.:,
.', :. .
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.. '. .. ,. ..: ..
.. .: .'.. ,. . ... F I L M - P H I L O S O P H Y
. ' ...,... . . .:. . .
. .. . : ... .'.. ..,.. ISSN 1466-4615
. ., . . :... . . '.. Journal : Salon : Portal
. .'. , : ..... . PO Box 26161, London SW8 4WD
. .:..'...,. . http://www.film-philosophy.com
.. :.,.. '....
....:,. '. 2003.03.26 Film-Philosophy News
.' :. .
.,'
The International Society for the Study of Time
announces its Twelfth Triennial Conference:
Time and Memory
Clare College, Cambridge, UK
July 25-31, 2004
The International Society for the Study of Time (ISST) encourages the
interdisciplinary study of time in all its aspects. Founded by J.T.
Fraser, the ISST has held its triennial conferences since 1966 in
locations across the globe. The volumes in The Study of Time series
comprise collected papers from the conferences. The ISST also
disseminates work through the associated publication KronoScope:
Journal for the Study of Time (Brill).
The unique character of intellectual exchange at ISST Conferences is
vested in cross-disciplinary discussions spurred by participants from
around the world and representing many different areas of
specialization. The Society seeks always to hold its conferences in a
location of memorable beauty and resonance.
The 2004 Conference at Cambridge University will be based within the
Old Court of Clare College, founded in 1326 and located in the center
of the City, immediately beside the world-famous King's College
Chapel. Clare's 300-year old drooping stone bridge across the river
Cam is one of the iconic landmarks of the Cambridge "backs."
Delegates will take their meals in Clare's 17th century dining Hall
and stay in recently-modernized accommodations in the College's
nearby Memorial Court. The conference program will include a free day
for sight-seeing in Cambridge with its many ancient colleges, chapels
and libraries, and its magnificent Fitzwilliam Museum of Fine Art.
The free day will conclude with a guided evening excursion to nearby
Ely Cathedral, a landmark in English medieval architecture whose
famous Gothic lantern has for centuries provided a beacon for
travellers in the Cambridgeshire fens.
Call For Papers
The theme of the Society's twelfth conference is Time and Memory.
Memory plays an important role in fields across the disciplinary
spectrum as well as several strands of contemporary life and culture.
In the face of rapid change in the cosmological, ecological,
geopolitical, technological, cultural and individual landscapes, the
topic of memory takes on special urgency. New understandings of
memory emerge in fields ranging from neuroscience and evolutionary
biology to geology and cosmology. Technological forms of memory raise
pressing social and political issues, amid shifts in our collective
means and modes of memory. Competing accounts of history and personal
identity foreground the role of narrative in shaping human memory.
The Society therefore solicits contributions to the study of Time and
Memory understood in its widest sense. Presentation/paper proposals
are called for from all fields of scholarly investigation and all
forms of creative expression. Diverse formats are welcome: scholarly
paper, cross-disciplinary panel discussion, debate,
performance/overview of creative work, installations, workshop,
poster. All work is to be presented in English.
Some possible Themes in the field of Time and Memory: Memory and Neuroscience
Architecture and Memory
Memory and Perception
Memory and Community
Memory and Consciousness
Memory Across Cultures
Memes and Genes
Genocide and Cultural Memory
Hierarchical Structure and Memory
Monuments and History
Cosmological Memory
Memory and Planning
Organic/Inorganic Memory
Memory and Narrative
Quantum Memory
Memory and/of the Future
Memory in Ecosystems
Memory and the Image
Memory and Forgetting
False Memories
Computers and Memory
Long-/Short-Term Memory
Proposals should be approximately 300 words in length, and include
the presenter's field of specialization and academic/professional
affiliation. Electronic submission of proposals is preferred via
email to [log in to unmask]
Proposals may otherwise be mailed in triplicate to: Dr. Thomas
Weissert, Executive Secretary P.O. Box 436
Wynnewood, PA 19096, USA
The deadline for submission is July 30th, 2002.
Conference participants must be ISST members. For membership
information and application procedures, visit our website or contact
Dr. Weissert at the above address. Membership includes subscriptions
to the ISST house organ Time's News, the ISST newsletter, and the
journal KronoScope: Journal for the Study of Time.
The Society also seeks session chairs, whose names will be included
on the printed program.
