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Kent Patel <kent_patel@banffcentre.ab.ca> : BNMI Program 2000 | 0 1 |
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M/C <mc@mailbox.uq.edu.au> : M/C - 'end' | 0 2 |
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apiece@distributedhuman.net : open source, proxy | 0 3 |
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gnsc info <info@gnsc.org> : Call for Testbed Participation | 0 4 |
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Linda Wallace <hunger@systemx.autonomous.org> : _PROBE_ | 0 5 |
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Thundergulch <tgulch@artswire.org> : some additional events | 0 6 |
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Shahidul Alam <shahidul@drik.net> : 3rd issue of meghbarta | 0 7 |
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BANFF NEW MEDIA INSTITUTE (BNMI)
**Programs for 2000**
---------------------------------------------------
The Banff New Media Institute is a vital kernel of the creative and economic
infrastructure for new media research, learning, and production. As an
acclaimed international leader, we provide leading-edge seminars, think
tanks, summits and workshops for producers, designers, artists, writers,
directors, software developers, new media content specialists, curators,
scientists, teachers and visionaries.
Our series of workshops cater to, national and international, mid-career and
senior professionals in creation, production, distribution, and financing of
new media content and products. BNMI offers an unparalleled experience
through which the creative, technical and business sectors come together in
an atmosphere based on peer learning and research.
In the year 2000, we will focus on science, art, culture and the fictions of
the next millennium. Our program content is listed below, but if you would
like more information: telephone: 403- 762-6180 or toll free: 800-565-9989;
fax: 403-762-6345; email: arts_info@banffcentre.ab.ca ; our web site will be
updated soon, to visit it now, visit http://www.banffcentre.ab.ca/nmi.
---------------------------------------------------
2000 Programs...
Women In The Director's Chair (already filled)
($2,500)
Friday, January 15 - Sunday, January 29, 2000
An intensive boot camp for mid-career Canadian women directors that takes
the participant through all the stages of a professional production, from
prep through production to post-production. Participants, working on
original material, and supported by a team of senior mentors, break down
scripts, direct professional actors and crews, and work with editors in
post-production. Following the workshop, each graduate is assisted with a
specific next step of her project or career goal.
Writing for Series Television (already filled)
($800)
Sunday, February 7 - Saturday, February 18, 2000
Working with a story editor from a current Canadian TV series, participants
pitch and develop a sample script, apply story editing techniques, learn
about working in Canadian TV. Series writing.
Emotional Computing: Performing Arts, Performance and Interactive Experience
($360)
Saturday, February 19 - Monday, February 21, 2000
Performing arts provide an invaluable resource with which to examine next
generation new media. They combine physical discipline with improvisation,
narrative and provoke emotional experience for the participant. The human
body reminds us of our humanness and vulnerability. This summit searches
for meaningful as well as abstract strategies that bring together our
understandings of presence. New media opens new possibilities for
performers. They might work with cellular technology, colleagues who are
linked by network, or data coming in from satellite or other sources. They
can work the magic between the worlds of the live event studio and the
network. They might play with responsive (smart) costumes or props or
manipulate sound scapes and sets. The audience presence and activity can be
an instrument an interactive work. This event will explore and identify
research issues in cross-disciplinary performing arts and new media. We
will look at methods of collaboration, production planning and analysis.
Participants will discuss educational applications and the development of an
ongoing research network into performance practice and new media. This
event will kick off an international Performance Theory Network in new
media. We encourage making use of performance as an element of your
presentation form. Artists of all disciplines, scientists, theorists and
audience analysts are welcome.
The Art and Fiction of Science Media: Television and Interactive Media
($210)
Saturday, April 29 - Sunday, April 30, 2000
This seminar will explore creative issues, technology innovation and
emerging forms and audiences for science content. We will consider fiction,
documentary and research forms, including recent initiatives by artists in
the use of scientific data. The process of discovery, investigation and
mystery that is part of the excitement of science works well in interactive
form. Science broadcasting has led television in adapting broadcast content
and context to interactive television and web delivery. Broadcasters,
interactive designers and those interested in entering the world of science
broadcasting are encouraged to attend.
