[Reader-list] reader-list Digest, Vol 49, Issue 22

[atreyee majumder]

This has been one of the most engaging conversations on libertarian walls
and curtains of 'freedoms'.My naive reactions:

1. As we scoff and rave and rant about the state's paternalistic anxiety
about letting (what it thinks to be) dangerous be circulated lose amongst
its impressionable subjects, should we also not be a little suspicious of
our 'libertarian' distrust of what irrational illiberals might do to our
comfortable liberty-zones. What is it sets apart a liberal rational
liberty-friendly speech  from irrational, illiberal, intolerant speech?  Is
it the pathhars thrown at movie theatres,  the gheraos, the  public effigies
of authors of  forbidden books? If that be so, then should we not take a few
steps back to think whether 'liberal' intolerance takes, if not the
stone-throwing form, then maybe other insidious forms? Through which
'irrational', ''illiberal' expressions are continuously edited, translated,
volume-turned-down, visuals-wiped-out, maybe.

2.  The traditional debates of how 'liberal' is the 'liberal' that does not
tolerate speech from outside the 'liberal' worldview, perhaps, comes alive
in this situation. The libertarian discursive site would probably offer the
cut-n-dry solution of 'think what you want to, say what u want, paint what u
want to, film what u want to, don't smash any noses'. That kind of fits in
with the our collective 'liberal' outrage at film screenings being stopped (
I am a 'liberal' myself, and want Taslima's book to be published, though I
have rarely liked her writing), books being shoved under the carpet, films
being snipped at the censor table. Are we not picturing restraints on
liberty through too narrow a 'nose-smashing' lens? And then we are quite
content to see liberty safeguarded, as long as no expletives are thrown
about in e-group communications, people respond to the points being debated
and not make personal attacks, and hatred against books and films that take
controversial positions being couched in polite language. Is the 'liberal'
then not very much grander than just 'polite'?

3. Since we are agreed, more or less, on artistic speech being benign, but
Togadia, Modi, police et al being violent, I come back to a fundamental
question- what is the exact dividing line between speech (as a proactive
gesture, that may or may not be violent/aggressive) and other forms of
proactive gestures (that may or may not be violent/aggressive).

Disclaimers: 1.  Apologies for sounding obtuse:)
                   2. These are only reactions from the general flow of the
conversation, and are not directed at any person, book, film, painting,
other speeches/speakers.
                   3.  How 'liberal' am I !!!!

On 8/12/07, reader-list-request at sarai.net <reader-list-request at sarai.net>
wrote:
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> Today's Topics:
>
>    1. Re: The Attack on Taslima Nasrin in Hyderabad (Anjalika Sagar)
>    2. ANN re:place 2007 conference, Berlin,     15-18 November 2007
>       (Image Science)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 12 Aug 2007 18:10:40 +0100
> From: Anjalika Sagar <anjalisaga at blueyonder.co.uk>
> Subject: Re: [Reader-list] The Attack on Taslima Nasrin in Hyderabad
> To: Kshmendra Kaul <kshmendra2005 at yahoo.com>
> Cc: sarai list <reader-list at sarai.net>, shuddha at sarai.net
> Message-ID: <46BF3F10.8000005 at blueyonder.co.uk>
> Content-Type: text/plain; charset="UTF-8"; format=flowed
>
>
> Worse - I really do believe that it is a rhetoric designed to appeal to
> a certain Western art world/ new media  milieu that enjoy hearing the
> take of self defined translatable experts representative of South Asia -
> who always quite tediously use a libertarian discourse that presents
> India as a space that is coherently monitored by the 'police' -  wow
> ...the thought police !!! . This tactic presents India as a place in
> need of liberating, in need of emancipation. But by whom pray is this to
> be done ... and to what ends, and whom does all this liberating benefit?
> It always benefits someone right - be it the porn guru, the Hindu Fundo
> or the weapons dealer.
>
> I agree with the writer of the text below but I would add that I feel u
> r locating in your critique - a disembodied representation of issues and
> events..... I believe u r demanding that one should be honest about
> where one is from and ones privileges, otherwise how are we to
> comprehend these so called political positions by the self defined so
> called experts..