Dr. Paul A. Harris
Dept. of English
Loyola Marymount University
Los Angeles, CA 90045-8215
http://clawww.lmu.edu/~pharris
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'AMERICAN CINEMA AND EVERYDAY LIFE'
The Commonwealth Fund conference on American History of 2003 will be held
at University College London on 26th-28th June. The theme of the conference
will be 'American Cinema and Everyday Life.' Up to 60 papers on the social
experience of film-going will be discussed. Among the issues
considered will be: how did cinema become a part of everyday life for
so many Americans? What was the nature of filmic exhibition? How did
the experience
of movie-going differ at different times and places within the United
States? How were audiences themselves constituted in social and
economic
terms? To what extent was the experience of film-going itself shaped and
influenced by such factors as the gender, race, class, and ethnicity
of members of the audience? How important to film-goers were the
physical and
social contexts of movie-going? How did spectators create meanings
for themselves out of the films they viewed? How, if at all, did the
influence
of such constructed meanings extend beyond the immediate context of
film-going, affecting aspects of spectators' own lives? Did foreign
audiences respond in the same way as American audiences to American
cinema?
For more information on the conference and a registration form, see
the conference website: http://www.ucl.ac.uk/history/cf2003
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From: [log in to unmask]
The Summer Film Symposium at Northeast Historic Film in Bucksport,
Maine, will be held Friday, August 8 and Saturday, August 9, 2003.
The title this year is "Toward Access, Interpretation, and
Understanding." This is the fourth year of an enlightening, fun and
affordable gathering. The emphasis is on relaxed conversation among
peers; presentations feature moving images projected in the 1916
Alamo Theatre and there are convivial meals and evening screenings.
Everyone is invited to attend.
Presenters include Snowden Becker, J. Paul Getty Museum (The 8mm
Microscope: Home Movies Used in the Medical Community and Beyond);
Karen Gracy, University of Pittsburgh, (Mainstreaming Moving Images:
Teaching Library and
Information Science Students to Understand the Value of Film and
Video in Archival Environments); Jeff Heinle, Colby-Sawyer College
(Teaching Undergraduates About Media Preservation and Media Archives,
A Case Study); Dwight Swanson, Northeast Historic Film (Up from the
Basement: Reviving and Preserving Alexander Forbes' 28mm Home Movies)
; Dan Wagner, George Eastman House (Raoul Walsh 1913 film, Mystery of
the Hindu Image, 28mm preservation);
Janna Jones, University of South Florida (Records of Loss: The
Experiential Differences between the Archival Amateur Film and the
Documentary); Alan Kattelle, author of Home Movies: A History of the
American Industry (unusual amateur gauges, an illustrated tour);
William O'Farrell, National Archives of
Canada (1914-1919 filmmaking, home front mobilization and immediate
post-war period). Mark Neumann, University of South Florida, will
moderate.
A new feature of the Symposium this year is "Along the Way," an
invitation for everyone attending to look for and acquire film from
the time they leave home to their arrival at the archives in Maine:
check out flea markets, antiquarian bookstores, junk collections.
Awards will be presented.
For more information and to register, go to
http://www.oldfilm.org/alamotheatre/specialEvents.htm
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From: "Luke McKernan BUFVC" <[log in to unmask]>
In 2001, conciding with the publication of Filming History: The
Memoirs of John Turner, Newsreel Cameraman, the BUFVC announced a new
annual prize of £200 for a student essay on newsfilm and the history
of newsfilm production. The prize has been made possible through a
generous donation to the BUFVC by John Turner, former newsreel
cameraman with Gaumont-British News and news editor for Pathe News.
The prize is awarded annually for an essay of up to 15,000 words
written by a student at a UK university or institute of further
education, on the theme of British newsfilm production (including
cinema newsreels, television news, or any moving image-related news
media), on a theme that can be contemporary or historical. Only
previously unpublished work written during the period eighteen months
prior to the submission deadline will be eligible. The essay is
judged by a panel of historians and media practitioners. The winning
essay will be published on the web and/or in print by the British
Universities Film & Video Council.
Last year's award was made to Judith Cowan, for her essay, '"Women at
work for war . women at work for the things of peace":
Representations of women in the British propaganda newsreel in India
in the Second World War, Indian News Parade'. It can be read online at
www.bufvc.ac.uk/databases/newsreels/resources/texts.html#turnerprize.
The award will be made in December 2003, and entries must be
submitted by 31 August 2003. Further details on how to enter can be
found at www.bufvc.ac.uk/newsreels/prize.
