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archive or library

Artist Run Initiative archives

A couple of artist run initiative archive projects:

"Revisiting Brisbane’s young radicals of the 1940s" explores two groups of young Brisbane writers and artists in the 1940s, Barjai and Miya Studio

"Ephemeral Traces" & Qld ARI Heritage 1980-2000 projects

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CFP: The 2015 Totally Huge New Music Festival Symposium

The 2015 Totally Huge New Music Festival Symposium
Call for Papers
via http://www.tura.com.au/tura-program/the-2015-totally-huge-new-music-fest...

The 2015 Totally Huge New Music Festival Symposium
Thursday May 21
The State Library of Western Australia, Perth Cultural Centre

Theme: Western Australian Art Music: 1970 – 2014
in association with the launch of the Western Australian New Music Archive

Keynote Speakers:
Stephen Adams, Australian Music Producer, ABC Classic FM.
A/Prof Cat Hope, Project Leader, Western Australian New Music Archive.

The Australian Research Council Linkage funded Western Australian New Music Archive (WANMA) will be launched at the State Library of Western Australia on Wednesday 20th of May 2015 as part of the 12th Totally Huge New Music Festival in Perth, Western Australia.

Papers for an associated one-day symposium the following day are sought, on the theme of “Western Australian Art Music Activity: 1970 – 2014” to celebrate the launch of WANMA, a digital archive focusing on the Western Australian art music since 1970 to the present day.

The call is for papers and panel proposals around remembering Western Australian music, in particular music with links to Western Australian composers, performers, writers, events, music series, writing, artists and other associated organisations or people. Monographs on or interviews with Western Australian composers, ensemble, curators or events are particularly welcome.

Composers that are likely to feature in the early iteration of the archive include Ross Bolleter, Alan Lamb, David Pye, Cathie Travers, Hannah Clemen, Lindsay Vickery, James Ledger, Iain Gradage, Roger Smalley, Chris Tonkin, Rupert Guenther, Nela Trifkovic, Rob Muir, Stephen Benfall, Chris Cobilis and many current WA composers. Ensembles and performers such as Alea, Pi Ensemble, the WASO New Music ensemble, Axis 21, Skadada, Decibel, Magnetic Pig, Energia, Headkikr, KAK, Lux Mammoth, Smidrin, Steve Richter, The High Impedence, Jo Re Mi, Tetrafide, Defying Gravity, Schvendes and student ensembles from UWA and WAAPA past and present. Events such as Club Zho, Totally Huge New Music Festival, Scale Variable, WAAPA and UWA lunchtime concerts, Noisemachin!, Guerilla Sessions and any current activity.

The papers will be double blind peer reviewed and published in Volume 5 of “Soundscripts”.

Abstracts between 300 and 500 words due by Feb 25 2015.
Notification of acceptance 10 March 2015.
Registrations due 15 April 2015 $100 for all.

Abstracts to conference@tura.com.au

Presented by Tura, WAAPA, SLWA and The Musicological Society of Australia

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The Archive of Digital Art (ADA)

INVITATION FOR SCHOLARS TO CONTRIBUTE TO THE ARCHIVE OF DIGITAL ART
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The Archive of Digital Art invites scholars to make contributions:
www.digitalartarchive.at !

The Archive of Digital Art (ADA) expands its field of contributors. Most recently, not only artists, but also scholars can become members of
the vivid online community of the archive.

Since its foundation in 1999, the Archive of Digital Art (former Database of Virtual Art) has become the most important academic online archive for media art. In cooperation with established media artists and institutions it has been documenting the rapidly evolving world of digital art and its related fields for more than a decade and contains today a selection of thousands of artworks at the intersection of art, science, and technology.

Scholars are now invited to upload their publications, information on conferences, exhibitions and teaching to the archive. Thus, they are represented in the archive and can work collaboratively with artists on the documentation and analysis of digital art. Amongst others, collective keywording of media art works is carried out.

Scholars can also use the new ADA “light box” tool which facilitates the examination and comparison of images for research and
teaching. Interested scholars may apply for an account here:
https://www.digitalartarchive.at/support/account-request.html

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British Library's Save Our Sounds project aims to save their 6.5 million sound collection

Save our Sounds is the British Library’s programme to preserve the nation’s sound heritage
via http://www.bl.uk/projects/save-our-sounds

The British nation’s sound collections are under threat, both from physical degradation and as the means of playing them disappear from production. Archival consensus internationally is that we have approximately 15 years in which to save our sound collections by digitising them before they become unreadable and are effectively lost.

