In a recent blog post, Princeton professor and EFF Board Member Ed Felten reminds us that one of the core "Darknet premises" -- that DRM systems on mass media content will
inevitably be broken -- continues to prove itself true. The victim this year is AACS, the encryption scheme used to prevent the copying of HD-DVD and Blu-ray discs. Despite the best efforts of the entertainment industry to change encryption keys and otherwise lock down content, AACS is broken time and time again.
To many who follow DRM issues closely, this is hardly news; the regular breaking of DRM systems, followed by the steady leak of formerly-protected content into file-sharing channels, is now so common that it barely rates a mention in the tech press.
But copyright policy-makers still haven't gotten the message that DRM does not slow piracy. Whether they get the message or not, this steadily mounting pile of empirical evidence continues to show that the anti-circumvention provisions of the DMCA (i.e., "thou shalt not circumvent DRM") are a failure if the goal was to impede digital infringement. At the same time, of course, the DMCA continues to be a valuable tool for rightsholders who want to use DRM to impede competition, innovation, and free speech.
For Professor Ed Felten's post:
For the full post by EFF Senior Staff Attorney Fred von Lohmann:
Thursday, December 6, 2007
In a recent blog post, Princeton professor and EFF Board Member Ed Felten reminds us that one of the core "Darknet premises" -- that DRM systems on mass media content will
One of the paradoxes of current social software is how many of your closely-guarded secrets you are obliged to entrust to a third party. The news that LiveJournal has been sold
to SUP, a Moscow-based company, is the latest vivid indication of this danger. Now, LiveJournal journal entries are under the control of not only a young new company, but a new jurisdiction: Russia. What does that mean for the privacy of LiveJournal posts and the free expression of
Countries like Russia have weaker protections over privacy and free speech, both legally and culturally, than many users might have come to expect. Legal considerations aside, LiveJournal may come under far more intense pressure to turn over user information or remove content when run from Moscow than from the United States. The site is very popular among Russian-speakers and is used by opposition politicians there as much as by enthusiastic fan-fiction
authors. The political status of free expression in Russia is on shakier ground, with journalists, online and off, assaulted and threatened by the authorities.
LiveJournallers, already disturbed by previous acts of control by Six Apart in the U.S., could well find themselves caught up in far nastier fights over the public and private content held by SUP's servers. That's of particular concern for Russian users, or the many Russian-speaking LJers in the former-Soviet republics that surround Russia, who do not necessarily trust the political or business culture of Moscow. Fortunately for those concerned by the implications, LiveJournal's legacy in the world of open source and open standards means that
extracting data from the service is not as painful as it might otherwise be.
But for now, the most important lesson for Americans and Russians alike is to be cautious about with whom and where you share your secrets. The Internet has given us the opportunity to make our own data public and secure; hopefully the next generation of social software will give
us the tools to use these capabilities for ourselves, rather than entrust the responsibility to others.
For the full post by EFF International Outreach Coordinator Danny O'Brien:
The current generation has replaced varsity jackets and class rings with links on social networking sites like Facebook.
this video won't play on RSS readers, please visit the site to watch the video, or even embed it on your own site using the 'embed' button.
Wednesday, December 5, 2007
JavaMuseum - Forum for Internet Technology in Contemporary Art
released recently the netart feature
"Seven Ways To Say Internet with Net Art" -
curated by Elena Giulia Rossi
including works by
Free Soil (Amy Franceschini, Myriel Milicevic, Nis Rømer)
Seven Ways To Say Internet with Net Art
Elena Giulia Rossi
Since its inception, net art has always been referring to its own medium. The seven works selected, created in different times, address different facets of the nature of Internet, from the social perception of the self and of the body in relation to technology, to the potential impact that this medium can have on society, mostly when art is concerned.
The relationship between nature art and representation of the self with the flow of information is synthesized in the hybrid portrait of "Deus Fleurs" by the French artist Reynald Drouhin.
Generative processes as art are the core of C.J. Yeh's "Equal" where personal data generate modernist-like paintings. Sound and space in relation to dynamics and energy are the subject of Santiago Ortiz's "Sound and Energy" where Internet is treated as a canvas for dynamic and interactive sketches.
Molleindustria's works, a collective engaged in the creation of original games aimed to rise political concerns are excellent examples of how games, and Internet as a vehicle to foster them, can ease issues otherwise difficult to face.
"Mc Donald's Videogame" is a courageous critique of the McDonald's brand and of the functioning of its corporation, at the origin of remarkable ecological damages. It is through the game that Juliet Davis explores in "Pieces of Herself" feminine embodiment and its relation to real and virtual space. A game is also involved in Iconoclast Game by Lorenzo Pizzanelli: through irony and play the author gives a critical view of the power of images and of the museums that make them sacred.
F.R.U.I.T., engaged in the shaping of an on-line community to encourage cultivation within urban areas, is a project where the network activity is art. It makes clear that net art is "action" and it is closer to performing than any other art practice.
About the curator
Elena Giulia Rossi works and lives in Rome/Italy as an independent curator. Since 2002, she has been collaborating with MAXXI - National Museum of 21st Century Art Rome/Italy, where she is curating since 2005 a section dedicated to net/web art. She regularly writes for the on-line edition of the Italian newspaper "L'Unità".
Detailed bio on http://and.nmartproject.net/?p=1394
Detailed artists biographies
Juliet Davis (USA) -
Reinhald Drouhin (France) -
Free Soil (Amy Franceschini, Myriel Milicevic, Nis Rømer)
Molleindustria (Italy) -
Santiago Ortiz (Colombia) -
C.J.Yeh (Taiwan) -
Lorenzo Pizzanelli (Italy) -
The netart feature -
"Seven Ways To Say Internet with Net Art" -
represents also the JavaMuseum contribution to NewMediaFest2007
and can be accessed via the festival interface.
JavaMuseum - Forum for Internet Technology in Contemporary Art
is a corporate part of
info (at) javamuseum.org
Six Apart Announces New Home for LiveJournal
Acquisition of LiveJournal, creation of new operating company and investment fund by SUP promise new innovation and expansion for pioneering online community
Six Apart, the world's leading independent blogging software and services company, today announced that SUP, an international media company, has acquired LiveJournal (LJ), the pioneer of social networking communities online used by millions of people around the world to connect through personal journals and topic-based communities. SUP has launched an American company, LiveJournal, Inc., to manage and operate LiveJournal globally.
This agreement builds on the established and successful relationship between Six Apart and SUP, which entered into a licensing agreement in October 2006 permitting SUP to manage LiveJournal in Russia. The Russian LiveJournal community is second only to the U.S. in number of accounts, and has been influential enough in that country to make "LiveJournal" synonymous with "blogging" in Russian.
"We have a tremendous respect for the LiveJournal community, and are pleased to see that LiveJournal, Inc. will continue to build on LiveJournal's rich user experience. We have been impressed by the expertise and enthusiasm that SUP has brought to LiveJournal in Russia. They've introduced new features, nearly doubled the number of users, invested in key product enhancements, and have done justice to one of the most innovative online social networks in the world. Judging both by SUP's track record and their eagerness to create a new user advisory board to oversee the community's interests, this is clearly a good fit," stated Chris Alden, CEO and Chairman of Six Apart.
"Having gotten to know LiveJournal in Russia over the past year, we see enormous potential in developing the business worldwide; it has already shown its durability in America. We believe this is a great opportunity," said Andrew Paulson, CEO of SUP.
