NMF is taking a break for the holidays. Please return on January 3, 2008.
Archive: December, 2007
Rethinking the digital Divide – the themes for the the 2008 ALT Conference, and the call for proposals
The paper submissions system for the 2008 Association for Learning Technology Conference opened on 14 December 2007, and will remain so until 29 February 2008. http://www.alt.ac.uk/altc2008/papers.html
Meanwhile ALT has announced the 7 (well 
dimensions of the conference. Proposals for inclusion should address up to 3 of these:
* global or local;
* institutional or individual;
* pedagogy or technology;
* access or exclusion;
* open or proprietary;
* private or public;
* for the learner or by the learner;
* or other aspects of the digital divide.
NEW NIGHTMARES:
Issues and themes in Contemporary Horror Cinema and Horror Film Criticism
An international conference at Manchester Metropolitan University 3-4 April 2008
Confirmed Keynote speakers:
Jay McRoy (University of Wisconsin)
Julian Petley (Brunel University)
Horror has been an area that has been at the forefront of a number of shifts within film studies, in particular the study of consumption, audiences and the industrial production of cinema. In the light of this, this international conference, jointly organised by Manchester Metropolitan University and The University of Salford will promote dialogue and discussion around two areas:
* contemporary issues relating to the study of horror cinema
* developments in the genre over the last 10 years.
Proposals are welcomed on, but not limited to, the following topics:
* The direction of critical approaches to contemporary horror
* Revisions of established canons
* Recent cycles and franchises
* New research on overlooked films, directors and national cinemas
* Current trends in national cinemas
* New aesthetics
* Shifts in representations of gender, sexuality, race and class
* The effects of 9/11 on the American horror film
* Fears of the millennium / apocalypse
* Remakes – within and across national cinemas
* New directions within subgenres
* New approaches to the marketing of horror
* Has video/DVD/new technology changed the nature of the horror film?
* How have changing censorship laws impacted on recent horror production?
We particularly welcome new research from postgraduates and a number of bursaries are available.=20
All proposals should be submitted to the organising committee by Monday 14th January 2008
The conference organising committee is: Emily Brick and David Huxley for Manchester Metropolitan University, Benjamin Halligan and Andy Willis for The University of Salford.
Please send 200 word abstracts and enquiries to horror@mmu.ac.uk
The Whole World
Curated by Ian White
1st January 2008 – 1st March 2008
Across the Channel
The Whole World is a list of lists: a programme of artists’ film and video and an interactive online exhibition.
Both a formal device and a political strategy, film and video that deploys a list as part of its structure often does so with political intent: to subvert hierarchies, to undermine rationalism or to reveal contradiction. In contemporary culture the pop chart’s Top 10 has been replaced by an ever-expanding craze for “Top 100s” of everything from Hollywood genres to celebrity gaffes. The Whole World attempts to wrestle back the initiative…
A selection of artists’ film and video that feature lists or different kinds of taxonomies – visual, audio or textual – are presented as an online exhibition of extracts. Works by Dalia Neis, Uriel Orlow, Jean-Gabirel Périot, Michael Robinson and Valerie Tevere take as their subject such wildly diverse lists as depictions of saints, everything on Ebay, magazine advertising, our mediated world, protest, violence and war, the pages of National Geographic magazine and the words spoken by people on the streets of New York. Text scrolls across the screen, images flash past, immersive landscapes ultimately disintegrate. Many things are logged and something is undone.
At the same time, viewers are invited to contribute to the programme by uploading their own video list, be that an extract from an existing work or something made specially for the purpose, to compile a unique, exponential collection: an extraordinary list of lists, of the world as we know it – the whole world.
The Whole World is situated somewhere between the absurd and obsessive enterprises of Flaubert’s eponymous characters Bouvard and Pecuchet (they hopelessly collect and explore until, exhausted, they revert to their original jobs as copy clerks) and the Japanese animated game Katamari in which players roll all matter – objects, buildings, landscapes, the world itself – into snowballing globes of stuff. The Whole World is ridiculous and irreverent, ambitious and viral.
Programme
Dalia Neis, Saints, 2005 / Jean Gabriel Periot, 21.04.02, 2002 / Uriel Orlow, Everything in Red, Yellow, Blue and Green, 2006 / Michael Robinson, You Don’t Bring Me Flowers, 2005 / Valerie Tevere, When I Say / Valerie Tevere & Angel Navarez, Freque ncy Allocations / Martha Rosler, Semiotics of the Kitchen, 1975
Submitted work will be selected to join The Whole World as well as tank.tv’s programme on the CASZartscreen in Amsterdam.
