From nc-agricowi at netcologne.de Sun May 4 18:46:42 2008 From: nc-agricowi at netcologne.de (netEX) Date: Sun, 04 May 2008 15:16:42 +0200 Subject: [Announcements] =?iso-8859-1?q?netEX=3A_calls_and_deadlines_May_2?= =?iso-8859-1?q?008?= Message-ID: <20080504151643.AD7457AB.7DDA665C@192.168.0.3> netEX: calls, deadlines -->May 2008 ------------------------------------- [NewMediaArtProjectNetwork]:||cologne newsletter contents calls & deadlines 02 Calls: 2008 deadlines internal 19 Calls: May deadlines external 08 Calls: ongoing external/internal ------------------------------------- Calls & deadlines ---> ------------------------------------------------ 2008 deadlines: internal ------------------------------------------------ extended deadline 1 August CologneOFF IV - 4th Cologne Online Film Festival http://www.nmartproject.net/netex/?p=238 30 November SoundLAB VI - soundart for soundPOOL - sound compositions - a challenge for imagination http://www.nmartproject.net/netex/?p=242 ------------------------------------------------ May 2008 deadlines: external ------------------------------------------------ 31 May Time is Love - videos for Paris http://www.nmartproject.net/netex/?p=284 31 May Visionaria - Int. Toscana Videofestival Piombino/Italy http://www.nmartproject.net/netex/?p=248 31 May 27th Asolo Artfilm Festival Asolo/Italy http://www.nmartproject.net/netex/?p=226 30 May One Minute Film Festival Aarau/Switzerland http://www.nmartproject.net/netex/?p=227 25 May International Videofestival Celje/Slovenia 2008 http://www.nmartproject.net/netex/?p=263 24 May Art Award 2008 - Kurt Eisner Founddation Munich/Germany http://www.nmartproject.net/netex/?p=268 15 May Open-air Filmfest Weiterstadt/Germany http://www.nmartproject.net/netex/?p=203 10 May Sardinia Film Festival Sassari/Italy http://www.nmartproject.net/netex/?p=255 9 May Proposals for The Climate Clock Global Initiative http://www.nmartproject.net/netex/?p=254 7 May Projects for Madrid/ES http://www.nmartproject.net/netex/?p=274 5 May MultiChannel 2008 (UK) http://www.nmartproject.net/netex/?p=277 5 May Squardi Sonori 2008 - Festival of Media & Time Based Art http://www.nmartproject.net/netex/?p=262 3 May Busho - International Shortfilm Festival Budapest/Hungary http://www.nmartproject.net/netex/?p=199 2 May 9th Lucania Stortfilm Festival Matera/Italy http://www.nmartproject.net/netex/?p=230 2 May Fellowship The Ohio Sate University http://www.nmartproject.net/netex/?p=259 2 May Avanca Film Festival 2008 (Portugal) http://www.nmartproject.net/netex/?p=269 1 May International New Image Art Festival China http://www.nmartproject.net/netex/?p=251 1 May PIXILERATIONS [V.5]: Fragments & (W)Holes Providence Rhode Island/USA http://www.nmartproject.net/netex/?p=252 1 May Digital Film Festival Izolenta’08 St. Petersburg/Russia http://www.nmartproject.net/netex/?p=258 1 May Artbot - The Talent Robot Show Dublin/ireland http://www.nmartproject.net/netex/?p=270 ----------------------------------------------- Ongoing calls: external/internal ----------------------------------------------- --->OUTCASTING - web based screenings -->Projects for FILE LABO Sao Paulo/Brazil -->Films and video screenings Sioux City (USA) -->Laisle screenings Rio de Janeiro/Brazil -->Videos for Helsinki based video gallery - 00130 Gallery -->Web based works for 00130 Gallery Helsinki/Finland -->Project: Repetition as a Model for Progression by Marianne Holm Hansen -->Raw Video New York/NY (USA) -->US webjournal Atomic Unicorn seeks netart and video art for coming editions and more deadlines on http://www.nmartproject.net/netex/?page_id=4 ----------------------------------------------- NetEX - networked experience http://netex.nmartproject.net # calls in the external section--> http://www.nmartproject.net/netex/?cat=3 # calls in the internal section--> http://www.nmartproject.net/netex/?cat=1 ----------------------------------------------- # This newsletter is also released on http://www.nmartproject.net/netex/?cat=9 # NetEx - networked experiences http://netex.nmartproject.net is a free information service powered by [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net - the experimental platform for Art and New Media from Cologne/Germany # info & contact: info (at) nmartproject.net From logos.theword at gmail.com Mon May 5 21:33:31 2008 From: logos.theword at gmail.com (Logos Theatre) Date: Mon, 5 May 2008 21:33:31 +0530 Subject: [Announcements] Conflict and Expression - Workshop on Theatre Of The Oppressed In-Reply-To: <33bc2ee60805050902u459e6f22j1812ad524554dc5c@mail.gmail.com> References: <33bc2ee60805050902u459e6f22j1812ad524554dc5c@mail.gmail.com> Message-ID: <33bc2ee60805050903u6a3168a7nc8d936b6b2dd2d10@mail.gmail.com> Logos Theatre presents a workshop on Theatre Of The Oppressed and Forum Theatre, faciliated by Joshua Williams. Josh has studied theatre in Princeton and has specialized in TOTO techniques, which he has also had first hand experience in applying in Africa. In this workshop, he will be covering techniques of image theatre, frozen and dynamic sculpts singly and in groups, the Rainbow of Desire and Forum Theatre. The workshop will enable participants to then apply these techniques to deal with conflictive situations. TOTO provides tools to create a safe space where people may deal with conflict and oppression, and then find alternatives that they can use in real life. This workshop is aimed at people who work in the non-governmental sector such as mediators, counselors, etc., educators, and senior professionals in the corporate sector. A brief note on Joshua Williams, in his own words: Josh Williams is an American ne'er-do-well who finds himself more or less unemployed most of the time. Presently he happens to be more or less unemployed in Bangalore, India. Nevertheless, he does know quite a bit about experimental theatre, baseball and old-fashioned hats. You should take the time to get to know him. He's really pretty delightful. About Theatre of the Oppressed: 'Theatre of the Oppressed' is a body of performance theory and practice developed by the Brazilian director Augusto Boal, among others. The fundamental principle underlying all of the extremely varied work that shelters under the TOTO umbrella is that the creative arts can -- and should -- be turned to progressive, socially conscious ends. We think that's a good thing. Also TOTO -- the acronym itself -- reminds us of *The Wizard Of Oz*, which is a good movie. We hope you've seen it In the words of Augusto Boal, Founder, Theatre of the Oppressed: "The theatre of the Oppressed is a system of physical exercises, aesthetic games and special improvisations whose goal is to safeguard, develop and reshape this human vocation, by turning the practice of theatre into an effective tool for the comprehension of social and personal problems and the search for their solutions. " The workshop will be at the Kalari Academy of Performing Arts, V.N. Plaza, Bazaar Street, off Brigade Road (opposite the rear entrance of Catholic Club) Bangalore Dates: May 12th to May 16th. Time: 14:00 - 16:00, everyday. Fee: Rs. 1,500/- Participation is limited to sixteen people -- Logos Theatre In the beginning was the word No. 126, 3rd Main Road, Jayamahal Extension, Bangalore 560046 -------------------------------------------------------- If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all. Since no man has aught of what he leaves, what is 't to leave betimes? Let be. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080505/ed5ee0f9/attachment-0001.html From kj.impulse at gmail.com Tue May 6 17:07:21 2008 From: kj.impulse at gmail.com (Kavita Joshi) Date: Tue, 6 May 2008 17:07:21 +0530 Subject: [Announcements] [infosouth] announcing TWO workshops in film-making Message-ID: <821019d70805060437jf099677rb47ec8e52475c014@mail.gmail.com> Dear friends This year, we're announcing TWO workshops in film-making - our annual INTENSIVE SUMMER WORKSHOP (open to all), - and a new WEEKEND BASED WORKSHOP (ideally suited to working people and the NGO sector) Some information is below. Pl share it with others who may be interested.... thanks and best wishes Kavita Joshi Filmmaker and Media Trainer *********TWO FILMMAKING WORKSHOPS IN DELHI********* *----- THE INTENSIVE SUMMER WORKSHOP----- *For 6 years now, Impulse has been organising a filmmaking workshop conducted by Kavita Joshi. STARTS LATE MAY. REGISTRATIONS ARE OPEN. SUITABLE FOR BEGINNERS. Prior experince in this field is not needed. We are open to anyone 17 years and up... THE WORKSHOP IS AIMED AT PEOPLE WHO: - want to make their own film, but don't quite know how - or are thinking of a career in TV/films, but are not sure if it's right for them - or are doing a media / communication course which doesn't have enough video training - or simply want a creative new activity PARTICIPANTS GET TO: - Script. Shoot. Edit. Make a film... - Watch rare films from over the world and read film books - Work on digital equipment - Go for Field Trips, and more... LOGISTICS: - Held in (south) Delhi. Starting late May - It is modular - 4 weeks + 4 weeks (fairly full time). - Each batch has 16-18 people max. CONDUCTED BY: The workshop is principally conducted by Kavita Joshi, an independent filmmaker based in Delhi. Her films include Tales from the Margins and Some Roots Grow Upwards. To know more about her films, click here Kavita has been designing and conducting training programmes in filmmaking since 2001. In addition to the summer workshops, she has held workshops for Adobe India, IIT Kanpur, IAWRT, Chetana Media Institute and Wigan and Leigh college. Visit the workshop web-group here There will be additional inputs by other trainers. *----- THE WEEKEND WORKSHOP----- * In 2008, we are launching an additional NEW weekend-based workshop, suitable for WORKING PEOPLE who hold full time jobs, and especially for NGOs that may have VIDEO SHOOTING NEEDS. Again, beginners are welcome. Experience in filmmaking is not required. We aim to launch this workshop by August. Registrations open soon. In case you are interested in this, please send us an email asap. *----- REQUEST DETAILS ABOUT EITHER WORKSHOP ----- *Send an email to [ impulsemail AT gmail DOT com ] Email enquiries should include - your full name, main email id and a back-up email id - phone number (advisable) and city - and mention which workshop you are interested in In case you are working, it helps a lot if you tell us a bit about your profession, nature of work, timings, and organisation. PLEASE NOTE THAT THESE ARE PAID WORKSHOPS *** -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080506/a0619ea0/attachment-0001.html From logos.theword at gmail.com Thu May 8 11:11:13 2008 From: logos.theword at gmail.com (Logos Theatre) Date: Thu, 8 May 2008 11:11:13 +0530 Subject: [Announcements] Selves, Masks, Performance - the stage and beyond In-Reply-To: <33bc2ee60805072239h31586b00xba72858a5977d2b3@mail.gmail.com> References: <33bc2ee60805072239h31586b00xba72858a5977d2b3@mail.gmail.com> Message-ID: <33bc2ee60805072241v38a5b640x35c151d7b68cff57@mail.gmail.com> Logos Theatre is organizing '*Selves, Masks, Performance - the stage and beyond' *: a workshop on different approaches, techniques and ways of looking at acting and performing; and how these ways of looking extend beyond the stage and into everyday life. The programme looks at the concept of the self, or the many selves that we slip into in performance and in everyday life, and tries to deal with concepts of 'role' and 'character', the wearing and uncovering of ' masks', and the question, 'what is the essential me?'