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Table of Contents: DEAF03: workshop Media Knitting Marjolein Berger <marjolein@v2.nl> conference: the politics of code (oxford, feb. 6) "geert lovink" <geert@xs4all.nl> Summer Creativity Courses in Europe Creativity Course <mail@createcourse.com> EUPHORICUM 1 (15./16.01) Ein Symposium =?ISO-8859-1?B?/GJlciBkaWUgWnVrdW5mdCB2b OEH /BIPOL <bipol@akbild.ac.at> Invitation Kalina Bunevska <kbunevsk@soros.org.mk> REFLEXIVE REPRESENTATIONS (conference/germany) "geert lovink" <geert@desk.nl> -Empyre- for January: Mechanisms of Exposure Christina McPhee <christina112@earthlink.net> Crisis/Media Workshop "rachel magnusson" <rachel@sarai.net> Sacred Media Conference "Jussi Holopainen" <jussi.holopainen@pp3.inet.fi> ------------------------------ Date: Mon, 23 Dec 2002 16:14:31 +0100 From: Marjolein Berger <marjolein@v2.nl> Subject: DEAF03: workshop Media Knitting Workshop 'Media Knitting' A three-day hands-on workshop during the Dutch Electronic Art Festival 2003 (DEAF03 'Data Knitting') organized by V2_, Institute for the Unstable Media. Data: Wednesday 26 February 2003, 12.00 - 22.00 hours Thursday 27 February 2003, 12.00 - 22.00 hours Friday 28 February 2003, 12.00 - 20.00 hours, public presentation of the workshop results 20.00 - 22.00 hours Location: V2_, Eendrachtsstraat 10, Rotterdam, The Netherlands Costs attendance: 100,- euro (including lunch and drinks) Collaboration between developers and artists from different disciplines often results in merged media or new media formats. 'Media Knitting' is a three-day hands-on workshop for artists, engineers, and designers working with software to knit various media formats and applications together for live or real-time interactive performances. The scope of the media used for collaboration in 'Media Knitting' will include video, streaming media, audio and 3D modelling. In this workshop thirty participants can work together to discover and patch each other's disciplines together by means of software and human interaction. Several experts will be brought in from the commercial software field for Mac and Windows as well as from the field of open source and free software. Among the software facilitated for this workshop are Max-MSp, Jitter, V2_Jam, PD, Blender, Cyclops, BigEye, gstreamer, Nato, MoB, FreeJ and Touch 101. The participants and the workshop leaders will work together to realize performances or media jam sessions. The end result of the workshop will be presented in an informal media concert open to the audience of the Dutch Electronic Art Festival 2003 (DEAF03). Workshop leaders: Amy Franceschini (USA) and Guy van Belle (B). Participants are encouraged to bring their own laptop and software. Application forms for participants can be found on http://deaf.v2.nl/mediaknitting Application is possible until 15 January 2003. If you have any questions about the workshop please contact Lobke Hulzink by e-mail workshop@v2.nl. ------------------------------ Date: Fri, 27 Dec 2002 16:40:45 +1100 From: "geert lovink" <geert@xs4all.nl> Subject: conference: the politics of code (oxford, feb. 6) http://pcmlp.socleg.ox.ac.uk/code/ The Politics of Code: Shaping the Future of the Next Internet Thursday, 6th February 2003 A one day public conference organised by the Programme in Comparative Media Law and Policy, and the Oxford Internet Institute, University of Oxford The Internet is at a crossroads, critical choices will be made in the coming months about the Internet's architecture that will shape the Internet for years to come. PCMLP and the OII are therefore convening a conference in Oxford to not only identify what those critical choices are, and to discuss in an innovative cross-disciplinary set-up of practitioners and academics how we can shape the future of the next Internet. High profile speakers - among them Prof. Larry Lessig, renowned thinker on Cyberlaw and Esther Dyson, celebrated digerati and founding chairman of ICANN - will discuss the key choices that need to be made on privacy, security, access, openness and control in the design of Internet technology and Internet Governance. This conference will examine how the underlying architecture of the Internet - which consists of standards, protocols and software code - creates new public policy issues and requires new approaches from policy-makers. Speakers will address how seemingly narrow technical developments such as IPv6, digital rights management systems, and digital identity and authentication technologies have the potential to fundamentally transform the global network. a.. Is the Internet moving from an open to a closed communications medium? b.. Is access to the Internet likely to become more controlled and mediated at the expense of personal freedom? c.. Do standards that are being developed have a negative impact on innovation and the growth of the Internet? The challenge, and main point of debate, is to create governance processes for the global network, which are able to foster technical innovation and take political values into account. The event will be hosted at the Oxford Union; a name synonymous with famous speakers and world class debating. Steeped in history, the Union was founded in 1823 as a forum for the free exchange of ideas. The great debating chamber, where the event will take place, has seen such speakers as Winston Churchill, Mother Teresa and Kermit the Frog. ------------------------------ Date: Sat, 4 Jan 2003 09:08:24 -0500 From: Creativity Course <mail@createcourse.com> Subject: Summer Creativity Courses in Europe Summer Creativity Workshops in Europe: http://www.creativitycourse.net We are all born imaginative, curious, creative, but these qualities can fade with the passage of time. The Creativity Workshop’s aim is to help people get their imaginations back. Hello, My name is Karen Bell, administrative