CHArt 2006

CHArt

Last week, on Thursday 9 and Friday 10 November, I spent two days at the CHArt 2006 conference. The title this year was Fast Forward – Art History, Curation and Practice after Media.

Previous CHArt conferences –CHArt has been taking place since 1985!– were concerned with the practice, history, and preservation of ‘computer arts’. Nevertheless this last event was broader, looking at current issues of curation along with questions of history and preservation. To have a look at the programme and abstracts visit http://www.chart.ac.uk/chart2006/index.html

New Club Night on Thursday 16th Nov. with TIM HOPKINS

Thursday November 16, 6-8pm in the Seminar Rooms, Ben Pimlott Building, Goldsmiths, University of London, New Corss, SE14 6NW

FREE, ALL ARE WELCOME

*ELEPHANT AND CASTLE*

Tim Hopkins will introduce a new lyric theatre /digital media work-in-progress, called ELEPHANT AND CASTLE.

“Architecture is music, frozen.” Goethe

A new lyric theatre piece using the web to link audiences in two architectural spaces simultaneously, based at the Elephant and castle Shopping Centre and Aldeburgh Festival, Suffolk. This explores how human activity is directed by environment, in this case in two places that represent contrasting ideas of a designed society.

The Elephant was Britain’s first Drive-In Shopping Centre, opened in 1965, and along with many other buildings of its generation, is being redeveloped or effaced. The Snape Maltings concert hall was opened in 1967.

Commissioned by LONDON ARTISTS PROJECTS
Research Phase funded by ARTS COUNCIL (UK)

*Tim Hopkins* works in two related areas: opera production and making new lyric theatre works with multimedia elements. He began making work in Opera and Theatre as a director from 1989, and additionally as a scenic designer and filmmaker from 1998.

He has been commissioned to direct opera repertoire for WNO, English National Opera, The Royal Opera Covent Garden, Opera North, Glimmerglass, Teatro dell’Opera Roma, Bayerische Staatsoper Festspiel, Theatre Basel, Graz Oper, Staatsoper Hannover, Wexford Festival, ETO, Alternative Lyrique Paris, Almeida Opera, Aldeburgh Festival and others. He has been commissioned to make original works, involving lyric theatre, moving image and digital media by Opera North, Aldeburgh Festival, ROH2, The Sage Gateshead, Birmingham Contemporary Music Group, Channel 4 TV, LAP.

In 2001 he was awarded a NESTA Fellowship for personal artistic development.

ASSOCIATION INTERNATIONALE POUR L’APPLICATION DES DROITS SALARIÉS DE PIERRE BONGIOVANN

ASSOCIATION INTERNATIONALE POUR L’APPLICATION DES DROITS SALARIÉS DE PIERRE BONGIOVANNI
le temps de la désapprobation a passé, voici venu le temps d’agir.
Association Loi 1901

Madame, Monsieur,

Vous connaissez Pierre Bongiovanni.

Vous connaissez les conditions dans lesquelles la fermeture du CICV Pierre Schaeffer a été décidée, puis effectuée, en juillet 2004.

Mais vous ignorez certainement que le Liquidateur Judiciaire qui en fut chargé procéda de sorte que le directeur artistique du CICV, Pierre Bongiovanni, ne peut faire valoir ses droits salariaux et affronte la recherche d’emploi — à plus de cinquante ans — sans aucune compensation.

Depuis la fin du CICV, au motif que son lien de subordination au président de l’association du CICV ne serait pas certain, on refuse à Pierre Bongiovanni, non seulement son indemnité de licenciement, mais aussi la simple attestation de son emploi. À l’ancien directeur du CICV, l’on interdit, mais pourquoi ? la preuve technique de son emploi salarié de quatorze années. Il ne peut alors percevoir aucune aide de l’Assedic, caisse d’allocation chômage à laquelle il cotisa pourtant chaque mois durant 37 ans.

Nous cherchons à comprendre quoi justifie le refus obstiné du liquidateur à licencier normalement le directeur du CICV.

Depuis quelques semaines 150 artistes et acteurs culturels ont réagi à une lettre d’information publiée par Jean Michel Bruyère en s’associant au mouvement de réprobation lancé sur Internet et en rejoignant l’association que nous avons créée pour que soit engagée une série d’actions publiques dont le but unique est de voir Pierre Bongiovanni rétabli dans ses simples droits.

Nous disposons désormais d’un site (http://www.ads-pb.org) destiné à présenter l’affaire, à exposer nos objectifs et relayer nos initiatives la concernant.

