<?xml version='1.0' encoding='UTF-8'?><?xml-stylesheet href="http://www.blogger.com/styles/atom.css" type="text/css"?><feed xmlns='http://www.w3.org/2005/Atom' xmlns:openSearch='http://a9.com/-/spec/opensearchrss/1.0/' xmlns:georss='http://www.georss.org/georss' xmlns:gd='http://schemas.google.com/g/2005' xmlns:thr='http://purl.org/syndication/thread/1.0'><id>tag:blogger.com,1999:blog-35898277</id><updated>2011-04-21T15:13:07.638-07:00</updated><category term='Scott Rettberg'/><category term='Seminar'/><category term='Newcastle'/><category term='Cinema'/><category term='John Cayley'/><category term='Tyneside'/><category term='Goldsmiths'/><category term='menage-a-trois Love City IOCT mobile SMS'/><category term='John Battelle'/><category term='Camstudio'/><category term='Nottingham'/><category term='Electronic Literature Organization'/><category term='gallery conceptual art'/><category term='commission'/><category term='book'/><category term='Broadway'/><category term='community media'/><category term='cyberperformance'/><category term='new media'/><category term='participation'/><category term='web 2.0'/><category term='performance'/><category term='screencasting'/><category term='Digital art public space &quot;Pierre Vivant&quot; &quot;Rafael Lozano-Hemmer&quot;'/><category term='digital art'/><category term='CFP'/><category term='training'/><category term='Michael Wesch'/><title type='text'>Writing(s):Not for WIMPs</title><subtitle type='html'>This blog records the development of the Writing(s):Not for WIMPs project 2006-2007. It is the virtual studio of Gavin Stewart, in which he captures some of his processes and interests whilst working as Researcher in New Media Writing at the Research Institute of Media, Art and Design at the University of Bedfordshire.</subtitle><link rel='http://schemas.google.com/g/2005#feed' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/posts/default'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default?max-results=100'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/'/><link rel='hub' href='http://pubsubhubbub.appspot.com/'/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><generator version='7.00' uri='http://www.blogger.com'>Blogger</generator><openSearch:totalResults>26</openSearch:totalResults><openSearch:startIndex>1</openSearch:startIndex><openSearch:itemsPerPage>100</openSearch:itemsPerPage><entry><id>tag:blogger.com,1999:blog-35898277.post-4775178865491733557</id><published>2007-07-29T07:10:00.000-07:00</published><updated>2007-07-29T07:12:26.730-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='Broadway'/><category scheme='http://www.blogger.com/atom/ns#' term='digital art'/><title type='text'></title><content type='html'>&lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;DIGITAL BROADWAY is now seeking  applications to its DIGITAL COMMISSIONS.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;Please visit the new link to  download the application forms:&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;a href="https://www.broadway.org.uk/digital_arts"&gt;https://www.broadway.org.uk/digital_arts&lt;/a&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;Broadway Cinema and Media Centre  Nottingham has launched DIGITAL BROADWAY, its new exhibition programme of  digital art and moving image. Broadway now has 4 distinct areas to exhibit  moving image artwork within the building:&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;The Glass Screen -  Large scale projections on the glazed front of the building. Viewable from the  street and inside the Mezzanine bar.&lt;/span&gt;&lt;/span&gt; &lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;The Bar Screen - large  projections in the popular ground floor cafe bar space.&lt;/span&gt;&lt;/span&gt; &lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;The Small Screens - an  LCD screen network located around the building.&lt;/span&gt;&lt;/span&gt; &lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;Cinema Screen - Monthly  screenings of artists’ film and video (last Tuesday each month)&lt;/span&gt;&lt;/span&gt;  &lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;   &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;br /&gt;We are looking to commission  exclusive art work for Broadway's Bar Screen and Glass  Screen.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;6 x Glass Screen commissions at  £1000 each. The work will be shown for six weeks.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;8 x Bar Screen commissions at £500  each. The work will be shown for four weeks.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;These commissions are possible with  the assistance of Arts Council England funding.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;We are also looking to curate a wide  range of new and existing artists’ film and video, short films and networked art  works on the Small Screens and welcome your submissions for the&lt;span style="color:navy;"&gt;&lt;span style="color: navy;"&gt; &lt;/span&gt;&lt;/span&gt;Cinema  Screen.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;DIGITAL BROADWAY's visual direction  is ambitious and iconic and we are interested in work that goes beyond the  cinema screen, animates the widely used public building and creates links  between the cinema, moving image and digital art.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;You are open to apply for more than  one Call for Entries separately, but can only be selected for  one.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;Deadline: 1 August  2007&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;color:navy;"&gt;&lt;span style="font-size: 10pt; color: navy; font-family: Arial;"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-4775178865491733557?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/4775178865491733557/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=4775178865491733557' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/4775178865491733557'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/4775178865491733557'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/07/digital-broadway-is-now-seeking_29.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-6644831821795040809</id><published>2007-07-12T03:20:00.001-07:00</published><updated>2007-07-12T03:20:59.053-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='new media'/><category scheme='http://www.blogger.com/atom/ns#' term='Newcastle'/><category scheme='http://www.blogger.com/atom/ns#' term='training'/><title type='text'></title><content type='html'>&lt;span style="font-size:130%;"&gt;&lt;span style="font-size: 14px;"&gt;&lt;b&gt;Call for artists looking for Digital/New Media  Training:&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-size: 12px;"&gt;ISIS Arts is  offering a limited amount of subsidised training opportunities for artists from  the North East Region looking to update their digital/new media skills in a  particular area.  The training can be in any programme or specialised area as  long as it will benefit the artist’s practise. This can include the creation  and/or manipulation (live or post production) of still image, sound or video and  other areas such as web-based work, 3D and interactive media. A good general  level of computer skills is required in order to benefit from this great  opportunity to get tailored one-to-one tuition. Check out your eligibility  before applying as only certain postcodes are eligible:&lt;br /&gt;&lt;a href="http://www.europeanfundingne.co.uk/postcodes/index.cfm"&gt;http://www.europeanfundingne.co.uk/postcodes/index.cfm&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;A  contribution of £25 per training day (on average each artist will receive two  days training) will be required.&lt;br /&gt;&lt;br /&gt; To apply please send a fully  completed application form, downloadable from the ISIS Arts website: &lt;a href="http://www.isisarts.org.uk/docs/training_form_2007.pdf"&gt;http://www.isisarts.org.uk/docs/training_form_2007.pdf&lt;/a&gt;  an up-to-date CV and a few examples of your art work to ISIS Arts by &lt;b&gt;Friday  20th July 2007&lt;/b&gt;.  The training needs to take place before the end of December  2007.&lt;br /&gt;&lt;/span&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-6644831821795040809?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/6644831821795040809/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=6644831821795040809' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/6644831821795040809'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/6644831821795040809'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/07/call-for-artists-looking-for-digitalnew.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-5613192725329760963</id><published>2007-07-06T01:04:00.000-07:00</published><updated>2007-07-06T01:05:52.979-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='Tyneside'/><category scheme='http://www.blogger.com/atom/ns#' term='commission'/><category scheme='http://www.blogger.com/atom/ns#' term='Cinema'/><title type='text'></title><content type='html'>&lt;span style="font-size: 12px;"&gt;&lt;span style="font-family:Arial;"&gt;The Tyneside Cinema is looking to commission a creative  filmmaker, artist or production company to devise, shoot, edit and present an  exciting audio visual piece, which will celebrate the past and future of the  Tyneside Cinema.  The commission is offering artists and film-makers the  opportunity to create a new piece of work that captures the spirit and  atmosphere of one of the region's most cherished cinemas.&lt;br /&gt;&lt;br /&gt;For further details - &lt;/span&gt;&lt;/span&gt;&lt;span style="font-size:130%;"&gt;&lt;span style="font-family:Times, Times New Roman;"&gt;&lt;span style="font-size: 13px;"&gt;&lt;span style="font-family: arial;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="text-decoration: underline;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;span style="font-family: arial;"&gt;web: &lt;/span&gt;&lt;span style="font-family: arial;color:#0000ff;" &gt;&lt;u&gt;http://www.tynecine.org/&lt;/u&gt;&lt;/span&gt;&lt;span style="font-family: arial;"&gt;&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-size: 12px;"&gt;&lt;span style="font-family:Arial;"&gt;Please note that the deadline for submissions  is 13th July 2007.&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-size:130%;"&gt;&lt;span style="font-family:Times, Times New Roman;"&gt;&lt;span style="font-size: 13px;"&gt;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-5613192725329760963?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/5613192725329760963/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=5613192725329760963' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/5613192725329760963'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/5613192725329760963'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/07/tyneside-cinema-is-looking-to.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-1129404021787700564</id><published>2007-07-06T00:57:00.000-07:00</published><updated>2007-07-06T01:00:30.605-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='Broadway'/><category scheme='http://www.blogger.com/atom/ns#' term='commission'/><category scheme='http://www.blogger.com/atom/ns#' term='Nottingham'/><category scheme='http://www.blogger.com/atom/ns#' term='digital art'/><title type='text'></title><content type='html'>&lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;DIGITAL BROADWAY is now seeking  applications to its DIGITAL COMMISSIONS.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;Broadway Cinema and Media Centre  Nottingham has launched DIGITAL BROADWAY, its new exhibition programme of  digital art and moving image. Broadway now has 4 distinct areas to exhibit  moving image artwork within the building:&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;br /&gt;&lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;The Glass Screen -  Large scale projections on the glazed front of the building. Viewable from the  street and inside the Mezzanine bar.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;The Bar Screen - large  projections in the popular ground floor cafe bar space.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;The Small Screens - an  LCD screen network located around the building.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;Cinema Screen - Monthly  screenings of artists’ film and video (last Tuesday each  month)&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;We are looking to commission  exclusive art work for Broadway's Bar Screen and Glass  Screen.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;      &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;6 x Glass Screen commissions at  £1000 each. The work will be shown for six weeks.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;8 x Bar Screen commissions at £500  each. The work will be shown for four weeks.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;These commissions are possible with  the assistance of Arts Council England funding.