associate of the Creativity Workshop and I want to give you our latest news. Whether you are a writer, a business person, a teacher, or an artist, the Workshop can help you discover and nurture your particular way of expression and break through the fears and blocks that inhibit creativity. Working with more than 2,000 individuals, businesses, and institutions since 1993, the Creativity Workshop helps people believe in and develop their creative process through using a unique series of exercises in memoir, creative writing, visual arts, sense perception, brainstorming, and storytelling. This summer we have added new 7-9 day workshops in Prague, Crete, and London! We still have our very popular workshops in Florence, Barcelona, and Paris as well! See below for our upcoming Europe and New York City Workshops and read more about the Creativity Workshop: writing, storytelling, drawing, and personal memoir, You can also go directly to our extensive informational site: http://www.creativitycourse.net info@createcourse.com Regards, Karen Bell Administrative Associate info@createcourse.com Tel: (212) 922-2153 2003 Calendar and details: The Creativity Workshop was established in 1993 by writer Shelley Berc and multimedia artist Alejandro Fogel to provide an alternative to traditional forms of education and thinking. Its emphasize is on process rather than product. The organization is dedicated to teaching individuals and groups about their creative processes and how to use them in all aspects of their work and lives. The Workshop's goal for participants is refined creative skills, expanded perception, innovative problem solving, inspired brainstorming and ways of looking at life as exciting and transformative. CALENDAR JUNE Island of Crete June 17 - 27, 2003 9 day workshop Tuition + accommodations packages available from $1,450 Florence June 29- July 9, 2003 9 day workshop Tuition Fee: $1,100 Tuition + accommodations packages available from $1,450 JULY Paris July 10 - 20, 2003 9 day workshop Tuition Fee: $1,100 Tuition + accommodations packages available from $1,800 Barcelona July 23 - August 2, 2003 9 day workshop Tuition Fee: $1,100 Tuition + accommodations packages available from $1,450 AUGUST Prague August 4 - 14, 2003 9 day workshop Tuition Fee: $1,100 Tuition + accommodations packages available from $1,450 London August 17 - 24, 2003 7 sessions in 6 days Tuition Fee: $1,100 Tuition + accommodations packages available from $1,600 WINTER/SPRING WORKSHOPS IN NEW YORK CITY (2, 4, AND 7 DAY) February 15 - 16, 2003 2 day weekend workshop (8 contact hours) Saturday and Sunday from 11:30 AM to 4:30 PM Tuition Fee: $350 March 15 - 16, 2003 2 day weekend workshop (8 contact hours) Saturday and Sunday from 11:30 AM to 4:30 PM Tuition Fee: $350 March 28 - 31, 2003 4 day intensive workshop (16 contact hours) Friday, Saturday, Sunday and Monday from 4 PM to 8 PM Tuition Fee: $600 April 19 - 20 2003 2 day weekend workshop (8 contact hours) Saturday and Sunday from 11:30 AM to 4:30 PM Tuition Fee: $350 May 17 - 18, 2003 2 day weekend workshop (8 contact hours) Saturday and Sunday from 11:30 AM to 4:30 PM Tuition Fee: $350 May 24 - 30, 2003 (Memorial Day weekend) 7 day intensive workshop (21 contact hours) Monday through Saturday, 5 to 8 PM Tuition Fee: $950 Tuition + accommodations packages available If you are interested in reading more about the Workshop, we can send you some very interesting magazine articles and interviews with the directors, Shelley Berc and Alejandro Fogel which will give you a deeper idea about the workshop's techniques, origins, and results. Regards, Karen Bell Administrative Associate info@createcourse.com =================================== What people say about the Creativity Workshop "This is my third workshop coming up and I can't wait! Shelley and Alejandro ever so gently are able to get us fellow travelers (and not students) in to a discovery mode that emerges us deep into the experience of our very own creativity. You are magicians who invite us to return to the best of our childhoods. Once there we recapture those golden days of play and dream and fantasy. I'm very happy to know and experience the alchemy that you label a creativity workshop. Professor Carroll Blue, School of Communications, San Diego State University, San Diego, USA "The new millennium needs bold, creative men and women who can turn their dreams into reality... Shelley Berc and Alejandro Fogel show how you can do this through their challenging and inspiring creativity workshops...even a simple first contact will prove what these two talented teachers can do for your own gifts." Dr. Kirpal Singh, Writer, Professor, Singapore Management University. "I feel as though I now have a focus, a method, a way of evolving my ideas and that the means are just as important as the end. I have created environments just to create in, and environments just to display the work in. My vision of attending to each detail, sound, smell, texture, substance... is starting to find a home. Thanks for opening my eyes to these essential aspects of creating through your guidance and example." Student. University of Iowa, Iowa City, USA. "This class was THE MOST enriching, enlightening, inspirational class I have ever taken. The way I work and what I create will never be the same." Student. University of Iowa, USA. "Shelley and Alejandro's Creativity Workshop is amazing in that it breaks down all your fears about thinking and writing. If it wasn't for them I fear I never would have finished my master's thesis. I was blocked until I took this course." Francesca Salidu PHD candidate in Shakespeare, University of Pisa. San Miniato, Italy. "Shelley Berc and Alejandro Fogel taught their Creativity Workshop as American Cultural Specialists under the United States Information Service auspices. To say that they were extremely