|ASEF Mini-Summit on New Media Arts Policy & Practice
||26 Jul (Sat)
4pm - 5.30pm
|Singapore Management University
Ngee Ann Kongsi Auditorium
At the Crossroads of Media Arts&Science and Technology: Education in the 21st Century - What is to be done?
|27 Jul (Sun)
10am - 1pm
|Nanyang Technological University
School of Art, Design and Media
|BLISSFUL DIALOGUES: Common Ground for Curators
||28 Jul (Mon) &
29 Jul (Tue)
4pm - 5.30pm
|National Museum of Singapore
|Urban Climate Camp, led by Futuresonic and ImaginationLancaster||30 Jul
2pm - 4pm
|Singapore Management University
School of Information Systems
Level 5 Function Room
|Art Science Exchange, Mixer, Show and Launch||30 Jul (Wed)
2pm - 6pm
|Singapore Science Centre
The Newton Room
26 July, 4pm - 5.30pm
Singapore Management University, Ngee Ann Kongsi Auditorium
The Asia-Europe Foundation (ASEF) and the International Federation of Arts Councils and Culture Agencies (IFACCA) are co-hosting a mini-summit on government support for new media arts practice. The mini-summit, which will be held in Singapore from 24 to 26 July 2008, will bring together senior managers from the new media arts divisions of government agencies to share experiences and challenges, and allow these decision makers to connect with new media artists and experts from the sector. In close cooperation with ISEA2008, the summit aims for a productive synergy with the artists and researchers present at this prestigious event.
From the Helsinki to the Singapore Agenda
In August 2004, IFACCA, the Arts Council of Finland and m-cult hosted a mini-summit on policies to support media arts and new media culture timed to coincide with ISEA 2004. Debate at the mini-summit resulted in the publishing of the ‘Helsinki Agenda’, which outlined the values of new media culture, set out key principles for new media arts policies, and made recommendations for further action. In preparation to the meeting IFACCA and ASEF initiated a D’Art research question to identify policy issues and to locate key personnel to invite to the mini-summit.
Four work groups
a) Ambient intelligence, web 2.0 location based media, leapfrogging
New media artists are investigating more and more the connectivity of wireless networks, objects and situations, moving away from net art and into the real world of the Internet of Things where (through chips like radio frequency identification tags), they explore the in-between space of waves. Ambient cities will engender new forms of interaction and new modalities of interaction between the body and the environment.
b) Creative research, iterative design cycles, academic research and creative communities
How can artists and designers take on a different role? How can they become part of a multi-disciplinary team that works from the beginning with scientists, planners, policy, educators, citizens and specific content researchers?
c) Open source and open networks: the role of small independent new media labs
It is vital that alternative business models are being developed that allow for sharing and open flow of information while facilitating artists and designers to keep producing new ideas and material forms. There is a need to find the right way for small organizations and individuals to fit into the broader system of innovations. We still don't have the networks and channels (and IP) that can possibly unleash the creative potential of these things exponentially.
d) Media education, media, civil society
Artistic practice does not prosper in a void, it is embedded in a local dialogue with the social end political axioms and issues of its time. It also comments on this context; sometimes it acknowledges realities and goes its own way, sometimes it searches for constructive dialogue, sometimes it questions these realities softly or harshly, and sometimes it acts as a way of articulating alternative realities.
Crucial questions for new media and creative industries
ASEF is especially interested in:
- How can governments develop better support for new media? What are good practices? What do artists think about new media policies and the key issues for improving government support?
- What in general should we be looking at for policies in the next five years?
- What are recent developments in the sector and projected future developments? What are the influences of other sectors?
For more information on the D’Art question, please visit www.ifacca.org
At the Crossroads of Media Arts&Science and Technology:
Education in the 21st Century - What is to be done?
27 July, 10am - 1pm
Nanyang Technological University, School of Art, Design and Media, 1-2
Organizers: Nina Czegledy, Daniela Reimann and Lynn Hughes
Arts, science, design, technology, computer science and communication studies are key disciplines brought together in contemporary media arts, however relevant technologies develop rapidly and often separately from educational institutions. Consequently, a gap exists between the technological developments and its application in formal education worldwide at academic institutions as well as at middle school level and in hybrid educational scenarios.
Aims and objectives of the summit
The LEF@ISEA2008 forum intends to address the diversity of these issues and aims to bring together local and international educational experts to enable a dialogue between artists, educators, technological experts, policy makers and sponsors.
More specifically, the forum discussions aim to explore:
- The role of Curricula
Including topics such as values in media education, the relation and tensions between global challenges and more located approaches, cultural diversity as a resource for innovative ideas, ways to grow and sustain both local community based education initiatives and broader non-local projects, visionary design of curricula and methodologies, model projects and experimental learning scenarios for the interdisciplinary field, new hybrids of practice and research
- The role of Institutions
Including topics such as restructuring for new learning cultures, emerging models of work and knowledge spaces, creating flexibility within bureaucratic structures, the role and inclusion of artists and centres beyond the institution, extra-institutional models of organization and education, networks
- The role of Research
Including ways to develop closer links between media, Art, research and media art education, development of a global research community and trans national research
network focused on media art education, social aspects of educational tool development in regional contexts, copyright issues, open source and social software
The outcome of the summit is a white paper with specific recommendations for educators, educational institutions, policy makers and sponsors to be circulated within six months of ISEA2008.
