<div dir="ltr"><div class=""><span style="font-size:12.8px">Thank you for the invitation to contribute to empyre this month. I've been here a few times before ... last time writing from the Middle East, where I was based for 6 years. These days I live and work in New York ... and currently I am editing a new video about a 20th century steel mill that is forced to depart planet earth into outer-space, in search of ore, where the workers will be able to continue and make pots, pans and automobile rims. The story is inspired by hilariously absurd anecdotes my grandfather used to recount about the plant he worked for in the city of Zenica, BiH.</span><br></div><div id=":mk" class=""><div id=":mj" class="" style="font-size:12.8px;overflow:hidden"><br></div><div id=":mj" class="" style="font-size:12.8px;overflow:hidden">Building on John Conomos' post: </div><div id=":mj" class="" style="overflow:hidden"><span style="font-size:12.8px">I also work with video as a material of images in time, where my investigations always seem to return to exploring the limits of representation, and often in effort to explode mythologies without sentimentality (I hope).</span></div><div id=":mj" class="" style="overflow:hidden"><span style="font-size:12.8px"><br></span></div><div id=":mj" class="" style="overflow:hidden"><span style="font-size:12.8px">Tonight, I would like to invite you to view one of my works from 2008: "The End of History". This piece takes a particular moment in video history/technology (VHS handheld cameras), and probes the image found at the periphery of erasure. </span></div><div id=":mj" class="" style="overflow:hidden"><span style="font-size:12.8px"><br></span></div><div id=":mj" class="" style="overflow:hidden"><span style="font-size:12.8px">Eyewitness recordings of the Yugoslavian war (early 90s) seemed to fade quickly, as video standards rapidly advanced into digital codec formats. Even though this war was among the first to be recorded massively by multitudes of citizens using handheld cameras, the videos seem to be trapped in their plastic cassette bodies, in people's storage bins, and dusty bookshelves. </span></div><div id=":mj" class="" style="overflow:hidden"><br></div><div id=":mj" class="" style="overflow:hidden"><span style="font-size:12.8px">Vimeo Link: <a href="https://vimeo.com/77293548">https://vimeo.com/77293548</a></span></div><div id=":mj" class="" style="overflow:hidden"><span style="font-size:12.8px"><br></span></div><div id=":mj" class="" style="overflow:hidden"><span style="font-size:12.8px">Digitized analog tapes, computer-generated imagery </span><br></div><div id=":mj" class="" style="overflow:hidden"><span style="font-size:12.8px">SD DVD video, with sound, color </span></div><div id=":mj" class="" style="overflow:hidden"><span style="font-size:12.8px">Runtime: 10 minutes</span></div><div id=":mj" class="" style="overflow:hidden"><span style="font-size:12.8px"><br></span></div><div id=":mj" class="" style="overflow:hidden"><span style="font-size:12.8px">A conversation develops between two personified subtitles: poet-politicians; one red, the other white. Their subject, persona and voice are abstracted and confused as they discuss literature, religion, nationalism and philosophy. Images recorded by people in Sarajevo under siege, in the early nineties, are transformed into a visceral, poetic, and dark audiovisual space. The End of History is a montage of this transcoded appropriated footage. While some invoke iconic images of Sarajevo under mortar shelling, others are computer generated and the sound entirely follied.