Six Apart acquired LiveJournal in January 2005 from its founder, Brad Fitzpatrick. From its founding, LiveJournal popularized many of the fundamental innovations of social media, such as friends lists and powerful privacy controls. Under Six Apart, the number of LiveJournal accounts nearly tripled from 5 million to over 14 million, and dozens of new features were introduced to the site, including
- a powerful email/IM/web notification system;
- LJTalk, a completely open-source Jabber-based instant messaging platform;
- user-to-user messaging and tremendous improvements in comment management and editing;
- a vastly expanded mobile feature set, including a dedicated mobile client; and
dozens of new visual themes and a completely new, simplified site design and navigation system.
Six Apart will continue its active investment in and promotion of the signature open source platform technologies created by the LiveJournal team, such as Memcached, Mogile, Perlbal, and OpenID, all of which have been adopted by other leading web properties from Craigslist to Facebook to Wikipedia. LiveJournal, Inc. will also carry on LiveJournal's strong open source tradition.
Six Apart will also continue to represent LiveJournal to advertisers and sponsors for at least the coming twelve months.
"While we'll miss being LiveJournal's home, this is a great milestone for LiveJournal and also lets us to focus on the core products invented at Six Apart: Movable Type, TypePad, and Vox," said Alden. "We are investing heavily in the products and have substantial growth plans for 2008."
ANNUAL MECCSA POSTGRADUATE CONFERENCE
CALL FOR PAPERS
The MeCCSA (Media, Communications and Cultural Studies Association) Postgraduate Network invites submission of abstracts for its Annual Postgraduate Conference to be held:
1st - 3rd July 2008 at the University of Sussex, Brighton
This interdisciplinary conference welcomes papers on topics relevant to any area of media, communication, and cultural studies, including media practice and pedagogy.
The conference is organised by postgraduates and it is designed for Masters and PhD students, as well as early postdoctoral researchers.
This is an excellent opportunity for postgraduate students to present their work to
likeminded individuals in a supportive and productive environment. The conference will also include keynotes and workshops from expert academics on topics pertinent to postgraduate students, including publishing, teaching practices and transitions between MA / PhD /work.
Please send abstracts (between 150 and 250 words) for proposed 20-minute papers by 1st February 2008 to firstname.lastname@example.org. The abstracts should include:
A. Your name, contact details and institutional affiliation;
B. Title and topic of research, including method(s) used;
C. Up to five key words, which will help the reviewers classify your proposal;
D. Technical requirements for the presentation.
Notification of acceptance will be sent out by the end of April 2008.
For more information, including details of keynote speakers, venues and conference fees, visit:
University of Sussex: http://www.sussex.ac.uk
Weekly online time for 16- to-25-year-olds in the United Kingdom averages 19.3 hours, compared to 13.5 hours watching television, according to Headbox's "Tech Tribe" report, as reported by New Media Age.
Headbox also found that one-quarter of respondents said they spent more than four hours per day online.
More than one in 10 respondent said they created and uploaded content, and 8% said they wrote blogs.
Nearly one in five said they would be willing to 'make friends' with brands on social networks.
Headbox interviewed 2,800 16- to-25-year-olds in the United Kingdom.
The top five online video sites shuffled their ranking order and site traffic in October, according to Compete.
YouTube was still tops, growing 1% in October to 213 million visits on nearly 52 million unique visitors. MSN/Live Video also grew, up more than one-quarter to 35 million visits by 21 million unique visitors.
Traffic to Yahoo! Video, MySpaceTV and Heavy.com all fell. MySpace's online video market share has fallen by one-half since July, to 7.6%.
Unique visitors to Yahoo! Video remained about the same, while visits fell 27.5%. Compete said that the drop showed that visitors to Yahoo! Video were less inclined to return than they were in September and August.
Similarly, AOL's video sections had a 4% increase in unique visitors, but visits actually fell by 9.4% to 30 million.
Compete said that traffic to the top 20 video sites fell by 6% in October.
Online ad spending growth in Western Europe is poised to be far more accelerated than in the U.S., and substantial growth also is expected in Russia.
Forecasts released by ZenithOptimedia earlier this week suggest Internet ad spend growth over the next three years will be spearheaded by European activity.
The report predicts by 2010, Internet ad spending in North America will have reached a figure in excess of $24 billion. That represents an increase of more than 40 percent from 2007's $17 billion spend.
In Western Europe however, the Web ad growth is poised to be far more accelerated. Spending is forecast to increase by around 95 percent, leaping from just under $10 billion in 2007 to almost $20 billion by 2010. This European growth will be driven largely by the U.K. market, which will account for $8 billion of the region's expected $19.5 billion spend.
Anne Austin, Senior Publications Executive at ZenithOptimedia cited Internet penetration as a possible reason for this rapid growth. "There is more scope for increasing penetration in Europe than in America over the next few years," stated Austin. "This will attract more advertising as the potential audience grows."
According to internetworldstats.com, at of the end of September 2007, EU countries had a total Internet penetration of around 54 percent, compared with about 70 percent in North America.
The regions with by far the largest expected online advertising revenue growth as the decade comes to a close are Central and Eastern Europe. Although relatively modest in dollar terms, Zenith predicts spending will exceed $1.5 billion by 2010, representing an increase of more than 170 percent over 2007's $573 million.
This substantial growth is expected to be driven largely by a booming Russian market. Russia alone is expected to see around $728 million spent on online advertising in 2010, accounting for almost half of the projected Web ad revenues for the region.
"The explosion in Internet ad spend in Central and Eastern Europe is reflective of especially rapid growth in the wider advertising markets there," said Austin. "What we are seeing is a large number of relatively young markets booming off a comparatively low base."
Alex Marks, head of U.K. marketing for Microsoft Digital Advertising Solutions supported this view, noting, the figures "basically reflect the maturity of the online ad market in these regions." He added, "The base figure from which the growth is predicted is of course highly relevant. One hundred seventy-three percent growth of a small amount is not as significant an indicator of health as 43 percent or 95 percent growth in established markets."
Still, Western European ad spending is set to account for a greater share of overall spending than in the U.S. According to the ZenithOptimedia numbers, in 2007 online represented 9.3 percent of the total Western European spend, and 9.1 percent of the North American spend. By 2010, the company predicts online will command a greater portion of advertising budgets in Western Europe than it does North America, accounting for 15.7 percent compared to 11.8 percent of total media ad spend, respectively.
Austin suggested the boom in online advertising in Western Europe could potentially be explained by regulation, or rather a lack of it.
"Advertisers in Western Europe really do seem to have taken to online advertising in a big way, and it may be that it is not yet as heavily regulated in other media." She continued, "For example, there was some evidence that a considerable proportion of 'junk food' ad budgets switched from TV to online in the U.K. when the government introduced its ban on TV advertising of 'junk food' to under-16s."
TV, print and radio are bigger businesses with more history behind them than the Web, and hence tougher nuts to crack, Tim Armstrong told an audience of investors.
Google's race to sell ads in traditional media is shaping up to be more of a marathon than a sprint, according to sales chief Tim Armstrong.
During comments made to an audience of investors yesterday, Armstrong said scaling up the company's brokerage in TV, radio and print ad inventory may take up to twice as long as growing its core search and contextual ad products did. That's because those offline channels are simply larger and more lumbering than the Web.
"This is a two-, three-, five-year product we're going to work on," he said at UBS's Global Media & Communications Conference in New York yesterday. "Search really took us two-and-a-half years to get up and running on a large level. These may take us a little longer, because they're bigger businesses with more history behind them."