28-29 July, 4pm - 5:30pm
National Museum of Singapore, Seminar Room
“...my brand of a curator is one who tries to curate discursive events”.
(Maria Lind, “Stopping my Process: A Statement”, in: Mika Hannula, ed. Stopping the Process? Contemporary views on art and exhibitions, NIFCA, Helsinki: 1998. p.240)
New media art often crosses boundaries between art forms and disciplines, but sometimes does not cross the boundaries into contemporary art in general. With the current art interest in relational art and social networks, these social events aim to share curatorial knowledge across the boundaries. A series of dialogues between curators of new media art, and curators of contemporary art in general aim to tease out areas of common ground and compare useful experience and methods.
The context for the public dialogues will be an informal social setting involving a very nice cup of tea, and the chance for further discussion by the audience discussion.
The themes for dialogues will include the common interest in: collaborative curation; contemporary art and new media; Location, internationalism and festivals.
28th July 4-6pm. National Museum of Singapore
Contemporary artists often work in collaborative groups, and blur the boundaries between artist and curator. Curators have followed this lead by curating in small teams or larger groups. Beyond this model, there is the further possibility that the ‘audience’ can begin to take on curatorial roles in selecting and arranging artworks, such as Furtherfield’s Do It With Others, and TAGGallery. How are curators using artist’s models most usefully? Who is really collaborating with who? Are curators making a “platform” for others to make art or curate? Is there such a thing as truly collaborative curating?
Woon Tien Wei p-10.
p-10 is an independent curatorial team with a project space. Woon Tien Wei is one of the curatorial team and an artist who works and lives in Singapore. He studied at Goldsmith's College, London. He was the President of The Artists Village (2001), co-director of The Danger Museum (since 1998) and a founding member of a net art collective tsunamii.net (2001).
Nina Czegledy is an independent media artist, curator and writer. She has programmed and curated over twenty international media art/video programs and touring exhibitions that were presented in 28 countries. Together with Iliyana Nedkova she has organized the Crossing Over, a workshop/media residency project which has been realized in Sofia (1996 and 1997), Novi Sad (1998), Ljubljana (1999), Colombus, Ohio (2000) and Liverpool (2001). Czegledy is also a board member of ISEA, Images Festival, and Interaccess Electronic Media arts Centre.
Invited respondent(s): Joasia Krysa and Geoff Cox
Joasia Krysa (PL/UK) is a curator, founder of KURATOR, as well as lecturer/researcher at the AZTEC (Art Science Technology Consortium at the University of Plymouth (UK). She edited Curating Immateriality (Autonomedia, New York 2006). Recent curatorial projects include openKURATOR; exhibition After The Net curated for Observatori 2008 (9th Festival Internacional de Investigación Artística de Valencia).
Geoff Cox (UK) is Associate Curator of Online Projects at Arnolfini, Bristol (UK). He is Lecturer in Art and Technology at the University of Plymouth (UK). His research interest concerns software culture and is expressed in various projects such as the co-curated touring exhibition Generator (2002/03). http://www.kurator.org/wiki/main/read/About
Is new media art just one of the contemporary arts?
29th July 4-6pm. National Museum of Singapore
Steve Dietz has said that collecting new media art is just like collecting anything else, only different. Is curating new media art then simply one of the contemporary arts? Is the difference not in the artwork but in, as Christiane Paul has said, the curatorial modes of working?
Contemporary Art Curator to be confirmed
Kathy Rae Huffman Director of Visual Arts at Cornerhouse -- Manchester's centre for contemporary art, media and cinema. Previously, she was as the director of Hull Time Based Arts, and Associate Professor of Electronic Art, and director of EMAC at Rensselaer Polytechnic Institute. She was a member of HILUS Intermediale Projekt Forschung, Vienna (1995-1998), and was curator/producer of the Contemporary Arts Television Fund, a project that joined WGBH TV (Boston's public television station) & The Institute of Contemporary Art Boston (1984-1991). She was Curator at the Long Beach Museum of Art, and director of its regional media art centre, with a collection that focused on the history of Southern California media art, from 1979-1983.
Invited respondent: Deborah Lawler-Dormer
Director of Auckland's newly relaunched MIC Toi Rerehiko Media and Interdisciplinary Arts Centre, formerly known as the Moving Image Centre.
Location and the Festival
30th July 4-6pm. FOOD#03 (p-10’s café)
International festivals have a keen sense of both the economics of where they are, and the need for international publicity and scope (it’s often a tension between these). Festivals have been argued to be particularly suitable for fast-moving new or specialist artforms, and for exploring process and discourse, and therefore particulary suitable for new media art – is this the case? Concerning location (one of the themes of ISEA) and internationalism, do the connective characteristics of new media make this any different? If festivals curate discourse (or dialogues!) then what kind of discourse works well?