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;We are also looking to curate a wide  range of new and existing artists’ film and video, short films and networked art  works on the Small Screens and welcome your submissions Cinema  Screen.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;br /&gt;DIGITAL BROADWAY's visual direction  is ambitious and iconic and we are interested in work that goes beyond the  cinema screen, animates the widely used public building and creates links  between the cinema, moving image and digital art.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt;&lt;/o:p&gt;Please download the Call for Entries  and application forms for the Glass Screen, Bar Screen and Small Screens from  the Broadway website:&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt; &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;a title="http://www.broadway.org.uk/events/index.php" href="http://www.broadway.org.uk/events/index.php"&gt;http://www.broadway.org.uk/events/index.php&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;br /&gt;You are open to apply for more one  than one Call for Entries separately, but can only be selected for  one.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;span style="font-family:Arial;font-size:85%;"&gt;&lt;span style="font-size: 10pt; font-family: Arial;"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;br /&gt;Deadline: 1 August  2007&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-1129404021787700564?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/1129404021787700564/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=1129404021787700564' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/1129404021787700564'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/1129404021787700564'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/07/digital-broadway-is-now-seeking.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-2109740023951476809</id><published>2007-06-29T12:28:00.000-07:00</published><updated>2007-06-29T12:31:46.526-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='performance'/><category scheme='http://www.blogger.com/atom/ns#' term='Goldsmiths'/><category scheme='http://www.blogger.com/atom/ns#' term='cyberperformance'/><title type='text'></title><content type='html'>INTIMACY&lt;br /&gt;Across Visceral and Digital Performance&lt;br /&gt;&lt;br /&gt;OPEN CALL FOR PAPERS, POSTERS &amp; PERFORMANCES&lt;br /&gt;&lt;br /&gt;INTIMACY Across Visceral and Digital Performance is supported by the&lt;br /&gt;AHRC ICT Methods Network, Goldsmiths Graduate School, Goldsmiths Digital&lt;br /&gt;Studios, Goldsmiths Drama Department and LABAN.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;ABOUT INTIMACY is a three-day interdisciplinary programme of events made to&lt;br /&gt;elicit connectivity, induce interaction and provoke debate between&lt;br /&gt;makers, participants and witnesses of works that explicitly address&lt;br /&gt;proximity and hybridity in performance. It will feature workshops,&lt;br /&gt;seminars, performances, posters, and a 1-day symposium.  INTIMACY will&lt;br /&gt;employ digital and live art practices as agents, aiming to further&lt;br /&gt;practical exploration of and vibrant discourse into notions of intimacy&lt;br /&gt;in contemporary performance.  It is framed as a forum for artists,&lt;br /&gt;scholars, community workers, performers, cultural practitioners,&lt;br /&gt;researchers and creative thinkers.&lt;br /&gt;&lt;br /&gt;INTIMACY will provide a platform for the discussion of live&lt;br /&gt;art/performance practices concerned with displaying intuitive, intimate&lt;br /&gt;and visceral relationships between artist and other.  It will explore&lt;br /&gt;performance practices that engage in intimate encounters, raising issues&lt;br /&gt;around bodies of data and flesh; presence as aura and representation;&lt;br /&gt;desire as embodied condition and disembodied fantasy; the human and&lt;br /&gt;posthuman self. Confirmed contributors include: Johannes Birringer, Kira&lt;br /&gt;O'Reilly, Tracey Warr, Janis Jefferies, Amelia Jones, Dominic Johnson,&lt;br /&gt;Paul Sermon, Kelli Dipple.&lt;br /&gt;&lt;br /&gt;SPACETIME INTIMACY will take place on the 7th, 8th and 9th December in and around&lt;br /&gt;Goldsmiths University of London, LABAN and The Albany (South London).&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;CO-DIRECTORS&lt;br /&gt;Rachel Zerihan and Maria Chatzichristodoulou [aka maria x]&lt;br /&gt;&lt;br /&gt;BOARD&lt;br /&gt;Prof. Johannes Birringer, Chair in Drama and Performance Technologies,&lt;br /&gt;School of Arts, Brunel University of West London; Artistic Director of&lt;br /&gt;AlienNation Co.&lt;br /&gt;Hazel Gardiner, Senior Projects Officer, AHRC ICT Methods Network;&lt;br /&gt;Researcher.&lt;br /&gt;Dr. Adrian Heathfield, Principal Research Fellow (Performance and Live&lt;br /&gt;Arts), School of Art and Design, Nottingham Trent University; Writer;&lt;br /&gt;Curator.&lt;br /&gt;Prof. Janis Jefferies, Artistic Director, Goldsmiths Digital Studios;&lt;br /&gt;Director Constance Howard Resource and Research Centre in Textiles;&lt;br /&gt;Artist; Writer; Curator.&lt;br /&gt;Gerald Lidstone, Head of Drama Department, Goldsmiths University of London.&lt;br /&gt;&lt;br /&gt;PROPOSALS&lt;br /&gt;All participants will be selected on an open submissions basis.&lt;br /&gt;Proposals will be peer reviewed by the INTIMACY Board and Advisory&lt;br /&gt;Panel. Proposals must not exceed the word limit specified.  You may&lt;br /&gt;provide additional info such as links to digital material including&lt;br /&gt;online video, photos and websites.  Further supporting documentation&lt;br /&gt;such as hard copies and discs are welcome; if you want these returned&lt;br /&gt;please enclose a SAE.  We are accepting proposals for:&lt;br /&gt;&lt;br /&gt;Paper presentations or Performance Lectures&lt;br /&gt;Poster presentations&lt;br /&gt;Live performances -physical and/or digital&lt;br /&gt;&lt;br /&gt;Proposals should be concerned with the relationship between visceral and&lt;br /&gt;digital environments/methodologies being explored in contemporary&lt;br /&gt;performance practice. Specifically, topics of interest include but are&lt;br /&gt;not limited to:&lt;br /&gt;The politics of intimacy in contemporary performance&lt;br /&gt;Risk in relation to intimacy in contemporary performance Pornography/erotics and performed intimacy (Dis)embodiment, (tele)presence and intimate performance encounters Technologies as affective instigators of intimacy Intimate aesthetics in contemporary performance Interfaces of performed desire&lt;br /&gt;&lt;br /&gt;Accepted proposals will be published on our website. Further publishing&lt;br /&gt;possibilities are being explored.&lt;br /&gt;&lt;br /&gt;HOW TO SUBMIT&lt;br /&gt;Submit by email to Maria X at &lt;&lt;a href="mailto:drp01mc@gold.ac.uk"&gt;drp01mc@gold.ac.uk&lt;/a&gt;&gt; and Rachel Zerihan&lt;br /&gt;&lt;&lt;a href="mailto:intimacyrachelz@yahoo.co.uk"&gt;intimacyrachelz@yahoo.co.uk&lt;/a&gt;&gt; writing INTIMACY SUBMISSION in the subject&lt;br /&gt;line.&lt;br /&gt;Send hard copies to INTIMACY c/o 22 Dutton Street, London, SE10 8TB.&lt;br /&gt;&lt;br /&gt;Performances: Submit 1) 500-word statement detailing your project; 2)&lt;br /&gt;200-word CV; 3) Tech Drive; 4) Any other supporting material as&lt;br /&gt;described above.  Please note that only limited technical support can be&lt;br /&gt;provided.&lt;br /&gt;&lt;br /&gt;Papers/ Performance Lectures: Submit 1) 500-word abstract.  This&lt;br /&gt;contribution would form a 15 minute paper to be presented at the&lt;br /&gt;Symposium on Sunday 9th December;  2) 200-word CV; 3) Any other&lt;br /&gt;supporting material as described above.&lt;br /&gt;&lt;br /&gt;Posters: Submit 1) 300-word abstract /summary; 2) 200-word CV; 3) Any&lt;br /&gt;other supporting material as described above.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;DEADLINE&lt;br /&gt;Deadline for submissions: 19 August 2007.&lt;br /&gt;Notification of acceptance: early October 2007&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;ADVISORY PANEL (confirmed to date)&lt;br /&gt;Daisy Abbot, AHDS Performing Arts Glasgow&lt;br /&gt;Gavin Barlow, CEO The Albany&lt;br /&gt;Alice Bayliss, School of Performance and Cultural Industries, University&lt;br /&gt;of Leeds&lt;br /&gt;Brian Brady, Head of Programming, LABAN&lt;br /&gt;Teresa Dillon, Polar Produce&lt;br /&gt;Simon Dronger, Central School of Speech and Drama&lt;br /&gt;Anna Furse, Drama Department, Goldsmiths University of London; Director Marc Garrett, Artist, Co-director Furtherfield Gabriella Giannachi, Co-director Centre for Intermedia, University of Exeter Joe Kelleher, School of Arts, Roehampton University Roberta Mock, Faculty of Arts, University of Plymouth Molly Mullen, Re-Write Co-ordinator Chris Salter, Artist; Researcher Hexagram; Department of Design and&lt;br /&gt;Computational Arts, Concordia University (Canada)&lt;br /&gt;Jennifer Sheridan, Director BigDog Interactive&lt;br /&gt;Igor Stromajer, Artist (Slovenia)&lt;br /&gt;Bojana Kunst, University of Ljubljana (Slovenia)&lt;br /&gt;Tony Thatcher, Choreographer; Programme Leader LABAN&lt;br /&gt;Helen Varley-Jamieson, Performer (New Zealand)&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;For more information on INTIMACY please visit&lt;br /&gt;&lt;a href="http://www.cybertheater.org"&gt;http://www.cybertheater.org&lt;/a&gt;  If you have further queries, please contact&lt;br /&gt;&lt;a href="mailto:intimacyrachelz@yahoo.co.uk"&gt;intimacyrachelz@yahoo.co.uk&lt;/a&gt; or &lt;a href="mailto:drp01mc@gold.ac.uk"&gt;drp01mc@gold.ac.uk&lt;/a&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-2109740023951476809?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/2109740023951476809/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=2109740023951476809' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/2109740023951476809'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/2109740023951476809'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/06/intimacy-across-visceral-and-digital.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-6966986946264640517</id><published>2007-06-16T02:33:00.000-07:00</published><updated>2007-06-16T02:34:32.954-07:00</updated><title type='text'></title><content type='html'>THURSDAY CLUB OPEN CALL ** THURSDAY CLUB OPEN CALL ** THURSDAY CLUB&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;OPEN CALL FOR PROJECTS &amp; PROPOSALS&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;The Thursday Club is an open forum discussion group for anyone&lt;br /&gt;interested in the theories and practices of cross-disciplinarity,&lt;br /&gt;interactivity, technologies and philosophies of the state-of-the-art in&lt;br /&gt;today’s (and tomorrow’s) cultural landscape(s). The Club is supported by&lt;br /&gt;the Goldsmiths Digital Studios (GDS) and the Goldsmiths Graduate School.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Originally set up in October 2005 by GDS as a more informal setting for&lt;br /&gt;research discussions, it has grown to include over 150 members, artists,&lt;br /&gt;technologists, scientists, in fact, a growing diversity of people from&lt;br /&gt;different communities worldwide, that are now connected via a mailing&lt;br /&gt;list and online forum.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;There are also regular meetings in ‘real' space at the Ben Pimlott site&lt;br /&gt;of Goldsmiths, University of London. Anyone can attend these events. By&lt;br /&gt;keeping these meetings free, informal and open to all, we provide a&lt;br /&gt;platform for diverse and open ended discourse, for people who perhaps&lt;br /&gt;would not have the opportunity to discuss ideas outside of their chosen&lt;br /&gt;discipline.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;The Thursday Club brings together people from diverse fields and degrees&lt;br /&gt;of expertise, aiming to initiate discussion and debates among&lt;br /&gt;postgraduate students, researchers, academics, artists, theorists, and&lt;br /&gt;other cultural practitioners.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Since it focuses on interdisciplinary practices, the Club is interested&lt;br /&gt;to experiment with innovative formats of presentation that are&lt;br /&gt;appropriate to the nature of the subject. We particularly welcome the&lt;br /&gt;proposal of round table discussions, panels, screenings, 'hearings',&lt;br /&gt;live gigs and performance lectures as well as more traditional&lt;br /&gt;presentations. We are also interested to platform experimental&lt;br /&gt;work-in-progress, of both practical and theoretical nature.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Submission Materials&lt;br /&gt;&lt;br /&gt;1. An A4 size page with your proposal (about 500 words); any relevant&lt;br /&gt;links; 1-2 pictures if relevant.&lt;br /&gt;&lt;br /&gt;2. A 200 words CV&lt;br /&gt;&lt;br /&gt;3. Your contact details: name, address, email and telephone number&lt;br /&gt;&lt;br /&gt;4. Selected additional audiovisual information (e.g. audio and video&lt;br /&gt;files) preferably as a link.