From pnnhindi at gmail.com Wed Aug 1 08:47:57 2007 From: pnnhindi at gmail.com (pnn hindi) Date: Wed, 1 Aug 2007 22:17:57 +0530 Subject: [Announcements] Invitation for Press Conference on August 3, 2007, 4 PM, Press Club Message-ID: <2E145D07-4661-4A4C-840F-B7CD9BD135E6@gmail.com> Subject: Invitation for Press Conference on August 3, 2007, 4 PM, Press Club Dear , The Campaign for Judicial Accountability and Reforms is holding a Press Conference on August 3, 2007 at the Press Club of India, Raisina Road, New Delhi at 4 PM to highlight a grave case of Judicial Misconduct at the Apex of the Indian Judiciary. At the press conference we will disclose how the then Chief Justice of India who had spearheaded the sealing drive was mired in serious conflict of interest in as much as his sons were deeply involved in the business of shopping malls and commercial complexes who stood to benefit from this sealing drive. Very important revelations will be made and documents released about this case. Where The Press Conference will be addressed by Shri Shanti Bhushan, former Union Law Minister, Mr. Bhaskar Rao, Chairman, Centre for Media Studies, Ms. Kamini Jaiswal, advocate, Supreme Court and Mr. Prashant Bhushan among others. Kindly send a reporter to cover the Press Conference. Thanking you, (PRASHANT BHUSHAN) PS: incase you are unable to attend please send a colleague to cover the conference Please feel free to call: Devvrat (981181730) or Leena (9811137421) -- Campaign for Judicial Accountability and Judicial Reforms 14, Tower 2, Supreme Enclave, Mayur Vihar Phase- INew Delhi- 110 091 Tel: 9811137421, 9811818730; E-mail:judicialreforms at gmail.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070801/fe588ad8/attachment-0001.html From daswa at xs4all.nl Fri Aug 3 14:35:02 2007 From: daswa at xs4all.nl (Daniela Swarowsky) Date: Fri, 3 Aug 2007 11:05:02 +0200 Subject: [Announcements] IMAutomaat #1 Lab & Festival Message-ID: IMAutomaat #1 Residency & e-Musicfestival conceived/curated by Daniela Swarowsky guest-curator 2007 > Oliver Rehak http://ima.or.at/imautomaat IMAutomaat_LAB MO 13 08 07 - FR 17 08 07 *THEREMIN SENSOR WORKSHOP with ANDREY SMIRNOV *CREATE USB INTERFACE WORKSHOP with MARIJE BAALMAN Costs: EURO 70.- / 40.- for students and IMA members Additional costs for materials (Create USB interface) EURO 40.- /90.- IMAutomaat #1 Festival FR 17|SA 18 08 07 Kulturfabrik Hainburg/Austria Participants/Performances by: Marije Baalman/Mobs (NL), Anne la Berge (NL), Cordula Boeze (A), Alberto de Campo (A), Guenther Gessert (A), Seppo Gruendler (A), Katharina Klement (A), Slavo Krekovic (SK), Pei (Taiwan/F), Alejandra Perez Nunez/elpueblodechina (NL/CL), Marek Piacek (SK), Elisabeth Schimana (A), Andrey Smirnov (RU), Anne Wellmer (NL), Rebekah Wilson (NZ) This new yearly festival establishes IMA with its home-base in Hainburg as a national as well as international platform, creating a network of media/sound artists. The yearly IMAutomaat festival will give IMA the opportunity to introduce her ideas to a larger audience and build on the network of IMA-members, who will be actively involved along with specially invited guests. The concept is to invite six artists close to the IMA-pool and link them with a group of international artists for a one weeks period. Intention is to create a platform of like-minded creators in the new- media field coming from a sonic/audioart background. IMA wants to offer a labor situation where specialists/professionals will exchange, interact, communicate, experiment, network and play together and around certain topics. This year’s focus will be “sensors & new musical interfaces”. New formations will be encouraged, new work can evolve and can at a latter stage emanate as a performance or lecture in the framework of the festival to come. -- IMA Institute for Mediaarcheology Erasinweg 23 2410 Hainburg Austria Tel+Fax: +43 2165 62627 //////////////////////////////////////////////////////////////////////// /////// Daniela Swarowsky // curator/cultural activist Wolphaertstraat 27B // 3082 BK Rotterdam +31-6-186-59947// skype ID: daswa00 http://zimweb.nl/ // http://ima.or.at/ //////////////////////////////////////////////////////////////////////// ////// -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070803/15bed8f7/attachment-0001.html From T.Noguchi at khemkafoundation.org Fri Aug 3 15:55:25 2007 From: T.Noguchi at khemkafoundation.org (Takahiro Noguchi) Date: Fri, 3 Aug 2007 11:25:25 +0100 Subject: [Announcements] FW: Position Available for Cultural Mapping/Heritage Project Message-ID: <95034C9A9A8A4B4DBFFB6E4A40C558B81BFFD1@lonsrv02.sungroup-global.net> Dear Moderator, This is a call for applicants for a position with the Nabha Foundation, a registered charitable trust working in Nabha, Punjab. We are looking for a qualified individual to coordinate a cultural mapping project in Nabha, as well as other heritage/culture related projects. Interested applicants should email a CV and cover letter to sachin at thenabhafoundation.org I would appreciate it if you could post this on the list. Warm Thanks, Tak -------------------- Background The Nabha Foundation is a registered and independent, non-profit trust. The Foundation has been established in response to a felt need for a holistic pattern of development in Punjab. To achieve this aim the Foundation seeks to develop replicable innovative and sustainable development models in Nabha, covering areas of health, education, livelihood, culture, heritage and environment. The Foundation has the following vacancies for its Nabha office in Patiala district of Punjab: JOB DESCRIPTION: PROGRAM COORDINATOR FOR HERITAGE PROGRAM LOCATION: NABHA, PUNJAB DEADLINE FOR APPLICATIONS: AUGUST 10, 2007 REQUIRED QUALIFICATIONS, SKILLS, EXPERIENCES * Postgraduate, preferably in history, archaeology, social science, conservation or heritage management * Experience in conservation/heritage management or related cultural sector for at least 3 years * Good communication skills and ability to engage in dialogue with multiple stakeholders * Should be able to organize seminars, workshops and community outreach programs * Good documentation/writing skills * Preference will be given to Punjabi speaking applicants ROLES AND RESPONSIBILITIES * Work on various program aspects-planning, implementation, monitoring-under supervision of Program Head * Sensitizing community on cultural heritage related issues through education, outreach and advocacy * Coordinate cultural heritage program with work of built-heritage conservation team and link activities with livelihood, health and education programs WHOM TO CONTACT Interested candidates are requested to send their resume within 10 days to the Administration Incharge, The Nabha Foundation, Khemka House, 11 Community Centre, Saket, New Delhi - 110017, or email your resume to sachin at thenabhafoundation.org The Nabha Foundation is an equal opportunity organization. Women candidates are encouraged to apply. From crd at fondation-langlois.org Sat Aug 4 00:27:24 2007 From: crd at fondation-langlois.org (CR+D) Date: Fri, 3 Aug 2007 14:57:24 -0400 Subject: [Announcements] Research Residencies at the Daniel Langlois Foundation's CR+D and at OBORO Message-ID: <815b1c40cee8a1929cfbece09fdc4b5b@fdl-webmestre> Grants for Researchers in Residence: Deadline September 30, 2007 The deadline for submission of research proposals for the Grants for Researchers in Residence Program is September 30, 2007. The two research components include: CR+D documentary collections and archival fonds and Information architecture and online publishing. As in previous years, the Daniel Langlois Foundation will award two research grants for 2008. The proposals selected will allow researchers to work at the Foundation's Centre for Research and Documentation (CR+D). An online application form is available on our Web site and must be used by all individuals wishing to apply for this program : http://www.fondation-langlois.org/flash/e/index.php?Lstsrv=200708&NumPage=121 To view the list of researchers supported by the Foundation : http://www.fondation-langlois.org/flash/e/index.php?Lstsrv=200708&NumPage=148 Research Residencies at OBORO: Deadline September 30, 2007 The project proposal submission deadline for Research and Experimentation Residencies in Montreal for Professional Artists from Emerging Countries or Regions is September 30, 2007. The Daniel Langlois Foundation offers this program in collaboration with OBORO, an artist-run centre in Montreal. Two residency grants will be offered to professional artists from emerging countries. These grants aim to help the successful applicants in their research, experiments and project development, while allowing them to work in a different environment than their region or country of origin. An online application form is available on our Web site and must be used by all individuals wishing to apply for this program: http://www.fondation-langlois.org/flash/e/index.php?Lstsrv=200708&NumPage=516 2007 Researchers in Residence: Lizzie Muller and Caitlin Jones/Paul Kuranko Lizzie Muller (Sydney, Australia) and Caitlin Jones and Paul Kuranko (New York, U.S.) are the 2007 recipients of the Researchers in Residence grant. Both residencies will examine the documentation methodologies of new media art while carrying out fieldwork at the exhibition Communicating Vessels: New Technologies and Contemporary Art - Ten Years of Accomplishments by the Daniel Langlois Foundation (e-art) presented at The Montreal Museum of Fine Arts (September 20 - December 9, 2007). The residencies will be conducted at the Foundation's Centre for Research and Documentation (CR+D). Lizzie Muller will be in Montreal from September to December 2007. Muller's residency will aim to champion the central role of human experience in the way we research and document new media art. Current projects supported by the Foundation will provide a dynamic testing ground for developing sound documentation practices and will form the basis for a valuable body of material: http://www.fondation-langlois.org/flash/e/index.php?Lstsrv=200708&NumPage=1987 Jones and Kuranko will be in Montreal in September 2007. During their residency, they will undertake three case studies of artworks and will survey and assess the considerable amount of activity in the field of media art preservation and documentation: http://www.fondation-langlois.org/flash/e/index.php?Lstsrv=200708&NumPage=1988 The researchers will make all findings available through the Daniel Langlois Foundation Web site. For more information about the exhibition Communicating Vessels: New Technologies and Contemporary Art - Ten Years of Accomplishments by the Daniel Langlois Foundation (e-art): http://www.fondation-langlois.org/flash/e/index.php?Lstsrv=200708&NumPage=2080 3rd DOCAM Annual Summit: Montreal, September 27, 2007 The Daniel Langlois Foundation is pleased to announce that the third annual Summit of the DOCAM Research Alliance (Documentation and Conservation of the Media Arts Heritage) will be held at The Montreal Museum of Fine Arts on September 27, 2007. DOCAM is a major multidisciplinary research endeavour initiated by the Daniel Langlois Foundation in collaboration with numerous national and international partners and funded by the Social Sciences and Humanities Research Council of Canada. The third annual international Summit will provide an opportunity for members of the DOCAM research committees to begin presenting their research results delving into the challenges of preserving and documenting technology-based works of art. Among the guest speakers slated to appear at the Summit are Richard Rinehart of the Berkeley Museum and Pacific Film Archives & Rina Pantalony from the Department of Justice Canada, Dieter Daniels, director of the Boltzmann Institute, and Canadian artist Stan Douglas. For more information and the complete Summit program, please consult the Alliance's Web site at: http://www.docam.ca/ From dash.suryashankar at gmail.com Sat Aug 4 12:35:30 2007 From: dash.suryashankar at gmail.com (SURYA) Date: Sat, 4 Aug 2007 12:35:30 +0530 Subject: [Announcements] Film screenings on displacement of adivasi due to industrialisation in Orissa, 3-7 August, New Delhi In-Reply-To: References: Message-ID: ---------- Forwarded message ---------- From: SURYA Date: Aug 2, 2007 4:06 PM Subject: Film screenings on displacement of adivasi due to industrialisation in Orissa, 3-7 August, New Delhi To: bashabigupta at rediffmail.com Dear Friends, We are screening films on mining & displacement issues from Orissa in various venues in New Delhi. Details of the programme are given below. This is part of a campaign to save niyamgiri hills home of the dongriya kondh and many endangered species whose fate will be decided in a SC hearing in the 2nd week of aug. A tshirt & signature campaign is also being organised. There will be a press conference on the 4th at Wildlife Trust of India & the key resource persons in the conference would be Pratyush & Shweta, wildlife experts from Bhubaneswar. A press release will be issued later today confirming time and venue. We look forward to your participation in the events. We would also be grateful if you can spread the word around. Please find a poster attached alongwith which you may put up wherever you feel is relevant. Thank you. Best regards Surya S Dash Filmmaker, Bhubaneswar 3rd August, Miranda House 1.30 PM Lament of Niyamraja, a story told by a Dongriya Kondh bard who brings together myth and current day reality of Niyamgiri together. 1.45 PM Discussion with the filmmaker, Surya Shankar Dash 2.00 PM Presentation by Pratyush Mahapatra & Shweta on Bio-diversity of Niyamgiri Hills and Impact of proposed bauxite mining 2.30 PM Iron is Hot, a film by MEghnath & Biju Toppo on people living around sponge iron factories in Orissa, Jharkhand & chattisgarh. 6th August, Sri Ram College of Commerce 1.30 PM Lament of Niyamraja, a story told by a Dongriya Kondh bard who brings together myth and current day reality of Niyamgiri together. 1.45 PM Discussion with the filmmaker, Surya Shankar Dash 2.00 PM From Kalinga to Kashipur, a film by Meghnath & Biju Toppo about state repression in Kashipur where local communities have been fiercely opposing a conglomerate of aluminium companies from taking away their land and other sources. 7th August, Sarai (CSDS), 29 Rajpura Road 4.30 PM Lament of Niyamraja, a story told by a Dongriya Kondh bard who brings together myth and current day reality of Niyamgiri together. 4.45 PM Discussion with the filmmaker 5.00 PM Earth Worm & Company Man, a film by Samarendra & Amarendra, about the struggle of the common man in the state of Orissa against industrialisation and 'development' projects it presents an in-depth study of the situation cutting across time & regions. Screenings yet to be confirmed: 1. 4th August, JNU Baphlimalli 173, a film by Amar Kanwar on the people'e movement against mining industry in Kashipur. Presentation by Pratyush Mahapatra & Shweta on bio-diversity of Niyamgiri hills and impact of proposed bauxite mining 2. 5th August, Gandhi Peace Foundation Call of Mother Earth, a film by Saroj Mahapatra about human rights abuse and violation of environmental norms by Vedanta Alumina Ltd. in Lanjigarh. Contact: Surya - (0)9437500862, Gunjan - (0)9938240505 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070804/5b296c8f/attachment-0001.html From kj.impulse at gmail.com Sun Aug 5 23:28:01 2007 From: kj.impulse at gmail.com (Kavita Joshi [Impulse]) Date: Sun, 5 Aug 2007 23:28:01 +0530 Subject: [Announcements] [DFA: 12] Screening of Jahaji Music by Surabhi Sharma Message-ID: <821019d70708051058k1d321a53l9b6fa7d50164307e@mail.gmail.com> Surabhi Sharma's feature length documentary film Jahaji Music is a record of the evolution of chutney music in the Caribbean. >From the mid-nineteenth century Indian labourers arrived in the Caribbean on boats, bringing a few belongings and their music, the beginnings of a remarkable cultural practice. More than 150 years later musician Remo Fernandes travels to the Islands to explore collaborations and create new work. Jahaji Music is a record of a difficult, if unusual and complex, musical journey. It is an attempt to make meaning of aspects of contemporary culture in Trinidad and Jamaica, even as we witness the nature and possibilities of artistic collaboration. The film endeavours, through it all, to weave a story of memory, identity and creativity. Duration: 1 hour 52 minutes. Date: August 9, 2007 Venue for Screening: India International Centre (IIC) Auditorium, 40 Max Mueller Marg, New Delhi 110 003, Tel: 011 24619431 Time : 6.30 pm Entry is free. No passes needed. --~--~---------~--~----~------------~-------~--~----~ To UNSUBSCRIBE: send an email to delhifilmarchive-unsubscribe at googlegroups.com More OPTIONS are on the web: http://groups-beta.google.com/group/delhifilmarchive/ Contact the MODERATOR: delhifilmarchive [at] gmail.com Visit our WEBSITE: www.delhifilmarchive.org See the LIST OF FILMS in the Archive: http://www.delhifilmarchive.org/archive.html -~----------~----~----~----~------~----~------~--~--- From pukar at pukar.org.in Mon Aug 6 11:12:53 2007 From: pukar at pukar.org.in (PUKAR) Date: Mon, 6 Aug 2007 11:12:53 +0530 Subject: [Announcements] [announcements] India China Institute Fellows Program : Inviting applications Message-ID: <001701c7d7ec$dfd83250$3466c2cb@freeda> India China Institute - PUKAR (Local Partner) invites applications for the India China Institute Fellows Program The India China Institute (ICI) based at The New School, New York, invites applications for its second fellowship program: Prosperity and Inequality: India and China India China Fellows Program (ICFP), ICI seeks applicants who are highly accomplished, innovative and emerging leaders with 5 to 15 years of professional experience in their respective fields. Applicants from diverse backgrounds such as public administration, academics, media, civic action, art, architecture and private entrepreneurship are encouraged to apply. Applicants should address the program theme with particular focus on regional development, migration, and design strategies. Priority will be given to applicants who are sensitive to social, cultural and gender aspects. This two year fellowship requires: 1. Indian citizenship and proof of residency for more than 5 years 2. Masters Degree or equivalent experience 3. Willingness to be an active and essential participant in an interactive, intellectual, collaborative research project that will be innovative and influential 4. Commitment to participate in 4 international residencies: . March 16-30, 2008, NY . November2-9, 2008, China . August 23-30, 2009, India . April 14-18, 2010 (tbd) 5. Total fluency in English, working knowledge of the computer and access to internet for communication and research purpose 6. The selected fellows could continue their current profession during their fellowship period. They will be assisted in the research proposal, travel, workshops and compensated appropriately by an honorarium 7. Applications must be postmarked no later than August 30, 2007. Late applications will not be considered. (Kindly ignore this mail if you have already applied) Application Forms can be downloaded from: www.indiachina.newschool.edu For further information, please write or email: Dr. Anita Patil-Deshmukh Senior Advisor, India China Institute C/o PUKAR, 1-4, 2nd floor, Kamanwala Chambers, Sir P M