. It also examines the meaning of 'performance ', 'doing', 'act', and 'action'. As opposed to traditional approaches to acting such as the method, which insist on approaching a role through elaborate character study, the workshop is centred around the body and creating emotion and expression through breath and physicality, and most importantly, it looks at performance as creative play. >From a functional point of view, the workshop enriches participants with techniques that free the natural, inner voice, and enhance spatial command, thereby enhancing one's awareness of self and helping one to become a more dynamic presenter and communicator. However, the real value of the workshop is in the window it provides to the individual's inner universe, and the way it connects the individual to the universal human experience. An outline: •Breath and voice: Breath and the self, emoting and expressing through breath, unlocking the voice. •Patterns of movement: Threads in space. •Play and playing - ideas, objects and space. •Body sculpts, images, thought tracking, power and hierarchy. •Associations, images, and imagination - confronting the id. •Memory and myth •Speaking the speech - A physical approach to text. Classical Indian and Western theatre, Shakespeare, and beyond. •Theatre of the absurd, contemporary performance texts and devised work Facilitator: Arka Mukhopadhyay is a Bangalore based poet and theatremaker who also works on performance poetry and performance art as theStillDancer. His poetry has been published in various national and international journals. He has taught drama at an international school in Bangalore and has performed and conducted workshops at educational institutions throughout the country. Logos Theatre, is an exploratory outfit committed to negotiating the difficult terrain that lies at the crossways of theatrical process, spontaneity and the subconscious; as also to discovering new landscapes opened up by dialogues between performing arts, performance arts and the contemporary media arts. Dates: May 19th - May 28th. Workshop timings: 18:00 to 21:00 Fees: Rs. 3,500/- Registration deadline: May 15th. contact: 9880966313 e-mail: logos.theword at gmail.com Please do pass this along to those who you think might be interested. If you'd like your organization to sponsor you, please do send this to the appropriate people. -- Logos Theatre In the beginning was the word No. 126, 3rd Main Road, Jayamahal Extension, Bangalore 560046 -------------------------------------------------------- If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all. Since no man has aught of what he leaves, what is't to leave betimes? Let be. -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: application/defanged-1 Size: 6900 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20080508/41de0593/attachment.bin From logos.theword at gmail.com Fri May 9 21:31:51 2008 From: logos.theword at gmail.com (Logos Theatre) Date: Fri, 9 May 2008 21:31:51 +0530 Subject: [Announcements] Fwd: Lucknow 76 at Rangashankara May 18th In-Reply-To: <33bc2ee60805090859w37be2254v3412b1bd65edc1c2@mail.gmail.com> References: <3be03e350805090627k3e52421eu855aa239d3c8b341@mail.gmail.com> <33bc2ee60805090859w37be2254v3412b1bd65edc1c2@mail.gmail.com> Message-ID: <33bc2ee60805090901t14fe6f7bob832dbd7c88be69c@mail.gmail.com> ---------- Forwarded message ---------- From: Logos Theatre Date: 9 May 2008 21:29 Subject: Lucknow 76 at Rangashankara May 18th To: *Lucknow ' 76* , a play set across 100 hundred years of Indian history, from 1876 to 1976 , returns to Rangashankara on 18th May ( 3:30 p.m and 7:30 p.m) . Directed by Abhishek Majumdar and devised by an ensemble of actors the play looks at the lives of common people in the historic city of Lucknow in 1876 , when Queen Victoria had taken over from the East India Company as the empress of India and in 1976 when Indira Gandhi had imposed press censorship as part of the national emergency. Lucknow '76 moves between these two time frames and looks at the effects that history has on common people. The play has been supported by the British Library in London for its research and by Kathalaya in Bangalore for its making. This production is also supported by Black Coffee Productions , who are an established theatre company in the city. .Lucknow '76 is in aid of Concern India Foundation, a non-profit public charitable trust which was started in 1991 with the objective of 'Helping People Help Themselves'. The aim of the foundation is to help make every underprivileged individual self-reliant, creating a society of independent people living with dignity. *for telebookings call 9900133287* *Play review in The Hindu * ** Please see link below http://www.hindu.com/mp/2008/03/05/stories/2008030550710400.htm *Venue and Dates* *Rangashankara, J P Nagar* ** *18th May - Sunday: 3.30 PM and 7.30 PM* * http://www.rangashankara.org/home/rangatest/index.php?option=com_content&task=view&id=18&Itemid=32&favm=2008-05-18 * . - -- " maza anokha hai aate jaate lamhon main...kitabein goad main pheli, hai khoe baaton main" nayara noor - -- Logos Theatre In the beginning was the word No. 126, 3rd Main Road, Jayamahal Extension, Bangalore 560046 - -------------------------------------------------------- If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all. Since no man has aught of what he leaves, what is 't to leave betimes? Let be. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080509/833b1e6c/attachment.html From cahen.x at levels9.com Sun May 11 02:22:38 2008 From: cahen.x at levels9.com (xavier cahen) Date: Sat, 10 May 2008 22:52:38 +0200 Subject: [Announcements] pourinfos Newsletter / 09-05 to 22-05-2008 Message-ID: <48260B16.9040309@levels9.com> pourinfos.org l'actualite du monde de l'art / daily Art news ----------------------------------------------------------------------- >From Friday, May 9, 2008 through Thurday, May 22, 2008 (included) ------------------------------------------------------------------- (mostly in french) @ 001 (09/05/2008) Training: HEAD GENEVA MASTER PROGRAMMES, Geneva, Switzerland. http://pourinfos.org/art-35750-tit-Formation-HEAD-GENEVA-MASTER-PROGRAMMES- -------------------------------------------------------------------- @ 002 (09/05/2008) Call: Disonancias, San Sebastian,Spain. http://pourinfos.org/art-35751-tit--Disonancias-San-Sebastian- -------------------------------------------------------------------- @ 003 (09/05/2008) Residency: Workshop post-production at CPIF, Pontault-Combault, France. http://pourinfos.org/art-35752-tit-Residence-Atelier-de-post-production-au -------------------------------------------------------------------- @ 004 (09/05/2008) Call: One Minute Film & Video Festival Aarau, Switzerland. http://pourinfos.org/art-35754-tit--One-Minute-Film-Video-Festival-Aarau- -------------------------------------------------------------------- @ 005 (09/05/2008) Call: Urban Identity, Los Angeles, Usa. http://pourinfos.org/art-35755-tit-s-Urban-Identity-Los-Angeles- -------------------------------------------------------------------- @ 006 (09/05/2008) Call: 2009 WCA International Video Shorts Festival, Los Angeles, Usa. http://pourinfos.org/art-35756-tit-s-2009-WCA-International-Video-Shorts -------------------------------------------------------------------- @ 007 (09/05/2008) Call: International Guerrilla Video Festival, Milan, Italy. http://pourinfos.org/art-35757-tit-s-International-Guerrilla-Video-Festival- -------------------------------------------------------------------- @ 008 (09/05/2008) Job: general manager , MUDAM LUXEMBOURG, Luxembourg. http://pourinfos.org/art-35758-tit--DIRECTEUR-GENERAL-MUDAM-LUXEMBOURG- -------------------------------------------------------------------- @ 009 (09/05/2008) Call: Offer time for art, Syndicat Potentiel, the General Council of Bas-Rhin, Strasbourg, France. http://pourinfos.org/art-35761-tit--Offre-de-Temps-pour-l-art-Syndicat -------------------------------------------------------------------- @ 010 (09/05/2008) Exhibition: LOOP 08, INTERNATIONAL FESTIVAL & FAIR OF VIDEOART, Barcelona, Spain. http://pourinfos.org/art-35764-tit--LOOP-08-INTERNATIONAL-FESTIVAL-FAIR-OF -------------------------------------------------------------------- @ 011 (09/05/2008) Meetings: Richard Serra and Yve-Alain Bois, Faces à faces, Auditorium du Louvre, Paris, France. http://pourinfos.org/art-35766-tit--Richard-Serra-et-Yve-Alain-Bois-Faces-a -------------------------------------------------------------------- @ 012 (09/05/2008) Call: Moscou International Film Festival, Media Lab, Moscow, Russia. http://pourinfos.org/art-35767-tit--Moscou-International-Film-Festival-Media -------------------------------------------------------------------- @ 013 (09/05/2008) Call: 4th edition of the biennial contemporary art of Bourges, France. http://pourinfos.org/art-35771-tit-s-4e-edition-de-la-biennale-d-art -------------------------------------------------------------------- @ 014 (09/05/2008) Call: Oslo Screen Festival, Oslo, Norway. http://pourinfos.org/art-35772-tit-s-Oslo-Screen-Festival-Oslo- -------------------------------------------------------------------- @ 015 (10/05/2008) Meetings: CONFERENCE REINVENTING HARBOUR CITIES - URBAN PLANNING AND ART IN PUBLIC SPACE, NORDIC HOUSE, REYKJAVÍK, Iceland. http://pourinfos.org/art-35730-tit--CONFERENCE-REINVENTING-HARBOUR-CITIES- -------------------------------------------------------------------- @ 016 (10/05/2008) Call: Circulation(s), FetArt, Mois de la photo, November 2008, Paris, France. http://pourinfos.org/art-35760-tit--Circulation-s-FetArt-Mois-de-la-photo- -------------------------------------------------------------------- @ 017 (11/05/2008) Meetings: 9° International seminare, Photography and political corps, Friday, April 11, 2008, Thessaloniki, Greece. http://pourinfos.org/art-35693-tit--9-Colloque-international-Photographie -------------------------------------------------------------------- @ 018 (11/05/2008) Meetings: Internet mon amour, Second Meeting, Kit survival in a world P2P, Sunday, May 11, 2008, Centre Pompidou, Paris, France. http://pourinfos.org/art-35719-tit--Internet-mon-amour-Deuxieme-seance-Kit -------------------------------------------------------------------- @ 019 (12/05/2008) Publication: ETC no 82, « Être/To be », Montreal, Canada. http://pourinfos.org/art-35770-tit--ETC-no-82-Etre-To-be-Montreal- -------------------------------------------------------------------- @ 020 (14/05/2008) Various: May 14, 2008, Reunion crisis, Draille, Montignac, France. http://pourinfos.org/art-35768-tit-Divers-14-Mai-2008-Reunion-de-crise-La -------------------------------------------------------------------- @ 021 (15/05/2008) Publication: INDEPENDENCE OF THE ART IN QUESTION "L'AUTONOMIE DE L'ART EN QUESTION", Patricia Esquivel, Ed.L'Harmattan, Paris, France. http://pourinfos.org/art-35769-tit--L-AUTONOMIE-DE-L-ART-EN-QUESTION- -------------------------------------------------------------------- @ 022 (16/05/2008) Various: Open studios of Belleville, Paris, France. http://pourinfos.org/art-35470-tit-Divers-Portes-Ouvertes-Ateliers-Artistes -------------------------------------------------------------------- @ 023 (16/05/2008) Meetings: Open studios of Belleville, 16, 17, 18 et 19 mai 2008, Paris, France. http://pourinfos.org/art-35720-tit--Portes-ouvertes-des-ateliers-d-artistes -------------------------------------------------------------------- @ 024 (16/05/2008) Meetings: MULTIVERSITY, or the Art of Subversion. 16, 17 and 18 May 2008 S.a.L.E. DOCKS VENICE, Italy. http://pourinfos.org/art-35765-tit--MULTIVERSITY-or-the-Art-of-Subversion- -------------------------------------------------------------------- @ 025 (18/05/2008) Meetings: Sunday, May 18, 2008, LE GRAND CAFE, Centre d'art contemporain, Stephane Thidet : OUTSIDE "DEHORS ", Nantes, France. http://pourinfos.org/art-35736-tit--dimanche-18-mai-2008-LE-GRAND-CAFE- ----------------------------------------------------------------------- http://pourinfos.org l'actualité du monde de l'art / daily Art news Direction de la publication Xavier Cahen, webdesign Loz pourinfos.org est une page d’informations diverses et variées sur l'art contemporain, entendez ici, l’art qui se fait aujourd’hui. Cette lettre d’informations est bihebdomadaire. Contact humain xavier.cahen at pourinfos.org From mitoo at sarai.net Tue May 13 15:47:03 2008 From: mitoo at sarai.net (Mitoo Das) Date: Tue, 13 May 2008 15:47:03 +0530 Subject: [Announcements] Seminar by Prof. Sudipta Kaviraj Message-ID: <48296A9F.2000301@sarai.net> *Monday, 19th May 2008* You are invited to a seminar On the Second Mahabharata *Rasa, Aesthetics and Meanings of the Epic* * * by *Professor Sudipta Kaviraj* at *2:30 PM* at the Seminar Room, Centre for the Study of Developing Societies (CSDS), 29, Rajpur Road, Delhi 110 054. Professor Sudipta Kaviraj, Professor of Indian Politics and Intellectual History at Columbia University, is Rajni Kothari Chair Professor at CSDS. His publications include *The Unhappy Consciousness: Bankimchandra Chattopadhyay and the Formation of Nationalist Discourse in India* (OUP 1993); (Ed.) *Politics in India* (OUP 1998); (Ed. with Sunil Khilnani) *Civil Society: History and Possibilities* (Cambridge 2000); (Ed. with Martin Doornbos) *Dynamics of State Formation: Europe and India Compared* (Sage 1998); and (with Krishna Bharadwaj) *Perspectives on Capitalism: Marx, Keynes, Schumpeter and Weber** (Sage 1989).