Commenting on each offline channel in turn, Armstrong claimed Google had done a "very good job getting inventory" in print and "had been doing a better job" doing so in radio. He had more to say about the company's more recent incursion into television, where its only distribution is through a relationship with EchoStar.
"The set-top box... is a digitally connected device," he said. "With second-by-second ratings... testing and doing better pieces of creative can lead to efficiencies in terms of how ads perform. That feels very familiar to us at Google."
He reiterated the sweet spots for Google are niche networks and obscure programming blocks rather than the major nets and primetime slots. "If you're a major network you're probably doing OK right now," he said. "There are smaller networks and deeper programming [where] you see a big variance in CPMs."
"One thing we hope Google or other companies will do in the TV space is allow advertisers to see the value in different levels of programming," he added.
In the print and radio arena, Armstrong offered the example of a national manufacturer that had tested different creative executions in different markets, saying the client had successfully measured the impact of those ads at the store level.
Armstrong separately hinted the company might further open its clients' AdWords campaigns to third-party ad trafficking and measurement tools, thus allowing marketers to better measure their Google campaigns. The ability to integrate with such systems has been an area of concern for many advertising clients and was one of the less-acknowledged motivations for the pending DoubleClick acquisition.
Armstrong said the company would execute "more and more partnerships in that space."
Tuesday, December 4, 2007
“Bridges to Utopia”
9th International Conference of the Utopian Studies Society
University of Limerick, Ireland, 3-5 July 2008
The 9th International Conference of the Utopian Studies Society will be held at the University of Limerick on 3-5 July 2008. The conference will begin at 2:30 pm on 3 July and end at 4:30 pm on 5 July.
With the theme of “Bridges to Utopia,” the conference will examine a range of topics related to utopia and utopianism, in its historical articulation and contemporary realisation. Keynote speakers are Joe Cleary (National University of Ireland, Maynooth), Bernard Gendron (University of Wisconsin-Milwaukee), Peadar Kirby (University of Limerick), and Nicole Pohl (Oxford Brookes University).
Call for Papers
Proposals are invited for papers and panels on any aspect of the utopian tradition – from the earliest utopian visions to the utopian speculations of the 21st century, including art, architecture, urban and rural planning, literary utopias, dystopian writing, political activism, theories of utopia, theories of utopian spaces and ontologies, music, new media, and intentional communities, historical and contemporary.
Papers are especially welcomed on the conference theme of “Bridges to Utopia” or on the plenary themes:
Irish Utopias, Utopia and Music, and Utopia and the Built Environment
Proposals should be for individual papers of 20 minutes, which if accepted will be grouped with others of relevant interest as far as practicality allows, or for panels or strands of panels with 3 papers each.
The conference language is English. Proposals for a panel of 3 papers in another European language, with all presenters registered for the conference and with a designated chair, are welcome. These sessions will take place in the nominated language. Abstracts should be submitted in the original language and English.
Abstracts of 100 - 250 words should be submitted by e-mail as a file attachment in Word (only) to email@example.com by 28 February 2008. Our aim is to be inclusive.
Abstracts should include (in this order): name and affiliation, e-mail address, title of paper, abstract, plus 3 keywords (if possible on one side of A4 in a typeface no smaller than 10). With your abstract, please indicate the following: scheduling restrictions or other special needs for your presentation; audiovisual needs; need for written letter of acceptance (or indicate if an email acceptance is sufficient).
Abstracts are refereed by the conference committee (Dr Joachim Fischer, Dr Michael J. Griffin, Dr Michael G. Kelly, Dr Carmen Kuhling, Prof Tom Moylan, Dr Briona NicDhiarmada,).
Responses, along with registration and accommodation forms, will be returned no later than 28 March 2008.
Registration fee is €150. This includes coffee and tea, three lunches, and two evening buffet meals, but not accommodation. Payment will be by credit card.
€15 of the registration fee is allocated to the Utopian Studies Society to assist postgraduate/ graduate students with conference expenses. If you are a postgraduate whose paper is accepted and wish to apply for a subsidy, please contact USS Secretary, Lorna.Davidson@newlanark.org.
Deadline for registration at standard fee: 23 May 2008. (Late registration at additional cost of €50.)
Inquiries on academic, logistical, and other practical matters should be made to firstname.lastname@example.org.
The University of Limerick is a young and vibrant university with a strong commitment to interdisciplinary studies. The Arts, Humanities, and Social Science Faculty is the largest in the university. The campus is beautifully situated on the banks of the river Shannon just outside the city of Limerick in Castletroy.
See: http://www.ul.ie. See also: http://www.discoverireland.ie.
The Conference will open at 2:30 pm on Thursday, 3 July, with registration beginning at 11:00 am. The conference will close at 4:30 pm on Saturday, 5 July. The AGM will be the last event on the programme, running from 3:30 pm to 4:30 pm on Saturday. A detailed programme will be available in May 2008.
A pre-conference field trip is currently being arranged for Wednesday, 2 July. Details and costs (additional to conference costs) will be announced later.
Buses and taxies link Shannon airport and the Limerick city train and bus station to the university and to conference accommodation. From Shannon airport, bus tickets cost €5.90 and taxis cost on average €50. Car rentals are also available from Shannon. Limerick can also be reached via Dublin airport (and then by bus or train to Limerick city) or Cork airport (and then by bus or train to Limerick city).
En-suite rooms (bed and breakfast, at €55 per night, per person) on campus are reserved for conference delegates in modern student residences, a short walk from the conference venues. Rooms are also set aside under “Utopian Studies Conference” at the Castletroy Park Hotel (b&b, at €115 single; €140 double) and nder “University of Limerick” at the Kilmurray Lodge Hotel (b&b at €70 singel; €95 double), both within walking distance. Additional b&b accommodation is also within walking distance. Limerick city has hotels in all price ranges, but a bus or taxi to the university is necessary.
Full accommodation and booking information will be sent upon the acceptance of a delegate’s paper.
The Utopian Studies Society
The Utopian Studies Society is an interdisciplinary society that aims to co-ordinate and encourage the diverse work currently taking place on the subject of utopianism. Members include people researching literature, philosophy, sociology, history, architecture, politics and anthropology. The Society was established in 1988 by a group of British scholars, following an international conference on utopianism at New Lanark and was expanded into a European-wide organisation in 2000.
Ralahine Centre for Utopian Studies
The Ralahine Centre for Utopian Studies was established in 2003 as an inter-disciplinary research centre based the College of Arts, Humanities, and Social Sciences.
The Centre is named after the Ralahine Commune, an Owenite co-operative society that was in operation between 1831 and 1833 on the estate of John Vandeleur in Newmarket-on-Fergus in nearby County Clare.
The Centre pursues and fosters research on utopian thought and practice. The research carried out by the faculty and postgraduate members of the Centre identifies and studies utopian visions articulated through texts (literary, legal, political, theological, filmic, visual, musical, architectural, and others) and social experiences (such as religious and secular intentional communities, political movements, and cultural practices). While the Centre encourages research in all aspects of utopianism, it has a particular commitment to the study of utopianism in Irish culture.
LEA New Media Subversion - Call for papers
Editors: Davin Heckman and Hai Ren
The Leonardo Electronic Almanac (ISSN No: 1071-4391) is inviting papers and artworks that address aspects of “Subversion” in the era of New Media.
