From kj.impulse at gmail.com Tue Oct 2 10:19:57 2007 From: kj.impulse at gmail.com (Kavita Joshi [Impulse]) Date: Tue, 2 Oct 2007 10:19:57 +0530 Subject: [Announcements] THE FACE - URGENT - PLEASE FORWARD TODAY - THANKS In-Reply-To: References: Message-ID: <821019d70710012149s5bf8266bk145cbed2baf8314d@mail.gmail.com> ---------- Forwarded message ---------- From: amar kanwar amarkanwar at gmail.com Dear Friends, We can recognise George Bush or Saddam Hussein or Pinochet and some may even recall what Idi Amin looked like but do we know what the head of the Burmese military Supreme Dictator Senior General Than Shwe looks like ? *Tune into NDTV 24X7 * *at 10 p.m. * *on the 2nd of October * ** *to see my film - THE FACE * ( The Face will be telecast within a program entitled 'A Force more Powerful' ) *THE FACE* ( 9 minutes ) is a tribute to the democracy movement in Burma . Here you see a unique image of most brutal dictator in the world -General Than Shwe of the Burmese Military. *The FACE* also remembers Win Ma Oo and Thet Win Aung and the sacrifices of the students of Burma in their movement for freedom. THE FACE is also available as dvds for screenings at cost price . If required write to thetornfirstpages at gmail.com Please forward to those who may be interested regards amar AMAR KANWAR - -- AMAR KANWAR New Delhi India Email : amarkanwar at gmail.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071002/9826b7bb/attachment-0001.html From turbulence at turbulence.org Wed Oct 3 01:43:03 2007 From: turbulence at turbulence.org (Turbulence) Date: Tue, 2 Oct 2007 16:13:03 -0400 Subject: [Announcements] Visionary Landscapes: Call for Papers and Media Art Message-ID: <00cf01c80530$b63e3b80$22bab280$@org> Visionary Landscapes: Electronic Literature Organization 2008 Conference http://www.vancouver.wsu.edu/programs/dtc/elo08/ May 29 - June 1, 2008 Vancouver, Washington CALL FOR PAPERS http://www.vancouver.wsu.edu/programs/dtc/elo08/proposal.html Deadline: November 30, 2007 CALL FOR MEDIA ART http://www.vancouver.wsu.edu/programs/dtc/elo08/media.html Deadline: November 30, 2007 Sponsored by Washington State University Vancouver and The Electronic Literature Organization. Drs. Dene Grigar and John Barber, Co-Chairs. Contact: Dene Grigar - grigar at vancouver.wsu.edu. Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org Networked_Performance Blog: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Upgrade! Boston: http://turbulence.org/upgrade New American Radio: http://somewhere.org From mayur.suresh at gmail.com Wed Oct 3 15:14:14 2007 From: mayur.suresh at gmail.com (Mayur) Date: Wed, 3 Oct 2007 15:14:14 +0530 Subject: [Announcements] Screening of "Road To Guantanamo" this Friday. In-Reply-To: <98bea7e00710030222h7dbf7d3j2c4953626ead7d6d@mail.gmail.com> References: <98bea7e00710030222h7dbf7d3j2c4953626ead7d6d@mail.gmail.com> Message-ID: <4def3c470710030244n11b80213i272f8e37835eebfc@mail.gmail.com> Dear All, Please joins us for a screening of "Road to Guantanamo" this Friday, October 5, at 6 pm, at the (Old) ALF office at 122/4, Opposite Infantry Wedding House, Infantry Road, Bangalore - 1. A short synopsis of the film is below. Hope to see you this friday Mayur *The Road to Guantanamo* is a 2006 award winning docudrama directed by Michael Winterbottom about the incarceration of three British detainees at Guantánamo Bay. The film tells the disputed story of Ruhel Ahmed, Asif Iqbal and Shafiq Rasul, three young British men, (the Tipton Three) from Tipton in the West Midlands who were captured by the Northern Alliance in Afghanistan in 2001 and detained as "enemy combatants" at Guantánamo Bay, without charge or legal representation, for nearly three years. As well as interviews with the three men themselves and archive news footage from the period, the film contains an account of the three men's experiences following their capture by the Northern Alliance, the subsequent handover to the United States military and their detention in Cuba. It contains several scenes depicting their alleged beatings during interrogation, the use of alleged torture techniques such as 'stress positions' and attempts to extract forced confessions of involvement with Al-Qaeda and the Taliban. The Tipton Three were all released without charge and without any compensation for their imprisonment in 2004. The torture depicted in the film, had to be softened from the detainees' claims for the benefit of the actors; according to Rizwan Ahmed, they were unable to bear the pain caused by the shackles pressing on their legs, and had to have them cushioned. They were also unable to remain in the stress positions depicted for more than an hour; the Tipton Three claim they were left in them for up to eight hours. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071003/5b47b744/attachment-0001.html From crd at fondation-langlois.org Wed Oct 3 19:27:34 2007 From: crd at fondation-langlois.org (CR+D) Date: Wed, 3 Oct 2007 09:57:34 -0400 Subject: Daniel Langlois Foundation - Awa Meit to begin residency at OBORO New Media Laboratory Message-ID: <0fe4883b8a9d42ba1540fe1bcbc67ecd@fdl-webmestre> Awa Meité to begin residency at OBORO New Media Laboratory The Foundation is pleased to announce that Awa Meité (Mali) has been named the grant recipient of the Research and Experimentation Residency in Montreal for Professional Artists from Emerging Countries or Regions. This residency program is offered jointly by the Daniel Langlois Foundation and OBORO, a Montreal centre promoting the production and presentation of contemporary and new media art and art practices. Meité will arrive from Bamako on October 24, 2007, to begin her residency and will work at the OBORO MediaLab until December 22. While in Montreal, she will collaborate with independent French filmmaker Anik Hurst from the artist collective Les brasseurs de cages. The residency will be used to develop two interactive Internet portals that will highlight Malian cotton production (Daoula) and local cultural practices from around the world (La Couverture Vivante): http://www.fondation-langlois.org/flash/e/index.php?Lstsrv=200710&NumPage=2090 Exhibition e-art: New Technologies and Contemporary Art e-art: New Technologies and Contemporary Art - Ten Years of Accomplishments by the Daniel Langlois Foundation, an exhibition co-produced by the Foundation and the Montreal Museum of Fine Arts is open free of charge Tuesday to Sunday until December 9, 2007. http://www.fondation-langlois.org/e-art/e/index.php?Lstsrv=200710 From cahen.x at levels9.com Thu Oct 4 21:25:57 2007 From: cahen.x at levels9.com (xavier cahen) Date: Thu, 04 Oct 2007 17:55:57 +0200 Subject: [Announcements] pourinfos Newsletter / 04-10 to 19-10-2007 Message-ID: <47050D0D.5070001@levels9.com> pourinfos.org l'actualité du monde de l'art / daily Art news ----------------------------------------------------------------------- >From Thurday October 04, 2007 to Friday october 19 2007 (included) ------------------------------------------------------------------- (mostly in french) Dear readers of pourinfos, Pourinfos.org come back (in a minimum service - the service of information on the exhibitions is suspended, the letter pourinfos will be less frequent) until the end of this year 2007. We are looking for a viable solution in order to develop and to continue this experiment media concerning visual arts for artists, mediators, professionals of art, students and students of schools of art. To be more precise, we are in the search of financing in order to develop us and some qualified goodwills in the fields of the mediation concerning arts and management (English wished) in order to answer our development durably. If we remain without solutions at the end of this year, Pourinfos.org would regret to suspend its activities. Yours, Xavier Cahen For the team of pourinfos @ 001 (04/10/2007) Call: Residencia Corazón, The Heart Residency, La Plata, Argentina. http://pourinfos.org/art-35084-tit--Residencia-Corazon-The-Heart-Residency- -------------------------------------------------------------------- @ 002 (04/10/2007) Call: Center for Visual Arts Byzant, Prilep, Macedonia. http://pourinfos.org/art-35085-tit--Center-for-Visual-Arts-Byzant-Prilep- -------------------------------------------------------------------- @ 003 (04/10/2007) Call: Art & Artificial Life International Competition - VIDA 10.0, Fundación Telefónica, Madrid, spain. http://pourinfos.org/art-35086-tit--Art-Artificial-Life-International -------------------------------------------------------------------- @ 004 (04/10/2007) Call: 3 D competition, 2007 Pixelcreation, Paris, France. http://pourinfos.org/art-35087-tit--Concours-3-D-2007-Pixelcreation-Paris- -------------------------------------------------------------------- @ 005 (04/10/2007) Call: rebellious anti-contests of sounds, the Workshop of l’Atelier de création sonore radiophonique of Brussels, Brussels, Belgium. http://pourinfos.org/art-35088-tit--anti-concours-de-sons-rebelles-l-Atelier -------------------------------------------------------------------- @ 006 (04/10/2007) Call: for artists, Cooperative Espace Noir, Saint Imier, Switzerland. http://pourinfos.org/art-35089-tit--recherche-artistes-Cooperative-Espace -------------------------------------------------------------------- @ 007 (04/10/2007) Call: Netmage 08, International Live-media Festival - 8th edition Bologna, Italy. http://pourinfos.org/art-35090-tit--Netmage-08-International-Live-media -------------------------------------------------------------------- @ 008 (04/10/2007) Call: Space, Landscape, Architecture, Bourse du Talent #33,Photographie.com, Paris, France. http://pourinfos.org/art-35091-tit--Espace-Paysage-Architecture-Bourse-du -------------------------------------------------------------------- @ 009 (04/10/2007) Call: AV FESTIVAL 08, Newcastle, Gateshead, Middlesbrough, Sunderland, United Kingdom. http://pourinfos.org/art-35092-tit--AV-FESTIVAL-08-Newcastle-Gateshead- -------------------------------------------------------------------- @ 010 (04/10/2007) Call: Arts in the Poles 2007 - 2009, the French polar Institute - Paul Emile Victor (IPEV) and of the Ministry for education and research, Paris, France. http://pourinfos.org/art-35093-tit--Arts-aux-Poles-2007-2009-l-Institut -------------------------------------------------------------------- @ 011 (04/10/2007) Various: Share studio, Paris, France. http://pourinfos.org/art-35094-tit-Divers-Recherche-colocataire-Atelier- -------------------------------------------------------------------- @ 012 (04/10/2007) Call: Call For Proposals, Tou Works, Stavanger, Norway. http://pourinfos.org/art-35095-tit--Call-For-Proposals-Tou-Works-Stavanger- -------------------------------------------------------------------- @ 013 (04/10/2007) Call: Digital Fringe, Melbourne, Australia. http://pourinfos.org/art-35096-tit--Digital-Fringe-Melbourne- -------------------------------------------------------------------- @ 014 (04/10/2007) Call : Call for sound work, Music of today Festival, Carré d’Art, Nimes, France. http://pourinfos.org/art-35097-tit--Call-for-sound-work-Music-of-today -------------------------------------------------------------------- @ 015 (04/10/2007) Various: Agence TOPO is looking for multimedia titles to expand its Electronic Showcase, Montreal, Canada. http://pourinfos.org/art-35098-tit-Divers-L-Agence-TOPO-cherche-de-nouveaux -------------------------------------------------------------------- @ 016 (04/10/2007) Call: Call for projet, Degre Zero, expeditions on natural and industrial site, Label Friche, Pervenchères, France. http://pourinfos.org/art-35099-tit--appel-a-projet-Degre-Zero-expeditions -------------------------------------------------------------------- @ 017 (04/10/2007) Call: Editions marguerite Waknine, Angouleme, France. http://pourinfos.org/art-35100-tit--Editions-marguerite-Waknine-Angouleme- -------------------------------------------------------------------- @ 