In our 20th year, Eyebeam will be shifting its residency structure to be
even more responsive to artist needs as well as provide more dynamic
support to our larger community. The 2020 Residency will launch as a 6
month research and experimentation-focused program for creative
practitioners. The residency will be awarded to 4 individuals or
collaborative projects and will run from January 2020 through June 2020,
with extended access to Eyebeam’s shared workspace and equipment through
The 2020 Residency will introduce four intensives led by invited
visiting professionals for deep learning and exchange, and will end with
a public sharing of residents’ work and research in fall 2020. Residents
must commit to attend all four intensives (3-4 days each; exact dates
TBD before acceptance) and participate in the public sharing component.
A stipend of $22,000 is offered to all residents.
We are done with the audit!
So MFAD (ie FA + LB + XPUB) passed and we're good to go :)
I got extra personal cheers for XPUB, and they really lauded the
dedication and passion of everyone involved, students, alumni and staff,
and also the diversity and quality of all the works. They enjoyed the
discussion they had with everyone present and were impressed by the high
level of expertise and articulation of all of you.
In a few weeks, we will receive a full report with tons of fine-grained
remark and issues to address, and hopefully this will also be an
occasion for us to tackle the issue of resources that has been clearly
the main recurrent thing discussed in all the conversations.
Once again, congrats everyone :D
FYI, I just emailed Patrick about the issue. Please keep monitoring to
see if things change and we keep each other posted in the coming days.
symptom: every x minutes, the link on the switch (port 1 on the switch,
port 7-14 on the wall) is disconnected.
----- Forwarded message from Bjørn Magnhildøen <noemata(a)gmail.com> -----
Date: Tue, 14 May 2019 14:08:00 +0300
From: Bjørn Magnhildøen <noemata(a)gmail.com>
To: bjorn mag <mail(a)noemata.net>
Subject: preliminary call for VERY LARGE WORKS
preliminary call for VERY LARGE WORKS
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VERY LARGE WORKS is an online show (pavilion) at The Wrong art biennale
2019-2020, organised by Noemata group.
the call consists of this intro and some (curatorial) questions. you can
take part in the show by submitting more questions or by submitting work
related to the questions. in other words, you can participate as curator
posing questions, or as artist submitting works to questions.
now, can we also pose a question whether the question itself is a work, and
vice versa, whether a submitted work itself is a question? this is left as
a question also for now.
then, what is a good platform for this? would a bulletin board or
email-list do? we'd love to give life to other web protocols and practises,
free from commercial clutter, and abide with a vision closer to the
the project concerns internet curatorship as much as 'very large works'. it
could be called Very Collaborative-Discursive Thing perhaps. our goal is
seeing if this form of show could develop into a more general practise
within the entangled netbased- art and curatorship pair.
IF YOU ARE INTERESTED IN PARTICIPATING (non-bindingly) in the show simply
reply or comment YES to this message. the purpose is - besides probing
interest - to drop a few names into an application to get the project
funded (with the help of God).
VERY LARGE WORKS preliminary questions
what are the extensions of an artwork?
does it have any? did art invent the zero yet? or negative dimensions?
one mole of elephants?
since we can script electrons, that's different from counting?
what about in-between dimensions?
who told you it was visible, countable, accountable?
the monitor is merely a - monitor?
... that admonishes, cautions, of matters of conduct?
is a very large work still a work?
does it want to be a work?
is work endless work, Sisyphus?
is it perhaps too romantic, or is it just lack of imagination?
isn't imagination too tacky, just imagine?
and cognition, its own?
boundaries - when will it take on its own?
what about a six-dimensional work with unknown extensions?
as a matter of fact?
the home of time?
where would they fit, the very large works?
isn't very large more like muscle, and work again?
then you have copy and number, ennumeration, infinity or cost?
as you approach lim, inf?
it certainly isn't infinite, it's most definitely finite?
what about tactility and number?
abstract numbers close at hand?
numbers and money (mcluhan)?
"The result hammered for a mountain-scene panorama measuring over 8 meters
wide and 3 meters high - The Grand Fucking Mountains (2019) - illustrates
the immense success of this new giant of et cetera"?
if you're a great artist.. a great artist makes great artworks?
now with internet we can also make VERY LARGE works?
couple it with art marked finance, whitewashing, scams, and what have you?
physicality seems to.. and the virtual-real?
are very large works also very tiny works?
what about zooming?
inside - outside, can you always zoom into and outof?
can a zoom substitute different domains of knowledge into one zoomable
also recursion is the devil, chain reaction, link reaction?
anything that, which is most things, as counting +1?
large and scarce
grasp our current love of numbers and quantitative information?
extension of our senses, sounds ominous, numinous?
the extension is of the same, just look at a postcard?
the news is the most trite thing there is?
how many days have you lived?
then how many did you skip?
can you even trust your senses, less the extensions?
and trust your trust, judgement?
the agreeable, the beautiful, the sublime, and the good?
unknown universals for given particulars?
subjective universal oxymoronic?
