetBehaviour for networked distributed creativity
>> > <mailto:NetBehaviour%20for%20networked%20distributed%20creativity%20%3cnetbeh
>> avi...@netbehaviour.org%3e> >
>> To: NetBehaviour for networked distributed creativity
>> > <mailto:NetBehaviour%20for%20networked%20distributed%20creativity%20%3cnetbeh
>> avi...@netbehaviour.org%3e> >
>> Subject: Re: [NetBehaviour] Invitation to join me
>> Date: Sun, 11 Jul 2010 16:37:15 +0100
>> 
>> So...yes please Ruth
>> 
>> perhaps the interview has already started.
>> 
>> :)
>> Karen
>> 
>> On Sun, Jul 11, 2010 at 12:21 PM, Ruth Catlow 
>> wrote: 
>>> Hi Karen,
>>> 
>>> What an intriguing idea brimming with subversive potential; )
>>> I would like to join you.
>>> 
>>> But before I "speak and act as you" I would like to "speak to you" to find
>>> out more about you and why you have decided to to do this.
>>> 
>>> How would you feel about a short interview here in the Netbehaviour list?
>>> 
>>> very best things
>>> Ruth 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> -Original Message-
>>> From: karen blissett >> <mailto:karen%20blissett%20%3ckaren.bliss...@googlemail.com%3e> >
>>> Reply-To: NetBehaviour for networked distributed creativity
>>> >> <mailto:NetBehaviour%20for%20networked%20distr

[NetBehaviour] Public Domain Festival, 15 - 18 July, Bournemouth Lower Gardens, Dorset UK

[Helen Sloan]

Dear Netbehaviour

I thought you might like to know about SCAN's festival next weekend. It
would be great to see you if you can make it. Do get in touch if you would
like more details.

Best
Helen
--
Apologies for cross posting. Please forward to your networks.


public//domain
A Festival of Digital Art, Music, Interaction and Screenings
Outdoor Screen, Bournemouth Lower Gardens
16 ­ 18 July, 2010 


Special Extra Event: 15 July, 19.30, The Cabinet of Living Cinema,
Bournemouth Lower Gardens. The Cabinet create live scored music to selected
short films.  In association with Future Shorts, and sponsored by Becks Vier
ŒMusic Inspires Art¹ UK tour.

Public Domain is a three-day festival focused around the big outdoor screen
in Bournemouth Lower Gardens (Dorset UK) and looking at its relationship
with public spaces across the whole town. The festival includes film
screenings, family workshops, installations, performances and  participatory
events from leading artists with international profiles encouraging
participants to explore what it means to share parks, gardens and other
public spaces.The festival invites everyone to take part through
collaboration and creativity in the workshops and some of the artworks, or
simply by bringing a picnic and experiencing one of the many screenings and
concerts that are on offer over the weekend.

On Friday, the event will launch with a headline rare event for UK with
Keith Tippett and Julie Tippetts, celebrated experimental jazz musicians
playing with bassist and cellist along to films by Buster Keaton, digital
pioneers Steina and Woody Vasulka and live generative animation from Stephen
Bell; followed by DJ Set Geek Chic Soundsytem with VJ Comix. In the
afternoon there will be artist talks at Russell-Cotes Gallery on the
seafront.

Saturday takes an animation theme with animation workshops for families
followed by a screening of the acclaimed Pixar film Wall-E. In the evening,
Alex Reuben¹s film Routes claimed as one of the top films of the decade will
focus on American dance and music from the Deep South leading to hip hop;
events then move to an Americana night at local bar sixty million postcards.

On Sunday the theme is narrative and storytelling with workshops for World
Listening Day from Joe Stevens, computer graphics and animation language
processing with Boredomreseach followed by a screening of contemporary
stories Where the Wild Things Are and Forbidden Planet.

Throughout the weekend there will be screenings from artists: Steina and
Woody Vasulka (Friday), Animate Projects, Students from the top courses in
animation at Bournemouth University and Arts University College Bournemouth,
Lou Pack, Jane Mason and Becky Edmunds, and Bob Cotton. Installations will
come from Rob Smith, Jennie Savage and a new commission from Tom Davis,
Curtis McKinney and Alain Renaud Flow: The Musical Boat Race.