018 (04/10/2007) Call: RAW: VIDEO ART, Brooklyn, New York, Usa. http://pourinfos.org/art-35101-tit--RAW-VIDEO-ART-Brooklyn-New-York- -------------------------------------------------------------------- @ 019 (04/10/2007) Call: « in the bed with my Artist », association Dernier Avertissement, Paris, France. http://pourinfos.org/art-35102-tit--Au-lit-avec-mon-Artiste-association -------------------------------------------------------------------- @ 020 (04/10/2007) Call: 7th edition of "Arts au Vert ", Association Arts-au-Vert, Stosswihr, France. http://pourinfos.org/art-35103-tit-Appel-a-candiature-7eme-edition-des-Arts -------------------------------------------------------------------- @ 021 (04/10/2007) Formation: GIOVANNI AGNELLI RESEARCH SCHOLARSHIP IN THE ECONOMICS OF CONTEMPORARY ART, Giovanni Agnelli Foundation, Turin, Italy. http://pourinfos.org/art-35104-tit-Formation-GIOVANNI-AGNELLI-RESEARCH -------------------------------------------------------------------- @ 022 (04/10/2007) Formation: CIPAC / formation SEASON 2007-2008, France. http://pourinfos.org/art-35105-tit-Formation-CIPAC-formation-SAISON -------------------------------------------------------------------- @ 023 (04/10/2007) Job: art Teachers, Empreinte Directe association, Saint-Denis, France. http://pourinfos.org/art-35106-tit--Recherche-Professeurs-Empreinte-Directe -------------------------------------------------------------------- @ 024 (04/10/2007) Job: 1 Mediator in charged of communication, Vol de Nuits, Marseille, France. http://pourinfos.org/art-35107-tit--1-Mediateur-trice-charge-e-de -------------------------------------------------------------------- @ 025 (04/10/2007) Formation: Workshop: Tools to Search & Core Sample Scanning, Barcelona, Spain. http://pourinfos.org/art-35108-tit-Formation-Workshop-Tools-to-Search-Core -------------------------------------------------------------------- @ 026 (04/10/2007) Formation: Pure Data, Capteurs & Actionneurs, Max/MSP/Jitter, ArsLonga, Paris, France. http://pourinfos.org/art-35109-tit-Formation-Pure-Data-Capteurs- -------------------------------------------------------------------- @ 027 (04/10/2007) Residency: Studio Astérides, Friche Belle de Mai, Marseille, France. http://pourinfos.org/art-35110-tit--Ateliers-Asterides-Friche-Belle-de-Mai- -------------------------------------------------------------------- @ 028 (04/10/2007) Variouss: openinf of ArtCatalyse site, Saint-Denis, France. http://pourinfos.org/art-35111-tit-Divers-Ouverture-du-site-ArtCatalyse- -------------------------------------------------------------------- @ 029 (04/10/2007) Publication: breve news N°13, Association Entre-deux, Nantes, France. http://pourinfos.org/art-35113-tit--breve-news-N-13-Association-Entre-deux- -------------------------------------------------------------------- @ 030 (04/10/2007) Publication: “Digital Contagions: A Media Archaeology of Computer Viruses”, Jussi Parikka, Joseph Nechvatal, Peter Lang Books, 2007, 327 pages, Peter Lang Publishing, Inc., New York, Usa. http://pourinfos.org/art-35116-tit--Digital-Contagions-A-Media-Archaeology -------------------------------------------------------------------- @ 031 (05/10/2007) Publication: Play again, N°1, CHECKPOINT, review of art and the contemporary thoughts, Paris, France. http://pourinfos.org/art-35117-tit--Rejouer-N-1-CHECKPOINT-revue-d-art-et -------------------------------------------------------------------- @ 032 (06/10/2007) Various: RadioList.org ((((( visual art noise platform))))) 12 http://pourinfos.org/art-35081-tit-Divers-RadioList-org-Plate-forme -------------------------------------------------------------------- @ 033 (06/10/2007) Publication: Zone of Research, Perspective Antartique, Vincent+ Feria, Paris, France. http://pourinfos.org/art-35118-tit--Zone-de-Recherche-Perspective -------------------------------------------------------------------- @ 034 (08/10/2007) Call: historians of art, critics or writers, Association Plastica, galerie Itinerrance, Bagneux, France. http://pourinfos.org/art-35067-tit--historiens-d-art-critiques-ou-ecrivains- -------------------------------------------------------------------- @ 035 (12/10/2007) Publication : Sociology of arts, sociology of sciences (Sociologie des arts, sociologie des sciences), Coordinated by Florent Gaudez, Editions l'Harmattan, Paris, France. http://pourinfos.org/art-35115-tit--Sociologie-des-arts-sociologie-des -------------------------------------------------------------------- @ 036 (15/10/2007) Publication : in Sociétés 2007 / 2, n° 96, Media: interactivity in art work (Médias praticables : l'interactivité à l'œuvre), Samuel Bianchini et Jean-Paul Fourmentraux, Editions De Boeck Université, Paris, France. http://pourinfos.org/art-35114-tit--in-Societes-2007-2-n-96-Medias -------------------------------------------------------------------- @ 037 (18/10/2007) Publication : The Editions Leo Scheer invite you to one evening LAURELI, October 18, 2007, Galerie Leo Scheer, Paris, France. http://pourinfos.org/art-35112-tit--Les-Editions-Leo-Scheer-vous-invitent-a -------------------------------------------------------------------- From sarah.turner at manchesterurbanscreens.org.uk Thu Oct 4 16:24:11 2007 From: sarah.turner at manchesterurbanscreens.org.uk (Sarah Turner) Date: Thu, 4 Oct 2007 12:54:11 +0200 Subject: [Announcements] Urban Screens Manchester Newsletter 6 Message-ID: <010101c80674$e63316e0$0ab2a8c0@sarahj6y7loy0> Urban Screens Manchester Art + Events Programme 11 - 14 October Take a new look at your city! A dynamic, groundbreaking four-day programme of free outdoor screen and art events; a showcase for the creative future of our cities, featuring the work of over 90 international artists. Three giant LED screens in city centre Manchester will show a wide range of individual programmes 24-hours a day. The screens will be sited at All Saints' Gardens on Oxford Road, Exchange Square, and Cathedral Gardens outside Urbis. We're looking forward to exclusive live events, interactive works, streaming media, film shorts and animation, late-night video events and live internet broadcasts. A detailed schedule for the three screens can be found on www.manchesterurbanscreens.org.uk. Special event at Manchester Town Hall, Great Hall, Albert Square The Light Surgeons present True Fictions: New Adventures in Folklore European premiere / One performance only The Light Surgeons, a UK-based collective of designers, film makers and musicians, set out to explore the stories and myths surrounding Uncle Sam Wilson, bearded idol and personification of the United States of America. A sizzling multi-screen fusion of documentary filmmaking, genre hopping soundtracks, animation/motion graphics and digital video performance fuses with the stunning, neo-gothic splendour of the Great Hall. The Light Surgeons are best known for their pioneering design of visual displays at clubs, commercial events, music tours & exhibitions. They have been at the cutting edge of multimedia sound and light installations, working across a range of media such as video, 16mm film, photography, print based design, music & spoken narrative. Thursday 11, 9pm Limited tickets available at £5 (£4 concession) from Cornerhouse Box Office on 0161 200 1500 A Wall is a Screen UK Premiere / Promenade event / One night only Part guided tour, part roaming film night, A Wall is a Screen leads its audience through the streets of the city, stopping at previously unnoticed locations where films of different genres are projected. After each film, the equipment is loaded up onto a handcart and the group moves on to the next wall. Working with the North West Film archive at Manchester Metropolitan University, this event includes localised footage that peels back the layers of inner-city history. Members of A Wall is a Screen will also be presenting their work on Day 1 of the conference, during the poster session on creating screen art for an urban & architectural context. Friday 12, 9-10.30pm FREE. Start location: Outside Kro Picadilly, Picadilly Gardens Please feed back your comments on the artworks to info at manchesterurbanscreens.org.uk. We will publish them on the Urban Screens weblog at www.manchesterurbanscreens.org.uk. Curated by Susanne Jaschko ................................................. Sarah Turner International PR Urban Screens Manchester 07 www.manchesterurbanscreens.org.uk +49 (0)162 526 5624 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071004/28388296/attachment-0001.html From mayur.suresh at gmail.com Fri Oct 5 09:09:57 2007 From: mayur.suresh at gmail.com (Mayur) Date: Fri, 5 Oct 2007 09:09:57 +0530 Subject: [Announcements] free burma, free freedom In-Reply-To: <98bea7e00710042036p186916d4u9b8fce7e33dd7baa@mail.gmail.com> References: <563451.23836.qm@web50802.mail.re2.yahoo.com> <98bea7e00710042036p186916d4u9b8fce7e33dd7baa@mail.gmail.com> Message-ID: <4def3c470710042039w12a5ac2dy9bc314c64c65145e@mail.gmail.com> ---------- Forwarded message ---------- From: golan naulak Date: 4 Oct 2007 22:50 Subject: free burma, free freedom To: mayur at altlawforum.org Greetings Sir/ Madam, Over the past few weeks we've been flooded with a lot of disturbing news from Burma in the wake of the crackdown on the monks' protest by the military junta. More than 1000 monks have been arrested and hundreds others detained and imprisoned. People all over the world have been up in protest against the present military regime.Our deepest solidarity and sincere support goes to the Burmese people at this important juncture. October 6th (Saturday) is the Internatiuonal Day for A Free Burma- the Global day of Action. There will be mass rallies and processions in all major cities of the world where people will be showing their support and solidarity to the Burmese people telling them that they are not alone in their struggle for freedom, that the world is with them! Also there will be programmes to put pressure on their respective governments to help solve the present crisis. As a part of this global campaign, we the STUDENTS FOR FREEDOM are organising a peace protest and gathering on the said date on M G Road ( Mahatma Gandhi statue) at 3pm. There will be a signature campaign and a memorandum ehich will be forwarded to the Prime Minister of India. We ,therefore, kindly request your/ your organisation's/ your institution's participation and support in this cause for freedom. "we will remember not the words of our enemies, but the silence of our friends" "we cannot be indifferent to what happens in the world, for a victory by any country is our victory just as any country's defeat is a defeat for all of us" "how can we sit back at home,idle, unmoved and untouched while our brothers are risking their lives for the cause of freedom,something which we've taken for granted..." for more details: write to studentsforfreedom at gmail.com or call 9845011510, 9886345819,9448484797 Thanking you, for a free Burma, STUDENTS FOR FREEDOM *golan naulak* - ------------------------------ Moody friends. Drama queens. Your life? Nope! - their life, your story. Play Sims Stories at Yahoo! Games. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071005/54304dc2/attachment.html From lieneman at umn.edu Fri Oct 5 21:50:04 2007 From: lieneman at umn.edu (Stacy Lienemann) Date: Fri, 05 Oct 2007 11:20:04 -0500 Subject: [Announcements] Sarai Reader List / WHERE THE BALL DROPS: Days and Nights in Times Square Message-ID: Dear ListServ Administrator: Please post this to Sarai Reader List. Also, please let me know if you'd like to review the book for your listserv. Thanks! Best wishes, Stacy Lienemann Direct Response and Scholarly Promotions Manager University of Minnesota Press 111 Third Avenue South, Suite 290 Minneapolis, MN 55401-2520 612-627-1934 http://www.upress.umn.edu A compelling look at the people and action of America¹s most famous street scene WHERE THE BALL DROPS: Days and Nights in Times Square Daniel Makagon University of Minnesota Press | 296 pages | 2007 ISBN 978-0-8166-4275-5 | paperback | $20.00 National Communication Association¹s Critical/Cultural Studies Division Book Award winner During the 1990s, Times Square changed its colors, from a notoriously seedy urban center to a family-friendly, corporate-sponsored entertainment district. Daniel Makagon captures the competing social and cultural fantasies, the everyday events and historical visions that have given shape and meaning to Times Square. Where the Ball Drops reveals the changes wrought by the contemporary urban revitalization. "Daniel Makagon presents a skillful ethnographic interpretation of how Œcompeting fantasies about the meaning and material reality of Times Square, which are advanced through various rhetoric visions, are affirmed, challenged, and, at times, undermined by the practices of everyday life¹." ‹Cultural Studies For more information, including an excerpt and the table of contents, visit the book¹s webpage: http://www.upress.umn.edu/Books/M/makagon_where.html Sign up to receive news on the latest releases from University of Minnesota Press: http://www.upress.umn.edu/eform.html -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071005/ae4b07b8/attachment.html From info at basementartproject.com Sun Oct 7 05:45:49 2007 From: info at basementartproject.com (BasementArtProject.com) Date: Sun, 7 Oct 2007 01:15:49 +0100 Subject: [Announcements] =?windows-1252?q?Two_Hopes=3A_16_=96_25_October_2?= =?windows-1252?q?007_Tbilisi_Opera_and_Ballet_Theatre=2C_Georgia?= Message-ID: <68E57E51-6D7C-4586-AE18-8B0D3DB20A65@basementartproject.com>   Andro Semeiko Yu-Chen Wang Mamuka Japaridze Cyril Lepetit Mathijs Lieshout Nick Goulis Mauricio Lupini Charlie Tweed Toine Klaassen Clare Gasson 16 – 25 October 2007 Curated by BasementArtProject.com British Council Georgia in cooperation with Art Caucasus is pleased to announce the exhibition ‘Two Hopes’ in the frames of the annual International Contemporary Art Forum - Art Caucasus 2007. ‘Two Hopes’ is curated by BasementArtProject.com. It reflects on a multi–layered picture of a post–ideal society from the artist’s perspective. It intends to shift the standpoint from the objective to the subjective, investigating the artist’ experience in the contemporary world in opposition to the magnificent utopian dream. The exhibition begins with a search for the ideal society and moves to a reflection on migration and relocation to the new territories. More questions are raised than answered paralleling the interplay between conceptual and formal structures. Tbilisi Opera and Ballet Theatre. Rustaveli Avenue, Tbilisi, Georgia www.opera.ge Opening event: Tuesday 16 October 18:00 Exhibition opening hours: 16 – 26 October 15:00 to 19:00 For further information, please contact Nutsa Kuridze Tel+ 995 99 28 38 18 or e-mail nutsa.kuridze at ge.britishcouncil.org www.britishcouncil.org/ge-arts-events.htm Andro Semeiko Holy Encounter 26x36cm acrylic and oil on canvas 2007 Press release pdf The exhibition catalogue is published by the British Council Georgia. more  -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071007/0fb93a2b/attachment-0001.html -------------- 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/20071007/0fb93a2b/attachment-0004.jpg -------------- next part -------------- A non-text attachment was scrubbed... Name: logo.jpg Type: image/jpeg Size: 36909 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20071007/0fb93a2b/attachment-0005.jpg -------------- next part -------------- A non-text attachment was scrubbed... Name: holy_enconter.jpg Type: image/jpeg Size: 55957 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20071007/0fb93a2b/attachment-0006.jpg -------------- next part -------------- A non-text attachment was scrubbed... Name: bclogo.jpg Type: image/jpeg Size: 39782 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20071007/0fb93a2b/attachment-0007.jpg From sarah.turner at manchesterurbanscreens.org.uk Tue Oct 9 03:16:02 2007 From: sarah.turner at manchesterurbanscreens.org.uk (Sarah Turner) Date: Mon, 8 Oct 2007 23:46:02 +0200 Subject: [Announcements] Urban Screens Manchester Newsletter 7 Message-ID: <012c01c809f4$9fad15d0$0ab2a8c0@sarahj6y7loy0> . Urban Screens Manchester It's about content! Conference 11-12 Oct Art & Events 11-14 Oct Focus Session 3 on day 1 of the conference will examine the profitability of urban screens and the production of non-commercial content and asks: What is the real ratio of production costs of artistic content and payment? Which economy models sustain a non-commercial use of the screens? Focus Session 3: Towards a New Economy of Urban Screens, Cornerhouse The session will be moderated by Glenn Harding (AUS), managing director of Circus, an urban media consultancy and production company managing the multimedia, online and broadcast systems and developing and commissioning original screen content for Melbourne's Federation Square which houses numerous non-commercial LED screens. Melbourne will be hosting the next Urban Screens conference in October 2008. www.fedsquare.com Jason DaPonte (UK) is Executive Producer for bbc.co.uk and is leading a change programme across the BBC's online producers called "Ensuring Excellence," focussing on how editorial standards and guidelines need to be adapted to the rapidly changing environment that is digital media. Mark Bennett (USA) is senior manager for In-Store Digital Marketing and Media at Target's Corporate Media Center in Minneapolis, Minnesota. Mark leads strategy and creative execution for Target's production teams. Target's work has been at the forefront of ways to explore unique commercial branding opportunities. www.target.com Kristin Gray (USA) is the Director of Victory Media Network® at Victory Park in Dallas, Texas. Kristin seeks out a mix of relevant and engaging content underwritten by exclusive corporate partners who have the opportunity to advertise and market in a unique and captivating manner. A track system engineered specifically for the project allows screens to move horizontally along the entire length of a major public plaza creating complex and sophisticated spatial interactions and providing an immersive public art environment. www.victorymedianetwork.com Mike Gibbons (UK) has spent the last five years building the Big Screens in the UK for the BBC as part of the partnerships with towns & cities. He recently became Head of Live Sites and UK Coordination for London 2012 and will lead the development of the Live Sites network to make the London Olympics part of everyone's life. He asks what are the social messages about the use of public spaces for major events and what can we learn from public reaction? www.london2012.com As part of the Urban Screens Art & Events Programme, Jenny Holzer's Televised Texts will randomly intersperse the programmes on all three screens in Manchester city centre. Holzer adopts the form and language of commercial messages to disrupt communication, presenting kamikaze texts that are designed to stimulate thought and inspire a critical attitude in an often passive audience. Televised Texts are designed to appear anonymously and spontaneously. Register your interest at www.manchesterurbanscreens.org.uk Urban Screens Manchester has been curated by Dr Susanne Jaschko. Urban Screens Manchester has been supported by Cornerhouse and BBC. It has been funded by Arts Council England, Manchester City Council, Marketing Manchester. With support from MDDA and Manchester Knowledge Capital. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071008/5065ba4c/attachment.html From iram at sarai.net Tue Oct 9 23:20:45 2007 From: iram at sarai.net (Iram Ghufran) Date: Tue, 09 Oct 2007 23:20:45 +0530 Subject: [Announcements] Book Launch- Bombay Cinema: An Archive of the City Message-ID: <470BBF75.80005@sarai.net> An Illustrated Talk By Ranjani Mazumdar (School of Arts & Aesthetics, Jawaharlal Nehru University) To Celebrate the Publication of her Book Bombay Cinema: An Archive of the City (Published by Permanent Black, 2007) Discussants: Ravi Vasudevan (Centre for the Study of Developing Societies, Sarai) Shohini Ghosh (MCRC, Jamia Milia Islamia) Friday, October 12th at 6.30 pm at Gulmohar, India Habitat Centre New Delhi From turbulence at turbulence.org Mon Oct 15 22:31:40 2007 From: turbulence at turbulence.org (Turbulence) Date: Mon, 15 Oct 2007 13:01:40 -0400 Subject: [Announcements] Turbulence Commission: "Bonding Energy" by Douglas Repetto and LoVid Message-ID: <004b01c80f4d$21472bf0$63d583d0$@org> October 15, 2007 Turbulence Commission: "Bonding Energy" by Douglas Repetto and LoVid http://turbulence.org/works/BondingEnergy/ Requirement: Enable Java in your browser "Bonding Energy" consists of a set of "Sunsmile" devices that collect and measure solar energy from seven geographically distributed sites around New York State: Columbia University, NYC; Rensselaer Polytechnic Institute, Troy; University of Buffalo; Colgate University, Hamilton; free103point9's Wave Farm, Acra; Experimental Television Center, Owego; and The Redhouse Arts Center, Syracuse. The light energy reaching the Sunsmiles' solar panels fuels a collaborative real-time data visualization on Turbulence.org. Part of the larger "Cross Current Resonance Transducer (CCRT)" project in which the artists are developing systems for monitoring, manipulating, and interpreting natural signals such as tidal patterns and wind, "Bonding Energy" is focused on solar energy. "Bonding Energy" is a model for distributed microenergy generation, inspired by "SETI at home" -- which harnesses the collective power of personal computers distributed worldwide -- and "microcredit", a loan system that supports poor or unemployed people in underdeveloped countries. Small contributions from many individuals can produce significant results. "Bonding Energy" is a 2007 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the Murray G. and Beatrice H. Sherman Charitable Trust. BIOGRAPHIES Douglas Irving Repetto is an artist and teacher. His work, including sculpture, installation, performance, recordings, and software is presented internationally. He is the founder of a number of art/community-oriented groups including "dorkbot: people doing strange things with electricity, " "ArtBots: The Robot Talent Show, " "organism: making art with living systems, " and the "music-dsp" mailing list and website. Douglas is Director of Research at the Columbia University Computer Music Center and lives in New York City. LoVid (Tali Hinkis and Kyle Lapidus) overwhelms the senses with new media in their performances, videos, objects, and installations. LoVid has toured the US and Europe extensively performing, exhibiting, and lecturing at PS1, The Neuberger Museum, The Butler Institute of American Art , The Center for Contemporary Art Tel Aviv, Exit Art, Evolution Festival (UK), The Kitchen, RISD, Massachusetts College of Art, FACT, Kansas City Art Institute, Chicago Art Institute, University of Wisconsin, Futuresonic Festival (UK), The New Museum of Contemporary Art, Ocularis, and Institute of Contemporary Art London, among many others. LoVid has been artist in residence at Eyebeam, Harvestworks, iEAR, Alfred University, and Stevens Institute of Technology; and has received grants and awards from Experimental TV Center, NYSCA, Foundation for Contemporary Arts, and The Greenwall Foundation. LoVid is also a free103Point9 transmission artist. Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org Networked_Performance Blog: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Upgrade! Boston: http://turbulence.org/upgrade New American Radio: http://somewhere.org From asenchoudhury at gmail.com Tue Oct 16 12:27:50 2007 From: asenchoudhury at gmail.com (Ayesha Sen Choudhury) Date: Tue, 16 Oct 2007 12:27:50 +0530 Subject: [Announcements] Lecture by Judge Navi Pillay on "State Accountability for Crimes Against Humanity and Genocide" Message-ID: The *Lawyers Collective, New Delhi* in collaboration with *Nelson Mandela Centre for Peace and Conflict Studies, Jamia Millia Islamia* is hosting a *Lecture* on *"State Accountability for Crimes Against Humanity and Genocide" * * * by *JUDGE NAVANETHEM PILLAY* International Criminal Court (Appeals Division) *Introduction by **:* *Ms. Indira Jaising *, Project Director, Lawyers Collective Women's Rights Initiative *Chaired by: **Prof. Mushirul Hasan*, Vice Chancellor, Jamia Millia Islamia * * *Date:* *Monday, 29th October, 2007 * *Time: 5.00 p.m. * *Venue:* *Conference Hall, FTK Centre for Information Technology, Jamia Millia Islamia* * * *FOR INVITATIONS PLEASE CONTACT: * Lawyers Collective Tel. No.: 2437 2923, 2437 3904 ** Born in South Africa in 1941, *Judge Navi Pillay *has been both a symbol and a standard-bearer for human rights in her country, the region, and throughout the world. On receiving her Bachelor of Law degree from Natal University in South Africa and later a Master of Law and Doctor of Juridical Science at Harvard University, U.S.A, she became the first woman in Natal Province to open her law practice in 1967 representing various opponents of apartheid. In 1995 she was the first black woman attorney appointed acting judge of the High Court of South Africa by the Mandela Government. Subsequently she was elected by the United Nations General Assembly to be a judge on the International Criminal Tribunal for Rwanda, where she served for eight consecutive years, including four years as President, and was credited with turning the Tribunal towards a positive approach through judgments such as the conviction of *Akayesu* for using rape as a form of genocide and the *"Media Trial"* setting standards on freedom of the Press and its responsibility. In February 2003, Judge Pillay was elected by the Assembly of State Parties to the Rome Statute, as one of the 18 Judges of the International Criminal Court (ICC), based in The Hague and currently continues to serve her six year term on the bench in the Appeals Division. Beyond her legal interventions, Judge Pillay has also contributed to the women's rights and human rights movement through her active involvement with various national and international organizations, such as Equality Now, Lawyers for Human Rights and Women's National Coalition to name a few. She has been the recipient of several awards from the international legal fraternity and been felicitated with honorary doctorate degrees in Law from several universities around the world. -- Ayesha Sen Choudhury Lawyers Collective New Delhi -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071016/f8ed4062/attachment-0001.html From amitabh at sarai.net Sun Oct 21 18:19:01 2007 From: amitabh at sarai.net (Amitabh Kumar) Date: Sun, 21 Oct 2007 18:19:01 +0530 Subject: [Announcements] Comic Book Readings Message-ID: <89E233DF-D9D7-46DE-88DF-A04DBBF64971@sarai.net> t would be an understatement to say that comics in India have not had as flourishing a practice as cinema, literature and art. Public knowledge about comic book practice and culture has sadly been limited to a few major publications and epic productions. Now, however, we seem to be standing on the threshold of what is being touted as the graphic novel/comic boom in India. A few questions, therefore, stare at us: How do we talk about the hidden narratives that have contributed to the growth and evolution of the form in India? How do we know and share the knowledge pool that contributes to comic book practice and readership in India? In one such attempt to address these questions, Sarai-CSDS and the French Information and Resource Center (FIRC) have collaborated to produce a series of events focusing on a deeper and richer conversation about the comic book culture in India. The first such event of this collaboration makes its debut this October. We are happy to announce that the First Comic Book Reading will be taking place in the French Information and Resource Center (FIRC), 2 Aurengzeb Road, New Delhi at 5:oo p.m on Friday the 26th of October. The underlying idea behind these comic book readings is to popularize discourse about comics by inviting comic book practitioners/readers/ aficionados to talk about a work that has been instrumental in molding their understanding of the form. The readings provide the space for a much needed critical look at comic books, and a common meeting ground for people who have a strong attachment with it. Orijit Sen (The River of Stories, 1994) will be the first speaker/ reader and will be talking about the evolution of his own practice, what it was influenced by, and what it has culminated in. The Comic Book Readings are a bi-monthly affair with the venue alternating between Sarai and the French Cultural Center. Sarai will host the next comic book reading, at 5:00 p.m on the 14th of November. The time envisioned for the readings is approximately an hour, followed by discussion. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071021/3f87968f/attachment.html From iram at sarai.net Thu Oct 25 11:09:21 2007 From: iram at sarai.net (Iram Ghufran) Date: Thu, 25 Oct 2007 11:09:21 +0530 Subject: [Announcements] Exhibition: 'RAMKINKAR IN FOCUS' at JNU Message-ID: <47202C09.3010203@sarai.net> Fwd: Exhibition: 'RAMKINKAR IN FOCUS: THROUGH THE EYES OF DEVI PRASAD' -- The School of Arts and Aesthetics has curated an exhibition 'RAMKINKAR IN FOCUS: THROUGH THE EYES OF DEVI PRASAD' which has opened to the public on October 9 and will be open for viewing till Monday,October 29, 2007 in the School of Arts and Aesthetics Gallery, JNU. It commemorates the centenary year of Ramkinkar Baij. The exhibition has received an overwhelming public and critical response. It is open for viewing daily, from 10 AM- 7PM, except Sundays . In response to a special request from the JNU community, we have late night viewings till 10 PM on Friday nights. The exhibition showcases the critically acclaimed photographs by Devi Prasad and of course, India's greatest modernist sculptor Ramkinkar Baij's bronzes. We also have a rare opportunity to see pages from Ramkinkar's sketchbooks, his watercolours and oil paintings alongside rare footage of Ramkinkar from Ritwik Ghatak's unfinished film. The conference on the 29th will bring several scholars together (please see the attachment), and people will have a chance to reflect on what they can make of the artist from the exhibition - we hope you will be able to join us that day. -- Ranjani Mazumdar Associate Professor of Cinema Studies School of Arts and Aesthetics Jawaharlal Nehru University New Delhi 110067 http://www.jnu.ac.in/SAA/ From rahaab at acparchives.com Wed Oct 24 12:36:22 2007 From: rahaab at acparchives.com (rahaab - ACP Archives) Date: Wed, 24 Oct 2007 12:36:22 +0530 Subject: [Announcements] From Alkazi Foundation: 1857 Exhibition Message-ID: Traces of the Uprising, 1857 A Delhi University and Alkazi Foundation Collaboration The following exhibition is a collaboration between Delhi University and the Alkazi Foundation for the Arts. In the wake of the commemoration of events related to the Uprising, the joint venture in the North Campus of Delhi University is in fact the most appropriate setting for this exhibition, since these university grounds were once a wasteland of war and memorials. The exhibition at University is an extended attempt to assimilate the past and present lives of Delhi and other effected cities, connected intrinsically by a chain of events that led to its memorialisation after the Uprising. Early photography; its poignant simplicity and sheer visual splendour captured in shades of sepia, is a prism through which the changing contours of life are perceived and visualised. In addition, images from the satellite today, help us chart the sectors of unrest and resistance during this tumultuous period, mainly between the Ridge, Shahjehanabad and Humayun’s tomb. Images become a means of bridging the historical rupture between rarefied cultural zones and commonplace locales. This stimulating endeavour with the staff and students of Delhi University has helped us realise that the commemoration of 1857 is about a respect for the past, the preservation of antiquated structures and a mutual recognition of our collective responsibility in treasuring the sanctity of India’s myriad culture for the future. Reprints of rare19th Century photographs will be juxtaposed with current documentation of the sites and some important maps that will highlight the geography of unrest and the strategies put in place by the troops. Though the exhibition covers the entire Uprising, there will be a greater focus on Delhi. There will be a joint exhibition catalogue with contributions by: Prof. Nayanjot Lahiri: Dean of Colleges Shinbani Bose: Independent research scholar and PHD applicant from Delhi University Opening Date: 26th October 2007, Conference Centre Opening Talk: 26th October, 4.30 p.m. Convocation Hall, Vice Chancellors building 10.00- 5.00 daily (except Sundays) Mr. Alkazi will give a brief introduction. Contact: Rahaab Allana, Curator, Alkazi Foundation (rahaab at acparchives.com) -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071024/00cd9633/attachment.html From cised_blr at yahoo.co.in Fri Oct 19 16:05:56 2007 From: cised_blr at yahoo.co.in (CISED BLR) Date: Fri, 19 Oct 2007 11:35:56 +0100 (BST) Subject: [Announcements] Openings at CISED Message-ID: Openings for Core Faculty, Visiting Fellows and Postdoctoral Research Associates at CISED CORE FACULTY, VISITING & POSTDOCTORAL POSITIONS IN ENVIRONMENT-DEVELOPMENT STUDIES Centre for Interdisciplinary Studies in Environment and Development (CISED) at the Institute for Social & Economic Change, Bangalore, seeks applications for the following positions in the thrust areas of Water Resources, Forests & Common Lands, or Energy & Pollution. Core Faculty: Candidates should typically have a Ph.D. (social or natural/engineering sciences) with a strong interest in and demonstrated capacity to carry out interdisciplinary research that speaks to academic, policy and practitioner audiences, and be prepared to engage extensively in institution-related activities, Visiting Fellows: Persons with academic, activist, policy-making or practitioner backgrounds interested in being located at CISED for six months to one year to pursue a writing project based on earlier research and/or practical experience. The topic should be linked to CISED’s thrust areas. Postdoctoral Research Associates: Candidates should have submitted their Ph.D. thesis and be interested in pursuing independent research in CISED’s thrust areas for one to two years. Deadline for receiving applications is November 15, 2007. For full advertisement & application details: www.cised.org. Contact: Coordinator, CISED , Institute for Social and Economic Change, Nagarabhavi Bangalore – 560 072, INDIA Tel: +91 (80) 2321-7013, Fax: +91 (80) 2321-7008, E-mail: cised at isec.ac.in Forgot the famous last words? Access your message archive online at http://in.messenger.yahoo.com/webmessengerpromo.php From mitoo at sarai.net Wed Oct 24 15:10:05 2007 From: mitoo at sarai.net (mitoo das) Date: Wed, 24 Oct 2007 15:10:05 +0530 Subject: [Announcements] Drama Workshop by Rainbow Inc, Hyderabad Message-ID: <471F12F5.50205@sarai.net> Dear friends, Rainbow Inc. (Hyderabad) is conducting a three-day Drama workshop, details of which are given below. Please let us know if you are interested in attending this program. If not ……. we would appreciate your forwarding this to other interested individuals. Accommodation arrangements for outstation participants can be made if required. Looking forward to hearing from you. Regards, Vaneeta Bhattacharyya *Rainbow Inc. Hyd presents:* *"I want to be ME"* Each one of us has hidden within thoughts, ideas, feelings, emotions and a lot more that we find difficult to talk about, express or reveal. We shut these aspects within us and try and ignore them. When and if they surface