Certains que vous aurez été sensible à notre démarche et conscient de notre détermination à voir le droit dit et respecté, nous espérons que vous accepterez de rejoindre notre Association.

le bureau de l’Association

MEMBRES DE L’ASSOCIATION :

    • Simon Messagier, Lougres, France
    • Francette messagier, Lougres, France
    • Christel Chapin, Paris, France
    • Gael Guyon, Paris, France
    • Brent Klinkum, Caen, France
    • Isabelle Arvers, St Genis Pouilly, France

 

    • Philippe Langlois, Paris, France
    • Michel Gaillot, Paris, France
    • Youness Anzane , Marseille, France
    • Thierry Destriez, Mons en Bareuil, France
    • Dodo Santorineos, Athenes, Grece
    • Laurent Dailleau, BROMMAT, France
    • Karin Vyncke , Bruxelles, Belgique
    • Claire Dehove, Paris, France
    • Mathieu Sanchez, Escrennes, France
    • Roland Cahen, Paris, France
    • Florent Jullien, Paris, France
    • Hervé Breuil, Paris, France
    • Laurent Lebourhis, Paris, France
    • Dragana Zarevac, Belgrade, Serbie
    • Hank Bull, Vancouver, Canada
    • Norbert Corsino, Marseille, France
    • Pascale Malaterre, Montréal, Quebec, Canada
    • Quentin Drouet, Longuyon, France
    • Sigolene Valax, Marly le Roi, France
    • Nathalie Garcia Ramos, Marseille, France
    • Isabelle Dufrêne, Mareuil-les-Meaux, France
    • Maurice Benayoun, Paris, France
    • Andrée Duchaine, Montréal Québec, Canada
    • Régine Feldgen, Montreuil, France
    • Charles-Henry Sicard, Mulhouse, France
    • Julien Gilles de la Londe, Paris, France
    • Jean-Claude Mocik, La Plaine Saint Denis, France
    • Martin Gersbach, Paris, France
    • Emilie Godreuil, le Havre, france
    • Antoine Librizzi, Paris, France
    • Arslonga, Paris, France
    • Vincent Guimas, Paris, France
    • Nathalie Magnan, Paris, France
    • Jean-Baptiste Barrière, Paris, France
    • IsabelleSeigneur, Bruxelles, Belgique
    • Coquenpot, Paris, France
    • Stéphane Trois Carrés, Paris, Europe
    • Pauline Lévêque, Paris, France
    • Olivier Goulet olivier, Boisset les Prévanches, France
    • Jean-Paul Curnier, Arles, France
    • Bruno Alacoque, Paris, France
    • Hugo Vermandel, Paris, France
    • Hadzi Adnan, London, UK
    • Nadine Lere, Paris, France
    • Xavier Perrot, Paris, France
    • Hervé Fischer, Montréal, Québec, Canada
    • Sebastian Gersbach, Barcelona, España
    • Manthos Santorineos, Athènes, Grèce
    • Thierry Coduys, Paris, France
    • Davide Grassi, Ljubljana, Slovenia
    • Emilie Fouilloux, Marseille, France
    • Hervé Nisic, Paris, France
    • Philippe Baudelot, Nice, France
    • Jean-marie Duhard, Saint-Mariens, France
    • Martin Fourat, Ecquevilly, France
    • Chrystel Mariani, Strasbourg, France
    • Manuela de Barros, Paris, France
    • Christophe Rolland, Pouilley-Français, France
    • Sébastien Pruvost, Paris, France
    • Tincuta Parv, Paris, France
    • Renée Maréchal, Froidefontaine, france
    • Colette Chevrier, Ivry sur Seine, France
    • Louise Poissant, Montréal, Canada
    • Coeurs Purs, Montreuil, France
    • Stéphane Cagnot, Paris, France
    • Gérard Morel, Tournon sur Rhône, France
    • Emmanuelle Jeanneney, Paris, France
    • Dominik Barbier, Marseille, France
    • wall°ich, Fontaines, France
    • Véronique Gode, Paris, France
    • Gilles Gervais, Bretigney, France

 

    • Jean Pierre Giovanelli, St Jeannet, France

 

    • Thierry Bardini, Montréal, Canada
    • Marie Maquaire, Bannalec, France
    • Anika Mignotte, Boulogne-Billancourt, France
    • Ivan Chabanaud, Marseille, France
    • Norbert Hillaire norbert, Nice, France
    • Yoris Van den houte , Bruxelles, Belgique
    • Louis Bec, Sorgues, France
    • Jean-Pierre Balpe, Paris, France
    • Marie-Solange Dubès, Paris, France
    • Jacqueline Mounier, Bordeaux, France
    • Jean Michel Bruyère, Marseille, France
    • Anne Roquigny, Paris, France, Trésorière

 

    • Thierry Arredondo, Pantin, France, Secrétaire

 

    • Du Zhenjun, Romainville, France, Président

 

 

 

Strategies of Sharing: the Deptford.TV Project

NEW CLUB NIGHT on Thursday 26th OCTOBER with ADNAN HADZI & MARIA X

Thursday October 26th, 6-8pm in the Seminar Rooms, Ben Pimlott Building, Goldsmiths, University of London, New Corss, SE14 6NW

FREE, ALL ARE WELCOME

STRATEGIES OF SHARING: THE DEPTFORD.TV PROJECT

How can we produce collaborative work within a creative or artistic context? Which are the complexities of such an undertaking? Which are the strategies of sharing?