All events are free. Everyone welcome. Bring a Picnic
For full programme:  http://www.scansite.org/publicdomain
More details: i...@scansite.org or 01202 961451

The event is organised by SCAN in partnership with Bournemouth Borough
Council. Supported by: BSO Resonate, BU, AUCB, Skillset Bournemouth Screen
and Media Academy, sixty million postcards, Animate Projects, Arts Council
England, Big Bear Events, Dance South West, Pavilion Dance, Steinway & Sons

If you wish to be removed from this list, please contact i...@scansite.org



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[NetBehaviour] Digital Arts Pioneers - Steina and Woody Vasulka, Bournemouth University, 24th Feb, 13.15 - 14.45

[Helen Sloan]

So... With a deep breath and hoping that this does not come back to bite me
;), I'd like to draw your attention to the Vasulkas talk here in Bournemouth
on Weds. They are doing some very interesting work in Second Life and will
be talking about that in their presentation. If you're in the vicinity or
fancy a day by the sea, please come along.

Best
Helen, SCAN
-

Apologies for cross posting

Dear Colleagues and Friends

Bournemouth University and SCAN Models of Practice Series
Steina and Woody Vasulka Presentation
Shelley Lecture Theatre
Poole House
Bournemouth University
24th February, 1.15 - 2.45pm
All welcome. FREE
Please arrive early to ensure that you get a seat

Presenting only at two venues in UK in February 2010, Bournemouth University
and SCAN (Models of Practice Series) are pleased to host major figures in
the history of video art and electronic media, Steina and Woody Vasulka.
They will show their work from the 1970s through to their recent
interventions in the online platform Second Life. The two artists, who have
worked together since the 1960s, have contributed enormously to the
development of digital arts through a prolific body of work exploring the
manipulation of electronic energy and the interrelation of sound and image.

In 1971, they co-founded The Kitchen, New York with Andreas Mannik and in
the same year established the first annual video festival there.
Concurrently they were leaders in the development of a video art programme
at the Whitney Museum.

Their early collaborative efforts, produced from 1970 - 74, were primarily
focussed on explorations that deconstructed the materiality of video and
audio signals. In the mid 70s they collaborated with Geoffry Schier to build
the first real-time, computer-controlled video processor. Since then, their
work has expanded to include video installations with robotic sculptural
elements and live interactive performance.


Since 1980, the Vasulkas have lived and worked in Santa  Fe, New Mexico
(USA), where Steina has continued her work in video, media  performance, and
video installation, and Woody has continued to produce  work in video,
three-dimensional computer graphics, and media constructions.  In 1992, the
Vasulkas organized Eigenwelt der Apparate-Welt: Pioneers  of Electronic Art,
an exhibition of early electronic tools for Ars  Electronica, Linz, Austria,
with a laserdisc interactive catalogue. The  Vasulkas have been
artist-in-residence at the National Center for Experiments  in television
(NCET), at KQED in San Francisco, and at WNET/Thirteen in  New York.
 

For further details please contact i...@scansite.org or 01202 961451

I do hope that you will be able to attend

With best wishes
Helen Sloan
Director
SCAN



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Re: [NetBehaviour] Call for Submissions: Multichannel VariableEconomies Screening Programme Deadline 28th January (Helen Sloan)

[Helen Sloan]

Apologies if this comes through twice...


It has been a bit of a difficult initiation to this list for me but I'm
grateful to those who have welcomed me or acknowledged my original post
about the screening programme. Thanks.

I think Michael has a point here - the troubling language does permeate into
everything and many of us are complicit in allowing it. I apologise for
causing any offence around the tone of my original call. Rob's quotes from
Art and Language were great and, although I take Simon's point about 'stones
and glasshouses', they are pretty relevant in the context of this strand
which seems to be making quite a lot of assumptions about the nature of art,
academia/teaching and research.

One of the things that has not been addressed really are the further changes
that we are about to experience. Whilst creative practice has been embraced,
there is a worrying 'enterprise' culture in academia in UK that looks like
there will be favour the creative industries above artistic practice and
approach (yes I know Creative Industries are supposed to embrace the arts
but..). This has been prevalent elsewhere for some time and would love to
know others' experiences of this. In UK, the annual budget for universities
is to be slashed by £400m and Research Councils are going to fare no better.
Universities are being encouraged to align with industry and to restructure
their courses to be shorter and more 'vocational'. Most worrying for me is
that my areas of interest fall under what is being termed by research here
as Digital Economy and Green Knowledge Economy. Given the definitions and
approach to the creative industries, in UK at least, this is going to make
artistic practice, research and approach as some of us understand it rather
tricky. We really should be fighting back on this (rather than with each
other) or the arts might become a duller place to occupy - we've already
seen it as Rob's quotes pointed out - in the use of the arts for social and
urban regeneration (I'm not saying it's all bad but there are a lot of ill
thought through projects in this context). On the other hand, this kind of
adversity does bring invention but it seems a shame that all we've fought
for and is positive feels like it's being eroded.