they can leave us depressed, overwhelmed, angry and aggressive. As a result we end up hurting ourselves and others around us. Role-play and drama are techniques by which actual incidents can be enacted under the guise of fiction, thus offering us the protection we may need. It creates an atmosphere and space where we can express ourselves without feeling threatened. It also provides us with an alternative language – a language beyond the mere verbal. Drama allows unlimited possibilities for response. It allows one experiment with identity, discover and express dormant aspects of oneself, and practice new ways of relating. "Theatre is the fire which makes the pressure cooker explode and release the angels and devils dwelling inside it." "I Want to Be ME" is a three-day interactive workshop that puts participants through a series of drama techniques through which they can address concerns – be they social, cultural, personal and/or political. The experiential workshop is introduced in a private space with no observers and no public performances. The point of the use of drama techniques as a healing process is not to teach people how to act but to be used as a medium through which each participant participates at her/his level. The important aspect of this process is getting the group to accept each one for what they are and not imposing what they feel is right or wrong. Moving away from conditioned trends in thinking to a more open and liberal acceptance of what is and then taking it from there. *Workshop facilitator: Mahnoor Yar Khan * (drama therapist) Workshop open to adults only HURRY! Limited seats available! Venue: *Vidyaranya High School* * 'Green Gates'* * Opposite Secretariat* * Saifabad* * Hyderabad - 500004* * * Date: *Fri 30th Nov – Sun 2nd Dec 2007* Timings: *10:00 am – 5:00 pm* Fees (inclusive of lunch & refreshments): *Rs.2000/-* *For registration contact workshop coordinator: Vaneeta Bhattacharyya * Email: rainbowinc.hyd at gmail.com Mobile no: 09347056907 *Last date for registration:* *20th Nov 2007* *Bioprofile of facilitator: **Mahnoor Yar Khan has** **been using techniques in drama as a tool to address concerns and look for alternatives to those concerns as a healing process. She started her research in 1992 and has since conducted a series of workshops and training programs in Palestine, Cambodia, Sri Lanka, Lebanon and India. Mahnoor has worked with adolescents, young adults, women, teachers, animators, IT professionals and others.* From ravikant at sarai.net Tue Oct 23 11:46:13 2007 From: ravikant at sarai.net (Ravikant) Date: Tue, 23 Oct 2007 11:46:13 +0530 Subject: [Announcements] Fwd: Ghadar on DU Campus Message-ID: <200710231146.13325.ravikant@sarai.net> 'Ghadar on the DU Campus' Inauguration Oct 26, 2007, 4.30 pm Venue: University Convention Hall, Vice-Chancellor's Office *--------* Traces of the Uprising, 1857 Exhibition of photographs: a University of Delhi and Alkazi Foundation for the Arts collaboration Oct 26 – Nov 20, 2007 (10 am – 5 pm, Monday to Saturday) Venue: University Conference Centre* *(opposite the Botany Dept.) * * *The exhibition will showcase a selection of 19th Century photographs from the Alkazi Collection relating to three sectors of the Uprising: Delhi, Kanpur and Lucknow, with a special focus on Delhi.* *--------* Film Screenings *Shatranj ke Khilari*, Oct 29, 2007, 4 pm *Junoon*, Nov 12, 2007, 4 pm *Jhansi ki Rani*, Dec 3, 2007, 4 pm *Mirza Ghalib*, Dec 17, 2007, 4 pm Venue: Auditorium, School of Environmental Studies *--------* European Responses to the 1857 Rebellion in India Conference organized by the Department of Germanic and Romance Studies Oct 30 – 31, 2007, 10 am – 5 pm Venue: University Conference Centre * * *The conference will focus on continental European responses to the 1857 events – literary texts, press reports, and other documents that appeared in languages other than English. * *--------* The Revolt of 1857: Re-thinking colonial resistance Conference / Nov 26 – 28, 2007 Venue: University Conference Centre * * *The conference will bring together scholars to share their work on various issues related to the Revolt – its historiography, the events in Delhi, the military aspect, the intellectual impact and representations in popular and folk literature * *--------* Mirza Ghalib's letters read by Anis Azmi Nov 27, 2007, 2 pm Venue: University Conference Centre *--------* Qawwali: Miraj Ahmad Nizami and party Nov 28, 2007, 6.30 pm Venue: University Conference Centre *--------* Dastan Goi: Traditional Hindustani Oral Narrative by Mahmood Farooqui and Danish Hussain Dec 18, 2007, 4 pm Venue: University Conference Centre *--------* Special Lectures Dec 7, 2007, 4 pm Gautam Chakravarty Mutiny or War? Revisiting an old debate Jan 25, 2008, 4 pm Rudrangshu Mukherjee Nationalism and History Writing: S.N.Sen and S.B.Chaudhuri as historians of 1857 Feb 20, 2008, 4 pm Margrit Pernau Contested memories and memoirs. Remembering 1857 in Delhi Mar 4, 2008, 4 pm C.M. Naim The Three Delhis of Syed Ahmad Khan *--------* A Walk through Time Heritage walks: Northern Ridge, its monuments and 1857 * * *In 1857, as the rebels captured Shahjahanabad, the British retreated to the ridge and planned the recapture of the city. The northern ridge also has structures that represent periods and events that date back to earlier times. The heritage walks will cover the Vice-Chancellor's Office, the Flagstaff Tower, Chauburja, Pir Ghaib, Bara Hindu Rao, Ashoka Pillar and Mutiny Memorial.* Dates: November: 6, 7, 12, 17,19, 21, 24, 26, 28; December: 7, 8, 10, 15, 17, 22. Time: 10 am-1 pm Starting point for the walks: University Conference Centre For details regarding the walks, please contact: Srimanjari (srimanjari at gmail.com) / Sanjay Sharma (sanjaykusharma at yahoo.co.in) ------------------------------------------------------- From eapl at vsnl.net Wed Oct 24 12:16:23 2007 From: eapl at vsnl.net (Kitabmahal, The Fourth Floor) Date: Wed, 24 Oct 2007 08:46:23 +0200 Subject: [Announcements] Understanding Oneness in Diversity art exhibition at Kitab Mahal, Fort from 25th till 31st October 2007 Message-ID: <732b4c5ea911cbbfdf46594e9f65178a@copley.ymlpsrv.com> An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071024/9455bb9b/attachment.html From alice at tank.tv Wed Oct 17 22:09:08 2007 From: alice at tank.tv (Alice O'Reilly) Date: Wed, 17 Oct 2007 17:39:08 +0100 Subject: [Announcements] www.tank.tv : Love & Hate - Moving Image Work from Former Yugoslavia : Online 15/10/07 - 15/11/07 Message-ID: <442eb4460710170939g52f03605q2f752be18d87a381@mail.gmail.com> Love & Hate concept by Nada Prlja for www.tank.tv 15th October - 15th November 2007 The concept for the October-November online tank.tv exhibition has been defined by the artist Nada Prlja. Artists: Nemanja Cvijanović, Olgica Dimitrovska, Vesna Miličević, Nada Prlja, Nikola Uzunovski, Škart and Žaneta Vangeli The geographical region selected for the project Love & Hate is the area defined by former Yugoslavia, encompassing Bosnia & Herzegovina, Croatia, Macedonia, Montenegro, Serbia and Slovenia. The region was chosen for an artistic examination by tank.tv because of the unique political and economic situation that has evolved since the death of President Tito in 1980 and the subsequent dissolution of the former nation state. These ex-Yugoslav countries now find themselves in what is popularly known as the phase of "Transition". It is a state brought about by the transformation of a socialist society into one of (apparent) liberal democracy but also related to the recent sectarian civil wars, and how their aftermath has contributed to a sense of 'incompleteness' for these new societies. The video projects featured in October's tank.tv exhibition inhabit the very territory named "Transition" and reflect the relationship between the past, the present and the future. In Nemanja Cvijanović's video project Marinetti vaffanculo feat. Spielberg, the artist sings along and whistles the tune of the song 8 souls blown up by a single bomb , borrowed from the futuristic poet F.T.Marinetti. By performing this casual act, the artist adds a cynical aspect to a grotesque scene from Spielberg's war film Saving Private Ryan, and in so doing, Cvijanović 'has a laugh' with the past, present and the future . He looks ironically at human nature and the realities of any war. By contrast, in Vesna Milicević's video work Somebody Else's Daughters, the artist decides to speak out against her own nation. Vesna Milicević chooses to give both the victim and the aggressor equal consideration. The victim is a Romanian girl while the perpetrators are men, involved in human trafficking for the purpose of prostitution within the area of ex –Yugoslavia. Milicević positions herself, self-sacrificially, as a servant of the truth, despite the fact that it is painful - as she herself is a daughter of the nation, to which these aggressors belong. Milicević's video occupies, in a very direct manner, the situation of the transition between two systems where monstrous acts, such as the one shown, can become an unfortunate reality. The seven artists featured on tank.tv as part of Love & Hate , describ e and criticise the turbulence of a system that in reality should not yet be acknowledged as a system at all, if one accepts Mao's statement: 'Chaos is a perfect condition for a society in transition.' www.tank.tv www.tank.tv/freshmoves.htm -- - - - - - - - - - - - - Alice O'Reilly tank.tv 5th floor 49-50 Great Marlborough street London W1F 7JR alice at tank.tv T +44 (0)207434 0110 F +44 (0)207434 9232 http://www.tank.tv - - - - - - - - - - - - - - Now showing: Love & Hate 15th October – 15th November 2007 Fresh Moves - Out now! Order your copy on www.tank.tv "A significant archive of creative practices in the early years of twenty-first century England" Tyler Coburn, Tomorrow Unlimited --- tank.tv is an inspirational showcase for innovative work in film and video. Dedicated to exhibiting and promoting emerging and established international artists, www.tank.tv acts as a major online gallery and archive for video art. A platform for contemporary moving images. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071017/eac17257/attachment.html From cahen.x at levels9.com Sun Oct 21 22:52:33 2007 From: cahen.x at levels9.com (xavier cahen) Date: Sun, 21 Oct 2007 19:22:33 +0200 Subject: [Announcements] pourinfos Newsletter / 21-10 to 09-11-2007 Message-ID: <471B8AD9.5050202@levels9.com> pourinfos.org l'actualité du monde de l'art / daily Art news ----------------------------------------------------------------------- >From Sunday, October 21, 2007 on Friday, November 9, 2007 (included) ------------------------------------------------------------------- (mostly in french) @ 001 (21/10/2007) Residence: Georges County Hospital Center Daumezon, Fleury les Aubrais, France. http://pourinfos.org/art-35120-tit-Residence-Centre-Hospitalier-Departemental -------------------------------------------------------------------- @ 002 (21/10/2007) Residence: artist, Center for Contemporary Art Pontmain, Pontmarin, France. http://pourinfos.org/art-35121-tit-Residence-d-artiste-Centre-d-Art -------------------------------------------------------------------- @ 003 (21/10/2007) Meetings: Les Rencontres Internationales, New cinema and contemporary art, Centre Pompidou, Jeu de Paume, Palais de Tokyo, ..., Paris, France. http://pourinfos.org/art-35124-tit--Les-Internationales-Nouveau-cinema-et -------------------------------------------------------------------- @ 004 (21/10/2007) Meetings: 5th Congress InterProfessionnel of Contemporary Art, Art shoud do event? Lyon, France. http://pourinfos.org/art-35126-tit--5-ieme-Congres-InterProfessionnel-de -------------------------------------------------------------------- @ 005 (21/10/2007) Publication: « Rituels/Rituals », n° 79, ETC, quarterly magazine of contemporary art, Montreal, Canada. http://pourinfos.org/art-35133-tit--Rituels-Rituals-n-79-ETC-revue -------------------------------------------------------------------- @ 006 (21/10/2007) publication: Protee, Imaginary ruins (Imaginaire des ruines), volume 35, number 2, Fall 2007, Department Arts and Letters from the University of Quebec, Chicoutimi, Canada. http://pourinfos.org/art-35134-tit-publication-Protee-Imaginaire-des -------------------------------------------------------------------- @ 007 (21/10/2007) Publication: ART ++, editions HYX et le Laboratoire des Arts et des Médias, Paris, France. http://pourinfos.org/art-35135-tit--ART-editions-HYX-et-le-Laboratoire -------------------------------------------------------------------- @ 008 (21/10/2007) Publication: Linus Bill, New Book, nieves edition, Zurich, Switzerland. http://pourinfos.org/art-35138-tit--Linus-Bill-New-Book-nieves-edition- -------------------------------------------------------------------- @ 009 (21/10/2007) Publication: Sleep, N#10, Drome Magazine, Rome, Italy. http://pourinfos.org/art-35139-tit--Sleep-N-10-Drome-Magazine-Rome- -------------------------------------------------------------------- @ 010 (21/10/2007) Publication: The Hidden Sense: Synesthesia in Art and Science, Cretien van Campen, The Leonardo Book, MIT Press, San Francisco, Usa. http://pourinfos.org/art-35140-tit--The-Hidden-Sense-Synesthesia-in-Art-and -------------------------------------------------------------------- @ 011 (21/10/2007) Publication: N°21, art.es, Madrid , Spain. http://pourinfos.org/art-35141-tit--N-21-art-es-Madrid- -------------------------------------------------------------------- @ 012 (21/10/2007) Publication: Gender, feminism and value of art (Genre, féminisme et valeur de l'art), Cahiers du Genre 43 / 2007,Revue aux éditions L’Harmattan, Paris, France. http://pourinfos.org/art-35142-tit--Genre-feminisme-et-valeur-de-l-art- -------------------------------------------------------------------- @ 013 (21/10/2007) Job: Assistant Professor in Culture and Media,Eugene Lang College, The New School for Liberal Arts, New York, Usa. http://pourinfos.org/art-35143-tit--Assistant-Professor-in-Culture-and -------------------------------------------------------------------- @ 014 (21/10/2007) Job: Assistant Professor, Department of Design and Computation Arts, Concordia University's Department of Design and Computation Arts, Montreal, Canada. http://pourinfos.org/art-35144-tit--Assistant-Professor-Department-of-Design -------------------------------------------------------------------- @ 015 (21/10/2007) Formation: MFA in Photography program at The Ohio State University, Usa. http://pourinfos.org/art-35145-tit-Formation-MFA-in-Photography-program-at -------------------------------------------------------------------- @ 016 (21/10/2007) Formation: Workshop experimental cinema, L'ETNA, Paris, France. http://pourinfos.org/art-35146-tit-Formation-Atelier-de-cinema-experimental- -------------------------------------------------------------------- @ 017 (21/10/2007) Call: Prize of young creation-International Museum of the Republic Banana, Banana Republic. http://pourinfos.org/art-35149-tit--Prix-de-la-Jeune-Creation-Musee -------------------------------------------------------------------- @ 018 (21/10/2007) Call: An exciting opportunity for aspiring & emerging curators, Vlaeberg, South Africa. http://pourinfos.org/art-35150-tit--An-exciting-opportunity-for-aspiring- -------------------------------------------------------------------- @ 019 (21/10/2007) Call: Convocatoria Internacional de Creación Audiovisual de la 10a edición de ZEMOS98, Sevilla, Spain. http://pourinfos.org/art-35151-tit--Convocatoria-Internacional-de-Creacion -------------------------------------------------------------------- @ 020 (21/10/2007) Call: Call for the creation in 2008, Association Grain d’Image, Montpellier, France. http://pourinfos.org/art-35152-tit--Appel-a-la-creation-2008-Association -------------------------------------------------------------------- @ 021 (21/10/2007) Call: Nicolas Frespech, Théâtre Paris-Villette, Poptronics, Paris, France. http://pourinfos.org/art-35153-tit--Nicolas-Frespech-Theatre-Paris-Villette- -------------------------------------------------------------------- @ 022 (21/10/2007) Call: "cut – past" call for project, Centre Culturel Bellegarde, Empreintes numériques, Toulouse, France. http://pourinfos.org/art-35155-tit--Copie-Colle-appel-a-projet-Centre -------------------------------------------------------------------- @ 023 (21/10/2007) Call: FESTIVAL OF LISTENING, phonurgia.org, Arles, France. http://pourinfos.org/art-35156-tit--FESTIVAL-OF-LISTENING-phonurgia-org- -------------------------------------------------------------------- @ 024 (21/10/2007) Call: call for project, edition de Dorkbot Paris #7, Agnès B. à Paris, France. http://pourinfos.org/art-35157-tit-Appel-a-candiature-appel-a-projet-edition -------------------------------------------------------------------- @ 025 (21/10/2007) Call: call for project, Négrepelisse, France. http://pourinfos.org/art-35158-tit--Appel-a-projet-Negrepelisse- -------------------------------------------------------------------- @ 026 (21/10/2007) Call: In Transition Russia 2008, National Centres of Contemporary Art, Yekaterinburg and Moscow, Russia. http://pourinfos.org/art-35159-tit--In-Transition-Russia-2008-National -------------------------------------------------------------------- @ 027 (22/10/2007) Residence: AIR-HMC, Hungarian Multicultural Center, Inc, Csopak, Hungary. http://pourinfos.org/art-35119-tit-Residence-AIR-HMC-Hungarian-Multicultural -------------------------------------------------------------------- @ 028 (23/10/2007) Rencontres : extensions, Oct. 23 with Yves Buraud and Nicolas Tardy and December 4, 2007 with Henri Lefèvre And Gaétan Bulourde 2007, Ensci/Les Ateliers, Paris, France. http://pourinfos.org/art-35130-tit--extensions-le-23-octobre-avec-Yves -------------------------------------------------------------------- @ 029 (24/10/2007) Meetings: Christophe Bruno "net.artiste ", Wednesday, October 24, 2007, Observatoire des nouveaux médias, Ensad, Paris, France. http://pourinfos.org/art-35127-tit--Christophe-Bruno-net-artiste- -------------------------------------------------------------------- @ 030 (25/10/2007) Meetings: Culture-free, hacker culture, Place Publique à Marseille, Marseille, France. http://pourinfos.org/art-35123-tit--culture-libre-culture-hacker-Place -------------------------------------------------------------------- @ 031 (25/10/2007) Publication: Mahi Binebine, Paintings, editions de l'Aube, la Tour d'Aigues, France. http://pourinfos.org/art-35137-tit--Mahi-Binebine-Peintures-editions-de -------------------------------------------------------------------- @ 032 (25/10/2007) Various: Opening of Lab-Labanque, Bethune, France. http://pourinfos.org/art-35148-tit-Divers-Ouverture-de-Lab-Labanque-Bethune- -------------------------------------------------------------------- @ 033 (27/10/2007) Meetings: Art at the time of service company (L’art à l’heure de la société de services) Study Day organized by the magazine Marges, Saturday, October 27, 2007, INHA, Paris, France. http://pourinfos.org/art-35128-tit--L-art-a-l-heure-de-la-societe-de -------------------------------------------------------------------- @ 034 (27/10/2007) Meetings: Art in the Age of Competitive Cultural Nationalism, Discussion event, Market Gallery, Glasgow, United Kingdom. http://pourinfos.org/art-35132-tit--Art-in-the-Age-of-Competitive-Cultural -------------------------------------------------------------------- @ 035 (27/10/2007) Publication: N# 8, Noël Dolla, review ART VIF, Nice, France. http://pourinfos.org/art-35136-tit--numero-8-Noel-Dolla-revue-ART-VIF- -------------------------------------------------------------------- @ 036 (08/11/2007) Various: Opening of Galerie Griesmar & Tamer, Paris, France. http://pourinfos.org/art-35147-tit-Divers-Ouverture-de-la-Galerie-Griesmar- -------------------------------------------------------------------- @ 037 (09/11/2007) Meetings: Art and Politics: Perspectives franco-american, International symposium - University Paris X-Nanterre, Nanterre, France. http://pourinfos.org/art-35122-tit--Arts-et-politique-Perspectives From manzilechar at yahoo.com Fri Oct 19 10:40:45 2007 From: manzilechar at yahoo.com (tangella Madhavi) Date: Thu, 18 Oct 2007 22:10:45 -0700 (PDT) Subject: [Announcements] =?iso-8859-1?q?docedge=9208=2C_Asian_Documentary_?= =?iso-8859-1?q?Forum?= Message-ID: <04F69B61-97A5-4166-8AC1-A4B9DB867E7E@yahoo.com> docedge’08 Asian Documentary Forum Deadline: November 30th, 2007 Organized by Satyajit Ray Film Television Institute In association with European Documentary Network Friends, The 5th edition of docedge International Documentary Workshop will take place from January 8th to 13th, 2008 at Satyajit Ray Film and Television Institute, Kolkata, India. This edition of docedge aims to create a platform for intense dialogue on Asian socio-political reality as seen and interpreted by filmmakers through its first ever Asian Documentary Forum. The authors will present their new documentary ideas for feedback, sharing, and guidance and for possible fund/co-pro support. The workshop includes three days of tutoring and two days of pitching session with a panel of international commissioning editors. Maximum of 24 projects will be critically discussed, tutored and finally pitched to the distinguished panel. A team of internationally acknowledged professionals will train filmmakers through project development clinics and pitch labs in warm and caring environment where you further improve your ideas and visual pitch. The workshop also includes master classes, budget session, open forums on documentary issues and channel presentations with regular screening of international documentaries. docedge’08 is expected to appear as a great place of networking, finding co-production partners and improving authors’ ideas with quality professional input and a provocative place of sharing documentary thoughts. What to submit: Short synopsis – within 60 words only Synopsis – I page Treatment -2 pages Budget - One page formatted budget Co-production details – 1 page Production Company profile – 1 page CVs (director/producer) – 1 page Visual clip (DVD) – maximum of 4 minutes (the applicant can submit previous work in case visual material of the film in progress is not available at the time of submission. Fees: Applicants with Project – INR 6000 (Euro 120) Applicants as Observer – INR – 1000 (Euro 30) [limited slots – preferably students] The deadline for project submissions is November 30th, 2007 We would like to invite you to submit your application at your earliest. The online application/entry form is available at www.docedge.org from 25th of October 2007. Warm Wishes Nilotpal Majumdar email: nilotpalmajumdar at yahoo.com for docedge Team __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com _________________________________________ 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 sarah.turner at manchesterurbanscreens.org.uk Thu Oct 25 18:34:27 2007 From: sarah.turner at manchesterurbanscreens.org.uk (Sarah Turner) Date: Thu, 25 Oct 2007 15:04:27 +0200 Subject: [Announcements] Urban Screens Manchester Newsletter 9 Message-ID: <001a01c81707$937aaf00$0bb2a8c0@sarahj6y7loy0> Urban Screens Manchester It's about content! At midnight Sunday 14 Oct, the two temporary screens were unplugged which together with a third permanent one, displayed the Urban Screens art and events programme. Urban Screens Manchester 07 was over. During the four preceding days, Manchester was a hub for the international Urban Screens crowd arriving from around the world to learn about the most interesting developments in the field of public displays, media facades and giant outdoor projection and to discuss the cultural potential of urban screens. Around 150 delegates attended the conference which was designed to contain two strands. The