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Please send any submissions by email to Maria X at &lt;drp01mc@gold.ac.uk&gt;&lt;br /&gt;writing 'Thursday Club Submission' as a Subject.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;The deadline for the submission of proposals is 29 JULY 2007. The&lt;br /&gt;submissions will be reviewed by the Thursday Club Board.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;THURSDAY CLUB BOARD&lt;br /&gt;&lt;br /&gt;Miguel Andres-Clavera&lt;br /&gt;PhD Candidate Goldsmiths Digital Studios; Member of Social Technology&lt;br /&gt;and Cultural Interfaces Research Group.&lt;br /&gt;&lt;br /&gt;Maria Chatzichristodoulou [aka Maria X], Thursday Club Coordinator PhD Candidate Goldsmiths Digital Studios; Sessional Lecturer Birkbeck&lt;br /&gt;FCE; Curator.&lt;br /&gt;&lt;br /&gt;Bronac Ferran&lt;br /&gt;Director of boundaryobject.org; Member of DCMS Research and KT&lt;br /&gt;taskgroup; Director of Interdisciplinary Arts at Arts Council England&lt;br /&gt;until March 2007.&lt;br /&gt;&lt;br /&gt;Prof. Janis Jefferies, Thursday Club Convener&lt;br /&gt;Professor of Visual Arts, Department of Computing, Goldsmiths;&lt;br /&gt;Co-director Goldsmiths Digital Studios; Director Constance Howard&lt;br /&gt;Resource and Research Centre in Textiles; Curator; Artist.&lt;br /&gt;&lt;br /&gt;Dr Sarah Kember&lt;br /&gt;Reader in New Technologies of Communication, Department of Media and&lt;br /&gt;Communications, Goldsmiths College; Writer.&lt;br /&gt;&lt;br /&gt;Michela Magas&lt;br /&gt;PhD Candidate Goldsmiths Digital Studios; Co-director Stromatolite&lt;br /&gt;Design Studio.&lt;br /&gt;&lt;br /&gt;Prof. Carrie Paechter&lt;br /&gt;Professor of Educational Studies, Goldsmiths College; Dean of the&lt;br /&gt;Goldsmiths Graduate School.&lt;br /&gt;&lt;br /&gt;Prof. Robert Zimmer&lt;br /&gt;Professor of Computing, Goldsmiths College; Co-director Goldsmiths&lt;br /&gt;Digital Studios.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-6966986946264640517?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/6966986946264640517/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=6966986946264640517' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/6966986946264640517'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/6966986946264640517'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/06/thursday-club-open-call-thursday-club.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-8659393222434720138</id><published>2007-06-16T01:38:00.000-07:00</published><updated>2007-06-16T01:40:13.166-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='new media'/><category scheme='http://www.blogger.com/atom/ns#' term='training'/><category scheme='http://www.blogger.com/atom/ns#' term='digital art'/><title type='text'></title><content type='html'>&lt;span style="font-family:Verdana, Helvetica, Arial;"&gt;&lt;span style="font-size: 12px;"&gt;&lt;b&gt;Call for  artists looking for Digital/New Media Training:&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;ISIS Arts is offering  a limited amount of subsidised training opportunities for artists from the North  East Region looking to update their digital/new media skills in a particular  area.  The training can be in any programme or specialised area as long as it  will benefit the artist’s practise. This can include the creation and/or  manipulation (live or post production) of still image, sound or video and other  areas such as web-based work, 3D and interactive media. A good general level of  computer skills is required in order to benefit from this great opportunity to  get tailored one-to-one tuition. Check out your eligibility before applying as  only certain postcodes are eligible:&lt;br /&gt;&lt;a href="http://www.europeanfundingne.co.uk/postcodes/index.cfm"&gt;http://www.europeanfundingne.co.uk/postcodes/index.cfm&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;A  contribution of £25 per training day (on average each artist will receive two  days training) will be required.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;To apply please send a fully  completed application form, downloadable from the ISIS Arts website: &lt;a href="http://www.isisarts.org.uk/docs/training_form_2007.pdf"&gt;http://www.isisarts.org.uk/docs/training_form_2007.pdf&lt;/a&gt;  an up-to-date CV and a few examples of your art work to ISIS Arts by &lt;b&gt;Friday  20th July 2007&lt;/b&gt;.  The training needs to take place before the end of December  2007.&lt;/span&gt;&lt;/span&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-8659393222434720138?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/8659393222434720138/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=8659393222434720138' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/8659393222434720138'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/8659393222434720138'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/06/call-for-artists-looking-for-digitalnew.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-6066787775860747191</id><published>2007-06-08T11:58:00.000-07:00</published><updated>2007-06-08T12:01:24.993-07:00</updated><title type='text'></title><content type='html'>IOCT Salon in partnership with City Gallery, Leicester: Sarah Jacobs, Thursday 28th June 2007, 6.30pm - 7.30pm&lt;br /&gt;&lt;br /&gt;&lt;a href="http://www.ioctsalon.com"&gt;http://www.ioctsalon.com &lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.leicester.gov.uk/citygallery"&gt;http://www.leicester.gov.uk/citygallery&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Sarah Jacobs is a sculptor whose work includes making objects, performance, installation, books on paper, and books in electronic form. She habitually makes use of everyday materials – plasticine and sticky tape, pdfs and powerpoint.&lt;br /&gt;&lt;br /&gt;Her 'Deciphering Human Chromosome 16: Index to the Report' is an e-book which contains links to around 250 websites collected in the months following  publication in the journal Nature of "The sequence and analysis of duplication-rich human chromosome 16" ( Vol. 432. December 2004).  Its contents change over time as the websites change, migrate or disappear. The Index sets fragments collected from the websites against the background of the earlier draft sequence originally published by Project Gutenberg. The solid physicality of the Index contrasts with the ever changing Report although vagaries of the printing process ensure that each copy of the Index is unique.&lt;br /&gt;&lt;br /&gt;Sarah will be talking about the interaction between the physical form of her work and its meaning and about the possibilities opened up by making work in electronic form.&lt;br /&gt;&lt;br /&gt;Please note: this event will be held at and in partnership with the City Gallery, 90 Granby Street, Leicester&lt;br /&gt;&lt;br /&gt;(Google map - &lt;a href="http://maps.google.co.uk/maps?f=q&amp;hl=en&amp;amp;q=LE1+1DJ&amp;ie=UTF8&amp;amp;z=16&amp;om=1"&gt;http://maps.google.co.uk/maps?f=q&amp;amp;hl=en&amp;q=LE1+1DJ&amp;amp;ie=UTF8&amp;z=16&amp;amp;om=&lt;/a&gt;)&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-6066787775860747191?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/6066787775860747191/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=6066787775860747191' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/6066787775860747191'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/6066787775860747191'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/06/ioct-salon-in-partnership-with-city.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-4007857393812270640</id><published>2007-05-10T11:18:00.000-07:00</published><updated>2007-05-10T11:26:04.236-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='CFP'/><category scheme='http://www.blogger.com/atom/ns#' term='community media'/><category scheme='http://www.blogger.com/atom/ns#' term='participation'/><category scheme='http://www.blogger.com/atom/ns#' term='book'/><title type='text'></title><content type='html'>&lt;p class="MsoNormal" style="text-align: justify;"&gt;&lt;span style="font-size: 11pt;"&gt;&lt;/span&gt;&lt;/p&gt;“Notions of Community - An edited collection of community media debates”   &lt;br /&gt;&lt;br /&gt;Edited by Janey Gordon  University of Bedfordshire, UK    Call For Papers&lt;br /&gt;&lt;br /&gt;Community media in all its guises has come to have an importance and significance for communities globally in many differing circumstances.  It has variously developed as a public sphere, uncensored by authoritarian or hegemonic view-points; it has aided economic and social development: it has provided an outlet for cultural products of minority, under-represented or repressed groups of people; it has given practical information, self-esteem and self-worth to those without other media forms at their disposal.         This edited collection gets beyond descriptions of the values and processes and is deliberately looking for argument and structured debate around the issues of this vibrant sector of the media.&lt;br /&gt;  &lt;br /&gt;The book seeks to examine the recent debates and dilemmas that have emerged with in this sector.  It provides a critical overview of the major issues facing community media and discusses some of the dilemmas that concern community media practitioners and their audiences. It seeks to unpick the relationships between such matters such as funding and content; producers or editors and their audiences; community media and commercial and national media and the over arching ethics of this sector with the regulatory authorities guidelines.&lt;br /&gt;&lt;br /&gt;This book is an edited collection for students studying mainstream and alternative media and also practitioners involved in the community media sector. It has an international perspective and covers the traditional formats of radio, TV and print as well as newer technologies and forms.    Peter Lang Books, Oxford, UK have strongly indicated that they are interested in publishing this collection.     The editor is seeking abstracts for chapters in the following areas,  Funding:      Where does funding for community media come from?  Does it define content? What is the      relationship with funding providers?&lt;br /&gt;&lt;br /&gt;Content: Is community      media truly providing a public sphere of discourse? To what extent does it      risk further marginalizing minority cultures?&lt;br /&gt;&lt;br /&gt;Audiences:  How is a ‘community’ defined? Who is      accessing community media? How does community media engage with its      audiences?&lt;br /&gt;&lt;br /&gt;Practitioners: Who are      community media practitioners? What do they get out of their participation      in community media? How do practitioners know they are ‘successful’ by      their own definitions?&lt;br /&gt;  &lt;br /&gt;Organisation: How does      community media ensure that it is acting for those it seeks to represent?      What forms of organisational structures best promote the ideals of      community media? How does the ethos of community media relate to      authorities and regulatory bodies? What is the relationship between      community media and mainstream media providers?&lt;br /&gt;&lt;br /&gt;Dissemination: Is      community media being marginalized by new technology? How is community      media using and engaging with newer forms of dissemination such as      webcasts, ezines, pods, blogs, SMS, MMS and digital transmission systems? This      list is not exhaustive and discourse concerning cutting-edge community      media dissemination systems is encouraged.&lt;br /&gt;&lt;br /&gt;These areas do not constitute a comprehensive list and proposals on other related themes will be considered. Selection will lay emphasis on papers that are accessible, clearly written, and enhance the debates and illustrate the dilemmas surrounding the community media sector. &lt;br /&gt;&lt;br /&gt;Submission deadline for abstracts is: 1st June 2007, with the final chapters being completed by 30th September 2007.       Abstracts of 200 words and  biographical details of 50 words should be submitted to Janey Gordon, janeygordon@beds.ac.uk&lt;p class="MsoNormal"&gt;&lt;span style="font-size: 11pt;"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-4007857393812270640?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/4007857393812270640/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=4007857393812270640' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/4007857393812270640'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/4007857393812270640'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/05/notions-of-community-edited-collection.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-5175921520421255955</id><published>2007-04-24T12:56:00.000-07:00</published><updated>2007-04-24T12:58:29.615-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='John Cayley'/><title type='text'></title><content type='html'>I just picked up on this wonderful titbit of news from &lt;a href="http://www.chrisjoseph.org/wp/archives/217"&gt;Chris Joseph&lt;/a&gt;. It looks like it will be an interesting event for anyone interested in poetry/new media art.