For more information on newsreels, visit the British Universities
Newsreel Database (BUND) at http://www.bufvc.ac.uk/newsreels
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CULTURE MACHINE 5 (2003)
http://culturemachine.tees.ac.uk
The e-Issue
Edited by Gary Hall
Featuring:
N. Katherine Hayles, 'Deeper into the Machine: The Future of
Electronic Literature'
Mark Amerika, 'Literary Ghosts'
Ted Striphas, 'Book 2.0'
Andy Miah, '(e)text: Error...404 Not Found! or The Disappearance of History'
Gary Hall, 'The Cultural Studies e-Archive Project (Original Pirate Copy)'
Alan Clinton, 'Wavespeech, Tapespeech, Blipspeech'
Charlie Gere, 'Can Art History Go On Without a Body?'
Anna Munster, '"This Fanciful and Colourful Image": The Image of New
Media within
the Contemporary Art-Science Nexus'
Cathryn Vasseleu, 'What is Virtual Light?'
Chris Chesher, 'Layers of Code, Layers of Subjectivity'
Gregory L. Ulmer, 'After Method: The Remake (Introduction to Ackeracy
in Reporting)'
Gregory L. Ulmer, 'Ackeracy in Reporting (Last Supper in Santa Barbara by Paolo
Veronese)'
Bernard Stiegler, 'Our Ailing Educational Institutions'
Culture Machine welcomes original, unpublished, unsolicited submissions on any
aspect of culture and theory. Anyone with material they would like to
submit for
publication is invited to contact:
Culture Machine c/o Dave Boothroyd and Gary Hall
e-mail: [log in to unmask]
or [log in to unmask]
- - -----
Call for Contributions
Culture Machine 6: Deconstruction is/in Cultural Studies
February, 2004
Editors for this issue: Gary Hall, Dave Boothroyd and Joanna Zylinska
Cultural studies has often described deconstruction in rather pejorative terms.
Deconstruction has been criticized for being too textual and theoretical, too
concerned with meaning and language, and therefore more suited to the
concerns of
literature and philosophy than to cultural studies and its desire to
get down and
dirty with the real world of concrete political materiality. As a result,
deconstruction has been somewhat marginalized by the move away from
'theory' and
'back to reality' and the economic that took place within cultural
studies over the
course of the 1990s. However, recent years have seen the gradual emergence of a
newer generation of cultural studies writers and practitioners many
of whom, while
clearly locating themselves in the tradition of Hoggart, Williams and Hall,
nevertheless regard deconstruction and deconstructive modes of
thinking as extremely
important to their work.
For this issue of Culture Machine we are inviting contributions on
any aspect of the
relation between cultural studies and deconstruction, as well as
between 'old' and
'new' cultural studies.
Indicative questions to be addressed include:
Why should cultural studies be interested in deconstruction? Can
deconstruction help
to think through some of the problems in contemporary cultural
studies: the relation
between culture and society, the cultural and the economic, cultural
studies and
political economy, Marxism and post-Marxism, theory and politics, agency and
structure, textuality and lived experience, the subject and the social?
What are the consequences for cultural studies, and for our understanding of
culture, of recent 'deconstructive' work on politics, ethics,
justice, responsibility, performativity, the institution of the
university, teletechnologies, spectrality, the 'New International',
hospitality, the foreigner,
the parasite, cosmopolitanism, forgiveness, secrecy, friendship,
experimenting, the
future?
Why should deconstruction be interested in cultural studies? Is the latter as
interesting as, say, literature or philosophy? Is cultural studies capable of
providing anything that other modes of enquiry cannot achieve more
easily/interestingly/rigorously?
Can deconstruction be 'applied' to cultural studies? Is cultural
studies already in
deconstruction? Can there be a 'deconstructive cultural studies'? Is a certain
pervertibility and experience of mobility, transition, translation,
transformation
and change not what makes cultural studies at once both possible and
impossible?
As always, contributions which take advantage of and explore the effects of
electronic media technologies in their form, as well as content, are welcomed.
Deadline for submissions: October 2003.
Contact:
Gary Hall
School of Arts
Middlesex University
White Hart Lane
London N17 8HR
UK
e-mail: [log in to unmask]
All contributions will be peer-reviewed; all correspondence will be
responded to.