New Media for Visual Artists
($180)
Friday, May 19 - Sunday, May 21, 2000
This introductory workshop explores technologies, software and development
strategies appropriate for visual artists. Faculty will focus on ways that
visual art practices can transfer to new media technologies and software.
Installation forms, metaphors appropriate to visual arts, basic software and
design processes will be explored.
Growing Things: The Cultures of Nano Tech, Bio Tech, and Eco Tech Meat Art
($360)
Friday, June 2 - Sunday, June 4, 2000
Many artists are fascinated with the imminent possibilities of designing
life forms, but are we damaging or growing things? How can we open the
lines of communication between Human/Nature/Technology? After all, our
species have intervened into Nature ways for a long, long time. Can we turn
devastation into art? From agriculture, to medical intervention, to
forestry, this millennial summit cultivates collaborations amongst artists,
scientists, ecologists and developers from various industries who have
interests in the accelerated growth of bio and nano tech. Participants are
encouraged to start their experience at the Zero Degree Monstrosities
Festival in Vancouver, the weeks and weekend prior to the event. Join us in
an investigative bus tour through BC and Alberta's forestry, agri and
tourism businesses. In particular Banff, we will share our work, and
together develop analyses, strategies and alliances. Partners are Digital
Earth, Vancouver and the Autonomous University, Mexico.
Banff Television Festival Events
Saturday, June 10 - Sunday, June 11, 2000
Special event on the future of public broadcasting with Banff Centre,
University of Alberta. BTVF.
Sunday, June 11 - Saturday, June 17, 2000
Banff Television Festival
The Banff Centre will present the new media events, television with an
attitude, Cyber Pitch and premiere our new Canadian Cultural Innovation
Initiative works in exhibition at the Walter Philips Gallery. Sessions
consider many topics, including science and science fiction programs in
interactive and linear media.
Interactive Media Design
($540)
Saturday, June 24 - Wednesday, June 28, 2000
This intensive seminar will provide an overview of design and art direction
in interactive media, develop artistic, project development, financing
skills. Outputs include the web, DVD and DVD ROM, location based
experiences. Participants will have access to hands on laboratory as well
as classroom instruction.
Writing for Interactive Media
($360)
Saturday, July 8 - Monday, July 10, 2000
This seminar with a lead writer of entertainment and creative interactive
media provides a deep plunge into developing treatments, scripts, design
documents for interactive media. The workshop includes tips on working with
producers, directors and technical teams. The workshop includes case
studies as well as theory and project brainstorming. Participants are
encouraged to bring treatments, concepts or scripts if these are in
development.
Producing New Media: Money and Law
($360)
Thursday, July 20 - Saturday, July 22, 2000
Producing New Media: Money and Law makes available and develops Canadian,
American and international financing and legal strategies for new media
creative, software and technology development and production. Presenters'
case studies include networked new media, authoring tools, games, artwork,
convergence media. Interim funding to research support is included in the
strategy sessions. Legal discussion includes copyright debates, cyber
tortes, localization and other relevant issues. Stay over for:
Interactive Screen 0.0
($840)
Monday, July 24 - Sunday, July 30, 2000
This is an intensive development laboratory in new media project creation
and development. Bring us your hungry scripts, treatments and project and
we will help you take them to a coherent package and build an appropriate
funding strategy for them. This year, like last, we will delve into the
creative and practical challenges of convergent media, including interactive
television, web projects, platform games, DVD and location based forms.
This is an international development laboratory.