</span><br></div><div id=":mj" class="" style="font-size:12.8px;overflow:hidden"><span style="font-size:12.8px"><br></span></div><div id=":mj" class="" style="font-size:12.8px;overflow:hidden"><span style="font-size:12.8px">Regards,</span></div><div id=":mj" class="" style="font-size:12.8px;overflow:hidden"><span style="font-size:12.8px">Isak Berbic</span></div><div id=":mj" class="" style="font-size:12.8px;overflow:hidden"><span style="font-size:12.8px"><br></span></div><div id=":mj" class="" style="font-size:12.8px;overflow:hidden"><span style="font-size:12.8px"><br></span></div><div id=":mj" class="" style="font-size:12.8px;overflow:hidden"><br></div><div id=":mj" class="" style="font-size:12.8px;overflow:hidden"><span style="font-size:12.8px"><br></span></div></div><div class="gmail_extra"><div class="gmail_quote">On Tue, Sep 8, 2015 at 1:42 PM, Timothy Conway Murray <span dir="ltr"><<a href="mailto:tcm1@cornell.edu" target="_blank">tcm1@cornell.edu</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left-width:1px;border-left-color:rgb(204,204,204);border-left-style:solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br>
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<p class="MsoNormal"><font face="Calibri" size="3">Now that the US holidays have passed and the heat of the summer has finally settled into Upstate New York, it's time to look to the fall startup of the 2015-16 season of -empyre–. We look forward to a a wide-ranging
discussion throughout the remainder of September of "Video and Beyond." Information about the topic and this week's guests is below:</font></p>
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<span style="font-family:Calibri"><b><u>September, 2015 Video: Behind and Beyond<u></u><u></u></u></b></span></p>
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<span style="font-family:Calibri">Moderated by Tim Murray (US) and Renate Ferro(US) with invited discussants<u></u><u></u></span></p>
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<span style="font-family:Calibri">Week 1 September 8-13: Andrew Deutsch (US) Kathy High (US), Sherry Hocking Miller (US), Renate Ferro (US), Tim Murray (US) Isak
Berbic (US), John Conomos (AU), <u></u><u></u></span>Carolyn Tennant (US)</p>
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<span style="font-family:Calibri">Week 2 September 14-20: Megan Roberts (US), Raymond Ghirardo (US), Lynne Sacks (US), Alan Sondheim (US)<span style="color:rgb(100,100,100)"><u></u><u></u></span></span></p>
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<span style="font-family:Calibri">Week 3 September 21-26 Maureen Turim (US), Benton C Bainbridge ( US)<u></u><u></u></span></p>
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<span style="font-family:Calibri">Week 4 September 27-30 Sarah Watson (US), Gabriel Menotti (BR), Anca Rujoiu (SG)</span></p>
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<span style="color:rgb(26,26,26);font-weight:normal">In celebration of the legacy of the Experimental Television Center, -empyre- dedicates the month of September to discussion of “Video: Behind and Beyond.”
For over forty years, the Experimental Television Center in Owego, New York, was one of North America’s preeminent residencies and funding sources for video art, fostering a community for creative and innovation in technology. Through its residency program
and practical research program artists worldwide passed through its doors. The Experimental Television</span><span style="color:black;font-weight:normal"> Center
was founded by Ralph Hocking, in 1971, who collaborated with Nam June Paik and others in the creation of innovative tools used by ETC artists for experimental creation in and around video. Throughout the years both Ralph Hocking and Sherry Miller Hocking
have provided support and services to the media and technology community by encouraging electronic media technologies and honoring independently creating moving-image history. They have single handedly initiated projects that encouraged partnerships for research,
education, and preservation. <u></u><u></u></span></h3>
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<span style="font-family:Calibri">During the month of September, we encourage discussion of the early days of video art and its movement beyond the analogue into pairings with digital technologies.