The British Library is home to the British nation’s sound archive, an extraordinary collection of over 6.5 million recordings of speech, music, wildlife and the environment, from the 1880s to the present day. We need both to ensure that the existing archive is properly preserved, and that there are adequate systems in place for the acquisition of future sound production in the UK.

The Save our Sounds programme has been created to answer this imperative need. It has three major aims:

- to preserve as much as possible of the nation's rare and unique sound recordings, not just those in our collections but also key items from partner collections across the UK
- to establish a national radio archive that will collect, protect and share a substantial part of the UK’s vibrant radio output, working with the radio industry and other partners
- to invest in new technology to enable us to receive music in digital formats, working with music labels and industry partners to ensure their long-term preservation

UK Sound Directory

We are undertaking a national audit to map the condition of sound archives around the country and identify other threatened collections – if you have a sound collection which you think could be at risk, get in touch and let us know.

Support the project

Please get in touch with us if you would like to donate to support this project, or to discuss how you or your organisation can help preserve the nation’s audio heritage.
Sounds

Our Sounds website has over 60,000 sound recordings for all to enjoy, covering the entire range of recorded sounds: music, drama and literature, oral history, wildlife and environmental sounds.
The British Library Sound Archive

There is more information on our Sound Archive and how to use its collections on our Help for Researchers pages.

Follow us on Twitter @soundarchive and use the hashtag #saveoursounds

Keep up with the latest news on Sounds through our Sound and vision blog.
- See more at: http://www.bl.uk/projects/save-our-sounds

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Sticky Institute - Melbourne's zine store

I visited the Sticky Institute in Melbourne yesterday and bought a few zines and recorded a video asking the team a few basic questions about zines. The store has a wide selection of zines, and there's a membership / mail list where you can sign up and receive zines in the mail. If you're a zine-writer, you can contact the store and have them stock your zines. Their website also includes an impressive "Zineopedia" of Melbourne based zines which is a great resource for anyone wanting to find out more about zines. Though the best way would be to visit the store if you're in Melbourne, their website if you're not in Melbourne, or a local zine-festival and buy & read some zines. Or even better, start your own!

visit http://www.stickyinstitute.com for more details
store details :
Sticky Institute
Degraves St Subway
Shop 10 Campbell Arcade Melbourne
stickyshop @ gmail.com (remove the spaces)
(if you're not from Melbourne like me, it's opposite the train station on Flinders St, about half way (Flinders between Swanston & Elizabeth) - go downstairs towards the station subway and you'll see it)

PO Box 310 Flinders Lane Vic Australia 8009

One of the zines I bought was the "Anyone can.. " zine (anyone can make a zine) which launched the same day by the City Library Street Press. The City Library Street Press are quite active, having a few projects on the go and regular meetings at the library for zinesters and writers to get involved with. The "Anyone can.." zine also includes a MAP of Melbourne city showing writers & zinester spots of interest eg libraries, stores, artist spaces.

I also bought Anna Poletti's book "Intimate Ephemera : Reading Young Lives in Australian Zine Culture" whilst at Sticky. I've been to some of her panel sessions at the National Young Writers Festival in Newcastle & Critical Animals as part of This is Not Art (TiNA) over the years, so was glad to find her PhD book in the store too. The book is also available as an e-book (pdf) or d-book (pod / print on demand) from Melbourne University Publishing e-store

I haven't finished the book yet, but here's one passage about what a zine is [pg 11-12] :


"Personal zines do not share many of the characteristics of he texts that make up the bulk of sources studied in literary or cultural studies and, more specifically, scholarship on auto/biography. Of central importance to these non-traditional texts is the fact that sines are not mass-produced; they are not published by a professional publishing house, and thus not 'sanctioned as significant by [their] status as a mass produced commodity' (Huff 510). Moreover, zines are not easily available, do not participate in standardised modes of presentation and distribution, and are not well recognised within literary communities or among the reading (most commonly constituted as 'book-buying') public. Zines are homemade, ephermeral and amateur. They circulate among communities of readers through the mail, in out-of-the-way spaces, and are passed around hand-to-hand among social groups. They are also non-traditional because of the modes of emplotment that characterise them; in the case of personal zines, we find a unique mixture of established modes of life writing, such as the diary, alongside zine-specific narratives such as cut'n'paste collage. These material and textual idiosyncranasies challenge the literary critic to practise 'connected reading', which Gillian Whitlock describes as a practice which 'pulls at the loose threads of autobiography, and uses them to make sutures between, across and among autobiographical narratives' (Intimate Empire 204)".