effective is a vast understatement. I would unreservedly recommend their course. They have abundant creativity, energy, and a wealth of skills." Gloria Berbena, Asst. Cultural Attache, US Information Service, US Embassy. Rome, Italy. "A special experience. Berc and Fogel opened us up to new and wonderful ways of looking at our creativity." Belkis Bottfeld, PHD, psychologist. Istanbul, Turkey. ===================================== The Creativity Workshop has been taught at educational and government institutions and for corporations. Corporate and Business The Walt Disney Company, Procter & Gamble, Bristol - Myers Squibb Colgate-Palmolive, Caterpillar, Berlitz International, Bayer, AG, HBO, Chartercom, Breslow Partners, Negotiation Mastery Inc. i-traffic, Go2net, LPK, KFAssociates, Cross Country, Travcorps, lL'actualitÈ, The4 [creative network], The Nature Conservancy, Zimmerman Financial Group, RIA, Sprint PCS, Cerebellum, Pfizer Education and Arts Institutions National Institute of Education at Singapore University. Singapore. University of Iowa. Iowa, USA. Munich Television and Film School. Munich, Germany Yldiz University. Istanbul, Turkey.Nerengi Institute. Istanbul, Turkey. Scuola Drammatica San Remo. San Remo, Italy. Academy of Drama and Film. Milan, Italy. Prague Summer Writers Workshop. Prague, Czech Republic. Writing Beyond the Walls. Lucca, Italy. Spoleto Arts Symposia. Spoleto, Italy. United World College. Trieste, Italy. Australian National University. Canberra, Australia. Australian National Playwright Conference. Canberra, Australia. NSW Writers Workshop. Sydney, Australia. Performance Studies Department. University of Sydney. Sydney, Australia. Hungarian Ethnic Artists Festival. Kisvarda, Hungary. Art School of the Aegean. Samos, Greece. Scuola Sagarana. Lucca, Italy. The Art Alliance. New York, USA. Portland Stage Company. Portland, ME, USA. Media Communications Association, USA. University of California, Berkeley, DePaul University, Columbia University, San Diego State, University of Michigan, George Washington University, Phillips/Exeter Academy,The American School of Warsaw, International School of Prague, Washington International School, The American School of Asuncion, Paaraguay, Hong Kong International School, The Chinese University of Hong Kong, Southampton College, La Guardia Community College, Sidwell Friends School, The University of Vermont, Minnesota, State University, Moorehead college, Diablo Valley College, Atlanta International School, Dominican University of California, University of Missouri-Columbia, Sarah Lawrence College, University of Nebraska Lincoln, Northern Michigan University, Creighton University, IB World School, Canadian Academy of Japan, The American School in London, The Overlake School, Brown University, Macquarie University, California State University, Chico, Open Society Institute ñ Budapest, St. John's International School, Indiana University, The University of Wisconsin Madison, Florida International University, The University of Western Australia, East Carolina University, Saint Louis Priory School, The American International School of Budapest ,The University of Prince Edward Island. Government US State Department, Washington, D.C,., USA, US Embassy. Tel Aviv, Israel., US Embassy. Rome, Italy. US Consulate. Milan, Italy. US Embassy. Istambul, Turkey. US Embassy. Canberra, Australia. US Embassy. Budapest, Hungary. US Embassy. Singapore. ===================================== The teachers Shelley Berc is a writer and teacher. She was a professor of the International Writing Program at the University of Iowa from 1985-2000. Her novels, plays, and essays which include 'The Shape of Wilderness', 'A Girl's Guide to the Divine Comedy' and 'Theatre of the Mind' have been published by Coffee House Press, Johns Hopkins Press, Heinemann Books, Performing Arts Journal and Theatre Communications Group Press. Her plays have been produced by theatres such as the American Repertory Theatre, the Yale Rep, and the Edinburgh Festival. Alejandro Fogel is a visual artist and teacher working in painting, site installations, video and digital art. He has exhibited his works in galleries and museums in Argentina, Bulgaria, Cuba, France, Hungary, Israel, Italy, Netherlands, Spain, United States and Germany. His ongoing project 'Root to Route' chronicles his father's journey through the Holocaust years. His work is in private collections and museums around the world. Berc and Fogel explain in theory and demonstrate in practice the concepts of originality, 'appropriation', memory and imagination. Under their guidance, participants explore their own creative processes through different writing and drawing exercises. They emphasize the intimate link between personal and public spheres, individual and social practices, history and myth, dream and reality. The focus of the workshop is on process not product and to help participants find life-long tools of creative expression. Shelley Berc and Alejandro Fogel have taught their Creativity Workshop internationally. They have lectured on creativity and their own work at universities and cultural centers throughout the world. ===================================== Contact us through our web site: http://www.creativitycourse.net Tel: (212) 922-2153 ===================================== TO UNSUBSCRIBE: Reply to this message with the Subject: UNSUBSCRIBE ------------------------------ Date: Sat, 04 Jan 2003 22:08:03 -0800 From: OEH /BIPOL <bipol@akbild.ac.at> Subject: EUPHORICUM 1 (15./16.01) Ein Symposium =?ISO-8859-1?B?/GJlciBkaWUgWnVrdW5mdCB2b24gS3Vuc3R1bml2ZXJzaXTk?