&lt;br /&gt;&lt;br /&gt;&lt;blockquote&gt; John Cayley will speak on ‘Writing on Complex Surfaces’ on Thursday 3rd May at 8.00pm in room 101, 30 Russell Square, London WC1 at 7.30pm.&lt;p&gt;This event is sponsored jointly by the Contemporary Poetics Research Centre and the School of English and Humanities, Birkbeck College.&lt;/p&gt;&lt;/blockquote&gt;&lt;p&gt;&lt;/p&gt;&lt;p&gt;&lt;/p&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-5175921520421255955?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/5175921520421255955/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=5175921520421255955' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/5175921520421255955'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/5175921520421255955'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/04/i-just-picked-up-on-this-wonderful.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-8719412919847004268</id><published>2007-04-20T12:19:00.000-07:00</published><updated>2007-04-20T12:27:45.385-07:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='Electronic Literature Organization'/><category scheme='http://www.blogger.com/atom/ns#' term='Scott Rettberg'/><title type='text'></title><content type='html'>h&lt;a href="http://www.ioctsalon.com"&gt;ttp://www.ioctsalon.com&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;UK launch of the Electronic Literature Collection Volume 1&lt;br /&gt;Thursday 17th May 2007, 6.00pm - 7.30pm (doors open at 5.30pm for drinks)&lt;br /&gt;at the Institute of Creative Technologies, De Montfort University, Leicester, UK (see &lt;a href="http://www.ioctsalon.com/directions.htm"&gt;http://www.ioctsalon.com/directions.htm&lt;/a&gt; for map and directions)&lt;br /&gt;&lt;br /&gt;This event is free of charge and open to the public. The first 50 audience members will receive a complimentary copy of the ELC Volume 1.&lt;br /&gt;&lt;br /&gt;The Electronic Literature Collection Volume 1 is an anthology of sixty works published by The Electronic Literature Organization and edited by N. Katherine Hayles, Nick Montfort, Scott Rettberg and Stephanie Strickland.&lt;br /&gt;&lt;br /&gt;Guests at this Salon will include&lt;br /&gt;- Scott Rettberg (h&lt;a href="http://retts.net"&gt;ttp://retts.net&lt;/a&gt;, writer, co-editor of ELC Volume 1, co-founder and first executive director of the Electronic Literature Organization)&lt;br /&gt;&lt;br /&gt;And the UK-based writers who feature on the ELC Volume 1, who will show their work and discuss what Electronic Literature means for them:&lt;br /&gt;&lt;br /&gt;- John Cayley (&lt;a href="http://www.shadoof.net/in/"&gt;http://www.shadoof.net/in/&lt;/a&gt;)&lt;br /&gt;- Jon Ingold (&lt;a href="http://www.ingold.fsnet.co.uk"&gt;http://www.ingold.fsnet.co.uk&lt;/a&gt;)&lt;br /&gt;- Chris Joseph (&lt;a href="http://www.chrisjoseph.org"&gt;http://www.chrisjoseph.org&lt;/a&gt;)&lt;br /&gt;- Kate Pullinger (&lt;a href="http://www.katepullinger.com"&gt;http://www.katepullinger.com&lt;/a&gt;)&lt;br /&gt;&lt;br /&gt;"Flaws or no flaws, this is an essential collection. Anyone interested in the field of electronic literature should take the trouble to get it on DVD. Some of this material is priceless, and it may not be available on the Web indefinitely."&lt;br /&gt;- Edward Picot, The Hyperliterature Exchange&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;"In the breadth of work contained in it, as well as the innovative way the editors and authors have made it available, this is a generous collection."&lt;br /&gt;- Tim Wright, Realtime Arts&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Links:&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;- Electronic Literature Collection: &lt;a href="http://collection.eliterature.org/"&gt;http://collection.eliterature.org/&lt;/a&gt;&lt;br /&gt;- Electronic Literature Organization: &lt;a href="http://eliterature.org/"&gt;http://eliterature.org/&lt;/a&gt;&lt;br /&gt;- Furtherfield interview with Scott Rettberg of the ELO (writer, co-editor of ELC Volume 1, co-founder and first executive director of the Electronic Literature Organization): &lt;a href="http://www.furtherfield.org/displayreview.php?From=Index&amp;review_id=217"&gt;http://www.furtherfield.org/displayreview.php?From=Index&amp;amp;review_id=217&lt;/a&gt;&lt;br /&gt;- The Hyperliterature Exchange review of ELC Volume 1 by Edward Picot: &lt;a href="http://hyperex.co.uk/reviewelc1.php"&gt;http://hyperex.co.uk/reviewelc1.php&lt;/a&gt;&lt;br /&gt;- Realtime Arts review by Tim Wright: &lt;a href="http://www.realtimearts.net/article/78/8536"&gt;http://www.realtimearts.net/article/78/8536&lt;/a&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-8719412919847004268?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/8719412919847004268/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=8719412919847004268' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/8719412919847004268'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/8719412919847004268'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/04/h-ttpwww.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-1651521343370957953</id><published>2007-02-21T04:42:00.000-08:00</published><updated>2007-02-21T10:12:26.983-08:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='web 2.0'/><category scheme='http://www.blogger.com/atom/ns#' term='Seminar'/><category scheme='http://www.blogger.com/atom/ns#' term='John Battelle'/><category scheme='http://www.blogger.com/atom/ns#' term='screencasting'/><category scheme='http://www.blogger.com/atom/ns#' term='Michael Wesch'/><category scheme='http://www.blogger.com/atom/ns#' term='Camstudio'/><title type='text'></title><content type='html'>In my last post I touched upon what I hope to get from engaging with a technological artwork. I noted:&lt;br /&gt;&lt;br /&gt;&lt;blockquote&gt;"My favourite digital art projects are ones in which technology is de-mystified (or mystified in wonderful way which draws attention to just how dependent we have become on it).&lt;br /&gt;&lt;br /&gt;I love it when I come away from an art work:&lt;br /&gt;&lt;br /&gt;a) thinking (hopefully in a new way about a technology);&lt;br /&gt;b) thinking I would like to try and make something like that, and&lt;br /&gt;c) thinking I now have some idea of how to go about doing it myself."&lt;/blockquote&gt;&lt;br /&gt;&lt;br /&gt;I thought it would be fun to track through an example of my 'abc of thinking' in a live example. So here goes...&lt;br /&gt;&lt;br /&gt;One of the many things that I have been enjoying over the last two weeks is '&lt;a href="http://www.youtube.com/watch?v=6gmP4nk0EOE"&gt;Web 2.0 :The Machine is Us/ing Us'&lt;/a&gt; (I even embedded it in my personal blog over at '&lt;a href="http://betwixtandbetween.blogspot.com/"&gt;betwixt and between&lt;/a&gt;'). It is kind of easy to be sniffy about the use of the expression 'Web 2.0' but that quibble aside, I think this piece is excellent ( and I have already shown it to group of students). I like the economy of this video. Michael Wesch provides a semester's worth of provocations (points to discuss?) in just over four minutes. I also enjoyed the way in which the commentary is interlaced into html in one section (like &lt;a href="http://en.wikipedia.org/wiki/Easter_egg_%28virtual%29"&gt;easter-eggs&lt;/a&gt; in lines of code).&lt;br /&gt;&lt;br /&gt;As you can see, I found myself 'thinking'. I found myself scouring the net for commentary. For example, there is an interesting post by &lt;a href="http://www.frontlinebooks.co.uk/frontline/viewBlogPost.asp?postID=1558"&gt;Jess Laccetti&lt;/a&gt; . I also found myself thinking 'I would like to try and make something like that'.&lt;br /&gt;&lt;br /&gt;I got lucky yesterday because I stumbled across an interview with Prof. Wesch on &lt;a href="http://battellemedia.com/archives/003386.php"&gt;John Battelle's Searchblog&lt;/a&gt; . One of the interesting nuggets tucked away in the comments to this interview is the software, &lt;a href="http://www.camstudio.org/"&gt;camstudio&lt;/a&gt; - used by Wesch to make the screencasts he includes in his video. Now I appreciate that it takes more than just access to software to produce something as elegant as 'The Machine is Us/ing Us' but I can't help thinking that one of the steps on that road is to be able to have a go! Camstudio is released under a GPL licence so that it is effectively free. It is also downloadable. It runs on windows, however, which is good for my home use but not good for the daytime if you work in a Mac-centric department.&lt;br /&gt;&lt;br /&gt;It was at this point that I realized that I needed a search term - 'screencasting' or '&lt;a href="http://www2.blogger.com/Screen%20Capture%20Software%20Reviews"&gt;screen capture&lt;/a&gt;' perhaps so that I could find equivalent software for the Mac. I happened upon a couple of useful blog postings and I was already spoilt for choice. I also had a 'search term' with which to approach the more technically-inclined members of my department. I have often found that it is best to research an issue first so that I can refine my question to the extent that it can be answered in a meaningful way. Suggestions I got back from this 'wetware' search included - &lt;a href="http://sourceforge.net/projects/seminarsystem"&gt;Seminar&lt;/a&gt;  and &lt;a href="http://shinywhitebox.com/index.html"&gt;iShowU&lt;/a&gt; . I have yet to try any of these (so please do not consider this a recommendation). However, I am going to try something soon.&lt;br /&gt;&lt;br /&gt;I guess the activity described above is the process I was trying to summarize in my last post!&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-1651521343370957953?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/1651521343370957953/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=1651521343370957953' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/1651521343370957953'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/1651521343370957953'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/02/in-my-last-post-i-touched-upon-what-i.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-1687882187356718975</id><published>2007-02-07T05:34:00.001-08:00</published><updated>2007-02-07T05:34:57.029-08:00</updated><title type='text'>Love City Presentation at IOCT, DMU - Feb 1st 2007</title><content type='html'>&lt;div style="float: right; margin-left: 10px; margin-bottom: 10px;"&gt; &lt;a href="http://www.flickr.com/photos/gavinandrewstewart/377307149/" title="photo sharing"&gt;&lt;img src="http://farm1.static.flickr.com/99/377307149_ac661bfdd3_m.jpg" alt="" style="border: solid 2px #000000;" /&gt;&lt;/a&gt; &lt;br /&gt; &lt;span style="font-size: 0.9em; margin-top: 0px;"&gt;  &lt;a href="http://www.flickr.com/photos/gavinandrewstewart/377307149/"&gt;Love City Presentation at IOCT, DMU - Feb 1st 2007&lt;/a&gt;  &lt;br /&gt;  Originally uploaded by &lt;a href="http://www.flickr.com/people/gavinandrewstewart/"&gt;gavinandrewstewart&lt;/a&gt;. &lt;/span&gt;&lt;/div&gt;&lt;br clear="all" /&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-1687882187356718975?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/1687882187356718975/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=1687882187356718975' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/1687882187356718975'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/1687882187356718975'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/02/love-city-presentation-at-ioct-dmu-feb.html' title='Love City Presentation at IOCT, DMU - Feb 1st 2007'/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><media:thumbnail xmlns:media='http://search.yahoo.com/mrss/' url='http://farm1.static.flickr.com/99/377307149_ac661bfdd3_t.jpg' height='72' width='72'/><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-2409106850380412081</id><published>2007-02-07T05:12:00.000-08:00</published><updated>2007-02-07T05:24:32.587-08:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='menage-a-trois Love City IOCT mobile SMS'/><title type='text'></title><content type='html'>I went to an interesting presentation at the IOCT at De Montfort University last week (http://www.ioct.dmu.ac.uk/).  The presentation was given by Matt Watkins of Active Ingredients and featured two recent art projects involving ‘matters of the heart’. &lt;br /&gt;&lt;br /&gt;The first project Matt introduced was called 'Ere Be Dragons' (http://www.i-am-ai.net/erebedragons/intro.htm).  