Road, Fort, Mumbai, 400 001 Tel: 91 22 6505 3302 Fax: 91 22 6664 0561 E-mail : deshmuka at newschool.edu; pukar at pukar.org.in PUKAR (Partners for Urban Knowledge Action and Research) Address:: 1-4, 2nd Floor, Kamanwala Chambers, Sir P. M. Road, Fort, Mumbai 400 001 Telephone:: +91 (22) 6574 8152 Fax:: +91 (22) 6664 0561 Email:: pukar at pukar.org.in Website:: www.pukar.org.in -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070806/098c8853/attachment-0001.html From machleetank at gmail.com Wed Aug 8 04:41:25 2007 From: machleetank at gmail.com (Jasmeen P) Date: Wed, 8 Aug 2007 01:11:25 +0200 Subject: [Announcements] Blank Noise: Excuse Me? Message-ID: Hello Blank Noise asks people to send in their list of the ridiculous,strange, bizzare, disgusting, funny, humiliating words that they have heard to describe their body while out on the streets. Was it MIRCHI? SAMOSA? BUTTERFLY? LOLITA? TAMATAR( TOMATOES)? LASSUN (GARLIC)? MALAI( CREAM)? This is an attempt to build the 'eve teasing' vocabulary through collective participation. Please email Blank Noise at blurtblanknoise at gmail.com, subject titled " EXCUSE ME?" Please email no later than the 14th of August. The results will be published on the blog with visual illustrations. Thanks! Jasmeen www.blanknoiseproject.blogspot.com -- ph: + 91 98868 40612 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070808/0e436386/attachment.html From virtualhema at rediffmail.com Wed Aug 8 23:27:12 2007 From: virtualhema at rediffmail.com (virtualhema at rediffmail.com) Date: Wed, 8 Aug 2007 17:57:12 +0000 Subject: [Announcements] Fw: [Reader-list] [announcements] India China InstituteFellows Program : Inviting applications Message-ID: <650750439-1186596041-cardhu_decombobulator_blackberry.rim.net-1535881669-@bxe016.bisx.produk.on.blackberry> Sent from BlackBerry® on Airtel -----Original Message----- From: "PUKAR" Date: Mon, 6 Aug 2007 11:12:53 To: Subject: [Reader-list] [Announcements] [announcements] India China Institute Fellows Program : Inviting applications India China Institute - PUKAR (Local Partner) invites applications for the India China Institute Fellows Program The India China Institute (ICI) based at The New School, New York, invites applications for its second fellowship program: Prosperity and Inequality: India and China India China Fellows Program (ICFP), ICI seeks applicants who are highly accomplished, innovative and emerging leaders with 5 to 15 years of professional experience in their respective fields. Applicants from diverse backgrounds such as public administration, academics, media, civic action, art, architecture and private entrepreneurship are encouraged to apply. Applicants should address the program theme with particular focus on regional development, migration, and design strategies. Priority will be given to applicants who are sensitive to social, cultural and gender aspects. This two year fellowship requires: 1. Indian citizenship and proof of residency for more than 5 years 2. Masters Degree or equivalent experience 3. Willingness to be an active and essential participant in an interactive, intellectual, collaborative research project that will be innovative and influential 4. Commitment to participate in 4 international residencies: .. March 16-30, 2008, NY .. November2-9, 2008, China .. August 23-30, 2009, India .. April 14-18, 2010 (tbd) 5. Total fluency in English, working knowledge of the computer and access to internet for communication and research purpose 6. The selected fellows could continue their current profession during their fellowship period. They will be assisted in the research proposal, travel, workshops and compensated appropriately by an honorarium 7. Applications must be postmarked no later than August 30, 2007. Late applications will not be considered. (Kindly ignore this mail if you have already applied) Application Forms can be downloaded from: www.indiachina.newschool.edu For further information, please write or email: Dr. Anita Patil-Deshmukh Senior Advisor, India China Institute C/o PUKAR, 1-4, 2nd floor, Kamanwala Chambers, Sir P M Road, Fort, Mumbai, 400 001 Tel: 91 22 6505 3302 Fax: 91 22 6664 0561 E-mail : deshmuka at newschool.edu; pukar at pukar.org.in PUKAR (Partners for Urban Knowledge Action and Research) Address:: 1-4, 2nd Floor, Kamanwala Chambers, Sir P. M. Road, Fort, Mumbai 400 001 Telephone:: +91 (22) 6574 8152 Fax:: +91 (22) 6664 0561 Email:: pukar at pukar.org.in Website:: www.pukar.org.in _______________________________________________ announcements mailing list announcements at sarai.net https://mail.sarai.net/mailman/listinfo/announcements _________________________________________ reader-list: an open discussion list on media and the city. Critiques & Collaborations To subscribe: send an email to reader-list-request at sarai.net with subscribe in the subject header. To unsubscribe: https://mail.sarai.net/mailman/listinfo/reader-list List archive: <https://mail.sarai.net/pipermail/reader-list/> From pukar at pukar.org.in Fri Aug 10 15:15:20 2007 From: pukar at pukar.org.in (PUKAR) Date: Fri, 10 Aug 2007 15:15:20 +0530 Subject: [Announcements] [announcements] India China Fellowship: Application deadline extended Message-ID: <00a301c7db33$33338d20$3466c2cb@freeda> India China Institute - PUKAR (Local Partner) invites applications for the India China Fellows Program The India China Institute (ICI) based at The New School, New York, invites applications for its second fellowship program. Theme: Prosperity and Inequality: India and China India China Fellows Program (ICFP), ICI seeks applicants who are highly accomplished, innovative and emerging leaders with 5 to 15 years of professional experience in their respective fields. Applicants from diverse backgrounds such as public administration, academics, media, civil society, art, architecture and private entrepreneurship are encouraged to apply. Applicants should address the program theme with particular focus on regional development, migration, and design strategies. Priority will be given to applicants who are sensitive to social, cultural and gender aspects. Age limit: Up to 45 years This two year fellowship requires: 1. Indian citizenship and proof of residency for more than 5 years (Passport / Ration Card / Voter's Identity Card / Electricity bill) 2. Masters Degree or equivalent experience 3. Willingness to be an active and essential participant in an interactive, intellectual, collaborative research project that will be innovative and influential 4. Commitment to participate in 4 international residencies: . March 17-29, 2008, NY . November 23-30, 2008, India . March 2009, China . April 2010 (tbd) 5. Total fluency in English, working knowledge of the computer and access to internet for communication and research purpose (A letter from a professor/ supervisor about proficiency in English is acceptable in place of TOEFL scores). 6. The selected fellows could continue their current profession during their fellowship period. They will be assisted in the research proposal, travel, workshops and compensated appropriately by an honorarium 7. Applications must be postmarked no later than September 15, 2007. Late applications will not be considered. No online submissions will be accepted. Application Forms should be downloaded from: www.indiachina.newschool.edu For further information, please write or email: Dr. Anita Patil-Deshmukh Senior Advisor, India China Institute C/o PUKAR, 1-4, 2nd floor, Kamanwala Chambers, Sir P M Road, Fort, Mumbai, 400 001 Tel: 91 22 6505 3302 Fax: 91 22 6664 0561 E-mail : deshmuka at newschool.edu; pukar at pukar.org.in PUKAR (Partners for Urban Knowledge Action and Research) Address:: 1-4, 2nd Floor, Kamanwala Chambers, Sir P. M. Road, Fort, Mumbai 400 001 Telephone:: +91 (22) 6574 8152 Fax:: +91 (22) 6664 0561 Email:: pukar at pukar.org.in Website:: www.pukar.org.in -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070810/14a5a13c/attachment-0001.html From kj.impulse at gmail.com Mon Aug 13 20:45:08 2007 From: kj.impulse at gmail.com (Kavita Joshi [Impulse]) Date: Mon, 13 Aug 2007 20:45:08 +0530 Subject: [Announcements] [DFA: 13] Preview Screenings: Black Pamphlets [Film On Students Elections] Message-ID: <821019d70708130815t528b3fc0q4a276c01d2a3e37a@mail.gmail.com> ---------- Forwarded message ---------- From: nitin k nitinforfilms at gmail.com Dear Friends, You are invited to the preview screenings of my new first film... "Black Pamphlets" Duration: 84 minutes A film about Students elections, students politics, Campus democracy and Youth. The film tries to find out the temper of youth and the mindset of student community in the neo‐liberal democracy of India towards the process of election. The Film follows the twelve day election campaign of Delhi university students' Union(DUSU) Elections which are held on First Friday of September Every year. Its an inside journey of the election process as Director Himself has played the Subject; as he was part of the student politics in DU and also fought DUSU election once, for more we have done a small trailer of the film you can watch it by clicking here :: @WATCH IT@ there are few preview screenings of the film in DU Colleges and elsewhere.if you want to catch the film log on for date and timings to blog of our film. College Screening Schedule: ## 14th August'07 @ Swami Shraddhanand College Alipur, Delhi time : 11:30 a.m. ## 16th August'07 @ Ambedkar college, Yamuna Vihar, Delhi time : 12:00 a.m. ## 17th August'07 @ Aditi Mahavidhyalaya Bawana, Delhi time: 11.00 a.m. ## 20-21 August'07 @ Activity Center, Arts Faculty,(north Campus) Delhi time 12:00 p.m. ## 22nd August'07 Hindu College,North Campus, delhi time 12.00 p.m. ## 23rd August'07 Ramjas College, Delhi time 11.00 a.m . ## 24th August'07 Ramlal Anand College, South Campus, Delhi time 11.00 a.m. I am looking forward to screen the film at various venues,colleges, institutions and Universities around the globe... if you can help me arranging screenings, the film can initiate a positive debate on the subject of campus democracy. For any further information and details please click below: www.blackpamphlets.wordpress.com Nitin k. Filmmaker Delhi(INDIA) email: nitinforfilms at gmail.com - --~--~---------~--~----~------------~-------~--~----~ To UNSUBSCRIBE: send an email to delhifilmarchive-unsubscribe at googlegroups.com More OPTIONS are on the web: http://groups-beta.google.com/group/delhifilmarchive/ Contact the MODERATOR: delhifilmarchive [at] gmail.com Visit our WEBSITE: www.delhifilmarchive.org See the LIST OF FILMS in the Archive: http://www.delhifilmarchive.org/archive.html -~----------~----~----~----~------~----~------~--~--- -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070813/fd396efe/attachment.html From monica.mody at gmail.com Tue Aug 14 22:27:08 2007 From: monica.mody at gmail.com (Monica Mody) Date: Tue, 14 Aug 2007 22:27:08 +0530 Subject: [Announcements] Open Baithak at The Attic, Thursday August 23rd In-Reply-To: References: Message-ID: <4badad3b0708140957t2d640751mafaed8314a888bd4@mail.gmail.com> *"Open Baithak" Performance in Poetry Series* * * *Location: *The Attic, 36 Regal Buildings, New Delhi *Time: *6.30-9 pm, Aug 23, 2007 Thursday After a longish summer break, the Baithak Opens again. Come with the poems you've scribbled in these three hot months and show us what you wrote! For the open reading, sign up starts at 6.30pm. Readings start at 7pm. Each poet gets 5 mins on the mike and is expected to bring in new work every time -- and also to delight the audience by doing risky and innovative things with it. You can read in any language. * * *Contact *Monica Mody for more info: openbaithak at gmail.com * * *Also featuring * *Taru Dalmia aka Delhi Sultanate* * * Taru started rapping at the age of 10 in Europe, engaging in "freestyle battles" on street corners and later in Hip Hop clubs. (A freestyle battle consists of two MCs competing against each other using lyrical assaults, and hence deconstructing each other's persona with improvised rhymes.) At around 15, he began operating a reggae sound system and was heavily influenced by Jamaican artists belonging to the often militantly political Bobo Ashanti branch of Rastafarianism. Today he raps in plain English and in the more rhythmic and expressive reggae style patois, while trying to adapt the reggae and hip hop format to the Indian context. *About Open Baithak:* A new monthly poetry in performance series in Delhi, Open Baithak offers a space for poets to think about new and innovative ways of presenting poetry to audiences, and a test platform for emerging poet performers. It makes a regular meeting place for poets from different linguistic, written and oral traditions. It is also a meeting place for listeners and readers of poetry. It hopes to be a place and a space where together we can make poetry better than the movies. * * *History:* Earlier this year, the British Council Delhi had organized a Spoken Word Series featuring performances and workshops by and Indian poets such as Anjum Hasan, Jeet Thayil, John Hegley, Lemn Sissay, Patience Agbabi and Vivek Narayanan. This culminated in an open mic evening at Sarai, where those of us present felt the necessity for more such spaces, which give an opportunity to poet performers to explore how performance and poetry can be brought together, spaces where words can come alive on the stage through ways and means ranging from music to rhythm to dance and beyond. The first Open Baithak was held at The Attic on May 18, 2007. *Our Sponsor:* We are immensely grateful to the British Council Delhi for giving us the financial support to get the series up and running. * * -- Each Man Is A Poet When He Names His Cat (borrowed) -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: application/defanged-2 Size: 5440 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20070814/0faaad47/attachment.bin From iram at sarai.net Wed Aug 15 16:22:06 2007 From: iram at sarai.net (Iram Ghufran) Date: Wed, 15 Aug 2007 16:22:06 +0530 Subject: [Announcements] Fwd: WISCOMP SCHOLAR OF PEACE FELLOWSHIPS 2008 Message-ID: <46C2DAD6.1040908@sarai.net> Subject: Fwd: WISCOMP SCHOLAR OF PEACE FELLOWSHIPS 2008 From: "Taran Khan" Date: Tue, 14 Aug 2007 15:07:48 +0430 To: "Iram Ghufran" pl circulate widely, tx On Mon, 13 Aug 2007 WISCOMP wrote : >Dear Friend, > >Greetings from WISCOMP! > > >WISCOMP is inviting proposals for the 2008 cycle of the Fellowship >Programme. The Fellowship Programme supports sustained study and research in >South Asia in areas such as human security, conflict transformation and >peace-building, multi-track diplomacy, terrorism, regional cooperation, >human rights, diversity and coexistence et al. Fellowships are awarded under >three categories: academic research, media and special projects. > >We will be grateful if you could communicate this information to potential >candidates and/or nominate any outstanding women and men for us to follow up >with. The application forms for this cycle are available at our website >www.wiscomp.org. > >We will be happy to respond to any queries that you might have. > >Thanks and regards >Stuti Bhatnagar >Junior Program Officer >WISCOMP >Ph: +91-11-24648450 (Extn.112) >E-Mail: wiscomp2006 at gmail.com > > >-- >http://www.wiscomp.org >Women in Security, Conflict Management and Peace (WISCOMP) facilitates >gender-sensitive training, research and praxis in the areas of Conflict >Transformation, Security and Peacebuilding in South Asia. It was established >as part of the efforts of the Foundation for Universal Responsibility of His >Holiness the Dalai Lama to build a culture of coexistence and nonviolence. From lakshmi.r at crymail.org Tue Aug 14 17:27:14 2007 From: lakshmi.r at crymail.org (Lakshmi R.) Date: Tue, 14 Aug 2007 17:27:14 +0530 Subject: [Announcements] FELLOWSHIP ANNOUNCEMENT PROGRAMME--REQUEST TO SHARE THROUGH YOUR WEBSITE AND WITH YOUR READERS Message-ID: <472E0AD6-F96F-475D-B68D-84BE7BA48D71@crymail.org>  National Child Rights Research Fellowships CRY---Child Rights and You, invites applications for research fellowships investigating the best interest principle within the broad framework of justice for children. The best interest principle, hence, needs to be explored so as to understand ways in which it impacts the inter-generational experience of childhoods; a child's relationship with other children, family (both immediate and extended), community, society and the State. (Possible arenas: schools, work spaces, public spaces, parents, extended family including grandparents, health centres, police stations, playgrounds) A partial indicative list of focus areas is provided below.Potential fellows are welcome to expand and interpret the theme, based on their life experiences and vision. We encourage original ideas, out of the box approaches and seek creative methodologies. From the insights and information that researchers will share, we hope to learn more about the interplay of culture, tradition, law, ethics and policy in defining the best interest principle. Possible Focus Areas Ø Investigate what factors encourage collective action on behalf of children. Ø Reflect on constructions of childhood and the implications on children's rights. Ø Generate insights on how children understand violence (domestic, caste-based, communal, from the State), and their coping strategies. Ø Map the trends and dynamics of social change processes and their implications for children, identifying faultlines and arenas of concerns. Ø Gather evidence on the relationships between ethnicity,inequality and conflict as witnessed and/or experienced by children. Ø Locating identity questions (language, discourse,representation) within the school-community relationship. Ø Is best interest principle, a value, a constitutional right,an interpretative advocacy instrument or a rule of law. Principles governing the Fellowship Eligibility: Potential fellows will be Indians residing in India, above the age of 18 years. There is no upper age limit.Preference will be given to applicants who have studied in government schools, where no fees are charged (Studies conducted and CRY's experiential learning of working with 2000 deprived communities in villages and urban slums demonstrates that students attending government schools are primarily Dalits, tribals, girls and children from female headed and/or landless households.) It is expected that potential fellows ascribe to the CRY values: -Respect for Human Dignity -Secularism -Non-Violence - Accountability -Innovation - Transparency -Working in Partnership Language: Proposals may be submitted in any Indian language. They will be translated into English and it is the English translation that will be reviewed. Grant Sizes: In all upto 10 fellowships for grant sizes ranging from Rs.50,000 to Rs.1 lakh will be awarded. These will be support grants and fellows will be free to continue their primary occupation or study programme. Time Frame: From one month to one year. Time Frame: >From one month to one year. Selected fellows will be expected to participate in an initial workshop to share research plans and gain from the collective experience possibly in January 2008. CRY will take care of travel, boarding and lodge for fellows participating in the workshop. Dissemination: Research results will be made available to a broad audience of activists, academics, programmers and interested general public through multiple fora, including language translations to influence the course of the debate on child rights and the best interest principle. Ownership: While fellows will retain authorship of the final research product, all information and insights gathered will be open access and available to the widest possible numbers, for no charge. Fellows will also be free to publish the insights of their research efforts, with appropriate acknowledgement of the National Child Rights Research Fellowship and CRY. Requirements for English language proposals: Please e-mail a three- page proposal (it should include scope, relevance, research question, conceptual framework, proposed methodology, time frame and required budget) along with a two-page CV (please include a names and contact phone numbers of two referees) and a sample of related published/ unpublished work. Proposals which do not include names and phone numbers of referees will not be reviewed. Please send only Word or Acrobat files. It is expected that the potential fellow is not already receiving funding for conduct of the research proposed. In case during the course of the Fellowship, the fellow feels the need to expand the scope and add greater depth, it is expected that CRY will be informed first about the need for additional funds. Also any other donors reached out to will be informed about the CRY support for the principal work. Requirements for proposals in all languages other than English: Please send by post a three-page proposal (it should include scope, relevance, research, question, conceptual framework, proposed methodology, time frame and required budget) along with a two-page CV, and a sample of related published/ unpublished work. Our address is Documentation Centre, CRY –Child Rights and You, 189 A, Anand Estate, Sane Guruji Marg, Mahalaxmi, Mumbai – 400 011. Last Date for receipt of application: September 10th 2007. Proposals will be reviewed as they are received. E-mail your proposal to research at crymail.org Lakshmi R Sr. Manager - Development Support 189/A, Anand Estate Sane Guruji Marg, Mumbai - 400011 Tel: +91 (022) 23096845 / 6472 Fax: +91 (022) 23080726 I believe that every Indian child must be guaranteed equal rights to survival, protection, development and participation. As a part of CRY, I dedicate myself to mobilising all sections of society to ensure justice for children. This communication may contain confidential and / or privileged information intended only for the person or entity to which it is addressed. If you have received this in error, please notify the sender by reply mail and delete this message from your computer. You are prohibited from copying , disseminating, retransmitting and / or delivering this message to anyone. Any opinions, comments, statements and / or other information in this message do not necessarily reflect those of CRY - Child Rights and You and are not endorsed by it and will not act to its prejudice. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070814/39b9ccf8/attachment-0001.html -------------- next part -------------- A non-text attachment was scrubbed... Name: att1C.jpg Type: image/jpeg Size: 1861 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20070814/39b9ccf8/attachment-0001.jpg From pukar at pukar.org.in Fri Aug 17 15:10:31 2007 From: pukar at pukar.org.in (PUKAR) Date: Fri, 17 Aug 2007 15:10:31 +0530 Subject: [Announcements] [announcements] August 28 : Talk by Vishakha Desai, at NCPA, Mumbai Message-ID: <011201c7e0b2$ac046c40$2b66c2cb@freeda> Asia Society India Centre & India China Institute, The New School, NY invite you to Rise of China and India: Implications for Building an "Asian Community" by Vishakha N. Desai, President, Asia Society Tuesday, August 28, 2007 Little Theatre, NCPA, Mumbai Registration: 6:00 PM Talk: 6:30 PM Reception: 7:30-8:30 PM How will the emergence of India and China impact the creation of an Asian community? What are the potential challenges and consequences of developing an Asian community given current bilateral and multilateral relations between China, India and the rest of Asia? How will the resultant intra-Asian dynamics influence the geo-economic and geo-political world order? Dr. Vishakha N. Desai, President of Asia Society, will address these questions both in the context of historical and cultural ties, and current political and economic relations among countries in the region. Dr. Vishakha N. Desai was appointed President of Asia Society in 2004. Prior to her appointment as President she served as Asia Society's Senior Vice President and Director of the Museum and Cultural Programs. She also taught at the University of Massachusetts, Boston University and Columbia University. Dr. Desai holds a B.A. in Political Science from Bombay University and an M.A. and Ph.D. in Asian Art History from the University of Michigan. Seating limited. To Register Please Contact: Jolene Tauro, Tel: +91-22-6610-0888, Fax: +91-22-6610-0887, E-mail: admin at asiasociety.org.in Or Anupamaa Joshi, Tel: +91-22-6574-8152, Fax: +91-22-6664-0561, E-mail: pukar at pukar.org.in -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070817/c9892bfc/attachment-0001.html From keshvani at leoalmanac.org Sat Aug 18 09:25:31 2007 From: keshvani at leoalmanac.org (Nisar Keshvani, LEA) Date: Sat, 18 Aug 2007 11:55:31 +0800 Subject: [Announcements] Leonardo Electronic Almanac Supplement - Volume 15, Number 7 - 8, 2007 Message-ID: <5d60ab0c0708172055y4f4b4642yce2285673b583eb0@mail.gmail.com> ________________________________________________________________ Leonardo Electronic Almanac Volume 15, Number 7 - 8, 2007http://leoalmanac.org ISSN #1071-4391 ________________________________________________________________ LEONARDO REVIEWS ---------------- < Introduction by Michael Punt > < Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means by Siegfried Zielinski, Gloria Custance > reviewed by Sean Cubitt < From Technological to Virtual Art by Frank Popper > reviewed by Amy Ione < Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation by Steve Dixon > reviewed by Dene Grigar < Leonardo Reviews, August 2007 > LEONARDO -------- < Table of Contents: Leonardo Vol. 40, No. 4, 2007 > LEONARDO NETWORK NEWS --------------------- < Leonardo/OLATS Awards the Leonardo-EMS Award for Excellence to criticalartware > < MutaMorphosis Conference Speakers Announced > < Leonardo Abstracts Service (LABS) opens new Chinese language database > BYTES ----- < Digital Humanities Chair Position available at Dartmouth College > ________________________________________________________________ LEONARDO REVIEWS, August 2007 ________________________________________________________________ Judging by the current publishing trend we are all fast approaching middle age or even our dotage: by all, I mean those of us who participated in the secessionist hey days of 'media art' and thought that art, perception, and the world would be changed by new technologies. Now we know, at least from the three MIT publications highlighted in Leonardo Reviews here, that nothing changes. After the brief wild party, the historians have come in to sweep up the pieces into a sensible heap. This is not to decry writing history, an enterprise that I hope I also have contributed to. It is merely to point out that at least as far as publishing in the field of science, art and technology is concerned it is about time to quietly abandon the word 'new' when we talk of media - even when it is willfully confused with technology. The three featured reviews below identify distinct historical methods for conceptualizing the relationship between art and those technologies that some choose to call media. Our reviewers collectively address this topic and their dialogue sets up the debate about how future histories are to be written. Histories in which the assumptions, parallelisms and the tenuous associations of coincidence of populist writing are replaced by the rigor of researchers trained to avoid the seductions of their own rhetoric. Not only in these three reviews but also throughout the recent postings at http://www.leonardo.info/reviews/books.html the maturation of our practices, discussions and reflections concerning the intersection of art, science and technology is increasingly evident. We hope that the early warning radar of this trend will be reflected in our future reviews for the benefit of the Leonardo community Michael Punt Editor-in-Chief Leonardo Reviews < Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means by Siegfried Zielinski, Gloria Custance > reviewed by Sean Cubitt Siegfried Zielinski offers a new take on the long history of media technologies, taking his readers on a tour of forgotten archives and forgotten innovators. Familiar names appear, among them a fascinating repositioning of Athanasius Kircher. By refusing to accept the normative histories, Zielinski recovers a lost trajectory that involves a long tradition of magical and quasi-rational thought from Empedocles to the Illuminati and, thence, to the late 19th century reinvention of time. Among those recovered from obscurity are Giovan Battista Della Porta, Purkyne, Lombroso and the extraordinary Aleksej Kapitanovich Gastev. In his conclusion, Zielinski not only draws together the legacy of Ramon Llull, but proposes a new cartography of media 'anarcheology', whose centres are no longer London, Paris, Berlin and New York but Petersburg, Prague and places south and east. It is a marvelous book in the most literal sense of the word, and a wonderful read in its own right, quite apart from the scholarship and the revelation of new trajectories for media historiography. One reason for this is that the book opens onto a landscape of strangely familiar if obscure beauty: the history of the magical tradition as an intellectual pathway now left in darkness, but once a shining path for intellectual and technological enquiry. Zielinski's passion for the hermetic tradition steers clear of the worst excesses of Jungian mysticism while recalling the line, from Robert Fludd to Vilém Flusser, that situates a history of media in the gnostic tradition in Western Europe. He reminds us that Newton's dark obsession with alchemy is of a piece with his physics and optics; and that Copernicus is as much the heir of Pico della Mirandola's solar worship as he is the ancestor of scientific rationalism. It is an attractive thought, that right knowing of material science sails so close to the perennial philosophy; and that however materialist this history is, it addresses, if only by rejection, the repressed chronotope of the eternal wisdom. What has always repelled materialists from the hermetic tradition is not its whimsy but on the contrary the solemnity with which its priesthood has historically erected ever more complex cathedrals of theodicy and theogeny on the intuition that something 'more' inhabits, locates and frames the givenness of the world. It is sad therefore to note that materialism has often - though not universally - eschewed any address to the sacred. By this I do not mean that materialism in any way fails for lack of a theology, nor that the sacred forms some ontological ground on which the material world is more deeply founded. Rather, what has been often lacking is a commitment to understanding that affect which we recognise under the rubric of sacredness, an elevation beyond not merely the instinctual but also the intellectual pleasures, a yearning apart from the desire for justice, peace and plenty for all. Since the term sacred has, moreover, been tainted by centuries of mouthing in institutions that have done little for justice, peace or plenty, we need another term, one that might displace the materialist reluctance to address affect in general and this affect in particular. I propose a mediological enquiry into the nature of wonder, a task admirably launched by Zielinski's book. Quite properly Zielinski calls this tradition 'magic'. It is hard nowadays not to evoke Arthur C Clarke's dictum that any sufficiently advanced technology appears as magic. What neither Clarke nor Zielinski undertake is an analysis of the curiously braided destinies of magic and familiarity. As Don Ihde observes, technologies that at their invention appear magical can, with widespread adoption, become 'embedded' and transparent, as signs written in one's native language are transparent. Embedded technologies like television, once marvellous, become the invisible vehicles of messages whose mediation we notice only when the machinery breaks down. The braiding of magic and the mundane occurs when familiarity breeds contentment. The internet is a case in point. Early adopters not only found the technology marvellous: we found it interesting. The early adopter generation tended to be computer literate, at least at the level of understanding (and wondering at) the processes of packet switching, the efficacy of html, even the duplicity of cookie technology. But for the internet generation who grew up with them, these marvels are the more truly magical because they are not understood. Comprehension of how the net works is today a specialist discipline, or the domain of nerds, and while nerds command a higher degree of peer respect than in previous generations, their knowledge is regarded as arcane, and only its instrumental use in problem solving genuinely prized. For the rest, the web, e-mail, IRC are apparitions whose arrival might as well be the result of angels fluttering in Intel Core Duos as of the massive infrastructure of satellites, fibre- optics, domain name servers and internet access points. Not only does this leave internet governance at the mercy of cultures of expertise; nor merely open the doors to the exercise of power through control of code and protocol. It can also be damned for condemning us to good-enough solutions, like web-safe colours. At the same time, this state of affairs echoes with the same magical apparatuses that Zielinski points us towards. The difference is that while embedded internet appears without explanation or the need for it, it rarely evokes the sense of wonder that Zielinski's protagonists and their audiences so graphically experienced. It is a task - perhaps preliminary, but vital - of critical enquiry to restore that sense of wonder in the face of technologies that have become banal. There is a further refinement required to the concepts of the hermetic tradition and of magic that such a project requires. Hermeticism's reliance on correspondences - on similarities held to embody a deeper linkage between phenomena at some metaphysical level - has a tendency to proliferate connections, drawing ragged collocations of words, numbers and things into mystic configurations. Pilloried by Umberto Eco in his novels, and defended as the root of radical (and contemporary) art practice by Barbara Maria Stafford, the practice of analogy can be as ludicrous as it is illuminating. Critical studies of technology seeking to induce a sense of the strangeness of their objects need to be alert to both the poetic affordances of analogy and its capacity for mystification. The methodological brush with magic reminds us that the world still has surprises in store for us. Should the word 'surprise' seem too redolent of fairground attractions, Tom Gunning has taught us that this is no bad thing. If we are to retain our capacity for amazement, we have to remain open to the chance encounter of the sewing machine and the umbrella stand on the operating table. If this encounter explains nothing, we must place it alongside more licit engines of interpretation which, it appears, increasingly can offer only approximations, intimations, abstractions of or from reality. Fractal geometry, the uncertainty principle, string theory all move away from claims to describe nature and natural processes. Without abandoning the claim to some kind of relation to reality, such theoretical and mathematical models no longer offer one-to-one transcriptions of the real. The relation is neither one of utter deracination nor of simulacra lacking an original. On the contrary, such expressions mediate between reality and ourselves using processes that often enough arise equally from natural and artificial domains. Zielinski's book traces processes of mediation that have found some material form that would allow some mode of conformation or congruence between terms. His achievement is to have noted that proximity is no guarantor of truth: the fleck in my own eye is as strange as, if not stranger than, the beam in my ancestor's. < From Technological to Virtual Art by Frank Popper > reviewed by Amy Ione Technological and virtual art have become so prevalent in recent years that I find it difficult to conceptualize a world in which static media were the norm. Frank Popper's From Technological to Virtual Art chronicles the trajectory that brought about this revolution. Defining virtual art as art that allows us, through an interface with technology, to immerse ourselves in the image and interact with it, the book surveys the originality and power of recent projects and offers some historical antecedents as well. A well-respected art historian, long at the forefront of art and technology studies, Popper is an appropriate figure to present this material. Among those who have taken the art/ science/technology interface from the fringes and into the mainstream, his expertise is vividly translated into this well-documented and comprehensive study of the paradigmatic change. Here he argues that the move toward technologically based projects, largely begun in the twentieth century, has humanized technology due to an emphasis on interactivity. It is also noteworthy that many of the artists Popper focuses on see their commitment to art in larger terms. As the book details, this brings them in touch with politics, the community, and various social dimensions. Reading through the publication is like visiting an exhibition with a smorgasbord of themes, a global sweep, and sensitivity to the personal relationship artists establish with their projects. Popper sets the stage with an impressive history of technology- inspired work from 1918 to 1983 that immediately demonstrates the wealth of material packed into this volume. Accounting for about a third of the book, Part I includes historical antecedents and key figures. This section begins to make it clear that the artistic imagination sometimes finds the "right" technology through incremental experimentation. Surveying technologies that include lasers, holography and eco- technological, computer and communication art, the overview also offers a fine foundation for the coverage of contemporary technological/virtual art and artists, which comprises the bulk of the publication. Part II is subdivided into sections on materialized digital-based work, off-line multimedia and multisensoral works, interactive digital installations, and multimedia online works (net art). Covering 1983-2004, the second part examines plastic and cognitive issues, sensory experiments, interactivity, and experimental modalities more recently pursued. Well-crafted vignettes of key innovators, in both sections, underscore that many practitioners who bring science and technology into their research are sensitive to aesthetic values. What sets them apart is that formal elements are addressed in tandem with investigations of everything from politics to philosophical questions about the real, their own virtual "space," connections between the real, the