Collaborations: Convergent Services, New Alliances, Creating Assets,
Creating Access, Tactical Media, Filling for Fat Pipes
($480)
Friday, August 18 - Monday, August 21, 2000
It's a twenty-first century mantra: the pipes are hungry for content. At
this strategy session, you will meet multimedia producers, communications
industries, formal and informal networks, researchers, funding agencies,
broadcasters, artists' production networks. We will explore new creative
and production alliances, with the hopes of developing concrete strategies
for the creation of rich networked content, with a special focus on learning
and creativity. How can we build for different delivery platforms? How can
we work with synchronous and asynchronous experiences? How can we
re-purpose linear media into interactive? What services, interfaces and
navigation tools do users need? How can we promote web literacy? Building
on the 1999 Educational Multimedia Strategy and Navigating Intelligence tool
session, this session looks at using creative models to communicate with
larger publics. The purpose is to build national and international
alliances of educational and cultural producers. Our hope is to promote
educational and cultural access to larger communities.
Cutting Truths: Essaying the Real
($360)
Saturday, September 16 - Monday, September 18, 2000
The classical documentary makes use of the essay form, adopting personal or
collective voices of interpretation. Passionate documentary is challenging
to finance and to produce, but powerful to view. How many directors make
use of interactive design to pursue point of view documentary? This seminar
brings together leading directors of documentary, producers, broadcasters,
funding agencies, theatres. Peter Winntonick and Oliver Hockenhall will
work as co-organizers with The Banff Centre. Partners are Canadian
Independent Film Caucus.
Living Architectures: Designing for Immersion and Interaction
($360)
Friday, September 22 - Sunday, September 24, 2000
This research summit will develop approaches to designing highly responsive
spaces, contexts and their contents, including surfaces, network
capabilities, cellular technologies, motion sensing systems, projection and
neural networks. How can we create environments that can link together,
support creative projects and learning and are affordable? What are the
applications for these environments? How can artists, designers,
architects, software creators build a closer alliance? Where do these
design projects fit in the world of public and private art? Should spaces
create context or be content laden? What are the production teams required
for these configurable, changeable environments? We will consider case
studies of projects and their needs as well as existing design protocols.
User involvement in the experience is of key important; we will consider
ways that spaces can be responsive and multi-purpose, a site for town forums
or environmental planning as well as live events. A think tanks for
designers, artists, architects, computer scientists, cultural theorists, and
economists.
----------------------------------------------------
In the Fall of 2000 and Winter 2001:
- Seminars on The Human Voice: Sound and Technology;
- Aboriginal Multimedia, a Seminar on Streamed Media;
- Writing for Aboriginal Broadcast;
- Project Development for Aboriginal Broadcast
----------------------------------------------------
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The Media and Cultural Studies Centre at the University of Queensland
is proud to present issue eight in volume two of the award-winning
M/C - A Journal of Media and Culture
http://www.uq.edu.au/mc/
'end' - Issue Editors: Jason Ensor & Felicity Meakins
The collective 'end' to the world as we know it is robust, diverse and
slippery in definition, frequently subject to the proximity of socially
mythologised dates. In the last century of the second millennium, popular
conceptions and approaches to the 'end' have been represented in public
forums whose disciplines range from the phobic to the pathological, from
the earnest to the comical. The 'end' often reflects an apocalyptic
preoccupation with humanity's destruction. Those of the theological
persuasion, who describe the sequence of events leading to an 'end', use a
glossary which includes exclusive terms like New Jerusalem, Gog and Magog,
Mark of the Beast, Antichrist, Armageddon, Mystery Babylon, Judgment, 666
and the Great Seven Year Tribulation.
But approaches to and perspectives on the 'end' exist also on a more
individual landscape of thought. All of us go through a journey of endings
-- the completion of childhood, schooling, work, relationships, eyesight --
yet all of these phases seem to mark beginnings too. Death tends to be
regarded as the ultimate personal end, which is not to deny the constructed
nature of death. This apparent biological end is also deemed a starting
point for the notion of an other-world and the transformed body in many
religious and secular readings. Besides this aspect, death is discussed
within a savoury array of concepts and issues including mortuary and
funerary practices, necrophilia, euthanasia, exsanguination, cannibalism
and forensic science.
Many of these angles are addressed by the contributions in this issue of
M/C, which is now available online. In order to not favour public over
private, we decided to arrange the collection into two sections:
'critiques' and 'perspectives', with the addition of two guided Internet
tours by the editors.