For more information, visit the Culture Machine site at:
http://culturemachine.tees.ac.uk
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Issue 25 of
SENSES OF CINEMA
is online at
http://www.sensesofcinema.com
Spotlights include:
Australian film - Swimming Upstream, Australian Rules Film and
History - Russian Ark, Gangs of New York, Far from Heaven
Surveillance in the UK
Limelight and Charlie Chaplin
Tribute to Maurice Pialat
Tribute to André de Toth
Interview with Caroline Leaf
Jean Painlevé
Film and Affect
New releases: About Schmidt
Plus:
GREAT DIRECTORS - Almereyda, Borzage, Burton, Jia, Losey, Renoir,
Vertov and others
TOP TENS / BOOK REVIEWS / FESTIVAL REPORTS / CTEQ ANNOTATIONS
For information and news regarding the current war, we suggest the URLs:
http://www.worldpeacetreaty.org/
World Peace Treaty Campaign
http://www.ips-dc.org/
The Institute for Policy Studies
http://www.labourstart.org/
LabourStart
http://www.un.org
United Nations
http://www.thenation.com
The Nation
http://www.moveon.org/declaration/
Move On - Democracy in Action
http://www.lemonde.fr/
Le Monde
http://www.newamericancentury.org/
Project for the New American Century
http://www.unitedforpeace.org
United for Peace and Justice
http://www.indymedia.org
Independent Media Centre
Senses of Cinema http://www.sensesofcinema.com
General Editor - Fiona A Villella [log in to unmask]
Great Directors Editor - Michelle Carey [log in to unmask]
Editorial Assistant - Jake Wilson [log in to unmask]
Web Designer/TTs - Cerise Howard [log in to unmask]
Great Directors Web Designer/Links - Albert Fung [log in to unmask]
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From: "Senses of Cinema" <[log in to unmask]> To:
"Film-Philosophy" <[log in to unmask]> Subject: CTEQ
Annotations - Call for Contributions
INTRO
The Melbourne Cinémathèque plays a vital role in local film culture
by screening important films from film history that otherwise would
not be theatrically screened before an audience. In order to provide
a critical context for these screenings, "annotations" on films have
traditionally been published in one form or another. Since April
2000, "CTEQ Annotations on Film" have been published electronically
in Senses of Cinema and in hard copy for those without Internet
access. The purpose of these annotations is to further appreciation
of a film by highlighting details of its history, providing a
"reading" of its aesthetic and so on.
INVITE
Senses of Cinema and CTEQ Annotations on Film invite writers to
contribute notes on the films listed below.
Articles should follow the guidelines set out by Senses of Cinema and
should be 800-1000 words in length.
We ask that you reply to this invitation with an expression of
interest in a film that you would like to write on as soon as
possible. Email Adrian Danks at [log in to unmask] We will
then match up writers with specific films (as there may be several
people interested in one film).
Annotations on the following films will be published in the next
issue of Senses of Cinema. The deadline for written material is April
16th.
Holzwege (Georgia Wallace-Crabbe, 1983)
Nuit et brouillard (Alain Resnais, 1955) Germany Nine Zero (Jean-Luc
Godard, 1991) Germany Year Zero (Roberto Rossellini, 1947) Il Grido
(Michelangelo Antonioni, 1957)
Lisbon Story (Wim Wenders, 1994)
Helen, Queen Of The Nautch Girls (Merchant-Ivory, 1970) Heart's
Desire (Farhan Akhtar, 2001)
Yellow Submarine (George Dunning, 1968)
Paul Dreissen Shorts
Paul Dreissen Inside Out (Guus Van Waveren, 2002) The Last Detail
(Hal Ashby, 1973)
California Split (Robert Altman, 1974)
Mother Joan Of The Angels (Jerzy Kawalerowicz, 1961) Bad Luck
(Andrzej Wajda, 1960)
The Boys From Fengkuei (Hou Hsiao-Hsien, 1983) City Of Sadness (Hou
Hsiao-Hsien, 1989)
The Puppetmaster (Hou Hsiao-Hsien, 1993)
Regards,
Fiona
For Senses of Cinema and CTEQ Annotations on Film
______Senses of Cinema http://www.sensesofcinema.com
Fiona A Villella - Editor [log in to unmask]
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Ciné-Ethnography
Jean Rouch
Translated by Steven Feld
University of Minnesota Press | 456 pages | 37 halftones | 2003 ISBN
0-8166-4103-X | hardcover | $71.95
ISBN 0-8166-4104-8 | paperback | $25.95
Visible Evidence Series, volume 13
Jean Rouch has made more than one hundred documentary films in West
Africa and France, pioneered numerous film techniques and
technologies, and in the process inspired generations of filmmakers.
Ciné-Ethnography is a long-overdue English-language resource that
collects Rouch's key writings, interviews, and other materials that
distill his thinking on filmmaking, ethnography, and his own career.
"The publication of Ciné-Ethnography by Jean Rouch, a living legend
in documentary film and world anthropology, is an event to celebrate.