virtual, and the imagined, and multisensory experience. Indeed, the juxtapositions of themes and formal goals accounts for the work's strength and power. Given its sweep, From Technological to Virtual Art is a hard book to evaluate critically. Popper shows a willingness to let the artists speak for themselves and honors their intentions by explaining their aspirations non-judgmentally. This style of authorship successfully outlines artistic histories and the movement's growth but does not contextualize the kinds of critical themes that are apt to arise in a general academic discussion of the art, science, and technology interface. It is my impression that when critical questions were introduced in depth it was because an artist brought this dimension into a discussion with Popper. This minimalistic approach led me to relish the few parts where deeper issues were more fully brought into play. One of these exceptions was in the chapter on Interactive Digital Installations; perhaps the strongest in the book. Here there is some discussion of how the transcendental approach of immersive, virtual projects (such as Char Davies) intersects with the historical view. Stepping aside from his theme driven biographical survey style, Popper mentions how transcendence, as discussed by Plato, Kant, and other philosophers who have thought about this topic, differs from the common presentation of virtual art. Including more developed commentary throughout the book on how the field has re-visited philosophical issues and artistic questions would have added a nice tension to the chapters. Overall, the book works best as a tribute to the art/science/technology paradigm and as an invitation to seek out the pieces presented. I was delighted with the background material on a number of artists whose work I have encountered over the years, and on figures I know more by name than from exposure to their contributions. For example, Leonardo readers will particularly appreciate Popper's summary of the life, inventive mind, and artistic contributions of Frank Malina. Also of note were summaries on Patrick Lichty, Nina Czegledy, Catherine Ikam and Louis Fléri, Roy Ascott, Orlan, and Rafael Lozano-Hemmer. On the other hand, even a thorough introduction cannot include the wealth of talent within this community. In this case, I was sorry there was no mention of Margaret Dolinsky's work and wished that Victoria Vesna's research, particularly with nanotechnology, had received a fuller treatment. I also found myself surprised by some of the examples Popper chose. Jenny Holzer, for instance, is not someone I think of in terms of technological or virtual art, although her neon sign projects are well known and definitely qualify as technological artifacts. Just as I was ruminating on the Holzer section, I learned that she now has new silk-screen works on display at the Venice Biennial. Her latest turn to this older technology is a reminder that as the virtual becomes more a part of the art world, artists still move in and out of diverse media, at times returning to more traditional forms. Perhaps the book's greatest contribution is its expansion of the art/science/technology literature. Popper mentions early in the book that his intention is to present the history of technological and virtual art in a manner that goes beyond the contributions of Oliver Grau and Christine Buci-Glücksmann. In this he is successful. Grau makes a compelling case that media art has a history that is receiving more (well-deserved) attention, and Buci-Glücksmann demonstrates that technological art now has a place at the table. By contrast, Popper highlights the characters who have brought about our current vision. His much-needed history of key players brings Vasari's sixteenth- century Lives of the Artists to mind. This is not a trivial comparison. On the one hand, both authors present brief overviews of the revolutionary artists of an era. On the other hand, both authors offer presentations that need to accommodate the technological realities of their time. Vasari's descriptions were primarily textually based due to the limitations in printing visual images in the sixteenth century. Although the second edition included woodcuts of the faces of most of the artists mentioned, there were no reproductions of the artworks he described. Ironically, the Popper book is similarly limited in relation to the artworks. One or two small black and white static images accompany the short sketches of the various artists. While numerous, these are a far cry from the actual installations. Having said this, it should surprise no one that the distance between an illustrated text and physical reality was foremost on my mind as I read the book and prepared this review. During this period, coincidentally, I visited Anthony McCall's installation, You and I, Horizontal (2005) at the San Francisco Museum of Modern Art. Although McCall is a figure Popper does not include, he could easily have found a place in the mix. Interacting with this piece, which emphasized the sculptural qualities of a light beam as it comes in contact with a changing geometrical projection and particles in the air - here, vapor from a theatrical haze machine - I could not help but think how poorly this active piece would translate if presented as a small black and white reproduction, even though it is a monochromatic work. Spending time digesting its magical qualities, as the haze seemed to continually change its "physical" form(s) in real time and physical space, underscored how necessary the unfolding experience is to our comprehension of technological art, virtual art, and art in general. To be sure, Popper's words convey that he recognizes how hard it is to articulate all that "embodiment" adds in the book form. Fortunately he did try to address this limitation through the artist list at the end of the volume, which provides URLs that supplement the print medium. Finally, it is important to underscore that a short review cannot even begin to touch on the many wonderful tidbits of information Popper packs into this history. Without a doubt, his knowledge of the field and personal acquaintance with the range of artwork discussed elevates his exposition of motives, technology, and the creative problem-solving involved in moving a piece from idea to actuality. Even given the distance between the publication and the actual experience of the work, Technological to Virtual Art (particularly with the supplementary material) provides a nice overview of the field. It would be a wonderful choice for a textbook in a course exploring the professionals who have nurtured the current art/science/technology climate. Educators could enlarge the book with the URLs, onsite visits, and other media examples that more fully convey the artistic projects outlined in the text. Indeed, and to Popper's credit, much of the material about the work has genuineness to it that came about through his extensive reliance on personal interviews rather than secondary sources. Crafted to touch upon key themes within the work and the creative problem solving that motivated the artistic imagination and technological development needed to bring an aspiration to fruition, the book is a welcome addition to the field. Those who are new to the art/science/technology discipline will find the sweeping survey offers a nice map. Those who know the terrain will no doubt learn more about groundbreaking practitioners and appreciate the wealth of detail that illuminates how we got to this point in time. Libraries now building collections that cover the emergence of recent virtual and media projects should definitely put this book on their shelves. From Technological to Virtual Art is a book that marks the arrival of the art/science/technology perspective and presents the work of many of the innovative people responsible for its ascendancy. I highly recommend it. < Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation by Steve Dixon > reviewed by Dene Grigar It's hard to imagine a bolder or more in-depth book on digital performance than Steve Dixon's Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Exhaustive without being exhausting, Digital Performance includes 800 pages that outline histories as well as theories surrounding digital performance, with large sections of the book paying detailed attention to such topics as the "body," "space," "time," and "interactivity." Along with providing a history of digital performance, Dixon addresses assumptions and critiques views taken by some at face value. Little escapes Dixon's lens, for it is a book with roots in a long-running research project undertaken, from 1999-2001, by Dixon and Barry Smith that "document[ed] developments in the creative use of computer technologies in performance." Called The Digital Performance Archive (DPA), the web-based archive included "live theater and dance productions that incorporate[d] digital media to cyberspace interactive dramas and webcasts. . . [and] collate[d] examples of the use of computers technologies to document, discuss, or analyze performance, including specialist websites, e-zines, and academic CD-ROMs" (ix). The book begins with a revised perspective of the postmodern take on art, challenging Lev Manovich's stance on new media art, which Dixon says "fetishizes the technology without regard for artistic vision and content" (5) and views that ignore the influence of Italian Futurism (and those movements connected to it) on digital performance (47). Section one of the book traces this influence as well as the development of digital performance in three periods, looking first at the avant-garde in the early 20th C, then to multimedia theater from 1911-1959, and finally to technology infused performance work from 1960 onwards. Section two concerns itself with the "Theories and Contexts" surrounding digital performance, starting with the "liveness problem" (115), then "Postmodernism and Posthumanism," "The Digital Revolution," and "Digital Dancing and Software Developments." Here Dixon critiques postmodern theories that he says "can . . . operate doctrinally to impose specific and sometimes inappropriate ideas onto cultural and artistic works" (135) - and takes on the theorists who propose them. Jay David Bolter and Richard Grusin's "remediation," Dixon says, though not a new idea (it is itself repurposed from the "disposal and recycling industries") does shed light on "inherent dialectical tensions at play within computer representations and simulations" (136). George Landow, Dixon tells us, possesses "evangelical zeal typical of the writers at the time" (137). Dixon points to Diane Gromala's utilization of Lyotard's language game to talk about new technologies and, then, Deleuze and Guttari's theories to explain her views of virtual reality and, next, to Gregory Ulmer's focus on Derrida, Lacan, and Wittgenstein for theories of hypertextuality. A whole section is devoted to Jean Baudrillard, whose nihilistic and cynical view of technology, while "seductive and compelling," is "over the top" and in the end offers a view that is for the most part one- sided and incomplete (140-143). There is a section, also, on Derrida, whose theory of deconstruction (particularly, that the "world [is] constant flux") does not really fit "the liveness of theater," which "conspires to fix time and space" (author's emphasis, 145). It would be easy to react to Dixon's critique of theory as simply as one of a Monday morning quarterback able to make better claims in hindsight than those living in the moment of action, as he picks apart past ideas, showing them to be hyperbolic or faulty. When he writes, for example, that "an inescapable fact about the progression of software is that after the initial miracle of new computer 'life,' a certain sameness and staleness creeps in through the repetition that replaced the initial awe and wonderment" (208), we have to ask, isn't this problem true for all new things? Is it just a problem with software? I say this because I remember having to explain to a roomful of college students why Piet Mondrian's Composition in Blue, Yellow, and Black is, paraphrasing their comments, "a big deal, considering that the painting was just lines and squares that anyone can do with PhotoShop." The fact does remain that postmodernism does (or did, depending on one's perspective) offer an alternative to ancient Greek philosophy and worldviews that have dominated the Western world for over two thousand years and don't necessarily work for a contemporary world that is vastly larger and more technologically advanced than that of 5th century Athens. At some point we do get excited about something new and must be able to map new views onto our new world. But the question Dixon forces us to remember is, when and which ones? But this questioning of Dixon's perspective on postmodernism does not mean that his insights are off base. Far from the truth: They are right on target for those performers and performance scholars who have long wondered about the wisdom of placing so much importance on theories not born out of performance practice. Dixon's views will be perceived as sensible and be felt as breaths of fresh air. The next sections, as stated previously, look at the body, space, time, and interactivity. There is a lot to like in the next 600 pages, starting with Dixon's position that "bodies are not animated cadavers . . . . Bodies embody consciousness" (212), to the dream quality of performance (337), to the notion of "media time" (517), to his definition of and categories for interactivity (563), to cite just a few of the hundreds of pages of ideas and insights he offers. Readers looking to consult the DPA database introduced at the front of the book will be disappointed that it is not currently available. Some may wonder why Dixon did not cite Mike Phillips' wry work concerning Shakespeare's works and monkeys but simply alluded to it (166) or question his spelling of Margarete Jahrmann and Max Moswitzer's work, the "nibble-engine-project" (611) when they themselves write of it as "nybble-engine." Women who have been working with computers for decades may take umbrage at Dixon's own assumption that the internet was populated by cowboys, forgetting about us cowgirls (160) or grrls, as many of us called ourselves. Despite these issues, Dixon's book possesses both depth and breadth that performance theorists and practitioners will find not only useful but also necessary for research and teaching. As such Dixon's book is not a history of digital performances but rather a book about the whole concept of digital performance. _______________________ Leonardo Reviews, August 2007 < Bullshit by Pea Holmquist and Suzanne Khardalian > Reviewed by Jonathan Zilberg < Cartographic Cinema by Tom Conley > Reviewed by Jan Baetens < Clarence John Laughlin: Prophet Without Honor by A.J. Meek > Reviewed by Allan Graubard < Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means by Siegfried Zielinski and Gloria Custance > Reviewed by Sean Cubitt < Design Anarchy by Kalle Lasn > Reviewed by John F. Barber < Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation by Steve Dixon > Reviewed by Dene Grigar < Dub: Soundscapes and Shattered Songs in Jamaican Reggae by Michael E. Veal > Reviewed by Stefaan Van Ryssen < The Face of Evil by David Tosco, Director > Reviewed by Roy R. Behrens < Forever by Heddy Honigann > Reviewed by Roy R. Behrens < From Technological to Virtual Art by Frank Popper > Reviewed by Amy Ione < Imagining MIT: Designing a Campus for the Twenty-First Century by William J. Mitchell > Reviewed by Dr Eugenia Fratzeskou < Jules Kirschenbaum: The Need to Dream of Some Transcendent Meaning by Thomas Worthen > Reviewed by Roy R. Behrens < Mind as Machine: A History of Cognitive Science by Margaret Boden > Reviewed by Roy R. Behrens < Native Moderns: American Indian Painting, 1940-1960 by Bill Anthes > Reviewed by Jonathan Zilberg < Notes on Marie Menken by Martina Kudlacek > Reviewed by Roy R. Behrens < Ohne Schnur: Kunst und Drahtlose Kommunikation Edited by Katja Kwastek > Reviewed by Stefaan Van Ryssen < Our Daily Bread by Nikolaus Geyrhalter > and < The Gleaners and I by Agnes Varda > Reviewed by Roy R. Behrens < Shigeru Ban: An Architect for Emergencies by Michel Quinejure > Reviewed by Roy R. Behrens To read all the reviews posted for August 2007, visit Leonardo Reviews at: . ______________________________________________________ LEONARDO, VOL. 40, No. 4 (July 2007) TABLE OF CONTENTS AND SELECT ABSTRACTS ______________________________________________________ Editorial < Research on and from within Creative Practice > by Ernest Edmonds _______________________ Special Section: The Fire Arts of Burning Man < Introduction: A Passion to Burn > by Louis M. Brill < Curator Overview: Playing with Fire > by Christine Kristen (a.k.a. LadyBee) ABSTRACT: Fire as an art form is evolving in the Black Rock Desert of Nevada, where many Burning Man artists explore the creation and manipulation of fire in their installations. Sculptors, engineers, geeks and pyromaniacs experiment with open fires, pressurized gases and pyrotechnics to produce mesmerizing and beautiful works of art. < Burning Man Artists' Statements > by Joe Bard and Danya Parkinson, Tim Black, Larry Breed, Paul Cesewski and Jenne Giles, Bill Codding, Dan Das Mann, Wally Glenn, Lucy Hosking, Syd Klinge, Tamara Li, Dan Ng, Andrew Sano, Jack Schroll, Eric Singer, Nate Smith, Charlie Smith and Jaime Ladet, Kal Spelletich, Kasia Wojnarski _______________________ General Note < The Use of Artistic Analogies in Chemical Research and Education > by Balazs Hargittai and Magdolna Hargittai ABSTRACT: This compilation presents examples of artistic artifacts that have served as successful visual analogies to aspects of chemistry. The authors have used them in various college-level chemistry classes, outreach programs and chemistry textbooks, as well as in journals and monographs. They include ancient Chinese, Turkish and Thai sculptures, modern sculptures and a medieval fresco. These examples illustrate the chemical concept of chirality, the periodic table of the elements and molecular systems such as buckminsterfullerene, nanotubes and quasicrystals. _______________________ Transactions < Interactive Experience in Public Context: Tango Tangle > by Zafer Bilda < Constraints and Creativity in the Digital Arts > by Linda Candy < Interaction as a Medium in Architectural Design > by Joanne Jakovich and Kirsty Beilharz < A Pleasure Framework > by Brigid Costello < Fundamental Insights on Complex Systems Arising from Generative Arts Practice > by C. Burraston _______________________ Special Section: ArtScience: The Essential Connection < Deconstructing the Genome with Cinema > by Gabriel A. Harp ABSTRACT: Evidence from language, history and form suggest an analogy between the cinema and the genome. The author describes some of the relationships between cinema and the genome and points to opportunities for discovering unmarked categories within the genome and new methods of representation. This is accomplished by evaluating existing metaphors presented for the understanding of genetics and revealing how current scientific understanding and social concerns suggest a cinematic alternative. The formal principles of function, difference and development mediate discussion and serve as heuristics for investigating creative opportunities. < Fractal Graphic