CRITIQUES
"That Year 2000: The End or a Beginning?"
Endtime expectants are tied to doctrines of theology that define the
'end' in very specialised terms. David Bennett marks out this theological
landscape used to represent and define the apocalypse in Australia.
"The Dream of the Millennium: A Selective Bibliography"
Henry Lawton outlines a variety of approaches to endism and in the
process positions as a central concern questions to do with
representations of the 'end' in popular and intellectual work.
"Spoilers and Cheaters: Narrative Closure and the Cultural Dimensions
of Alternate Reading Practices"
Nick Caldwell takes on another type of Endtimer, the 'spoilers and
cheaters' -- those democratisers of access and evaluation to the 'end' of
a film or game, and re-evaluates the place of the spoiler or cheater in
contemporary reading practices.
"'This Machine Is Obsolete': A Listeners' Guide to Nine Inch Nails' The
Fragile"
>From a listener's perspective, Alex Burns examines the cycles of alien
discontinuity, fragmentation and post-millennium foreboding within a
gritty meditation on 'end', the album The Fragile.
"A Poetic End: Allen Ginsberg's 'Sphincter'"
Physical, individual end can be discussed as 'death', or less obviously
as the rear-end, as Simon Astley-Scholfield has done in his article on
Allen Ginsberg's 1986 poem, "Sphincter" -- he suggests that Ginsberg's
poem indicates a significant point in his writing by marking a transition
in this poet's construction of sexual pleasure.
"The End of 'Bandwidth': Why We Must Learn to Understand the Infinite"
Axel Bruns interrogates the ways in which 'bandwidth' is created and
defined by its users and controllers and suggests the migration of the
term 'bandwidth' to the periphery in favour of a less commercially framed
interpretation -- the intersubjective 'infinite'.
"Dreaming 'My Death'"
Using Levinas and Heidegger, Laurie Johnson proposes that personal death
can be 'experienced' through Other's death. Johnson recounts his own dream
of death to explore the narrative and character of death within this dream.
PERSPECTIVES
"Ends and Beginnings: Observations on Changing the Approach to Our End"
New Zealand Funeral Director Michael Wolffram examines the manner in
which the bereaved construct death through religious and secular belief
systems. He argues that these views on death actually affirm notions of
beginnings rather than the presumed endings.
"End"
Philip Nitschke's article continues this theme of the individual's
empowerment of death. An Australian medical doctor best known for his
strong advocacy of euthanasia and its legalisation, he claims that
statistics are beginning to indicate that individuals who are empowered
with their own deaths achieve an improved quality of life -- be they
terminally ill or well in health.
"Just the Sort of Day Jack Had Always Loved"
Pain and suffering are relative -- or so Donna Lee Brien suggests in an
excerpt from her fictionalised biography of Edith and John Power. Just as
Edith begins to appreciate living, she learns of the imminent death of her
husband, John. Once again what is held dear and valued in her life shifts
when all she is left with is memories.
"The End of the Virtual Community"
"The virtual is dead! Long live online!" cries Lelia Green in her
manifesto-like article, which calls for the end of the phrase "virtual
community". Green revisits some of the negative criticism of online
communication and communities, addressing these by presenting some
negative attributes of 'real' life and the benefits of online.
"Why 2000?"
Geoff Hoyte offers one explanation regarding the endurance of endism:
hope. In a common-sense approach to the 'end', he relates a humble
perspective of dignified courtship with apocalypticism and suggests a key
to an even greater 'beginning'.
"Apocacide, Apocaholics and Apocalists: A Selective Webography of Endism"
Jason Ensor takes a selective tour through the landscape of endism that
permeates the Internet. One must ask, 'why contemporary apocalypticism'?
Certainly not because visions of extinction dominate private, popular and
scientific imaginations today?
"De Mortuis Bonum: An Internet Eulogy Tour"
In a quick tour of the Internet, Felicity Meakins reveals that
scribblings about the dead abound, written by a range of people -- from
the friends and family of the deceased to the obsessed fans of
celebrities, from the attached owners of pooches to official government
representations and finally to the adversaries of the dead.