=ten VERANSTALTUNGSHINWEIS/ Mit der Bitte um Weiterleitung - ----------------------------------------------------- > EUPHORICUM 1 | Ein Symposium ueber die Zukunft der Kunstuniversitaeten | 15./16. Jaenner 2003, Akademie der bildenden Kuenste, Wien | Schillerplatz 3, 1010 Wien | ŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠ Die ÖH an der Akademie der bildenden Künste veranstaltet am 15./16. Jänner erstmals in Zusammenarbeit mit dem Rektorat der Akademie der bildenden Künste, Wien ein Symposium über die Zukunft von Kunstuniversitäten. Im Rahmen dieses Symposiums wollen wir die Diskussionen über zukünftige Entwicklungen und mögliche Alternativen der Kunstuniversitäten, welche bislang vor allem in Gremien und kleinen Kreisen stattfanden, auf einer breiteren Ebene führen. Dabei geht es nicht darum Lösungen zu proklamieren, sondern vor allem einen Anstoss für weitere Diskussionen und Entwicklungen zu geben. Ausgangspunkt soll eine Präsentation der Lehrmethoden und Arbeitsweisen an der Akademie bilden. Daran anschließend werden in Gastvorträgen einige alternative Modelle und Vermittlungspraxen vorgestellt, welche der - den ersten Tag abschließenden - Podiumsdiskussion als Impuls dienen sollen. Die am zweiten Tag stattfindenden Workshops zu drei Diskussionsschwerpunkten sollen einer intensiveren Auseinandersetzung mit den am Vortag skizzierten Themen dienen. Wir hoffen auf euer Interesse. ŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠ > Programm | ° Mittwoch, 15. Jaenner 2003 | // 11:00 - 12.30: Begruessung und Bestandsaufnahme | Runde der Lehrenden, Moderation: Ascan Breuer/Patricia Reschenbach, | anschl. Diskussion | // 13:00 - 18:00 Gastvorträge | > Stephan Schmidt-Wulffen | Stephan Schmidt-Wulffen ist derzeit Rektor an der Akademie der bildenden | Kuenste, Wien | | > Bryan Davis/Laura Quarmby | "New initiatives, old problematics" | Bryan Davis und Laura Quarmby sind KuenstlerInnen, leben in | Edinburgh/Leeds und sind seit 1998 Mitglieder der Protoacademy. | | We would like to imagine the setting up of a new Art Academy. In this | simulation there would be about 15 - 25 artists, coming together around | one initiator. Free University it is open for all citizens to join, and it | has a focus on dialogue and creating relevant international artists. The | presentation for "Euphoricum 1" will focus on running this hypothetical | situation to its endgame. Through an analysis of its structure we hope to | expand on some problems, theories, possible solutions, and many-sided | arguments that such a project would encounter. | | > Judith Hopf | "Freie Klasse Berlin" | Judith Hopf ist Kuenstlerin und haelt dz. einen Lehrauftrag fuer | Theorie/Gestaltung an der Merz Akademie, Stuttgart. | | Über die Vor- und Nachteile sowie die Aussichten einer möglichen | KünstlerInnensubjektivität, welche sich nicht nur im großen merkantilen | Gedränge behaupten kann. | | > Elsebeth Joergensen/Sofie Thorsen | "Aircondition, A Student Initiative" | Elsebeth Joergensen und Sofie Thorsen sind Kuenstlerinnen, leben in | Kopenhagen und Wien. | | A student initiative and the reconstructing of a department at the Danish | Royal Academy of Fine Arts. | | > Kaucyila Brooke | "CalArts" | Kaucyila Brooke ist Kuenstlerin und Direktorin fuer Fotografie am | California Institute of Arts, Los Angeles. | | // 18.30: Podiumsdiskussion der TeilnehmerInnen, | anschl. Buffet / DJ´s | | ___________ | ° Donnerstag, 16. Jaenner 2003 | | // 11.00 - 12.00: Vorstellung der Workshopthemen | | // 13.00 17.00: Workshops | | Die am zweiten Tag stattfindenden Workshops sollen einer intensiveren | Auseinandersetzung mit den am Vortag skizzierten Themen dienen. Den | Rahmen fuer die Versuchsanordnung mit Lehrenden, Studierenden und Gaesten | bilden drei Diskussionsschwerpunkte: | > Workshop I: Theorie und Praxis | Theorie und Praxis scheinen Begriffe mit feststehenden Bedeutungen zu | sein. Oder sind sie es eben nicht? Gerade die Aufloesung und Vermischung | der Bedeutungsebenen laesst ein Spannungsfeld entstehen, welches es zu | untersuchen gilt. Woran wird diese Trennung also dennoch festgemacht und | welche Konsequenzen ergeben sich daraus fuer das Studium? Nach welchen | Kriterien wird an der Akademie unterschieden und in wieweit verstaerkt | eine Aufteilung in Institute die Trennung der Begriffe und Felder? Und wo | wiederum werden diese Aufteilungen permanent unterlaufen? Welche | Bedeutungen lassen sich hieraus ableiten? | Ausgehend davon, dass Theorie und Praxis sich gegenseitig bedingen und | nicht zu trennen sind, stellt sich die Frage nach der Anwendbarkeit dieser | berlegungen innerhalb eines Studiums an der Akademie. | > Workshop II: MeisterInnenklassen vs. alternativer Systeme | Alle sind ExpertInnen. Alle Klassen sind offene Klassen. Und finden wir | nicht doch MeisterInnen und geschlossene Raeume an der Akademie? Jagen wir | doch tagtaeglich dem Genie hinterher? Welche Vor- und Nachteile bildet die | eigentlich nicht mehr existente MeisterInnenklasse dann vielleicht doch? | Aber vor allem, welche Systeme entsprechen unseren Vorstellungen? Wie kann | ein anderes Kunststudium also aussehen? Was fuer alternative | Moeglichkeiten gibt es? Wo und wie lassen sich diese verwirklichen? | Schreiben wir Kunst kritisches Potenzial zu, so ergibt sich die | Notwendigkeit der stetigen berpruefung aktueller Lehrmethoden und ihrer | Position im gesellschaftlichen Kontext. | > Workshop III: Freiraeume | Welche Aufgaben und Funktionen haben Freiraeume? In welchem Verhaeltnis | stehen diese zu Institutionen bzw. gibt es ueberhaupt | nicht-institutionelle Raeume? Wie koennen sich freie Raeume konstituieren | und welche Konflikte sind an den Bruchlinien zwischen Organisation und | Sponanitaet zu erwarten? | Aufgrund der Annahme, dass es kein Aussen gibt, scheint die Frage nach den | Wegen des Kampfes fuer Freiraeume und Selbstorganisation die Wichtige zu | sein. Weiters darf die Produktion von Raeumen nicht der Affirmation des | Erlangten erliegen, sondern muss sich stetig selbst reflektieren. | | // 17.30: Praesentation der Workshops, Diskussion | ŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠ ° Ort: Akademie der bildenden Künste Wien/ ° Schillerplatz 3, 1010 Wien (U1/U2/U4 Karlsplatz) ° ° Eine Veranstaltung der ÖH an der Akademie der bildenden Künste in ° Zusammenarbeit mit dem Rektorat der Akademie der bildenden Künste, Wien. ° Nähere Informationen im Internet: http://t4.lo-res.org/ ° ° Oesterreichische HochschuelerInnenschaft ° Akademie der bildenden Künste Wien ° Schillerplatz 3, 1010 Wien ° oeh@akbild.ac.at ŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠŠ ------------------------------ Date: Wed, 25 Dec 2002 10:45:18 +0100 From: Kalina Bunevska <kbunevsk@soros.org.mk> Subject: Invitation The Contemporary Art Center - Skopje, Macedonia cordially invite you to attend the opening of the exhibition SURROGATES (25.12.2002. - 15.01.2003) Concept and curator: Nikola Gelevski Participants: - - Igor Tosevski - - Miroslav Stojanovic - Suki - - Studio and Graphic Design KOMA - - Tochka TM Wednesday, 25.12.2002, 8 PM CIX gallery (Orce Nikolov 109) ------------------------------ Date: Thu, 26 Dec 2002 11:50:24 +1100 From: "geert lovink" <geert@desk.nl> Subject: REFLEXIVE REPRESENTATIONS (conference/germany) From: "Markus Wiemker" <markus.wiemker@post.rwth-aachen.de> REFLEXIVE REPRESENTATIONS: DISCOURSE, POWER AND PRACTICE IN GLOBAL CAPITALISM 1st Transdisciplinary Forum Magdeburg (TransForMa) 2003/7/4-6, Otto-von-Guericke-University, Magdeburg, Germany "Globalization" refers to a set of problems that, after 1990, have taken center stage in the political imaginary. In most cases, discourses of globalization address the economic and technological unification and homogenization of the world as well as the social, political and cultural consequences of an expanding world market, of the internationalization of production, and of the free circulation of capital and information. Simultaneously, emphasis is put on the ruptures and diversifications that occur on the regional and local levels. It is the objective of this international conference to engage in theoretical, historical and practical reflections on the discursive, social and political problems of representation in the wake of an emergent global capitalism. "Representation" implies a set of questions that have - inspired by both the linguistic turn and radical constructivism - crucially informed the theoretical debates within the humanities. Representation is a multi-layered complex situated on various levels: 1) Representation as the problem of the constitution of reality. In this respect, the crucial questions are: What is being represented in what way? How are objects represented textually, iconically and socially? 2) Representation as the problem of perspectivality and locatedness of knowledge. Here the crucial question is: In what ways is knowledge produced? This includes the problem of the production of knowledge and its radical self-interrogation (e.g. as epistemic violence). 3) Representation as the problem of political delegation. Here the crucial question is: Who speaks on whose behalf / in whose name? This problem involves the possibilities of political articulation and practice. Taking the problem of representing the global for a starting point, the presenters are invited to focus on theoretical, political/practical and social/historical problems. We are looking forward to contributions that engage with the conditions of contemporary world (class) society and the ensuing dilemmas of representation from recent critical theoretical perspectives. We are hoping for a productive polylogue of various approaches (such as marxist, feminist, postcolonial, constructivist, systems theory) and disciplines (sociology, cultural studies, international relations, history, philosophy, literary theory etc.). Contributions may focus on some of the following key issues, among others: . sovereignty, citizenship, new global constitutionalism . good governance, neocolonialism, postcolonialism . political economy of science and media . nation state and world society: challenges for social and cultural theory . the political as practice: critique of globalization and new political subjectivities? . nature, ownership, technology, world society . postmodernity - second modernity - late modernity? . biotopes - sociotopes - semiotopes . global texts . new media and new informational economy . postmodern cultures and media society . performativity and power Conference languages: English and German. Submission of proposals and all further information at http://www.transforma-online.net, contact: info@transforma-online.net (Johannes Angermüller). Deadline for submission of proposals (250 words) April 1st, 2003. Competitive, refereed selection. Deadline for a four-page short version to be published on the web page: June 1st, 2003. We plan to publish selected contributions in the proceedings. Organizers: Johannes Angermüller (Department of Sociology), Jörg Meyer (Department of Political Science), Dirk Wiemann (Department of Foreign Languages) Markus Wiemker University of Mannheim Media and Communication Studies Room: 203 - L5,1 68131 Mannheim Germany Tel: +49 (0) 621 181 2301 Fax: +49 (0) 621 181 3114 www.wiemker.org www.uni-mannheim.de/mkw wiemker@uni-mannheim.de ------------------------------ Date: Wed, 01 Jan 2003 18:08:48 -0800 From: Christina McPhee <christina112@earthlink.net> Subject: -Empyre- for January: Mechanisms of Exposure - -Empyre- for January 2003: Mechanisms of Exposure: Cyberpresence and the Poetics of Spatialized Film - -Empyre- welcomes in the new year with two European performance and sound artists, Maria Tjader-Knight of Finland and David Knight of the UK to discuss their work, "Mechanisms of Exposure". Based in Brussels and Helsinki, Maria Tjader-Knight and David Knight create film like spatializations in cd rom and installation. The sheer enormity of the disparity between the