Designer Anton Stankowski > by Vladimir A. Shlyk ABSTRACT: The author introduces an outstanding master of graphic design and photography, Anton Stankowski, as a fractal artist. Stankowski saw his challenge as inventing a visual graphic language capable of depicting natural and technological processes and abstract notions in an aesthetic and comprehensible way. Many of Stankowski's works demonstrate fractal-like characteristics. Analysis of his theory of design provides convincing evidence that this is not accidental. Stankowski used these features consciously. He devised and applied a principle of organizing forms in pictures by means of two components, branching and regeneration, both of which are properties of self-similarity and the underlying bases of fractals. _______________________ From the Leonardo Archive < Introduction > by Darlene Tong and Roger F. Malina < Caricature Generator, the Dynamic Exaggeration of Faces by Computer and Illustrated Works > by Susan Brennan (Reprinted from Leonardo Vol. 18, No. 3, 1985) ABSTRACT: The author has researched and developed a theory of computation for caricature and has implemented this theory as an interactive computer graphics program. The Caricature Generator program is used to create caricatures by amplifying the differences between the face to be caricatured and a comparison face. This continuous, parallel amplification of facial features on the computer screen simulates the visualization process in the imagination of the caricaturist. The result is a recognizable, animated caricature, generated by computer and mediated by an individual who may or may not have facility for drawing, but who, like most human beings, is expert at visualizing and recognizing faces. _______________________ Leonardo Reviews Reviews by Kathryn Adams, Wilfred Niels Arnold, John F. Barber, Martha Blassnigg, Andrea Dahlberg, Sean Cubitt, Amy Ione, Mike Leggett, Michael Punt, Eugene Thacker, Stefaan Van Ryssen, Jonathan Zilberg ______________________________________________________ LEONARDO NETWORK NEWS ______________________________________________________ < Leonardo/OLATS Awards the Leonardo-EMS Award for Excellence to criticalartware > We are pleased to announce that Leonardo/OLATS and the Electroacoustic Music Studies Network (EMS Network) have awarded the Leonardo-EMS Award for Excellence to criticalartware (Jon Cates, Ben Syverson and Jon Satrom) for their paper "likn: A Flexible Platform for Information and Metadata Exchange" which they presented at the Electroacoustic Music Studies Conference in Beijing, October 2006. criticalartware's likn project is an artware application that addresses the nature of knowledge, ideas and language in the era of globalization. More specifically, likn is a functional online collaborative environment which wages a persistent critique of the desire to standardize and universalize meaning, and offers an alternative by applying postmodern and postcolonial theories to the challenge of organizing discourse and media. The paper can be accessed online at http://www.leonardo.info/isast/announcements/LeoEMS2006_announce .html The Leonardo-EMS jury convened on Thursday, October 26 after the official closure of the third Electroacoustic Music Studies Conference. The Leonardo-EMS jury, consisting of Marc Battier, Kenneth Fields and Ricardo dal Farra, was thrilled at the high quality of presentations by young researchers during the Beijing event and the final decision was difficult to reach. The EMS Network has been organized to fill an important gap in electroacoustic music, namely focusing on the better understanding of the various manifestations of electroacoustic music. Areas related to the study of electroacoustic music range from the musicological to more interdisciplinary approaches, from studies concerning the impact of technology on musical creativity to the investigation of the ubiquitous nature of electroacoustic sounds today. The choice of the word "network" is of fundamental importance, as one of the goals of the EMS Network is to make relevant initiatives more widely available. More about the Electroacoustic Music Studies Network can be found at http://www.ems-network.org Leonardo/OLATS has established a collaboration with the EMS network through which annual Leonardo-EMS Awards for Excellence will be made for the best contribution to the EMS symposium by a young researcher as decided by a joint jury. < MutaMorphosis Conference Speakers Announced > The MutaMorphosis conference is part of the Leonardo 40th Anniversary celebrations and of the e n t e r 3 festival. The festival will feature performances, screenings and exhibitions at various locations around Prague 8 - 11 November 2007, including the first retrospective of Frank J. Malina (artist, scientist and founder of Leonardo). Scheduled Plenary Speakers at this time are: Roy Ascott Terror Incognito: Steps toward an Extremity of Mind Albert-László Barabási The Architecture of Complexity Louis Bec Václav Cílek Climate as the Last Wilderness David Dunn & James P. Crutchfield Insects, Trees, and Climate: The Bioaocustic Ecology of Deforestation and Entomogenic Climate Change Roger F. Malina Limits of Cognition: Artists in the Dark Universe Stelarc Alternate Anatomical Architectures: Extruded, Empty and Absent Bodies Victoria Vesna & James Gimzewski The new territory of nano Plenary speakers abstracts are available on line at:http://www.mutamorphosis.org Join us in Prague November 8 - 10, 2007 for this outstanding international event! MutaMorphosis concentrates on the growing interest - within the worlds of the arts, sciences and technologies - in EXTREME AND HOSTILE ENVIRONMENTS. More than 60 renowned practitioners in the arts, sciences, engineering and humanities will speak about the limits and extremes in our conceptions of life, space and cognition. Feel free to BROWSE the abstracts at our web sitehttp://www.mutamorphosis.org where you can also REGISTER and BOOK your hotel at special conference prices. Please note that the capacity of the conference halls is limited. - Early registration: June 1, 2007 - July 31, 2007 - Regular registration: August 1, 2007 - October 15, 2007 The international conference MutaMorphosis: Challenging Arts and Sciences is organized by CIANT - International Centre for Art and New Technologies in Prague and co-organized by Leonardo/ISAST, Hexagram - Institute for Research/Creation in Media Arts and Technologies and Pépinières européenes pour jeunes artistes. Should you require further information do not hesitate to contact us at mutamorphosis at ciant.cz. < Leonardo Abstracts Service (LABS) opens new Chinese language database > Leonardo is delighted to announce the opening of the Chinese language Leonardo Abstracts Service (LABS) database, following the establishment of the English language and Spanish language LABS databases. The Chinese language LABS, organized by Ken Fields at the China Electronic Music Center at China's Central Conservatory of Music, is for abstracts of art/science/technology MA or PHD theses written in Chinese and can be found at: http://china-labs.daohaus.org The Chinese-language peer review panel for 2006/2007 includes: Ma Gang, Central Academy of Fine Art, Beijing Zhang Peili, China Academy of Fine Art, Hangzhou Zhang Xiaofu, Central Conservatory of Music, Beijing Zhu Qingsheng, Peking University, Beijing Lothar Spree, Tongji University, Shanghai --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "leonardo electronic almanac alerts list" group. To post to this group, send email to LEAalerts at googlegroups.com To unsubscribe from this group, send email to LEAalerts-unsubscribe at googlegroups.com For more options, visit this group at http://groups.google.com/group/LEAalerts -~----------~----~----~----~------~----~------~--~--- -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070818/c1dd0a80/attachment-0001.html From weekendfilms at gmail.com Mon Aug 20 11:41:29 2007 From: weekendfilms at gmail.com (Weekend films) Date: Mon, 20 Aug 2007 11:41:29 +0530 Subject: [Announcements] =?windows-1252?q?Screening_of_Sanjay_Joshi=92s_do?= =?windows-1252?q?cumentary_film_=96_KAHANIKAAR_AMARKANT_=26_Weeken?= =?windows-1252?q?d_Films=92_KUMBH_MELA_=96_A_DIVINE_CONFLUENCE=2E?= Message-ID: <205a7b590708192311n742e8debo17a04f73f6f58fbc@mail.gmail.com> Friends, Weekend Films in association with Rajendra Prasad Academy cordially invite you to the screening of young film maker Sanjay Joshi's documentary film – KAHANIKAAR AMARKANT. Film is produced by Jo Production. On this occasion, we will also show the trailer of Weekend Films' forthcoming documentary film – KUMBH MELA – A DIVINE CONFLUENCE. Venue: Main Auditorium, Rajendra Bhavan, 210, Deen Dayal Upadhyay Marg, (Near ITO, Opposite Gandhi Peace Foundation), New Delhi – 110001 Date: Sunday, 26 August 2007 Time: 5.30 PM R.S.V.P. Rajendra Prasad Academy Weekend Films (9871401535) (9811577426, 9811912069) -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: application/defanged-1 Size: 3617 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20070820/7f07afd3/attachment.bin From kj.impulse at gmail.com Mon Aug 20 10:27:53 2007 From: kj.impulse at gmail.com (Kavita Joshi [Impulse]) Date: Mon, 20 Aug 2007 10:27:53 +0530 Subject: [Announcements] [DFA: 16] THE LIGHTNING TESTIMONIES - SCREENING INVITE Message-ID: <821019d70708192157r7de6e796qfbc02121c28406e9@mail.gmail.com> *Dear Friends,* *This is to invite you for the first screening of my new film - * * * *THE LIGHTNING TESTIMONIES * ** *on the 27th of August 2007 at 6.30 p.m. at the India International Center Auditorium , New Delhi . * ** *Please do come and invite others who may be interested. * *regards * *amar* * * FILM SYNOPSIS THE LIGHTNING TESTIMONIES a film by Amar Kanwar Why is one image different from the other? Why does an image seem to contain many secrets? What can release them so as to suddenly connect with many unknown lives. The Lightning Testimonies reflects upon a history of conflict in the Indian subcontinent through experiences of sexual violence. As the film explores this violence, there emerge multiple submerged narratives, sometimes in people, images and memories, and at other times in objects from nature and everyday life that stand as silent but surviving witnesses. In all narratives the body becomes central - as a site for honour, hatred and humiliation and also for dignity and protest. As the stories unfold, women from different times and regions come forward. The film speaks to them directly, trying to understand how such violence is resisted, remembered and recorded by individuals and communities. Narratives hidden within a blue window or the weave of a cloth appear, disappear and are then reborn in another vocabulary at another time. Using a range of visual vocabularies the film moves beyond suffering into a space of quiet contemplation, where resilience creates a potential for transformation. Duration - 1 hour 56 minutes, 2007, English and Hindi versions. Direction - Amar Kanwar Editing - Sameera Jain Camera - Ranjan Palit Sound - Suresh Rajamani Assistant Director - Sandhya Kumar Graphic Design - Sherna Dastur -- AMAR KANWAR New Delhi India Email : amarkanwar at gmail.com -- Kavita Joshi Filmmaker and Media Trainer. Delhi. http://kavitajoshi.blogspot.com +91. 98688 88642 mobile +91. 11. 28618315 main / +91. 11. 26511337 msg only --~--~---------~--~----~------------~-------~--~----~ Please DO NOT REPLY to the sender. To contact the MODERATOR: delhifilmarchive [at] gmail.com To UNSUBSCRIBE: send an email to delhifilmarchive-unsubscribe at googlegroups.com More OPTIONS are on the web: http://groups-beta.google.com/group/delhifilmarchive/ Visit our WEBSITE: www.delhifilmarchive.org See the LIST OF FILMS in the Archive: http://www.delhifilmarchive.org/archive.html -~----------~----~----~----~------~----~------~--~--- -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070820/446683d0/attachment.html From delhifilmarchive at gmail.com Mon Aug 20 20:26:23 2007 From: delhifilmarchive at gmail.com (Delhi Film Archive [DFA]) Date: Mon, 20 Aug 2007 20:26:23 +0530 Subject: [Announcements] [DFA: 17] DFA Screening - Black Pamphlets Message-ID: <5a4334630708200756o46d4abd7rf1c10eb781ba64d7@mail.gmail.com> Delhi Film Archive and Ramjas College present a season of documentaries. Every third thursday of the month, a film that opens a new world. We start this regular screening programme with a film from close home. "Black Pamphlets" Duration: 84 minutes A film By Nitin K 23 August 2007, 1:15pm, at Seminar Room, Ramjas College, Delhi University Black Pamphlets takes you into the heart of the Delhi University Students Union Election process. The film is an insiders view of the candidates, strategies, resources and the politics that goes into the making of probably the biggest student election of the country. But beyond that the film through its images of the everyday in the university becomes an opportunity for students from diverse backgrounds to share with the film maker their own understanding of democratic practices, their futures and their today. VISIT OUR WEBSITE: www.delhifilmarchive.org JOIN OUR MAILING LIST OF FILM SCREENINGS: email: delhifilmarchive-subscribe at googlegroups.com CONTACT US: delhifilmarchive at gmail.com --~--~---------~--~----~------------~-------~--~----~ Please DO NOT REPLY to the sender. To contact the MODERATOR: delhifilmarchive [at] gmail.com To UNSUBSCRIBE: send an email to delhifilmarchive-unsubscribe at googlegroups.com More OPTIONS are on the web: http://groups-beta.google.com/group/delhifilmarchive/ Visit our WEBSITE: www.delhifilmarchive.org See the LIST OF FILMS in the Archive: http://www.delhifilmarchive.org/archive.html -~----------~----~----~----~------~----~------~--~--- -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070820/5310254e/attachment.html From iram at sarai.net Wed Aug 22 14:09:41 2007 From: iram at sarai.net (Iram Ghufran) Date: Wed, 22 Aug 2007 14:09:41 +0530 Subject: [Announcements] Fwd: Nigah screens "Brother Outsider" In-Reply-To: <8c9003440708211859w2ccba0a2jcc2a825de216264b@mail.gmail.com> References: <8c9003440708211859w2ccba0a2jcc2a825de216264b@mail.gmail.com> Message-ID: <46CBF64D.5050001@sarai.net> ===============Announcement from Nigah================= Hello, Nigah will be screening the feature documentary "Brother Outside, The Life of Bayard Rustin", at 6:30 pm on August 25th, Saturday. The address is 3, Windmill Place, Khidki, right next door to the Khoj Studios. "Brother Outsider relies on archival film footage and interviews to offer an incisive portrait of political activist Bayard Rustin. Although his name lacks the familiarity of other major Civil Rights leaders, the film shows that he nonetheless played a central role in the movement's seminal events during the 1950s and '60s. He traveled to Montgomery in 1956 during the bus boycotts where he advised Martin Luther King on non-violence, and served as the central organizer for the March on Washington in 1963. Rustin's political liabilities, however, often kept him out of the spotlight. He was a conscientious objector during World War II and, for a short time, belonged to the Communist Party. More problematic, however, was Rustin's homosexuality. His political enemies used his sexual orientation to neutralize him, while his political allies often shunned him because of it. Rustin also advocated for nuclear non-proliferation, and traveled to the Algerian Sahara to protest the first French nuclear test in 1960. Brother Outsider includes ample footage of Rustin himself, adding an autobiographical aspect to this feisty portrait." See you there. Cheers, Nigah, Delhi From keshvani at leoalmanac.org Sun Aug 19 05:41:55 2007 From: keshvani at leoalmanac.org (Nisar Keshvani, LEA) Date: Sun, 19 Aug 2007 08:11:55 +0800 Subject: [Announcements] Leonardo Electronic Almanac Supplement - Volume 15, Number 7 - 8, 2007 In-Reply-To: <5d60ab0c0708172055y4f4b4642yce2285673b583eb0@mail.gmail.com> References: <5d60ab0c0708172055y4f4b4642yce2285673b583eb0@mail.gmail.com> Message-ID: <5d60ab0c0708181711h430ab23bufd7e31198e22aca8@mail.gmail.com> ________________________________________________________________ Leonardo Electronic Almanac Volume 15, Number 7 - 8, 2007http://leoalmanac.org ISSN #1071-4391 ________________________________________________________________ LEONARDO REVIEWS ---------------- < Introduction by Michael Punt > < Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means by Siegfried Zielinski, Gloria Custance > reviewed by Sean Cubitt < From Technological to Virtual Art by Frank Popper > reviewed by Amy Ione < Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation by Steve Dixon > reviewed by Dene Grigar < Leonardo Reviews, August 2007 > LEONARDO -------- < Table of Contents: Leonardo Vol. 40, No. 4, 2007 > LEONARDO NETWORK NEWS --------------------- < Leonardo/OLATS Awards the Leonardo-EMS Award for Excellence to criticalartware > < MutaMorphosis Conference Speakers Announced > < Leonardo Abstracts Service (LABS) opens new Chinese language database > BYTES ----- < Digital Humanities Chair Position available at Dartmouth College > ________________________________________________________________ LEONARDO REVIEWS, August 2007 ________________________________________________________________ Judging by the current publishing trend we are all fast approaching middle age or even our dotage: by all, I mean those of us who participated in the secessionist hey days of 'media art' and thought that art, perception, and the world would be changed by new technologies. Now we know, at least from the three MIT publications highlighted in Leonardo Reviews here, that nothing changes. After the brief wild party, the historians have come in to sweep up the pieces into a sensible heap. This is not to decry writing history, an enterprise that I hope I also have contributed to. It is merely to point out that at least as far as publishing in the field of science, art and technology is concerned it is about time to quietly abandon the word 'new' when we talk of media - even when it is willfully confused with technology. The three featured reviews below identify distinct historical methods for conceptualizing the relationship between art and those technologies that some choose to call media. Our reviewers collectively address this topic and their dialogue sets up the debate about how future histories are to be written. Histories in which the assumptions, parallelisms and the tenuous associations of coincidence of populist writing are replaced by the rigor of researchers trained to avoid the seductions of their own rhetoric. Not only in these three reviews but also throughout the recent postings at http://www.leonardo.info/reviews/books.html the maturation of our practices, discussions and reflections concerning the intersection of art, science and technology is increasingly evident. We hope that the early warning radar of this trend will be reflected in our future reviews for the benefit of the Leonardo community Michael Punt Editor-in-Chief Leonardo Reviews < Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means by Siegfried Zielinski, Gloria Custance > reviewed by Sean Cubitt Siegfried Zielinski offers a new take on the long history of media technologies, taking his readers on a tour of forgotten archives and forgotten innovators. Familiar names appear, among them a fascinating repositioning of Athanasius Kircher. By refusing to accept