* ~ Rajesh Ramakrishnan Academic Secretary -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080513/c0fe16e2/attachment.html From news at networkcultures.org Tue May 13 16:55:37 2008 From: news at networkcultures.org (institute for network cultures news) Date: Tue, 13 May 2008 13:25:37 +0200 Subject: [Announcements] Essay preview | Eric Kluitenberg | Delusive Spaces, Essays on Culture, Media and Technology Message-ID: <1E17FB47-2FBF-4EAF-8CC4-9EB443A02C42@networkcultures.org> Essay preview from Eric Kluitenberg - the Pleasure of the Medium 'Jouissance' and the Excess of Writing. ////////////////////////////////////////////////// Eric Kluitenberg, Delusive Spaces. Essays on Culture, Media and Technology, Rotterdam/Amsterdam: Nai Publishers & Institute of Network Cultures, 2008. www.naipublishers.nl/art/delusivespaces_e.html The open terrain of new media is closing fast. Market concentration, legal consolidation and tightening governmental control have effectively ended the myth of the free and open networks. In Delusive Spaces, Eric Kluitenberg takes a critical position that retains a utopian potential for emerging media cultures. The book investigates the archeology of media and machine, mapping the different methods and metaphors that speak about technology. Returning to the present, Kluitenberg discusses the cultural use of new media in an age of post- governmental politics. Delusive Spaces concludes with the impossibility of representation. Going beyond the obvious delusions of the ‘new’ and the 'free', Kluitenberg theorizes artistic practices and European cultural policies, demonstrating a provocative engagement with the utopian dimension of technology. Eric Kluitenberg is a Dutch media theorist, writer and organizer. Since the late 1980s, he has been involved in numerous international projects in the field of electronic art, media culture, and information politics. Kluitenberg heads the media program at De Balie, Centre for Culture and Politics in Amsterdam. He is the editor of the Book of Imaginary Media (NAi Publishers, 2006) and the theme issue 'Hybrid Space' of Open, journal on art and the public domain (2007). A previous publication in this series is from Ned Rossiter about Organized Networks (2007). http://networkcultures.org/wpmu/portal/publications/studies-in-network-cultures/organized-networks/ Coming publications in the Studies of Network Cultures Series will be from Matteo Pasquinelli, Florian Schneider and Josephine Bosma. ////////////////////////////////////////////////// The Pleasure of the Medium 'Jouissance' and the Excess of Writing. pdf downloadable at: http://networkcultures.org/wpmu/portal/files/2008/05/pleasure-of-the-medium-delusive-spaces.pdf I am looking at a website - it bores me. I am delighted by my boredom. Why should it not bore me? Why should I be fascinated? I am looking for an escape from spectacularity. I don’t want to be spectacularized. I hear a discussion about ‘quality’. I am bored by it. I hate this boredom! Why should I be interested in ‘quality’? What quality? Whose quality? ‘What is this shit?!??’ I hear desperation, unnerving irritation. I am stimulated! Who is saying this to me? Who is writing? Does it really matter? - - - - - - - The greatest fascination of a new medium always lies within the machine. It is not the old medium being the ‘content’ of the new medium – wrong formula. It is only when the old medium is discarded, even if this delightful moment is brought about by a mistake, that the magic of the new medium can disclose itself. I had this experience when watching some of the magnificent websites created by jodi.org, specifically for the Netscape 2.0 browser on a mac system. The website would get stuck, seem to buffer indefinitely. Then suddenly, the page would start to load again, superimposed layers of graphics and ascii swirls crowding the screen. Blinking signs, links to more digital garbage, neatly organized in the defunct mosaic. - - - - - - - We were at the launch of the net.congestion archive and we experienced net congestion . . . Some people from Seattle who had visited our festival about half a year earlier had made a real local show. We had asked participants to this festival of streaming media to ‘stream-in’ for the occasion. We were watching from a comfortable space in the centre of Amsterdam. The Riga crew, as always, knew exactly what they were doing – a nice, low-bandwidth, grainy, but perfect web video mix and stunning electronic music from that magical city in the Baltics. The people in Banff had made a wonderful sound loop, perfect reception from Canada – we projected an image of ‘Sleeping Buffalo’ to it, a local mountain just outside the Banff campus. But Seattle – they topped it off. They gathered a crowd (with some 9 hours time difference) and were staging a real-life serious debate on the politics of the networked media sphere. It sounded inspiring and insightful, from what we could get at our end, but every 10 to 15 seconds the stream would break up. The face of a speaker would suddenly contort while the sound would squeak, turn into electrostatic noise (so it seemed) – on the projection screen we saw the most wondrous cubist images; constantly transforming over time, new contortions, blends of colours that were not there before, a grotesque, a caricature, emerging spontaneously. Adam, one of the organizers of the festival, was standing in awe watching this anti- spectacle – "Wow, this is so beautiful! I could look at this for hours!" - - - - - - - David Sifry, founder and CEO of Technnorati, reports on5 April 2007 that according to technorati.com’s then latest count, about 70,000,000 blogs are online, with a significant growth of fake and spam blogs (splogs), but still far outranked by genuine postings. An excess of writing. - - - - - - - Minor mathematics – to get an average readership of about 100 readers over a certain average period in which these blogs are available online, before they disappear into oblivion, requires a population of 7 billion. The conclusion would probably have to be that population growth needs to be sped up so as to match the growth of blog-production and provide them with a readership. - - - - - - - Roland Barthes identified two types of pleasures in text – the text of pleasure and the text of 'jouissance' [1]: "Text of pleasure: the text that contents, fills, grants euphoria; the text that comes from culture and does not break with it, is linked to a comfortable practice of reading. Text of jouissance: the text that imposes a state of loss, the text that discomforts (perhaps to the point of a certain boredom), unsettles the reader’s historical, cultural, psychological assumptions, the consistency of his tastes, values, memories, brings to a crisis his relation with language." [2] The subject who holds these two texts in their field and in their hands, according to Barthes, is an anachronic subject. A contradictory subject who both "enjoys the consistency of his selfhood (that is his pleasure) and seeks his loss (that is his ecstasy). He is a subject split twice over, doubly perverse." - - - - - - - From Lacan we learned that the desire of the subject is oriented on an essential lack. This lack results from the illusory quest of the subject for its own consistency and unity that does not exist. This Lacanian subject is lost between the emanations of its own body, the imaginary images it projects on itself (the images the subject mirrors itself in without ever having laid direct eyes upon itself), and the symbolic order, that of language and text paradigmatically, in which it tries desperately to articulate itself, while this act of articulation by means of language only results in a further deferral of the subject from its (supposed) self. The excess of writing is the futile quest of the subject to fulfil its own impossible desire by means of language. The ecstasy of writing is the realization of the impossibility of this quest and the willing submission to it – the subject willingly losing itself, dissolving into text. - - - - - - - The ecstasy of writing/reading is a bodily experience. It adheres neither to bourgeois morality nor to Marxist/materialist doxology. Barthes explains: "On the stage of the text, no footlights: there is not, behind the text, someone active (the writer) and out front someone passive (the reader); there is not a subject and an object. The text supersedes grammatical attitudes: it is the undifferentiated eye, which an excessive author (Angelus Silesius) describes: ‘The eye by which I see God is the same eye by which he sees me.’ Apparently Arab scholars, when speaking of the text, use this admirable expression: ‘the certain body.’ What body? We have several of them; the body of anatomists and physiologists, the one science sees or discusses: this is the text of grammarians, critics, commentators, philologists (the pheno-text). But we also have a body of bliss consisting solely of erotic relations, utterly distinct from the first body: it is another contour, another nomination; Does the text have human form, is it a figure, an anagram of the body? Yes, but of our erotic body. The pleasure of the text is irreducible to physiological need." [3] - - - - - - - The erotic can only come into being beyond utility. This is what Bataille has taught us. Only when sexuality is freed from its productive (reproductive) functions can it be transformed into an erotic principle. The sovereign experience of eroticism cannot accept any reduction to a sanctified social code – it is instead heightened in the transgression of that very code, in the moment of jouissance, the coming, the climax of ecstasy, of entering the ‘beyond’. Eroticism, as opposed to sexuality is what defines our humanity. The dialectic of desire and prohibition simultaneously conceals and reveals that which is of supreme (souverainement) importance to us – the sacred. Its consumption is a moment of absolute delight, but it also opens up an experiential void where we stare in the face of death. The erotic is never a principle of efficiency. It does not attempt to produce a maximum effect with a minimum expenditure of energy. Quite the reverse, it attempts to achieve a maximum expenditure of energy, a climax, in which life’s energy is expended excessively. "Anguish, when desire opens onto a void – and, sometimes, onto death – is perhaps a reason for desiring more strongly and for finding the desired object more attractive, but in the last instance the object of desire always has the meaning of delight, and this object, whatever one might say of it, is not inaccessible. It would be inexcusable to speak of eroticism without saying essentially that it centers on joy. A joy, moreover, that is excessive. In speaking of their raptures, mystics wish to give the impression of a pleasure so great that the pleasure of human love does not compare. It is hard to asses the degree of intensity of states that may not be incommunicable, perhaps, but that can never be compared with any exactness, for lack of familiarity with other states than those we personally experience." [4] - - - - - - - The ecstasy of the writing (blogging) subject is the embrace of its moment of its loss into text. This loss constitutes a negative pleasure far greater than the appreciation of beauty, or the positive pleasures of taste and sanctioned intimacy. The moment of loss opens up a void in experience because it signals to the subject the loss of its illusory consistency and unity of self (which never existed in the first place – but such a horror is simply too great to live with, and thus is always covered up by a phantasmatic support and imaginary self- images). In this sense, this moment of loss constitutes an absolute negativity – in that it signals the end of existence (of the unitary subject) – and confronts it with the face of death. But