Established since 1976, Franklin Furnace is a renowned New York-based arts
organization whose mission is to preserve, document, and present works of
avant-garde art by emerging artists - particularly those whose works may be
vulnerable due to institutional neglect or politically unpopular content.
Drawing on his book Franklin Furnace & the Spirit of the Avant-Garde: A
History of the Future (Intellect, 2010), Toni Sant discusses how new
technology raises new issues in regard to preservation and archiving for
Franklin Furnace. Aside from the issues that arise during the creation and
primary dissemination of works on the Internet, long-term distribution
arrangements and digital-rights management are relevant for making the art and its documentation available on demand as part of a long-term plan for
preservation and dissemination. Identifying the best preservation strategies
is the first step, but there are also intellectual-property matters to
consider. Such issues have become major concerns for Franklin Furnace since
the late 1990s and it has not only braced itself to tackle them but also
pushed itself into the frontline of finding solutions for them, along with
others who have similar concerns.
Gilles Deleuze published two radical books on film: "Cinema 1: The Movement-Image" and "Cinema 2: The Time-Image". Engaging with a wide range of film styles, histories and theories, Deleuze’s writings treat film as a new form of philosophy. This cine-philosophy offers a startling new way of understanding the complexities of the moving image, its technical concerns and constraints as well as its psychological and political outcomes. In this talk I'll look at some of the key concepts behind Deleuze’s revolutionary theory of the cinema (affect, time, thought, politics, etc), and discuss how Deleuze’s radical methodology is useful for all forms of for screen media analysis.
Taking the Rap:
In three recent murder cases in London, prosecution counsels presented violent ‘grime’ rap lyrics written by defendants as evidence of guilt. As author of a scholarly book on gangsta rap, Eithne Quinn acted as an expert witness for the defence in the three trials. This paper gives an account of the legal use of violent rap and argues that, in these cases, lyrics should not be admissible as evidence.
His major publications include Just My Soul Responding: Rhythm and Blues, Black Consciousness and Race Relations (Berkeley: U of California P, 1998), Radio and the Struggle for Civil Rights in the South (Gainesville: UP of Florida, 2004), and The 1960s: A Documentary Reader (Oxford: Wiley-Blackwell, 2009). He is just completing editorial chores on a three volume series of books devoted to new directions in the study of the American South, is just starting a book on pre-World War Two Artists and Repertoire men, and is perpetually working on a book about the relationships between the American South and the world of British popular music from Delius to the Kings of Leon.
While much has been written on the “more popular than Jesus” controversy which engulfed the Beatles in 1966 during their final US tour, little attention has been paid to Arthur Unger, the man whose decision to re-print an English interview with John Lennon in his magazine Datebook sparked the furore. This talk explains that, contrary to conventional wisdom, Datebook was not a typical teen magazine, but a vehicle for the progressive politics of its publisher-editor Unger who had been using it for years to expose various kinds of intolerance and bigotry to American teens. Moreover, the Beatles had known Unger and supported his magazine's covert politics long before 1966. Indeed, far from cynically ripping Lennon's quote on religion—and an equally important one from Paul McCartney on racism—out of context and without permission to make a quick profit, it was the band’s own management which initially encouraged Unger to use the interviews. Ultimately, the argument here is that it is impossible to understand impossible to understand the genesis, evolution, or cultural significance of the “Jesus” controversy without attention to Unger.
Following up my introductory talk on technofeminism last academic year, this talk will provide not only a more advanced view on technofeminism and other related theories around feminist technoscience studies, but also my own experience of adopting this analytical approach for the research on women in Free/Open Source Software communities and gendered participatory cultures in an age of media convergence.
This session will be useful for anyone interested in research methods for creative practitioners. Mary's will use a number of her recent interdisciplinary performance and technology projects as case studies with which to distinguish the differences between practice and practice-as-research. She will focus on planning, writing proposals, execution (specifically working in interdisciplinary teams) documentation and dissemination of PAR.
Across the humanities and social sciences we are currently witnessing a move towards a renewed cosmopolitanism. In these debates, cosmopolitan ideals blend a liberal notion of ‘openness to others’ with a sense of 'worldliness' that might welcome the flow of diversity and proximity to the unfamiliar. This talk questions the celebratory tone of this renewed cosmopolitanism through a reading of Code Unknown (Michael Haneke, 2000). If the promise of the cosmopolitan project is to be found in the notion of what we might call a more ‘open sociality’, then this talk explores how Code Unknown turns the processes of spectatorship into the ethical testing ground for such a vision.
In this presentation Steve will discuss and illustrate his new commissioned work from Tempo Reale (Italy) for 2 accordions and interactive electronics. He will discuss the diverse cultural traditions drawn upon for the work and how these were imbedded in the work (by way of evolving probabilistic, Markovian hierarchic structures) as well as present the compositional strategies employed for the various strands of the finished work: live instrumentalists, fixed media electronics and interactive electronics.
Public Service Journalism and Converging Media Systems
Concepts and practices of public service have been an integral part of the evolution of communication media systems for decades in Europe and beyond. However, the process of media convergence has called forth an examination of the place of public service in communications. Ideas of public service have been an important part of the development of journalism and have too come under increasing pressure in the era of media convergence. This session will commence with an exploration of some of the key ideas that have shaped articulations of public service in media systems and journalism. It will then go on to explore some of the challenges and opportunities for public service journalism which have arisen from the development convergent media platforms and services. It will conclude by exploring the extent to which public service journalism is relevant today in our diverse-yet-converging, highly commercialised, digital multi-media systems.
This seminar will draw upon work recently undertaken at the British Board of Film Classification to explore film censorship in Britain in the 1970s. My examination of over 250 files offers new evidence about the operation and implementation of active film censorship in this period. Yet what can these individual files tell us about standards of permission and popular taste in a given period? And how can this material be used to further debates about film and censorship?
Digital Media have forced us to look again at what distinguishes photography from film as well as the values we attach to them. This paper goes back to photography's origins to re-evaluate 'the instant' drawing on Hollis Frampton's recently republished theoretical work.