>
>
> In Haste Anjali
>
>
>
>
>
>
>
>
>
>
>
>
>
> Kshmendra Kaul wrote:
> > Shuddha
> >
> >   A.
> >
> >   You wrote:
> >     "It appears that if there is one thing that religious
> fundamentalists, communal, nationalist, secular and leftist politicians
> agree on is the necessity to curb the freedom of expression in Inda."
> >   How do you categorise yourself Shuddha? Which grouping do you belong
> to? Your answer would be very interesting.
> >
> >   What you might want to consider is that there is no such animal as
> "unbridled freedom". The foundations of "free" organised societies are
> "regulated freedoms". Freedom without any curbs on expression or action are
> "animalistic".
> >
> >   I should correct myself; even in the non-human domains whether by
> genetic imprinting or instinct or some primordial intelligence, creatures
> atmost time define the limits of "freedom" they allow each other within the
> species they belong to. Even the inter-species cosmos exists with it's own
> checks and balances.
> >
> >   The subject to dwell upon would be whether the "freedoms" are
> allowedwith a bias favouring some and prejudicial to others. That is not
> being discussed here.
> >
> >   Shuddha, if instead of an Indian citizen you see yourself as a Netizen
> please be aware that in the cyber space domain also you have only as much
> freedom as will be "allowed" to you whether by those who run the "servers"
> or those who arrange the Bits and Bytes.
> >
> >   B.
> >
> >   You also wrote:
> >     "If the self appointed representatives of the Kashmiri Pandit
> community and their allies pour venom on Sanjay Kak on this list and
> elsewhere....."
> >   Who does your voice represent Shuddha? Are you the "self appointed"
> voice of reason while others are "venom" pourers? I see a lot of "venom" in
> your own words.
> >
> >   Equating Kashmiri Pandits speaking (speech) against Sanjay Kak's
> docuwith the assault (action) by MIM activists does not make a good
> comparative analogy. If you think otherwise then why should you exclude
> acceptance that the writings of Taslima Nasreen (speech) are equated with
> assault (action) by some.
> >
> >   It might help you understand things better Shuddha if you discussed
> with the Kashmiri Pandit "voices" what exactly is their beef about Sanjay
> Kak's docu, instead of just dismissing them as part of "bigotry and
> cussedness"
> >
> >
> >   Kshmendra Kaul
> >
> >
> >
> > Shuddhabrata Sengupta <shuddha at sarai.net> wrote:
> >   Dear All (apologies for cross posting on Kafila.org and the Sarai
> Reader
> > List)
> >
> > The recent attack on Taslima Nasreen has again shown how fragile the
> > freedom of expression is in India today. It breaks whenever a
> > sentimental reader or viewer has their 'sentiments challenged'. Are all
> > these worthy gentlemen who go about obstructing screenings and readings
> > suffering from some early childhood trauma that makes it difficult for
> > them to countenance growing up and acquiring the ability to listen to
> > contrary point of view? How long are we to be held hostage to their
> > infantile suffering?
> >
> > What is worse is the fact that the people who attacked her, and have
> > made public threats to kill her - activists and elected representatives
> > belonging to MIM, a leftover of the Nizam's hated Razakars, were
> > arrested and then let off on bail. So, the message that the state sends
> > out to these goons is - "threaten to kill, be taken to a police station
> > to have a cup of tea, have your picture taken, be splashed in the media,
> > go home and make some more threats"
> >
> > see - http://www.expressindia.com/fullstory.php?newsid=90746
> >
> > In fact, according to a report in the Indian Express today, it is Ms.
> > Nasreen who is now being booked under section 153 - the same section of
> > the penal code that was earlier used to detain the unfortunate art
> > student in Baroda who had offended 'Hindu and Christian sentiments'. So
> > as far as the Police in the state of Andhra Pradesh is concerned, person
> > who makes a public threat to kill a writer - a prominent politician is
> > innocent, and the writer herself, who has never threatened to kill
> > anyone, nor has asked others to kill people is guilty of inciting
> > hatred. Both are to be treated equally. There can be no greater travesty
> > of justice than this incident, and it once again demonstrates how
> > willing state power in India is to dance in tandem with bigots. It
> > happens in BJP ruled Gujarat, it happens in Congress ruled Andhra
> > Pradesh. It happens (see below)in Left Front ruled West Bengal.