the normative histories, Zielinski recovers a lost trajectory that involves a long tradition of magical and quasi-rational thought from Empedocles to the Illuminati and, thence, to the late 19th century reinvention of time. Among those recovered from obscurity are Giovan Battista Della Porta, Purkyne, Lombroso and the extraordinary Aleksej Kapitanovich Gastev. In his conclusion, Zielinski not only draws together the legacy of Ramon Llull, but proposes a new cartography of media 'anarcheology', whose centres are no longer London, Paris, Berlin and New York but Petersburg, Prague and places south and east. It is a marvelous book in the most literal sense of the word, and a wonderful read in its own right, quite apart from the scholarship and the revelation of new trajectories for media historiography. One reason for this is that the book opens onto a landscape of strangely familiar if obscure beauty: the history of the magical tradition as an intellectual pathway now left in darkness, but once a shining path for intellectual and technological enquiry. Zielinski's passion for the hermetic tradition steers clear of the worst excesses of Jungian mysticism while recalling the line, from Robert Fludd to Vilém Flusser, that situates a history of media in the gnostic tradition in Western Europe. He reminds us that Newton's dark obsession with alchemy is of a piece with his physics and optics; and that Copernicus is as much the heir of Pico della Mirandola's solar worship as he is the ancestor of scientific rationalism. It is an attractive thought, that right knowing of material science sails so close to the perennial philosophy; and that however materialist this history is, it addresses, if only by rejection, the repressed chronotope of the eternal wisdom. What has always repelled materialists from the hermetic tradition is not its whimsy but on the contrary the solemnity with which its priesthood has historically erected ever more complex cathedrals of theodicy and theogeny on the intuition that something 'more' inhabits, locates and frames the givenness of the world. It is sad therefore to note that materialism has often - though not universally - eschewed any address to the sacred. By this I do not mean that materialism in any way fails for lack of a theology, nor that the sacred forms some ontological ground on which the material world is more deeply founded. Rather, what has been often lacking is a commitment to understanding that affect which we recognise under the rubric of sacredness, an elevation beyond not merely the instinctual but also the intellectual pleasures, a yearning apart from the desire for justice, peace and plenty for all. Since the term sacred has, moreover, been tainted by centuries of mouthing in institutions that have done little for justice, peace or plenty, we need another term, one that might displace the materialist reluctance to address affect in general and this affect in particular. I propose a mediological enquiry into the nature of wonder, a task admirably launched by Zielinski's book. Quite properly Zielinski calls this tradition 'magic'. It is hard nowadays not to evoke Arthur C Clarke's dictum that any sufficiently advanced technology appears as magic. What neither Clarke nor Zielinski undertake is an analysis of the curiously braided destinies of magic and familiarity. As Don Ihde observes, technologies that at their invention appear magical can, with widespread adoption, become 'embedded' and transparent, as signs written in one's native language are transparent. Embedded technologies like television, once marvellous, become the invisible vehicles of messages whose mediation we notice only when the machinery breaks down. The braiding of magic and the mundane occurs when familiarity breeds contentment. The internet is a case in point. Early adopters not only found the technology marvellous: we found it interesting. The early adopter generation tended to be computer literate, at least at the level of understanding (and wondering at) the processes of packet switching, the efficacy of html, even the duplicity of cookie technology. But for the internet generation who grew up with them, these marvels are the more truly magical because they are not understood. Comprehension of how the net works is today a specialist discipline, or the domain of nerds, and while nerds command a higher degree of peer respect than in previous generations, their knowledge is regarded as arcane, and only its instrumental use in problem solving genuinely prized. For the rest, the web, e-mail, IRC are apparitions whose arrival might as well be the result of angels fluttering in Intel Core Duos as of the massive infrastructure of satellites, fibre- optics, domain name servers and internet access points. Not only does this leave internet governance at the mercy of cultures of expertise; nor merely open the doors to the exercise of power through control of code and protocol. It can also be damned for condemning us to good-enough solutions, like web-safe colours. At the same time, this state of affairs echoes with the same magical apparatuses that Zielinski points us towards. The difference is that while embedded internet appears without explanation or the need for it, it rarely evokes the sense of wonder that Zielinski's protagonists and their audiences so graphically experienced. It is a task - perhaps preliminary, but vital - of critical enquiry to restore that sense of wonder in the face of technologies that have become banal. There is a further refinement required to the concepts of the hermetic tradition and of magic that such a project requires. Hermeticism's reliance on correspondences - on similarities held to embody a deeper linkage between phenomena at some metaphysical level - has a tendency to proliferate connections, drawing ragged collocations of words, numbers and things into mystic configurations. Pilloried by Umberto Eco in his novels, and defended as the root of radical (and contemporary) art practice by Barbara Maria Stafford, the practice of analogy can be as ludicrous as it is illuminating. Critical studies of technology seeking to induce a sense of the strangeness of their objects need to be alert to both the poetic affordances of analogy and its capacity for mystification. The methodological brush with magic reminds us that the world still has surprises in store for us. Should the word 'surprise' seem too redolent of fairground attractions, Tom Gunning has taught us that this is no bad thing. If we are to retain our capacity for amazement, we have to remain open to the chance encounter of the sewing machine and the umbrella stand on the operating table. If this encounter explains nothing, we must place it alongside more licit engines of interpretation which, it appears, increasingly can offer only approximations, intimations, abstractions of or from reality. Fractal geometry, the uncertainty principle, string theory all move away from claims to describe nature and natural processes. Without abandoning the claim to some kind of relation to reality, such theoretical and mathematical models no longer offer one-to-one transcriptions of the real. The relation is neither one of utter deracination nor of simulacra lacking an original. On the contrary, such expressions mediate between reality and ourselves using processes that often enough arise equally from natural and artificial domains. Zielinski's book traces processes of mediation that have found some material form that would allow some mode of conformation or congruence between terms. His achievement is to have noted that proximity is no guarantor of truth: the fleck in my own eye is as strange as, if not stranger than, the beam in my ancestor's. < From Technological to Virtual Art by Frank Popper > reviewed by Amy Ione Technological and virtual art have become so prevalent in recent years that I find it difficult to conceptualize a world in which static media were the norm. Frank Popper's From Technological to Virtual Art chronicles the trajectory that brought about this revolution. Defining virtual art as art that allows us, through an interface with technology, to immerse ourselves in the image and interact with it, the book surveys the originality and power of recent projects and offers some historical antecedents as well. A well-respected art historian, long at the forefront of art and technology studies, Popper is an appropriate figure to present this material. Among those who have taken the art/ science/technology interface from the fringes and into the mainstream, his expertise is vividly translated into this well-documented and comprehensive study of the paradigmatic change. Here he argues that the move toward technologically based projects, largely begun in the twentieth century, has humanized technology due to an emphasis on interactivity. It is also noteworthy that many of the artists Popper focuses on see their commitment to art in larger terms. As the book details, this brings them in touch with politics, the community, and various social dimensions. Reading through the publication is like visiting an exhibition with a smorgasbord of themes, a global sweep, and sensitivity to the personal relationship artists establish with their projects. Popper sets the stage with an impressive history of technology- inspired work from 1918 to 1983 that immediately demonstrates the wealth of material packed into this volume. Accounting for about a third of the book, Part I includes historical antecedents and key figures. This section begins to make it clear that the artistic imagination sometimes finds the "right" technology through incremental experimentation. Surveying technologies that include lasers, holography and eco- technological, computer and communication art, the overview also offers a fine foundation for the coverage of contemporary technological/virtual art and artists, which comprises the bulk of the publication. Part II is subdivided into sections on materialized digital-based work, off-line multimedia and multisensoral works, interactive digital installations, and multimedia online works (net art). Covering 1983-2004, the second part examines plastic and cognitive issues, sensory experiments, interactivity, and experimental modalities more recently pursued. Well-crafted vignettes of key innovators, in both sections, underscore that many practitioners who bring science and technology into their research are sensitive to aesthetic values. What sets them apart is that formal elements are addressed in tandem with investigations of everything from politics to philosophical questions about the real, their own virtual "space," connections between the real, the virtual, and the imagined, and multisensory experience. Indeed, the juxtapositions of themes and formal goals accounts for the work's strength and power. Given its sweep, From Technological to Virtual Art is a hard book to evaluate critically. Popper shows a willingness to let the artists speak for themselves and honors their intentions by explaining their aspirations non-judgmentally. This style of authorship successfully outlines artistic histories and the movement's growth but does not contextualize the kinds of critical themes that are apt to arise in a general academic discussion of the art, science, and technology interface. It is my impression that when critical questions were introduced in depth it was because an artist brought this dimension into a discussion with Popper. This minimalistic approach led me to relish the few parts where deeper issues were more fully brought into play. One of these exceptions was in the chapter on Interactive Digital Installations; perhaps the strongest in the book. Here there is some discussion of how the transcendental approach of immersive, virtual projects (such as Char Davies) intersects with the historical view. Stepping aside from his theme driven biographical survey style, Popper mentions how transcendence, as discussed by Plato, Kant, and other philosophers who have thought about this topic, differs from the common presentation of virtual art. Including more developed commentary throughout the book on how the field has re-visited philosophical issues and artistic questions would have added a nice tension to the chapters. Overall, the book works best as a tribute to the art/science/technology paradigm and as an invitation to seek out the pieces presented. I was delighted with the background material on a number of artists whose work I have encountered over the years, and on figures I know more by name than from exposure to their contributions. For example, Leonardo readers will particularly appreciate Popper's summary of the life, inventive mind, and artistic contributions of Frank Malina. Also of note were summaries on Patrick Lichty, Nina Czegledy, Catherine Ikam and Louis Fléri, Roy Ascott, Orlan, and Rafael Lozano-Hemmer. On the other hand, even a thorough introduction cannot include the wealth of talent within this community. In this case, I was sorry there was no mention of Margaret Dolinsky's work and wished that Victoria Vesna's research, particularly with nanotechnology, had received a fuller treatment. I also found myself surprised by some of the examples Popper chose. Jenny Holzer, for instance, is not someone I think of in terms of technological or virtual art, although her neon sign projects are well known and definitely qualify as technological artifacts. Just as I was ruminating on the Holzer section, I learned that she now has new silk-screen works on display at the Venice Biennial. Her latest turn to this older technology is a reminder that as the virtual becomes more a part of the art world, artists still move in and out of diverse media, at times returning to more traditional forms. Perhaps the book's greatest contribution is its expansion of the art/science/technology literature. Popper mentions early in the book that his intention is to present the history of technological and virtual art in a manner that goes beyond the contributions of Oliver Grau and Christine Buci-Glücksmann. In this he is successful. Grau makes a compelling case that media art has a history that is receiving more (well-deserved) attention, and Buci-Glücksmann demonstrates that technological art now has a place at the table. By contrast, Popper highlights the characters who have brought about our current vision. His much-needed history of key players brings Vasari's sixteenth- century Lives of the Artists to mind. This is not a trivial comparison. On the one hand, both authors present brief overviews of the revolutionary artists of an era. On the other hand, both authors offer presentations that need to accommodate the technological realities of their time. Vasari's descriptions were primarily textually based due to the limitations in printing visual images in the sixteenth century. Although the second edition included woodcuts of the faces of most of the artists mentioned, there were no reproductions of the artworks he described. Ironically, the Popper book is similarly limited in relation to the artworks. One or two small black and white static images accompany the short sketches of the various artists. While numerous, these are a far cry from the actual installations. Having said this, it should surprise no one that the distance between an illustrated text and physical reality was foremost on my mind as I read the book and prepared this review. During this period, coincidentally, I visited Anthony McCall's installation, You and I, Horizontal (2005) at the San Francisco Museum of Modern Art. Although McCall is a figure Popper does not include, he could easily have found a place in the mix. Interacting with this piece, which emphasized the sculptural qualities of a light beam as it comes in contact with a changing geometrical projection and particles in the air - here, vapor from a theatrical haze machine - I could not help but think how poorly this active piece would translate if presented as a small black and white reproduction, even though it is a monochromatic work. Spending time digesting its magical qualities, as the haze seemed to continually change its "physical" form(s) in real time and physical space, underscored how necessary the unfolding experience is to our comprehension of technological art, virtual art, and art in general. To be sure, Popper's words convey that he recognizes how hard it is to articulate all that "embodiment" adds in the book form. Fortunately he did try to address this limitation through the artist list at the end of the volume, which provides URLs that supplement the print medium. Finally, it is important to underscore that a short review cannot even begin to touch on the many wonderful tidbits of information Popper packs into this history. Without a doubt, his knowledge of the field and personal acquaintance with the range of artwork discussed elevates his exposition of motives, technology, and the creative problem-solving involved in moving a piece from idea to actuality. Even given the distance between the publication and the actual experience of the work, Technological to Virtual Art (particularly with the supplementary material) provides a nice overview of the field. It would be a wonderful choice for a textbook in a course exploring the professionals who have nurtured the current art/science/technology climate. Educators could enlarge the book with the URLs, onsite visits, and other media examples that more fully convey the artistic projects outlined in the text. Indeed, and to Popper's credit, much of the material about the work has genuineness to it that came about through his extensive reliance on personal interviews rather than secondary sources. Crafted to touch upon key themes within the work and the creative problem solving that motivated the artistic imagination and technological development needed to bring an aspiration to fruition, the book is a welcome addition to the field. Those who are new to the art/science/technology discipline will find the sweeping survey offers a nice map. Those who know the terrain will no doubt learn more about groundbreaking practitioners and appreciate the wealth of detail that illuminates how we got to this point in time. Libraries now building collections that cover the emergence of recent virtual and media projects should definitely put this book on their shelves. From Technological to Virtual Art is a book that marks the arrival of the art/science/technology perspective and presents the work of many of the innovative people responsible for its ascendancy. I highly recommend it. < Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation by Steve Dixon > reviewed by Dene Grigar It's hard to imagine a bolder or more in-depth book on digital performance than Steve Dixon's Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation. Exhaustive without being exhausting, Digital Performance includes 800 pages that outline histories as well as theories surrounding digital performance, with large sections of the book paying detailed attention to such topics as the "body," "space," "time," and "interactivity." Along with providing a history of digital performance, Dixon addresses assumptions and critiques views taken by some at face value. Little escapes Dixon's lens, for it is a book with roots in a long-running research project undertaken, from 1999-2001, by Dixon and Barry Smith that "document[ed] developments in the creative use of computer technologies