scale of content expressible by code versus the scale of content experientially and cognitively recognized through human contextual and analog processing makes us long for perfect code, that is to say, a complete unified field ideology and syntax. Beneath the nostalgia for coherence and developmental controls one feels the cold winds of the totalitarian past, when in the mid twentieth century another obsession with the topdown comprehensive code of development - comprehensive planning and development - a unified field- as the mode through which architectonics, place, and human presence locate and are determined led to much violence. Humans and their sense of the local and particular themselves became the Œsublime¹ relative to machine space and machine consciousness. At the brink of war again in a new century, empyre invites two artists whose work engages an intimate scale of phenomenology and the personal in a new poetics of spatialization beyond both digital and analog in a performative post-mix. Mechanisms of Exposure showed at Galerie Espace Blanche, Brussels, in 2002 and toured as part of the New York International Independent Film Festival in New York, Las Vegas and Los Angeles in 2002; it was featured in the FILE 2002 Electronic Language Symposium and Exhibition. Online, please see <http://www.tjader-knightinc.com/work/exposure/> Maria Tjader-Knight (FI), printmaker/performance artist, received the Master of Arts in spring 2000 from the University of Art and Design of Helsinki, Finland and is currently developing a Doctoral Thesis under the title FEMININE BODY AS A WRITER: Perfor(m)ing Visual Arts; an interdisciplinary study to challenge the stability of the visual bodies in the focal points of digital media, arising from the feminist cultural critique elaborating from the post-structuralist deferral theory. David Knight (UK), experienced light and sound engineer, is currently developing soundscapes, aural destinations and computer software, hardware and networks to fulfill the challenges of digital creation. TJADER-KNIGHT inc. was established 2000 to give a solid basis for collaboration between these two artists . 2002 TJADER-KNIGHT inc. established BoringArt.com and open the gateway for BoringTexts.com. for a brief CV http://www.tjader-knightinc.com/cv.htm - -- Christina McPhee <http://www.christinamcphee.net> <http://www.naxsmash.net> - -- Christina McPhee <http://www.christinamcphee.net> <http://www.naxsmash.net> - -- Christina McPhee <http://www.christinamcphee.net> <http://www.naxsmash.net> ------------------------------ Date: Fri, 3 Jan 2003 13:21:19 -0000 From: "rachel magnusson" <rachel@sarai.net> Subject: Crisis/Media Workshop Crisis/Media: The Uncertain States of Reportage Sarai-Waag Workshop at Sarai-CSDS, Delhi March 3-5, 2003 "The hottest place in hell is reserved for those who tried to stay neutral in times of crisis..." The Inferno, Dante Alighieri Crisis/Media, is a conference that will bring together media professionals, activists, and scholars to discuss crisis in the media, and the crisis of the media today. Since September 11, crises in the media have become everyday events and have taken on global dimensions. But what happens when crisis becomes commonplace? How can media tell the stories behind/beneath the crisis? How are the tensions between local/global, mainstream /alternative, event/representation unfolding? In thinking about these and other questions, the conference will try to focus on both the ways in which media cover/create/manage spectacular crisis events, and on the crisis that this reportage has produced for media itself. (For a full description See Below) Key Issues: * Are the Crises in the Media, the Crises of the Media? Where do the lines between reporting in the mainstream and the alternative media harden, and where do they blur? * Has the "broadcast" model, which was the mainstay of the big media business, proved to be too bulky and too conservative in a world in which things change by the minute? * Has the internet really made it possible for correspondents to be co-respondents to the realties of a changing world? Sessions: * South Asia : Bearing Witness to the Truth in Difficult Times * Correspondents in the Crossfire : Reporting Situations of Conflict * The Crisis of Everyday Life : Dispatches from Global Cities * Stories of Earth and Water : Reporting Ecological Crises * The Future of Global Independent Media Activism Special focuses and reports from: South Asia, Argentina, Australia, the Balkans Activities: Plenaries, Discussions, Open Sessions, Screenings Presentations: Apart from previously scheduled presentations, the workshop will feature some open sessions. If you are interested in making a presentation in one of the open sessions, please send a brief description of what you want to do to crisis-media@sarai.net Support for Travel and Accommodation: In general, we will not be able to cover any transport or accommodation costs, for coming to Delhi for the workshop, or for staying in Delhi. If you need a letter of support from Sarai, in order to raise funding for a trip that you are planning, then we will be happy to send you one. Write to rachel@sarai.net asking for a letter of support. Pre-Registration: If you are not presenting a paper but wish to attend the conference, you can pre-register by sending an email to crisis-media@sarai.net. Webpage: For updates, notices, and schedules from now until the workshop, check www.sarai.net/events/crisis_media/crisis_media.htm Links to various interesting resources and readings are also available from this webpage. For further details contact rachel@sarai.net Full Description: CRISIS/MEDIA : The Uncertain States of Reportage Ever since the events of September 11, the image of a world in crisis is something that we have grown accustomed to. It is not as if crises have not had global