[a mobile mobile]

Experience Mobile Mobile from James Théophane Jnr on Vimeo.

[digital writing: mfa applications sought]

Applications Sought:

 

A two-year position, including full tuition and a stipend, leading to an MFA.

Information on how to apply to Brown's graduate school is linked from the programme's website.

Since 1990, Brown’s Graduate Program in Literary Arts has earned recognition as an international leader in the field of electronic writing.  Today, writing digital media is part of the trans-departmental digital arts development at Brown involving Literary Arts, Music, Visual Art, Modern Culture and Media, Computer Science, and other departments. Links have also been forged with the Digital+Media Center at the Rhode Island School of Design. Though the focus is still on writing and thus on the text, students in literary hypermedia take courses offering the additional possibility of working in mixed hypermedia, including computer graphics, animation, electronic music, video, and virtual 3-D environments. A new experimental workshop, 'Cave Writing,' has been launched in Brown’s immersive virtual reality environment in the Center Computation and Visualization. Our faculty include Professor Robert Coover, who was the moving force behind these initiatives and, since 2007, Professor John Cayley.

Further information about ongoing activities can be found at http://writingdigitalmedia.org

Previous fellows: Talan Memmott, William Gillespie, Brian Kim Stefans, Daniel Howe, Aya Karpinska, Justin Katko. Current fellows: Samantha Gorman, Ian Hatcher, Edrex Fontanilla. Previous writing fellows who completed electronic theses or taught eWriting at Brown as graduates include: Bobby Arellano, Mark Amerika, Matthew Derby, Mary-Kim Arnold, Judd Morrissey, Noah Wardrip-Fruin.

Electronic Writing fellows have access to all the resources of the Literary Arts Program and its innovative and engaged faculty directed by Professor Brian Evenson. Please see the website for a complete listing.

 

 

 

[grant macewan: officially a university]

Yesterday the province (as well as the university) announced Grant MacEwan's formal change from "college" to "university" (though it has been granting degrees since 2004).

It's interesting, as a new Edmontonian, to learn about the institution's history. At lunch yesterday I was lucky enough to meet with a previous university admin. who filled me in on MacEwan's grassroots beginning (especially in terms of forwarding the arts and culture scene in Edmonton). Just take a look at the "multidisciplinary" Arts of the Ave. Festival to see how many of the performers, volunteers, writers etc... have a link with Grant MacEwan. If you're in the area, you might want to keep track of the Arts on the Ave. calendar which lists upcoming events such as this weekend's Kaleido fest.

[cross-disciplinary multimodal art]

Marlena Novak’s work is a cross-disciplinary hybrid including HD video, animatography, interactive time-based media, digital photography, and encaustic painting (BFA, Carnegie-Mellon; MFA, Northwestern) with solo exhibitions in Berlin, Cologne, Amsterdam, Enschede and the U.S. Her encaustic-painting technique was the subject of a documentary presented on PBS and she was invited to teach a course in this medium at the Amsterdam Institute for Painting in 1996.


Read more about Marlena Novak here: http://www.creativityandcognition.com/gallery/mnovak/mnovak.htm

[employment: lectureship in new media]

This is an amazing position at the University of Leeds...makes me (almost) wish I was in the U.K.:

Closing Date: 17th July 2009

Lectureship in New Media
(Job reference: 317127)
Faculty of Performance, Visual Arts and Communications
Institute of Communications Studies

The institute of Communication Studies seeks to appoint a Lecturer in New Media from
2 September 2009 or as soon afterward as is mutually convenient.

You will deliver teaching and research primarily in areas related to New Media at
both undergraduate and postgraduate level, but may also be asked to teach more
generally in other areas of media and communications. Essential teaching
requirements are ‘Design for New Media’ and ‘New Media, Planning and Gaming’. You
will also be required to take responsibility for student project work. You will be
expected to play a leading role in the continued development of the programme in New
Media and undertake supervision of undergraduate, postgraduate and PhD projects and
dissertations.

You will possess a PhD, or have such an award pending and be able to demonstrate a
developing research profile with a clear indication of future plans and potential
commensurate with aspirations to an 'international' standard of excellence.

See http://ics.leeds.ac.uk for more information on the Institute of Communications
Studies or http://hr.leeds.ac.uk/jobs/ViewJob.aspx?CId=3&JId=416 for more details
about the post.