Ably introduced and translated by Steven Feld, this book, which will
be an indispensable resource for any person interested in visual
studies, introduces readers to the provocatively challenging visual
world of Jean Rouch-in his own worlds. It is a wondrous world,
indeed." -Paul Stoller
For more information, visit the book's webpage:
http://www.upress.umn.edu/Books/R/rouch_cineethnography.html
For more information about the Visible Evidence Series, visit its
webpage: http://www.upress.umn.edu/byseries/visibleevidence.html
Sign up to receive news on the latest releases from University of
Minnesota Press:
http://www.upress.umn.edu/eform.html
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Want to compare your work with the short films that launched careers
and won at Bafta and Cannes? CINEMA16 is a new DVD that brings
together some of the best British short films ever made in one place
with exclusive commentaries from each of the filmmakers involved.
The DVD includes Ridley Scott's first short Boy and Bicycle staring
brother Tony; Mike Leigh's 1987 Short and Curlies with David Thwelis;
and Chris Nolan's rarely seen Doodlebug, made while he was a student
in London.
You can compare your early works with Peter Greenaway's Dear Phone;
and see how Stephen Daldry's Eight and Asif Kapadia's The Sheep Thief
laid the ground for Billy Elliot and The Warrior. You can see Lynne
Ramsay's Cannes winner Gasman, and Joyride, the short that got Jim
Gillespie the deal to direct I Know what You Did Last Summer.
The DVD alo includes recent award-winning films from emerging
filmmakers, including BAFTA winners About a Girl, Home and Whose My
Favortie Girl? and European Film Award winner Je t'aime John Wayne
CINEMA16 has been put together by a filmmaker for other filmmakers in
the hope that it will open up a new outlet for short films. DVD is a
great potential platform for short film distribution, and if CINEMA16
can be shown to work, we hope we'll be seeing a host of follow-up DVD
short collections.
We think this is a fantastic collection of films - and have got 10
copies to give away. Email [log in to unmask] to enter the
draw, remembering to include your mailing address.
Preview copies are available online now from www.cinema16.co.uk and
in cinemas including the Curzon Soho and the Watershed Cinema in
Bristol. CINEMA16 will be available from stores nationwide from
April, priced £20. To buy a copy or receive further information visit:
http://www.cinema16.co.uk
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From: Tamao Nakahara <[log in to unmask]>
Please email this address if you would like to receive a free
publicity packet More info at
http://socrates.berkeley.edu/~tamao/Diaspora.htm There's no place
like home:
(Trans)nationalism, Diaspora, and Film
A Symposium with
Hamid Naficy
Friday, April 11, 2003
142 Dwinelle Hall
UC Berkeley Campus
http://socrates.berkeley.edu/~tamao/Diaspora.htm
1:30 pm Opening Remarks
1:45 - 3:15 pm Panel I
Gayatri Gopinath (Women and Gender Studies, UC Davis)
“Bollywood/Hollywood: Queer Representation and the Perils of
Translation” Sirida Srisombati (History of Consciousness Program, UC
Santa Cruz) “Two Tales of Globalization: Transnational Circuits of
Thai Television”
3:30 - 4:45 pm Panel II
Darcy Grimaldo Grigsby (Dept. of History of Art, UC Berkeley) “’She’s
my sister’: Adoption and Longing in Josephine Baker’s Zou Zou (1934)”
Riché Richardson (Dept. of English, UC Davis) “The Caribbean
Problematic in Contemporary American Media” 5:00 pm Hamid Naficy
(Dept. of Art and Art History/Film and Media Studies, Rice
University) "House, Home, and Homeland in Diasporic and Exilic
Cinemas"
Reception
7:30 - 9:30 pm Diasporic Aporias: Films and Filmmakers Anita Chang
(in person), Mommy, What's Wrong?; Nguyen Tan Hoang (in person),
Pirated!; Caveh Zahedi (in person), The World is a Classroom; Cauleen
Smith, Chronicles of a Lying Spirit by Kelly Gabron; Tran T. Kim
Trang, Aletheia; Walid Ra'ad, Hostage: The Bachar Tapes; Shashwati
Talukdar, My Life as a Poster.
Prof. Naficy is the author of The Making of Exile Cultures: Iranian
Television in Los Angeles (University of Minnesota Press, 1993) and
An Accented Cinema: Exilic and Diasporic Filmmaking (Princeton
University Press, 2001). He has edited Home, Exile, Homeland: Film,
Media, and the Politics of Place (Routledge, 1999).