This project was of interest, to me at least, because it did not use a traditional WIMPs interface. Instead, it used the users’ heart-rate and their location in a street-setting as its primary modes of interaction (for those of you who are interested in this stuff, the project website notes that it used the following technologies: - HP IPAQ Pocket PC h2210, GPS, Sciencescope Heart Rate Monitor, Mobile Bristol Client and Sensor Bus GPRS). I found the use of vital signs rather intriguing and it reminded me (in a rather lateral sort of a way) of the Breathing Wall by Kate Pullinger et al. - http://www.thebreathingwall.com/ (which monitors the participant’s breathing). In his video record, Matt showed users  (he called them ‘players’ I think) puffing their way around the streets of Nottingham/Berlin with the Pocket PC thrust out in front of them. Matt noted that in this kind of augmented experience “the world bleeds into the digital experience”. The users certainly appeared to be enjoying themselves, noting with glee the emergence of digital trees etc on their screens. However, I couldn’t help wondering whether the user might not also end up bleeding due to a real world experience, as they seemed be interested in the digital box to the exclusion of the cars and trucks passing by them.&lt;br /&gt;&lt;br /&gt;Matt also introduced the forthcoming ‘Love City’ project, which will be launched for Valentine’s Day 2007 (http://www.lovecity.tv/). This game is billed as an urban ménage a trois (always a good expression to have on your blog). It is a SMS text message-based game that will encourage users to make links via their mobile phones with fellow players in the cities of Nottingham, Leicester and Derby in the UK. I rather liked the simplicity of this idea. However, a number of audience members expressed concern about the possibility of abuses with this system (I think ‘virtual stalking’ was one of the problems mentioned). Matt reassured the audience by explaining that the system protected sensitive personal data (with a user number) and was fully moderated by a human operator.    &lt;br /&gt;&lt;br /&gt;The change of technology from ‘Ere Be Dragons’ to ‘Love City’ also interested me; because it pointed to the fact that the Active Ingredients team had made a decision to reach a wider audience by embracing a ‘more widely available’ technology. This has a particular resonance for me, mainly because one of the many things that I am wrestling with at the moment is the feeling that the use of unusual or bespoke technologies can, in the wrong circumstance, act as a barrier to the participation of a wider public.  &lt;br /&gt;&lt;br /&gt;It is not that I think that the use of 'exotic' kit within my practice is bad idea per sec (Let’s face it – it could take weeks to define what is and is not ‘exotic’ in any given instance  – user demographics? context? moment in history? number of pints consumed?). In fact, I am intrigued by novel interfaces and I am always suitably grateful when hard working artists and technologists slave on into the night to lash together a prototype. I also love playing with strange stuff at conferences and exhibitions. Futhermore, I am also envious of any technological ingenuity.  However, it is sometimes possible for the EQUIPMENT to overshadow the artwork. Similarly, exotic kit can be expensive, which can involve one in all sorts of issues that can complicate the development of an artwork.&lt;br /&gt; &lt;br /&gt;My favourite digital art projects are ones in which technology is de-mystified (or mystified in wonderful way which draws attention to just how dependent we have become on it). &lt;br /&gt;&lt;br /&gt;I love it when I come away from an art work:&lt;br /&gt;&lt;br /&gt;a) thinking (hopefully in a new way about a technology);&lt;br /&gt;b) thinking I would like to try and make something like that, and &lt;br /&gt;c) thinking I now have some idea of how to go about doing it myself. &lt;br /&gt;&lt;br /&gt;Exoteric Digital Art? Reflexive Digital Art? Accessible Digital Art?&lt;br /&gt;&lt;br /&gt;I guess I am, therefore, striving toward an approach that lifts the bonnet on the technology whilst also providing an affective experience. It might be that the technical data is on a supporting website – but I still want to be in a position that I can provide this kind of information. I guess this is why I am happiest working on projects where I can post my code. &lt;br /&gt;&lt;br /&gt;Does Artist = Educator?  &lt;br /&gt;&lt;br /&gt;I enjoyed hearing about ‘Love City’ and its use of SMS technology. However, I also felt a certain sense of disappointment as I still feel excluded (by my own ignorance more than anything else) from the proprietary technology of the mobile phone company that underpins this project. I am not sure how it would be possible for artists or big companies to be more open about these kinds of details without impinging on intellectual property. I am also unsure about the vehicle for delivering such details as I am sure other members of the audience at the IOCT might have found the tech spec bit uninteresting.&lt;br /&gt;&lt;br /&gt;Does Art = Open?  &lt;br /&gt;&lt;br /&gt;There is still so much to decide!&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-2409106850380412081?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/2409106850380412081/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=2409106850380412081' title='1 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/2409106850380412081'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/2409106850380412081'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/02/i-went-to-interesting-presentation-at.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>1</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-3366738884573108492</id><published>2007-01-25T06:56:00.000-08:00</published><updated>2007-01-25T06:58:28.507-08:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='gallery conceptual art'/><title type='text'></title><content type='html'>“Whoever determines the display, determines the meaning”  &lt;br /&gt;&lt;br /&gt;Tony Godfrey Conceptual Art pg 261&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-3366738884573108492?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/3366738884573108492/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=3366738884573108492' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/3366738884573108492'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/3366738884573108492'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/01/whoever-determines-display-determines.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-1867471371755760741</id><published>2007-01-24T06:07:00.000-08:00</published><updated>2007-01-24T06:27:24.152-08:00</updated><title type='text'></title><content type='html'>“Art should raise questions"&lt;br /&gt;&lt;br /&gt;Bruce Nauman ( quoted in 'Conceptual Art' by Tony Godfrey pg 208)&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-1867471371755760741?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/1867471371755760741/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=1867471371755760741' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/1867471371755760741'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/1867471371755760741'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2007/01/art-should-raise-questions-bruce-nauman.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-642100356161887082</id><published>2006-12-30T12:12:00.000-08:00</published><updated>2006-12-30T12:31:45.193-08:00</updated><title type='text'></title><content type='html'>I have been re-reading some of my posts here on this blog. I have realized that I have committed a sin of omission, as the self-regarding focus of my posts to date suggest that I am working in some kind of a vacuum. In fact, despite the fact that I am only working one day per week on my project my thinking has been actively informed by my colleagues here at the University of Bedfordshire. I have been made welcome and become involved in a number of interesting projects in a very short time. For example, the creative writing team invited me to participate ( a key word in the context of this post)in their reading to the students earlier in the semester. This was particularly nice for me because the staff chose to read from their current work which provided me with a real sense of being around working writers again. In fact, I relished their introductions and the insights into their working practices as much as the pieces themselves. There were also some interesting links with the issues I have been thinking about for this project. &lt;a href="http://www.beds.ac.uk/research/rimad/people/marc-lavelle"&gt;Marc Lavelle&lt;/a&gt;, for example, read a section from a longer prose work which deals with surveillance culture.&lt;br /&gt;&lt;br /&gt;I have also been asked to be a &lt;a href="http://breo.beds.ac.uk/webapps/portal/frameset.jsp"&gt;visiting lecturer&lt;/a&gt; next semester. This has been interesting challenge for me because it has allowed me to re-think my way into publishing and the public sphere at a time that the industry (industries?) appears to be moving through another re-structuring (for example – the changes facilitated by print-on-demand, blogging, google ad sense and the changing landscape of advertising). It has also been a chance to re-visit some authors that I did not have time for during my PhD (the reading list for this course includes &lt;a href="http://en.wikipedia.org/wiki/Pierre_Bourdieu"&gt;Pierre Bourdieu&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/G%C3%A9rard_Genette"&gt;Gerard Genette&lt;/a&gt;) which is nice for me because (strange though it may sound) I am rather fond of theory (I wonder whether my students will share my passion).   &lt;br /&gt;&lt;br /&gt;Perhaps the most influential contact with my colleagues so far has come through the New Media Reading Group. My colleagues in this group have been working on a text which has the provisional title of ‘&lt;a href="http://madwiki.luton.ac.uk/madwiki/index.php/Architectures_of_participation"&gt;Architectures of Participation&lt;/a&gt;’. This project began before I joined the group; however, the work done by the group has been quite helpful for me because it has brought together a number of strands that point to the importance of the concept of participation to current thinking. For example, I had observed (and experienced) an historical trend over the last thirty years or so to encourage ‘participation’ in art. I am thinking, in particular, of claims for conceptual art, mail art and net.art (to lay out a problematic pathway through the maze of recent art histories). I find the contemporary claims for these practices particularly interesting because they provide some interesting insights into the relationship between art, activism and communities. However, I am also interested in the role played by the concept of participation in the aesthetics of video games (and other ‘new media’ art forms). &lt;a href="http://en.wikipedia.org/wiki/Espen_J._Aarseth"&gt;Espen Aarseth&lt;/a&gt;, for example, makes a number of interesting claims for games in his notion of the ergodic. The term ‘participation’ is also hot at the moment because it is an important ‘selling’ feature for the appropriation of user-generated content by companies such as &lt;a href="http://www.youtube.com"&gt;YouTube&lt;/a&gt;. Arguably, the most extreme position in this ‘interested in participation’ spectrum goes to &lt;a href="http://blogs.sun.com/jonathan/"&gt;Jonathan Schwartz&lt;/a&gt;, the COO of Sun Systems, who has claimed that we are now living in the ‘&lt;a href="http://blogs.sun.com/jonathan/date/20050404"&gt;Age of Participation&lt;/a&gt;’. Maybe, he is right to flag up the importance of the concept even though he does not really explain how the current use of participation is different form the past!&lt;br /&gt;&lt;br /&gt;I freely admit that the concept of participation also makes a guest appearance in my &lt;a href="http://www.gavinstewart.net/homecoming/homephd.html"&gt;PhD work&lt;/a&gt;; mainly through my appropriation of &lt;a href="http://en.wikipedia.org/wiki/Mikhail_Bakhtin"&gt;Mikhail Bakhtin&lt;/a&gt;’s understanding of the reader’s participation in the act of meaning-making.&lt;br /&gt;&lt;br /&gt;I can’t help feeling that the notion of participation is rather under-theorized at present (by me as well as by everyone else). It might help to try and take a systematic approach to our understanding of its aesthetic, cultural and political meanings; to try and get pass the claim that it is something obvious, inherently desirable or unique to the current generation of web services; and to think further about its relationship to similar terms such as &lt;a href="http://en.wikipedia.org/wiki/Collaboration"&gt;collaboration&lt;/a&gt; and &lt;a href="http://en.wikipedia.org/wiki/Hegemony"&gt;hegemony&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;Participation might well turn out to be a multiple concept as I find it hard, at present, to relate Bakhtin’s notion of ubiquitous participation in all acts of meaning-making with the use of participation as a ‘call to action’, by both activist artists and corporations keen to get us off our cultural backsides.&lt;br /&gt;&lt;br /&gt;This work on participation is, of course, a much wider project than the one that I am currently embarked upon, so it will have to wait. However, I believe that it might make an interesting study in its own right. For the present, however, I am hoping to contribute a chapter to the book that re-evaluates some of the experiences described by artists adopting ‘participation’ into their practices in order to provide an insight into some of the issues of power and control surrounding participation and the promotion of user-generated content by corporations.