On an up note, I like Dave's hairdresser and the ZIP_SOUNDS. Thanks :)

H

On 9/1/10 10:46, "Michael Szpakowski"  wrote:

> Like so many of the "what's the problem?" posts this treats the language
> associated with art theory ( and indeed cultural & social ideas in general) as
> if it is transparent and uncontested which of course, even on a daily basis (
> think party politics, war and peace, healthcare, popular culture), it is
> absolutely not.
> It's a particularly bizarre blindness coming from the very folk who seem to be
> most enthusiastic about academia* whom one would have thought would have
> welcomed a "question everything" approach.
> Essentially the argument seems to be that Martin is stupid which strikes me as
> rude, deeply condescending and untrue. Awkward, yes, and not always entirely
> clear but "let him/her that is without sin..."
> michael
> 
> * and by academia let me say what I mean -I don't mean "teaching" in whatever
> context -like Renee I'm utterly in favour. Nor do I mean the art school
> tradition at least up to the 70s. I'm referring particularly to developments
> over the last 30 years or so. I'm amazed that people can be so sanguine about
> the university research culture ( which has swallowed the art schools) when it
> is being constantly more colonised by the market & market values - again there
> are surely deep issues here in the way this affects what constitutes
> "research" and indeed "art" as defined within the academy, which doesn't of
> course float Zeppelin-like above the rest of society ( and I'm very grateful
> to Rob for the Art and Language quotes which I previously knew nothing about
> and which both made me laugh and struck me as enormously pertinent). And I'm
> *not* trying to make some easy or pat argument - I'm saying there are
> *unanswered and legitimate questions* and there is *room
>  for discussion*...
> 
> 
> 
> --- On Sat, 1/9/10, mark cooley  wrote:
> 
>> From: mark cooley 
>> Subject: Re: [NetBehaviour] Call for Submissions: Multichannel
>> VariableEconomies Screening Programme Deadline 28th January (Helen Sloan)
>> To: netbehaviour@netbehaviour.org
>> Date: Saturday, January 9, 2010, 1:45 AM
>> Helen,
>> Thank you for the generous restatement of a
>> perfectly understandable original. Frankly, I wouldn't
>> have had the patience. It always amazes me just how bold
>

Re: [NetBehaviour] Call for Submissions: Multichannel VariableEconomies Screening Programme Deadline 28th January (Helen Sloan)

[Helen Sloan]

Ah, Simon I¹ve just sent something similar.
H


On 9/1/10 12:00, "Simon Biggs"  wrote:

> I am not wearing rose tinted spectacles here, particularly at a time when the
> UK higher education sector is witnessing its resource base shrink by 25% over
> the next three years. Even though these changes are only just beginning I¹ve
> already witnessed brutal management tactics, at a number of institutions,
> being implemented in order to save costs. That means people losing their jobs
> and, ultimately, many of them losing their homes and the means to care for
> themselves and their families. They can also lose their sense of value.
> 
> The main problem in academia is not the academics. It is management culture. A
> few institutions have sustained governance structures that are founded on
> collegiality and transparency amongst academics. Most others have brought in
> or created professional managerial layers in their organisations. This has
> also happened at the critical interface between government and education, the
> funding councils and policy institutes. The result of this is an
> instrumentalisation of knowledge and creativity, which is arguably what is at
> the core of Michael¹s critique. Knowledge or art for its own sake? No! We are
> now required to evidence the social and economic value of everything we do.
> How does an artist articulate this, or an astronomer or philosopher? In many
> cases it cannot be...
> 
> This has also happened in the art world. Want money from the Arts Council? You
> will be required to justify the social and economic value of your proposed
> activities. Want to make it without state support ­ you will need to satisfy
> the demands of the commercial market. There are those who think these are good
> things, whether they be patrician socialists or free-marketers. Whatever,
> instrumentalisation is not constrained to education ­ it is a cultural trope.
> 
> Academics are teachers and researchers. They have to be both if they are to
> contribute to knowledge and be able to transfer it as it is developed. These
> are highly creative activities, arguably as creative as the activities of many
> artists (I know academics who are more creative and innovative that a some
> artists I know). My experience of HE has been marred by management and also by
> certain conservative forces that remain within the academy, who do not want to
> see the role or value of knowledge change, who want to manage access to
> knowledge and the means to creating knowledge as an arbiter of power. I have
> observed this within the now largely defunct art school system and within the
> university system that has consumed those art schools. However, I have also
> experienced an intellectual fervour and openness to other ways of seeing that
> is heartening in how it challenges the dogmatic and blinkered thinking that
> underpins instrumental approaches to creativity and the making (and
> destroying) of knowledge.
> 
> Education is a good thing. It has been observed many times, in places of
> conflict and suffering, that it is education that can make the long term
> difference; not food aid, drugs or weapons.
> 
> Best
> 
> Simon
> 
> 
> Simon Biggs
> 
> Research Professor
> edinburgh college of art
> s.bi...@eca.ac.uk
> www.eca.ac.uk
> 
> Creative Interdisciplinary Research into CoLlaborative Environments
> CIRCLE research group
> www.eca.ac.uk/circle/
> 
> si...@littlepig.org.uk
> www.littlepig.org.uk
> AIM/Skype: simonbiggsuk
> 
> 
> 
> From: Michael Szpakowski 
> Reply-To: NetBehaviour for networked distributed creativity
> 
> Date: Sat, 9 Jan 2010 02:46:06 -0800 (PST)
> To: NetBehaviour for networked distributed creativity
> 
> Subject: Re: [NetBehaviour] Call for Submissions: Multichannel
> VariableEconomies Screening Programme Deadline 28th January (Helen Sloan)
> 
> * and by academia let me say what I mean -I don't mean "teaching" in whatever
> context -like Renee I'm utterly in favour. Nor do I mean the art school
> tradition at least up to the 70s. I'm referring particularly to developments
> over the last 30 years or so. I'm amazed that people can be so sanguine about
> the university research culture ( which has swallowed the art schools) when it
> is being constantly more colonised by the market & market values - again there
> are surely deep issues here in the way this affects what constitutes
> "research" and indeed "art" as defined within the academy, which doesn't of
> course float Zeppelin-like above the rest of society ( and I'm very grateful
> to Rob for the Art and Language quotes which I previously knew n

Re: [NetBehaviour] Call for Submissions: Multichannel VariableEconomies Screening Programme Deadline 28th January (Helen Sloan)

[Helen Sloan]

It has been a bit of a difficult initiation to this list for me but I'm
grateful to those who have welcomed me or acknowledged my original post
about the screening programme. Thanks.

I think Michael has a point here - the troubling language does permeate into
everything and many of us are complicit in allowing it. I apologise for
causing any offence around the tone of my original call. Rob's quotes from
Art and Language were great and, although I take Simon's point about 'stones
and glasshouses', they are pretty relevant in the context of this strand
which seems to be making quite a lot of assumptions about the nature of art,
academia/teaching and research.

One of the things that has not been addressed really are the further changes
that we are about to experience. Whilst creative practice has been embraced,
there is a worrying 'enterprise' culture in academia in UK that looks like
there will be favour the creative industries above artistic practice and
approach (yes I know Creative Industries are supposed to embrace the arts
but..). This has been prevalent elsewhere for some time and would love to
know others' experiences of this. In UK, the annual budget for universities
is to be slashed by £400m and Research Councils are going to fare no better.
Universities are being encouraged to align with industry and to restructure
their courses to be shorter and more 'vocational'. Most worrying for me is
that my areas of interest fall under what is being termed by research here
as Digital Economy and Green Knowledge Economy. Given the definitions and
approach to the creative industries, in UK at least, this is going to make
artistic practice, research and approach as some of us understand it rather
tricky. We really should be fighting back on this (rather than with each
other) or the arts might become a duller place to occupy - we've already
seen it as Rob's quotes pointed out - in the use of the arts for social and
urban regeneration (I'm not saying it's all bad but there are a lot of ill
thought through projects in this context). On the other hand, this kind of
adversity does bring invention but it seems a shame that all we've fought
for and is positive feels like it's being eroded.

