[-empyre-] Week 3 on empyre: thoughts about the first two weeks and moving on

Juliana Caetano juliana.caetano at gmail.com
Sat Oct 19 01:31:07 EST 2013

Dear Empirans,
I´ve been following the discussions for many years now, despite of being in
a"read-only" position.

However, many years have passed and after such an amount of good surprises
and loads of information coming from you, I thought would be great to
properly exchange. So here I am, sharing my current research and asking for
your kind collaboration.

I´m a PhD student at PUC-SP (Brazil) in Communication and Semiotics.
In order to collect new objects for my study I´m asking you examples that
fit one of the categories below (key-words). Personal projects or other´s
are more than welcome. What I really want is to go further Google,
Institutes and so on. I wanna go for projects that are not necessarily
promoted. Projects can be artistic, related to business campaigns or

Key-words for the projects: media convergence, urban space, collaboration
for collective problem-solving, DIALOGUE and transmedia storytelling. To
sum up, projects that use media to empower interaction between people and
environment in order to mediate (solve) a problem.

The major aim for making this collection is to deeply study these

I thank you all in advance and I'm looking forward to hearing from you
All the best,

On Fri, Oct 18, 2013 at 11:22 AM, Gabriel Menotti <gabriel.menotti at gmail.com
> wrote:

> ----------empyre- soft-skinned space----------------------
> Hey, empyre!
> Thanks for the intro, Renate. It is quite pleasing to participate of
> the list in the much more comfortable position of a guest. =)
> Following Dale’s comments about venues and events in Delhi/Mumbai that
> foster convergence of practices, I could talk a bit about my recent
> experience, having returned to Brazil after a four-year season as a
> PhD candidate in London. Still suffering from academic jet lag, some
> challenges within local universities, research councils and seminars
> become very clear.
> Somewhat, the precariousness of local institutions plays against
> convergence. In the context of arts & humanities, the general lack of
> resources (books, equipment, funding - and time to work!) seems to
> result in much more homogenous projects, repeating similar formulas,
> topics and bibliography. Besides the demands of productivity and
> accountability, I believe one of the reasons for this streamlining of
> the field is the very honest desire to find intellectual interlocution
> - common, reliable bases for dialogue. It can feel quite alienating to
> be the only one in a whole field dealing with a particular
> bibliography or theme, having no one to talk to. We invest time and
> attention in authors and schema that allow us to communicate with our
> peers.
> Thus, theory moves slowly, in well-established fads, trailing after
> what happens in North America and Europe (mostly France). The most
> recent ones are Rancière and Didi-Huberman, who are being mentioned in
> virtually every national debate about moving image. There seems to be
> both insecurity and cautiousness in this development, a kind of fear
> of walking with one’s own steps and suddenly finding divergences from
> norms set abroad, risking putting into question the rigid hierarchies
> scientific authority relies upon.
> (It’s funny how this creates certain distortions of perception. For a
> long time, Vilém Flusser – who lived, worked and taught in Brazil for
> a long time – felt too foreign. When I moved to London, I made the
> mistake of changing all my main references to match the British
> edition of “Towards a Philosophy of Photography”, ignorant of the fact
> that Portuguese was more of a working language for the author, and the
> Brazilian version of the book is actually more up to date.)
> Best!
> Menotti
> 2013/10/17 Renate Ferro <rtf9 at cornell.edu>:
> > ----------empyre- soft-skinned space----------------------
> > Tim and I have returned to the US after an intense and productive time
> at the Busan Film Festival.  It was wonderful to see Youngmin and Alex in
> real time in both Busan and Seoul.  The Asian perspective on convergence is
> one that I feel we have only begun to flush out. Thank you Alex for teasing
> out some of the cultural complications involving this fact.  This was
> evident for me not only at Busan's film festival but in meeting many of my
> former students who despite a critical fine arts education at Cornell have
> transitioned over to their home in Korea where most of them work in very
> large commercial design firms. It appears to me that this spirit in
> celebration of capitalism as opposed to a suspicion (that particularly
> western academics and artists) stems from a desire and necessity for South
> Korea to assert itself from its neighbor to the North,  communist North
> Korea. I am thinking though about how other parts of Asia may weigh in on
> this.
> >
> > Week three brings to us three guest moderators:  Dale Hudson, Gabriel
> Menotti and Ken Feingold.  Dale now teaching in the United Arab Emerites
> has been a guest on -empyre previously so many of you may know him.  Dale
> used to teach at our neighboring institution Ithaca College and we do miss
> seeing him around town.  Gabriel Menotti long-time empyreans will
> recognize.  Menotti was a part of a moderating team a few years ago.  We
> welcome him back as a guest and look forward to his contribution.  We also
> welcome Ken Feingold this month a new contributor to -empyre. Biographies
> are below.
> >
> > Dale Hudson (UAE/USA) is a media theorist, critic, and curator.  He
> teaches film and new media studies at New York University Abu Dhabi
> (NYUAD), curates online exhibitions for the Finger Lakes Environmental Film
> Festival (FLEFF), and serves on the preselection committee for the Abu
> Dhabi Film Festival (ADFF).  His work appears in journals including
> Afterimage, American Quarterly, Cinema Journal, French Cultural Studies,
> Journal of Film and Video, Screen, and Studies in Documentary Film, as well
> as in anthologies.  His book-in-progress, “Blood, Bodies, and Borders,”
> analyzes transnational and postcolonial vectors of U.S. history through the
> political economies of film.  He has also reviewed films, exhibitions, and
> books for journals including Afterimage, African Studies Review, Jadaliyya,
> and Scope.
> >
> > Gabriel Menotti (Brazil, 1983) Gabriel Menotti is an independent curator
> and lecturer in Multimedia at the Federal University of Espírito Santo
> (UFES). He is the author of Através da Sala Escura (Intermeios, 2012), a
> history of movie theatres from the perspective of VJing spaces. Menotti
> holds a PhD in Media & Communications from Goldsmiths (University of
> London), and another from the Catholic University from São Paulo. He has
> published work in a number of research journals and books, as well as
> contributed to international events such as the São Paulo Biennial,
> Rencontres Internationales Paris/Berlin/Madrid and the Transmediale
> Festival.
> >
> > Ken Feingold (USA, 1952) received his B.F.A. and M.F.A. degrees in
> “Post-Studio Art” from California Institute of the Arts, Valencia, CA.  He
> has been recognized as an innovator in the field of interactive art after
> fifteen prior years of making films, video art, objects, and installations.
> His early interactive works include The Surprising Spiral (1991), JCJ
> Junkman (1992), Childhood/Hot & Cold Wars (1993), and where I can see my
> house from here so we are (1993-95) among others.  His work Interior (1997)
> was commissioned for the first ICC Biennale '97, Tokyo; Séance Box No.1 was
> developed while in residence at the ZKM Karlsruhe during 1998-99, and Head
> (1999-2000) was commissioned by the Kiasma Museum of Contemporary Art,
> Helsinki for the exhibition "Alien Intelligence" (Feb-May 2000). Since 2000
> he has developed a body of “cinematic sculptures” - objects and
> installations which include artificially intelligent animatronics and,
> frequently, moving images. He has taught moving image art at Princeton
> University and Cooper Union, among others, and he is also a licensed
> psychoanalyst in private practice. His works are in the permanent
> collections of the Museum of Modern Art, NY; Centre Georges Pompidou,
> Paris; Kiasma, Helsinki; ZKM Center for Art and Media, Karlsruhe, and
> others.
> >
> > Renate Ferro
> > Visiting Assistant Professor of Art,
> > (contracted since 2004)
> > Cornell University
> > Department of Art, Tjaden Hall Office:  306
> > Ithaca, NY  14853
> > Email:   <rferro at cornell.edu>
> > URL:  http://www.renateferro.net
> >       http://www.privatesecretspubliclies.net
> > Lab:  http://www.tinkerfactory.net
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre

*Juliana Caetano*
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