University Grade 7 (£32,458 – £35,469 p.a.)
Salary: Lecturer Grade 7 (£32,458 - £35,469)
Apply using: Application form, CV and Equal Opportunities Monitoring form
Download an application form: (pdf version) | (Word version)

Informal enquiries: to Dr Stephen Sobol, New Media Programme Head, email
s.c.sobol@leeds.ac.uk, tel +44 (0)113 343 6247 or Professor Gary Rawnsley, Director
of the ICS, email g.d.rawnsley@leeds.ac.uk , tel +44 (0)113 343 6906.

Send completed applications to:
email vpaempl@leeds.ac.uk, or by post to:

VPAEMPL,
PVAC,
Faculty Office,
Man-Made Fibres Building,
University of Leeds,
LS2 9JT

Closing date: 17 July 2009

[cfp: born digital]

Educational Insights (an online journal mostly focused on education) has a call for papers out. Due date for abstracts is 15 of June:

Teresa Dobson, Academic Editor | Michael Boyce, Managing Editor

Born Digital (Contemporary Art and Education)

"Over the last 20 years a new generation of art and literature born as electronic, or borne within distributive digital channels, has developed in tandem with new ways of defining, measuring and decoding them (i.e. reading), and along side new delivery mechanisms for pedagogical methods and practices. Born Digital wishes to explore these new artifacts and their new distributive form in the context of pedagogy and artistic practice.

A wide range of new forms wherein narrative is restructuring and redefining itself are of interest: Blog novels; E-literature; Narrative within locative applications such as google maps and geo-tagging with GPS; RSS poetics; Narrative in the context of mobile games and social media applications such as youtube, flickr and facebook. Likewise, consideration and analysis of the digital artifacts born out these mediums is a concern to us.

We are interested playing with the concept of being Born Digital, taking into account multiple meanings of Born, including: Existing as a result of birth; Having a natural or perfectly suited ability; Existing as a result of a particular situation or feeling; And keeping in mind its homonym Borne, to play with a notion of transport, of delivery, of support and endurance.

Generally, we support submissions using an original approach, which avoid excessive commentary on any canon, and we encourage efforts to express the matter within the structure of the medium itself. That being said, we expect rigorously critical investigation within the parameters of any play.

Please submit your précis by June 15, 2009 to educational.insights@ubc.ca

For more information : born digital"

[experimental media: call for scholar, research & artist in residence]

EMPAC is pleased to announce that it is accepting applications for both its Artist in Residence and its Scholar and Researcher in Residence programs.

Artist in Residence Program

The combination of artist-driven content with contemporary media and performing arts technology in the field of time- based arts stands in the center of the artistic research and production activities of EMPAC. EMPAC’s goal is to provide an environment to support the realization of works at any stage from inception to completion. This means that an EMPAC residency can support works which take a long period of time to develop and which may need different resources at different phases of the production. Along with a state-of- the-art facility, we offer residents the support of a full time staff of experts in audio, video and stage technologies. Commissions are initiated by EMPAC whereas residencies are open to artist proposals.

» More Information, Guidelines, + Application Process

Scholar and Researcher in Residence Program

EMPAC aims to create an environment of fertile creation, cross- pollination, and intellectual stimulation. Visiting scholars and researchers will participate in the formation of an intellectual community in scientific and engineering disciplines that may also engage perceptual and artistic knowledge and practice. EMPAC will also be a platform for research activities in areas such as augmented reality, virtual reality, scientific visualization, audification, haptics, human/machine interfaces and interaction, auralization, and multi-modal modeling in large-scale, fully media-integrated environments.

» More Information + Application Process

[call for artists: £5.4m project for cultural olympiad]

Artists of all kinds from across the UK are being challenged to use the nation as a blank canvas for twelve inspirational commissions that will showcase our creativity to the world, as part of the London 2012 Cultural Olympiad.

Artists of all kinds from across the UK are being challenged to use the nation as a blank canvas for twelve inspirational commissions that will showcase our creativity to the world, as part of the London 2012 Cultural Olympiad.

‘Artists taking the lead’ is the most ambitious and wide ranging art prize in the UK and is being developed by Arts Council England, in partnership with London 2012 and the arts councils of Northern Ireland, Scotland and Wales.