ETC fostered and encouraged these pairings from the very beginning. In addition to hearing from international guests with specialized artistic and critical interests in video art, we will be joined by many of the artists and technicians who have been affiliated
with ETC. <u></u><u></u></span></p>
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<span style="font-family:Calibri">The month’s discussion coincides with a major exhibition, opening September 24, at the Hunter College Art Gallery in New York City with the collaboration of
the Rose Goldsen Archive for New Media Art, which holds the ETC archive. <u></u><u></u></span></p>
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<span style="font-family:Calibri"> the center over these past several years to celebrate the history and heritage of ETC during Week 1, to examine the affect of the center’s influence beyond
the scope of a regional video center to an influential player in the digital and internet age nationally and globally</span><span style="font-family:Calibri"> during Week 2 and 3, and finally during Week 4 to discuss the Center’s preservation and archival
drive for the future. </span><span style="font-family:Calibri"><u></u><u></u></span></p>
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<span style="font-family:Calibri">Biographies:<u></u><u></u></span></p>
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<span style="font-family:Calibri">Moderators:<u></u><u></u></span></p>
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<span style="font-family:Calibri">Renate Ferro (US) Renate Ferro’s creative work resides in the area of emerging technology, new media and culture. By aligning artistic,
creative practice with critical approaches to technology her work broadly spans installation, interactive net-based projects, digital time-based media, drawing, text, and performance. Her artistic work has been featured at The Freud Museum (London), The Dorksy
Gallery (NY), The Hemispheric Institute and FOMMA (Mexico), The Janus Pannonius Muzeum (Hungary), and The Free University Berlin (Germany). Her writing has been published in such journals as Diacritics, Theatre Journal, and Epoch.. She also is the founder
of the </span><a href="http://www.tinkerfactory.net/" target="_blank">Tinker Factory</a><span> Lab.
</span><span style="font-family:Calibri">Ferro is a Visiting Associate Professor of Art at Cornell University. She has been on the moderating team for -empyre soft-skinned
space since 2007 and is currently the managing moderator. <u></u><u></u></span></p>
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<span style="font-family:Calibri">Tim Murray (US) Tim Murray is Curator of the Rose Goldsen Archive of New Media Art, Director of the Society for the Humanities and
Professor of Comparative Literature and English at Cornell University. </span><span style="font-family:Calibri;text-indent:0in;font-size:14px"> A Moderator of -empyre-, he sits on the Executive Committee of the Humanities, Arts, Science, and Technology
Advanced Collaboratory (HASTAC). Author of Digital Baroque: New Media Art and Cinematic Folds (Minnesota 2008) and Zonas de Contacto: el arte en CD-ROM (Centro de la imagen, 1999), he is completing two books on Virtual Archives and Media Art in Asia, and editing
volumes on Jean-Luc Nancy and Xu Bing.</span></p>
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<span style="font-family:Calibri">Weekly Guests:
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<span style="font-family:Calibri">Week 1<u></u><u></u></span></p>
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<span style="font-family:Calibri;border:1pt none windowtext;padding:0in;background-color:white">Isak Berbic (BA)
</span><span style="font-family:Calibri;background-color:white">is an artist primarily working with photography, moving image and performance. His recent artworks reimagine popular
narratives, crossing them with social and personal histories, often appropriating anecdotes and myths, politics and contemporary issues, environmental and economic ecologies, art history, cooking, migration, humor, tragedy, the global circulation of images
and the limits of representation. Reflecting on contested histories, he uses fiction and documents, found and primary material, exploring the image and the literary in the construction of his pieces. His work takes on different forms of presentation, including
image-text-object installations, photographic prints, videos, actions, texts and publications.<u></u><u></u></span></p>
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<span style="font-family:Calibri">John Conomos (AU) is an artist, critic and theorist who exhibits extensively both locally and internationally. He is an Associate Professor at Sydney College
of the Arts, the University of Sydney. His art practice cuts across a variety of art forms-video, new media, installation, photo-performance, and radio-phonic art—and deals with autobiography, identity, language, memory, post-colonialism and the ‘in-between’
links between cinema, literature, critical theory and the visual arts. Conomos is a prolific writer and artist. He is currently working on three new video projects.