On an up note, I like Dave's hairdresser and the ZIP_SOUNDS. Thanks :)

H

On 9/1/10 10:46, "Michael Szpakowski"  wrote:

> Like so many of the "what's the problem?" posts this treats the language
> associated with art theory ( and indeed cultural & social ideas in general) as
> if it is transparent and uncontested which of course, even on a daily basis (
> think party politics, war and peace, healthcare, popular culture), it is
> absolutely not.
> It's a particularly bizarre blindness coming from the very folk who seem to be
> most enthusiastic about academia* whom one would have thought would have
> welcomed a "question everything" approach.
> Essentially the argument seems to be that Martin is stupid which strikes me as
> rude, deeply condescending and untrue. Awkward, yes, and not always entirely
> clear but "let him/her that is without sin..."
> michael
> 
> * and by academia let me say what I mean -I don't mean "teaching" in whatever
> context -like Renee I'm utterly in favour. Nor do I mean the art school
> tradition at least up to the 70s. I'm referring particularly to developments
> over the last 30 years or so. I'm amazed that people can be so sanguine about
> the university research culture ( which has swallowed the art schools) when it
> is being constantly more colonised by the market & market values - again there
> are surely deep issues here in the way this affects what constitutes
> "research" and indeed "art" as defined within the academy, which doesn't of
> course float Zeppelin-like above the rest of society ( and I'm very grateful
> to Rob for the Art and Language quotes which I previously knew nothing about
> and which both made me laugh and struck me as enormously pertinent). And I'm
> *not* trying to make some easy or pat argument - I'm saying there are
> *unanswered and legitimate questions* and there is *room
>  for discussion*...
> 
> 
> 
> --- On Sat, 1/9/10, mark cooley  wrote:
> 
>> From: mark cooley 
>> Subject: Re: [NetBehaviour] Call for Submissions: Multichannel
>> VariableEconomies Screening Programme Deadline 28th January (Helen Sloan)
>> To: netbehaviour@netbehaviour.org
>> Date: Saturday, January 9, 2010, 1:45 AM
>> Helen,
>> Thank you for the generous restatement of a
>> perfectly understandable original. Frankly, I wouldn't
>> have had the patience. It always amazes me just how bold
>> idiocy can be. One would think that 

Re: [NetBehaviour] Call for Submissions: Multichannel VariableEconomies Screening Programme Deadline 28th January

[Helen Sloan]

Thanks :)


On 8/1/10 14:46, "martin mitchell"  wrote:

> Just posted links I'll repeat them for you have no idea how these emails link
> connect:-
> 
> http://www.crispynails.co.uk/
> 
> http://www.vimeo.com/crispynails
> 
> http://www.flickr.com/photos/crispy_nails_animation/
> 
> Have Fun.
> 
> Martin.
> 
> 
> On 8 Jan 2010, at 14:22, Helen Sloan wrote:
> 
>> Martin
>> 
>> Thanks for the response. If these issues are of interest, they are still
>> likely to be around next year when you finish your piece.
>> 
>> As others have suggested, it would be good if you posted your
>> current/previous work here.
>> 
>> Look forward to seeing it.
>> 
>> Helen
>> 
>> On 8/1/10 14:09, "martin mitchell"  wrote:
>> 
>>> Helen,
>>> 
>>> Thanks for your explanation which helps to understand initial email which I
>>> questioned, partly because this site is new to me and there does appear to
>>> be a form of coded language amongst regular subscribers.
>>> 
>>> Ironically, The Nunnery is couple of streets away from where I live in
>>> London, unfortunately did not see this specific exhibition.
>>> 
>>> I'm interested in creating short animation concerned with issues that you
>>> describe but will take me at least a year to complete due to construction
>>> process.
>>> 
>>> Martin.
>>> 
>>> Crispy Nails Animation Studio.
>>> 
>>> On 8 Jan 2010, at 10:27, Helen Sloan wrote:
>>> 
>>>> I¹m not sure what to write because I¹m afraid that it will be misconstrued.
>>>> But that is the way lists can work and here¹s a response to the thread...
>>>> 
>>>> I¹d first like to remind everyone of the original intention of my call.
>>>> Multichannel is a screening programme not dissimilar to the one run by The
>>>> Nunnery at Bow Arts in East End of London. We invite all to submit single
>>>> screen pieces by 28 Jan for exhibition in ArtSway Gallery in April ­ the
>>>> definition of Œsingle screen¹ is very flexible and last year we showed a
>>>> sound piece which addressed use of darkness and sound in cinema (ie with no
>>>> visuals). This year, after some dissatisfaction with much of the artworld¹s
>>>> response to Œglobal issues¹ we decided to approach this in our screening
>>>> programme Multichannel. My style of curation is to keep themes open to
>>>> interpretation so that artists have the freedom to submit their work if
>>>> they think it responds to the broad theme ­ a good curator then makes sense
>>>> of it all in my opinion. Through this approach, artists are able to
>>>> introduce uninitiated ideas and pieces and we are able to identify common
>>>> concerns. If I start expanding on what I mean by Œglobal issues¹ this will
>>>> be a position statement  and I want to give artists the freedom to
>>>> interpret the call in whatever way they think fit. I think we can all see
>>>> that we are living in times of flux and that these would be well addressed
>>>> by artists who historically have responded (and sometimes have been
>>>> actively involved in making things different and sometimes better)
>>>> inventively to their culture and environment. In my broader practice I do
>>>> have a position on Œglobal issues¹ which will be made visible by my work in
>>>> the coming years and maybe at some point I¹ll post ideas to the list ­ I¹m
>>>> not trying to get out of this. So, I hope some will respond to the call if
>>>> you look back at the original email.  We have to be specific about format
>>>> for submission in the first instance so that we can view the work, and
>>>> international status of the artist is important to some people.
>>>> 
>>>> Of the broader debate, it¹s a pity that so much of it felt on its knees but
>>>> I was interested in the comments. The interdisciplinary (working across
>>>> areas of arts, sciences, economics, sociology) is of great interest and
>>>> allows for very rich work in my opinion so I¹m with Simon on this. It
>>>> happens not just in academia but in other areas of culture and society too.
>>>> One of my main interests (although it is becoming increasingly frustrating
>>>> and difficult to do) is to create work that crosses sectors of academia,
>>>> local authority, independent practice and research, arts, public realm,
>>&g