12 commissions of up to £500,000* will be awarded to create 12 new works of art across the country; one in each of the nine English regions, and in the nations of Scotland, Wales and Northern Ireland. (*See Notes to Editors for the value of commissions offered in each Nation and Region)

‘Artists taking the lead’ is the first of ten major projects of the London 2012 Cultural Olympiad to be launched. It provides artists across the country with an unparalleled opportunity to create work that celebrates the London 2012 Olympic and Paralympic Games and reflects the rich cultural diversity of the UK.

Moira Sinclair, Executive Director of Arts Council England, London, said on behalf of the UK arts councils: “The London 2012 bid was always about more than England’s capital city and about more than sport. Artists taking the lead illustrates that bigger, bolder vision – of art inspiring people up and down the UK to celebrate the Olympic Games, of nurturing and developing our artistic talent, and of culture and creativity at the heart of our national life.

We’re excited to be laying down such a unique challenge to artists. We want them to look at their region and their connections with fresh eyes, to mark a moment in our histories in unexpected ways and places across the country, to surprise and delight the world with their extraordinary artistic vision.”

From today,19 March, until Friday 29 May 2009, artists can submit their ideas for the commissions online at www.artiststakingthelead.org.uk

Read more here: http://www.london2012.com/news/media-releases/2009-03/artists-take-the-lead-in-5-4m-project-for-cultural-olymp.php

[employment: ioct digital research fellow]

An amazing position just advertised now. Work for the IOCT and Phoenix Square.

This post is designed to initiate, supervise and promote IOCT-related digital work and research in Leicester's Phoenix Square. The postholder will advise on an annual programme of activities in the ‘cube’ and elsewhere in Phoenix Square that allows for a wide range of user experiences and reflects the best in digital work in the IOCT as well as in a national and international context. The postholder will have knowledge of venue programming and exhibiting digital art in the public realm, and will show an awareness of the latest developments and significant work in the field of digital media. He/she will undertake original transdisciplinary research in this area and will show an appreciation of the wider objectives of the development of Leicester’s Cultural Quarter.





For more info have a look here.

[dac conference]

DAC09 will be held on the campus of the University of California Irvine,for three and a half days in mid-December 2009.

The Themes for this iteration of DAC:

* Embodiment and performativity
* Mobile/locative/situated/wearable practices
* Software/platform studies
* Environment/ sustainability/ climate change
* Interdisciplinary pedagogy
* Cognition and Creativity
* Sex and sexuality

More information can be found at the conference website: http://dac09.uci.edu

DAC09 is now accepting paper proposals, and inviting offers of participation in other aspects of the conference.

The site and the conference are at this point a work in progress.

New and updated material will be added regularly.

[Médias et transdisciplinarité- Michel Cazenave]

As all of you know, my current post as research fellow is dedicated to studying transdisciplinarity which will culminate in the creation of a new academic journal dedicated to transdisciplinary studies in creative technologies. I have been blogging about my journey so far and serendipitously Basarab Nicolescu (can we say "father" of transdisciplinarity...at least in it's contemporary sense?) read a blog post, commented, and since them we have maintained a dialogue. It is this online dialogue which has brought me from the virtual world into the physical (which is Paris) to join the EHESS's annual sessions of seminars in transdisciplinarity (co-organised with Alfredo Pena-Vega).

Michel Cazenave's seminar gave me lots to think about; as I said lastnight when we went to coffee to dissect the talk: "je dois penser encore!" The talk was very philosophical but I suppose that is to be expected from someone who is ecrivain, poète and philosophe. Something that kept coming up was the idea that science (with a capital S) has specific demands and methods which means it operates on a different level of being than transdisciplinary enquiries (one might say this holds also for spiritual, moral, or more "humanities" driven questions).


After the talk there was some time for questions and one came from a woman at the back who asked something that has been posed to me: "give a concrete example of a transdisciplinary..." and in this case it was of a film. Cazenave had a good answer: how to give a concise example for something that is so complex and complicated?




NB: that catchy title of "studies in..." is thanks to Basarab Nicolesu who, while chatting about transdisciplinarity (but of course), noted that aptness of the word "studies."

NB: The top photo is Salle 1 in the EHESS before we began. At the front of the room on the left is Basarab, in the middle with the book is Michel and on the right by the green door is Alfredo.




Addition 23 Jan. 2009: I found this report on an interdisciplinary conference:

[digital stitchings: my interview with rachel beth egenhoefer ]

I recently did an interview with digital/textile artist/creator Rachel Beth Egenhoefer for Furtherfield:

Jess: What are the main differences (pros and/or cons) of creating a work that is to be experienced digitally, and that which is contained within physical material borders (sweets, fabric etc...)? - this is very much a question to you as a *creator*

Rachel Beth: In some ways I feel like this is a hard question for me to answer because my work is very much about bridging these two experiences and pointing out that they aren't that different.