Ian White is Adjunct Film Curator for Whitechapel Gallery, London, an independent curator, writer and artist. Recent projects include Kinomuseum for the International Short Film Festival Oberhausen and a new performance work in collaboration with Jimmy Robert for STUK, Belgium and De Appel, Amsterdam (2007/8).
Please Note: An expanded version of The Whole World will be available for cinema events and screenings please contact tank.tv
www.tank.tv
www.tank.tv/freshmoves.htm
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Alice O’Reilly
tank.tv
5th floor
49-50 Great Marlborough street
London W1F 7JR
alice@tank.tv
T +44 (0)207434 0110
F +44 (0)207434 9232
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Now showing: Rachel Reupke
1st December 2007 – 1st January 2008
Fresh Moves – Out now! Order your copy on www.tank.tv
“A significant archive of creative practices in the early years of twenty-first century England” Tyler Coburn, Tomorrow Unlimited
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tank.tv is an inspirational showcase for innovative work in film and video. Dedicated to exhibiting and promoting emerging and established international artists, www.tank.tv acts as a major online gallery and archive for video art. A platform for contemporary moving images.
No. 14. Capitalising Creativity by Sarah Thelwall
Developing earned income streams in Cultural Industries organisations
Abstract: This essay proposes a structure of organisational development which assists non-proï¬t cultural organisations to develop earned income streams from their core intellectual capital. Developing such income streams is not simply a commercial challenge for such organisations – given that many have been built around the premise that a commercial path is neither feasible nor desirable – the challenges run far deeper. The structure suggested here recognises this and proposes an approach which allows creative and commercial activities to operate synergistically without leading to a position where one strangles the other.
http://proboscis.org.uk/publications/SNAPSHOTS_capitalcreativity.pdf [A4 PDF 608Kb]
No.15. Landscapes in Dialogue by Alice Angus
Thoughts inspired by the Artists in the Park residency, Ivvavik National Park, Yukon
Abstract: In 2003 Alice was the only non-Canadian to participate in the first Artists in the Park residency in Ivvavik National Park in the Northern Yukon, organised by Parks Canada. This essay is inspired by the experience in Ivvavik and by her long term collaboration with artist and guide Joyce Majiski that began on the residency.
http://proboscis.org.uk/publications/SNAPSHOTS_landscapes.pdf [A4 PDF 1Mb]
Alice will be presenting “Time Accidents, Topographies and Tales” at POLAR: Fieldwork & Archive Fever at the British Library on November 20th. The symposium is organised by the Arts Catalyst, the British Library and the Open University.
Four Diffusion eBooks of Alice’s journals from the Artists in the Park residency are also published by Proboscis and available to download from http://diffusion.org.uk/?cat=85
Inaugurazione: giovedì 25 ottobre 2007 ore 19,00
V.M.21artecontemporanea, via della vetrina,21 – Roma
Tel./fax 06 68891365 – email info@vm21contemporanea.com
Fino al 12 gennaio 2008 – orari : lun-ven 11,00/ 19,30 – sab . 16,30-19,30
http://www.vm21contemporanea.com/mostra_alterazioni_video.htm
V.M.21artecontemporanea è lieta di annunciare la prima personale romana del collettivo Alterazioni Video. La mostra prevede una selezione di lavori inediti (stampe, sculture, serigrafie, installazioni, video) ispirati all’Incompiuto Siciliano.
Le opere in mostra sono il risultato di un’indagine sugli elementi estetici e formali che caratterizzano e accomunano le opere pubbliche incompiute del paese di Giarre (CT). Tali assonanze e similitudini hanno portato alla definizione di uno stile architettonico e alla possibilità di rileggere questi luoghi sotto una nuova luce. Giarre diviene così capitale dell’Incompiuto Siciliano e il progetto di costituire un vero e proprio parco archeologico (in collaborazione con il Comune) vuole essere il risultato concreto di un’operazione di storicizzazione e rivalutazione del territorio.
La spinta creativa, il desiderio di autocelebrazione e la profonda cultura, caratteri che hanno reso la Sicilia e gli Italiani famosi nel mondo, riemergono nel progetto del “Parco Archeologico dell’Incompiuto†così come nelle opere in mostra come elementi chiave per la ricerca di uno stile che diviene paradigma interpretativo della storia recente del nostro paese.
Il progetto Incompiuto Siciliano prevede come prossimi appuntamenti un Simposio per la definizione dello Stile Architettonico, una mostra museale al PAN a Napoli e la realizzazione di un laboratorio sull’Incompiuto.