this text, written by the blogging subject seeking its own loss, comes back to that subject, and reconstitutes it, in another place according to Barthes. This moment of reconstitution of the subject produces a sensation of such absolute delight that it dwarfs any possible experience of positive pleasure – such is the nature of the existential sublime. [5] - - - - - - - A fundamental asymmetry between pleasure of writing and pleasure of reading remains, however: "Does writing in pleasure guarantee – guarantee me, the writer – my reader’s pleasure? Not at all. I must seek out this reader (must ‘cruise’ him) without knowing where he is. A site of bliss is then created. It is not the reader’s ‘person’ that is necessary to me, it is this site: the possibility of a dialectics of desire, of an unpredictability of bliss: the bets are not placed, there can still be a game." [6] In that sense the bliss of blogging does not end the objectives of literature. - - - - - - - To whom is this text addressed? "I am offered a text. This text bores me. It might be said to ‘prattle’. The prattle of the text is merely that foam of language which forms by the effect of a simple need of writing. Here we are not dealing with perversions but with demand. The writer of this text employs an unweaned language: imperative, automatic, unaffectionate, a minor disaster of static . . .: these are the motions of ungratified sucking, of an undifferentiated orality, intersecting the orality which produces the pleasures of gastrophy and of language. You address yourself to me so that I may read you, but I am nothing to you except this address; in your eyes, I am the substitute for nothing, for no figure (hardly that of the mother); for you I am neither a body nor even an object . . . but merely a field, a vessel for expansion." [7] This text for Barthes is quite apart from 'jouissance' – it is a frigid text. The text produced by the subject attempting to escape its own lack is the producer of this prattle, frigid text. The text produced by the subject consciously embracing its own loss into text, yes desiring to dissolve itself in the text to escape the sheer weight of its own desires and dabble in the delight of its reconstitution ‘in another place’, is the text of ‘coming’ of jouissance, of ecstasy - For, "any demand is frigid until desire, until neurosis forms in it." - - - - - - - Self-mediation is the act of constituting presence in a mediated environment. Formerly a marginal practice it has now moved to centre stage - Broadcast Yourself! Presence in the mediated environment of digital electronic networks is constituted through the continuous circulation of images, sounds, streams in the network. Prosumed, picked up, remixed, laboured on affectionately, appropriated, commodified. There is a subjectivity at work here, but a contradictory one. The images, the sounds, circulate, they are sampled more than created, mixed more than framed. The subject dissolves itself in the mediated streams of images and sounds – remix can dissolve the streams in turn to mere static. Self-mediation does not aim at communicating information, at conveying a ‘message’ – instead it tries to establish affective relationships. The networked subjectivity at work here is not an artistic subjectivity – the media space it creates is prattle. It does not push out the limits of what language and the machines are able to express (at all); to the point of crisis. Much rather, it embodies this crisis in constituting the outer limit in itself – beyond which only an absolute negativity, death itself, stares back at it. - - - - - - - The self conscious self-mediating subject adheres only to its ultimate maxim: I transmit, therefore I am . . . ////////////////////////////////////////////////// Notes: 1) Barthes borrows the term jouissance from Lacan, which is most commonly translated as ‘bliss’, though some theorists consider ‘ecstasy’ a closer approximation of its intended meaning. I decided to use the original French word where its translation is ambiguous. 2) Roland Barthes, The Pleasure of the Text (New York: Hill and Wang, 1975), 14 (French original 1973). 3) Ibid., 16-17. 4) Georges Bataille, The Accursed Share - Volume II: The History of Eroticism (New York: Zone Books, 1993, orig. 1976), 103. 4) And this we knew already from Edmund Burke, see: Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757, second edition 1759). 5) Barthes, The Pleasure of the Text, op. cit. (note 2), 4. 6) Ibid., 4-5. Source: Eric Kluitenberg, Delusive Spaces - Essays on Culture, Media and Technology, (Rotterdam: NAi Publsihers / Institute of Network Cultures, 2008), pp. 277 - 284. ISBN: 978-90-5662-617-4 -- NEW ADDRESS: Institute of Network Cultures HvA Interactive Media, room 05A20 Rhijnspoorplein 1 NL-1091 GC Amsterdam -- NEW ADDRESS: Institute of Network Cultures HvA Interactive Media, room 05A20 Rhijnspoorplein 1 NL-1091 GC Amsterdam POSTAL ADDRESS Institute of Network Cultures HvA Interactive Media, room 05A20 PO BOX 1025 NL-1000 BA Amsterdam http://www.networkcultures.org t: +31 20 5951866 f: +31 20 5951840 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080513/d08f8208/attachment-0001.html From nc-agricowi at netcologne.de Thu May 15 12:15:44 2008 From: nc-agricowi at netcologne.de (netEX) Date: Thu, 15 May 2008 08:45:44 +0200 Subject: [Announcements] =?iso-8859-1?q?VideoChannel_-_call_for_entries_-_?= =?iso-8859-1?q?=22Mother=22?= Message-ID: <20080515084544.26DD0826.33BD44C3@192.168.0.3> Call for entries deadline 1 September 2008 VideoChannel - video project environments http://videochannel.newmediafest.org is glad to launch a new videoart project, entitled "MOTHER" and invites video and film creators for participating and contributing. "Mother" as a theme, refers in first place to everybody's mother or grandmother and their meaning to the creator. Every human being is a child of a mother, without the mother there is no family , no tribe, no people, no society, no social future. But mother can be interpreted also in different ways, the language uses "mother" in electronics for instance in "motherboard" or in a figurative sense as the roots or basics of being. --->VideoChannel always tried to bring a very personal note into the otherwise anonymous online enviroment via its videoart projects related to "memory & identity", and the subject of "Mother" is particularly intimate and personal <----- Like all VideoChannel projects also "Mother" is planned to be presented online and in physical space via screenings after its launch in October/November 2008. The regulations and the entry form can be found on http://www.nmartproject.net/netex/?p=292 --------------------------------------------------- released by netEX - networked experience http://netex.nmartproject.net From santhosh.kanipayur at gmail.com Fri May 16 17:02:04 2008 From: santhosh.kanipayur at gmail.com (Santhosh Kumar) Date: Fri, 16 May 2008 17:02:04 +0530 Subject: [Announcements] Listen! Kashmiri women are speaking... Message-ID: <19d498870805160432y68491cfcg215843e414152415@mail.gmail.com> Listen! Kashmiri women are speaking… * *There was a Queen ** the Documentary film in which Kashmiri women express their views about the bloody conflict ongoing in the state for more than 18 years and its multi faceted impact on the society is ready for distribution. In this film, woman - only women - open out on terrorism, militarism, peace and their daily life. It is a record of political voices of women from many sides in Kashmir. The film was in the competition section of *MIFF-2008* and was screened in * ViBGYOR-2008*. It will be screened in First* International Video Festival of Kerala* in May 2008. The DVD copies are available at a contributory price of Rs.1000/-, and please add Rs.100/- for courier and handling charges, in India and South Asia. US $ 200 and courier charge for other countries. Please mail your order or queries to santhosh at othermediacommunications.com "Yi As Akh Padshah Bai" *(There was a Queen…) * *India / Kashmiri, Hindustani, English with English subtitles / 105 minutes / Video / 2007* "Give us guns and we'll play our role!" - These are not the words of a hardened criminal; these are the words of a teenaged girl in Kashmir less than a week after her sister was buried. Farha's sister Shahnaza, and her friend, Ulfat, victims of 'crossfire' would have been adult women today - they were barely seventeen when they died, as old as the *tehreek*, the movement, that exploded into existence in 1989, shattering forever the peace of the Valley, and turning it into one of the most critical conflict zones in the world. Over these eighteen years, flashes of intensified conflict and bouts of negotiations have followed one another with monotonous regularity in Kashmir. Newspapers and television channels manufacture predictable binary images of conflict – angry men and weeping women, peace loving Kashmiris and terrorist Kashmiris, misguided innocents and fundamentalist separatists, victims and aggressors. Over and above these is the image that erases all differences – the Kashmiri as terrorist. The film discusses how women's engagement with everyday violence has led them to think of issues of security, peace, conflict management and transformation in the unique situation of conflict in the area. It is also an exploration of the relationship between the construction of identity of the community/nation and women's identity and the need for women to be aware of how and by whom these identity constructs are forged which are usually not favorable to women's autonomy in the particular culture and nation. When the directors set out to make a film, they felt strange to speak to women, only women, ignoring the other half. So they spoke to a few men – one a former militant, another who had sent his son for training across the border with his blessings, a third who had lost his son and then realized he was a militant, a fourth whose brother was killed in crossfire – they spoke to men and realized that while every story had the power to shock and move, the women's stories were compelling in their honesty, in their rage, in their helplessness, in their grief, in their contempt, in their fierce refusal to forget, in their determination to survive, to nurture. It is through these women – proud, strong, with an undying zest for life – that the film examines what peace means and how it can come about in Kashmir. * * The documentary "*Yi As Akh Padshah Bai*" or *There was a Queen* was made by an all women crew! It was a conscious and a deliberate decision as it was our belief as producers that since the film was about women in conflict situation, it would be appropriate to have a team of women who would be more sensitive and understanding in dealing with the subject and that the Kashmiri women would find it easy to articulate their views. Our objective initially was to make one film, on women in conflict situation, which includes the North East of India too. But in the process of making the film, we decided to work on Kashmir first as it was distinct from the North East though there are commonalities of situation, issues and concerns. An All Women Crew Direction: Kavita Pai / Hansa Thapliyal Camera: Ranu Ghosh Sound: Gissy Michael Editing: Gouri Patwardhan Music: Manish J. Tipu Executive Producer: E. Deenadayalan Produced by Other Media Communications Pvt. Ltd. www.othermediacommunications.