<u></u><u></u></span></p>
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<span style="font-family:Calibri;color:rgb(34,34,34);background:white">Kathy High (US) is an interdisciplinary artist, educator
working with</span><span style="font-family:Calibri;color:rgb(34,34,34)"><br>
<span style="background:white">arts and biology. In the early 1980's she studied for her masters in film</span><br>
<span style="background:white">and video at</span> <span style="background:white">
University of Buffalo with media pioneers Hollis Frampton, Steina Vasulka</span><br>
<span style="background:white">and</span> <span style="background:white">Tony Conrad. She has received awards including Guggenheim Memorial</span><br>
<span style="background:white">Foundation,</span> <span style="background:white">
Rockefeller Foundation, and NEA. Her art works have been shown at</span> <span style="background:white">
Guggenheim</span> <span style="background:white">Museum, Museum of Modern Art (NYC), Science Gallery, (Dublin), NGBK,</span><br>
<span style="background:white">(Berlin), Fesitval</span> <span style="background:white">
Transitio_MX (Mexico), MASS MoCA (North Adams), Videotage Art Space (Hong</span><br>
<span style="background:white">Kong).</span> <span style="background:white">High is Professor of Video and New Media in the Department of Arts at</span><br>
<span style="background:white">Rensselaer.</span> <span style="background:white">
She was co-editor of The Emergence of Video Processing Tools: Television</span> <span style="background:white">
Becoming Unglued with Sherry Miller Hocking, Assistant Director of the</span> <span style="background:white">
Experimental Television Center, and Mona Jimenez, Associate Professor of</span> <span style="background:white">
the</span> <span style="background:white">Moving Image and Preservation Program, In Cinema Studies at NYU, a two</span>
<span style="background:white">volume</span> <span style="background:white">anthology about the history of video imaging tools, Intellect Books</span><br>
<span style="background:white">(UK)/Chicago</span> <span style="background:white">
University Press (IL), 2014.</span></span></p>
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<span style="font-family:Calibri;color:rgb(34,34,34);background:white"><u></u> <u></u></span></p>
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<span style="font-family:Calibri;color:rgb(34,34,34);background:white">Sherry Miller Hocking (US) has worked since
1972 with the Experimental Television Center, which until 2011 served the media arts community by providing an international residency program, educational opportunities and sponsorship for independent media and film artists and projects. For over 40 years
she helped administer the artist in residence program, inviting over 1500 artists to create new works. She also worked to support individual artists’ projects; ETC helped raise almost 2 million dollars in direct funding to media artists. For 22 years Hocking
directed the Electronic Arts Grants Program, providing funding to individuals and arts organizations. In 1994 she designed and continues to direct the Video History Project, an online informational research database for media scholars worldwide. She has helped
organize a number of preservation conferences, notably the<span> </span><i>Video History Conference</i><span> </span>at Syracuse University. <span> </span>With Kathy
High and Mona Jimenez, she is co-editor of<span> </span><u>The Emergence of Video Processing Tools: Television Becoming Unglued</u>(Intellect, 2014). The archives of ETC are in the collection of the Rose Goldsen Archive of New
Media Art at Cornell University.<span> </span> </span><span style="background:white"><a href="http://www.experimentaltvcenter.org" target="_blank">http://www.experimentaltvcenter.org</a></span><span style="font-family:Calibri"><u></u><u></u></span></p>
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<span style="color:rgb(34,34,34);font-family:Calibri;background-color:rgb(255,255,255)">Carolyn Tennant (US) has been a champion in Upstate New York of collaborative efforts to digitize and preserve video. The Director of Archives and Migrating
Media at Hallwalls Contemporary Art Center, in Buffalo, New York, Carolyn has been a primary consultant in efforts to archive the collections of the Experimental Television Center, Hallwalls, and other New York experimental venues. </span></p>
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<div style="color:rgb(0,0,0);font-family:Calibri,sans-serif;font-size:14px">
<div>Timothy Murray</div>
<div>Professor of Comparative Literature and English</div>
<div>Taylor Family Director, Society for the Humanities</div>
<div><a href="http://www.arts.cornell.edu/sochum/" target="_blank">http://www.arts.cornell.edu/sochum/</a></div>
<div>Curator, Rose Goldsen Archive of New Media Art </div>
<div><a href="http://goldsen.library.cornell.edu" target="_blank">http://goldsen.library.cornell.edu</a></div>
<div>A D White House</div>
<div>Cornell University,</div>
<div>Ithaca, New York 14853</div></div></div></blockquote></div>
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