In A Brief History of Neoliberalism, David Harvey defines “Neoliberalism” as the idea that “the social good will be maximized” by “bring[ing] all human action into the domain of the market” (3). Harvey continues, explaining that neoliberalism “requires technologies of information creation and capacities to accumulate, store, transfer, analyse, and use massive databases to guide decisions in the global marketplace” (3). In other words, new models of liberty are tied to new technologies and new economic practices.
The avant-garde tradition in the arts, on the other hand, prides itself in its ability to resist, critique, and subvert the dominant order. Art’s most tepid manifestations provide flights of fancy, its most radical manifestations call for revolution.
But in the age of Neoliberalism, what restrictions does art aim to subvert? What liberty does it hope to achieve? What strategies and tactics might it employ in pursuit of its goals?
This special issue of LEA aims to explore opportunities for and obstacles to subversion in the age of New Media.
Topics of interest might include (but are not limited to):
The Political Lifestyle and Interactivity
Consumer Culture and Web 2.0
Fictitious Capital/Immaterial Labour
Data Mining and Predictive Modeling
For the latest news, updates and discussions, join the LEA New Media Subversion Mailing List.
Subscribe to LEA New Media SubversionVisit this group: http://groups.google.com/group/leanewmediasubversion
As part of this special, LEA is looking to publish:
- Critical Essays
- Artist Statement/works in the LEA Gallery
- Bibliographies (a peer reviewed bibliography with key texts/references in New Media Subversion)
- Academic Curriculum (LEA encourages academics conducting course programmes in this area to contact us)
LEA encourages international artists / academics / researchers / students / practitioners / theorists to submit their proposals for consideration.
We particularly encourage authors outside North America and Europe to submit essays / artists statements.
Proposals should include:
- A brief description of proposed text (200-300 words)
- A brief author biography
- Any related URLs
- Contact details
In the subject heading of the email message, please use *Name of Artist/Project Title: LEA New Media Subversion - Date Submitted.* Please cut and paste all text into body of email (without attachments).
Editorial Guidelines: http://leoalmanac.org/cfp/submit/index.asp
Deadline: January 25, 2008
Please send proposals or queries to:
Cine-Excess was created by the Cult Film Archive at Brunel University to promote the launch of the world's first MA in Cult Film and TV at Brunel. 'Cult' is a contemporary media buzz-word and cult status has become something that many filmmakers aspire to.
The Cine-Excess philosophy aims to bring together the people with the power to elevate a film to cultdom. International Filmmakers, distributors and marketing executives will confront academics and critics at this unique annual event, which will feature both academic papers and roundtable discussions by key film industry figures. Delegates will also get the chance to watch the UK premieres of some exciting new cult films.
The first Cine-Excess event was held at the Apollo West End 3rd-5th May 2007. The Guests of Honour included John Landis (An American Werewolf in London), Stuart Gordon (Re-Animator) and Brian Yuzna (Society). The conference also attracted over 45 cult film scholars from a diverse section of international locations including the UK, US, Canada, Australia, Germany, Spain, France, Italy, Malta, and Estonia.
Cine-Excess 2007 also featured the UK theatrical premieres of films such as Edmond (dir. Stuart Gordon), Last House in the Woods (dir. Gabriele Albanesi) as well as an exclusive screening of Taxidermia (dir. Gyorgy Palfi).
Following the success of Cine-Excess 2007, a follow-up event is planned at the Institute of Contemporary Arts in London between 1st-3rd May 2008. Cine-Excess II will feature a 15 strand parallel conference structure which mixes discussion papers and plenary sessions with UK theatrical premieres of new cult movies and talks by leading cult filmmakers.
The Guest of Honour for the 2008 event is Roger Corman, the recipient of the first Cine-Excess Lifetime Achievement Award and other leading global figures in cult film are currently being confirmed. The call for papers for Cine-Excess II has just been released. Proposals are welcomed on, but not limited to, the following topics and areas:
Grindhouse: American Trash Traditions Reconsidered
Cult Auteurs, Cult Icons: New readings of leading cult filmmakers and Icons
Asian Invasion: Cult and Underground Cinemas From East and South East Asia
Grossed-Out: The Cult Body from comedy to 'gorno' and beyond
Cult Producers: Cult Showmen and Shockmeisters
Techno Cults: Short, Sharp, Shocks for the DVD, Internet & You Tube Generation
Cine-Sexcess: Studies in the Cult Erotic Image
Exploitation - No Place for a Woman? Female cult icons and auteurs
Exhibiting Excess: The Exhibition of Cult Material
Cult TV Past and Present: New Readings of Cult TV Traditions
Taking Trash Seriously: Theoretical and Production Perspectives on Pulp Film
Cruel New Wave: New Brit. Horrors
Educational Excess: Teaching 'Cult' at A Level
That's La Morte: Case-Studies in Italian Trash Film
Cult Crime: Cat and Mouse Case-Studies From the Wrong Side of the Law
Pulp Receptions: Cult Audiences and Consumers
Weird World Cinema: National Identity and Region in the Cult Image
Cult Case-Studies: Production and institutional studies of cult studios
Fear Today, Horror Tomorrow: Cult remakes and contemporary fears
We welcome individual submissions, panels and roundtable proposals.
Please send a 300 word abstract and a short (one page) C.V. by 25th January 2008, to
Further details on Cine-Excess II can be found on the website: www.cine-excess.co.uk
Kidding Around: The Child in Film and Media
An Interdisciplinary Conference
February 29-March 1, 2008
University of the District of Columbia
CALL FOR PAPERS
The University of the District of Columbia Film Committee invites papers on the theme of the Child in Film and Media for an interdisciplinary conference to be held on the UDC campus on February 29 and March 1, 2008.
Representations of children in today's media intersect with contextual issues that demand scholarly consideration. As the academic and commercial markets' attention to children's literature and media increases, the need to explore how children are used, targeted, explored, and represented in books, films, games, and toys grows.
This conference will explore how different media, particularly film, deal with definitions of childhood, the place of the child in differing texts, and the connections scholars and critics have made with these various forms of media.
Papers might consider (but are not limited to) the following topics:
· Historical Intersections: Children's Media and History
· Illustrated and Animated: Visual Representations of Children
· So Unreal: Magic and Fantasy
· [Mis]appropriations of Racial Identity in Children's Media
· Consumerism, Corporatization, and Advertising: The Child and the Market
· Violence: Screen to Text
· The Elephant in the Room: Sex in Children's Media
· Nationalistic Fantasy, Identity, and Power
· Animals Among Us: Intersections of Human and Animal
· Graphic, Anime, and Manga: New Media, New Century
· Trains and Atari: Toys, Games, and Children
· Disability and Representations of the Child
· Him/Her/It: Gender and the Child
· The Virtual Space of Childhood: From 8-bit to HD
Papers addressing individual authors and works in developing these themes are encouraged. Panel proposals are welcome.
Please email your 250-word abstract, contact information, and a brief bio to Alexander Howe at: ahowe_at_udc.edu.
Deadline for Submissions: January 4, 2008
HARDcoded :: Digital Punk Magicians
SAT December 08 2007
1 PM - 9 PM
1550 N. Milwaukee Ave 3rd Fl. Chicago, IL 60622
FREE + OPEN!
++ simultaneously streaming @
CentroMultiMedia + BORDER
Mexico City DF, Mexico
HARDcoded is an ongoing collaboration between newMedia artists in Chicago + Mexico City, that explore the cross-over between digital noise, punk, + magic. HARDcoded is a wordplay between embedded/non-mailable data sets in software development, like End User License Agreements (or EULA) or closed-source proprietary computer applications, + the xXxHARDCORExXx ethic of Punk culture.