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080516/b99b4e90/attachment-0001.html From alice at tank.tv Fri May 16 17:34:44 2008 From: alice at tank.tv (Alice O'Reilly) Date: Fri, 16 May 2008 13:04:44 +0100 Subject: [Announcements] www.tank.tv: 'Vertrautes Terrain' in Collaboration with ZKM Message-ID: <442eb4460805160504w4fa1dc14r4e5a3523f40d9821@mail.gmail.com> www.tank.tv Vertrautes Terrain A collaboration between www.tank.tv and ZKM 21st May 2008 – 30th June 2008 / 14th September - 30th September 2008 Artists Include: Bankleer, Com&Com, Danica Cakic, Sven Johne, Dias & Riedweg, Alexandra Gerbaulet, Laura Horelli, Korpys/Löffler, Macellvs L., Antje Majewski, Sascha Pohle, Özlem Sulak and Florian Thalhofer. tank.tv is pleased to collaborate with ZKM (Karlsruhe, Germany) to exhibit film and video work from their forthcoming exhibition 'Vetrautes Terrain'. tank.tv will open its show simultaneously with ZKM, on May 21st, to become part of the 'resonance space' of the exhibition. Bringing video work out of the gallery space and making it available to an international audience we hope to widen the scope of this timely focus on national identity. "German Art" or "Art from Germany", a label that has exhibition tradition, is a fiction – owing to the fact that, in most cases, national political determinations have little or anything to do with artistic practice. In spite of this, country-specific questions relating to the search for history, genealogies or tendencies represent a constant factor in art history and the art business: the general exhibition is its most common format. Local backgrounds and national events are beginning to be seen as essential and identity defining whilst national identities appear to be levelling out. The place of the 'national' is becoming confused and fraught with tensions in contemporary culture, not least because no formal, measured thematic-cultural analysis of the idea of 'Germany' has taken place. It is against this background that the project 'Vertrautes Terrain – Contemporary Art in/about Germany' conceives itself, namely, as a resonance space within which the differentiated examination of works by international artists, who reflect on Germany in distinctly different ways as a historical, art, and social sphere can be carried out. The focus on the German context refers to an "imaginary cartography", which seeks to trace those concerns dealing with form and content, the symptoms and the virulent features in art as set against the backdrop of their socio-political presence. The exhibition is characterized by shared and changing images of what the concept "Germany" signifies. Vetrautes Terrain is curated by Gregor Jansen and Thomas Thiel. -- - - - - - - - - - - - - Alice O'Reilly tank.tv 2nd Floor Princess House 50 - 60 Eastcastle Street London W1W 8EA alice at tank.tv T: +44 (0)207323 3475 F: +44 (0)207631 4280 http://www.tank.tv - - - - - - - - - - - - - - Now showing: 'She doesn't think so but she's dressed for the h-bomb' Curated by Negar Azimi for www.tank.tv 15th March 2008 - 21st May 2008 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/20080516/a559bc5f/attachment-0001.html From logos.theword at gmail.com Sat May 17 09:31:44 2008 From: logos.theword at gmail.com (Logos Theatre) Date: Sat, 17 May 2008 09:31:44 +0530 Subject: [Announcements] Conflict and Expression - Workshop on Theatre Of The Oppressed In-Reply-To: <33bc2ee60805162101v7e55fab6y490f71cf906a4ed7@mail.gmail.com> References: <33bc2ee60805050902u459e6f22j1812ad524554dc5c@mail.gmail.com> <33bc2ee60805162101v7e55fab6y490f71cf906a4ed7@mail.gmail.com> Message-ID: <33bc2ee60805162101u41fc48a6k7c5aaec5faeb665c@mail.gmail.com> Logos Theatre presents a workshop on Theatre Of The Oppressed and Forum Theatre, faciliated by Joshua Williams. Josh has studied theatre in Princeton and has specialized in TOTO techniques, which he has also had first hand experience in applying in Africa. In this workshop, he will be covering techniques of image theatre, frozen and dynamic sculpts, theRainbow of Desire and Forum Theatre, Improv, as well as applications of these techniques in performance and in the community. TOTO provides tools to create a safe space where people may deal with conflict and oppression, and then find alternatives that they can use in real life. A brief note on Joshua Williams, in his own words: Josh Williams is an American ne'er-do-well who finds himself more or less unemployed most of the time. Presently he happens to be more or less unemployed in Bangalore, India. Nevertheless, he does know quite a bit about experimental theatre, baseball and old-fashioned hats. You should take the time to get to know him. He's really pretty delightful. About Theatre of the Oppressed: 'Theatre of the Oppressed' is a body of performance theory and practice developed by the Brazilian director Augusto Boal, among others. Thefundamental principle underlying all of the extremely varied work that shelters under the TOTO umbrella is that the creative arts can -- and should -- be turned to progressive, socially conscious ends. We think that's a good thing. Also TOTO -- the acronym itself -- reminds us of *The Wizard Of Oz*, which is a good movie. We hope you've seen it In the words of Augusto Boal, Founder, Theatre of the Oppressed: "The theatre of the Oppressed is a system of physical exercises, aesthetic games and special improvisations whose goal is to safeguard, develop and reshape this human vocation, by turning the practice of theatre into an effective tool for the comprehension of social and personal problems and thesearch for their solutions. " The workshop will be held at Kathalaya, BTM layout from Monday, 19th May to Thursday, 22nd May, between 7 PM to 9:30 PM. Participation is limited to sixteen people. Contact 9880966313 for details. -- Logos Theatre In the beginning was the word No. 126, 3rd Main Road, Jayamahal Extension, Bangalore 560046 -------------------------------------------------------- If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all. Since no man has aught of what he leaves, what is 't to leave betimes? Let be. -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: application/defanged-8569 Size: 5675 bytes Desc: not available Url : http://mail.sarai.net/pipermail/announcements/attachments/20080517/1d3950c6/attachment.bin From logos.theword at gmail.com Sat May 17 09:42:14 2008 From: logos.theword at gmail.com (Logos Theatre) Date: Sat, 17 May 2008 09:42:14 +0530 Subject: [Announcements] Selves, Masks, Performance - the stage and beyond In-Reply-To: <33bc2ee60805162111p7bc2563em40ca2af6ca0fd155@mail.gmail.com> References: <33bc2ee60805072239h31586b00xba72858a5977d2b3@mail.gmail.com> <33bc2ee60805162111p7bc2563em40ca2af6ca0fd155@mail.gmail.com> Message-ID: <33bc2ee60805162112g82679b1y2117f6a3324d89@mail.gmail.com> Logos Theatre is organizing '*Selves, Masks, Performance - the stage and beyond' *: an introductory workshop on different approaches, techniques and ways of looking at acting and performing; and how these ways of looking extend beyond the stage and into everyday life. An outline: •Breath and voice: Breath and the self, emoting and expressing through breath, unlocking the voice. •Patterns of movement: Threads in space. •Play and playing - ideas, objects and space. •Body sculpts, images, thought tracking, power and hierarchy. •Associations, images, and imagination - text and movement •Memory and myth •Speaking the speech - A physical approach to text. Classical Indian and Western theatre, Shakespeare, and beyond. •Theatre of the absurd, contemporary performance texts and devised work Facilitator: Arka Mukhopadhyay is a Bangalore based poet and theatremaker who also works on performance poetry and performance art as theStillDancer. His poetry has been published in various national and international journals. He has taught drama at an international school in Bangalore and has performed and conducted workshops at educational institutions throughout the country. Logos Theatre, is an exploratory outfit committed to negotiating the difficult terrain that lies at the crossways of theatrical process, spontaneity and the subconscious; as also to discovering new landscapes opened up by dialogues between performing arts, performance arts and the contemporary media arts. *From: June 7th* Workshop timings: 7:30 PM to 9:30 PM Venue: Above Chung Wah, on Church Street Registration deadline: May 31st. contact: 9880966313/ 9845530323 e-mail: logos.theword at gmail.com Please do pass this along to those who you think might be interested. If you'd like your organization to sponsor you, please do send this to the appropriate people. -- Logos Theatre In the beginning was the word No. 126, 3rd Main Road, Jayamahal Extension, Bangalore 560046 -------------------------------------------------------- If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all. Since no man has aught of what he leaves, what is't to leave betimes? Let be. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080517/ee265e28/attachment.html From turbulence at turbulence.org Mon May 19 19:20:09 2008 From: turbulence at turbulence.org (Turbulence) Date: Mon, 19 May 2008 09:50:09 -0400 Subject: [Announcements] Networked Music Review Commission: "Trace Aureity" by Adam Nash Message-ID: <006801c8b9b7$448b6940$cda23bc0$@org> Networked Music Review Commission: "Trace Aureity" by Adam Nash (aka Adam Ramona) http://turbulence.org/works/adamnash Needs Second Life account and client (free) "Trace Aureity" is an interactive, immersive, audiovisual sculpture located in the 3-D synthetic world Second Life (http://secondlife.com). There are eighty-eight manipulated field recordings -- from city streets, birdsong, to talkback radio - and ninety-six nested rotating objects densely arranged in a three dimensional grid. Avatars, either solo or in groups, generate sounds by moving through the installation. Some of the innermost nested objects, colored red, also spawn glowing spheres which fly out and bounce around inside the work, triggering sounds as they pass through other objects. Because the playable space is so dense, players are rewarded by slowing down their movements as much as possible, since even miniscule movements create differences in sonic output. The contingencies of time-based interaction by people-as-avatars creates a dynamic audiovisual composition, always unique to that moment and those interactors. This may be seen to represent an evolution of the aleatoric composition techniques of John Cage and Biran Eno, as well as an enactment of the objets sonore of Pierre Schaeffer. Adam Nash will lead a tour of his work on Thursday, May 22, 2008 between 6:00 p.m. and 10:00 p.m. US EDT. If you would like to take part in the tour, please contact adam at yamanakanash dot net "Trace Aureity" is a 2007 commission of New Radio and Performing Arts, Inc., for Networked_Music_Review. It was made possible with funding from the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors. BIOGRAPHY Adam Nash is a new media artist, composer, programmer, performer and writer. He works primarily in networked real-time 3D spaces, exploring them as live audiovisual performance spaces. His sound/composition and performance background strongly informs his approach to creating works for virtual environments, embracing sound, time and the user as elements equal in importance to vision. Adam's work has been presented in galleries, festivals and online in Australia, Europe, Asia and the Americas, including SIGGRAPH, ISEA, and the Venice Biennale. He also works as composer and sound artist with "Company in Space" (AU) and "Igloo" (UK), exploring the integration of motion capture into real-time 3D audiovisual spaces. He is currently undertaking a Master of Arts by Research at the "Centre for Animation and Interactive Media" at RMIT University, Melbourne, researching multi-user 3D cyberspace as a live performance medium; and he's a Lecturer in "Computer Games and Digital Art" in the School of Creative Media at RMIT University. For more Networked_Music_Review Commissions please visit http://turbulence.org/networked_music_review/tags/nmr_commission 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 margreet at blender.org Mon May 19 20:07:11 2008 From: margreet at blender.org (Margreet Riphagen) Date: Mon, 19 May 2008 16:37:11 +0200 Subject: [Announcements] Essay preview | Eric Kluitenberg | Delusive Spaces, Essays on Culture, Media and Technology References: <1E17FB47-2FBF-4EAF-8CC4-9EB443A02C42@networkcultures.org> Message-ID: Sorry for cross sending Essay preview from Eric Kluitenberg - the Pleasure of the Medium 'Jouissance' and the Excess of Writing. ////////////////////////////////////////////////// Eric Kluitenberg, Delusive Spaces. Essays on Culture, Media and Technology, Rotterdam/Amsterdam: Nai Publishers & Institute of Network Cultures, 2008. www.naipublishers.nl/art/delusivespaces_e.html The open terrain of new media is closing fast. Market concentration, legal consolidation and tightening governmental control have effectively ended the myth of the free and open networks. In Delusive Spaces, Eric Kluitenberg takes a critical position that