the strong taste of nothing?
your lightyear or mine?
now thoughts can be tactile-erectile?
what about lard, very lard?
why did you ever want to think?
two deserts - one empty, one full?
and digestion, not the least?
the schematas from table of judgement, delicious fruit?
duration, just imagine, no, just feel, no, just be, no, just, obdure?
that's on a cliff?
mirror, mirror on the wall?
on both sides?
head over heels?
the somerzsault of reflection, why is the left right?
is it biodegradable?
only if we die?
under the wrapping on a summer breeze?
cc: coco chanel?
copious fragrance disseminate, when will art smell?
bcc: blind coco chanel?
are the senses extensions at all, or rather indentations?
ye olde intentionality?
are there any gifts left?
exit shop to the right?
working notes (for better or worse explanations)
for VLW i was thinking people can either submit questions and/or works, so
that a participant can not only 'submit' work to a set of curating
rules/questions, but also add to or change them. in this case a participant
can submit a curatorial thing as work, forming a contradiction to the
i had https://en.wikipedia.org/wiki/Nomic in mind, a rule-changing game,
but with art it's more like questions and probes, one 'object of
perception' leading to another.
so on second thought, and closer to nomic, one could perhaps take part with
art _as_curatorial also? so you submit TO a rule or submit A rule. it would
be a Very Collaborative-Discursive Thing.. the title VLW now seems to slide
into the background, but again, the theme is the main thing holding it
together, the one thing that can't be changed. maybe this form of show
could develop into a more general stance on net curatorship?
what if we further say that input/moves/actions are treated as both works
AS rule and work FROM rule? how would that affect? where are we floating?
next question, what is a good platform for this?
would a bulletin board be a good platform, an email-list?
also to give life to older web protocols, free from commercial clutter, the
vision of the internet
----- End forwarded message -----
I think we are all going to Workshop 1: Say it ain’t so. If it’s possible to fit all of us (8 people).
> 在 2019年5月14日，下午1:35，Barbara Dubbeldam <barbara(a)networkcultures.org> 写道：
> Hi Biyi,
> I am sorry I did not email you the correct workshops that were available, I'm very sorry.
> (It is extremely busy and a bit chaotic with the last minute registrations)
> There are places left in workshop 1: Say it ain’t so by Amy Pickles and Cristina Cochior
> and workshop 3: Surgencies: Writing Your Personal Protest Statement.
> I hope this still works for your students…
> Met vriendelijke groet / Kind regards,
> Barbara Dubbeldam
> Institute of Network Cultures
> Amsterdam University of Applied Sciences | HvA
> Benno Premselahuis room 04A07
> m: +31 6 189 86 860
> Mon, Tues, Thurs and Friday
> www.networkcultures.org <https://www.networkcultures.org/>
> On 14 May 2019, 13:31 +0200, Barbara Dubbeldam <barbara(a)networkcultures.org>, wrote:
>> Hi Biyi,
>> Thats is great! Could you send me the names of the people attending the workshops (grouped by workshop number)? That would be a great help, thank you!
>> Met vriendelijke groet / Kind regards,
>> Barbara Dubbeldam
>> Institute of Network Cultures
>> Amsterdam University of Applied Sciences | HvA
>> Benno Premselahuis room 04A07
>> m: +31 6 189 86 860
>> Mon, Tues, Thurs and Friday
>> www.networkcultures.org <https://www.networkcultures.org/>
>> On 14 May 2019, 12:59 +0200, Biyi Wen <bwen(a)knox.edu>, wrote:
>>> Hello Barbara,
>>> I am writing on behalf XPUB students regarding to event registration on Friday, 17th 2019.
>>> We plan to attend Workshop part 1 and Workshop part 2 on this day.
>>> Number of Attendees:
>>> Workshop 1: 7 people attending
>>> Workshop 2: 8 people attending
>>> Thank you very much!
I am writing on behalf XPUB students regarding to event registration on Friday, 17th 2019.
We plan to attend Workshop part 1 and Workshop part 2 on this day.
Number of Attendees:
Workshop 1: 7 people attending
Workshop 2: 8 people attending
Thank you very much!
Hello XPUB1 and XPUB2 and Manetta,
What days were you planning to attend, precisely, all of you?
They seem to be short on space so I'm pushing things but need to have
precise info about when you were planning to come.
Can you let me know ASAP?
----- Forwarded message from Joana Chicau <joanabcq(a)gmail.com> -----
Date: Mon, 13 May 2019 18:50:39 +0200
From: Joana Chicau <joanabcq(a)gmail.com>
Subject: [MD] RELEARN 2019.Rotterdam @Varia 7th, 8th & 9th of June 2019
I am happy to announce a new series of Relearn Curved <http://relearn.be/2019/>Relearn <http://relearn.be/2019/> Curved — starting in/from Rotterdam on the 7th, 8th & 9th of June 2019.
Please find details on the subject zone for this session — how publishing formats operate with/on/through digital networks — as well as information on how to participate in the session at: http://relearn.be/2019/ <http://relearn.be/2019/> [website in transformation].
