31 October 2008
The Australian Government will soon introduce a whole of Internet filtering system under the auspices of child Cyber-Safety, requiring Internet Service Providers to filter out content identified as prohibited by the Australian Communications and Media Authority (ACMA). As every Australian home already has access to free filtering technology, the scheme not only provides meagre additional safety for children - it also could result in long-term damage to the Australian emerging media and new technologies industries.
The Australian Network for Art and Technology (ANAT) Executive Director Dr Melinda Rackham comments "I strongly believe that this misguided scheme will have a severely adverse affect on our creativity, our culture and our economy."
Whilst there is a need for additional protection for the worlds children online, perhaps more thought needs to be dedicated to this issue by the Government. Industry studies have shown that the mandatory filter could slow down network speeds significantly and block sites that are neither harmful nor inappropriate for children, nor illegal.
There is significant difficulty in identifying what would be banned material in streaming media or via Peer-to-Peer (P2P) file sharing networks. Artists who traditionally work at the leading edge of new technologies will most likely be caught by the "inappropriate" net.
Electronic Frontiers Australia (EFA) expressed alarm, with Spokesperson Colin Jacobs stating that "the Clean Feed will be mandatory in all homes, schools and libraries throughout the country - and concerns remain about who decides what is banned."
Phoebe Knowles from the Human Rights Law Resource Centre comments: "The scheme would limit our rights to privacy by monitoring the information we access and our freedom of information. Free flow of information is essential to a healthy democracy, civic debate and artistic endeavor."
She continues, "Protection of children is undeniably extremely important. However, in the absence of a federal Human Rights Act, this scheme is not rigorously justified as being necessary in all the circumstances having regard to the competing rights. Where the filter blocks material that is neither child related nor illegal, it would be an unnecessary and unjustified limitation on freedom of expression."
Fee Plumley - ANAT's portable platforms and emerging technologies Program Manager comments, "To ensure the world is a better place for Australian children, why not invest in widespread education and lower-cost access to the networks? These will enable children to use current and future systems responsibly and to learn how to protect themselves in our increasingly networked world."
The Internet redresses our nation's tyranny of distance, easily situating Australian creative content and intellectual property in the global domain; and to stifle that is a significant step backwards. Not only is our reputation for innovation in artistic and cultural arenas slipping, but our Human Rights Record - tarnished over the past decade of Desert Detention centers and the Pacific Solution, is looking decidedly unhealthy.
For more information and information on this policy and what you can do about it, visit the EFA clean-feed site http://nocleanfeed.com
ANAT is assisted by the Australian Government through the Australia
Council http://www.ozco.gov.au its arts funding and advisory body, by
the South Australian Government through Arts SA
http://www.arts.sa.gov.au and the Visual Arts and Craft Strategy, an
initiative of the Australian, State and Territory Governments.
30 October 2008
Yo Frodo, what you doin' wearing the ring?
All powerful jewelry, is that your new thing?
I know it's hard when you're little more than 3 foot 4
Your little ass so close to the floor.
Trying to lead the fellows to the gates of Mordor
(Yea the fellowship)
I don't rap about bitches and hos,
I rap about witches and trolls,
just passing on the words of the Elven king,
Wisdom to all
Frodo! Don't wear the ring!
Flight of the Conchords follows the trials and tribulations of a two man, digi-folk band from New Zealand as they try to make a name for themselves in their adopted home of New York City. The band is made up of Bret McKenzie on guitar and vocals, and Jemaine Clement on guitar and vocals.
Bret and Jemaine have moved to New York in the hope of forging a successful music career. So far they've managed to find a manager (whose "other" job is at the New Zealand Consulate), one fan (a married obsessive) and one friend (who owns the local pawn shop) -- but not much else.