Deptford.TV is a research project on collaborative film-making initiated by Adnan Hadzi in collaboration with the Deckspace media lab, Bitnik collective, Boundless project, Liquid Culture initiative, and Goldsmiths College. The project started on September 2005. It is an online media database documenting the regeneration process of Deptford, in South-East London. Deptford.TV functions as an open, collaborative platform that allows artists, filmmakers and people living and working around Deptford to store, share, re-edit and redistribute the documentation of the regeneration process.

Deptford.TV is an open, collaborative project, which means that:
a) audiences can become producers by submitting their own footage,
b) the interface that is being used enables the contributors to discuss and interact with each other through the database.

Deptford.TV is a form of ‘television’, since audiences are able to choose edited ‘timelines’ they would like to watch; at the same time they have the option to comment on or change the actual content. Deptford.TV makes use of licenses such as the Creative Commons and Gnu General Public License to allow and enhance this politics of sharing.

In the summer of 2006 we asked some of the contributors of the Deptford.TV project to give us feedback about their experience of working together and sharing the outcomes of this collaboration –whereas film, software, sound, live performance or other– not just with each other, but with everybody interested. Our aim was to understand and illuminate the strategies employed in various practices of sharing. As Deptford.TV is not affiliated with any one institution, we do not need to ensure any ‘politically correct’ answers. Instead, we aim to accommodate some raw, ‘un-beautified’ responses –just like the Deptford.TV database hosts rough, primary materials audiences do not normally have access to.

Adnan Hadzi is a filmmaker and media artist. He is currently a PhD candidate and Visiting Lecturer at Goldsmiths (Media and Communications).

Maria X [aka Maria Chatzichristostodoulou] is a performance theorist and curator of digital arts. She is currently a PhD candidate at Goldsmiths (Digital Studios and Drama), and Sessional Lecturer at Birkbeck (FCE) and WEA.

**NEW CLUB NIGHT** on Thursday 26th OCTOBER

DTV presentation Paper as .pdf file

**STRATEGIES OF SHARING: THE DEPTFORD.TV PROJECT* *
How can we produce collaborative work within a creative or artistic context? Which are the complexities of such an undertaking? Which are the strategies of sharing?

Deptford.TV is a research project on collaborative film-making initiated by Adnan Hadzi in collaboration with the Deckspace media lab, Bitnik collective, Boundless project, Liquid Culture initiative, and Goldsmiths College. The project started on September 2005. It is an online media database documenting the regeneration process of Deptford, in South-East London. Deptford.TV functions as an open, collaborative platform that allows artists, filmmakers and people living and working around Deptford to store, share, re-edit and redistribute the documentation of the regeneration process.

Deptford.TV is an open, collaborative project, which means that:
a) audiences can become producers by submitting their own footage,
b) the interface that is being used enables the contributors to discuss and interact with each other through the database.

Deptford.TV is a form of ‘television’, since audiences are able to choose edited ‘timelines’ they would like to watch; at the same time they have the option to comment on or change the actual content. Deptford.TV makes use of licenses such as the Creative Commons and Gnu General Public License to allow and enhance this politics of sharing.

In the summer of 2006 we asked some of the contributors of the Deptford.TV project to give us feedback about their experience of working together and sharing the outcomes of this collaboration –whereas film, software, sound, live performance or other– not just with each other, but with everybody interested. Our aim was to understand and illuminate the strategies employed in various practices of sharing. As Deptford.TV is not affiliated with any one institution, we do not need to ensure any ‘politically correct’ answers. Instead, we aim to accommodate some raw, ‘un-beautified’ responses –just like the Deptford.TV database hosts rough, primary materials audiences do not normally have access to.
Visit http://www.deptford.tv

Adnan Hadzi is a filmmaker and media artist. He is currently a PhD candidate and Visiting Lecturer at Goldsmiths (Media and Communications).
Maria X [aka Maria Chatzichristostodoulou] is a performance theorist and curator of digital arts. She is currently a PhD candidate at Goldsmiths (Digital Studios and Drama), and Sessional Lecturer at Birkbeck (FCE) and WEA.

DorkBot Camp 06 1st-4th Sept.

in september we where taking part in the pure data workshops with a copy of pure dyne during the dorkbot camp, a short report quoted from dorkboters saul albert and robert atwood:

This place is pretty amazing even when there’s no burningdork happening. We were in the Scout Leader’s Training Centre, past the rifle range, below the go-karting track. Apart from several clearings and a big fire circle, there was a beautiful old lodge-type building with a hard-wood floor, an industrial-scale kitchen full of assorted strange catering equipment (a full set of balti dishes, but not one sharp knife.. weird) and little needlepoint mottos on the wall like ‘a scout’s pledge is to do his honour to God and the Queen’.