There's lots of clich'e answers like the digital being accessible anywhere on the web and that the material has the traditional sense of making and 'aura', but my work really sits between them and is about bringing the two together. Making the digital tactile, and the tangible coded.

Jess: What aspects of the digital would you like to be able to bring into your future work?

Rachel Beth: My most recent work, and the work I did during my residency in the UK uses motion and acceleration tracking. I'd like to continue using ideas around mapping motion and interaction. I'm not so interested in data visualization but rather how mapping actions and systems can make for new interactions or parallels. I've also begun to work with hacking the Nintendo Wii that has just kind of opened a whole slew of ideas. So I can see myself working more with that.


Jess: How would you define a literate reader/experiencer of your work? (I'm thinking especially of the lovely melting sweets...how do you want your IDEAL audience to participate?)

Rachel Beth: I don't really have an ideal audience. I strive to have multiple entry points in my work. I've had computer scientists view my work who know much more about code than I do but never knew that a knitting pattern looks exactly the same, or ludites who hate technology but suddenly realize there are simple, beautiful concepts in computing. Some people see my work and don't realize it's even a piece, some people spend hours coming back and looking at it. I'm okay with either of these extremes. It's my hope that people find something to grab on to or relate to. Leaving a door partly open allows other people to add their own perspective as well. It's always rewarding (well most of the time rewarding) when people discover things in your work you didn?t see before.


Read more over at Furtherfield.

[employment opportunity - lecturer art & design]

Senior Lecturer in Games Art & Design

This post is available as either:
One full time post of 35 hours per week, 52 weeks per year
OR
Two posts of 17.5 hours per week (0.5FTE), 52 weeks per year

£31,136 - £41,410 p.a. (pro-rata)
(Job evaluation pending)

As a key member of the Games Art & Design Course team you will contribute to the academic development delivery of the FdA/BA (Hons) Games Art & Design awards.

The successful candidate will be expected to have a broad understanding of contemporary context for Games development and design and will contribute to the learning, teaching and assessment within the FdA/BA (Hons) programmes.

As a practising professional, you will be active in research and knowledge transfer, using these skills to inform the quality of teaching excellence.

Reporting to the Course Leader, Games Art & Design, you will need to demonstrate experience of teaching at HE level, appropriate technical skills and knowledge and an awareness of the creative and cultural industries.

Closing date: 5th September 2008

Interviews to be held: 1st October 2008

For an application pack please email jobs@nuca.ac.uk or contact Human Resources on 01603 756243.

[job opportunity - creative industries research fellow]

Creative Industries Research Fellow

Policy & Research

Contract:
Three days a week (or equivalent), Six month initial contract with possibility to extend for further six months

Salary:
£40,000-£50,000 (pro-rata), plus benefits

Closing date:
5pm, 13 August 2008

Location:
London

Core Purpose of Role:
This role will involve researching and writing analytical pieces on the creative industries and helping Hasan Bakhshi, who leads NESTA's policy development and research on the creative industries, to manage NESTA's ambitious programme of research on the Arts & Innovation.

The position will suit an analyst who wants to combine a NESTA research fellowship with their academic research or freelance work on the creative industries, or someone who is seeking a secondment, as we can be flexible on the exact pattern of working hours in the week.

To apply:
To apply, please email or post your CV and covering letter to recruitment@nesta.org.uk, or Tanya Holland, NESTA, 1 Plough Place, London EC4A 1DE.

For further information and to review the Candidate Brief and Role Profile please visit our website at
http://www.nesta.org.uk/creative-industries-research-fellow/.

NB. Interviews will take place on Wednesday 20 August.

[interrupt festival hosted by john cayley]

eUInterrupt 2008, to be held at Brown University from October 17-19, is a three-day festival of readings, performances, and symposia organized around the theme of “interruption” in digital art and programmable literary practices. Why “Interrupt”? In computing, a hardware interrupt request or IRQ is used to prioritize the execution of certain processes over others. It is a command sent to the processor to get its attention, signaling the need to initiate a new operation.