26 October 2008
●電話：(02) 2369 0103
● shi-da road, no.45, b1, taipei, TAIWAN
● (02) 2369 0103
●hours: weekends 8pm~5am; weekdays 8pm~4am; mondays off
●established since 1996
●地下社會另一部落格 Underworld Blog @ Blogspot
24 October 2008
Vice Magazine Japan
" VICE X Keiichi "Cover Exhibition
SOL(SENSE ORGAN LAB.) 台北市大安區敦化南路一段187巷66號1F
開幕活動 17:00 pm ~
After Party @ BABE 18
11/01(Sat.) 22:00pm ~
Friday 24 October - Wednesday 29 October 2008
Urban Abstract in Amsterdam
Opening: Friday 24 October vanaf 17.00 uur
Urban Abstract in Amsterdam -
The work of Evan Hecox Brought to you by Mather Kunst and Reload Magazine
Urban Abstract in Amsterdam, Evan Hecox’s debut solo show in Amsterdam, is a continued exploration of ur- ban landscapes in locales as disparate as Berlin; Mexico City; Manatuk, Long Island; Tokyo; and of course, San Francisco. Though largely known for his work in the Skateboard industry, his fine art is independently brilliant and moves beyond the iconography of the industry. His extremely flattened landscapes amplify elements of pedestrian and sometimes mundane landscapes, elevating the ordinary to the sublime through form, color, and composition. Some will only recognize his work from the hundreds of skateboard decks he has designed. Those who have followed his work will have the chance to witness this mid-career work as it continually evolves. More information on Evan Hecox and his past exhibits can be found at the following locations:
From SATURDAY 8 - 13 November 2008 The Chiellerie presents:
"The Gospel According to Brian O'Blivion"
(soundscapes by Pieter Nooten)
(curating anthropologists in art: Blaton & Rypson)
"Kneel down before the omnipotent screen!"
The enigmatic guerrilla-poet and visual artist Laser 3.14 will unleash his vision on the interrelatedness between humanity and omnipotence of technology. In a reality where mankind is driven to self-consuming meta-consumption by the very technologies he has created, how far can and will our symbiotic relationship with the digital and the cathode-ray tube go? Already, our cosmology of truths has been supplanted by an amorphous and infinite number of hyper-realities and truisms. What of our organic autonomy? Will we transmorph, as Laser suggests, into neo-anthropomorphic techno-beings…?
Next to the works of Laser 3.14, the exhibition will be completed with soundscapes by Pieter Nooten which he specially composed for this exhibition.
Opening Saturday 8 November: 17:00 – 20:00 o'clock
8 - 13 November, 2008 in The Chiellerie
Contact: Anthropologists in Art: Blaton & Rypson: e-mail: email@example.com
Cadence - A new film by Laser 3.14
23 October 2008
UmbrellART - Let it Rain 2007
Subject Index - August 2008
Aboriginal Art Award - NATSIAA
2008 Taipei Biennial Forums & Films
Taipei Artist Village
Taipei Biennial 2008
Art Taipei 2008
Singapore Biennale 2008
History of Chinese Seals
History of Chinese Printmaking
2008 IFPDA Print Fair
Taiwan Typhoon Sinlaku
G.P.S. Units as tracking devices
How to DownLoad from Youtube
Gaming Symposia online
3D Graffiti Technica
Tooya! Book Signing
Graffiti & the law in Australia
The Auckland Art Gallery has announced the four works by the artists who have been shortlisted for the 2008 Walters Prize.
The finalists are:
- Edith Amituanai for Déjeuner 2007 Anna Miles Gallery, Auckland.
- Lisa Reihana for Digital Marae 2007 Govett-Brewster Gallery, New Plymouth.
- John Reynolds for Cloud 2006 Biennale of Sydney, Art Gallery of New South Wales, Sydney.
- Peter Robinson for ACK 2006 Artspace, Auckland.
19 October 2008
Artpost is an interactive website and short video series for TV broadcast which showcases artists working throughout Australia.The centrepiece of the website is a digital interactive arts map of Australia where you can watch artists at work in their studios from Toowoomba to Strahan, from Broome to Lightning Ridge.The site provides artists with the tools needed to embrace the digital space and present their work as part of an online community to audiences within Australia and beyond.
Welcome to Melbourne Graffiti, Australia's largest online collection of street art photos and related media.
MelbourneGraffiti has been around for over 10 years and is preserved in the National Library of Australia’s Pandora Archives.
CALL FOR APPLICATIONS
The National Film and Sound Archive (NFSA) invites research proposals from academics, performers, artists, audiovisual industry and archive professionals to draw fresh, innovative perspectives from the national audiovisual collection. Fellows will use the NFSA's collection to create a new sound or moving image work, a publication, an exhibit, a live audiovisual event or a combination of these and other approaches.
The Fellowships offer specially facilitated access and research into the national collection; close collaboration with NFSA curatorial and technical experts; access to the Library; modern accommodation; and a fully equipped work space provided on-site.
Applications for the Fellowships are due by 14 November 2008. For further information and application forms, please visit http://www.nfsa.gov.au/sar
14 October 2008
tank.tv 1st International Call for Submissions - Solo Shows on www.tank.tv
tank.tv is inviting submissions from artists who wish to be considered for two week solo exhibitions on www.tank.tv.