We arrived a few hours before an enormous pile of organic vegetables was delivered by these people: http://organic-gmfree.co.uk/ which April DeLaurier marshalled a small gang into cooking with remarkable efficiency. I think that meal was African sweet potato soup with coriander, delicious spelt-flour cornbread and yoghurt. mmm. What happened to the leftovers!? Then we pitched tents, got drunk and went to sleep.

Saturday was rainy and everyone crammed into the scout hut and the workshops started with an amazing degree of energy and enthusiasm. First I did Ralf Schreiber, Christian and Sebastian’s ‘building self-sufficient electronic animals’ workshop, which was amazingly inspiring. Yoshi Imamura was on hand (in most situations actually) to give great advice on how to bend components through PCBs, hold and cut them efficiently and solder with grace.. It was a bit chilly on Saturday, so I was glad to have the chance to try fire-making in Paul Granjon’s workshop. As several onlookers pointed out – even if you don’t get a blaze started, all that energy expended in making smoke without fire warms you up wonderfully. Later that day (I missed a bit as I had some pickups from the station), under Anita’s supervision I reacquainted myself with knitting, badly. Scarves only for me I’m afraid. But I enjoyed what little I had time to do as we prepared the next feast – bean and cheese burritos with salsa, rice and salad. Mmm.

The presentations started as the meal was being prepared. After being used to the dorkbot crowd as an urban, mobile grouping that shifts and changes as people come and go, it was great to see everyone actually living in the same field and paying wrapt attention to each other’s presentations. As Gavin Starks was giving his presentation about music and astro physics, Adrian handed out some incredibly delicious bowls of Yoshi’s miso soup which kept everyone going until burrito time! Yay! Then Greenman opened his dodgy bar, Matthew Venn made a really wonderful wild apple and blackberry crumble, and headphone performances began. I was still going to and from the station, so I missed many of them, but caught a few amazing highlights. Again the room filled with wrapt dorkbots, headphones on, while outside fires were built and nasty liqueurs were consumed.

At 5am Sunday morning, I packed up my hammock and sneaked out to cycle like a loonie to Gatwick. I caught my 8am plane – just, with 10 minutes to spare, but thanks to those of you who offered to wake up at 6am and drive me there anyway 🙂 Of course I’m also bitterly disappointed that I missed the clean-up 😉

Anyone care to fill in a few blanks? What happened on Sunday? I can see you all built and burned a big stupid thing. Well done! I’m annoyed I missed that bit too.

Next year : dorkbot-on-sea! Any suggestions for a location? Maybe somewhere near http://www.nationaltrust.org.uk/orfordness/ Maybe on an island somewhere hot! (by Saul Albert)
The leftovers seemed to form part of Sunday lunch/dinner. Javier’s amazing paella and Paul’s delicious potato non-omlette (vegan omlette) featured prominently as well. We heard stories about you leaving at 5:15, told by some of those nocturnal folks who were just going to sleep at that time. My headphone performance was last, and only a few people remained. However, after the headphone performances, there was an impromptu, relatively low-volume, laptop + feedback + vibrating inflatable chair + kitchen utensil jam session at the dodgy bar, it was great fun. Nobody complained so I guess it was not too loud! Alejandro managed to patch my feedback machine output into a sample looper and digital effects program on a laptop, Ian provided something like a beat from another laptop, and Evan played a mean eggbeater rhythm, some other people I don’t remember who, were participating as well. No recording as far as I know. Dot was fooling people into believing that she was drinking organo-luminescent fluid by aiming a concealed torch into the base of the glass containing that weird blue liqueur from the dodgy bar. Then Lucy impressed everyone with her collection of pop ring tone midi files played on a laptop around the campfire. I got up rather late on Sunday, ‘lunch’ was sort of find what you can or what you brought, with some advance paella and leftover soup. The wireless was up and running since the raindrop interference was solved by virtue of not having rain. So, I checked my email. How exciting. Some more laptop jamming round the campfire with Ian and company, then I produced a small carved wooden circuit diagram for the Dork that others were hard at work to build from stray pallets and stuff. There was a tissue paper balloon making frenzy, at least, I got to help lay the sheets out in order , and to hold the balloon during inflation. After a test inflation, the balloon was refolded and some presentations were given. I can’t remember which ones were on Sunday and which on Saturday, there was some amazing video feedback effect going on at some point. More of Yoshi’s miso soup; even better if that’s possible, and the full version of Javier’s paella then appeared. Some conversation about Japanese Moomins was going on in the kitchen. Then the burning of the ‘dork’, flashing light-bulb eyes and karoke voice. It was plugged into the mains until the light bulbs stopped flashing. All bets about whether it would fall forward or backward were lost because it fell sideways. People danced around it while playing music on laptops. Followed by the tissue paper balloon ascent. It proved not to quite lift its own burner , after quite some time of holding it , and then holding it over the remaining fire to get extra hot air, and breathing hot smoke, the shouts of several onlookers to ditch the built-in burner and frame and just hold the tissue part over the fire were heeded and the balloon took off. (then it came back down) Unfortunately Dot and I, who had been helping to hold it steady for a while when it was not lifting enough, went to get fresh drinks from the kitchen for just a minute, possibly required due to smoke inhalation … during which time it took off! Aargh. Then April, Adrian and I left in Adrian’s car . (by Robert Atwood)