&lt;br /&gt;&lt;br /&gt;It sounds to me that I might well be busy over the coming year!&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-642100356161887082?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/642100356161887082/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=642100356161887082' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/642100356161887082'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/642100356161887082'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2006/12/i-have-been-re-reading-some-of-my-posts.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-2275931183777992670</id><published>2006-12-01T09:10:00.001-08:00</published><updated>2006-12-01T09:10:42.001-08:00</updated><title type='text'>Milton Keynes Shopping Centre</title><content type='html'>&lt;div xmlns='http://www.w3.org/1999/xhtml'&gt;&lt;a href='http://www.flickr.com/photos/gavinandrewstewart/311211109/'&gt;&lt;img width='240' height='180' alt='' src='http://static.flickr.com/111/311211109_190dd2c3b2_m.jpg'&gt;&lt;/img&gt;&lt;/a&gt;&lt;a href='http://www.flickr.com/photos/gavinandrewstewart/311211132/'&gt;&lt;img width='240' height='180' alt='' src='http://static.flickr.com/106/311211132_d076f75a4b_m.jpg'&gt;&lt;/img&gt;&lt;/a&gt;&lt;br&gt;&lt;/br&gt;&lt;br&gt;&lt;/br&gt;&lt;p class='poweredbyperformancing'&gt;powered by &lt;a href='http://performancing.com/firefox'&gt;performancing firefox&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-2275931183777992670?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/2275931183777992670/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=2275931183777992670' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/2275931183777992670'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/2275931183777992670'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2006/12/milton-keynes-shopping-centre.html' title='Milton Keynes Shopping Centre'/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-8042824226637143224</id><published>2006-12-01T08:54:00.000-08:00</published><updated>2006-12-01T09:12:33.478-08:00</updated><category scheme='http://www.blogger.com/atom/ns#' term='Digital art public space &quot;Pierre Vivant&quot; &quot;Rafael Lozano-Hemmer&quot;'/><title type='text'></title><content type='html'>I have been experiencing the practice equivalent of the butterfly’s wing over the last two weeks.  I made what I thought was a relatively minor change in my practice when I began my current engagement with ‘writings: not for wimps’ back in September. However, I have found that this shift has altered significantly the cultural context of my current work. I have found myself dealing with issues of the artwork in space (configuration, usage, public access, ownership and institution influence). This is an intellectual landscape that is traditionally framed by the discourse of fine art (and public art in particular) rather than literary aesthetics. This is not a landscape with which I am familiar if I am honest. However, I have decided to embrace this unexpected turn of events (even though it has added an extra dozen texts to my reading list) as it has given me chance to embrace some welcome pieces of serendipity.  &lt;p class="MsoNormal"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;Firstly, I have been digging into the narratives of digital art. For example, I have been reading &lt;a href="http://www.amazon.com/Digital-Currents-Margot-Lovejoy/dp/0415307813/sr=8-1/qid=1164992441/ref=pd_bbs_sr_1/104-9076504-2647128?ie=UTF8&amp;s=books"&gt;Digital Currents: Art in the Electronic Age &lt;/a&gt;by Margot Lovejoy and Digital Art by &lt;a href="http://www.amazon.com/Digital-Art-World-Christiane-Paul/dp/0500203679/sr=1-1/qid=1164992477/ref=pd_bbs_sr_1/104-9076504-2647128?ie=UTF8&amp;amp;s=books"&gt;Christiane Paul&lt;/a&gt;. However, despite finding both these texts valuable (mainly because they introduce a galaxy of practice examples) I found that I needed to broaden my approach, to think through the relationship between the addressivity of the art and its space(s). One text that I found useful was ‘Public: Art: Space A Decade of Public Art Commissions Agency 1987-1997’. This brief history of the &lt;st1:country-region&gt;&lt;st1:place&gt;UK&lt;/st1:place&gt;&lt;/st1:country-region&gt;’s &lt;a href="http://www.biad.uce.ac.uk/archives/paca.html"&gt;Public Art Commissions Agency &lt;/a&gt;contains some excellent descriptions of proposals by artists working with the agency. &lt;span style=""&gt; &lt;/span&gt;Most of these works are not ‘digital’ &lt;i style=""&gt;per se. &lt;/i&gt;&lt;span style=""&gt; &lt;/span&gt;However, I found that a number of them informed my growing concern with placing surveillance technology in an art space. For example the description of &lt;i style=""&gt;Moonlight (by Permisison)&lt;/i&gt; by &lt;a href="http://millais.solent.ac.uk/The%20Space%20of%20Use/Vivant04.html"&gt;Pierre Vivant&lt;/a&gt; in the early 1990s was very illuminating. I found the description’s of artist response to space particularly valuable. In Mel Gooding’s introduction he notes that Vivant was working in/with the &lt;st1:place&gt;&lt;st1:placetype&gt;University&lt;/st1:placetype&gt;  of &lt;st1:placename&gt;Warwick&lt;/st1:placename&gt;&lt;/st1:place&gt;’s &lt;st1:street&gt;&lt;st1:address&gt;Sculpture   Court&lt;/st1:address&gt;&lt;/st1:street&gt; - "a space the artist had found prison-like and oppressive, and had noticed to be under constant surveillance by its own cameras”.&lt;span style=""&gt;  &lt;/span&gt;Vivant responded to this situation by redeploying the offending surveillance equipment in his work about a single lunar cycle. He notes:&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;/p&gt;&lt;blockquote&gt;“As the natural moon passed through its eternal phases, lunar images were projected by lights aligned within the University campus surveillance cameras, visible in their entirety only by the cameras themselves, and seen by viewers at ground level only as fragments of light. These images were recomposed into a representation of the moon's cycle on six telemonitors"&lt;/blockquote&gt;&lt;p&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;This work was only available for a month so it is not possible to go and experience its particular affect.&lt;span style=""&gt;  &lt;/span&gt;I wonder how visitors to the sculpture garden perceived it? How did it relate to the sculpture garden as a space with a preconceived role? Similarly, I can’t help wondering what the ‘authorities’ of the university made of this appropriation of the equipment? I think it important to experience this kind of work.&lt;span style=""&gt;  &lt;/span&gt;Theory is fine (in theory, in fact) but theory/experience is better way to understand this kind of work.&lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;Last year, for example, I had the privilege of being invited to the launch of &lt;a href="http://www.threecitiescreate.org.uk/_EMDA_Cultural_Quarters/"&gt;Underscan&lt;/a&gt; by Rafael Lozano-Hemmer in the &lt;st1:place&gt;East  Midlands&lt;/st1:place&gt; of &lt;st1:country-region&gt;&lt;st1:place&gt;England&lt;/st1:place&gt;&lt;/st1:country-region&gt;. When I had first read about this work I was very excited by what was proposed. I was also somewhat in awe of the budget for this piece. I have to say that I was impressed with what was accomplished technologically. I was also impressed by the scale and location of the work- in a series of large, somewhat windy civic spaces. However, I was underwelmed artistically. It did not do enough or address me in/with that space. &lt;/p&gt;  &lt;p class="MsoNormal"&gt;Similarly, I had a serendipitous engagement with a piece at &lt;a href="http://www.thecentremk.com/"&gt;Milton Keynes Shopping Centre&lt;/a&gt; yesterday that left me wanting more. As you can see from the images I took (taken today in daylight so the electronic gubbins were visible), this piece comprised of a detector and projector array hung overhead that detect the movements of the shoppers across the white display space on the floor. My daughter had a great time chasing down fairies (unsuccessfully), jumping on projected snow drifts and having fun. Other shoppers also came by and hopped, skipped and jumped in response to the addressivity of the piece. It was great fun and an unexpected find in a shopping centre; however, I can’t help feeling that it did not push its own boundaries much. &lt;/p&gt;  &lt;p class="MsoNormal"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;/p&gt;  &lt;p class="MsoNormal"&gt;I feel like Scrooge saying bah humbug to these technological marvels. I also feel a bit like the Emperor with no clothes on because both of these pieces are technological in advance of anything that I have produced. However, I feel that I want to move beyond the ‘neatness’, the responsiveness of surveillance art. I want to question what that surveillance does (in its many faceted appreciations) to civic spaces such as the shopping centre or the windy town &lt;span style=""&gt; &lt;/span&gt;square. &lt;span style=""&gt; &lt;/span&gt;&lt;span style=""&gt; &lt;/span&gt;&lt;/p&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-8042824226637143224?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/8042824226637143224/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=8042824226637143224' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/8042824226637143224'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/8042824226637143224'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2006/12/i-have-been-experiencing-practice.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-116308493630976697</id><published>2006-11-09T06:59:00.000-08:00</published><updated>2006-11-09T07:14:57.660-08:00</updated><title type='text'></title><content type='html'>I have been in a bookish phase of my research this week. I am tempted to call it ‘The Book Phase’ (or to use a more formal term such as the ‘The Literature Review’) but from experience I know that a Fordist approach to research simply does not work for me. I find myself working in a much more iterative manner going from practice to literature review to technical research in a series of spiraling cycles which run parallel with each other for awhile before fusing, splitting off or fizzling out at key junctures.  It looks like chaos when taken as a snap-shot at any single point but I have learnt from experience that if I document enough of my thought processes (including the ideas that I think are naïve or stupid) and self-posed questions (some of which I never really answer in any kind of obvious way) that things happen. I think of myself as being engaged in something that is more animation than a formal flow-diagram. &lt;br /&gt;&lt;br /&gt;I think that the self-posed questions are particularly important because they act as a record of the wider questions that I am interested in. In a sense they are the breadcrumbs of the meta-research project that never quite gets formulated as part of a research brief but nonetheless is working away on the background. They are what I am about, even when I don’t realise it.&lt;br /&gt;&lt;br /&gt;So what have I been reading?&lt;br /&gt;&lt;br /&gt;Well the first thing I have been reading is ‘Nam June Paik: Video Works 1963-88’. This is the exhibition catalogue for the 1988 retrospective exhibition at the Haywood Gallery, London written by Wulf Herogenrath. It is full of fascinating pieces (and it was a serendipitous find whilst browsing the stacks for the books that did come up on my computer search for ‘computer art’). &lt;br /&gt; &lt;br /&gt;Herogenrath’s text has some wonderful anecdotes about &lt;a href="http://en.wikipedia.org/wiki/Nam_June_Paik"&gt;Nam June Paik&lt;/a&gt; (1932-2006). For example, it tells the story of Paik cutting off pieces of &lt;a href="http://en.wikipedia.org/wiki/John_Cage"&gt;John Cage&lt;/a&gt;’s shirt and tie during a performance of Chopin. Paik announced the end of that concert by ringing up by phone from outside the auditorium. Herogenrath makes the interesting claim that this was the first time that the telephone "had been used as an artistic medium" (page 11).&lt;br /&gt;&lt;br /&gt;I tend to find statements of originality and uniqueness useful provocations for thinking through issues around art so I decided to google ‘history+telephone+art’ and see what I could turn up.  Interestingly, both &lt;a href="http://www.findarticles.com/p/articles/mi_m2479/is_n1_v25/ai_20198546"&gt;Peter Lunenfeld &lt;/a&gt;and &lt;a href="http://www.flong.com/telesymphony/press/souza/"&gt;Adriana de Souza e Silva&lt;/a&gt; begin their histories of this kind of art back in the 1920s with a description of  a piece by &lt;a href="http://en.wikipedia.org/wiki/L%C3%A1szl%C3%B3_Moholy-Nagy"&gt;Lázlo Moholy-Nagy&lt;/a&gt;. I guess it is question of what we mean by first, telephone, art and medium!