Organized by Monika Mehta and Tamao Nakahara, with programming
assistance from Irina Leimbacher. Special thanks to the Dept. of
Comparative Literature, The Center for Middle Eastern Studies, The
Center for South Asia Studies, The Center for African Studies, The
Film Studies Program, The Dept. of Anthropology, The Center for Race
and Gender, and the Dept. of History of Art. For information, please
see http://socrates.berkeley.edu/~tamao/Diaspora.htm or call
510-527-6915.
"Born to Be Bad: Trash Cinema Conference and Film Festival"
http://www.trashcinema.com
Tamao Nakahara
Department of Italian Studies
6303 Dwinelle, #2620
University of California, Berkeley
Berkeley, CA 94720-2620
phone: 510-527-6915
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From: Hr Greenberg <[log in to unmask]>
PROJECTIONS, the quarterly journal of the Forum for the
Psychoanalytic Study of Film, is currently soliciting both articles
and film reviews with a psychoanalytic orientation, for our next open
issue. Our methodology is exclectic; we welcome contributions from
all schools of analytic thought.
Please send questions or -- hopefully -- your work to Harvey Roy Greenberg, MD,
320 West 86th Street, 3a, New York City, NY 10024 -- snail mail. Or
[log in to unmask], or 212 595 5220.
Thanks
Harvey Roy Greenberg, MD
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From: [log in to unmask]
Subject: Political Film Society Awards for 2002 MIME-Version: 1.0
Content-Type: text/plain
THE POLITICAL FILM SOCIETY GIVES FOUR AWARDS FOR 2002 Members of the
Political Film Society have voted for to recognize outstanding
achievements in raising political consciousness among feature films
for 2002 to the following in four categories of awards:
DEMOCRACY-----Y Tu Mamá También (Alfonso Cuarón, director)
EXPOSÉ---------Antwone Fisher (Denzel Washington, director) HUMAN
RIGHTS--Ararat (Atom Egoyan, director) PEACE----------The Quiet
American (Phillip Noyce, director).
Established in 1986, the Political Film Society is headquartered in
Hollywood, California. Except for the Academy Awards, the Society is
one of the largest international award-granting film societies, with
membership consisting mostly of academic professionals.
Filmlovers who are interested in becoming members of the Society
should write a letter to the above address, visit the Society's
website (www.geocities.com/~polfilms), or send e-mail to
[log in to unmask]
Michael Haas
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From: Vicky Ball <[log in to unmask]> Subject: 1st Global
Conference: Interactive Convergence: Research in
1st Global Conference: Interactive Convergence: Research in Multimedia
7 to 9 August 2003, Prague, Czech Republic
Keynote Speaker: Professor Bruce Klopfenstein Director, Dowden Center
Grady College
University of Georgia
Call For Papers
(Please cross post where appropriate)
This inter-disciplinary and multi-disciplinary conference marks the
launch of a new annual project in the Critical Issues series of
research projects. The project aims to provide a challenging forum
for the examination and evaluation of the theme of 'convergence' in
media and multimedia. Viewing multimedia research as a divergent and
multi-layered phenomenon, the conference series seeks to provide a
forum whereby people working in differing disciplines and professions
can become aware of and share the perspectives generated by
developments in areas other than their own.
One of the primary goals of the project will be to evaluate the issue
of where the study of Interactive Multimedia properly belongs. Is it
a part of Computer Science, Art and Design, Communication, Education,
Business, Psychology, Sociology or any of the many other disciplines?
Or is Interactive Multimedia an interdisciplinary and
multidisciplinary area in its own right?
The aim of the inaugural conference will be to examine Research in
Multimedia in its many disciplines in an attempt to identify and
critique its characteristics, its impact and the implications for its
integration into our every day lives.
Papers, reports, presentations and workshops are invited on any of
the following themes:
Usability and design
Visual design
Virtual communities and collaborative work Social impacts such as
online pornography, internet addiction, and gender divides
E-commerce and E-Business
Games and game theory
Education
Hypermedia
Mobility and Wireless Access
This is an indicative list - and papers dealing with related themes
will be considered.
Papers will be peer reviewed. All papers accepted for and presented
at the conference will be published in an ISBN e-Book. Selected
papers will be developed and published in a themed hard copy book.
500 word abstracts are to be submitted to the Joint Organising Chairs
by Friday 2nd May 2003: Dr. Melissa Lee Price
PO Box 660
College Road
Staffordshire University
Stoke on Trent, UK ST4 2XN
email: [log in to unmask]
Dr Rob Fisher
c/o Learning Solutions
Priory House
149B Wroslyn Road
Freeland, Oxfordshire OX29 8HR
Email: [log in to unmask]
Papers should be sent as an email attachment in Word or WordPerfect;
abstracts can also be submitted in the body of the email text rather
than as an attachment.