 

 

 

Uneasy Spaces

Symposium: Affective Imaging; Uneasy Spaces. Contemporary Arts
Practice and Research

Exhibition: Crossing the Atlantic; Uneasy Spaces. Curated by Liz Wells
and Ann Chwatsky

Goldsmiths Digital Studios, University of London will be hosting a
one-day symposium on contemporary arts practices and research
entitled: Affective Imaging; Uneasy Spaces. The symposium brings
together artists, theorists and historians in five one-hour sessions.

Affective Imaging; Uneasy Spaces features presentations, responses and
discussion of current artist practices and research concerned with
Photography and related media. The work of the invited artists,
theorists and historians demonstrates a wide range of interests and
production dealing with the 'spaces' of engagement of the artist or
viewer, the influence of global markets and the conceptual frameworks
of creative and critical practices.

Date: October 20, 2006
Location: Goldsmiths College, New Cross London SE14 6NW
Venue: Ben Pimlott Building, Ground Floor
Time: 10am- 5:30pm

Symposium Speakers include:
  • Jonathan Friday, History and Philosophy of Art (University of Kent)
  • Carey Young, Artist (www.careyyoung.com)
  • Theresa Mikuria, Artist-History and Philosophy of Art (University of Kent)
  • Sarah Pierce, Artist and Researcher (Interface, Univ. of Ulster)
Symposium Respondents include:
  • Janis Jefferies (Goldsmiths College, Digital Studios)
  • Simon O’Sullivan (Goldsmiths College, Dept. of Visual Culture)
  • Ann Chwatsky (New York University, Art in Media)
  • Susan Kelly (Goldsmiths College, Dept. of Visual Art)
  • John Hutnyk (Goldsmiths College, Centre for Cultural Studies)
Symposium Convened by:  Craig Smith (London College of Communication,
Photography Practice)

This symposium is FREE and open to the public.  Please email
reservation requests for student groups to Professor Janis Jefferies
(j.jefferies@gold.ac.uk).

This symposium is scheduled in conjunction with the exhibition:
Crossing the Atlantic; Uneasy Spaces hosted by Goldsmiths College and
curated by Ann Chwatsky (New York University). Uneasy Spaces is on
view in the Ben Pimlott Building, Goldsmiths College between Oct.19
and Nov.8, 2006.

The Goldsmiths exhibition is the second part of a bi-country exchange
between the United Kingdom and the United States. The USA exhibition
of Uneasy Spaces has been curated by Liz Wells and is on view at New
York University's 90 Washington Square East Galleries through November
6, 2006.

DIRECTIONS TO GOLDSMITHS:
Goldsmiths can be reached by train from London Bridge Station, by
underground on the East London Line or bus including 436 and 36. The
Ben Pimlott Building can be seen upon entry to the campus and
identified by its trademark "swirlie" sculpture affixed to the roof of
the building.

Map: (http://www.goldsmiths.ac.uk/find-us/campus-map.php)

New Club Night on 7 September with JON MCCORMACK

NEW CLUB NIGHT on Thursday September 7th, 2006 at 6pm until 8pm in the Lecture Theatre, Ben Pimlott Building, Goldsmiths, University of London, New Corss, SE14 6NW

FREE, ALL ARE WELCOME

Dear friends

We hope you had a lovely summer and are ready for a new round of Thursday Club events…

… starting on SEPTEMBER 7, 6-8pm with a presentation by JON MCCORMACK, Co-director, Centre for Electronic Media Arts, Monash University (Australia)
::

*SIMULATION, SYSTEMS, ARTIFICE*

In this talk I will give an overview of how I have used generative processes as a creative system. My aim is to enable new modes of creative expression with computation that are unique to the medium. Most existing software tools borrow their operational metaphor from existing creative practices: for example Photoshop uses the metaphor of a photographer’s darkroom; 3D animation systems borrow from theatre, film and conventional cell animation. In a tool with an oeuvre as diverse as the modern digital computer, one would hope that computation itself as a medium might have things to offer that are not based on metaphors borrowed from other media. I will illustrate some possibilities using the software systems I have developed over the last 15 years and the creative works that I have produced with them. These works include: Turbulence: an interactive museum of unnatural history (1994); Eden an evolutionary ecosystem (2000-2005) and the Morphogenesis series of evolved forms (2002-2006). Examination of these works will be placed in a philosophical framework and historical context. I will also discuss some possibilities for future development of generative software based on these ideas.