And in other news...
M/C Reviews - An ongoing series of reviews
of events in culture and the media.
http://www.uq.edu.au/mc/reviews/
M/C Reviews is a companion piece to the M/C journal itself. Publication on
the Internet gives us the freedom to keep its link to M/C proper ambiguous:
M/C Reviews is neither simply a sub-section of M/C, nor completely
independent of it; you, the reader, decide how you want to see it. The
reviews are informed by the culture-critical perspective of M/C, but you
don't need to take notice of this fact; if you do, however, you'll find
that they tie in to some of the debates represented in greater length in
M/C. New articles are continually added to M/C Reviews.
Recent reviews include:
"Food, Glorious Food!"
An M/C Reviews Feature, edited by Rachel Williams
"National Young Writers' Festival"
An M/C Reviews Feature, edited by Kirsty Leishman
Kate Douglas "Collecting Thrills: 'The Bone Collector'"
Michael Stephens "'Fight Club': Fighting for Life"
Felicity Meakins "The Poet Is the Priest of the Invisible:
'Air and Other Invisible Forces'"
Simon-Astley Scholfield "Taking the Piss: John Waters's 'Pecker'"
Joanne Ialacci "Euphonic Sounds: epiphany's Debut CD 'Captured'"
Paul Mc Cormack "Race Days, 'Race Daze'"
---------------------------------------------------------------------------
Issue eight in volume two of M/C is now online: <http://www.uq.edu.au/mc/>.
Previous issues of M/C on various topics are also still available online.
---------------------------------------------------------------------------
M/C Reviews is now available at <http://www.uq.edu.au/mc/reviews/>.
---------------------------------------------------------------------------
All M/C contributors are available for media contacts: mc@mailbox.uq.edu.au
---------------------------------------------------------------------------
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open source , proxy (server)
on netart conditions
how open is open
and how authoritative is proxy?
formless in a form; superuser behind the scenes;
does netart bear the imprint of a distributed system?
netart as a collaborative, yet self-propagating model;
setting standards or disseminating rules?
questions/answers/questions
continue the discussion that inspired many netart
enthusiasts from last year’s panel entitled
Connectivity and Beyond. we get together again
to further our debate on the condition of netart today —
with an introduction to the netart initiative, an open project in the
making.
panelists:
tamas banovich curator of multimedia, Postmasters Gallery
steve dietz director, New Media Initiative, Walker Art Center - remote
ricardo dominguez senior editor of Thing.net, co-founder of the
Electronic Disturbance Theater
jon ippolito artist, assistant curator of new media, Guggenheim Museum
sven travis chair, Digital Design Department, Parsons School of Design
martha wilson founding director, Franklin Furnace
maciej wisniewski artist, creator of Netomat: the anti-browser
moderated by zhang ga artist, faculty, MFADT Parsons, CGIM Pratt
admission is free
3:30pm december 13, 1999
swayduck auditorium
65 fifth avenue
between 13th and 14th
webcasting@
http://netart.parsons.edu
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Global Name Space Consortium:
Call for Testbed Participation
The Global Name Space Consortium (GNSC)
is an independent, non-profit research
organization that seeks to develop and
implement a robust and stable
infrastructure to support and maintain
the scaling of the Domain Name System
with new and emerging toplevel domains
(TLDs) based on a system of shared
registries.
Organizations who wish to participate
may apply to pre-qualify for
participation in the testbed by sending
email to testbed@gnsc.org.
For more information, please see
http://gnsc.org/testbed
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The PROBE exhibition of Australian new media artwork touched down at the
Australian Embassy in Beijing in mid-October for nine days and proved to be
what could only be described as an immediate and overwhelming success.
In a country renowned for tight state control of all media and information
PROBE generated (arguably) the most international media coverage of any
Australian art exhibition ever, not just in terms of the sheer size of the
numbers of people who were introduced to the concept of artists using new
media to make work(ie China has a population of around 1.2 billion
people...), but the extraordinary number of national media stories in both
print and television -- quite a feat at a time of great unrest and tight
security around the celebrations of the 50th anniversary of the People's
Republic.