Nato a Milano nel 2004, Alterazioni Video è un collettivo di 5 artisti (Paololuca Barbieri Marchi, Andrea Masu, Alberto Caffarelli, Giacomo Porfiri, Matteo Erenbourg) con base a Milano e New York. Il gruppo agisce come un network internazionale, disseminato e mobile e si concentra sulla disinformazione e sul rapporto tra verità e rappresentazione, legalità e illegalità , libertà e censura, incrociando i linguaggi dell’arte con le pratiche dell’attivismo politico e attraversando tutti i media: dalla pittura al video, dall’installazione a Internet. Dal 2004 ad oggi, Alterazioni Video ha partecipato a eventi internazionali come Disobedience (Kunst Behetanien Museum & Play Gallery, Berlino 2005) e Remote Control (MoCA, Shanghai 2007), e ha avuto personali in istituzioni quali Location One (New York, 2006) e il Chelsea Art Museum (New York, 2006). Nel 2007 ha partecipato alla 52 edizione della Biennale di Venezia.
PAVILION
Editors: Razvan Ion Eugen Radescu
PAVILION is the producer of BUCHAREST BIENNALE
Flexicover, 14.5 x 19.5 cm (6.6 x 8.9 in.), English, 288 pages.
Cover: Dan Perjovschi, The Right Socialism, 9 drawings, artist project for Pavilion.
http://www.pavilionmagazine.org
“Taken as a whole, What Was Socialism, and What Comes Next? constitutes a dissent from the prevailing directions of much transitological writing. It not only employs an understanding of socialism’s workings that is far from widespread in scholarship about the region but also views the central concepts of research into post-socialism with a skeptical eye. This skepticism comes from being not at all sure about what those central concepts-private property, democracy, markets, citizenship and civil society-actually mean. They are symbols in the constitution of our own “western” identity, and their real content becomes ever more elusive as we inspect how they are supposedly taking shape in the former Soviet bloc. Perhaps this is because the world in which these foundational concepts have defined “the West” is itself changing-something of which socialism’s collapse is a symptom (not a cause). The changes of 1989 did more than disturb western complacency about the “new worl d order” and preempt the imagined fraternity of a new European Union: they signaled that a thorough-going reorganization of the globe is in course. In that case, we might wonder at the effort to implant perhaps-obsolescent western forms in “the East.” This is what I mean: what comes next is anybody’s guess.”
Katherine Verdery
In this issue, (Free download the pdf version of the issue at) http://www.pavilionmagazine.org/pavilion10_11.pdf
COLUMN
What Was Socialism, and What Comes Next? by Katherine Verdery
AROUND
Adorno On Late Capitalism: Totalitarianism and the Welfare State by Deborah Cook
The Attitude of Classical Marxism Toward Art by David Walsh
The Gataia Experiment by Ovidiu Pecican
Socialism, Avant-Garde, and the Western Europeans by Tincuta Pârv
Denationalized States and Global Assemblages by Magnus Wennerhag in dialogue with Saskia Sassen
A Portrait of the Rebel Consumer Opressed by Life by Pascal Bruckner
WHAT WAS SOCIALISM, AND WHAT COMES NEXT
Synthesis: Retro-Avant Garde Or Mapping Post-Socialism by Marina Grzinic
Marxism News by Cosmin Gabriel Marian
Lenin’s Century: Bolshevism, Marxism, and the Russian Tradition by Vladimir Tismaneanu
Of Butchers and Policemen: Law, Justice and Economies of Anxiety by Gunalan Nadarajan
Can Lenin Tell Us About Freedom Today? by Slavoj Zizek
The Bipolar World Has Ended. What Comes After? by Chantal Mouffe
Apocalyptic Spirits: Art In Postsocialist Era by Misko Suvakovic
Empty Pedestals by Ana Peraica
Numismatics of the Sensual, Calculus of the Image: The Pyrotechnics of Control by Jonathan L. Beller
The Theory of Revolution in The Manifest of The Comunist Party by Catalin Avramescu
EXTENT
Mud by Xavier Ribas (with a text by Felix Vogel)
End Station by Elmgreen and Dragset (with a text by Dana Altman)
The Right Socialism by Dan Perjovschi
Notes on the Disappeared: Towards a Visual Language of Resistance by Chitra Ganesh+Mariam Ghani
Monumental and Personal Modernism by Marjetica Potrc
La Inmovilidad by Vincent Delbrouck
Corrections by Rassim (with a text by Iara Boubnova Luchezar Boyadjiev)
Machine Shall be the Slave of Man but Man Shall not Slave for Machine by Olivia Plender
¡Protesta! by Taller Popular de Serigrafia
Incident by Hüseyin Alptekin (with a text by Raluca Voinea)
Sartre kommt nach Stammheim by Naeem Mohaiemen
NSK State by Irwin (with a text by Juliane Debeusscher)
Pioneers by Ciprian Muresan
(another) point of view by Olga Kisseleva
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What is PAVILION?