> >
> > Once again this demonstrates that bigotry and cussedness is not the
> > monopoly of the self appointed representatives of any one community or
> > political tendency. If the self appointed representatives of the
> > Kashmiri Pandit community and their allies pour venom on Sanjay Kak on
> > this list and elsewhere, they are matched in their ardour by the
> > viciousness of those who have appointed themselves the guardians of
> > Islam in Hyderabad, and the protectors of Hindu and Christian dignity in
> > Baroda. And lest we forget, (we do have short memories) let us remember
> > that the last time Tasleema Nasrin was vilified and hounded and her
> > publication banned in an Indian state, it just happenned to be in West
> > Bengal, where she has her largest readership, and this happenned because
> > the secular progressive left front regime, led by the Contractors Party
> > of India (Monopolist) deemed her a threat to the sanitized cultural
> > landscape that they so vigorously uphold and maintain in that state.
> >
> > The CPI(M)'s party organ 'People's Democracy' found it necessary to
> > publish the official 'party line' on the ban in its issue dated November
> > 7, 2003 (Vol XXVII, No 49). It said (apologies for this lengthy
> quotation)
> >
> > "THE Bengal Left Front government has decided to ban Bangladeshi author
> > Taslima Nasreen’s latest book, Dwikhandita (‘Split in
> Two’) because it
> > was feared that the book would incite communal violence. At no point of
> > time has the book been proscribed on political or literary grounds.
> >
> > In a government notification issued on November 28, the state LF
> > government has formally invoked the ban under section 95 of the code of
> > Criminal Procedure, read with Act 153 of the Indian Penal Code (where it
> > is considered a criminal and punishable act to create enmity, rivalry,
> > and hatred amongst religious communities.
> >
> > State secretary of the CPI (M), Anil Biswas said that there was
> > apprehension expressed widely that the book would spark off communal
> > tension, and that very many experts in the field supported this view.
> > The LF government has banned the book for the sake of the upkeep of
> > democracy in Bengal. Several newspapers, too, have expressed similar
> > feelings. Biswas pointed out that “from the time the Left Front has
> been
> > office in Bengal not a single book or publication has been proscribed on
> > political grounds.† However, said Biswas, it was a different matter
> > altogether if a publication or a book incited terrorism and communalism.
> >
> > Chief minister of Bengal, Buddhadeb Bhattacharjee whose department
> > issued the notification banning the book, said that he had himself read
> > the book “several times over.† that he has “persuaded at
> least 25 noted
> > specialists to go through the book critically† and that they have
> > recommended the book to be not fit for circulation among the reading
> > public. In particular, the pages 49-50 of the book contain very
> > derogatory and provocative references that go against the grain of the
> > tenets of Islam and of Islamic beliefs.
> >
> > Several noted authors including the poet Sunil Gangopadhyay, the
> > novelists, Dibyendu Palit, Nabanita Deb Sen, and Syed Mustafa Siraj, the
> > Bangladeshi novelist, Sams-ul Huq, the singer Suman Chatterjee, as well
> > as the Trinamul Congress leader and Kolkata mayor, Subrata Mukherjee,
> > among others, have come openly out against the book and have supported
> > the decision by the state LF government to get the book banned.
> >
> > Pradesh Congress leader Somen Mitra who has called Taslima Nasreen a
> > blot on the world of women, has described the book as having no
> > difference with a piece of pornography and has said that nobody ought to
> > assume rights to hurt the sentiments of a religious community.
> >
> > The book which forms a part of Nasreen’s multi-volume autobiography
> has
> > been charged by the reading public of Kolkata and Bengal with obscenity
> > and has come under fire for its maligning and falsified personal
> > references to the lives of several noted scholars of Bengal and
> > Bangladesh as well.
> >
> > However, the book, as Anil Biswas made clear while speaking to the media
> > in Kolkata recently, was banned because of the fact that portions of the
> > book would cause religious disharmony to break out, with the religious
> > fundamentalists utilising the book to fan the flame of communal fire.
> >
> > True to form, the BJP chief Tathagata Roy has supported Taslima
> > Nasreen’s derogatory references to Islam and has opposed the
> > proscription of the book. Mamata Banerjee has chosen to hold her
> > silence, as she is wont to do of late on very many other matters as
> well."