dimensions before. Perhaps all that is different is the frequency, intensity and reiteration of the reportage of crises, an epidemic of images and data of a world out of sorts with itself, which marks and distinguishes the contemporary moment on a global scale. In times like this to attempt to be 'objective' or 'neutral' is to become a mercenary of power, a purveyor of platitudes. At the same time, we have little understanding of the complex professional and ethical dilemmas that bedevil the act of the media's bearing witness to our world. The crisis in the media are the crisis of the media. The rise of new information technologies has ensured that crises are reported and commented upon even as they unfold on our television screens, radio programmes, newspaper pages and computer monitors. The trailers advertising news programmes have made images of war, violence, terrorism and disaster the staple diet of the twenty first century's quotidian sense of the world. Each bulletin anticipates tomorrow's, or the next bulletin's crisis, the very next crisis. So that the breaking news may break even, all day, everyday. And yet, often, they are relinquished to the oblivion from which they emerged, as rapidly as they emerged. If the spectacle of the crisis becomes quotidian, banal and commonplace, does it make sense to speak of a "crisis" anymore, as a temporally distinct phenomenon, a time apart from the rhythms of normal time? Or does this overproduction of crises give us an opportunity to reflect on the making and unmaking of crises, their announcement and forgetting? Does it allow us to ask questions about media in crisis with themselves, about their offerings of uncertain truths to shadowy audiences. In what way do emerging alternative paradigms of reporting and commenting on crises, like the Indymedia Network, themselves become the raw material for mainstream news processing. Where do the lines between the mainstream and the alternative harden, and where do they blur? Has the "broadcast" model, which was the mainstay of the big media business, proved to be too bulky and too conservative in a world in which things change by the minute? Has the internet really made it possible for correspondents to be co-respondents to the realties of a changing world? To reflect on these and other related issues, Sarai : The New Media Initiative at the Centre for the Study of Developing Societies, Delhi and the Society for Old and New Media, Amsterdam will be hosting a three day international seminar titled - "Crisis/Media : The Uncertain States of Reportage." This conference will deal with both the ways in which media cover/create/manage spectacular crisis events and also how they deal with the aftermath of crises. One of the aims of the conference is also to shift the focus of reflection away from simply looking at the 'event' of the crisis to looking at the structural processes that anchor what gets reported as 'the crisis', in everyday life. Typically, the media crews arrive instantly whenever a "Crisis" hits the surface of what is constructed as 'Global Consciousness'. Usually, by the time this happens, the locally available human, cultural and intellectual resources available in that society have been severely depleted. This means that the "crisis" is interpreted and made intelligible mainly by 'experts'. This also means that the global media fails very often to recognize the varied approaches to "living" the crisis that exists on the ground, it also makes the crisis a unique event, unrelated to what might be linking it to events and processes elsewhere. The "crisis" then gets reported away as an instance of that happens to 'other' people and 'other' spaces whose realities are fundamentally different form that of those who view the crisis from outside. Typically, the crisis is treated as something that no one, not even the people the media crews interview can make sense of, almost as if it had no history. Finally, the media brings in celebrity intellectuals and pop figures to ethically salvage the event for the viewers as a cathartic experience and offer redemption as a therapeutic act. Of course no one asks the question as to why no one was paying attention to the situation when there were people trying to make sense of it before journalists, cultural workers, intellectuals, activists, human rights groups and other interlocutors succumbed to the crisis that retrospectively seems unfathomable. The problem cannot of course be posed simply in terms of 'local voices' versus 'external reportage'. Local voices may be implicated in the crisis itself, and may be either acting to fuel it, or be silenced by it - just as the reporter who flies in from elsewhere may either seek to turn the crisis into a unique spectacle, bereft of context and history, or, be the 'necessary outsider', who can be trusted to listen and report in a manner that is true to the facts on the grounds without fear or prejudice . The imperative of critical, analytical reportage, that tries to weave together a complex pattern of voices, motivations, facts and processes is a function of sympathy, intelligence, curiosity and a commitment to the freedom of information that is neither reducible to 'local knowledge' nor to the 'universal' agendas of freedom and justice, but is in each case a unique combination of distance as well as intimacy. Each situation engenders its own vantage points, which can be identified as the centres towards which the truth about the crisis tends to gravitate. The conference will seek to understand this dynamic of the shifting dynamic of truth and its relation to the tensions between closeness and distance, the local and the global, the mainstream and the alternative versions of the crisis and how it unfolds, as event and as representation. The conference will bring together media professionals, activists and