In the context of contemporary art, the act of interruption is a performance that redirects threads of process and lines of thought into fields of new expression. Interrupts trigger the moment when a process of creation yields a public manifestation. The cycle of ongoing work is paused by a challenge, calling for the attention of a provisional community: just as we read ICQ as “I seek you,” we can read IRQ as “I argue.” In this sense, interrupts articulate critical thresholds at which formal expressions are offered up to (or forced into) new circuits of communication, countering that which came before and making a case for new artistic and political futures.

We ask you to attend and participate.

Artists in Residence:
* Young-Hae Chang Heavy Industries *

Confirmed Headliners:
* Alan Sondheim & Foofwa d'Imobilité *
* Laetitia Sonami *
* Eugenio Tisselli *
* Marko Niemi *

Details and arrangements to be confirmed:
* cris cheek *
* Abigail Child *
* Chris Funkhouser *
* Loss Pequeňo Glazier *
* Talan Memmott *
* Bill Seaman and Penny Florence *
* Patricia Tomaszek *

Critics, theorists, artists and students who would like to attend are asked to contact John_Cayley (at) brown.edu. We will be organizing two or more round table sessions during the festival, and we invite brief presentations intended to spark critical discussions relating to the work of interruption within the context of digitally mediated language practices. Participants will also be invited to instigate discussion at these round tables.

If you would like to attend, and particularly if you have institutional backing, we ask you to consider supporting Interrupt with a registration contribution of $50 (checks only please) made out to 'Brown University' and sent to:

Interrupt 2008
Brown University
Literary Arts Program
Box 1923
Providence RI 02912

For letters of invitation, please contact John_Cayley (at) brown.edu. Register now.

To read more about what we mean by Interrupt and for other details about the festival – including the preliminary program, schedule, location, venues, and accommodation information – please refer to our website: http://interrupt2008.net

Organized and hosted at Brown University and the Rhode Island School of Design by graduates and undergraduates from Literary Arts, Modern Culture and Media, MEME, RISD D+M, and other departments.

Funding and support for Interrupt currently includes the following sources: Brown Creative Arts Council, the Literary Arts program, RISD Digital+Media, MEME, the Brown Graduate School, the Comparative Literature department.

[synesthesia]

I've been reading Cretien Van Campen's The Hidden Sense: Synesthesia in Art and Science. In it Van Campen wonders how it might feel like to "hear music in colour, or to see someone's name in colour." Me too though sometimes when speaking to listening to people speak (not singing though) I imagine words or letters...not sure if that counts. According to Van Campen, synesthetes "perceive the colours of words and letters only when they read themin written or printed form." Brain scans of synesthetes show that even when blindfolded and listening to spoken words, the areas of the brain responsible for hearing AND colour vision light up simultaneously. This is unlike nonsynesthetes where brain activity is generated "only in the areas known to be responsible for hearing."



For those of you who are not synesthetic you might be interested to try the "synesthesia on demand" application at hypertextopia. My attempt as a synesthete resulted in this:



(text from Van Campen p. 58)

[nature and textile art]

A little while ago I participated in a round-table discussion at the ICA where 2 of the 3 artists were textile artists...or at least they created art with textiles. I'm thinking here specifically of Rachel Beth Egenhoefer and Nicola Naismith. Both artists create some really interesting objects and installations with wool etc... That must be why I'm going to be checking out the THE HYPERBOLIC CROCHET CORAL REEF at the Hayward Gallery in London curated by Margaret and Christine Wertheim from the Institute for Figuring.

"During Summer 2008 - in this International Year of the Reef - the Crochet Coral Reef will be showing in London at the Hayward Gallery. The exhibition will include an expanded version of the Bleached Reef, a new configuration of the Ladies Silurian Reef, the beautifully archaic Branched Anemone Garden, and the ever-growing Toxic Reef. On show for the first time will be the wondrously surreal Chicago Cambrian Reef (curated by IFF contributor Aviva Alter), plus a new formation of the Beaded Reef by master beaders Rebecca Peapples and Sue Von Ohlsen. The exhibition will also debut several new plastic installations: The Exploding Plastic Inevitable Reef (with hot-pink sand by Kathleen Greco), and the Bottle Tree Grove (featuring works by Christine
Wertheim, Evelyn Hardin and Nadia Severns). Hanging elements in the show will include the all-plastic-bag Rubbish Vortex by Australian contributor Helle Jorgensen, a flotilla of jellyfish by Irish crafter Inga Hamilton, and Dr Axt's psychedelic coral-cloud "Reefer Madness."