in performance." Called The Digital Performance Archive (DPA), the web-based archive included "live theater and dance productions that incorporate[d] digital media to cyberspace interactive dramas and webcasts. . . [and] collate[d] examples of the use of computers technologies to document, discuss, or analyze performance, including specialist websites, e-zines, and academic CD-ROMs" (ix). The book begins with a revised perspective of the postmodern take on art, challenging Lev Manovich's stance on new media art, which Dixon says "fetishizes the technology without regard for artistic vision and content" (5) and views that ignore the influence of Italian Futurism (and those movements connected to it) on digital performance (47). Section one of the book traces this influence as well as the development of digital performance in three periods, looking first at the avant-garde in the early 20th C, then to multimedia theater from 1911-1959, and finally to technology infused performance work from 1960 onwards. Section two concerns itself with the "Theories and Contexts" surrounding digital performance, starting with the "liveness problem" (115), then "Postmodernism and Posthumanism," "The Digital Revolution," and "Digital Dancing and Software Developments." Here Dixon critiques postmodern theories that he says "can . . . operate doctrinally to impose specific and sometimes inappropriate ideas onto cultural and artistic works" (135) - and takes on the theorists who propose them. Jay David Bolter and Richard Grusin's "remediation," Dixon says, though not a new idea (it is itself repurposed from the "disposal and recycling industries") does shed light on "inherent dialectical tensions at play within computer representations and simulations" (136). George Landow, Dixon tells us, possesses "evangelical zeal typical of the writers at the time" (137). Dixon points to Diane Gromala's utilization of Lyotard's language game to talk about new technologies and, then, Deleuze and Guttari's theories to explain her views of virtual reality and, next, to Gregory Ulmer's focus on Derrida, Lacan, and Wittgenstein for theories of hypertextuality. A whole section is devoted to Jean Baudrillard, whose nihilistic and cynical view of technology, while "seductive and compelling," is "over the top" and in the end offers a view that is for the most part one- sided and incomplete (140-143). There is a section, also, on Derrida, whose theory of deconstruction (particularly, that the "world [is] constant flux") does not really fit "the liveness of theater," which "conspires to fix time and space" (author's emphasis, 145). It would be easy to react to Dixon's critique of theory as simply as one of a Monday morning quarterback able to make better claims in hindsight than those living in the moment of action, as he picks apart past ideas, showing them to be hyperbolic or faulty. When he writes, for example, that "an inescapable fact about the progression of software is that after the initial miracle of new computer 'life,' a certain sameness and staleness creeps in through the repetition that replaced the initial awe and wonderment" (208), we have to ask, isn't this problem true for all new things? Is it just a problem with software? I say this because I remember having to explain to a roomful of college students why Piet Mondrian's Composition in Blue, Yellow, and Black is, paraphrasing their comments, "a big deal, considering that the painting was just lines and squares that anyone can do with PhotoShop." The fact does remain that postmodernism does (or did, depending on one's perspective) offer an alternative to ancient Greek philosophy and worldviews that have dominated the Western world for over two thousand years and don't necessarily work for a contemporary world that is vastly larger and more technologically advanced than that of 5th century Athens. At some point we do get excited about something new and must be able to map new views onto our new world. But the question Dixon forces us to remember is, when and which ones? But this questioning of Dixon's perspective on postmodernism does not mean that his insights are off base. Far from the truth: They are right on target for those performers and performance scholars who have long wondered about the wisdom of placing so much importance on theories not born out of performance practice. Dixon's views will be perceived as sensible and be felt as breaths of fresh air. The next sections, as stated previously, look at the body, space, time, and interactivity. There is a lot to like in the next 600 pages, starting with Dixon's position that "bodies are not animated cadavers . . . . Bodies embody consciousness" (212), to the dream quality of performance (337), to the notion of "media time" (517), to his definition of and categories for interactivity (563), to cite just a few of the hundreds of pages of ideas and insights he offers. Readers looking to consult the DPA database introduced at the front of the book will be disappointed that it is not currently available. Some may wonder why Dixon did not cite Mike Phillips' wry work concerning Shakespeare's works and monkeys but simply alluded to it (166) or question his spelling of Margarete Jahrmann and Max Moswitzer's work, the "nibble-engine-project" (611) when they themselves write of it as "nybble-engine." Women who have been working with computers for decades may take umbrage at Dixon's own assumption that the internet was populated by cowboys, forgetting about us cowgirls (160) or grrls, as many of us called ourselves. Despite these issues, Dixon's book possesses both depth and breadth that performance theorists and practitioners will find not only useful but also necessary for research and teaching. As such Dixon's book is not a history of digital performances but rather a book about the whole concept of digital performance. _______________________ Leonardo Reviews, August 2007 < Bullshit by Pea Holmquist and Suzanne Khardalian > Reviewed by Jonathan Zilberg < Cartographic Cinema by Tom Conley > Reviewed by Jan Baetens < Clarence John Laughlin: Prophet Without Honor by A.J. Meek > Reviewed by Allan Graubard < Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means by Siegfried Zielinski and Gloria Custance > Reviewed by Sean Cubitt < Design Anarchy by Kalle Lasn > Reviewed by John F. Barber < Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation by Steve Dixon > Reviewed by Dene Grigar < Dub: Soundscapes and Shattered Songs in Jamaican Reggae by Michael E. Veal > Reviewed by Stefaan Van Ryssen < The Face of Evil by David Tosco, Director > Reviewed by Roy R. Behrens < Forever by Heddy Honigann > Reviewed by Roy R. Behrens < From Technological to Virtual Art by Frank Popper > Reviewed by Amy Ione < Imagining MIT: Designing a Campus for the Twenty-First Century by William J. Mitchell > Reviewed by Dr Eugenia Fratzeskou < Jules Kirschenbaum: The Need to Dream of Some Transcendent Meaning by Thomas Worthen > Reviewed by Roy R. Behrens < Mind as Machine: A History of Cognitive Science by Margaret Boden > Reviewed by Roy R. Behrens < Native Moderns: American Indian Painting, 1940-1960 by Bill Anthes > Reviewed by Jonathan Zilberg < Notes on Marie Menken by Martina Kudlacek > Reviewed by Roy R. Behrens < Ohne Schnur: Kunst und Drahtlose Kommunikation Edited by Katja Kwastek > Reviewed by Stefaan Van Ryssen < Our Daily Bread by Nikolaus Geyrhalter > and < The Gleaners and I by Agnes Varda > Reviewed by Roy R. Behrens < Shigeru Ban: An Architect for Emergencies by Michel Quinejure > Reviewed by Roy R. Behrens To read all the reviews posted for August 2007, visit Leonardo Reviews at: . ______________________________________________________ LEONARDO, VOL. 40, No. 4 (July 2007) TABLE OF CONTENTS AND SELECT ABSTRACTS ______________________________________________________ Editorial < Research on and from within Creative Practice > by Ernest Edmonds _______________________ Special Section: The Fire Arts of Burning Man < Introduction: A Passion to Burn > by Louis M. Brill < Curator Overview: Playing with Fire > by Christine Kristen (a.k.a. LadyBee) ABSTRACT: Fire as an art form is evolving in the Black Rock Desert of Nevada, where many Burning Man artists explore the creation and manipulation of fire in their installations. Sculptors, engineers, geeks and pyromaniacs experiment with open fires, pressurized gases and pyrotechnics to produce mesmerizing and beautiful works of art. < Burning Man Artists' Statements > by Joe Bard and Danya Parkinson, Tim Black, Larry Breed, Paul Cesewski and Jenne Giles, Bill Codding, Dan Das Mann, Wally Glenn, Lucy Hosking, Syd Klinge, Tamara Li, Dan Ng, Andrew Sano, Jack Schroll, Eric Singer, Nate Smith, Charlie Smith and Jaime Ladet, Kal Spelletich, Kasia Wojnarski _______________________ General Note < The Use of Artistic Analogies in Chemical Research and Education > by Balazs Hargittai and Magdolna Hargittai ABSTRACT: This compilation presents examples of artistic artifacts that have served as successful visual analogies to aspects of chemistry. The authors have used them in various college-level chemistry classes, outreach programs and chemistry textbooks, as well as in journals and monographs. They include ancient Chinese, Turkish and Thai sculptures, modern sculptures and a medieval fresco. These examples illustrate the chemical concept of chirality, the periodic table of the elements and molecular systems such as buckminsterfullerene, nanotubes and quasicrystals. _______________________ Transactions < Interactive Experience in Public Context: Tango Tangle > by Zafer Bilda < Constraints and Creativity in the Digital Arts > by Linda Candy < Interaction as a Medium in Architectural Design > by Joanne Jakovich and Kirsty Beilharz < A Pleasure Framework > by Brigid Costello < Fundamental Insights on Complex Systems Arising from Generative Arts Practice > by C. Burraston _______________________ Special Section: ArtScience: The Essential Connection < Deconstructing the Genome with Cinema > by Gabriel A. Harp ABSTRACT: Evidence from language, history and form suggest an analogy between the cinema and the genome. The author describes some of the relationships between cinema and the genome and points to opportunities for discovering unmarked categories within the genome and new methods of representation. This is accomplished by evaluating existing metaphors presented for the understanding of genetics and revealing how current scientific understanding and social concerns suggest a cinematic alternative. The formal principles of function, difference and development mediate discussion and serve as heuristics for investigating creative opportunities. < Fractal Graphic Designer Anton Stankowski > by Vladimir A. Shlyk ABSTRACT: The author introduces an outstanding master of graphic design and photography, Anton Stankowski, as a fractal artist. Stankowski saw his challenge as inventing a visual graphic language capable of depicting natural and technological processes and abstract notions in an aesthetic and comprehensible way. Many of Stankowski's works demonstrate fractal-like characteristics. Analysis of his theory of design provides convincing evidence that this is not accidental. Stankowski used these features consciously. He devised and applied a principle of organizing forms in pictures by means of two components, branching and regeneration, both of which are properties of self-similarity and the underlying bases of fractals. _______________________ From the Leonardo Archive < Introduction > by Darlene Tong and Roger F. Malina < Caricature Generator, the Dynamic Exaggeration of Faces by Computer and Illustrated Works > by Susan Brennan (Reprinted from Leonardo Vol. 18, No. 3, 1985) ABSTRACT: The author has researched and developed a theory of computation for caricature and has implemented this theory as an interactive computer graphics program. The Caricature Generator program is used to create caricatures by amplifying the differences between the face to be caricatured and a comparison face. This continuous, parallel amplification of facial features on the computer screen simulates the visualization process in the imagination of the caricaturist. The result is a recognizable, animated caricature, generated by computer and mediated by an individual who may or may not have facility for drawing, but who, like most human beings, is expert at visualizing and recognizing faces. _______________________ Leonardo Reviews Reviews by Kathryn Adams, Wilfred Niels Arnold, John F. Barber, Martha Blassnigg, Andrea Dahlberg, Sean Cubitt, Amy Ione, Mike Leggett, Michael Punt, Eugene Thacker, Stefaan Van Ryssen, Jonathan Zilberg ______________________________________________________ LEONARDO NETWORK NEWS ______________________________________________________ < Leonardo/OLATS Awards the Leonardo-EMS Award for Excellence to criticalartware > We are pleased to announce that Leonardo/OLATS and the Electroacoustic Music Studies Network (EMS Network) have awarded the Leonardo-EMS Award for Excellence to criticalartware (Jon Cates, Ben Syverson and Jon Satrom) for their paper "likn: A Flexible Platform for Information and Metadata Exchange" which they presented at the Electroacoustic Music Studies Conference in Beijing, October 2006. criticalartware's likn project is an artware application that addresses the nature of knowledge, ideas and language in the era of globalization. More specifically, likn is a functional online collaborative environment which wages a persistent critique of the desire to standardize and universalize meaning, and offers an alternative by applying postmodern and postcolonial theories to the challenge of organizing discourse and media. The paper can be accessed online at http://www.leonardo.info/isast/announcements/LeoEMS2006_announce .html The Leonardo-EMS jury convened on Thursday, October 26 after the official closure of the third Electroacoustic Music Studies Conference. The Leonardo-EMS jury, consisting of Marc Battier, Kenneth Fields and Ricardo dal Farra, was thrilled at the high quality of presentations by young researchers during the Beijing event and the final decision was difficult to reach. The EMS Network has been organized to fill an important gap in electroacoustic music, namely focusing on the better understanding of the various manifestations of electroacoustic music. Areas related to the study of electroacoustic music range from the musicological to more interdisciplinary approaches, from studies concerning the impact of technology on musical creativity to the investigation of the ubiquitous nature of electroacoustic sounds today. The choice of the word "network" is of fundamental importance, as one of the goals of the EMS Network is to make relevant initiatives more widely available. More about the Electroacoustic Music Studies Network can be found at http://www.ems-network.org Leonardo/OLATS has established a collaboration with the EMS network through which annual Leonardo-EMS Awards for Excellence will be made for the best contribution to the EMS symposium by a young researcher as decided by a joint jury. < MutaMorphosis Conference Speakers Announced > The MutaMorphosis conference is part of the Leonardo 40th Anniversary celebrations and of the e n t e r 3 festival. The festival will feature performances, screenings and exhibitions at various locations around Prague 8 - 11 November 2007, including the first retrospective of Frank J. Malina (artist, scientist and founder of Leonardo). Scheduled Plenary Speakers at this time are: Roy Ascott Terror Incognito: Steps toward an Extremity of Mind Albert-László Barabási The Architecture of Complexity Louis Bec Václav Cílek Climate as the Last Wilderness David Dunn & James P. Crutchfield Insects, Trees, and Climate: The Bioaocustic Ecology of Deforestation and Entomogenic Climate Change Roger F. Malina Limits of Cognition: Artists in the Dark Universe Stelarc Alternate Anatomical Architectures: Extruded, Empty and Absent Bodies Victoria Vesna & James Gimzewski The new territory of nano Plenary speakers abstracts are available on line at:http://www.mutamorphosis.org Join us in Prague November 8 - 10, 2007 for this outstanding international event! MutaMorphosis concentrates on the growing interest - within the worlds of the arts, sciences and technologies - in EXTREME AND HOSTILE ENVIRONMENTS. More than 60 renowned practitioners in the arts, sciences, engineering and humanities will speak about the limits and extremes in our conceptions of life, space and cognition. Feel free to BROWSE the abstracts at our web sitehttp://www.mutamorphosis.org where you can also REGISTER and BOOK your hotel at special conference prices. Please note that the capacity of the conference halls is limited. - Early registration: June 1, 2007 - July 31, 2007 - Regular registration: August 1, 2007 - October 15, 2007 The international conference MutaMorphosis: Challenging Arts and Sciences is organized by CIANT - International Centre for Art and New Technologies in Prague and co-organized by Leonardo/ISAST, Hexagram - Institute for Research/Creation in Media Arts and Technologies and Pépinières européenes pour jeunes artistes. Should you require further information do not hesitate to contact us at mutamorphosis at ciant.cz. < Leonardo Abstracts Service (LABS) opens new Chinese language database > Leonardo is delighted to announce the opening of the Chinese language Leonardo Abstracts Service (LABS) database, following the establishment of the English language and Spanish language LABS databases. The Chinese language LABS, organized by Ken Fields at the China Electronic Music Center at China's Central Conservatory of Music, is for abstracts of art/science/technology MA or PHD theses written in Chinese and can be found at: http://china-labs.daohaus.org The Chinese-language peer review panel for 2006/2007 includes: Ma Gang, Central Academy of Fine Art, Beijing Zhang Peili, China Academy of Fine Art, Hangzhou Zhang Xiaofu, Central Conservatory of Music, Beijing Zhu Qingsheng, Peking University, Beijing Lothar Spree, Tongji University, Shanghai --~--~---------~--~----~------------~-------~--~----~ You received this message because you are subscribed to the Google Groups "leonardo electronic almanac alerts list" group. To post to this group, send email to LEAalerts at googlegroups.com To unsubscribe from this group, send email to LEAalerts-unsubscribe at googlegroups.com For more options, visit this group at http://groups.google.com/group/LEAalerts -~----------~----~----~----~------~----~------~--~--- -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070819/136e1503/attachment-0001.html From kj.impulse at gmail.com Fri Aug 24 11:58:38 2007 From: kj.impulse at gmail.com (Kavita Joshi) Date: Fri, 24 Aug 2007 11:58:38 +0530 Subject: [Announcements] INVITATION: Tales from the Margins Message-ID: <007c01c7e619$9adb9080$0401a8c0@hpc83f06cf59cf> INVITATIONDear friends, My film, Tales from the Margins, on the conflict situation in Manipur and the extraordinary protests for justice by the women, will be screening shortly in Delhi. ON: Sunday, 26th August, 4:40 PM AT THE: Auditorium, India Habitat Centre, Lodi Road. Do come, and please inform others who may be interested. With regards Kavita ---------- SYNOPSIS Twelve women disrobe on the streets of Manipur, in protest. For over six years a young woman has been on a fast-to-death demanding justice; she is kept under arrest by the government and is forcibly nose-fed for this "crime". Why are the women of Manipur using their bodies as their last weapon? Manipur - a state in the North-East region of India - has for decades been torn by insurgency and armed conflict. The Indian government has attempted to crush the insurgency through its military power, shielded by a drastic law that allows the security forces to shoot, arrest or kill on suspicion alone. Yet, little is heard about Manipur and its simmering trouble's across the nation's landscape. This is a place that mainland India has marginalised; that the world has forgotten. The film travels to this forgotten, strife-torn corner of India to document the extraordinary protests of Manipuri women as they fight for justice for their people. READ MORE ON MANIPUR: http://kavitajoshi.blogspot.com PREVIOUS SCREENINGS: Awarded the Silver Remi at WorldFest Houston 2007 Screened at the World Social Forum India 2006 ~ DOK.Fest Munich 2007 ~ Festival Dei Popoli, Florence 2006 ~ the IAWRT Asian Women's Film Festival 2007 Delhi and other cities. KEY CREDITS: Directed and Produced by: Kavita Joshi ~ Camera: Sunayana Singh ~ Sound: Asheesh Pandya ~ Editing: Mahadeb Shi ~ Made with the help of IAWRT and NRK Norway. As also NIPCO Manipur, Jai Chandiram, Ima Gyaneshwari Devi and K. Sunil. -- Kavita Joshi http://kavitajoshi.blogspot.com kj.impulse AT gmail.