Maybe as many as 5,000 people came to see the exhibition in Beijing over
the nine days, despite the problems associated with having the show at the
embassy (ie there is a soldier from the Chinese military stationed outside
every embassy in China, so people had to have an invitation to get in).
We see the work of contemporary Chinese artists on the international
circuit, but rarely if ever does foreign contemporary art, particularly new
media art, show in China. PROBE changed the rules.
Linda Wallace
curator
Read more about PROBE: explorations into Australian computational space
at http://www.machinehunger.com.au/probe (go to 'exhibition' link)
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Thundergulch final arts/technology presentations for this century:
1.Tuesday, December 7 -- Thundergulch/World Views
8 pm @ VOID, 16 Mercer Street, NYC (corner of Howard & Mercer, entrance
on Howard)
A presentation of work created by some recent residents from LMCC's World
Views residency program that takes place on the 91st floor of the World
Trade Center. Featuring a audio and video documentation from a
site-specific installation created by Stephen Vitiello and a selection of
video works by Adriana Arenas.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~=~
2. Monday, December 13 -- <italic>Dreaming Brain</italic> and
<italic>Cathedral</italic> =20
6:30 pm @ Harvestworks, 596 Broadway, Suite 602, NYC
<italic>Dreaming Brain</italic>, a new crossover art genre that combines film,
the electronic game, painting, and video created by artist Steve Miller (on
view as a CD-ROM at the Equitable Art Gallery from November 4-February 26
in an exhibition entitled, <italic>Dreams 1900-2000: Science, Art, and the
Unconscious Mind</italic>). www.dreamingbrain.com
<italic>Cathedral</italic>, a work for the web by William Duckworth, that is
an ongoing work of music and art designed and written specifically for the
virtual concert space of the World Wide Web. It includes both acoustic and
computer music, live webcasts, and newly designed virtual instruments,
such as the PitchWeb. www.monroestreet.com/Cathedral
Programs organized by Thundergulch Director Kathy Brew
<bold>http://www.thundergulch.org</bold>
ARTBYTE: The Magazine of Digital Culture is proud to support Thundergulch
as a media sponsor of these final presentations.
Through this collaboration, ARTBYTE hopes to bring together the creative
forces merging art and technology, reaching out to the artists, designers,
and others who are shaping the look and feel of the future.
<bold>http://www.artbyte.com.
</bold>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D
3. open source , proxy (server)
on netart conditions
how open is open
and how authoritative is proxy?
formless in a form; superuser behind the scenes;
does netart bear the imprint of a distributed system?
netart as a collaborative, yet self-propagating model;
setting standards or disseminating rules?
questions/answers/questions
continue the discussion that inspired many netart
enthusiasts from last year=92s panel entitled
Connectivity and Beyond. we get together again
to further our debate on the condition of netart today =97
with an introduction to the netart initiative, an open project in the
making.
panelists:
tamas banovich curator of multimedia, Postmasters Gallery
steve dietz director, New Media Initiative, Walker Art Center - remote
ricardo dominguez senior editor of Thing.net, co-founder of the
Electronic Disturbance Theater
jon ippolito artist, assistant curator of new media, Guggenheim Museum
sven travis chair, Digital Design Department, Parsons School of Design
martha wilson founding director, Franklin Furnace
maciej wisniewski artist, creator of Netomat: the anti-browser
kathy brew, director, Thundergulch
moderated by zhang ga artist, faculty, MFADT Parsons, CGIM Pratt
admission is free
3:30pm december 13, 1999
swayduck auditorium
65 fifth avenue
between 13th and 14th
webcasting@
http://netart.parsons.edu
<bold>
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D
</bold>
4. IMMEDIATE RELEASE
'the nea tapes'
CONTACT:
Eddie Borges or Judy Knipe
New York Civil Liberties Union (NYCLU)
(212) 344-3005 ext. 245
(917) 679-6846
STOP THE CENSORSHIP Defending the First Amendment
First Amendment panel discussion and NYC premiere of
'the nea tapes'
a documentary about the fight for funding of the National Endowment for
the Arts
Thursday, December 9, 7 p.m.