so-called poster sessions were short presentations in which the speakers presented single academic research projects, artworks for urban screens and latest research on interfaces and screen technology. The longer Focus sessions gave both speakers and the audience the opportunity to debate. The conference attendees appreciated both formats and commuted between the two Cornerhouse cinemas which served as conference locations. With 55 speakers, moderators included, there was a lot to discover and discuss. Erkki Huhtamo (UCLA) and Uta Caspary related urban screens to historic events and ancient architecture thus comparing the increasing plethora of public displays in the urban realm to old media. The conference also provided a platform for critical voices and warnings. Amongst others, Jai Redman (UHC), Ingrid Smit and Jean Claude Bustros (Concordia) discussed the problem of visual pollution through urban displays and demanded their limitation. Recurrent topics were the dissolution of the rectangular screen by integrating it into the urban fabric and (self-)censorship by screen operators when programming content for urban screens. Jochen Gerz and Joachim Sauter (UDK) emphasised the identity-giving nature of urban screens, thus arguing for an embedding of screens not only into the physical space of the city but also its social and historic space. The thematic sessions blended nicely into each other, giving all participants a better understanding of the current discourse and broader context of urban screens. In contrast to the first Urban Screens conference in Amsterdam, the Manchester conference put strong emphasis on the artistic content for screens. The production and aesthetics of art and non-commercial content for urban screens was a visible red thread throughout the entire conference. The extensive art and events programme which took place parallel to the conference and continued for two subsequent days exemplified potential and actual content for urban screens. Particularly the participatory events such as the Global Youth show by Lets Go Global or the DIY Ballroom by susan pui san lok attracted crowds in the city centre of Manchester. For the roaming film projection by A Wall is a Screen around 150 people moved through the streets of Manchester. If you are interested in seeing more, you can find pictures by various contributors of Urban Screens Manchester 07 on Flickr. The next Urban Screens Conference will take place in Melbourne in October 2008. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071025/c330b841/attachment-0001.html From safar.delhi at gmail.com Fri Oct 26 10:09:10 2007 From: safar.delhi at gmail.com (Safar Delhi) Date: Fri, 26 Oct 2007 10:09:10 +0530 Subject: [Announcements] Media writing workshop: 2-3 November 2007 Message-ID: Dear all Safar is going to orgainse a two day MEDIA WRITING WORKSHOP on 2-3 November in the Delhi University. The related note and relevant information is given below. Circulate this information widely. Media is popular like any thing today and a section of it is a source of hefty income. This is why every second day a new media institute is coming into being. These media institutes are promising a sure lucrative journalistic career and charging heavy fees from the students. On the other hand universities and colleges have started teaching media in the name of employment oriented course. The private media institutes aim to prepare an army of media walkers and managers while the govt. institutions are teaching media to make ideals, which hardly have any understanding of the society. Even after spending 2-3 years the learners do not acquire skill and knowledge to work as freelancers going beyond the preconditions of market. The question of social commitment remains far behind in both the situations. While the fact is that when media loses social concern and leaves the issue of social development and transformation, it becomes meaningless. And this kind of 'media' can be management, can be a lucrative profession or anything else but not media. But the state of affair is not very promising. This is the high time for look at the media scenario, and include all those socially relevant issues which will help the students and media-personals in developing a social approach, so that they could think and work towards a better and just society. It is not always necessary to start with a big capital and heavy machine. In fact, many a times it forbids genuine initiatives and creates havoc in the process of learning. Now, several examples have been set all over the world, where a meager technological assistance has boosted the proliferation process of alternative media. The pertinent thing is how open your eyes are, how you see your everyday life and what is your understanding of your neighborhood. The media programme of SAFAR constantly searching and exploring opportunities to establish an alternative media, a media which will go beyond the academic barriers and market preconditions. It also intends to do experimental media activities of different kinds. This two day Media Writing workshop (2-3 November) has been scheduled under the same line. In these two days there will be sessions on writings for print, radio, television, film and blog. There will be some practical sessions also where the students will learn about easy and handy technologies. Ravikant, *Sarai-CSDS*, Delhi, Sanjay Sharma, *DU*, formerly associated with BBC*, Hindi Service*, Prabhat Ranjan, *Columnist* and Lecturer in *DU*, Kumar Kunal, *Aajtak* and Girindranath Jha, *IANS* will be speaking in different sessions. No formal qualification is required to attend the workshop. Since we are a self funded initiative, we are charging a small contribution of rs. 100/- from each participant for lunch, snacks and stationeries. Due to the limitation of space and other logistical constraints we will not be able to accommodate more than 50 participants. Last date of registration 30 October. For workshop related query write to vineetdu at gmail.com rajeevrmn2007 at gmail.com safar.delhi at gmail.com or call @ +91 9811 853 307 +91 9899 947 428 -- SAFAR a collective journey of researchers, journalists, students, lawyers, activists, cultural practitioners and performing artists with a deep commitment to the ideals of social and gender equality. This is an open space for the dialogue, betterment and empowerment of the marginalized. http://safarr.blogspot.com http://www.freewebs.com/safarindia -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071026/dfb4581a/attachment-0001.html From pukar at pukar.org.in Fri Oct 26 23:14:17 2007 From: pukar at pukar.org.in (PUKAR) Date: Fri, 26 Oct 2007 19:44:17 +0200 Subject: [Announcements] Lecture by Saskia Sassen: Sunday, 4th November 2007 Message-ID: <5cdc9c3253356a5ac4d9931869b280e7@edisto.ymlpsrvcom.net> An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20071026/29c5c9e2/attachment-0001.html From keshvani at leoalmanac.org Sat Oct 27 04:33:25 2007 From: keshvani at leoalmanac.org (Nisar Keshvani, LEA) Date: Sat, 27 Oct 2007 07:03:25 +0800 Subject: [Announcements] Leonardo Electronic Almanac Supplement Volume 15, Number 9 - 10, 2007 Message-ID: <5d60ab0c0710261603t7567e3efh75a9e5f144ac6c4e@mail.gmail.com> ________________________________________________________________ Leonardo Electronic Almanac Volume 15, Number 9 - 10, 2007 http://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 site http://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 Kenneth Fields, Central Conservatory of Music, Beijing Thesis Abstract submittal forms for Chinese language abstracts can be found at: http://china-labs.daohaus.org. Leonardo Abstracts Service (LABS) Bi-annual submission deadlines (on-going) are: 30 June and 31 December Leonardo Abstracts Service (LABS), consisting of the English- language database, Spanish-language database and Chinese-language database, is a comprehensive collection of Ph.D., Masters and MFA thesis abstracts on topics in the emerging intersection between art, science and technology. Individuals receiving advanced degrees in the arts (visual, sound, performance, text), computer sciences, the sciences and/or technology that in some way investigate philosophical, historical or critical applications of science or technology to the arts are invited to submit abstracts of their theses for consideration. Further information on LABS: http://www.leonardo.info/isast/journal/calls/labsprojectcall.html _____________________________ LEONARDO NETWORK NEWS COORDINATOR: Kathleen Quillian kq [@] leonardo [dot] info ______________________________________________________ BYTES ______________________________________________________ < Digital Humanities Chair Position available at Dartmouth College > Dartmouth College invites applications for a newly endowed chair in the Digital Humanities. The successful candidate should be committed to interdisciplinary collaboration, technological innovation, and creating curricular links within the Humanities and across divisions. The position offers the opportunity to define a new area of research and teaching, and to build on Dartmouth's existing strengths in the Humanities and Computing. The field of research and teaching is open; we seek candidates with practical and/or theoretical expertise in one or several of the following fields in the Arts and Humanities: visual arts, visual culture, new media, screen studies, performance arts, music and sound, film, TV/Video, literature, and human-computer interaction. Expertise in computer hardware and/or software will be welcome but is not essential. The role of the Chair in Digital Humanities is intended to be broad in scope, potentially incorporating current or future initiatives in cyber-culture and the creation, performance, and critical study of digital arts, including a consideration of the socio-political and theoretical implications of new artistic technologies. The endowment for this Chair provides additional funds for projects involving research, teaching, and program building in the Digital Humanities. Our intention is to hire at the rank of associate or full professor with tenure. The successful candidate will be located in a single Dartmouth department or program, or jointly appointed to one or more departments or programs. Considerable flexibility exists regarding joint appointments, which may cross departmental or even divisional boundaries. Dartmouth College combines a commitment to innovative scholarship, creative practice, and excellent teaching, primarily but not only of undergraduate students. One of the most diverse institutions of higher education in New England, Dartmouth College is an equal opportunity/ affirmative action employer and has a strong commitment to diversity. In that spirit, we are particularly interested in receiving applications from a broad spectrum of people, including women, persons of color, persons with disabilities, and veterans. The Search Committee will begin reviewing applications after October 1, 2007. Applications will be considered until the position is filled. Applications should be submitted in digital form. Please send letter of application, CV, and the names of three references to: digital.search at dartmouth.edu Please contact Mark Williams, Chair of the Search Committee with any questions Mark Williams (Mark.J.Williams at Dartmouth.edu) Dept. of Film and Television Studies 317 Wilson Hall Dartmouth College Hanover, NH 03755 USA _____________________________ ________________________________________________________________ * ~ * ~ * ~ * ~ * ~ * ~ * CREDITS * ~ * ~ * ~ * ~ * ~ * ~ * ________________________________________________________________ Nisar Keshvani: LEA Editor-in-Chief Natra Haniff: LEA Editor Nicholas Cronbach: LEA Editor Kathleen Quillian: LEA e-news Digest Coordinator Michael Punt: LR Editor-in-Chief Andre Ho: Web Concept and Design Consultant Roger Malina: Leonardo Executive Editor Stephen Wilson: Chair, Leonardo/ISAST Web Committee Craig Harris: Founding Editor Editorial Advisory Board: Irina Aristarkhova, Roy Ascott, Craig Harris, Fatima Lasay, Michael Naimark, Julianne Pierce Gallery Advisory Board: Mark Amerika, Paul Brown, Choy Kok Kee, Steve Dietz, Kim Machan fAf-LEA Corresponding Editors: Lee Weng Choy, Ricardo Dal Farra, Elga Ferreira, Young Hae- Chang, Fatima Lasay, Jose-Carlos Mariategui, Marcus Neustetter, Elaine Ng, Marc Voge ________________________________________________________________ * ~ * ~ * ~ * ~ * LEA PUBLISHING INFORMATION * ~ * ~ * ~ * ~ * ________________________________________________________________ Editorial Address: Leonardo Electronic Almanac PO Box 850 Robinson Road Singapore 901650 keshvani [@] leoalmanac [dot] org ________________________________________________________________ Copyright (2007), Leonardo, the International Society for the Arts, Sciences and Technology All Rights Reserved. 