Our (artists + organizers alike) approach to reconstruct/disrupt the controlled environment of digital technology by breaking these social devices with wizardry. Here, wizardry is informed by Tolkien references in early moments of information technology + digital networking, as well as playfully applying narratives of spell casting, enchantment, + fantasy to the otherwise dull architecture of cyberspace.
This wizardy of course would be nothing without "magic." This "magic," which serves as ironic term with a critical bent, can break the spell of traditional methods of cultural communication + sharing in an ever-growing oppressive state.
HARDcoded seeks to create a space where ruptures in our digital playing field (glitch, noise, + hacked/repurposed material/tools) can take precedence over the norms of our contemporary static digital landscape. The collaboration borrows from a Punk ethics/ethos + the necessity for a sustainable break away from the normative practices of commercial platforms. By invoking these ideologies/methodologies HARDcoded hopes to provide/facilitate a DIY/DIT network of subversion. In attempting to approach this task, HARDcoded wishes to provide a social platform of workshops, talks, + performances (and hybrids of these three) to enable these fissures
to break through the veil of our closed-source expectations + reliance.
The Program consists of workshops/talks by ::
[1PM – 2.30PM ] Alex Ignlizian + Mark Beasley + Cassandra Rosas (Hardware Hacking/Building)
[2.30 PM – 3 PM] Jake Elliot dai5ychain.net (Reprogramming Computer Literacy)
[3 PM – 3.30 PM] Marisa Plumb Working Engineer, Pathegon corp. (Lecture/Performance)
[3. 30 PM – 4.30 PM] Temporary Services temporaryservices.org (Lecture on Urban Hacktivism)
[4.30 PM – 5 PM] criticalartware criticalartware.net (Media Art Histories Lecture)
[5 PM – 7 PM]
Installation By :: Mark Beasley (DotMatrix Printer + Sound Installation) Paul Hertz collaboratory.nunet.net/phertz/ (Ignotus the Mage, Performance/Installation)
[7 PM – 9 PM]
Nightly Performances/screening by ::
Valerie Brewer (Machinima Video)
Professor Pangaea (Machinima Video)
CHHO (The Chicago Hacked Hardware Orchestra, Performance from Workshop)
criticalartware w/ Morgan Higby Flowers criticalartware.net (Realtime Artware Development Performance)
I <3 Presets ilovepresets.com (Realtime Audio/Video performance)
@ EN3MY in Chicago, IL, United States.
Simultaneously, in Mexico City the HARDcoded Program consists of an open invitation for completely horizontally organized discussion + reflection
@ CentroMultiMedia in Mexico City, Mexico
+ Performances/Screenings by Ezequiel Netri, Lalo Melendez, Jaime Villarreal, Eusebio Bañuelos + an open jam session @ the BORDER in Mexico City, Mexico!
Transnational Cinema in Globalising Societies: Asia and Latin America
CALL FOR PAPERS
Jointly organised by the Institute for Comparative Cultural Studies, University of Nottingham Ningbo, China and the Universidad Iberoamericana Puebla, Mexico, to be held in Puebla, Mexico.
- Professor Néstor García Canclini, Universidad Autónoma Metropolitana
- Professor Robert Stam, University of New York
- Professor Chris Berry, University of London, Goldsmith's College
If cinema was instrumental to nation building processes during the twentieth century, it has been equally central to their challenging, interrogation and sometimes reaffirmation in the twenty-first.
This is especially true for Asian and Latin American cinemas, as present conditions variously described as 'globalisation' or 'flexible accumulation' have wrought tremendous social change, both rising standards of living and increasing inequality; allowing for reverse cultural flows and also exposing the mediascapes of countries in these two regions to unprecedented contact with 'the West'; reducing their film production while also increasing availability of films made there.
We invite papers addressing the relationship between these cinemas and (post)national identity, cinema and modernity/ postmodernity, exilic cinema, diasporic and border filmmaking, the effects of digital technology on filmmaking and viewing in Asia and Latin America and, more generally, on the impact of globalisation on film industries in these two regions.
The following topics would be especially welcome:
- Contemporary issues of audience reception
- The role of co-productions
- Cross-fertilisation of genre across Asian/Latin American Cinemas
- The role of festivals in the construction and promotion of Asian and Latin American transnational cinemas
- Diasporic cinema
- Asian and Latin American directors and contemporary auteur theory
- The Cultural construction of Stars and Fandom in Internet communities
- Alternative versions of modernity in Asian and Latin American cinema
Send 300 word abstract to the organisers, Armida de la Garza and Claudia Magallanes, by 1 April 2008 to the following address: Armida.Delagarza@nottingham.edu.cn
New Nightmares : Issues and Themes in Contemporary Horror Cinema and Horror Film Criticism - Call for Papers
New Nightmares : Issues and Themes in Contemporary Horror Cinema and Horror Film Criticism
CALL FOR PAPERS
An International Conference at Manchester Metropolitan University
3 - 4 April 2008
Confirmed Keynote speakers:
Jay McRoy (University of Wisconsin)
Julian Petley (Brunel University)
Horror has been an area that has been at the forefront of a number of shifts within film studies, in particular the study of consumption, audiences and the industrial production of cinema. In light of this, this international conference, jointly organised by Manchester Metropolitan University and The University of Salford will promote dialogue and discussion around two areas:
- contemporary issues relating to the study of horror cinema
- developments in the genre over the last 10 years.
Proposals are welcomed on, but not limited to, the following topics:
- The direction of critical approaches to contemporary horror
- Revisions of established canons
- Recent cycles and franchises
- New research on overlooked films, directors and national cinemas
- Current trends in national cinemas
- New aesthetics
- Shifts in representations of gender, sexuality, race and class
- The effects of 9/11 on the American horror film
- Fears of the millennium / apocalypse
- Remakes – within and across national cinemas
- New directions within subgenres
- New approaches to the marketing of horror
- Has video/DVD/new technology changed the nature of the horror film?
- How have changing censorship laws impacted on recent horror production?
We particularly welcome new research from postgraduates and a number of bursaries are available.
All proposals should be submitted to the organising committee by Monday 14th January 2008
The conference organising committee is: Emily Brick and David Huxley for Manchester Metropolitan University, Ben Halligan and Andy Willis for The University of Salford.
Please send 200 word abstracts and enquiries to email@example.com
CONFERENCE THEME & CALL FOR SUBMISSIONS:
THE SOCIAL - ONLINE, MOBILE AND UNPLUGGED SOCIAL NETWORKING
Urban Festival of Art, Music & Ideas
1-4 May, Manchester, UK
The Futuresonic international conference and the Social Technologies Summit invite proposals for talks, presentations, workshops and session themes. Submissions of innovative formats for social interaction are encouraged.
The conference theme is The Social - Online, Mobile and Unplugged Social Networking.
The Futuresonic conference is a place where important international discussions take place. The conference will bring together leading figures to unpick the hype around the latest technological zeitgeist, broaden the debate, and propose and explore a critical understanding of social technologies.
Deadline for conference submissions -- 5pm 18th December 2007
See also -- A GBP 5000 commission plus many other opportunities are available in the Futuresonic 2008 Art, Music & EVNTS calls for submissions.
Futuresonic brings 500 opinion formers, futurologists, artists, technologists and scientists from the digital culture, music and art communities to Manchester for four days of seminars, workshops and events.