> >
> > It appears that if there is one thing that religious fundamentalists,
> > communal, nationalist, secular and leftist politicians agree on is the
> > necessity to curb the freedom of expression in Inda.
> >
> > There is only one possible ethical response to this pathetic display of
> > arrogance by the self appointed representatives of Hindu, Muslim,
> > Christian and Communist sentiment, and that is to ensure the widest
> > possible circulation of these materials in the public domain. It is to
> > organize as many screenings as possible of a film like 'Jashn-e-Azaadi'
> > (or any other film that is attacked in a similar fashion) and to hold
> > public readings and distributions of the books of someone like Taslima
> > Nasreen.
> >
> > In 'Homeless Everywhere:Writing in Exile' an essay by Taslima Nasreen
> > that had been first published in English in Sarai Reader 04: Turbuluence
> >
> > http://www.sarai.net/publications/readers/04-crisis-media
> >
> > She wrote -
> >
> > "Just like in West Bengal today, my books have been banned earlier in
> > Bangladesh on the excuse that they may incite riots. The communal
> > tension raging through South Asia is not caused by my books but by other
> > reasons. The torture of Bangladesh’s minorities, the killing of
> Muslims
> > in Gujarat, the oppression of Biharis in Assam, the attacks against
> > Christians, and the Shia-Sunni conflicts in Pakistan have all occurred
> > without any contribution from me. Even if I am an insignificant writer,
> > I write for humanity, I write with all my heart that every human being
> > is equal, and there must be no discrimination on the basis of gender,
> > colour, or religion. Everyone has the right to live. Riots don’t
> break
> > out because of what I write. But I am the one who is punished for what I
> > write. Fires rage in my home. I am the one who has to suffer exile. I am
> > the one who is homeless everywhere."
> >
> >
> > If we want to ensure that writers, filmmakers and artists are not
> > 'homeless everywhere' then we have to ensure that they receive the
> > hospitality that enables the conditions that allow their work, thought
> > and expression to continue to have a public life. This means making sure
> > that their work lives and continues to breathe in society, by any means
> > necessary.
> >
> > For those who are interested, and can read Bangla, some of Taslima
> > Nasrin's work is available in the form of downloadable pdfs from
> > www.talimanasrin.com. When the venerable Buddhadev Bhattacharya decided,
> > after consulting twenty five eminent intellectuals to ban her book, I
> > decided to download the said book, make twenty six photocopies of the
> > entire book bind them and distribute them free.
> >
> > That is one method to deal with censorship (formal or informal) I am
> > sure that there are other, more creative methods out there as well. I
> > would welcome practical suggestions from those in the community of the
> > people who are reading this post
> > about how these attacks on the freedom of expression may be confronted
> > and made irrelevant. Let us try and make some time for peaceful film
> > watching and reading.
> >
> > best
> >
> > Shuddha
> >
> >
> > _________________________________________
> > reader-list: an open discussion list on media and the city.
> > Critiques & Collaborations
> > To subscribe: send an email to reader-list-request at sarai.net with
> subscribe in the subject header.
> > To unsubscribe: https://mail.sarai.net/mailman/listinfo/reader-list
> > List archive: <https://mail.sarai.net/pipermail/reader-list/>
> >
> >
> > ---------------------------------
> > Moody friends. Drama queens. Your life? Nope! - their life, your story.
> >  Play Sims Stories at Yahoo! Games.
> > _________________________________________
> > reader-list: an open discussion list on media and the city.
> > Critiques & Collaborations
> > To subscribe: send an email to reader-list-request at sarai.net with
> subscribe in the subject header.