Re: [NetBehaviour] Call for Submissions: Multichannel VariableEconomies Screening Programme Deadline 28th January

[Helen Sloan]

Martin and List

Noone is censored in terms of submitting to this programme. It is open to
all. 

I was merely suggesting that if  the approach of the programme feels
uncomfortable, it may not be the right one to be involved in.

If anyone wishes to contact me about submitting work or any aspect of
Multichannel, then please get in touch.

Helen


On 7/1/10 18:01, "martin mitchell"  wrote:

> Interesting animation on you tube 'puffing away'.
> 
> Ok.. idea is perhaps to do with self destruction of planet earth by
> human beings that assume to be in control of their own destiny, a problem for
> self aware human beings to try and resolve through creative and artistic
> actions such as being a member of the crew on Sea Shepherd but that is method
> of confrontation, maybe I'll think about image content closer to home in the
> East End of London that might reflect destruction of living artists
> environment by construction of new Olympic Park.
> Please no more of this 'international socio-economic events" language
> ..!
> 
> martin mitchell.
> 
> Crispy Nails Animation Studio
> 
> 
> 
> On 7 Jan 2010, at 17:11, james morris wrote:
> 
> 
>> 
>> http://www.youtube.com/watch?v=PHoCd1pTJx4&feature=PlayList&p=5840AC014CA20F8
>> 9&playnext=1&playnext_from=PL&index=56
>> <http://www.youtube.com/watch?v=PHoCd1pTJx4&feature=PlayList&p=5840AC
>> 014CA20F89&playnext=1&playnext_from=PL&index=56>
>> 
>> 
>> :)
>> 
>> On 7/1/2010, "Simon Biggs"  wrote:
>> 
>>> Seems clear to me. They want some video art that engages current
>>> international socio-economic events to put in an exhibition.
>>> 
>>> Simon Biggs
>>> 
>>> Research Professor
>>> edinburgh college of art
>>> s.bi...@eca.ac.uk
>>> www.eca.ac.uk
>>> 
>>> Creative Interdisciplinary Research into CoLlaborative Environments
>>> CIRCLE research group
>>> www.eca.ac.uk/circle/
>>> 
>>> si...@littlepig.org.uk
>>> www.littlepig.org.uk
>>> AIM/Skype: simonbiggsuk
>>> 
>>> 
>>> 
>>> From: martin mitchell 
>>> Reply-To: NetBehaviour for networked distributed creativity
>>> 
>>> Date: Thu, 07 Jan 2010 15:50:15 +
>>> To: NetBehaviour for networked distributed creativity
>>> 
>>> Subject: Re: [NetBehaviour] Call for Submissions: Multichannel Variable
>>> Economies Screening Programme Deadline 28th January
>>> 
>>> 
>>> 
>>> Is this another example of administrative gobbledegook ...!
>>> 
>>> Have no idear of what you are trying to describe.
>>> 
>>> martin mitchell [ artist ].
>>> 
>>> On 7 Jan 2010, at 11:25, Helen Sloan wrote:
>>> 
>>>> Hello
>>>> 
>>>> This is my first post here and it's a call - sorry. I really enjoyed the
>>>> Dark Mountain debate and the one that's emerging on Second Life so far.
>>>> 
>>>> Meantime, I hope this is of interest and do contact if you want more info.
>>>> 
>>>> Happy New Year
>>>> 
>>>> Helen 
>>>> Helen Sloan
>>>> SCAN
>>>> 
>>>> CALL FOR SUBMISSIONS: Multichannel 3
>>>> Title: Variable Economies
>>>> 
>>>> Variable Economies provides the theme for the programme of works for
>>>> Multichannel 2010. The theme implies the current global economic downturn,
>>>> decreased availability of resources influenced by human intervention in the
>>>> natural environment, shifts in national and global political emphasis, and
>>>> formally in relation to the making of artist film and video.  For
>>>> Multichannel 2010 artists are invited to submit works for selection that
>>>> touch upon the themes of the programme in terms of the use of the
>>>> medium/material of film and video.
>>>> 
>>>> Multichannel is a screening programme of artists film and video, organised
>>>> and curated by ArtSway and SCAN in ArtSway¹s galleries. The programme,
>>>> which
>>>> previously took place at ArtSway in 2007 and 2008, will once again feature
>>>> both established practitioners, as well as ground breaking video works by
>>>> artists from across the UK, and around the world. This year we are pleased
>>>> to announce that Animate Projects will partner on Multichannel.
>>>> The sele