At the heart of the festival is the internationally-acclaimed Futuresonic conference, and its focal point the Social Technologies Summit.
CONFERENCE THEME: THE SOCIAL - ONLINE, MOBILE AND UNPLUGGED SOCIAL NETWORKING
The 2008 conference will explore the theme of The Social - Online, Mobile and Unplugged Social Networking. The conference will bring together leading figures to broaden the debate, and propose and explore a critical understanding of social technologies.
Submissions are invited that explore the new social spaces and the social implications of technologies for the many different kinds of people who make, use and are affected by them.
Computers have become social interfaces for sharing digital media and collaborating to build online communities and folksonomies. Social technologies create an extension of social space, and new ways for people to find the stuff that interests them, link up with others, and share. They include tools and applications that enable people to connect, share and interact, such as blogs, instant messenger, social software such as Flickr, FaceBook and Jaiku, and even the internet itself. 'Social technologies' can also refer to technologies created and maintained by social networks, such as communities of developers and users working collaboratively with open source tools.
What distinguishes social technologies is that they are bottom up and many-to-many instead of one-to-one or one-to-many. They can be seen as a part of a major cultural and social shift. And yet at the same time we also see how electronic communication can isolate us, as more and more people drown in a deluge of email that generates stress, even reducing IQ - puncturing the rose-tinted view that life is simply 'more social.' Additionally, 'online communities' are based upon an artificial equivalence between 'users' which obscures power relationships and issues of ownership.
Presentations might look at the implications of specific technologies, or address broader themes.
In all parts of the globe people are seeking to open up or hold onto places to meet and communicate freely, online and offline. In India we see emergent kinds of community media, in South Korea new social uses of the mobile internet, and in Brazil the spread of 'cultural hotspots'.
The conference will also mark 40 years since people took to the streets of Paris in 1968 calling for society to be abolished, and will assess the claims of todays digital culture as a potential catalyst of radical change amidst wider currents of radicalism.
The theme of Futuresonic 2008's Art strand is Social Networking Unplugged. It will be "unplugged" in a number of ways. There will be artworks involving offline (or unplugged) collaborative social experience and face to face social interaction. Other projects will look at who is excluded and left out of the loop of Web 2.0, and so "unplugged" in another way. Also there is the sense of pulling out the plug in order to take the new social spaces apart, see how they work, and put them together in new ways.
I take part
you take part
he takes part
we take part
you all take part
(Slogan from Paris '68, remixed)
Digital culture burns bright with a vision of being not in isolation but in groups, placing the relations between people first. Beyond the hype lies ever greater isolation and conformity. Join us as we go in search of the social.
CALL FOR CONFERENCE SUBMISSIONS
Futuresonic now invites submissions to the Futuresonic conference and the Social Technologies Summit.
Proposals for talks, presentations and workshops plus also session themes are invited. Submissions of innovative formats for social interaction are encouraged.
Deadline for conference submissions -- 5pm 18th December 2007
For details on submitting to the conference visit http://www.futuresonic.com/submissions-conference
- If you want to meet the creative thinkers, artists, programmers, digital media experts, scientists, industry specialists, hardware and software developers, marketers, political thinkers and activists
- If you want to find out about new technologies and their impact on tomorrow's society
- If you are looking for new and exciting ways to create, do business and interact
Then sign up early to the Futuresonic conference and the Social Technologies Summit.
Email Your Name, Address and Contact Details to firstname.lastname@example.org to receive full conference details and priority booking options.
Early Bird Delegate Pass
GBP 60 (must be bought by February 1 2008)
Advance Delegate Pass
Delegate Pass (on the door)
Further discounts available for group bookings.
A limited number of pay-what-you-can Day Passes will be available on each day of the conference.
The Conference Pass includes access to all festival events.
Email your name, address and contact details to email@example.com and we will send you full details on Futuresonic Conference 2008 as well as priority booking options.
Futuresonic has 4 strands: Art, Music, Ideas and EVNTS. Currently in its 12th year, the festival occupies the orbits of both music and digital culture.
A focus in recent years has been presenting artworks in unexpected city spaces, and on social art and social technologies.
Futuresonic now invites artists, thinkers and makers to get social and present new types of collaborative social experience at Futuresonic 2008.
The Futuresonic festival theme is Social Networking Unplugged.
Join us as we go in search of the social today.
Futuresonic is supported by Arts Council England North West and presented in association with Imagination at Lancaster.
Monday, December 3, 2007
via the New Literacy, New Audiences Blog
Theme: Social Media and Cultural CommunicationLocation: Sydney, Australia
Masterclasses: Australian Museum, Thursday 28 February 2008
Conference: Museum of Sydney, Friday 29 February 2008
Social media have swiftly risen from obscurity to become one of the hot topics of cultural communication. Portals such as Wikipedia, YouTube and Flickr all represent a new, content-rich opportunity for online interaction, and their rising popularity demonstrates their appeal.
Major libraries and museums worldwide are starting to use social media technologies such as blogs, wikis and content shares to engage visitors and communities of interest in an ongoing relationship. It looks like social media are here to stay – so what do you need to know about them?
This event will raise some of the major issues in the field, as well as demonstrate best practice and state of the art initiatives. A varied and informative agenda will benefit management, curators, archivists, librarians, technologists and public program executives.
Our international speakers will run masterclasses around some current online projects at the Ontario Science Center and Cooper-Hewitt National Design Museum. The main conference features four sessions designed to build knowledge around current and future implications of social media in the cultural institution. Findings from the event will inform a number of articles in MGnsw’s quarterly publication ‘The MAG’.
The Social Media and Cultural Communication Conference 2008 is presented by the Australian Research Council Centre of Excellence for Creative Industries and Innovation; with the support of Museums & Galleries NSW; the Historic Houses Trust of New South Wales; the Museum of Sydney; and the Australian Museum.
Main conference registration: $149.00 per person
Earlybird rate for main conference rego received prior to 19 Dec 2007: $134.00 per person
HHT member and FT student rate: $134.00 per person
Masterclass registration: $49.00 per person per class
No concession available for masterclasses.
Masterclasses only available to delegates registered for main conference.
To register your interest contact:
Museums & Galleries NSW
ph 02 9358 1760freecall 1800 114 311 (regional NSW)
For further information on the conference contact:
Jerry Watkins Queensland University of Technology
Provisional conference schedule
Venue: Museum of Sydney, AGL Theatre, cnr Phillip and Bridge Streets, Sydney NSW 2000
Date: Friday 29 February 2008
Museum of Sydney
SESSION 1 The World of Social Media
Presenters: Kevin von Appen, Ontario Science Centre
Sebastian Chan, Powerhouse Museum
Chair: Jerry Watkins, Queensland University of Technology
Leading web exponents Kevin von Appen and Seb Chan will lead us on a world tour of current best practice in social media and cultural institutions. Attendance will benefit anyone who is new to this area, as well all those considering the implementation of social media in their organisations.
SESSION 2 Social Media and Informal Learning
Panel: Mei Mah, Cooper-Hewitt National Design Museum
Brett McLennan, Australian Centre for the Moving Image
Chair: Dr Lynda Kelly, Australian Museum
This expert panel will discuss how social media can provide powerful tools to enhance connections with learning communities. Brett McLennan will dispel the myth of youth alienation by gaming and multimedia. Mei Mah will relate lessons from the Smithsonian Institution. Lynda Kelly will describe how social media can help the institution achieve an informal learning agenda. Attendance will benefit anyone involved with communication with schools, communities of interest, or knowledge; particularly public program and/or educational officers.