In addition to the IFF reefs, the exhibition will also debut the amazing new UK Reef, currently being constructed by crafters across the UK (with contributions from Ireland, and even Australia - hey its a former colony)."

On the 13th of June there's going to be an all-day symposium with the crochet reef creators Margaret and Christine Wertheim; mathematician Dr Daina Taimina, inventor of hyperbolic crochet; radical UK crafters, environmentalists, and coral reef biologists. How neat is that?

Now I just need to learn how to knit or crochet...right Edith?!

Thanks to Sue for the head's up.

[Open Source Embroidery: Craft and Code at HTTP Gallery]

Ele Carpenter, a digital-textile artist who I interviewed for Furtherfield, is curating a super exhibition. It's a must-see:

Preview: Friday 16th May 6-9pm, 17th May – 15th June 2008

Open Fridays to Sundays 12-5pm

http://www.http.uk.net/

This exhibition explores the connections between the collaborative characteristics of needlework, craft and Open Source software. This project has brought together embroiderers, patch-workers, knitters, artists and computer programmers, to share their practice and make new work.

HTML Patchwork in
progress

The centre-piece of the exhibition at HTTP Gallery is the HTML Patchwork developed in response to the popularity of quilting in Sheffield, the result of a participatory project initiated by Ele Carpenter in partnership with Access Space. The patchwork is built on open principles of collective production and skill-share where each person contributes a part to the whole. The final work is a collectively stitched patchwork quilt of HTML web-safe colours with embroidered codes, and a wiki website, where the makers of each patch identify themselves and write about their sewing process. Each patch is
personalised by the sewer, often including embroidered web addresses.

telinit Ø: time for bed, Lisa Wallbank, 2007
Knitted Blog (detail),
Suzanne Hardy, 2006-

In an interview with Jess Laccetti, Ele Carpenter said about the project: "The same arguments about Open Source vs Free Software can be applied to embroidery. The needlework crafts also have to negotiate the principles of 'freedom' to create, modify and distribute, within the cultural and economic constraints of capitalism. The Open Source Embroidery project simply attempts to provide a social and practical way of discussing the issues and trying out the practice. Free Software, Open Source, amateur and professional embroiderers and programmers are welcome to contribute to the project."

Hexart GDlib Script Error, digital print on canvas, James Wallbank,
2007
Weaving network cable in progress, Paul Grimmer, 2007

The project was developed by Ele Carpenter when working as an artist in residence at Access Space in Sheffield and Isis Arts in Newcastle upon Tyne. Access Space is an open access media lab using recycled computers and open source software. Anyone can drop in and use the lab to develop their creative projects.

The exhibition at HTTP Gallery in Harringay, North London, includes works by 11 artists and makers alongside the collectively made HTML Patchwork quilt and wiki. Other works in the exhibition include Susanne Hardy’s Knit-a-Blog, a collective knitting project made by contributors from across the UK and USA, Iain Clarke’s PHP Embroidery, which explores the open source PHP programming language as a form of self-generating weaving, as well as artworks by Paul Grimmer, Tricia Grindrod, Jake Harries & Keith o’Faoláin, John Keenan, Trevor Pitt, Clare Ruddock, James Wallbank, and Lisa Wallbank.

The HTML Patchwork has been created by people at: Access Space, Art through Textiles, The Patchwork Garden, The Fat Quarters, Stocksbridge Knit n Chat, Totley Quilters, Isis Arts, and the Banff New Media Institute at the Banff Centre for the Arts, Alberta, Canada.

Events at HTTP

Preview
Your chance to meet Ele Carpenter, the curator as well of some of the other exhibiting artists, to enjoy a few drinks and conversations about the exhibition.

Open Knitting and Embroidery
evenings
Dates and times TBC

Bring your knits, your embroidery and your friends for tea, biscuits and conversation amongst the artworks.

These events are open to the public and entrance is free, however advanced booking is necessary.

Contact:
Lauren Wright,
HTTP Gallery
lauren@furtherfield.org

HTTP
Gallery
http://www.http.uk.net/
Unit A2,
Arena Design Centre
71 Ashfield Road
London N4 1LD
+44(0)79 8129
2734
Click here for map
and location details

Further info:
www.open-source-embroidery.org.uk
www.eleweekend.blogspot.com
www.access-space.org

[pavement art]

[learning on screen - part quatre]

"How to Write and the Question: Is it Still Necessary to 'Write'?"
Neil Rose, Sonic Arts Lecturer at Plymouth College of Art and Design (his myspace page)

"Writing is important but putting pen to paper seems not so..."