&lt;br /&gt;&lt;br /&gt;Herogenrath also gives some sense of Paik’s approach to the issue of the relationship between artist and technology. He describes Paik engaging in months of do-it-yourself work adapting “functioning and semi-defective TV sets to receive new signals"(page 11). He quotes Paik as saying "one must know technology very well in order to be able to overcome it"(Page 30). This aphorism resonated with me mainly because I have found myself scoffing recently at my own naïve claims at overcoming technology through technological engagement (particularly with &lt;a href="http://www.adobe.com/products/flash/flashpro/"&gt;Adobe Flash&lt;/a&gt;).&lt;br /&gt;&lt;br /&gt;In another strand of my research reading I have been re-sampling the delights of ‘&lt;a href="http://www.amazon.com/Chris-Crawford-Game-Design/dp/0131460994"&gt;Chris Crawford on Games Design&lt;/a&gt;’. This is a book stuffed full of rumbles and grumbles and insightful turns of the mind. I was particularly interested in CC’s thoughts about software tools. CC notes:&lt;br /&gt;&lt;br /&gt;“Every tool is like a road: It takes you somewhere quickly. A truly fine tool is like a freeway: It gets you there especially quickly. Of course, like a freeway, a fine tool attracts a great many users, all of whom end up going to the same place, and if you take the freeway, you end up at a crowded beach." (Crawford, 2003:123)&lt;br /&gt;&lt;br /&gt;I think that the ‘freeway’ metaphor holds up quite well for the ‘work’ developed using flash at the beginning of the format. The tool was deemed to be good for certain solutions and an awful lot of work ended up looking and feeling quite similar. However, I am not sure that the metaphor holds for what happened next. The tool set acted much more like a map of a road, rather than the road itself. It indicated certain potential sets of interest rather than over-determining them. Similarly, the pre-existing interests that artists brought to their engagement meant that the influence of the technology was modulated by their many different culture contexts. To use the map metaphor once more, we might have been staring at the same map but we were driving to and from different locations for different reasons. Finally, there was a feedback loop between the flash users and the wider technological community which meant that issues: such as the fact that it was a semi-closed format; that it was a proprietary technology; and that technologists and artists could use it in conjunction with a bewildering array of other technologies meant that it became just one tool in a highly competitive toolbox. &lt;br /&gt;&lt;br /&gt;However, the experience of the ‘tool-ness’ of flash was particularly good for me because it meant that I gained a personal insight into processes which I had understood in a rather detached and intellectual manner before. I got to SEE the determination of technology. &lt;br /&gt;&lt;br /&gt;I would argue, therefore, for technological engagement not so much to make the case for ‘overcoming’ the technology (or the cultural construct surrounding it) but to able to ‘see’ it, briefly, in an instructive way. It sounds rather un-heroic when I express my manifesto like that. But I guess I am not St George trying to slay a single fire-breathing monster. I am more like the poor mug tied to the stake tying to figure out their lot in the whole dragon/iron-clad moron economy. &lt;br /&gt;&lt;br /&gt;Now remind me again what happened to person who got tied to the stake!&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-116308493630976697?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/116308493630976697/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=116308493630976697' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116308493630976697'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116308493630976697'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2006/11/i-have-been-in-bookish-phase-of-my.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-116255402786561263</id><published>2006-11-03T03:40:00.000-08:00</published><updated>2006-11-03T03:57:21.180-08:00</updated><title type='text'>Britain is a Dataveillance Society</title><content type='html'>It seems like the issue of surveillance has finally claimed some wider public attention. The BBC are reporting an important contribution to this debate titled &lt;a href="http://news.bbc.co.uk/1/shared/bsp/hi/pdfs/02_11_06_surveillance.pdf"&gt;A Report on the Surveillance Society&lt;/a&gt; . This academic report was produced by the Surveillance Studies Network for the 28th International Data Protection and Privacy Commissioners' Conference in London convened for the office of Richard Thomas the &lt;a href="http://en.wikipedia.org/wiki/Office_of_the_Information_Commissioner"&gt;UK Information Commissioner&lt;/a&gt;. &lt;a href="http://news.bbc.co.uk/1/hi/uk/6108496.stm"&gt;In their reporting the BBC &lt;/a&gt;note that this report touches on surveillance issues as wide as "US security agencies monitoring telecommunications traffic passing through Britain, to key stroke information used to gauge work rates and GPS information tracking company vehicles". The BBC also report the publication of statistics from &lt;a href="http://www.privacyinternational.org/"&gt;Privacy International&lt;/a&gt; which indicate that Britain is the worst Western democracy at protecting individual privacy". You can see the worst offenders (including the UK) picked out in black on this &lt;a href="http://www.privacyinternational.org/article.shtml?cmd%5B347%5D=x-347-545269"&gt;map&lt;/a&gt;. It is 'nice' to see dear Old Blighty up there with the likes of China and Russia. PI describe us as being an "endemic surveillance society"( &lt;a href="http://www.privacyinternational.org/article.shtml?cmd%5B347%5D=x-347-542788"&gt;the executive summary&lt;/a&gt;, &lt;a href="http://www.privacyinternational.org/article.shtml?cmd%5B347%5D=x-347-543673"&gt;overview of privacy&lt;/a&gt;, &lt;a href="http://www.privacyinternational.org/article.shtml?cmd%5B347%5D=x-347-543674"&gt;threats to privacy&lt;/a&gt;, &lt;a href="http://www.privacyinternational.org/article.shtml?cmd%5B347%5D=x-347-542785"&gt;highlights &lt;/a&gt;and &lt;a href="http://www.privacyinternational.org/article.shtml?cmd%5B347%5D=x-347-542783"&gt;country reports&lt;/a&gt; of the PI report are all available online).&lt;br /&gt;&lt;br /&gt;One of the most interesting things, for me, in all this reporting was the role sketched out for artists in the surveillance world. &lt;a href="http://news.bbc.co.uk/1/shared/bsp/hi/pdfs/02_11_06_surveillance.pdf"&gt;A Report on the Surveillance Society&lt;/a&gt; offers a glimpse of the world of 2016 which they capture in the metaphor 'The Hall of Mirrors'&lt;/span&gt;.They predict that:&lt;br /&gt;&lt;br /&gt;&lt;blockquote&gt;Protesters, artists and surrealists all play with and resist pervasive surveillance in all sorts of ways, including disabling public surveillance devices, using ‘sousveillance’ technologies or counter surveillance." &lt;/blockquote&gt;&lt;br /&gt;They also sketch out the case for a new narrative form which they call 'life-logging' in which artists and others use the technologies of surveillance to record every aspect of their lives.  However, they also note that :&lt;br /&gt;&lt;blockquote&gt;"Life logging is also not all that is can seem and with increasingly sophisticated data management and video production software, lives can be adjusted or even entirely created for purposes from pure entertainment through subversion to fraud."&lt;br /&gt;&lt;/blockquote&gt;&lt;br /&gt;Many of these activities are already part of artistic culture. There was rash of work awhile back that exploited webcam technology. In the &lt;a href="http://en.wikipedia.org/wiki/Jennicam"&gt;JenniCam&lt;/a&gt; project, for example, Jennifer Ringley mounted a images from her personal &lt;a href="http://en.wikipedia.org/wiki/Web-cam"&gt;webcam&lt;/a&gt; on the internet that showed her daily life. There was also a rash of interesting spoofs of this idea of mediated ordinary life. In &lt;a href="http://www.xpt.com/uk/work/online-caroline/"&gt;Online Caroline&lt;/a&gt;, for example,Rob Bevan and Tim Wright of XPT used "a mixture of simulated web cam feeds, personalised emails and telephone messages" to create a "BAFTA-award winning online drama about one woman’s attempt to find an online friend".However, I believe that the authors of the report are right to assume that these activities will continue to develop and to play an increasingly important role in future relationships between art and a technological society. The question than arises of how best to prepare for this world. Should one train oneself to "play with and resist pervasive" technologies? It certainly pays not to be asleep when deploying a technology. I was interested to read an article tagged on the end of the WIKIpedia entry for webcams that reports that a trojan horse program can be used by hackers to activate a computer's camera without the user's knowledge (&lt;a href="http://www.theregister.co.uk/2005/01/08/web_surveillance_cams_open_to_all/"&gt;this article by Kevin Poulsen&lt;/a&gt; from 2005 certainly made me think about webcams in a new way). It made me wonder about the relationship between artists and technology; about who and what is being play in this scenario.&lt;br /&gt;&lt;br /&gt;Now remind me where did I leave the manual for my web camera?&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-116255402786561263?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/116255402786561263/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=116255402786561263' title='4 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116255402786561263'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116255402786561263'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2006/11/britain-is-dataveillance-society.html' title='Britain is a Dataveillance Society'/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>4</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-116215096576254627</id><published>2006-10-29T11:42:00.000-08:00</published><updated>2006-10-29T11:42:45.776-08:00</updated><title type='text'>The Irrepressible Campaign by Amnesty International</title><content type='html'>I have just pledge support for the Amnesty International campaign to support freedom of expression on the Internet. On their website they note:-&lt;br /&gt;&lt;br /&gt;&lt;blockquote&gt;"The web is a great tool for sharing ideas and freedom of expression. However, efforts to try and control the Internet are growing. Internet repression is reported in countries like China, Vietnam, Tunisia, Iran, Saudi Arabia and Syria. People are persecuted and imprisoned simply for criticising their government, calling for democracy and greater press freedom, or exposing human rights abuses, online.&lt;br /&gt;&lt;br /&gt;But Internet repression is not just about governments. IT companies have helped build the systems that enable surveillance and censorship to take place. Yahoo! have supplied email users’ private data to the Chinese authorities, helping to facilitate cases of wrongful imprisonment. Microsoft and Google have both complied with government demands to actively censor Chinese users of their services.&lt;br /&gt;&lt;br /&gt;Freedom of expression is a fundamental human right. It is one of the most precious of all rights. We should fight to protect it."&lt;br /&gt;&lt;br /&gt;You can pledge support at - &lt;a href="http://irrepressible.info"&gt;http://irrepressible.info&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;/blockquote&gt;&lt;br /&gt;&lt;br /&gt;&lt;p class="poweredbyperformancing"&gt;powered by &lt;a href="http://performancing.com/firefox"&gt;performancing firefox&lt;/a&gt;&lt;/p&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-116215096576254627?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/116215096576254627/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=116215096576254627' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116215096576254627'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116215096576254627'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2006/10/irrepressible-campaign-by-amnesty.html' title='The Irrepressible Campaign by Amnesty International'/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-116187352573276212</id><published>2006-10-26T07:38:00.000-07:00</published><updated>2006-10-26T07:38:45.743-07:00</updated><title type='text'>Who watches you?