Re: [NetBehaviour] Call for Submissions: Multichannel Variable Economies Screening Programme Deadline 28th January

[Helen Sloan]

Simon ­ that¹s it. Thanks for the clarification. Although it seems this is
not enough for everybody.

Martin ­ we are curating a screening programme of single screen works. We
want to keep the brief open enough for people to interpret this in many
ways. We¹re interested in  intelligent response and invention around real
concerns of dwindling resources both monetary and more fundamental. We are
not in the business of Œbandwaggoning¹ or Œflag waving¹. I¹ve run it by
quite a few people who seemed to be fine with it. When your second email
came through I was in the process of inviting you to contact me ­  if you
are finding this so difficult and embarrassing then I guess this programme
is not for you.

Helen
Helen Sloan
SCAN


On 7/1/10 16:48, "Simon Biggs"  wrote:

> Seems clear to me. They want some video art that engages current international
> socio-economic events to put in an exhibition.
> 
> Simon Biggs
> 
> Research Professor
> edinburgh college of art
> s.bi...@eca.ac.uk
> www.eca.ac.uk
> 
> Creative Interdisciplinary Research into CoLlaborative Environments
> CIRCLE research group
> www.eca.ac.uk/circle/
> 
> si...@littlepig.org.uk
> www.littlepig.org.uk
> AIM/Skype: simonbiggsuk
> 
> 
> 
> From: martin mitchell 
> Reply-To: NetBehaviour for networked distributed creativity
> 
> Date: Thu, 07 Jan 2010 15:50:15 +
> To: NetBehaviour for networked distributed creativity
> 
> Subject: Re: [NetBehaviour] Call for Submissions: Multichannel Variable
> Economies Screening Programme Deadline 28th January
> 
> 
> 
> Is this another example of administrative gobbledegook ...!
> 
> Have no idear of what you are trying to describe.
> 
> martin mitchell [ artist ].
> 
> On 7 Jan 2010, at 11:25, Helen Sloan wrote:
> 
>> Hello
>> 
>> This is my first post here and it's a call - sorry. I really enjoyed the
>> Dark Mountain debate and the one that's emerging on Second Life so far.
>> 
>> Meantime, I hope this is of interest and do contact if you want more info.
>> 
>> Happy New Year
>> 
>> Helen 
>> Helen Sloan
>> SCAN
>> 
>> CALL FOR SUBMISSIONS: Multichannel 3
>> Title: Variable Economies
>> 
>> Variable Economies provides the theme for the programme of works for
>> Multichannel 2010. The theme implies the current global economic downturn,
>> decreased availability of resources influenced by human intervention in the
>> natural environment, shifts in national and global political emphasis, and
>> formally in relation to the making of artist film and video.  For
>> Multichannel 2010 artists are invited to submit works for selection that
>> touch upon the themes of the programme in terms of the use of the
>> medium/material of film and video.
>> 
>> Multichannel is a screening programme of artists film and video, organised
>> and curated by ArtSway and SCAN in ArtSway¹s galleries. The programme, which
>> previously took place at ArtSway in 2007 and 2008, will once again feature
>> both established practitioners, as well as ground breaking video works by
>> artists from across the UK, and around the world. This year we are pleased
>> to announce that Animate Projects will partner on Multichannel.
>> The selection panel for Multichannel 3 is: Gary Thomas, Co-director Animate
>> Projects; Helen Sloan, Director, SCAN; Peter Bonnell, Curator, ArtSway.
>> Criteria/ Format of works for selection: Please submit your work for viewing
>> on DVD. Should your piece be selected, we will ask you to supply your work
>> as raw uncompressed files preferably on MiniDV, uncompressed .mpg or .avi.