About Jon McCormack:
John is an Australian-based electronic media artist and researcher in Artificial Life and Evolutionary Music and Art. His research interests include generative evolutionary systems, machine learning, L-systems and developmental models. He is currently Senior Lecturer in Computer Science and co-director of the Centre for Electronic Media Art (CEMA) at Monash University in Melbourne, Australia. CEMA is an interdisciplinary research centre established to explore new collaborative relationships between computing and the arts. John’s artworks have been exhibited internationally a wide variety of galleries, museums and symposia, including the Museum of Modern Art (New York, USA), Tate Gallery(Liverpool, UK), ACM SIGGRAPH (USA), Prix Ars Electronica (Austria) and the Australian Centre for the Moving Image (Australia).



…And this is only the beginning… Now get your diaries and make a note for the rest of the Autumn term’s Club nights, as you’ll want to be there…
::

**NEW CLUB NIGHTS** NEW CLUB NIGHTS** NEW CLUB NIGHTS**

on 5 OCTOBER with MICK GRIERSON

::
*AUDIOVISUAL COMPOSITION AND THE AVANT-GARDES*

Mick is a musician, film-maker and researcher. He recently became a Research Fellow at the Goldsmiths Electronic Music Studios.

on 19 OCTOBER

*UNEASY SPACES*

Opening of a photo /video show in collaboration with the New York University

on 20 OCTOBER, CONFERENCE

on 26 OCTOBER with ADNAN HADZI & MARIA X

::
*ON STRATEGIES OF SHARING: THE DEPTFORD.TV PROJECT*

Adnan is a PhD candidate and Visiting Lecturer at Goldsmiths (Media and Communications). Maria is a PhD candidate at Goldsmiths (Digital Studios & Drama) and Visiting Lecturer at Birkbeck.

on 2 NOVEMBER with BRIAN KAVANAGH
::
*SONIC SENSORIUM*

Brian is an artist and musician. He is just completing his MA in Interactive Media at Goldsmiths.

on 16 NOVEMBER with TIM HOPKINS
::
*ELEPHANT AND CASTLE: A PRESENTATION OF WORK-IN-PROGRESS ON A LYRIC THEATRE PIECE*

Tim is an opera and multimedia lyric theatre director, and a NESTA Fellow.

on 30 NOVEMBER with MARK D’INVERNO

::
*CELL: AN INTERDISCIPLINARY PROJECT LOOKING AT NEW THEORIES OF STEM CELL BEHAVIOUR*

Mark is Professor of Computing at Goldsmiths with a research interest in intelligent agents and multi-agent systems.

on 14 DECEMBER with SPEAKER TBC

For more information on the Thursday Club check here or email maria x: drp01mc@gold.ac.uk

LETTRE DE JEAN MICHEL BRUYERE

Le 26 juin 2006
Bonjour,

Vous le savez, le CICV a été fermé en juillet 2004.

 

On peut le regretter et même s’en émouvoir, sachant que sa liquidation fut directement conséquente d’un rapport des inspecteurs du ministère de la culture, invraisemblable charge contre l’indépendance du C.I.C.V vis-à-vis des critères esthétiques et des ambitions symboliques établis par l’administration culturelle centrale ( consultation du “rapport”) .

On peut aussi penser qu’après 14 ans, sa structure, telle qu’elle ne pouvait plus beaucoup évoluer, ne satisfaisait plus aucune des nouvelles conditions de la création vidéo définies par une transformation très profonde des moyens techniques de l’image et du son. On jugera alors que la fermeture du CICV évite l’entretien inutile du énième de ces alluvions à encombrer les bords d’une institution culturelle sans vigueur.

Enfin, il est très possible aussi de s’en contreficher complètement, de rester à ne s’occuper que du déclin ou de l’éclat de ses propres affaires dans sa propre maison, comme d’être lancé déjà dans quelque bataille dont l’enjeu serait plus grand.

Mais, il ne sera pas nécessaire de s’accorder tous sur ce sujet pour se rassembler dans un acte de réprobation du sort réservé à Pierre Bongiovanni dans cette opération de liquidation. Car, à Pierre Bongiovanni, fondateur en 1990 du CICV et directeur de l’établissement jusqu’à sa fermeture contrainte, le simple droit d’un salarié licencié est refusé : on ne veut pas lui remettre le document attestant de son emploi de quatorze ans. Ce refus, exactement inutile à la liquidation, geste gratuit des liquidateurs, ressemble fort à une punition idéologique. Le résultat en est que Pierre Bongiovanni, sans emploi depuis deux années, ne bénéficie d’aucune aide des caisses d’allocations chômage auprès desquelles il a pourtant cotisé mensuellement pendant 37 années.