SESSION 3 Re-imagining Cultural Interaction
Panel: Louise Douglas, National Museum of Australia
Lea Giles-Peters, State Library of Queensland
Frank Howarth, Australian Museum
Caroline Payson, Cooper-Hewitt National Design Museum
Chair: Dr Angelina Russo, Queensland University of Technology
This high-level round table will ask whether social media can or even should evolve the business of museums and libraries. Can the authoritative cultural voice be extended and maintained by wider popular engagement? What part will social media play in the twenty-first century institution? Attendance will benefit cultural communicators and managers.
SESSION 4 Social Media: The Future
Panel: Kevin von Appen, Ontario Science Centre
Fiona Hooton, National Library of AustraliaCarolyn Royston, National Museums Online Learning Project
Damien Tampling, Deloitte Corporate Finance Advisory group
The final session will summarise the main findings from the conference and use these to explore new directions in social media. Fiona Hooton will share her experiences from the PictureAustralia project. Carolyn Royston will discuss how the UK National Museums Online Learning Project aims to promote better use of museum websites. Damien Tampling leads Deloitte’s Technology, Media and Telecommunications industry group in Australia. Kevin von Appen will bring his wide knowledge from the Ontario Science Centre. This panel will benefit all those involved in the future of cultural communication.
Provisional masterclass schedule
Venue: Australian Museum, 6 College Street Sydney (opp. Hyde Park) NSW 2010
Date: Thursday 28 February 2008
Transforming Visitor Engagement
Kevin von Appen will argue that social media can engage visitors virtually, through a transformation of how they engage with the institution and each other in the physical world - and beyond the walls of the institution. The newest initiatives at the Science Centre will illustrate this idea.
Building and Maintaining an Online Community
This masterclass by Caroline Payson and Mei Mah will how describe how the Cooper Hewitt National Design Museum’s online Educator Resource Center has provided a testbed for creating and sharing knowledge. Caroline and Mei will explore the long-term impact of this knowledge exchange environment, and will explain how online educational initiatives can be embedded into an organisation’s program.
The Cooper Hewitt National Design Museum (A Smithsonian Institution) aims to translate the meaning of design in daily life into methodologies which can be shared among educators working across multiple disciplines. CHNDM addresses this objective through its education programs where communities are encouraged to examine and reinvent their environments through collaborative design work. In 2006 CHNDM launched a significant online educational initiative, the Educator Resource Center; a knowledge exchange space which uses social media to build and maintain an online community.
Kevin von Appen is Associate Director of Daily Experience Operations at the Ontario Science Centre. He directs the Centre’s internet initiatives, publications, science writing and translation, and knowledge management. He also oversees operations for the Centre’s Weston Family Innovation Centre, the KidSpark children’s museum, exhibit floor hosts and volunteers. He has developed creative web-based projects for AOL Canada, Sympatico.ca, MSN – Microsoft Network, Bell Emergis and Canoe.ca. As Senior Communications Specialist at Cyberplex Interactive Media, he created a usability lab and user-centred design process to serve business clients ranging from Airmiles to ING Bank.
Sebastian Chan is Manager of the Web Services Unit at the Powerhouse Museum. He has a background in social policy, journalism and media criticism as well as information technology, and has been building and producing websites and interactive media since the mid-1990s. Sebastian is a champion of social media in museums and chairs the blog Fresh+New - digital media in museums.
Louise Douglas is General Manager, Audiences and Programs at the National Museum of Australia. Louise has worked in cultural heritage management for 20 years at senior and executive management levels at both the Powerhouse Museum and the National Museum of Australia.
Lea Giles-Peters is the Chief Executive of the State Library of Queensland. Lea was appointed in 2001, becoming the first female State Librarian for Queensland. She was formerly Director, Northern Territory Library and Information Service. Previous positions include Assistant Secretary, Northern Territory Department of Housing and Local Government and Manager, CSIRO Library Network and Information Services. She is an advocate of digital technology, is people-focused and has a special interest in Indigenous services.
Frank Howarth is Director of the Australian Museum. He is passionate about the natural world, and passionate about Sydney and its cultural institutions. He trained as a geologist, completing a Geology Degree at Macquarie University, and followed that with a Master of Science and Society from the University of NSW. Frank’s general interest is policy, with a particular interest and expertise in science policy and management of science based programs. In 1996 he became Director and Chief Executive of the Royal Botanic Gardens and Domain Trust. In 2003 Frank spent 6 months at the NSW Department of Environment and Conservation, before taking up his current role in February 2004.
Fiona Hooton is the Manager of PictureAustralia, an online pictorial database hosted by the National Library of Australia. Over the last twenty years Fiona has worked as an artist, educator, community worker and arts administrator in both state and national collecting institutions. Fiona is currently completing a Masters of Art Administration Honours at the College of Fine Art, Sydney (COFA).
Dr Lynda Kelly is Head of Audience Research at the Australian Museum. She has extensive experience in planning and conducting quantitative and qualitative research for a variety of programs and clients. She has written widely on evaluation and visitor research and is particularly interested in visitor experiences and learning outcomes and how these can be measured.
Mei Mah is Deputy Director of Education at the Cooper Hewitt National Design Museum where she is responsible for creating and managing educational initiatives. Mah worked in architecture and community-based development prior to pursing a MA in Arts Administration at Columbia University. She serves on the New York State Council of the Arts (NYSCA) Museum Panel; the peer review panel for Curator: The Museum Journal; the cultural committee of the Netherlands America Foundation; and the advisory board of Columbia University Teacher’s College Center for Outreach and Innovation.
Brett McLennan is Screen Education Manager at the Australian Centre for the Moving Image (ACMI). His portfolio covers ACMI’s screen education programs, which includes the oversight and alignment of ACMI education programs to both ACMI core business and current and future government initiatives. Brett has extensive education experience across secondary, tertiary and TAFE segments and has worked as an artist, academic, educational consultant and in commercial interactive design. His current research is centred around multiliteracies and simultaneous learning using multiple texts/mediums.
Caroline Payson is Director of Education at the Cooper Hewitt National Design Museum, a Smithsonian Institution in New York. Payson has an extensive background in arts education, and was formerly Director of Educational Services at Maryland Public Television. She has led a number of education initiatives using interactive and web-based resources to improve reading instruction, distance learning courses and school curricula. Payson is a former Chair of the Liberal Studies Department of Parsons School of Design.
Carolyn Royston is Project Manager of The National Museums Online Learning Project, a significant new partnership involving 9 UK national museums, led by the Victoria and Albert Museum. The project aims to get partner websites better used, by engaging new audiences and transforming the way they think about and use existing digital collections. Carolyn was formerly Head of e-Learning at Atticmedia - a Top 25 new media agency in London - where she led several large web projects in the education and cultural sectors.
Dr Angelina Russo researches the connections between museum communication processes, multimedia design and digital content creation. She is Chief Investigator on the research project Engaging with Social Media in Museums at Queensland University of Technology which brings together three Australian museums and the Smithsonian Institution to explore the impact of social media on museum learning and communication. She also leads the research project New Literacy, New Audiences which examines the development of user-generated content in collaboration with six major of Australian cultural institutions.