retains a utopian potential for emerging media cultures. The book investigates the archeology of media and machine, mapping the different methods and metaphors that speak about technology. Returning to the present, Kluitenberg discusses the cultural use of new media in an age of post- governmental politics. Delusive Spaces concludes with the impossibility of representation. Going beyond the obvious delusions of the ‘new’ and the 'free', Kluitenberg theorizes artistic practices and European cultural policies, demonstrating a provocative engagement with the utopian dimension of technology. Eric Kluitenberg is a Dutch media theorist, writer and organizer. Since the late 1980s, he has been involved in numerous international projects in the field of electronic art, media culture, and information politics. Kluitenberg heads the media program at De Balie, Centre for Culture and Politics in Amsterdam. He is the editor of the Book of Imaginary Media (NAi Publishers, 2006) and the theme issue 'Hybrid Space' of Open, journal on art and the public domain (2007). A previous publication in this series is from Ned Rossiter about Organized Networks (2007). http://networkcultures.org/wpmu/portal/publications/studies-in-network-cultures/organized-networks/ Coming publications in the Studies of Network Cultures Series will be from Matteo Pasquinelli, Florian Schneider and Josephine Bosma. ////////////////////////////////////////////////// The Pleasure of the Medium 'Jouissance' and the Excess of Writing. pdf downloadable at: http://networkcultures.org/wpmu/portal/files/2008/05/pleasure-of-the-medium-delusive-spaces.pdf I am looking at a website - it bores me. I am delighted by my boredom. Why should it not bore me? Why should I be fascinated? I am looking for an escape from spectacularity. I don’t want to be spectacularized. I hear a discussion about ‘quality’. I am bored by it. I hate this boredom! Why should I be interested in ‘quality’? What quality? Whose quality? ‘What is this shit?!??’ I hear desperation, unnerving irritation. I am stimulated! Who is saying this to me? Who is writing? Does it really matter? - - - - - - - The greatest fascination of a new medium always lies within the machine. It is not the old medium being the ‘content’ of the new medium – wrong formula. It is only when the old medium is discarded, even if this delightful moment is brought about by a mistake, that the magic of the new medium can disclose itself. I had this experience when watching some of the magnificent websites created by jodi.org, specifically for the Netscape 2.0 browser on a mac system. The website would get stuck, seem to buffer indefinitely. Then suddenly, the page would start to load again, superimposed layers of graphics and ascii swirls crowding the screen. Blinking signs, links to more digital garbage, neatly organized in the defunct mosaic. - - - - - - - We were at the launch of the net.congestion archive and we experienced net congestion . . . Some people from Seattle who had visited our festival about half a year earlier had made a real local show. We had asked participants to this festival of streaming media to ‘stream-in’ for the occasion. We were watching from a comfortable space in the centre of Amsterdam. The Riga crew, as always, knew exactly what they were doing – a nice, low-bandwidth, grainy, but perfect web video mix and stunning electronic music from that magical city in the Baltics. The people in Banff had made a wonderful sound loop, perfect reception from Canada – we projected an image of ‘Sleeping Buffalo’ to it, a local mountain just outside the Banff campus. But Seattle – they topped it off. They gathered a crowd (with some 9 hours time difference) and were staging a real-life serious debate on the politics of the networked media sphere. It sounded inspiring and insightful, from what we could get at our end, but every 10 to 15 seconds the stream would break up. The face of a speaker would suddenly contort while the sound would squeak, turn into electrostatic noise (so it seemed) – on the projection screen we saw the most wondrous cubist images; constantly transforming over time, new contortions, blends of colours that were not there before, a grotesque, a caricature, emerging spontaneously. Adam, one of the organizers of the festival, was standing in awe watching this anti- spectacle – "Wow, this is so beautiful! I could look at this for hours!" - - - - - - - David Sifry, founder and CEO of Technnorati, reports on5 April 2007 that according to technorati.com’s then latest count, about 70,000,000 blogs are online, with a significant growth of fake and spam blogs (splogs), but still far outranked by genuine postings. An excess of writing. - - - - - - - Minor mathematics – to get an average readership of about 100 readers over a certain average period in which these blogs are available online, before they disappear into oblivion, requires a population of 7 billion. The conclusion would probably have to be that population growth needs to be sped up so as to match the growth of blog-production and provide them with a readership. - - - - - - - Roland Barthes identified two types of pleasures in text – the text of pleasure and the text of 'jouissance' [1]: "Text of pleasure: the text that contents, fills, grants euphoria; the text that comes from culture and does not break with it, is linked to a comfortable practice of reading. Text of jouissance: the text that imposes a state of loss, the text that discomforts (perhaps to the point of a certain boredom), unsettles the reader’s historical, cultural, psychological assumptions, the consistency of his tastes, values, memories, brings to a crisis his relation with language." [2] The subject who holds these two texts in their field and in their hands, according to Barthes, is an anachronic subject. A contradictory subject who both "enjoys the consistency of his selfhood (that is his pleasure) and seeks his loss (that is his ecstasy). He is a subject split twice over, doubly perverse." - - - - - - - From Lacan we learned that the desire of the subject is oriented on an essential lack. This lack results from the illusory quest of the subject for its own consistency and unity that does not exist. This Lacanian subject is lost between the emanations of its own body, the imaginary images it projects on itself (the images the subject mirrors itself in without ever having laid direct eyes upon itself), and the symbolic order, that of language and text paradigmatically, in which it tries desperately to articulate itself, while this act of articulation by means of language only results in a further deferral of the subject from its (supposed) self. The excess of writing is the futile quest of the subject to fulfil its own impossible desire by means of language. The ecstasy of writing is the realization of the impossibility of this quest and the willing submission to it – the subject willingly losing itself, dissolving into text. - - - - - - - The ecstasy of writing/reading is a bodily experience. It adheres neither to bourgeois morality nor to Marxist/materialist doxology. Barthes explains: "On the stage of the text, no footlights: there is not, behind the text, someone active (the writer) and out front someone passive (the reader); there is not a subject and an object. The text supersedes grammatical attitudes: it is the undifferentiated eye, which an excessive author (Angelus Silesius) describes: ‘The eye by which I see God is the same eye by which he sees me.’ Apparently Arab scholars, when speaking of the text, use this admirable expression: ‘the certain body.’ What body? We have several of them; the body of anatomists and physiologists, the one science sees or discusses: this is the text of grammarians, critics, commentators, philologists (the pheno-text). But we also have a body of bliss consisting solely of erotic relations, utterly distinct from the first body: it is another contour, another nomination; Does the text have human form, is it a figure, an anagram of the body? Yes, but of our erotic body. The pleasure of the text is irreducible to physiological need." [3] - - - - - - - The erotic can only come into being beyond utility. This is what Bataille has taught us. Only when sexuality is freed from its productive (reproductive) functions can it be transformed into an erotic principle. The sovereign experience of eroticism cannot accept any reduction to a sanctified social code – it is instead heightened in the transgression of that very code, in the moment of jouissance, the coming, the climax of ecstasy, of entering the ‘beyond’. Eroticism, as opposed to sexuality is what defines our humanity. The dialectic of desire and prohibition simultaneously conceals and reveals that which is of supreme (souverainement) importance to us – the sacred. Its consumption is a moment of absolute delight, but it also opens up an experiential void where we stare in the face of death. The erotic is never a principle of efficiency. It does not attempt to produce a maximum effect with a minimum expenditure of energy. Quite the reverse, it attempts to achieve a maximum expenditure of energy, a climax, in which life’s energy is expended excessively. "Anguish, when desire opens onto a void – and, sometimes, onto death – is perhaps a reason for desiring more strongly and for finding the desired object more attractive, but in the last instance the object of desire always has the meaning of delight, and this object, whatever one might say of it, is not inaccessible. It would be inexcusable to speak of eroticism without saying essentially that it centers on joy. A joy, moreover, that is excessive. In speaking of their raptures, mystics wish to give the impression of a pleasure so great that the pleasure of human love does not compare. It is hard to asses the degree of intensity of states that may not be incommunicable, perhaps, but that can never be compared with any exactness, for lack of familiarity with other states than those we personally experience." [4] - - - - - - - The ecstasy of the writing (blogging) subject is the embrace of its moment of its loss into text. This loss constitutes a negative pleasure far greater than the appreciation of beauty, or the positive pleasures of taste and sanctioned intimacy. The moment of loss opens up a void in experience because it signals to the subject the loss of its illusory consistency and unity of self (which never existed in the first place – but such a horror is simply too great to live with, and thus is always covered up by a phantasmatic support and imaginary self- images). In this sense, this moment of loss constitutes an absolute negativity – in that it signals the end of existence (of the unitary subject) – and confronts it with the face of death. But this text, written by the blogging subject seeking its own loss, comes back to that subject, and reconstitutes it, in another place according to Barthes. This moment of reconstitution of the subject produces a sensation of such absolute delight that it dwarfs any possible experience of positive pleasure – such is the nature of the existential sublime. [5] - - - - - - - A fundamental asymmetry between pleasure of writing and pleasure of reading remains, however: "Does writing in pleasure guarantee – guarantee me, the writer – my reader’s pleasure? Not at all. I must seek out this reader (must ‘cruise’ him) without knowing where he is. A site of bliss is then created. It is not the reader’s ‘person’ that is necessary to me, it is this site: the possibility of a dialectics of desire, of an unpredictability of bliss: the bets are not placed, there can still be a game." [6] In that sense the bliss of blogging does not end the objectives of literature. - - - - - - - To whom is this text addressed? "I am offered a text. This text bores me. It might be said to ‘prattle’. The prattle of the text is merely that foam of language which forms by the effect of a simple need of writing. Here we are not dealing with perversions but with demand. The writer of this text employs an unweaned language: imperative, automatic, unaffectionate, a minor disaster of static . . .: these are the motions of ungratified sucking, of an undifferentiated orality, intersecting the orality which produces the pleasures of gastrophy and of language. You