Les liquidateurs, pour justifier de leur geste, affirment que le lien de subordination du directeur à son employeur n’est pas certain et que la réalité de son travail de direction n’est pas prouvée. Toutes sortes d’enquêtes, dont une financière, ont été diligentées sur Pierre Bongiovanni, dans l’espoir de trouver contre lui quelque chose d’un peu plus consistant et croustillant que cela. Aucune malversation, aucun acte délictueux, pas même une petite erreur de gestion ne sont apparus. Pourtant, devant la détermination des liquidateurs, le Tribunal des Prud’Hommes réuni en mai 2006 n’a pas voulu juger et s’est déclaré incompétent. Une procédure en Contredit est lancée (automne 2006).

Nous avons tous travaillé pour ou avec le CICV, accueillis par Pierre Bongiovanni. Nous avons collaboré avec Pierre, avec son équipe, et utilisé les moyens de la structure, à laquelle, en échange et dans le temps, nous donnions sens.

S’il est à présent déclaré que Pierre Bongiovanni n’a pas été vraiment directeur du CICV, cela signifie donc que nous ne sommes pas vraiment vidéastes ou cinéastes, compositeurs, ingénieurs, monteurs… S’il est dit qu’il n’a pas vraiment travaillé, c’est alors que nos œuvres ne sont pas vraiment des œuvres. Et nous-mêmes, ne comptant pas davantage devant les liquidateurs et les juges que devant les inspecteurs de la culture, il paraîtrait donc que nous ne valons rien.

Pour nous regrouper en une association dont l’unique objet serait le respect de l’application des droits salariés de Pierre Bongiovanni (trois membres volontaires seraient désignés pour suivre l’affaire, nous rendre compte et nous représenter), nous n’avons pas besoin d’accorder nos points de vue sur ce que fût ou ne fût pas le CICV, sur les choix et les orientations de Pierre Bongiovanni le dirigeant. Il faut et il suffit que nous partagions un certain goût pour la vérité, que nous estimions imbécile qu’un homme soit contraint pour rien, à plaisir ou par vengeance et que nous tenions à l’existence d’une société qui soit sans pouvoir jamais mépriser ses propres règles et lois et surtout pas quand un désir de rigueur idéologique vient à piquer ses fonctionnaires.

JEAN MICHEL BRUYERE


 

Un premier site de réprobation a été ouvert  ici .


 

Commentez, réagissez, adhérez et proposez en écrivant à : reprobation@bongiovanni.info

Merci de faire circuler l’information dans les listes qui pourraient être concernées.


Un texte d’association en réprobation vous est ci-dessous proposé.

 

Artistes et équipes artistiques, cinéastes, vidéastes, auteurs, compositeurs, musiciens, plasticiens, graphistes, techniciens, ingénieurs… ayant été une fois, plusieurs fois ou régulièrement accueillis par le Centre International de Création Vidéo (CICV) de son ouverture en 1990 à sa fermeture en 2004, pour y concevoir, développer, finaliser ou valoriser nos créations, ayant toujours reçu là le soutien d’une équipe compétente et agile et trouvé les meilleurs effets d’une hospitalité savante, désapprouvons que le fondateur et directeur du CICV, M. Pierre Bongiovanni, se voie refuser par ses liquidateurs les simples pièces justificatives de son emploi de 14 années. Nous désapprouvons qu’il se trouve ainsi interdit de l’exercice de ses droits salariés les plus communs (indemnités de licenciement) et ne puisse pas, alors qu’il est sans emploi depuis juillet 2004, recevoir l’assistance des caisses d’allocation chômage auprès desquelles il a cotisé chaque mois durant 37 ans.

Pierre Bongiovanni a bien été le directeur salarié du CICV depuis sa création jusqu’à sa fermeture. Il a même, selon notre expérience directe , pleinement, seulement et courageusement rempli sa fonction. Nous fûmes, dans nos travaux d’art, les premiers bénéficiaires de son intégrité en exercice et nous nous opposons à toute volonté de la contester finalement. Nous réclamons que le droit salarié de Pierre Bongiovanni soit dit, dans une dignité égale à celle qu’il mit lui- même à servir son employeur, le CICV, et à maintenir l’objet de celui- ci en toute circonstance : le développement des arts électroniques et l’appui aux artistes.

De Pierre Bongiovanni dans son emploi au CICV, outre le lien de subordination, la réalité du travail, paraît-il, ne serait pas prouvée. Mais, nous saurons bien en attester s’il le faut ; nous qui en sommes, en nous-mêmes, la meilleure preuve.

Nous remarquons qu’un rapport d’inspecteurs du Ministère de la Culture, tel que ceux-là s’y montrent bien sûr désespérés et comme toujours haineux de ne pouvoir soumettre tout le monde et sans faille aux effets de la propagande idéologique qu’ils défendent, figure dans l’instruction des liquidateurs contre le directeur du CICV. Mais, tout inspecteur qu’on les nomme, ceux de culture ne sont pas encore de police et si la plupart de leurs activités de rapporteur sont en un sens, c’est certain, de bien tristes charges, aucune n’est de celles dont on peut instruire un procès, sinon au prix d’une subordination ultime : la subordination de la Justice à l’Administration.