> > To unsubscribe: https://mail.sarai.net/mailman/listinfo/reader-list
> > List archive: &lt;https://mail.sarai.net/pipermail/reader-list/>
>
>
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Sun, 12 Aug 2007 19:52:26 +0200
> From: "Image Science" <image.science at donau-uni.ac.at>
> Subject: [Reader-list] ANN re:place 2007 conference, Berlin,    15-18
>         November 2007
> To: <reader-list at sarai.net>
> Message-ID: <46BF64FA0200007D00003BE8 at gwgwia.donau-uni.ac.at>
> Content-Type: text/plain; charset="ISO-8859-1"
>
> re:place 2007
>
> The Second International Conference on the Histories of Media, Art,
> Science and Technology
>
> Location: Haus der Kulturen der Welt, Berlin
> Date: 15-18 November 2007
>
> Information: http://tamtam.mi2.hr/replace
>
>
> An interdisciplinary forum of over 70 researchers
> and artists from all over the world, re:place
> 2007 presents multiple historical relations
> between art, science and technology. The title
> 're:place' refers to the sites and the migration
> of artistic and knowledge production. This theme
> is highlighted during the panel discussions and
> poster sessions, particularly in the 'Place
> Studies' stream which looks at specific
> historical instances and settings. Special
> attention will be given to alternatives to the
> 'Western' historical paradigms through
> presentations about art-science relations in the
> former Soviet Union, Africa, and Latin America.
> The conference includes general forum discussions
> on interdisciplinary research strategies, as well
> as keynote lectures by Lorraine Daston and
> Siegfried Zielinski.
>
> replace 2007 is a project of Kulturprojekte
> Berlin GmbH in cooperation with Haus der Kulturen
> der Welt, Berlin. Funded by
> Hauptstadtkulturfonds, Berlin. Conference
> partners include Leonardo, Database of Virtual
> Art at Danube University Krems' Center for Image
> Science, Ludwig Boltzmann Institute
> Media.Art.Research, Helmholtz-Zentrum für
> Kulturtechnik at Humboldt Universität Berlin,
> Institut für Auslandsbeziehungen, and others.
> Supported by Tschechisches Zentrum Berlin -
> CzechPoint and Schwedische Botschaft Berlin.
>
> Conference chairs: Andreas Broeckmann (D), Gunalan Nadarajan (SG/USA)
>
> ++++++++++++++++++++++++++++++++++++++++++++++++++++++
>
> Conference ticket (3 days): EUR 50 (full) / EUR 20 (concessions)
> Day ticket: EUR 25 (full) / EUR 10 (concessions)
>
> Contact and information:
> replace at mikro.in-berlin.de,
> http://tamtam.mi2.hr/replace
>
>
> ++++++++++++++++++++++++++++++++++++++++++++++++++++++
>
> PRAGUE / art - science - media - theory / BERLIN
> 8-18 NOVEMBER 2007
>
> Three major conference events on art, science and
> media theory will take place in Prague and Berlin
> this November. Visit the MutaMorphosis conference
> (8-11 Nov.) and bring yourself up to date with
> contemporary art in extreme envirnments at the
> border between art and science. Take part in a
> Prague symposium about the exceptional media
> theorist, Vilem Flusser (12-13 Nov.). And then
> make the short journey to Berlin, where the
> re:place 2007 conference (15-18 Nov.) will
> feature outstanding interdisciplinary research
> and debates about the histories of media, art,
> science, and technology.
>
> http://mutamorphosis.org /
> http://www.goethe.de/prag /
> http://tamtam.mi2.hr/replace
>
> Flyer download (1.9 MB) for this series at:
>
> http://mutamorphosis.org/upload/files/2007/07/18/PRAGUEBERLINNOVEMBER2007.pdf
>
>
> ++++++++++++++++++++++++++++++++++++++++++++++++++++++
>
>
> Programme re:place 2007
>
> check http://tamtam.mi2.hr/replace for updates
>
>
>
> *** 13 / 14 / 15 November, pre-conference
> workshops and events (to be announced)
>
>
> ****** Thursday 15 November **********************************
>
> *** Opening Session
> 15 November, Thursday, 14.00-15.00, Auditorium
>
> Welcome by Andreas Broeckmann (DE), Gunalan
> Nadarajan (SG/US), Bernd Scherer/HKW (DE)
>
> Introductory talk by Oliver Grau (DE/AT):
> MediaArtHistory - Image Science - Digital
> Humanities
>
>
> *** Panel 1: Place Studies: Art/Science/Engineering
> 15 November, Thursday, 15.00-17.30, Auditorium
>
> Michael Century (CA/US), Encoding motion in the early computer:
> knowledge transfers between studio and laboratory
>
> Stephen Jones (AU): The Confluence of Computing and Fine Arts at the
> University of Sydney, 1968-1975
>
> Eva Moraga (ES): The Computation Center at Madrid University,
> 1966-1973: An example of true interaction between art, science and
> technology
>
> Robin Oppenheimer (US/CA): Network Forums and Trading Zones: How Two
> Experimental, Collaborative Art and Engineering Subcultures Spawned
> the "9 Evenings: Theatre and Engineering" and E.A.T.