I also like this definition by Richard A Stoddart and Teresa Kiser in Poletti's book [pg 27]
"Zines are a written product of the human need for self-expression. Beyond that, zines are hard to define."

on page 7-8, Poletti gives Duncombe's list for a 'zine taxonomy'. I thought this was very similar to the original definitions of video blogs when they'd first started (video blogs came after zines of course!) - my attempt was this video blog mind map before I realised it was crazy to try and define all the combinations - a simple all encompassing definition of 'video on a blog' was more appropriate, and did it matter anyway.. every now and then the videoblogging list starts up a new 'what is a video blog' thread - I suppose it is the same for all sub-communities that are less commonly known / new. the response below also reminds me of the videoblogging list arguments towards a simpler definition (or no definition), and at least a step away from a taxonomy.


"genres of zines: fanzines (broken down into subcategories by subject, that is music and sports), political zines, personal zines, scene zines (covering local and community events in the zinester's area), network zines (which review zine publications), fringe culture zines (covering UFOs, conspiracy theories and so on), religious zines, vocational zines (detailing 'life on the job'), health zines, sex zines, travel zines, comix, literary zines, art zines and 'the rest'"

... "the collapse of Duncombe's taxonomy into 'the rest - a large category' underscores the futility of attempting to solidify or organise a definition of zines based on their content. As Kirsty Leishman argues: 'Duncombe's work reveals that zines are ill contained and thus it is useful because it relieves subsequent researchers from pursuing such an arduous, yet futile, endeavour'(7)."

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explorative research links

TechGnosis maillist website
“Reality is that which, when you stop believing in it, doesn't go away."
-Philip K. Dick-
VISIT TECHGNOSIS AT: http://techgnosis.info
SUBSCRIBE to TechGnosis List: http://groups.yahoo.com/group/TechGnosis/join

http://www.maybelogic.org
http://www.maybelogic.net

http://edge.org/

http://www.techgnosis.com - Erik Davis' site

http://www.undergrowth.org

http://www.barrelfullofmonkeys.org

http://www.entheo.net/ - entheogenesis Australia 2007 conference

http://www.docquan.com/lib_dead.html - an online collection / library of interesting books

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International Course - Master of Arts in MediaArtHistories (Austria)

The program MediaArtHistories starts this November for the second time and is currently accepting applications. MAH conveys the most important developments of contemporary art through a network of renowned international theorists, artists and curators like: Steve DIETZ, Erkki HUHTAMO, Lev MANOVICH, Christiane PAUL, Paul SERMON, Edward SHANKEN, Jens HAUSER, Christa SOMMERER; Gerfried STOCKER, Knowbotic Research, Charlie GERE, Oliver GRAU and many others. Using online databases and other modern aids, knowledge of computer animation, net art, interactive, telematic and genetic art as well as the most recent reflections on nano art, CAVE installations, augmented reality and wearables are introduced. Historical derivations that go far back into art and media history are tied in intriguing ways to digital art. Important approaches and methods from Image Science, Media Archaeology and the History of Science & Technology will be discussed. visit the MediaArtHistories website for more information and to apply

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TransAcoustic Festival, Auckland, 8th-11th December 2005 - documentation

The TransAcoustic festival was held in Auckland 8-11th December, 2005 and combined the artistic and musical talents from performers and composers from Australia and New Zealand.

photos of the event can be found on the Documentation section of the TransAcoustic website, and also at http://www.flickr.com/photos/aliak_com/tags/transacoustic/

TransAcoustic Festival Seminar - Stella Brennan session - Stella Brennan

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film library Australia

Film Australia Library

Film Australia is celebrating 60 years of documentary with preview clips online.

See our News page for the latest annnouncement.

In 1945, the Australian National Film Board was established to produce documentary films and in 1946, Stanley Hawes began work as the first "producer in chief" of what was to become Film Australia.

CACHe - recovering computer arts history

CACHe is a major research project into the origins and history of British computer arts.

We are based at the School of History of Art, Film and Visual Media at Birkbeck, University of London and funded by the Arts and Humanities Research Board. The substantial government funding for our project indicates the level of interest in creating an historical framework for this period. CACHe began its work in 2002.

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Artnine - art in the nineties

an internet archive of net art and media from 1995-1999. visit http://www.hgb-leipzig.de/ARTNINE/ for more information

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