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From: "Slought Announcements" <[log in to unmask]> To: [log in to unmask]
We cordially invite you to the following exhibition opening:
DETENTE: RUSSIAN CONTEMPORARY ART IN VIDEO FORMAT Work by Oleg Kulik,
Leonid Tishkov, AES (Tatyana Arzamasova, Lev Evzovitch, Evgeny
Svyatsky), Olga Stolpovskaya
Curator: Nina Zaretskaya
Reception: Wednesday March 26, 2003; 6:30 pm - 8:00 pm Exhibition
Duration: March 26, 2003 to May 26, 2003
Information, film program online:
http://slought.org/toc/calendar/display.php?id=1140 Exhibition and
opening reception is free to the public.
For more information, contact: Aaron Levy, Director
SLOUGHT FOUNDATION
4017 Walnut Street
Philadelphia PA 19104-3513
Ph/fax: 215.746.4239
[log in to unmask]
http://slought.org/
The Slought Foundation, Philadelphia exhibition "Detente: Russian
Contemporary Art in Video Format," curated by Nina Zaretskaya of
Moscow-based Art Media Center "TV Gallery," features recent work in
video format by noted Russian artists Oleg Kulik, Leonid Tishkov, AES
(Tatyana Arzamasova, Lev Evzovitch, Evgeny Svyatsky), and Olga
Stolpovskaya. A series of live events and public conversations
engaging contemporary Russian art and society will accompany the
exhibition. See above web address for press release and film program.
Slought Foundation provides visionary artists and curators with
resources for innovative events and exhibitions. We encourage new
discursive futures for contemporary life through critical theory and
dialogue about art.
Archival Interface: http://slought.org/
Biographies:
Oleg Kulik lives and works in Moscow. His exhibitions and
performative events are characterized by 'strong' expression and
social provocations, where he himself assumes the role of an
'artist-animal', or, more specifically, 'artist-dog'; at times, he
becomes a bird, a fish, or a bull. Among the most radical of
contemporary Russian artists, he holds a Scholarship of Berlin Senate
(1996) and has displayed work at Manifesta I in Rotterdam, Holland
(1996), the Venice Biennial (1997, 2001), at the Biennials of
Istanbul, Turkey (1997), Cetinje, Montenegro (1997), Sao Paulo,
Brazil (1998) and Valencia, Spain (2001), at the Modern Museum,
Stockholm (“After the Wall”, 1999), theTate Modern (2000), the
Lehmbruck Museum, Duisburg (2002) and at the Freud Museum London
(“The Russian Patient”, 2002). His solo exhibitions and events
include the main venues of contemporary art in Moscow (M. Guelman
Gallery, XL Gallery, TV Gallery and Regina Gallery), Deitch Projects,
New York (“I Bite Americ a & America Bites Me,” 1997), Galerie
Rabouan-Moussion, Paris (1998), Zamek Ujazdowski, Warsaw (2000), and
S.M.A.K., Gent (“Deep into Russia,” 2001). “When we involve the point
of view of different biological species in aesthetic practice, it
will produce a new Renaissance and an aesthetic boom that is hardly
imaginable today.” (Kulik, Ikon 2001).
Leonid Tishkov, a Moscow artist, works in different genres and media
including painting, caricature, book arts, poetry, video and
performance, developing traditions of absurdism and surrealism in
Russian culture. “[His work] is reminiscent of Kruchenykh’s fantastic
philology and his concept of “zaumj” as the manifestation of a
spontaneous non-codified language. In that sense, Tishkov can be
compared with religious sectarians who in moments of ecstasy speak
‘in tongues’.” (Grubisic. "L.Tishkov. Creatures", 1993). Solo
exhibitions include "Dabloids and Other Creatures" (Museum of
Nonconformist Art, St. Petersburg, 2000), "The Crystal Stomach of the
Angel " (Gallery Dzyga, Lviv, Ukraine, 1999), "Creatures: Objects and
Video installations" (Contemporary Art Center, Nizhny Novgorod and
Yaroslavl Art Museum, Russia, 1999), "Dabloid Theater" (Fargfabriken,
Center for Contemporary Art, Stockholm, 1998), "Protodabloids" (Art
Media Center “TV gallery”, Moscow, 1997), “Creatures” (Duke
University Museum of Art, Durham, USA, 1993). His recent videos were
shown at the Hamburg FilmFest in 2001 (“The Air Creatures”) and at
the Bristol Short Film Festival in 2000 (“The Funeral”). Group shows
include the Russian National (formerly Lenin) Library, Moscow (1993),
the British Library, London (1994), Corcoran Art Gallery, Washington
(1997), the State Pushkin Museum of Fine Arts, Moscow (1999),
Kunsthalle Faust, Hannover (1999), the State Tretyakov Gallery,
Moscow (2000), Contemporary Art Center of Virginia, USA (2001),
Queen’s University, Belfast (2003).