address yourself to me so that I may read you, but I am nothing to you except this address; in your eyes, I am the substitute for nothing, for no figure (hardly that of the mother); for you I am neither a body nor even an object . . . but merely a field, a vessel for expansion." [7] This text for Barthes is quite apart from 'jouissance' – it is a frigid text. The text produced by the subject attempting to escape its own lack is the producer of this prattle, frigid text. The text produced by the subject consciously embracing its own loss into text, yes desiring to dissolve itself in the text to escape the sheer weight of its own desires and dabble in the delight of its reconstitution ‘in another place’, is the text of ‘coming’ of jouissance, of ecstasy - For, "any demand is frigid until desire, until neurosis forms in it." - - - - - - - Self-mediation is the act of constituting presence in a mediated environment. Formerly a marginal practice it has now moved to centre stage - Broadcast Yourself! Presence in the mediated environment of digital electronic networks is constituted through the continuous circulation of images, sounds, streams in the network. Prosumed, picked up, remixed, laboured on affectionately, appropriated, commodified. There is a subjectivity at work here, but a contradictory one. The images, the sounds, circulate, they are sampled more than created, mixed more than framed. The subject dissolves itself in the mediated streams of images and sounds – remix can dissolve the streams in turn to mere static. Self-mediation does not aim at communicating information, at conveying a ‘message’ – instead it tries to establish affective relationships. The networked subjectivity at work here is not an artistic subjectivity – the media space it creates is prattle. It does not push out the limits of what language and the machines are able to express (at all); to the point of crisis. Much rather, it embodies this crisis in constituting the outer limit in itself – beyond which only an absolute negativity, death itself, stares back at it. - - - - - - - The self conscious self-mediating subject adheres only to its ultimate maxim: I transmit, therefore I am . . . ////////////////////////////////////////////////// Notes: 1) Barthes borrows the term jouissance from Lacan, which is most commonly translated as ‘bliss’, though some theorists consider ‘ecstasy’ a closer approximation of its intended meaning. I decided to use the original French word where its translation is ambiguous. 2) Roland Barthes, The Pleasure of the Text (New York: Hill and Wang, 1975), 14 (French original 1973). 3) Ibid., 16-17. 4) Georges Bataille, The Accursed Share - Volume II: The History of Eroticism (New York: Zone Books, 1993, orig. 1976), 103. 4) And this we knew already from Edmund Burke, see: Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757, second edition 1759). 5) Barthes, The Pleasure of the Text, op. cit. (note 2), 4. 6) Ibid., 4-5. Source: Eric Kluitenberg, Delusive Spaces - Essays on Culture, Media and Technology, (Rotterdam: NAi Publsihers / Institute of Network Cultures, 2008), pp. 277 - 284. ISBN: 978-90-5662-617-4 -- NEW ADDRESS: Institute of Network Cultures HvA Interactive Media, room 05A20 Rhijnspoorplein 1 NL-1091 GC Amsterdam -- NEW ADDRESS: Institute of Network Cultures HvA Interactive Media, room 05A20 Rhijnspoorplein 1 NL-1091 GC Amsterdam POSTAL ADDRESS Institute of Network Cultures HvA Interactive Media, room 05A20 PO BOX 1025 NL-1000 BA Amsterdam http://www.networkcultures.org t: +31 20 5951866 f: +31 20 5951840 # distributed via : no commercial use without permission # is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: http://mail.kein.org/mailman/listinfo/nettime-l # archive: http://www.nettime.org contact: nettime at kein.org From logos.theword at gmail.com Thu May 22 14:23:41 2008 From: logos.theword at gmail.com (Logos Theatre) Date: Thu, 22 May 2008 14:23:41 +0530 Subject: [Announcements] Shreds and Patches In-Reply-To: <33bc2ee60805220146i628ec853j2483cac844a98b61@mail.gmail.com> References: <33bc2ee60805220146i628ec853j2483cac844a98b61@mail.gmail.com> Message-ID: <33bc2ee60805220153j1f82b6fbkbc5b5d8c32bd83c0@mail.gmail.com> Logos Theatre presents "Shreds and Patches", a solo performance based on the works of William Shakespeare, devised and performed by Arka Mukhopadhyay. At Alliance Francaise, Vasanthnagar, Bangalore June 13th, 11 AM and 2 PM (for schools/colleges only), 6 PM and 8 PM (open to all) June 14th, 11 AM (for schools/colleges only), 2 PM, 6 PM and 8 PM (open to all) Tickets: Rs.125/- for the 13th and Rs. 150/- for the 14th Available from the 25th at: Alliance Francaise Cafe, Crossword, Residency Road For bookings call: 9945799224 or 9886765198 For bulk bookings: 9845530323 "...refreshing... "Shreds and Patches" was an innovative and comprehensive whole-hearted performance ... leaving the audience with the fact that even today, there is a little bit of Shakespeare in each one of us." - The Hindu "...commendable" - Mid Day "...riveting performance" - WOW, Hyderabad. -- Logos Theatre In the beginning was the word No. 126, 3rd Main Road, Jayamahal Extension, Bangalore 560046 -------------------------------------------------------- If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all. Since no man has aught of what he leaves, what is 't to leave betimes? Let be. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080522/1b3b1977/attachment-0001.html From logos.theword at gmail.com Thu May 22 15:10:33 2008 From: logos.theword at gmail.com (Logos Theatre) Date: Thu, 22 May 2008 15:10:33 +0530 Subject: [Announcements] The Waste Land - Bangalore, '08 In-Reply-To: <33bc2ee60805220238n62725734ycf69c734d2328c94@mail.gmail.com> References: <33bc2ee60805220217m33a83dfbk665ab16e9717dc86@mail.gmail.com> <33bc2ee60805220238n62725734ycf69c734d2328c94@mail.gmail.com> Message-ID: <33bc2ee60805220240s47acc8c7o12776fa0bcb299c4@mail.gmail.com> Mixing memory...stirring a macchiato at Barista... Chamrajpet... Bagmane Tech Park... Garuda Mall... Malleshwaram 11th Cross... hooded hordes on hosur road... shoring fragments of memory... How does one take one of the most well known literary texts of modern times, and find it in one's immediate surroundings, while retaining its universality? How does one take a canonical text, yet treat it with irreverence and playfulness? How does one tell the stories of a city - this city, any city, The City, through the music and mordant humour of Eliot's verse? the SpeechMagic initiative, a part of Logos Theatre, presents The Waste Land - Bangalore, '08 - a multimedia show mixing live performance with video, installation and soundscape, based on T. S. Eliot's The Waste Land. Living in this city, perhaps all of us, whether 'localite' or 'outsider', have felt at times a sense of unreality - be it the arbitrary actions of an administration that does not seem to follow any human system of logic, or the excesses of an incompetent police force, the ludicrousness of 'magic box' underpasses to the ever-shifting pattern of one ways that seem to be part of a bizarre treasure hunt where the map keeps transforming. The overpriced cups of tepid coffee at synthetic cafes, to the fast disappearing traces of the city that was. It is out of this sense of unreality, a sense of a vanishing beauty and the growing cacophony of chaos, that this performance/installation was born. In Eliot's text we found a reflection of the faultlines we see in the urbanscape of this city, and we attempted to tell its story, using this city's own sounds and images, a dash of dark humour, and our own dramatic response. Breaking the structure of a stage show where you sit for an hour and then return unaffected, we have attempted to create an immersive environment where, for up to three hours, you will be within and around the performance. Structured more like an exhibition where some of the paintings/sculptures are 'alive', there is no beginning, middle or end to this 'play' - you come in anytime, and stay for as long as you wish. The sequences of the performance happen around you, often more than one at the same time. You choose what you want to watch, how many times you want to watch it, and when you want to run away from the madness. Or you become a part of it, as you are a part of the madness of this city. Created and performed by: Joshua Williams, Abhijit Pakrashi, and theStillDancer. June 3rd and 4th, from 6 PM to 9 PM (last entry at 8 PM) Tickets: Rs. 200/- (only through SMS) text your name, date and number of tickets to: 9945799224 or 9886765198 -- Logos Theatre In the beginning was the word No. 126, 3rd Main Road, Jayamahal Extension, Bangalore 560046 -------------------------------------------------------- If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all. Since no man has aught of what he leaves, what is 't to leave betimes? Let be. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080522/a602c7b4/attachment-0001.html From mitoo at sarai.net Thu May 22 16:05:56 2008 From: mitoo at sarai.net (Mitoo Das) Date: Thu, 22 May 2008 16:05:56 +0530 Subject: [Announcements] Tenure- track Position, Department of Anthropology- Seoul National University Message-ID: <48354C8C.5050400@sarai.net> *Tenure-track Position at the Department of Anthropology, * *Seoul National University**, * * * * * The Department of Anthropology, Seoul National University (SNU), , invites applications for a tenure-track position in anthropology at the assistant or associate level, beginning March 2009. We seek an international scholar in sociocultural anthropology with outstanding research and teaching credentials. Geographic focus on is preferred, but consideration will be given to applicants outside this area. Topical and theoretical interests should complement program strengths. Ph.D. in anthropology is required at the time of appointment. This position is reserved for a non-Korean citizen, by authorization of the Ministry of Education for the goal of internationalization of higher education in . SNU and the Department are therefore committed to recruiting qualified international scholars who can contribute to the diversity and excellence of the academic community. Competence in oral and written English is essential for the position, and native-level competence will be regarded as highly desirable. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080522/d7715ba2/attachment-0001.html From santhosh.kanipayur at gmail.com Fri May 23 11:12:43 2008 From: santhosh.kanipayur at gmail.com (Santhosh Kumar) Date: Fri, 23 May 2008 11:12:43 +0530 Subject: [Announcements] Film screening Message-ID: <19d498870805222242k3a1d3d79l67fff2aaefa8e4cc@mail.gmail.com> 'There was a Queen' in IVFK 2008 * *There was a Queen ** the Documentary film in which Kashmiri women express their views about the bloody conflict ongoing in the state for more than 18 years and its multi faceted impact on the society is screened in *International Video Film Festival 2008, Kerala*. *The film is screened on 24th May at 9.30 am in TRANS TOWERS auditorium.