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070824/9d28f5cf/attachment.html From delhifilmarchive at gmail.com Mon Aug 27 12:53:04 2007 From: delhifilmarchive at gmail.com (Delhi Film Archive [DFA]) Date: Mon, 27 Aug 2007 12:53:04 +0530 Subject: [Announcements] [DFA: 19] Film Screening - City Walls - My own private Tehran Message-ID: <5a4334630708270023q4adda34te19acad9c077e567@mail.gmail.com> The Delhi Film Archive with History Society and Gender Forum Ramjas College present - ** *City Walls -- My own Private Tehran* * 87 minutes, Iran* * A film by Afsar Sonia Shafie (present for the screening) **29 August at 1:15 pm* *Venue: Seminar Room, Ramjas College, Delhi University * In times where headlines about the so-called "Culture Clash" hunt each other, the Iranian filmmaker Afsar Sonia Shafie tells us a different story. During her trip to her hometown Tehran, the filmmaker, who currently lives in Switzerland, confronts herself with the history of her own family. She is visiting her grandparents and lets them talk about their lives. In conversations with her grandmother, her mother, her sisters and aunts the director documents her own emancipation and that of her female relatives. *In a very private, sensitive and exemplary way "City Walls-My own Private Tehran" portraits remarkable mothers and women who, with every generation, gradually managed to free themselves from the chains of the oppressive patriarchal order. It shows us how women continue fighting for their right to progress.* ** VISIT OUR WEBSITE: www.delhifilmarchive.org JOIN OUR MAILING LIST OF FILM SCREENINGS: email: delhifilmarchive-subscribe at googlegroups.com CONTACT US: delhifilmarchive at gmail.com --~--~---------~--~----~------------~-------~--~----~ Please DO NOT REPLY to the sender. To contact the MODERATOR: delhifilmarchive [at] gmail.com To UNSUBSCRIBE: send an email to delhifilmarchive-unsubscribe at googlegroups.com More OPTIONS are on the web: http://groups-beta.google.com/group/delhifilmarchive/ Visit our WEBSITE: www.delhifilmarchive.org See the LIST OF FILMS in the Archive: http://www.delhifilmarchive.org/archive.html -~----------~----~----~----~------~----~------~--~--- -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070827/43d115c5/attachment-0001.html From pukar at pukar.org.in Mon Aug 27 11:41:50 2007 From: pukar at pukar.org.in (PUKAR) Date: Mon, 27 Aug 2007 11:41:50 +0530 Subject: [Announcements] [announcements] August 28 : Talk by Vishakha Desai Message-ID: <01e101c7e871$2c82b320$2b66c2cb@freeda> Asia Society India Centre & India China Institute, The New School, NY invite you to Rise of China and India: Implications for Building an "Asian Community" by Vishakha N. Desai, President, Asia Society Tuesday, August 28, 2007 Little Theatre, NCPA, Mumbai Registration: 6:00 PM Talk: 6:30 PM Reception: 7:30-8:30 PM How will the emergence of India and China impact the creation of an Asian community? What are the potential challenges and consequences of developing an Asian community given current bilateral and multilateral relations between China, India and the rest of Asia? How will the resultant intra-Asian dynamics influence the geo-economic and geo-political world order? Dr. Vishakha N. Desai, President of Asia Society, will address these questions both in the context of historical and cultural ties, and current political and economic relations among countries in the region. Dr. Vishakha N. Desai was appointed President of Asia Society in 2004. Prior to her appointment as President she served as Asia Society's Senior Vice President and Director of the Museum and Cultural Programs. She also taught at the University of Massachusetts, Boston University and Columbia University. Dr. Desai holds a B.A. in Political Science from Bombay University and an M.A. and Ph.D. in Asian Art History from the University of Michigan. Limited seating. To Register Please Contact: Jolene Tauro, Tel: +91-22-6610-0888, Fax: +91-22-6610-0887, E-mail: admin at asiasociety.org.in Or Anupamaa Joshi, Tel: +91-22-6574-8152, Fax: +91-22-6664-0561, E-mail: pukar at pukar.org.in -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070827/5d2a5aea/attachment.html From info at basementartproject.com Wed Aug 29 02:48:57 2007 From: info at basementartproject.com (BasementArtProject.com) Date: Tue, 28 Aug 2007 22:18:57 +0100 Subject: [Announcements] AirVideo: Alternative Possible World- 31st Aug 2007 AirSpace Gallery, Stoke-on-Trent Message-ID: <37A4CF57-2250-43BB-B0D5-6890F669C940@basementartproject.com>  Alternative Possible World Preview 31st Aug 2007 7-9pm Exhibition 1st Sept - 7th Sept 2007 Gallery open Tue– Sat 11am-5pm Gaia Persico Michelle Letelier Toine Klaassen Steve Bishop Noémi McComber Ellakajsa Nordström Zhenchen Liu Andro Semeiko Monica Rodriguez Akiko and Masako Takada Ben Young Alexandra Crouwers “Alternative Possible Worlds” involves 13 international video artists who have gained recognition as emerging talents. The work has been selected based around concerns about a rapidly changing world. From the effects of a shifting global economy, the destruction or suppression of indigenous cultures, mass building programmes and urban sprawl to dreams of possible futures, informed by a mixture of 1950s science fiction and advancements in cloning and genetic manipulation. The artists “Alternative Possible Worlds” trace a fine line between the illusion of progress and potential catastrophe. AirVideo is a series of artists’ film and video events co-curated by Matt Roberts (www.mattroberts.org.uk) and Yu-Chen Wang of BasementArtProject.com. The events take place at the AirSpace Gallery in Stoke-on-Trent on 17th November 2006 and 23rd-24th March and 1st-7th Sept 2007. For more information www.BasementArtProject.com/ airvideo AirSpace Gallery, 4 Boad Street, Hanley, Stoke-on-Trent, ST1 4HL www.airspacegallery.org AirSpace Gallery and AirVideo are funded by the National Lottery through the Arts Council England. AirVideo website>>     -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20070828/c729c3a0/attachment-0001.html -------------- next part -------------- A non-text attachment was scrubbed... Name: logo.jpg Type: image/jpeg Size: 21710 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20070828/c729c3a0/attachment-0005.jpg -------------- next part -------------- A non-text attachment was scrubbed... Name: logo.jpg Type: image/jpeg Size: 21958 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20070828/c729c3a0/attachment-0006.jpg -------------- next part -------------- A non-text attachment was scrubbed... Name: matt_logo.jpg Type: image/jpeg Size: 29829 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20070828/c729c3a0/attachment-0007.jpg -------------- next part -------------- A non-text attachment was scrubbed... Name: airspace.jpg Type: image/jpeg Size: 20520 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20070828/c729c3a0/attachment-0008.jpg -------------- next part -------------- A non-text attachment was scrubbed... Name: artscouncil.jpg Type: image/jpeg Size: 35794 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20070828/c729c3a0/attachment-0009.jpg From mitoo at sarai.net Wed Aug 29 09:04:12 2007 From: mitoo at sarai.net (Mitoo Das) Date: Wed, 29 Aug 2007 12:34:12 +0900 Subject: [Announcements] land grab online art project Message-ID: <46D4E934.2060207@sarai.net> Hi, Sending you a mail that came on Dak. Hope it will be announced. Mitoo. ------------------------------------------------------------ Dear Sarai, I am a Danish New York-based curator currently organizing the project LAND GRAB, which addresses artists' claiming of space/land. Among other events, we have created landgrabonline.org in collaboration with Wooloo.org where artists can submit related projects. I thought the project might be of interest to your community. I have included the call for proposals below. Feel free to post or circulate. Let me know if you have any questions. All best, Sarah WHAT DOES IT MEAN TO CLAIM A PIECE OF LAND TODAY? The exhibition project LAND GRAB ONLINE seeks to display artworks that explicitly address the naming and claiming of space. Artists are encouraged to send in submissions including - but not limited to - issues of land ownership, real estate acquisitions, squatting on private or public property, citizenship and colonialism. The projects included need not occupy actual space. LAND GRAB ONLINE is the virtual counterpart to LAND GRAB - an exhibition to take place at the renowned art institution APEXART in New York City (Nov. 7 - Dec. 22, 2007). A planned LAND GRAB publication will include selections from both LAND GRAB and LAND GRAB ONLINE. LAND GRAB is a project instigated by the curators Lillian Fellmann and Sarah Lookofsky. To participate in the project, please go to landgrabonline.org. The application deadline is September 15th, 2007 (it is possible that it might be extended a week). (Midnight/Pacific Standard Time.) From mitoo at sarai.net Wed Aug 29 11:54:05 2007 From: mitoo at sarai.net (Mitoo Das) Date: Wed, 29 Aug 2007 15:24:05 +0900 Subject: [Announcements] SSRC -- Call for Papers, Inter-Asian Connections Message-ID: <46D51105.8000705@sarai.net> **Social Science Research Council (SSRC)** CALL FOR PAPERS DEADLINE: FRIDAY, September 14, 2007 International Conference on Inter-Asian Connections (Dubai, UAE: February 21-24, 2008) The Social Science Research Council (SSRC) is pleased to announce an open call for *individual research paper submissions* from researchers in any world region, to participate in a 4-day thematic workshop at an international conference on "Inter-Asian Connections." To be held in Dubai, February 21-24, 2008, the conference will host concurrent workshops showcasing innovative research from across the social sciences and related disciplines, on themes of particular relevance to Asia, reconceptualized as a dynamic and interconnected historical, geographical, and cultural formation stretching from the Middle East through Eurasia and South Asia, to East Asia. The conference structure and schedule have been designed to enable intensive ‘working group’ interactions on a specific research theme, as well as broader interactions on topics of mutual interest and concern to all participants. Accordingly, there will be public keynotes, plenaries, and roundtables addressing different aspects of Inter-Asian research in addition to closed workshop sessions. The concluding day of the conference will bring all the workshops together in a public presentation and exchange of research agendas that have emerged over the course of the deliberations in Dubai. Individual paper submissions are invited for the following workshops: > Sites of Inter-Asian Interaction > Networks of Islamic Learning across Asia: The Role of International Centers of Islamic Learning in Building Ties and Forging New Identities > Distant Divides and Intimate Connections: Migrant Domestic Workers in Asia > Law-in-Action in Asian Societies and Civilizations > Multiple flexibilities: nation-states, global business and precarious labor > Neoliberal Globalization and Governmentality: State, Civil society and the NGO Phenomena in Asia > Initiatives of Regional Integration in Asia in Comparative Perspective: Concepts, Contents and Prospects > Border Problems: Theory, Culture, and Political Economy > Post-collective Economic Lives and Livelihoods: Studies of Economy, Institution and Everyday Practice in Post-socialist Eurasia and Asia > Transnational Circuits: 'Muslim Women' in Asia > Inter-Referencing Asia: Urban Experiments & the Art of Being Global Descriptions of the individual workshops, along with information on the application process, are available at: http://www.ssrc.org/program_areas/global/papers/. Application materials are due by *Friday, September 14, 2007. *Junior and senior scholars are encouraged to apply, whether graduate students and faculty affiliated to colleges and universities, or researchers in NGOs or other research organizations. Please note that an individual cannot apply to more than one workshop. Selection decisions will be announced on October 19, 2007. Accepted participants are required to submit a 20-25 page research paper by January 14, 2008. The SSRC will make every effort to subsidize the travel and accommodation costs associated with attending the conference, and we will issue a formal announcement about availability and levels of financial assistance for individual participants in the coming months. In the meantime, prospective participants are encouraged to seek out alternative sources of funding that may be available from their home institutions or other agencies. For additional inquiries, please contact the SSRC at intl_collaboration at ssrc.org . International Collaboration Program Social Science Research Council 810 Seventh Avenue, 31st Floor New York, NY 10019 P: 212.377.2700 F: 212.377.2727 From mitoo at sarai.net Wed Aug 29 11:57:09 2007 From: mitoo at sarai.net (Mitoo Das) Date: Wed, 29 Aug 2007 15:27:09 +0900 Subject: [Announcements] REAL Photography Award Message-ID: <46D511BD.9060104@sarai.net> Final Call for Entry to international artists, photographers, and architects. REAL Photography Award Theme: Nature/Urban Development/Architecture Prize: Euro 50,000 Deadline: September 1, 2007. This is an Amsterdam based photography prize. Basing in China, I notice that the information flow hasn't yet arrived here. If you may publicize this information on your web page, that will be very helpful to get more Asian artists participate, because the three themes are just the very key issues here. For further information, please log on www.realphotographyaward.com eMail: chaos at chaosprojects.cn From nc-agricowi at netcologne.de Fri Aug 31 16:22:09 2007 From: nc-agricowi at netcologne.de (netEX) Date: Fri, 31 Aug 2007 12:52:09 +0200 Subject: [Announcements] =?iso-8859-1?q?neEX_-_September_news_=26_deadline?= =?iso-8859-1?q?s?= Message-ID: <20070831125209.676CC94B.C74B1E7C@192.168.0.3> netEX: calls, deadlines & news September 2007 ------------------------------------- [NewMediaArtProjectNetwork]:||cologne newsletter contents 1. calls & deadlines 09 Calls: September deadlines external 05 Calls: ongoing external 2. network news ------------------------------------- 1. Calls & deadlines ---> [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net ------------------------------------------------ September deadlines: external ------------------------------------------------ 30 September Share Prize & Festival 2008 Turin/Italy http://www.nmartproject.net/netex/?p=120 30 September Torun Film Fest 2007 (Poland) http://www.nmartproject.net/netex/?p=119 30 September Common Grounds 2008 - digital images http://www.nmartproject.net/netex/?p=100 21 September Digital Fringe Festival Melbourne/Australia http://www.nmartproject.net/netex/?p=133 30 September V International Folm Festival Ofensiva Wroclaw/Poland http://www.nmartproject.net/netex/?p=117 21 September SUPERFAN - Sport and art - by Artengine/Canada http://www.nmartproject.net/netex/?p=127 14 September Video show Art Gallery of York University Toronto/Ca http://www.nmartproject.net/netex/?p=124 1 September Int. Bilbao Doc & Shortfilm Festival http://www.nmartproject.net/netex/?p=101 1 September 1st European Machinima Festival Leichester/UK http://www.nmartproject.net/netex/?p=129 ----------------------------------------------- Ongoing calls: external ----------------------------------------------- Films and video screenings Sioux City (USA) http://www.nmartproject.net/netex/?p=15 Laisle screenings Rio de Janeiro/Brazil http://www.nmartproject.net/netex/?p=21 Videos for Helsinki based video gallery - 00130 Gallery http://www.nmartproject.net/netex/?p=93 Web based works for 00130 Gallery Helsinki/Finland http://www.nmartproject.net/netex/?p=94 Project: Repetion as a Model for Progression by Marianne Holm Hansen http://www.nmartproject.net/netex/?p=95 ------------------------------------------ more deadlines on http://www.nmartproject.net/netex/?page_id=4 ------------------------------------------ 2. network news ------------------------------------------ a) The Network is proud to announce NewMediaFest2007 - www.newmediafest.org the 1st common festival of The Network which will be launched on 1 November 2007 simultaneously online and offline, including the latest project competitions of JavaMuseum - Forum for Internet Technology in Contemporary Art CologneOFF - Cologne Online Film Festival VideoChannel - video project environments SoundLAB - sonic art project environments Cinematheque - streaming media project environments More details on http://www.newmediafest.org/blog/?p=15 b) The Network will launch on the occasion of NewMediaFest2007 in November also the new sites of JIP - JavaMuseum Interview Project --> jip.javamuseum.org VIP - VideoChannel Interview Project--> vip.newmediafest.org SIP - SoundLAB Interview Project--->sip.newmediafest.org as well as the new magazine publishing environment netMAX - http://max.nmartproject.net and the updated AND - Artist Network Database - and.nmartproject.net c) Agricola de Cologne's shortfilm Truth - Paradise Found http://movingpictures.agricola-de-cologne.de/blog?page_id=16 received the prize for the best experimental film on 3rd International Shortfilm Festival Budapest www.busho.hu - 2-7 August 2007 More Agricola de Cologne September news on http://www.agricola-de-cologne.de/blog/?p=110 ----------------------------------------------- NetEX - networked experience http://netex.nmartproject.net http://www.nmartproject.net/netex/ # calls in the external section--> http://www.nmartproject.net/netex/?cat=3 # calls in the internal section--> http://www.nmartproject.net/netex/?cat=1 ----------------------------------------------- # This newsletter is also released on http://www.nmartproject.net/netex/?cat=9 # NetEx - networked experiences http://netex.nmartproject.net is a free information service powered by The Network [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net - the experimental platform for Art and New Media from Cologne/Germany # info & contact: info (at) nmartproject.net