Nous nous regroupons en une association pour le respect et l’application des droits salariés de Pierre Bongiovanni. Parmi nous élisant un bureau de trois membres, nous le chargeons de suivre de près l’évolution de la procédure et de nous rendre compte.

Nous invitons les membres du Conseil d’Administration et l’équipe du CICV, aussi, ceux qui en furent les stagiaires, ses partenaires, ses soutiens et même ses détracteurs à ajouter leurs voix à la nôtre.

Selon le résultat du recours en Contredit (tenu à l’automne 2006), notre association soit sera dissoute, soit entrera en action et n’aura alors plus de cesse, que le bon respect du droit.

 

Deptford @ Spitafields Market

RSVP @ Spitalfields Market

Deptford.TV will present the Deptford.TV reader/diaries for the RSVP event at Spitafields Market. The diaries will also be published on this blog…
quoted from attainable utopias: RSVP is a quarterly networking event organised by the project management team at Raw Nerve. In the past RSVP has sought to strengthen the Deptford Creative industry by bringing it together in a relaxed setting. In September 2006 RSVP aims to transport the event into Central London in order to showcase Deptford’s Creative Industry. The intention is to create awareness about the wealth of creative business and talent within Deptford’s creative community. This will result in broader networking and business opportunities.

RSVP will be featured in the free LDF ‘Official Guide’ with an estimated print run of 80,000 and distributed in over 200 venues across London. RSVP will also be featured on the LDF website which, during the 2005 event, received 70,000 unique visits.

RSVP will exhibit approximately 22 Deptford designers and artists showing furniture, graphics and products. The exhibition will run from Friday 15th September to Sunday 17th September 2006, with a private view/opening on the Friday. The exhibition will be held in a purpose built space on Crispin Place, in Spitalfields’ new market, designed by Norman Foster (Fosters and partners). Like Deptford, this location has gone through a massive amount of regeneration in the past 15 years and is said to hold one of the greatest concentration of artists and craftsmen in Europe. On a normal Sunday the Spitalfields’ markets receive over 25,000 visitors.

This site will act as a satellite site for the Deptford’s creative community. It will showcase Deptford’s designers and makers, creating an awareness and curiosity for London Design Festival and Spitalfield visitors of what Deptford’s Creative community has to offer.

Deptford Design Festival Newspaper

This year, Deptford Design will be publishing a Festival newspaper.
A showcase for Deptford’s talented designers, the newspaper will contain the Festival’s programme of events and a map of where events will be taking place. There will be feature stories on high profile designers such as Committee and Based Upon. Laban and Cockpit Arts will feature in the regeneration section of the newspaper, celebrating Deptford’s changing status in London. The food section will guide people to restaurants and bars in the area – a welcome break from visiting the exhibitions.

The newspaper will be 16 pages and will be just smaller than tabloid size.
The print run will be 15,000 and it will be distributed in several locations across London:

  • To Deptford and Greenwich residents
  • To the Cockpit Arts mailing list (+/-3,000)
  • At the RSVP event in Spitalfields, at the heart of the new Spitalfields Market
  • At the London Design Festival office in the Old Truman Brewery for the length of the festival 15th-30th September 2006
  • At London Design Festival information points around the capital
  • At the Paddington Development Trust events in West London

London Design Festival

Established in 2002 to celebrate and promote London as the creative capital of the world, The London Design Festival (LDF) has rapidly grown to become one of the key constituents of the UK’s burgeoning festival season, along with London Fashion Week, Frieze and the London Film Festival.

Speaking at the opening of last year’s Festival, The Rt Hon Gordon Brown MP observed that:
“…(the festival) has built up a world-wide reputation for its events, its vision, for cradling the British genius”, and that “…it is a symbol of the message that I believe the LDF is sending around the world – in the new economy success does not happen by accident, it happens by design”.

The LDF has seen visitor numbers increase from 100,000 in 2003 to more than 475,000 in 2005.

The festival received widespread media coverage including over 100 articles and 11 TV and 10 radio features, adding up to £2 million in equivalent advertising spend.

Deptford Design Festival History

The Deptford Design Festival has been running since 2003 and we are now entering into our forth year as one of the main delivery partners for the London Design Festival.

  • In 2003 14 Deptford design companies mounted a fairly traditional exhibition of their work which was displayed in the newly refurbished arches at Resolution Way.
  • In 2004 the companies were challenged to make an exhibit from a 200 litre metal wheelie bin – the theme being Re-Use. The Deptford design companies rose to the challenge and produced a range of exhibits from a metal sofa to a working kiln.
  • In 2005 the resident Deptford design companies produced a “portable table mounted exhibition” – better known as a book. Entitled ‘What’s So Great About SE8?’ the book provided acted as a showcase for the Deptford area and its talented designers.