NY Society for Ethical Culture (Two West 64th Street at Central Park West)
NYCLU, The NATION, the Society for Ethical Culture, the National Coalition
Against Censorship, and People for the American Way Celebrate Success of
First Amendment Battle at the Brooklyn Museum of Art and Organize New
Yorkers for the Next Fight for Free Expression.
The panel: NYCLU legal director Arthur Eisenberg, Nation columnist Katha
Pollitt, artist Fred Wilson, playwright Christopher Durang, and New York
Foundation for the Arts director Ted Berger
'The nea tapes' a one hour documentary film which argues, through
interviews with artists, critics, historians, legislators and scholars, the
need for government funding of the arts. Documentary directors Paul Lamarre
and Melissa Wolf began videotaping interviews in January 1995, when the
National Endowment for the Arts was in danger of immediate dissolution.
They conceived 'the nea tapes' as a forum for voices which are
under-represented in the coverage of the arts-funding debate; the media has
focused almost solely on the agendas and reactions of arts-funding
opponents, particularly the religious right, thus obscuring crucial
pro-funding arguments and limiting authentic public dialogue. 'The nea
tapes' seeks to reinitiate thoughtful conversation about the role of art in
American culture by illuminating the viewpoints of diverse and widespread
pro-arts advocates. (Contact: Eidia House, Paul Lamarre or Melissa Wolf -
212 529 0487, eidia@interport.net)
WHO Concerned New Yorkers, NYCLU Executive Director Norman
Siegel, NATION Publisher Victor Navasky, NY Society for Ethical Culture
President Dr. Judith Wallach, the National Coalition Against Censorship and
People for the American Way, Documentary Directors Paul Lamarre and
Melissa Wolf.
WHAT Mayor Rudolph W. Giuliani's attempts to evict and cut funding to
the Brooklyn Museum of Art because of their "Sensation" exhibit has shocked
New Yorkers more than the contents of the show itself. It also has reminded
many how fragile and vital the First Amendment is to a free and open
democracy. The sponsors of this 'teach-in' plan to build some understanding
of the issues involved on this foundation of concern. The evening will
include a report on the state of the First Amendment in New York City and
the premiere of 'the nea tapes', followed by a panel discussion and
audience Q & A.
WHEN Thursday, December 9, 7 p.m.
WHERE NY Society for Ethical Culture (Two West 64th Street at Central
Park West)
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Thundergulch is the Lower Manhattan Cultural Council's "new media
laboratory" for collaborations between artists, audiences, and new
technologies. The @ the wall series introduces audiences to artists
experimenting with video, audio, internet and other multimedia
technologies through interactive presentations and discussions.
Funding for Thundergulch is provided by the AT&T Foundation, the Bell
Atlantic Foundation, the City of New York Department of Cultural Affairs,
Heathcote Art Foundation, Media Arts Technical Assistance Fund, the
National Endowment for the Arts, Electronic Media and Film Program of the
New York State Council on the Arts, the May and Samuel Rudin Family
Foundation, and the Andy Warhol Foundation for the Visual Arts.=20
Thundergulch is also grateful for support from the Alliance for Downtown
New York, the Chase Manhattan Foundation, J.P. Morgan, the New York
Information Technology Center, Rudin Management, the Port Authority of
New York & New Jersey, Parsons School of Design, and Harvestworks Digital
Media Arts.=20
Thundergulch
c/o Lower Manhattan Cultural Council
5 World Trade Center, Suite 9235
New York, NY 10048
tel (212) 432-0900
fax (212) 432-3646
email: tgulch@artswire.org
http://www.thundergulch.org
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Dear Friends,
The third issue of Meghbarta, Bangladesh's first webzine is now out:
http://www.meghbarta.net
We look forward to your submissions and your feedback.
Best wishes,
Shahidul Alam
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