</title><content type='html'>&lt;div align="center"&gt;&lt;a href="http://www.flickr.com/photos/gavinandrewstewart/279865549/"&gt;&lt;img src="http://static.flickr.com/110/279865549_63771f19ae_m.jpg" alt="" height="240" width="180" /&gt;&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.flickr.com/photos/gavinandrewstewart/279865758/"&gt;&lt;img src="http://static.flickr.com/30/279865758_46daa90f83_m.jpg" alt="" height="240" width="180" /&gt;&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.flickr.com/photos/gavinandrewstewart/279865720/"&gt;&lt;img src="http://static.flickr.com/92/279865720_e9ea6401f8_m.jpg" alt="" height="180" width="240" /&gt;&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.flickr.com/photos/gavinandrewstewart/279865694/"&gt;&lt;img src="http://static.flickr.com/119/279865694_68b6f0d4f2_m.jpg" alt="" height="240" width="180" /&gt;&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.flickr.com/photos/gavinandrewstewart/279865514/"&gt;&lt;img src="http://static.flickr.com/115/279865514_ec8bafc79f_m.jpg" alt="" height="240" width="180" /&gt;&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.flickr.com/photos/gavinandrewstewart/279865664/"&gt;&lt;img src="http://static.flickr.com/90/279865664_4f4a757dae_m.jpg" alt="" height="240" width="180" /&gt;&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.flickr.com/photos/gavinandrewstewart/279865612/"&gt;&lt;img src="http://static.flickr.com/84/279865612_fec59742ab_m.jpg" alt="" height="240" width="180" /&gt;&lt;/a&gt;&lt;br /&gt;&lt;a href="http://www.flickr.com/photos/gavinandrewstewart/279865583/"&gt;&lt;img src="http://static.flickr.com/79/279865583_c289101e9a_m.jpg" alt="" height="240" width="180" /&gt;&lt;/a&gt;&lt;br /&gt;&lt;/div&gt;&lt;br /&gt;&lt;br /&gt;&lt;p class="poweredbyperformancing"&gt;powered by &lt;a href="http://performancing.com/firefox"&gt;performancing firefox&lt;/a&gt;&lt;/p&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-116187352573276212?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/116187352573276212/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=116187352573276212' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116187352573276212'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116187352573276212'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2006/10/who-watches-you.html' title='Who watches you?'/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-116127307313876285</id><published>2006-10-19T08:50:00.000-07:00</published><updated>2006-10-19T08:51:13.140-07:00</updated><title type='text'></title><content type='html'>&lt;a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://upload.wikimedia.org/wikipedia/commons/1/11/Panopticon.jpg"&gt;&lt;img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px;" src="http://upload.wikimedia.org/wikipedia/commons/1/11/Panopticon.jpg" alt="" border="0" /&gt;&lt;/a&gt;&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-116127307313876285?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/116127307313876285/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=116127307313876285' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116127307313876285'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116127307313876285'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2006/10/blog-post_19.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-116127101026963159</id><published>2006-10-19T07:41:00.000-07:00</published><updated>2006-10-19T08:59:42.800-07:00</updated><title type='text'></title><content type='html'>I have been re-reading 'Discipline and Punishment : The Birth of the Prison' by Michel Foucault. I have turned to this work because I think that it is a good starting point for thinking about notions of visibility and the effects of surveillance in my work. Foucault argues "visibility is a trap" (Foucault 1977:200). Furthermore, he has a number of things to say about the role played by surveillance on the disciplining of society. He is particularly dark on the subject of Jeremy Bentham's &lt;span style="font-style: italic;"&gt;Panopticon&lt;/span&gt; .&lt;br /&gt;&lt;br /&gt;I found the image above of this &lt;a href="http://upload.wikimedia.org/wikipedia/commons/1/11/Panopticon.jpg"&gt;'all-seeing' piece of architecture on WIKIpedia&lt;/a&gt;. Foucault notes that the prisoners are in individual cells around the edge of the structure and the warden is housed in the central observation post. In this configuration the prisoner "is seen, but he does not see; he is the object of information, never a subject in communication"  (Foucault 1977:200).  According to Foucault's account the major effect of the Panopticon is "to induce in the inmate a state of conscious and permanent visibility that assures the automatic functioning of power". Basically, they act to discipline themselves!&lt;br /&gt;&lt;br /&gt;Arguably, the most contention thing that Foucault argues about the Panopticon is that it is not just a pile of bricks and mortar. It is a "generalizable model of functioning; a way of defining power relations in terms of the everyday life of men" ( Foucault 1977:205). As I understand this, it means that we are all disciplined through the metaphorical equivalents of the panopticon. Basically, we are self-normalizing and conform to ill-perceived social norms because of an internalized sense of being constantly watched by others.&lt;br /&gt;&lt;br /&gt;I think this argument is important for any work of art that makes use of detection or surveillance technology because there is a need to acknowledge that the sense of being under surveillance does not end with the direct observations being undertaken through the apparatus of the work.  These effects carry on outside of the work in the internalized prohibitions of society. It raises ethical issues about constructing panoptic spaces that observe the actions of the participants engaging with the work.&lt;br /&gt;&lt;br /&gt;These issues, in turn, raise issues for this research project. Primarily, what is the role of this work? What is it intending to do (if indeed I can talk about intention in  this convoluted context) with this technology?&lt;br /&gt;&lt;br /&gt;I guess I am saying that I am keen to move away from merely deploying the technology as a novelty or curiosity. I am beginning to ask myself - How does the work relate to the technology it deploys? Does it serve as warning about effects of the particular technology. A Cassandra wailing about doom in the face of a world that is not listening? Or is it more like an engagement with the pre-existing issue of the role played by surveillance in ordering and disciplining our societies.&lt;br /&gt;&lt;br /&gt;I came to these technologies from my work with Mikhail Bakhtin. I had argued in that work that the addressivity of certain examples of computer-mediated textual art help foster a valuable self-consciousness about participating in the act of meaning-making. I had a rather agnostic view of technology in that work. I did not make a techno-utopian argument but I tended to sound a cautious but optimistic note about these works of art. I am now feeling less optimistic and less confident about deploying these technologies. I am keen not to turn into a luddite but instead to come up with a more nuanced response to encountering surveillance technologies.&lt;br /&gt;&lt;br /&gt;I find myself encountering fundamental questions in response to this pessimistic view of observation and control which I need to explore further. One task that I have set myself is to try and photograph all the apparatus of surveillance on my route into my office. I am thinking about traffic cameras, CCTV cameras, automatic door sensors, computer log-ins, passwords for the hole in the wall. I think this might help to context my unease and to demonstrate to myself just how deep the culture of observation has gone. But what about the low-earth orbit satellites, the unobserved observers. What about my sense of needing permission to photgraph these kinds of street furniture? What about my lurking sense of fear that I am doing something wrong? How to explore these ill-perceived sense of consciousness?&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-116127101026963159?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/116127101026963159/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=116127101026963159' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116127101026963159'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116127101026963159'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2006/10/i-have-been-re-reading-discipline-and.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-35898277.post-116117097110034134</id><published>2006-10-18T04:07:00.000-07:00</published><updated>2006-10-18T07:12:52.316-07:00</updated><title type='text'></title><content type='html'>Every project has a conception phase. The pre-planning and proposal phase that often stays hidden because subsequent events make it look ill-conceived, ill-informed or just plain silly. However, when recording process it is often quite important to know where one has come from ( if for no other reason than knowing that you have gone somewhere...even if that is just round in circles). The first post of this blog is, therefore, my research proposal which I drafted first in late August-September 2006. It has been modified more recently and I believe that it sets out what it is that I am trying to achieve with this project.&lt;br /&gt;&lt;br /&gt;***&lt;br /&gt;&lt;br /&gt;Writing(s): Not for WIMPs? - Proposed Research Scheme &lt;br /&gt;Gavin Stewart - Researcher in New Media Writing - RIMAD September 2006&lt;br /&gt;&lt;br /&gt;Context of Research and Practice&lt;br /&gt;&lt;br /&gt;The research programme described in this proposal builds directly on my PhD studies at the University of Bedfordshire 2001-2006. &lt;br /&gt;&lt;br /&gt;My doctoral thesis described contemporary practice in the area of computer-mediated textual art; an emergent art practice that encompasses elements of programming, writing, visual art, sound art and animation. It argued that the unusual addressivity of some examples of computer-mediated textual art are valuable because they facilitate an awareness of participation in the act of meaning-making. The practice element of my PhD illustrated the value of this unusual mode of address by developing ‘Homecoming’, an Internet-based work that investigated my understanding of the aesthetics of these texts. &lt;br /&gt;&lt;br /&gt;‘Homecoming’ and other examples of my practice , such as ‘choice/cuts’, from this period were developed in Macromedia Flash and used standard control elements known as WIMPs (windows, icons, mouse and pointers) to interact with the reader-participant. This technology was deployed because it facilitated the distribution of the work to a widely-dispersed audience via the World Wide Web. However, the theoretical element of my research also identified a much wider range of modes of address. This research programme aims, therefore, to investigate the aspects of the addressivity of computer-mediated textual art by focussing on the role played by technical mechanisms other than the WIMPs controls.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Elements of the Research&lt;br /&gt;&lt;br /&gt;The research programme described by this proposal has two complementary elements:&lt;br /&gt;&lt;br /&gt;The first element involves researching examples of ‘computer-mediated textual art’ created for demonstration and exhibition spaces (an environment that generally requires modifications to assumptions underpinning the standard WIMPs systems); and&lt;br /&gt;&lt;br /&gt;The second element involves developing a new work that will deploy a non-WIMPs-based technology (for example RFID tag detection, motion detection with video cameras or some combination of these technologies) in a reflexive manner.&lt;br /&gt; &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Research Activities&lt;br /&gt;&lt;br /&gt;The research programme described by this proposal will involve the following research activity:-&lt;br /&gt;&lt;br /&gt;The creation of a research blog dedicated to recording the process and to exploring some of the issues that arise out of this research opportunity; &lt;br /&gt;&lt;br /&gt;The development of a strand within the research blog dedicated to exploring the issues facing a writer developing a non-WIMPs based artwork within a gallery/public space;&lt;br /&gt;&lt;br /&gt;The selection of an appropriate technology for my own work; and&lt;br /&gt;&lt;br /&gt;The development of a new work of computer-mediated textual art.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;Research Outcomes&lt;br /&gt;&lt;br /&gt;The research programme will aim to deliver:-&lt;br /&gt;&lt;br /&gt;1. A new work of computer-mediated textual art; and &lt;br /&gt;2. A research resource that critiques and contexts 1 above.&lt;div class="blogger-post-footer"&gt;&lt;img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/35898277-116117097110034134?l=writings-wimps.blogspot.com' alt='' /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://writings-wimps.blogspot.com/feeds/116117097110034134/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://www.blogger.com/comment.g?blogID=35898277&amp;postID=116117097110034134' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116117097110034134'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/35898277/posts/default/116117097110034134'/><link rel='alternate' type='text/html' href='http://writings-wimps.blogspot.com/2006/10/every-project-has-conception-phase.html' title=''/><author><name>jumping jack</name><uri>http://www.blogger.com/profile/04593306730931979039</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='21' height='32' src='http://www.gavinstewart.net/tlw/LittleColourGavin.jpg'/></author><thr:total>0</thr:total></entry></feed>