What is Audio Writing? - radio documentary, radio play (The Archers), more examples in the electro-acoustic (think K. Norman, J. Cardiff etc...)

Although audio writing comes out of a history it is still difficult to assess.

How to quote in audio? What are the quotation marks? Having another voice say the quote?

Problem with assessment - students never really know how their grade is broken down?
Relies on exploring technique and process, most film art, fine art and sound students work with concept and the amount of work (and time) required to create the artefact may not be proportional across disciplines.

To assess fairly: skim reading no longer applies, would increase marking time (so lecturers would need more time), are lecturers really equipped to mark this work - do they *know* the media techniques?

If we can use audio work as a viable outcome then we can learn and figure out how to assess it.

[candy + code @ the ICA]

Shamefully I arrived home quite late lastnight and then had to pack for today's trip up to York (Inanimate Alice is up for a Learning on Screen Award and the Faculty of Humanities is paying for me to go up there AND enjoy the 2-day conference!)...so I didn't really have *time* to blog. Is that a better excuse than the dog ate my blog post?

I'll catch up and post all the notes I made on the three incredible artists: Rachel Beth Egenhoefer, Dr Barbara Rauch and Nicola Naismith? They were all working on different things yet there were loads of crossovers. I was able to ask a few questions too during the final panel session but amazingly, we ended up going over and we had to be kicked out into the ICA bar (darn!). :)

I also want to *shout out* to Helen Sloan director of SCAN who is interested in social media and mapping business networks!

Thanks to Dr. Jane Harris for organising the event and to Lucy for all her help e-mailing updates and organising ppts etc...

Hopfully the National Science Learning Centre will have wireless...

[candy + code at the ICA, London]

On Monday night I'm going to have the pleasure of listening to three female [digital] artists who interestingly incorporate textiles/textures into their work which seem to (at least to me) question the role of code/coding (among other things). A kind of digital/textural semiotics perhaps? My job, after their presentations, is to ask them *riveting* questions. Hrm...anyone out there in the blogosphere have any questions they'd like to put to Rachel Beth Egenhoefer, Dr Barbara Rauch or Nicola Naismith? I won't be the only one asking questions though. Dr Jane Harris, Director of TFRG, and Helen Sloan, Director of SCAN will have their interviewing caps on too.







This what the ICA says about the event:

[transliteracy and digital art]

In the recently published Digital Artists' handbook, Kristina Anderson talks about making and modding technology. At the end of her chapter she makes an interesting point:

"Maybe we can say, we are making technology in order to understand it, and understanding technology in order to make our own."

This resonates (for me) with the concept of transliteracy. We've named transliteracy in order to understand it and in beginning to understand (conceptualise, interpret etc...) transliteracy perhaps we are making it our own, as a symbol of a 21st century literacy?

[Museum Residency: New Media]

The V&A is inviting applications from experienced and established practitioners for a New Media residency in the Sackler Centre for Arts Education, the first in an exciting new programme of residencies.We are particularly interested in UK based practitioners, who wish to work with the Museum’s spaces and use the facilities in our new Digital Studio with visitors, and who have a track record of development and regular exposure of new work.Purpose of the Residency

The new Sackler Centre at the V&A, opening in Spring 2008, will have two studios for museum residencies which will be occupied by artists/ craftspeople/ designers/ writers/ performers/ architects/ film and video makers etc. There will be 4 residencies of 6 months ( 26 weeks ) each year. This programme is integral to the philosophy of the Sackler Centre, helping to make it a dynamic, creative space. The residency offers practitioners the opportunity to develop new work, re-assess their practice or see work in different contexts by responding to and working with the Museum’s collections and to promote greater understanding of art and design processes for the public.

The aims of the residency are to:

· Enable the selected practitioner to carry out research, develop new skills and explore new ideas towards the creation of new work in the future

· Promote greater understanding of new media production processes for the V&A’s audiences.

· Create links between the V&A’s collections and contemporary art practice.

· Develop practitioners as ‘artist educators’.

· Raise the profile of contemporary art practice with the V&A’s diverse audiences.