Damien Tampling is a Partner in Deloitte’s Corporate Finance Advisory group in Australia and specialises in providing business strategy and M&A advice to organisations in, or investing in, the media, digital media and technology space - stemming from extensive experience in this area. Damien leads Deloitte’s Technology, Media and Telecommunications industry group in Australia. Prior to joining the Corporate Finance team, Damien lead Deloitte’s technology practice in Sydney – the largest online and mobile consultancy in Australia with over 130 people. This team provides strategy, development and marketing solutions to companies seeking to improve their operations through the use of online, mobile and emerging technologies.
Jerry Watkins is a designer and producer with a 20-year track record in commercial communication design and multimedia production. He has provided creative consultancy to some of the world’s leading brands, and his expertise has been built upon major international cultural and entertainment productions including theatre, opera, musicals, television and exhibitions. His interdisciplinary research examines social media, participatory design and creative communication. He is a Senior Researcher at Queensland University of Technology and works on the projects New Literacy, New Audiences and Engaging with Social Media in Museums.
Submissions Invited for Exhibition on www.tank.tv
1st January - 1st March 2008
tank.tv is inviting submissions to its forthcoming show, The Whole World, curated by Ian White.
The Whole World is a list of lists: a programme of artists' film and video and an interactive online exhibition.
Both a formal device and a political strategy, film and video that deploys a list as part of its structure often does so with political intent: to subvert hierarchies, to undermine rationalism or to reveal contradiction. In contemporary culture the pop chart's Top 10 has been replaced by an ever-expanding craze for "Top 100s" of everything from Hollywood genres to celebrity gaffes. The Whole World attempts to wrestle back the initiative…
The Whole World is situated somewhere between the absurd and obsessive enterprises of Flaubert's eponymous characters Bouvard and Pecuchet (they hopelessly collect and explore until, exhausted, they revert to their original jobs as copy clerks) and the Japanese animated game Katamari in which players roll all matter – objects, buildings, landscapes, the world itself - into snowballing globes of stuff. The Whole World is ridiculous and irreverent, ambitious and viral.
Viewers are invited to contribute to the programme selected by Ian White by uploading their own video list, be that an extract from an existing work or something made specially for the purpose, to compile a unique, exponential collection: an extraordinary list of lists, of the world as we know it – the whole world.
Work will be selected to join the online exhibition as well as a rolling tank.tv programme on the CASZartscreen in Amsterdam.
Submissions will be accepted prior to, and throughout the exhibition online.
Submit work via the website or mail mini DV tapes and/or Quicktime files to
49 - 50 Great Marlborough St
Queries and questions to: Alice O'Reilly / firstname.lastname@example.org
- - - - - - - - - - - - - -
Now showing: Love & Hate
15th October – 15th November 2007
Fresh Moves - Out now! Order your copy on www.tank.tv
"A significant archive of creative practices in the early years of twenty-first century England"
Tyler Coburn, Tomorrow Unlimited
tank.tv is an inspirational showcase for innovative work in film and video. Dedicated to exhibiting and promoting emerging and established international artists, www.tank.tv acts as a major online gallery and archive for video art. A platform for contemporary moving images.
CULTURE MACHINE 10 (2008)
Edited by Gary Hall
The Pirate Philosophy issue of Culture Machine will explore how the development of various forms of so-called internet piracy are affecting ideas of authorship, intellectual property, copyright law, fair use, patent, trademark, content creation and cultural production that were established pre-internet.
We are looking for contributions which, among other things, engage critically with:
- the philosophy of internet piracy, peer-to-peer file sharing, Grokster, Kazaa, Gnutella, EDonkey, BitTorrent, Pirate Bay and so on;
- attempts to develop new, different or alternative philosophies of content creation, intellectual property and/or copyright (e.g. those associated with open editing, open content, Creative Commons and copyleft licenses, Lawrence Lessig’s ‘free culture’, the free software and open source movements, the work of Richard Stallman and Eric Raymond…);
- the implications and consequences of the above for conceptions of the academic author, scholarly writing, publishing, pedagogy, the book, the journal, peer review and the institution of the university in the era of digital reproducibility;
- efforts that have been made to scale-up the relations of production and distribution associated with peer-to-peer networks to form new participatory regimes of culture or new kinds of networked institutions, even plans for the future organisation of society. See the German Oekonux debate of 2000-2002, for example (http://www.oekonux.org);
- the emergence out of peer-to-peer file networks of actual political ‘Pirate Parties’ in Sweden, Spain, Austria, Germany, USA, UK, France, Australia, Poland, Italy, Russia, Norway, and Belgium.
We envisage contributions to Culture Machine’s Pirate Philosophy issue as falling into two broad (albeit crudely defined and distinguished) categories: those that address the theme of piracy in their content; and those that approach the subject by playing provocatively with the form of their text.
We would especially like to encourage contributors to explore the philosophy of internet piracy by creating actual ‘pirate’ texts we can publish as part of the issue. We are open to and indeed very much welcome suggestions as to what forms such ‘pirate philosophy’ might take in practice. Possible examples include:
- Mash-ups, only in this case with written texts - philosophical, literary, historical, psychoanalytic, political etc. - rather than music tracks being mixed together. (Instead of The Beatle’s The White Album and Jay-Z’s The Black Album, think Deleuze’s ‘Postscript on Control Societies’ and the US Bill of Rights);
- Experiments with plagiarism and appropriation along the lines of Jonathan Lethem’s ‘The Ecstasy of Influence: A Plagiarism’ http://www.harpers.org/archive/2007/02/0081387;
- Texts generated by large groups of often anonymous people working according to free content and open editing principles. Wikipedia is the most well-known, but Culture Machine would like to promote the development of other instances of open content and open editing and wikimedia), specifically with academic writing and publishing in mind.
The idea is to push the boundaries surrounding notions of piracy, authorship, intellectual property, copyright law, fair use and so forth, not just intellectually but legally too.
Deadline for submissions: February 2008
School of Art and Design
Coventry CV1 5FB
ABOUT CULTURE MACHINE
Culture Machine is an umbrella term for a series of experiments in culture and theory.
The Culture Machine open access journal http://www.culturemachine.net
The Culture Machine book series, published by Berg, and including:
Paul Virilio, City of Panic (2005)
Charlie Gere, Art, Time & Technology (2006)
Clare Birchall, Knowledge Goes Pop: From Conspiracy Theory to Gossip (2006)
The Culture Machine open access archive: CSeARCH
The Culture Machine journal publishes new work from both established figures and up-and-coming writers. It is fully refereed, and has an International Advisory Board which includes Geoffrey Bennington, Robert Bernasconi, Sue Golding, Lawrence Grossberg, Peggy Kamuf, Alphonso Lingis, Meaghan Morris, Paul Patton, Mark Poster, Avital Ronell, Nicholas Royle, Tadeusz Slawek and Kenneth Surin.
Previous distinguished contributors to the Culture Machine journal include Mark Amerika, Alain Badiou, Bifo, Oran Catts, Simon Critchley, Jacques Derrida, Johan Fornäs, Henry A. Giroux, Lawrence Grossberg, Stevan Harnad, N. Katherine Hayles, Peggy Kamuf, Ernesto Laclau, J. Hillis Miller, Anna Munster, Mark Poster, Bernard Stiegler, Kenneth Surin, Gregory L. Ulmer, Cathryn Vasseleu and Samuel Weber.
Culture Machine welcomes original, unpublished submissions on any aspect of culture and theory. All contributions to the Culture Machine journal are refereed anonymously. Anyone with material they wish to submit for publication is invited to contact:
Culture Machine c/o Dave Boothroyd and Gary Hall
e-mail: email@example.com and firstname.lastname@example.org