Festival Curator to be confirmed.
Amanda McDonald Crowley, Executive Director at Eyebeam New York, and executive producer for ISEA2004 held in the Nordic/ Baltic region. She was artsworker in residency at Sarai New Media Initiative in Delhi, a consultant to the New Media Arts Board of the Australia Council, and Associate Director, Adelaide Festival 2002. From 1995 to 2000 she was Director of the Australian Network for Art and Technology (ANAT) http://www.eyebeam.org
Invited respondent: Kerstin Mey is a Professor at the Faculty of Arts, University of Ulster, host of ISEA 2009 in Northern Ireland. She has PhD in Art Theory/Aesthetics from Humboldt University of Berlin and a PG Dip in European Cultural Policy and Administration from the University of Warwick. Her curatorial activities include Bodies of Substance: Margaret Hunter, Azade Koker, Ping Qiu, Talbot Rice Gallery, University of Edinburgh, February/March 2002 and Gakerie M, Berlin, April 2003.
CRUMB (The Curatorial Resource for Upstart Media Bliss), founded in 2000, is an online resource for those who curate, exhibit, organise, or archive new media art. CRUMB aims to share the knowledge with a professional and academic audience, though online discussion, face-to-face events, research and curatorial projects.
CRUMB has run a series of Crisis to Bliss Centres. At ISEA 2006 in San Jose the Crisis Centre provided a space of social engagement (chatting with other practitioners, having a nice cup of tea and a sit down). The workshops (daily between 3-6) questioned the economic models of new media art, Californian therapy, and collective creative decision-making via games (see www.crisistobliss.net). The Bliss-Out Centre at the Enter festival in Cambridge in 2007 featured a self-help library, a guide to tea-blogging, knitting, paper games, head massage and expert guests to write methodological prescriptions for what ails curators of new media art. CRUMB Dating for Media Bliss at the FutureSonic Festival in 2008 formed a dating agency to pair up artists and curators with complementary knowledge in short dialogues.
Beryl Graham and Verina Gfader of CRUMB will be working with research partner Amanda Macdonald Crowley of Eyebeam in New York on these events, and thanks to p10 for their co-operation.
30 July, 2pm - 4pm
Singapore Management University, School of Information Systems, Level 5 Function Room
Organisers: Drew Hemment, ImaginationLancaster and Futuresonic
A forum for discussion and quick fire presentations invites participants at ISEA2008 to explore new cross-disciplinary thinking on sustainability in urban environments, with a focus on the interface between our digital footprint and our environmental footprint, non-Western perspectives, and on creative intervention to enable social change.
The focus is on creative interventions that intervene in the way cultural or technological processes shape society, and that aim to be transformational. They might be artworks, social entrepreneurship, scientific intervention, or innovations which harness everyday creativity. And they might enable individuals and communities to live in a more sustainable way, or suggest alternative possibilities for or critical perspectives on sustainability.
A new relationship to the environment is emerging as the world becomes digitally navigable, computable and therefore knowable and manipulable in new ways. What changes in social and material practice are required in order to enhance environmental sustainability, how they can be realised, and what are the local, national and global impacts?
The Urban Climate Camp forum at ISEA2008 will take place 2pm - 4pm, 30th July. It will consist in a series of quick fire presentations by artists, scientists, activists and commentators, and will be followed by open discussion. Immediately afterwards Luminous Green present a seminar featuring moderated discussion on the same theme, plus a workshop the following day. Function Room, Singapore Management University, Level 5, School of Information Systems
If you are interested in presenting your perspective or project please contact Gala Pujol at email@example.com.
The Urban Climate Camp workshop is a part of the Environment 2.0 project which will culminate with an exhibition and workshop at Futuresonic 2009. Each year Futuresonic presents public sphere artworks exploring the themes of the social, city and technology, and since 2006 has developed the Environment 2.0 theme in collaboration with ImaginationLancaster, a major new interdisciplinary research lab at Lancaster University.
Leonardo and Futuresonic
Submissions are also invited on the Environment 2.0 theme for a Leonardo themed call
and for the Futuresonic 2009 festival
This event is part of SHINE, a youth festival supported by the National Youth Council and the Ministry of Community Development, Youth and Sports.
30 July, 2pm - 6pm
Singapore Science Centre, The Newton Room
In this informal gathering, UCLA Art | Science Center director Victoria Vesna presents the concept, research and work of the recently established centre housed in two locations – Broad Art Center and the California NanoSystems Institute (CNSI). She is joined by astrophyscist Roger Malina, executive director of Leonardo Journal and co-chairs of the Leonardo Education Forum, Andrea Polli and Nina Czegledy. Together they will discuss some of the most recent activities, challenges and opportunities that this internationally oriented organization is involved in. After this, Victoria will lead a tour of the NANO exhibition she co-created with nanoscientist James Gimzewski, followed by a tea reception mixer and the launch of the new edition of Filter magazine published by the Australian Network for Art and Technology (ANAT). The edition will be on Interdisciplinarity – and how such a practice relates to collaborations between art and science.