The residencies will include a research and developmentphase, enabling practitioners to consider new directions for their own work, work with the collections and plan a project with the public. This could include holding open studios, running workshops or master classes, giving talks and presentations or working with specific groups to produce work for display. This programme of work will be negotiated with the successful candidate and confirmed by the V&A. Any additional activities, such as involvement in the Museum’s public programme will be separately negotiated and an appropriate additional fee agreed.

The resident artist will be supported in their public projects by the V&A’s experienced Education, Access and Diversity staff. This will make a significant contribution to the artist’s own CPD and help to develop a pool of ‘artist educators’ for future museum projects.

Expectations

The focus of the residencies will be on process and on engagement with audiences. We would like to achieve a balance of benefits for the artist, the public and the V&A. Evaluation is a very important component of the residency programme since we will be piloting new approaches and the resident will be asked to contribute to this.

Residents will be expected to:

· be based in the museum for a minimum of 3 days per week

· open their studio to the public for a minimum of one weekday, two late night Fridays per month and one weekend per month (to be arranged in advance)

· display work in progress in their studio (there may also be other opportunities for display elsewhere)

· contribute to the process of dissemination on the V&A website· provide feedback for the purposes of evaluation

Note : work produced during the residency remains the property of the maker, but the residency programme must be acknowledged in any subsequent public or press showing. Any work produced with the public as part of this residency is owned by the V&A.

Selection Criteria

The residency should be dynamic, ambitious and inspiring – pushing forward boundaries of perception about contemporary art and design We are looking for residents who can adopt a range of different roles and who are keen to develop those aspects of their career which include using collections, engaging in public programmes and communicating about their work.

Candidates must demonstrate:

· originality, and evidence of a strong personal style in their work

· dynamic and inspiring ideas about how they would use this opportunity and how they intend to meet the aims of the Museum Residency

· ideas for innovative ways to respond to the V&A’s collections

· an established practice, through a track record of development and regular exposure of new work through exhibitions at a regional, national and international level· an interest in or experience of working in educational / community settings

·an ability to work and communicate with a diverse range of people

Payment

This appointment will be on an Occasional Professional Assistant (OPA) basis and, for the avoidance of doubt, there is no intention to render the Resident an employee of the V&A. The artist will be paid approximately £7000 during their 6 month residency. This will be paid on completion of agreed work stages at the equivalent of £1083 a month (plus 8.3% rolled up holiday pay).

For more information e-mail: hr AT vam.ac.uk

[music at sharon temple]

Ok, I admit. When I heard the word "temple" I thought "oh no..." this is going to be some kind of *religious* thingey...but in fact I was pleasantly relieved and the acoustics were amazing (the temple topped last year's Toronto Star list of Canadian essential architecture) . The choir was moving and the first song, Gloria, written by choir member Timothy Corlis was my favourite - it seemed to suit the surroundings the best.

Here is a blurb from the site:

"June 10: Noel Edison will conduct the Elora Festival Singers in a varied programme highlighted by notable Canadian commemorations including John Beckwith's Three Motets on Swan's "China", which was performed at the first Music at Sharon concert in 1981. Glenn Gould’s witty So You Want to Write a Fugue? will honour the 75th anniversary of the late- musician’s birth, and movements from Glenn Buhr’s Richot Mass will mark the 10th anniversary of Manitoba’s 1997 Red River flood."

[UK launch of the Electronic Literature Collection Volume 1]

Lastnight was the UK launch of the ELC, the cd and online collection of web works put together by the Electronic Literature Organization.

Guests included
- Scott Rettberg (http://retts.net/, writer, co-editor of ELC Volume 1, co-founder and first executive director of the Electronic Literature Organization)

And the UK-based writers who feature on the ELC Volume 1, who will show their work and discuss what Electronic Literature means for them:
- John Cayley (http://www.shadoof.net/in/)
- Jon Ingold (http://www.ingold.fsnet.co.uk/)
- Chris Joseph (http://www.chrisjoseph.org/)
- Kate Pullinger (http://www.katepullinger.com)

and me, in the place of Dr. Donna Leishman. Sadly I could not do a Scottish accent (I struggle with my own!) but as I spoke about The Deviant: The Possession of Christian Shaw (Sept 2004), Chris interacted/played with the story so audience members were able to enjoy exactly what Donna terms "the fragital":

"an uncommon pairing of the digital experience, involving the individualised remote onscreen touch, and the sense of a material and sensitive tangibility which is located in the drawing, movement, composition and the responsive actions of the visual practice."