>> Duration: We will accept pieces of any duration but please be aware that the
>> screenings last up to 2 hours and shorter pieces will take preference. In
>> exceptional circumstances we may be able to consider one-off screenings of
>> longer pieces. Open to: artists of any age, in any part of the world,
>> working in the format of film or video.
>> 
>> Deadline for submitting works: Thursday 28 January 2010
>> Selection panel meets: Week beginning 8 February 2010
>> Notification of selection result: 26 February 2010
>> Exhibition of Multichannel 3 at ArtSway: 2 April - 11 April 2010
>> Contact and address to send work: Peter Bonnell, Curator, ArtSway, Station
>> Road, Sway, SO41 6BA, UK
>> For more information please contact Peter on +44 (0)1590 682260 (+4) or
>> email: pe...@artsway.org.uk <mailto:pe...@artsway.org.uk>
>> 
>> 
>> ___
>> NetBehaviour mailing list
>> NetBehaviour@netbehaviour.org
>> http://www.netbeh

[NetBehaviour] Call for Submissions: Multichannel Variable Economies Screening Programme Deadline 28th January

[Helen Sloan]

Hello

This is my first post here and it's a call - sorry. I really enjoyed the
Dark Mountain debate and the one that's emerging on Second Life so far.

Meantime, I hope this is of interest and do contact if you want more info.

Happy New Year

Helen 
Helen Sloan
SCAN

CALL FOR SUBMISSIONS: Multichannel 3
Title: Variable Economies

Variable Economies provides the theme for the programme of works for
Multichannel 2010. The theme implies the current global economic downturn,
decreased availability of resources influenced by human intervention in the
natural environment, shifts in national and global political emphasis, and
formally in relation to the making of artist film and video.  For
Multichannel 2010 artists are invited to submit works for selection that
touch upon the themes of the programme in terms of the use of the
medium/material of film and video.

Multichannel is a screening programme of artists film and video, organised
and curated by ArtSway and SCAN in ArtSway¹s galleries. The programme, which
previously took place at ArtSway in 2007 and 2008, will once again feature
both established practitioners, as well as ground breaking video works by
artists from across the UK, and around the world. This year we are pleased
to announce that Animate Projects will partner on Multichannel.
The selection panel for Multichannel 3 is: Gary Thomas, Co-director Animate
Projects; Helen Sloan, Director, SCAN; Peter Bonnell, Curator, ArtSway.
Criteria/ Format of works for selection: Please submit your work for viewing
on DVD. Should your piece be selected, we will ask you to supply your work
as raw uncompressed files preferably on MiniDV, uncompressed .mpg or .avi.
Duration: We will accept pieces of any duration but please be aware that the
screenings last up to 2 hours and shorter pieces will take preference. In
exceptional circumstances we may be able to consider one-off screenings of
longer pieces. Open to: artists of any age, in any part of the world,
working in the format of film or video.

Deadline for submitting works: Thursday 28 January 2010
Selection panel meets: Week beginning 8 February 2010
Notification of selection result: 26 February 2010
Exhibition of Multichannel 3 at ArtSway: 2 April - 11 April 2010
Contact and address to send work: Peter Bonnell, Curator, ArtSway, Station
Road, Sway, SO41 6BA, UK
For more information please contact Peter on +44 (0)1590 682260 (+4) or
email: pe...@artsway.org.uk <mailto:pe...@artsway.org.uk> 


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