* In this film, woman - only women - open out on terrorism, militarism, peace and their daily life. It is a record of political voices of women from many sides in Kashmir. *All are invited for the screening. * The film was in the competition section of *MIFF-2008* and was screened in * ViBGYOR-2008*. The DVD copies this film are available at a price of Rs.1000/-, and please add Rs.100/- for courier and handling charges, in India and South Asia. US $ 200 and courier charge for other countries. Please mail your order or queries to santhosh at othermediacommunications.com "Yi As Akh Padshah Bai" *(There was a Queen…) * *India / Kashmiri, Hindustani, English with English subtitles / 105 minutes / Video / 2007* "Give us guns and we'll play our role!" - These are not the words of a hardened criminal; these are the words of a teenaged girl in Kashmir less than a week after her sister was buried. Farha's sister Shahnaza, and her friend, Ulfat, victims of 'crossfire' would have been adult women today - they were barely seventeen when they died, as old as the *tehreek*, the movement, that exploded into existence in 1989, shattering forever the peace of the Valley, and turning it into one of the most critical conflict zones in the world. Over these eighteen years, flashes of intensified conflict and bouts of negotiations have followed one another with monotonous regularity in Kashmir. Newspapers and television channels manufacture predictable binary images of conflict – angry men and weeping women, peace loving Kashmiris and terrorist Kashmiris, misguided innocents and fundamentalist separatists, victims and aggressors. Over and above these is the image that erases all differences – the Kashmiri as terrorist. The film discusses how women's engagement with everyday violence has led them to think of issues of security, peace, conflict management and transformation in the unique situation of conflict in the area. It is also an exploration of the relationship between the construction of identity of the community/nation and women's identity and the need for women to be aware of how and by whom these identity constructs are forged which are usually not favorable to women's autonomy in the particular culture and nation. When the directors set out to make a film, they felt strange to speak to women, only women, ignoring the other half. So they spoke to a few men – one a former militant, another who had sent his son for training across the border with his blessings, a third who had lost his son and then realized he was a militant, a fourth whose brother was killed in crossfire – they spoke to men and realized that while every story had the power to shock and move, the women's stories were compelling in their honesty, in their rage, in their helplessness, in their grief, in their contempt, in their fierce refusal to forget, in their determination to survive, to nurture. It is through these women – proud, strong, with an undying zest for life – that the film examines what peace means and how it can come about in Kashmir. * * The documentary "*Yi As Akh Padshah Bai*" or *There was a Queen* was made by an all women crew! It was a conscious and a deliberate decision as it was our belief as producers that since the film was about women in conflict situation, it would be appropriate to have a team of women who would be more sensitive and understanding in dealing with the subject and that the Kashmiri women would find it easy to articulate their views. Our objective initially was to make one film, on women in conflict situation, which includes the North East of India too. But in the process of making the film, we decided to work on Kashmir first as it was distinct from the North East though there are commonalities of situation, issues and concerns. An All Women Crew Direction: Kavita Pai / Hansa Thapliyal Camera: Ranu Ghosh Sound: Gissy Michael Editing: Gouri Patwardhan Music: Manish J. Tipu Executive Producer: E. Deenadayalan Produced by Other Media Communications Pvt. Ltd. www.othermediacommunications.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080523/0c33f7ec/attachment-0001.html From logos.theword at gmail.com Sat May 24 00:17:22 2008 From: logos.theword at gmail.com (Logos Theatre) Date: Sat, 24 May 2008 00:17:22 +0530 Subject: [Announcements] The Waste Land - Bangalore, '08 In-Reply-To: <33bc2ee60805220240s47acc8c7o12776fa0bcb299c4@mail.gmail.com> References: <33bc2ee60805220217m33a83dfbk665ab16e9717dc86@mail.gmail.com> <33bc2ee60805220238n62725734ycf69c734d2328c94@mail.gmail.com> <33bc2ee60805220240s47acc8c7o12776fa0bcb299c4@mail.gmail.com> Message-ID: <33bc2ee60805231147y1226018ap9691304586eb3516@mail.gmail.com> Please note that the venue is 1, Shanthi Road Gallery/Studio. The venue was not mentioned in the previous mail - The oversight is regretted. > Mixing memory...stirring a macchiato at Barista... Chamrajpet... Bagmane > Tech Park... Garuda Mall... Malleshwaram 11th Cross... hooded hordes on > hosur road... shoring fragments of memory... > > How does one take one of the most well known literary texts of modern > times, and find it in one's immediate surroundings, while retaining its > universality? > > How does one take a canonical text, yet treat it with irreverence and > playfulness? > > How does one tell the stories of a city - this city, any city, The City, > through the music and mordant humour of Eliot's verse? > > the SpeechMagic initiative, a part of Logos Theatre, presents The Waste > Land - Bangalore, '08 - a multimedia show mixing live performance with > video, installation and soundscape, based on T. S. Eliot's The Waste Land. > > Living in this city, perhaps all of us, whether 'localite' or 'outsider', > have felt at times a sense of unreality - be it the arbitrary actions of an > administration that does not seem to follow any human system of logic, or > the excesses of an incompetent police force, the ludicrousness of 'magic > box' underpasses to the ever-shifting pattern of one ways that seem to be > part of a bizarre treasure hunt where the map keeps transforming. The > overpriced cups of tepid coffee at synthetic cafes, to the fast disappearing > traces of the city that was. > It is out of this sense of unreality, a sense of a vanishing beauty and the > growing cacophony of chaos, that this performance/installation was born. In > Eliot's text we found a reflection of the faultlines we see in the > urbanscape of this city, and we attempted to tell its story, using this > city's own sounds and images, a dash of dark humour, and our own dramatic > response. > > Breaking the structure of a stage show where you sit for an hour and then > return unaffected, we have attempted to create an immersive environment > where, for up to three hours, you will be within and around the performance. > Structured more like an exhibition where some of the paintings/sculptures > are 'alive', there is no beginning, middle or end to this 'play' - you come > in anytime, and stay for as long as you wish. The sequences of the > performance happen around you, often more than one at the same time. You > choose what you want to watch, how many times you want to watch it, and when > you want to run away from the madness. Or you become a part of it, as you > are a part of the madness of this city. > > Created and performed by: Joshua Williams, Abhijit Pakrashi, and > theStillDancer. > > June 3rd and 4th, from 6 PM to 9 PM (last entry at 8 PM) > > Tickets: Rs. 200/- (only through SMS) > > text your name, date and number of tickets to: > > > 9945799224 or 9886765198 > > -- > Logos Theatre > In the beginning was the word > No. 126, > 3rd Main Road, > Jayamahal Extension, > Bangalore 560046 > -------------------------------------------------------- > If it be now, 'tis not to come; > if it be not to come, it will be now; > if it be not now, yet it will come: the readiness is all. > Since no man has aught of what he leaves, what is 't to leave betimes? > Let be. > -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080524/7ee760e2/attachment.html From matterofart.ezine at gmail.com Mon May 26 11:45:56 2008 From: matterofart.ezine at gmail.com (Anoop Kamath) Date: Mon, 26 May 2008 07:15:56 +0100 Subject: [Announcements] MOA May 20th Upload can ve viewed now! In-Reply-To: References: Message-ID: <5bdbd2590805252315v70596b19mea7c233e2d67ae2d@mail.gmail.com> Dear Friends, Greetings from www.mattersofart.com . Our May 20th upload can be viewed online now! - Eminent art writer *R. Nandakumar writes about E.H. Pushkin's recent works** * - *Infocus:* Aditya PAnde ** - *Special Interview: *Jasmeen Patheja - *Sarmistha Maiti *in conversation with *Professor Partha Pratim Deb** * - *Santhosh S.*'s essay on *Savi Savarkar*'s recent exhibition *Eyes Re-cast * - *Sarmistha Maiti*'s* *report on* Signature Art Fest' 08 *which was recently organized in Kolkata* * - *My work: Kumar Kanti Sen *talks about his latest work* Hurt Me.* ** - *Exhibition reviews*: *Abul Kalam Azad Pradeep L Mishra Sudharshan Shetty Talha Rathore Pushpamala N. Sheila Makhijani Om Soorya Vivan Sundaram Tarun Dey Barun Chowdhury Satadru Sovan Banduri….* ** And news and views… Log on to www.mattersofart.com for the latest news in Indian contemporary art *Please note that our next upload shall be on the 5th of july 2008* For listings visit http://mattersofart.blogspot.com Editor www.mattersofart.com -- :)ANOOP KAMATH 534, Sector 29. NOIDA 201301 (Uttar Pradesh) India Mob: 9811168775 Tel: 91-120-4210540, 4210539 -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/announcements/attachments/20080526/4a522e7b/attachment.html From nc-agricowi at netcologne.de Mon May 26 14:22:28 2008 From: nc-agricowi at netcologne.de (artNET) Date: Mon, 26 May 2008 10:52:28 +0200 Subject: [Announcements] =?iso-8859-1?q?netEX_-_calls_and_deadlines_-_June?= =?iso-8859-1?q?_2008?= Message-ID: <20080526105228.1E1441B6.CDFFA493@192.168.0.3> netEX: calls & deadlines -->June 2008 ------------------------------------- [NewMediaArtProjectNetwork]:||cologne newsletter contents calls & deadlines 03 Calls: 2008 deadlines internal 15 Calls: June deadlines external 08 Calls: ongoing external/internal ------------------------------------- Calls & deadlines ---> ------------------------------------------------ 2008 deadlines: internal ------------------------------------------------ extended deadline 1 August CologneOFF IV - 4th Cologne Online Film Festival http://www.nmartproject.net/netex/?p=238 30 November SoundLAB VI - soundart for soundPOOL - sound compositions - a challenge for imagination http://www.nmartproject.net/netex/?p=242 1 September VideoChannel - video project environments call on the subject "MOTHER" http://www.nmartproject.net/netex/?p=292 ------------------------------------------------ June 2008 deadlines: external ------------------------------------------------ 30 June Bolzano Shortfilm Festival 2008 http://www.nmartproject.net/netex/?p=290 30 June Screen Festival Oslo/Norway http://www.nmartproject.net/netex/?p=285 30 June Festival de Cinema Nouveau Montreal/Canada 2008 http://www.nmartproject.net/netex/?p=282 30 June Curatorial Training - Ecole du Magasin Grenoble/France http://www.nmartproject.net/netex/?p=272 30 June Videoholica Varna 2008 (Bulgaria) http://www.nmartproject.net/netex/?p=257 28 June Cork Film Festival 2008 (Ireland) http://www.nmartproject.net/netex/?p=278 27 June VAD - International Festival of Video & Digital Art Girona/Spain http://www.nmartproject.net/netex/?p=297 27 June London Film Festival (UK) http://www.nmartproject.net/netex/?p=294 21 June 21st Instants Video Festival Marseille/France http://www.nmartproject.net/netex/?p=211 21 June 25th DOK & Film Fest Kassel/Germany http://www.nmartproject.net/netex/?p=280 20 June Videominuto Festival Prato/Italy http://www.nmartproject.net/netex/?p=301 15 June Globaization & Identity - Galerija Galzenica (Croatia) http://www.nmartproject.net/netex/?p=276 9 June International Guerilla Video Festival Milan/Italy http://www.nmartproject.net/netex/?p=279 2 June ARTECH 2008 - Int. Conference on Digital Art Porto/Portugal http://www.nmartproject.net/netex/?p=205 2 June Paraflows 08 - Utopia - festival Vienna/Austria http://www.nmartproject.net/netex/?p=299 ----------------------------------------------- Ongoing calls: external/internal ----------------------------------------------- --->OUTCASTING - web based screenings -->Projects for FILE LABO Sao Paulo/Brazil -->Films and video screenings Sioux City (USA) -->Laisle screenings Rio de Janeiro/Brazil -->Videos for Helsinki based video gallery - 00130 Gallery -->Web based works for 00130 Gallery Helsinki/Finland -->Project: Repetition as a Model for Progression by Marianne Holm Hansen -->Raw Video New York/NY (USA) -->US webjournal Atomic Unicorn seeks netart and video art for coming editions and more deadlines on http://www.nmartproject.net/netex/?page_id=4 ----------------------------------------------- NetEX - networked experience http://netex.nmartproject.net # calls in the external section--> http://www.nmartproject.net/netex/?cat=3 # calls in the internal section--> http://www.nmartproject.net/netex/?cat=1 ----------------------------------------------- # This newsletter is also released on http://www.nmartproject.net/netex/?cat=9 # NetEx - networked experiences http://netex.nmartproject.net is a free information service powered by [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net - the experimental platform for Art and New Media from Cologne/Germany # info & contact: info (at) nmartproject.net