>
>
> *** Panel 2: Intersections of Media and Biology
> 15 November, Thursday, 15.00-17.30, Theatersaal
>
> Assimina Kaniari (GR/UK), Morphogenesis in Action: D'Arcy Thompson
> and the experimental in Leonardo from LL Whyte to now
>
> Jussi Parikka (FI): Insect Media of the Nineteenth Century
>
> Michele Barker (AU): From Life to Cognition: investigating the role
> of biology and neurology in new media arts practice
>
> Boo Chapple (AU): Sound, Matter, Flesh: A history of crosstalk from
> medicine to contemporary art and biology
>
>
> *** Keynote 1/Helmholtz Lecture (speaker t.b.c.)
> 15 November, Thursday, 18.30 at Helmholtz-Zentrum, Humboldt University
>
>
> *** Special Lecture Presentation
> Timothy Druckrey (US): Cinemedia - Visions of Computation in Cinema
> 15 November, Thursday, 21.00 at TESLA Media>Art<Lab Berlin
>
>
> ****** Friday 16 November **********************************
>
> *** Panel 3: Histories of Abstraction
> 16 November, Friday, 10.00-12.30, Auditorium
>
> Laura Marks (CA): Artificial life from classical Islamic art to new
> media art, via 17th-century Holland
>
> Arianna Borrelli (IT/DE): The media perspective in the study of
> scientific abstraction
>
> Amir Alexander (US): Death in Paris: When Mathematics became Art
>
> Paul Thomas (AU): Constructed infinite smallness
>
>
> *** Panel 4: Comparative Histories of Art Institutions
> 16 November, Friday, 10.00-12.30, Theatersaal
>
> moderation: Stephen Kovats (DE/CA)
>
> Lioudmila Voropai (RU/DE): Institutionalisation of Media Art in the
> Post-Soviet Space: The Role of Cultural Policy and Socio-economic
> Factors
>
> Renata Sukaityte (LT): Electronic art in Estonia, Latvia and
> Lithuania: the interplay of local, regional and global processes
>
> Christoph Klütsch (DE): The roots and influences of information
> aesthetics in Germany, Canada, US, Brazil and Japan
>
> Catherine Hamel (CA): Crossing Into The Border - an intersection of
> vertical and horizontal migration
>
> *** Panel 5: Place Studies: Media Art Histories
> 16 November, Friday, 14.30-17.00, Auditorium
>
> Daniel Palmer (AU): Media Art and Its Critics in the Australian Context
>
> Ryszard W. Kluszczynski (PL): From Media Art to Techno Culture.