An art and culture magazine that name alludes to the relative temporary structure of the
contemporary art.
The magazine is presenting wide-ranging, multi-disciplinary content in each issue through the varied formats of regular column, essays, interviews, and artist projects.
Our publication addresses to a broad audience of readers, which are interested in contemporary culture and recent political and social issues and does not only want to describe contemporary phenomenon but with its militant attitude it tries to directly intervene in cultural, political and social life.
Every issue has a special theme, which gives the general outline for the accumulation of texts, artworks and projects.
Moreover, PAVILION is the producer of many related projects.
PAVILION is the producer of BUCHAREST BIENNALE | Bucharest International Biennial for Contemporary Art
http://www.bucharestbiennale.org
Our blog:http://pavilion.pavilionmagazine.org/
Internationally distributed in Europe, Australia, USA, Asia.
For orders write to pavilion@pavilionmagazine.org or call +4 031 103 4131.
You can also order the magazine by PayPal on the website.
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Table of Contents
Volume 12, Number 12 – 3 December 2007
Western European newspapers and their online revenue models: An overview
by Valérie-Anne Bleyen and Leo Van Hove
http://journals.uic.edu/fm/article/view/2014/1899
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A model for ontology quality evaluation
by Besiki Stvilia
http://journals.uic.edu/fm/article/view/2043/1905
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The Looming Infrastructure Plateau? Space, Funding, Connection Speed, and the Ability of Public Libraries to meet the Demand for Free Internet Access
by Charles R. McClure, Paul T. Jaeger, John Carlo Bertot
http://journals.uic.edu/fm/article/view/2017/1907
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The cost profiles of alternative approaches to journal publishing
by Roger Clarke
http://journals.uic.edu/fm/article/view/2048/1906
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Transliteracy: Crossing divides
by Sue Thomas, Chris Joseph, Jess Laccetti, Bruce Mason, Simon Mills, Simon Perril, and Kate Pullinger
http://journals.uic.edu/fm/article/view/2060/1908
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First Monday Podcasts
Interview with Stephanie Mills. Stephanie is the author of numerous books including In praise of nature, Turning away from technology, Epicurean simplicity, In service of the wild, Whatever happened to ecology?, and most recently Tough little beauties.
http://firstmondaypodcast.org/
Since 1979 http://artcontext.org/calendar/
Lucha Neo-Libre!Hapless flowers, windmills, trees, and small animals square off against an elite fighting klan of duper heroes. At stake: the environment and the preservation of a cherished way of war.Lucha Neo-libre is Panel Junction #2 in calendar form, 12 pages of comic art inspired by melting glaciers and user contributions through the artcontext.net website. Click through for more details and preview images.The free, downloadable version of the calendar for easy, self-serve printing will be available at the end of this month. Order today to have a signed copy delivered to your door.
http://artcontext.org/calendar/
VI AUGURA: BUON NATALE E FELICE ANNO NUOVO
Ogni mese un giovane artista contemporaneo
Each month a young contemporary artist
PIERLUCA CETERA
Italia 1969
La cosa che colpisce guardando le opere d’arte di Cetera è che da qualsiasi pennellata si scorge un simbolo. Ogni tratto crea quello che è un forte ed intangilibe segno di riconoscimento, anche il minimo dettaglio è scelto dall’artista con minuziosa attenzione per rappresentare in modo metaforico ed allegorico un numero svariato di riferimenti d’iconografia religiosa o sessuale, nonché riferimenti d’arte cinematografica, scultoria, fotografica, musicale… Cetera è attratto dall’essere umano. Con uno studio antropologico ricerca una descrizione dell’uomo e, con una privata interpretazione artistica, ci descrive il risultato delle sue osservazioni che, come lui dichiara, sono incentrate sulle manie, i pensieri, le passioni, i difetti… Anche la tecnica pittorica è caratteristica. Il singolo quadro, che si completa nella sua unicità ed energia personale, si contrappone alle svariate serie di dittici, che, al contrario, acquisiscono potenza solo se uniti in un integrarsi e completarsi a vicenda. Dittici che rappresentano i vari frame di un film che il regista Cetera ci vuole raccontare. Il processo di realizzazione di un’opera, infine, è eccezionale e permette una resa unica del quadro. Vi sono, infatti, dipinti per “trasudazione” tecnica compiuta dipingendo sul retro della tela e rifinendo i particolari sul fronte. Abbondanti verniciate danno una sensazione di pellicola che copre e scopre il contenuto dell’opera.