scholars in order to create a dialogue between different kinds of approaches and spaces. We hope to learn from different crises about the processes that were similar. We will learn from Kosovo about Gujarat, and from Gujarat about Rwanda. We will examine structural similarities in the restrictions on civil liberties after 9/11 across the world; we will also assess how the media makes sense of the continuing economic crisis in Argentina. We will examine how popular culture and cinema 'memorialize' crisis situations, or, create the conditions for selective amnesia. We will view riots in relation to the degeneration of everyday life, and see unfolding unreported crises in realities that have to do with water, housing, health and the environment. Crisis Media will first of all recognize that there is a crisis in and of the media, and this cannot be addressed simply by calling for less reportage and more analysis. Instead we will argue for analysis in the reportage, and a disruption of the apparatus of centralized and centralizing information networks. We need to break down the same images that everyone sees, worldwide, in many different ways. And we need to find news ways to tell stories, and to distribute the untold story. The problem of critical media analysis of global crises so far has been to deconstruct the ownership of media and its ideological agenda, attempting to uncover a 'truth' of state and corporate control behind the news. The conference takes this for granted, and seeks instead to ask how we may go beyond it, and how alternative media too can stop looking and feeling like cheaply produced versions of mainstream media production. Crisis/Media will be taking place exactly one year after the events of Gujarat 2002, a crisis that was extensively reported and could be either memorialized or passed over in silence by the media as the years go by. It has become customary in situations of extreme violence to try and make sense of the terror in terms of atavistic and primordial passions, in terms well rehearsed in the Huntingtonian theses of the 'Clash of Civilizations'. In a peculiar sense, this 'normalizes' the crisis more than anything else, so the eruption of the crisis is seen in terms of irreconcilable differences, and the return to normality is seen in terms of generous 'cultural' accommodation and reconciliation. Both these explanatory moves, of the eruption and of the return to normality, offer a way out of a critical analysis of the situations that turn into crises. They also offer a way of returning to the 'business as usual' attitude that eventually papers over the crisis as preparations are made to unravel the 'next' crisis on the world stage. The conference will search for paradigms other than the vaguely cultural to understand situations of crisis, so that crises can be encountered intellectually on concrete and material terms. The workshop will have keynote speakers, presentation sessions, open sessions, public interviews, screenings, and exhibitions. The event will be audio streamed and video fragments will be available after the event as streaming files on the website of the Society of Old and New Media. The conference will take place at Sarai, Delhi in the first week of March 2003, after the presentation of the third Sarai reader on February 28, 2003. A team at Sarai will document the proceedings of the conference and interview the presenters to create a log/journal of the conference. Transcripts will be made available on the Waag website. The aim is to edit the material into a publication that can become a benchmark in thinking about media practice ------------------------------ Date: Sat, 4 Jan 2003 14:13:54 +0200 From: "Jussi Holopainen" <jussi.holopainen@pp3.inet.fi> Subject: Sacred Media Conference The international Sacred Media Conference will be held on 10-13, July 2003 in Jyväskylä, Finland. The topics of the conference are: - - Religion and terrorism - - Western media facing otherness - - Sacred technology - - Global media ethics The topics of the sessions are: - - religion as news - - visual truth and reality - - myths, icons and narratives in media contents - - western media facing otherness - - religion and technology - - global media ethics - - theoretical and methodological challenges of research on media and religion For further information, please check this site: www.sacredmedia.jyu.fi Programme Thursday 10 July 16:00 - Arrival and registration 17:00 Reception hosted by the City of Jyväskylä Friday 11 July 8:00 Registration 9:00 Coffee 10:00 Opening Ceremony: Minister of Culture, Archbishop Jukka Paarma, Director General of Finnish Broadcasting Company (YLE) Arne Wessberg 11:15 Plenary I: Western Media facing Otherness. Robert Dannin, giving lecture on "Islamophobia: made in the USA" and Mihály Hoppál 12:30 Lunch 14:00 Sessions 15:15 Coffee Break 15:45-17:15 Sessions 18:00- 21.00 Panel Discussion on Religion and Terrorism Saturday 12 July 9:00 Plenary II: Sacred Technology. Anne Foerst, Michael Pye, Stewart Hoover 11:15 Coffee Break 11:45 Sessions 13:00 Lunch 14:30 Sessions 15:45 Coffee Break 16:15-17:30 Sessions 19:00 Reception hosted by University of Jyväskylä, with a special programme by Wimme Saari ("joiku" - a special traditional unison Lappish chant) Sunday 13 July 9:00 Sessions 10:45 Coffee Break 11:15 Plenary III: Global Media Ethics. Robert White, Zygmunt Bauman, Janina Bauman, giving lecture on "The Memory of Holocaust: The Sources" 13:00 Closing of the conference: Rector Aino Sallinen, The University of Jyväskylä, Archbishop Leo 14:00 Lunch ------------------------------ # distributed via <nettime>: no commercial use without permission # <nettime> is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: majordomo@bbs.thing.net and "info nettime-l" in the msg body # archive: http://www.nettime.org contact: nettime@bbs.thing.net