> Reflections on the Transformation of the Avant-Gardes (the Polish
> case)
>
> Caroline Seck Langill (CA): Corridors of Practice I: Technology and
> Performance Art on the North American Pacific Coast in the 1970s and
> Early 80s
>
> Machiko Kusahara (JP): A Turning Point in Japanese Avant-garde Art: 1964 -
> 1970
>
> *** Panel 6: Media Theory in Cultural Practice
> 16 November, Friday, 14.30-17.00, Theatersaal
>
> Kathryn Farley (US): Generative Systems: The Art and Technology of
> Classroom Collaboration
>
> Nils Röller (DE/CH): Flusser's Individual Academy: Thinking
> instruments in institutional and personal relations
>
> Wendy Hui Kyong Chun (US): The Enduring Ephemeral, or the Future is a
> Memory
>
> Antony Hudek (US/CH), Antonia Wunderlich (DE): Between Tomorrow and
> Yesterday: charting Les Immatériaux as technoscientific event
>
> *** General Discussion
> 16 November, Friday, 17.30-18.30, Auditorium
>
>
> *** Keynote 2: Siegfried Zielinski (DE)
> 16 November, Friday, 20.00, Auditorium
>
>
> ****** Saturday 17 November **********************************
>
> *** Panel 7: Interdisciplinary Theory in Practice
> 17 November, Saturday, 10.00-12.30, Auditorium
>
> moderation: Sara Diamond (CA)
>
> Christopher Salter (US/CA): Unstable Events: Performative Science,
> Materiality and Machinic Practices
>
> Simone Osthoff (BR/US): Philosophizing in Translation: Vilem
> Flusser's Brazilian Writings
>
> Karl Hansson (SE): Haptic Connections - On Hapticality and the
> History of Visual Media
>
> Janine Marchessault (CA)/ Michael Darroch (CA): Anonymous History as
> Methodology: The Collaborations of Sigfried Giedion, Jaqueline
> Tyrwhitt, and the Explorations Group (1951-53)
>
>
> *** Panel 8: Place Studies: Russia / Soviet Union
> 17 November, Saturday, 10.00-12.30, Theatersaal
>
> Introduction/Moderation: Inke Arns (DE): The Avant-Garde in the Rear
> View Mirror
>
> Olga Goriunova (RU): Cultural critique of technology in philosophy of
> technology and religious philosophy of early XX century Russia
>
> Margareta Tillberg (SE/DE): Cybernetics and Arts: The Soviet Group
> Dvizhenie (Movement) 1962-1972
>
> Margarete Voehringer (DE): 'Space, not Stones' Nikolai Ladovski's
> Psychotechnical Laboratory for Architecture, Moscow 1926 (t.b.c.)
>
> Irina Aristarkhova (RU/US): Stepanova's 'Laboratory'
>
>
> *** Panel 9: Cross-Cultural Perspectives
> 17 November, Saturday, 14.30-17.00, Auditorium
>
> moderation: Bernd Scherer (DE)
>
> Sheila Petty (CA): African Digital Imaginaries
>
> Cynthia Ward (US): Minding Realities: Geometries of Cultural Cognition
>
> Erkki Huhtamo (FI/US): Intercultural Interfaces: Correcting the
> pro-Western Bias of Media History
>
> Manosh Chowdhury (Bangladesh/JP): Can there be an 'Art History' in
> the South?: Myth of Intertextuality and Subversion in the Age of
> ><DEFANGED.126 Media Art
>
>
> *** Panel 10: Cybernetic Histories of Artistic Practices
> 17 November, Saturday, 14.30-17.00, Theatersaal
>
> moderation/introduction: Geoff Cox (UK): Software Art has No History
>
> Christina Dunbar-Hester (US): Listening to Cybernetics: Music,
> Machines, and Nervous Systems, 1950-1980
>
> David Link (DE): Memory for Love Letters. Computer Archaeology of a
> Very Early Program
>
> Brian Reffin Smith (UK/DE): Hijack! How the computer was wasted for art
>
> Kristoffer Gansing (SE): Humans Thinking Like Machines - Incidental
> Media Art in the Swedish Welfare State
>
>
> *** General Discussion
> 17 November, Friday, 17.30-18.30, Auditorium
>
>
> *** Keynote 2: Lorrain Daston (US/DE)
> 17 November, Saturday, 20.00, Auditorium
>
>
> ****** Sunday 18 November **********************************
>
> Presentation of Results of the LBI Workshop on Documentation and Metadata
> with Dieter Daniels a.o.
> 18 November, Sunday, 10.00, Conference Hall 1
>
>
> Forum on Cyber-Feminism
> with Faith Wilding, Irina Aristarkhova, a.o.
> 18 November, Sunday, 10.00
>
>
> Forum Discussion: Connecting Music(ology) and Media Art
> Statements by Dr. Joseph Cohen (Collège de
> Philosophie, Paris) and Dr. Rolf Grossmann
> (Applied Cultural Studies/Aesthetics, Leuphana
> University Lüneburg). Discussants include Dr.
> Werner Jauk (University of Graz) and Dr. Paul
> Modler (Design University Karlsruhe). Moderation
> by Joyce Shintani (Design University Karlsruhe).