In 2009 tank.tv will be hosting an ambitious series of solo shows from established and emerging artists working with the moving image. We would like to allocate 3 of these shows to artists who respond to a series of three open calls for entries. You must have a body of work consisting of at least 10 moving image pieces that are ready for exhibition and which run no longer than ten minutes (although we are happy to consider excerpts from longer pieces). We will consider all forms of moving image work and welcome submissions from artists working at any stage of their careers, of all nationalities.
The first selected artist will have a two week online show early in 2009 and be part of our external events programme which will be toured to galleries and institutions internationally.
Deadline: 10th December 2008.
Please submit examples of work (accompanied by a submission form, downloadable from www.tank.tv) as Quicktime files or on mini DV to:
2nd Floor Princess House
50 - 60 Eastcastle Street
If you have any questions about this opportunity then please get in touch with Alice O'Reilly, alice AT tank.tv.
11 October 2008
start at KillerTV, hosted by the Canadian artist Graham Smith. For
this broadcast two artists have been invited to share their ideas and
present their work: Stelarc en Joe Davis.
More info: http://waag.org/news/40952
Sentient Creatures: Bio-art
Joe Davis was also part of the series in 2003. He is a research affiliate in the Department of Biology at MIT. He is an artist who has done extensive research in molecular biology and bioinformatics for the production of genetic databases and new biological art forms. He has also constructed sculptural installation pieces, working with laser fabrication in plastics, steel, and stone; laser teleoperator systems; and structural welding in mild steel.
Stelarc is an Australian-based performance artist whose work explores and extends the concept of the body and its relationship with technology through human-machine interfaces incorporating medical imaging, prosthetics, robotics, VR systems and the Internet. His project 'The Extra Ear' did draw a lot of attention.When?
29 October 2008 at 8 pm.
Space opens at 7.30 pm.
Theatrum Anatomicum of the Waag, Nieuwmarkt 4,
1012 CR Amsterdam
Entrance is free. Livestream at:http://test.killertv.nl/?lang=en
05 October 2008
A Solo Exhibition by Wang Jun-Jieh
The Final: Cullinan+
27 Sep, 2008 ~ 25 Oct, 2008
Gallery hours: Tue. ~ Sat., 1:00pm ~ 10:00pm
Location: 41, 2fl YiTong . St. TAIPEI, Taiwan
Postal Code: 10486
Web site: http://www.itpark.com.tw/
04 October 2008
Has Modernism failed? 1984
"Are we confronted with yet another instance where mass-consumption capitalist economy expands into a taboo area in order to transform private behaviour into a commodity? Does coming part of the art establishment give new meaning and purpose to these artists lives, or has it merely spawned another money-making game for its participants, while weakening graffiti's soul energy as 'outsider' art?" p106
02 October 2008
BNE's saturation stickers follow a precedent set by the "posse" campaign of Shepard Fairey, and that follows the SAMO marketing strategy of JM Basquiat.
"He dropped out of school again at 17 (after, he says, he threw a cream pie in the principal's face) and began writing poetic messages and drawing odd symbols with a friend named Al Diaz on walls around town, especially in SoHo. The messages, in Magic Marker, were vaguely anarchistic and ranged from the obvious - ''Riding around in Daddy's convertible with trust fund money''- to the ominous - ''Plush safe . . . he think.'' They signed the phrases with the tag ''SAMO'' and the copyright symbol. Basquiat explains that SAMO was meant to suggest a brand name or corporate logo; he has also said that it stood for the expresway, the graffiti captured a lot of attention. ''At that time, whenever you went to an art opening or a hot new club, SAMO had been there first,'' says Jeffrey Deitch, a critic who co-manages the international art advisory service at Citibank and was an early Basquiat champion. (Citibank advises its customers that art of quality can be considered a good investment. And, with other leading banks, it also now accepts fine art and furniture as collateral against loans.) Eventually, SAMO was unmasked. For Keith Haring, who had admired SAMO's handiwork, the realization came when he sneaked a young artist named Basquiat into the School of Visual Arts. The next day, SAMO's leavings were scrawled all over the school."
"''A patch of wall painted by SAMO, the omnipresent graffiti sloganeer, was a knockout combination of de Kooning and subway spray paint scribbles,'' wrote Deitch. That was Basquiat's first press notice. "
"No one can remember exactly when the epitaph ''SAMO is dead'' first began to appear scrawled around the Bowery and SoHo, but when Basquiat and his collaborator Diaz had a falling out, Basquiat killed off his alter ego. Diaz became involved in music, and Basquiat, though he had been the prime author of SAMO's musings, turned increasingly to making art."
February 10, 1985
New Art, New Money
By CATHLEEN McGUIGAN