You can also find information on previous editions here <http://relearn.be/2017/>.
Looking forward to hearing from you,
~ Joana Chicau
graphic designer, researcher, performer
PZI Media Design mailing list -- md(a)we.lurk.org
To unsubscribe send an email to md-leave(a)we.lurk.org
----- End forwarded message -----
The event I mentioned to some of you today.
Experimental Publishing, it's a thing :)
BTW, they told me that they're working on a series of podcasts edited
from interviews they had with the guests so far. So that will
definitively be interesting to check out when it's up!
----- Forwarded message from Janneke Adema <ademaj(a)uni.coventry.ac.uk> -----
Date: Wed, 8 May 2019 14:09:07 +0000
From: Janneke Adema <ademaj(a)uni.coventry.ac.uk>
To: "nettime-ann(a)nettime.org" <nettime-ann(a)nettime.org>
Subject: <nettime-ann> Experimental Publishing II - Symposium with Mark Amerika and Nick Thurston,
Coventry University, May 28th
Experimental Publishing II – Critique, Intervention, And Speculation
A half-day symposium with talks by Mark Amerika (UC Boulder) and Nick Thurston (University of Leeds)
2:15-5:30pm May 28
Centre for Postdigital Cultures
3rd Floor Lanchester Library
Registration (free): https://www.coventry.ac.uk/research/about-us/research-events/2019/experim...
In 2019 and 2020, the Centre for Postdigital Cultures (CPC) will be hosting a series of symposia exploring contemporary approaches to experimental publishing. Over the course of the series, we will ask questions about the role and nature of experimentation in publishing, about ways in which experimental publishing has been formulated and performed in the past, and ways in which it shapes our publishing imaginaries at present. This series aims to conceptualise and map what experimental publishing is or can be and to explore what lies behind our aims and motivations to experiment through publishing. As such, it forms the first activity within the CPC’s new Post-Publishing programme<https://post-publishing.org/>, an initiative committed to exploring iterative and processual forms of publishing and their role in reconceptualising publishing as an integral part of the research and writing process, i.e. as that which inherently shapes it.
Mark Amerika<http://markamerika.com/>, a Professor of Distinction at the University of Colorado, has exhibited his artwork internationally at venues such as the Whitney Biennial of American Art, the Institute of Contemporary Arts in London, and The ZKM | Center for Art and Media in Karlsruhe, Germany. He is the author of many books including The Kafka Chronicles (FC2), Sexual Blood (FC2), remixthebook (University of Minnesota Press—remixthebook.com<https://eur01.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.remi...>), META/DATA: A Digital Poetics (The MIT Press), remixthecontext (Routledge), and Locus Solus (An Inappropriate Translation Composed in a 21st Century Manner) (Counterpath Press).
Nick Thurston<https://eur01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.nic...> is a writer and editor who makes artworks. His most recent books include the co-edited collection, Post-Digital Cultures of the Far Right (Bielefeld: Transcript, 2018), and an experimental Spanish-language translation of his last poetic book by NO_LIBROS (Barcelona, 2019). Recent and current exhibitions include shows at Transmediale (Berlin, 2018), Q21 (Vienna, 2018), MuHKA (Antwerp, 2018) and HMKV (Dortmund, 2019).
Experimental publishing can be positioned as an intervention, a mode of critique, and a tool of speculation. It is a way of thinking about writing and publishing today that has at its centre a commitment to questioning and breaking down distinctions between practice and theory, criticality and creativity, and between the scholarly and the artistic.
In this series of events we propose to explore contemporary approaches to experimental publishing as:
* an ongoing critique of our current publishing systems and practices, deconstructing existing hegemonies and questioning the fixtures in publishing to which we have grown accustomed—from the book as a stable object to single authorship and copyright.
* an affirmative practice which offers means to re-perform our existing writerly, research, and publishing institutions and practices through publishing experiments.
* a speculative practice that makes possible an exploration of different futures for writing and research, and the emergence of new, potentially more inclusive forms, genres, and spaces of publishing, open to ambivalence and failure.
This take on experimentation can be understood as a heterogeneous, unpredictable, and uncontained process, one that leaves the critical potentiality of the book as a medium open to new intellectual, political, and economic contingencies.
Dr. Janneke Adema
Research Fellow Digital Media | Centre for Postdigital Cultures | School of Media and Performing Arts | Faculty of Arts and Humanities | Coventry University
Book Review Editor, Cultural Studies
ademaj(a)uni.coventry.ac.uk<mailto:firstname.lastname@example.org> | ++447808738388
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University of the Year for Student Experience
The Times and Sunday Times Good University Guide 2019
1st for Overseas Student Experiences
based on student trips abroad - HESA 2016/17 UK, published 2018
2nd for Teaching Excellence
Times Higher Education UK metrics ranking 2017
13th in Guardian University Guide 2019
of 121 UK institutions ranked
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----- End forwarded message -----