> 18 November, Sunday, 10.00, Conference Hall 3
>
>
> Feedback Session and planning for re: conference follow-up in 2009
> 18 November, Sunday, 12.00, Auditorium
>
> ****** POSTERS **********************************
>
> (poster exhibition plus short lunchtime presentations)
>
> Su Ballard (NZ): 'Real Time': early encounters with immersive
> installation in Aotearoa New Zealand
>
> Clarisse Bardiot (FR): The Artists and Engineers of 9 Evenings:
> Theatre and Engineering, New York, 1966
>
> Ross Bochnek (US): When Clinical Neuropsychology Met Time-Based Art
>
> Wayne Clements (UK): The Descent of New Media: Art, Warfare and
> Cambridge Cybernetics
>
> Lenka Dolanova (CZ): What They Were Cooking in There: Cooks, Their
> Kitchen and the Taste of Fresh Video
>
> Ernest Edmonds (UK/AU) Human and robot behaviour: art meets AI
>
> Francis Arsene Fogue Kuate (Cameroon): The contribution of technical
> centres to the development of Media Art in Africa: A case study of
> the Audiovisual Professional Training Centre of Ekounou (Yaounde)
>
> Francesca Franco (IT/UK): New Media Art and an Institutional Crisis
> in the History of the Venice Biennale, 1968
>
> Darko Fritz (HR/NL): Vladimir Bonacic: Dynamic Objects (1968-1971) -
> computer-generated works made in Zagreb within New Tendencies art
> network (1961-1973)
>
> Yara Guasque (BR), Sandra Albuquerque Reis Fachinello (BR), Silvia
> Guadagnini (BR): Skipping stages. From constructivism in architecture
> and in poetry to the digital media: searching for parameters to
> understand the emerging media and the formation of a specialized
> audience in Brazil
>
> Rosana Horio Monteiro (BR): Art and Science Playing on the Margins.
> On the discovery of photography in the 19th century Brazil
>
> Karen Ingham (UK): A Ticket to The Theatre of The Dead
>
> Maude Ligier (FR): How cybernetics entered the world of art? The case
> of Nicolas Schöffer
>
> David McConville (US): Cosmological Cinema: Pedagogy, Propaganda, and
> Perturbation in Early Dome Theaters
>
> Vytautas Michelkevicius (LT): (Post)photography and Media Art:
> Rethinking Institutionalization and Public Curatorship in Lithuania
>
> Simon Mills (UK): framed: interviews with new media writers and artists
>
> Angela Ndalianis (AU), Lisa Beaven (AU), Saige Walton (AU):
> Technologies of Wonder - a Pansemiotic Approach
>
> Ariane Noel de Tilly (CA): The different 'versions' of John Massey's
> As the Hammer Strikes (A Partial Illustration)
>
> Ryan Pierson (US): Thinking Space: Mediating IBM's Deep Blue in the
> History of Computers
>
> Markku Reunanen (FI): Observations on the Adoption of Science in a
> Subculture
>
> Nina Samuel (DE/CH): Re-Reading Fractals: Towards an Archeology of
> ><DEFANGED.127 the Digital Form
>
> Roberto Simanowski (DE/US): The Art of Mapping Data: Statistics,
> Naturalism, and Transformation
>
> Stefan Sonvilla-Weiss (AT/FI): Paul Otlet's impact on visual
> knowledge building in current developments of Web 2.0
>
> Melanie Swalwell (NZ): Early Digital Games Production in New Zealand
>
> Carolyn Tennant (US), Kathy High (US): The Experimental Television Center
>
> Claudia X. Valdes (CL/US), Phillip Thurtle (US): From Spiderman to
> Alba: transgenics in a post-nuclear world
>
> Simon Werrett (US): The Festive Formation of the City: The Art and
> Science of Urban Space in the late Soviet Union
>
> ++++++++++++++++++++++++++++++++++++++++++
>
> Wendy Jo Coones, M.Ed.
> Department for Image Science
> DANUBE UNIVERSITY
> Dr.-Karl-Dorrek-Straße 30
> 3500 Krems, AUSTRIA
> www.mediaarthistories.org
> "WHAT IS IMAGE SCIENCE?"  visit us and find out :: www.donau-uni.ac.at/dis
>
>
> ------------------------------
>
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> https://mail.sarai.net/mailman/listinfo/reader-list
>
>
> End of reader-list Digest, Vol 49, Issue 22
> *******************************************
>