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To subscribe to Leonardo Electronic Almanac e-news digest, visit: http://mailman.mit.edu/mailman/listinfo/leon_e_almanac To subscribe to Leonardo, visit: http://www.mitpressjournals.org/leon To subscribe to Leonardo Music Journal, visit: http://www.mitpressjournals.org/lmj For Leonardo and LMJ subscription queries contact: journals-orders [@] mit [dot] edu ________________________________________________________________ * ~ * ~ * ~ * ~ * ~ * ADVERTISING * ~ * ~ * ~ * ~ * ~ * ________________________________________________________________ Leonardo Electronic Almanac is published monthly -- individuals and institutions interested in advertising in LEA, either in the distributed text version or on the World Wide Web site should contact: Leonardo - Advertising 211 Sutter Street, suite #501 San Francisco, CA 94108 phone: (415) 391-1110 fax: (415) 391-2385 E-mail: kq [@] leonardo [dot] info More Info: http://leonardo.info/isast/placeads.html#LEAads ________________________________________________________________ * ~ * ~ * ~ * ~ * ~ * ACKNOWLEDGMENTS * ~ * ~ * ~ * ~ * ~ * ________________________________________________________________ LEA acknowledges with thanks the Rockefeller and Ford Foundations for their support to Leonardo/ISAST and its projects. ________________________________________________________________ < End of Leonardo Electronic Almanac > ________________________________________________________________ --~--~---------~--~----~------------~-------~--~----~ 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/20071027/18af8748/attachment-0001.html From kalakamra at gmail.com Tue Oct 30 12:23:12 2007 From: kalakamra at gmail.com (shaina a) Date: Tue, 30 Oct 2007 12:23:12 +0530 Subject: [Announcements] CAMP Mumbai on FRIDAY Message-ID: <33eee40c0710292353u4b4f52abnfa58b64ff0949627@mail.gmail.com> Dear readers, The usual apologies for cross-posting. Announcing the launch of CAMP Friday, November 2, 2007. 6:00 pm. at Jnanapravaha, 3rd floor Queens mansion, (opp. new Chemould), G. Talwatkar Marg Fort, Mumbai.-1 CAMP is a new city-based initiative around art, media and technology practices, in collaboration with the Khoj International Artists Association. www.camputer.org CAMP's founding members are: Shaina Anand, filmmaker, artist and media activist, founder of www.chitrakarkhana.net Sanjay Bhangar, who trained in indymedia and urban studies, now works as an independent web developer and technology writer. Ashok Sukumaran, who trained as an architect and artist, and now develops speculative technical and conceptual projects. http://0ut.in The evening consists of an extended screening-cum-talk by the CAMP initiators, as an introduction to the context, politics and practices that CAMP will promote. This includes a discussion of Chitrakarkhana's ongoing work with alternative cable TV and CCTV systems, a social history of the internet in Bombay as told by Sanjay Bhangar, and Ashok Sukumaran's recent projects around electrical redistribution, and design. They will also discuss the CAMP program for this year, and invite participation in various forms. The program will be interrupted by refreshments. ______________ About CAMP: CAMP is a platform to organise, and then to do, things that are critical, egalitarian and inspirational, within the city. It seeks to promote such artistic and media practices that build interfaces between themselves and urban activities at various scales. This project is being undertaken with a broad shared experience (among CAMP members, its advisors and peers) of the "digital moment" of the past decade. CAMP promises bold interpretations of current socio-economic and technology contexts, and their various micro-political implications. CAMP will begin its relationship with various Mumbai publics through 'weekends', fortnightly events that look intensively at specific histories, futures, and areas of multi-disciplinary collaboration. For example there are planned weekends around the history of broadcast as an artistic medium, on the art market, on building technological "confidence", on censorship, on local-area networks, on various kinds of maps, rooftop "real-estate" surveys and so on, mostly with an orientation towards practitioners and projects. While CAMP is beginning with such small-scale activities, it also seeds two long term projects: a) New Documentary: On the future of the documentary image, in times of video's material abundance.To produce, receive and redistribute video by adopting a range of existing technigues and technologies. This is related to chitrakarkhana's ongoing work, and will address a range of artistic, ethical and pragmatic questions around video. b) On Design: on what "making things for others" means now, when you- and i- can both seemingly contribute. The project will engage with questions of "participation" and of how knowledge moves across different forms, through institutional and pedagogic interventions into the broad field of activity presently known as Design. And finally, on its name: CAMP has various possible "backronyms", a large number in fact. This came from our inability to claim a singular identity within a field of ideas, to say that this and not that, is what will actually happen with CAMP. For more see www.camputer.org/?acronyms=many -- chitrakarkhana.net camputer.org From keshvani at leoalmanac.org Tue Oct 30 18:05:02 2007 From: keshvani at leoalmanac.org (Nisar Keshvani, LEA) Date: Tue, 30 Oct 2007 20:35:02 +0800 Subject: [Announcements] ISEA 2008: Final Call for Papers - 14 Nov Deadline Message-ID: <5d60ab0c0710300535r3dca1826oe144b2e97938b4b8@mail.gmail.com> ISEA on Leonardo Electronic Almanac: http://leoalmanac.org/resources/sprojects/ISEA08/ ISEA website: http://isea2008.org/ Submission Link: http://isea2008.org/openconf/openconf.php Dear friends This is a gentle reminder that the submission deadline for ISEA2008 call for papers, artists and panel presentations will close on *14 Nov 2007. * International Symposium on Electronic Arts 2008 -ISEA2008 - is seeking both peer- reviewed individual papers and panel presentations. This year we are also encouraging artists who wish to share their works with a broader audience of their peers to submit artist presentations where they can speak about the specific aesthetic, conceptual and technological aspects of their works. We welcome contributions from creative practitioners and researchers from a variety of disciplines and institutional contexts as media arts benefits from and exemplifies the interdisciplinary linkages between contemporary art, science, technology and their related philosophies, pedagogies and institutional practices. The submissions must address or be of relevance to at least one of the themes of ISEA2008 in order to be considered for inclusion in the conference. The conference will be of interest to those working in but not limited to the following areas: media art, contemporary art, design, art history and theory, film and media studies, gaming, toy design, human-computer interaction, cultural studies, literary studies, musicology, sound studies, theatre, dance and performance studies, science, technology and society studies, history of science and history of technology, philosophy, history, gender studies, political science, anthropology, sociology and geography. For more information on the themes and for the submission link, please log on www.isea2008.org Apologies for cross and repeated postings. *The Leonardo Electronic Almanac (MIT Press) is the media partner for the ISEA Conference 2008.* --~--~---------~--~----~------------~-------~--~----~ 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/20071030/4a910ef8/attachment.html From delhifilmarchive at gmail.com Tue Oct 30 18:15:38 2007 From: delhifilmarchive at gmail.com (Delhi Film Archive [DFA]) Date: Tue, 30 Oct 2007 18:15:38 +0530 Subject: [Announcements] [DFA: 24] DFA Screening of Jahaji Music Message-ID: <5a4334630710300545j3b0f97d4jfb621c41b4a19b4@mail.gmail.com> Delhi Film Archive with History Society Ramjas College present a season of documentaries Jahaji Music 112 minutes, India A film by Surabhi Sharma (present for the screening) Date : 1 November, 2007 at 1:15 pm Venue: Seminar Room, Ramjas College, Delhi University >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 potential collaborations and create new work. *Jahaji Music: **India** in the **Caribbean* is a record of a difficult, if unusual and complex, musical journey. We walk around Trenchtown with Bob Marley's teacher and rastafari philosopher Mortimo Planno; accompany calypso and soca singer Rikki Jai to Skinner Park; chat with visual artist Chris Cozier in the Savannah; follow Dancehall Queen Stacey to *Weddy Weddy Wednesday*; groove to Lady Saw's lyrics; record a new song with Denise *Saucy Wow *Belfon and are guests at an East Indian Hindu wedding. Endeavouring, through it all, to weave a story of memory, identity and creativity. *Jahaji Music* is an attempt to make meaning of aspects of contemporary culture in Trinidad and Jamaica, even as it is a witness to the nature and possibilities of artistic collaboration 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/20071030/1ac56c46/attachment.html From gowharfazili at yahoo.com Wed Oct 31 15:53:46 2007 From: gowharfazili at yahoo.com (gowhar fazli) Date: Wed, 31 Oct 2007 03:23:46 -0700 (PDT) Subject: [Announcements] Workshop on the Greeks Message-ID: <215214.62014.qm@web60615.mail.yahoo.com> “The sprit of Hellas: landmarks in history, language, literature & culture of the Greeks” Workshop A workshop on the theme “The sprit of Hellas: landmarks in history, language, literature & culture of the Greeks” shall be organized in the School of languages literature and cultural studies, Jawaharlal Nehru university, New Delhi from 13th to 17th November 2007. The workshop has been planned to provide an insight to young scholars into the various elements of Greek culture and thought and also the comparative aspects of Indian and Greek civilization. Experts and specialists have been invited to present lectures and conduct the course as resource persons. Special screening of short films and slide shows that relate to Greek history and culture with be done. A food festival is also on the planned for. Certificates will be awarded to successful participants. There are limited seats for which applications are invited from young scholars. The last date for submitting application to join the workshop is 31st October 2007. Interested young scholars should contact the undersigned. contact greekworkshop07 at gmail.com or call Krishna Swami at 9818679556 U. P ARORA Room no. 394 SLL&CS, JNU Mobile no: 9873673300 Tel: 26704736, 26704875 email:uparora12 at yahoo.com Unfortunately, the balance of nature decrees that a super-abundance of dreams is paid for by a growing potential for nightmares. Love is an act of endless forgiveness, a tender look which becomes a habit. Peter Ustinov __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com