AES (Tatyana Arzamasova, Lev Evzovitch, Evgeny Svyatsky; created
1987) is a triumvirate of aggressive and provocative artists intent
on creating works, which might be considered as “political
uncorrect”, engaging themes such as violence, body, and
Westernization. “Political correctness is too often a form of
censorship”, - they once stated in an unpublished article by the
American artist Archie Galents in connection with their most famous
work “Islamic Project. AES – The Witnesses of the Future”. The
project was widely covered by media and shown, often as "AES Travel
Agency to the Future", at numerous venues such as Neue Galerie
Studio, Graz, Austria (1997), Festival Atlantico-99, Lisbon, Portugal
(1999), SIETAR Europe Congress 2000, Brussels, Belgium, Jean-Marc
Patras – N.O.M.A.D.E., Paris, France (2000), and Galerie Sollertis,
Toulouse, France (2001). “The AES artists assume that they work in a
world of totally deconstructed oppositions and destroyed boundaries
where the po larization of East and West – which remained the most
important ideological foundation of so called modern art (the art of
the post-World War II period) – has been lost.” (E. Dyegot. “The End
of the Evidence”, 1997). Solo exhibitions include "The Art of the
Possible" (M.Guelman Gallery, Moscow, 1993), "Family Portrait in the
Interior" (XL Gallery, Moscow, 1995), "The Yellow is Cooking, the
White is Eating", Art Media Center "TV Gallery", Moscow (1998), "AES
Nomade makes stop in New York", Art in General, New York (1999), "Le
Roi des Aulnesa", Galerie Knoll, Vienna, Austria (2002).
Olga Stolpovskaya, a Moscow-based artist, works in multimedia, film
and theater. From 1999-2002 she was a producer on STS (The Russian TV
Stations Network). Her video "Bruner'$ Trial," premiered at TV
Gallery, Moscow in 1998, and was then purchased by the Museum of
Modern Art, New York. The script of “Bruner’$ Trial” is based on the
true-life scandalous incident, which received international coverage.
Russian artist Alexander Brener vandalized a masterpiece by Kazimir
Malevich in Stedelijk Museum, Amsterdam. For painting a green $ sign
on the canvas the extremist was sentenced to half-a-year
imprisonment. “The Authors of the film made an ironic statement of
the story, almost in “Mr. Bin” style. Under the influence of their
protagonist’s action The European Union makes a decision to abolish
the money. People are rejoicing and tear notes into pieces. If the
film was out two years ago Brener had been acquitted of the crime for
sure.” (PREMIER Magazine, August, 1998). Olga Stolpo vskaya’s film
“The Subscribers” received the Moscow Media Forum 2001 Award. Works
have been shown at various Russian and international venues and
festivals including The Anthology Film Archives, New York, Oberhausen
International Film Festival, Germany; Video Lisboa, International
Video Festival, Lisbon; International Independent Film Festival,
Brussels; Kunsthalle Faust und Medienhaus, Hannover; European Media
Art Festival, Osnabruck; Cortomola Short Film Festival, Bologna;
Paralleles Kino, Drei Russische Filmnachte, Graz; St.Anna Student &
Debut Film Festival, Moscow; Money Exhibition, Stockholm; WRO
International Media Art Festival, Wroclaw; Moscow Film Festival,
Moscow.
Nina Zaretskaya lives and works in Moscow and New York. She is a
documentary producer and founding director of Art Media Center “TV
Gallery” (1991), a Moscow institution responsible for the appearance
and development of video art and the art of new technologies in
Russia. Nina Zaretskaya has curated and organized numerous
exhibitions including “Total Recall” (dedicated to Phillip K. Dick),
“This Other World of Ours” (video installations by Young British
Artists), and “Medium is the Message” (presentation of work by Nam
June Paik), introducing contemporary foreign art to Russian
audiences. Her recent show “Femininity’s Redress,” held at Angel
Orensanz Foundation Center for the Arts, New York, initiates a
multi-phase project presenting progressive Russian women artists to
the Western public.
Information, film program online:
http://slought.org/toc/calendar/display.php?id=1140
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