No subject

cultural programmes.

Smaller and sporadic events are still running, making do with whatever
they can get. Right now, there is a local edition of Pixelache going
on in Ubatuba, in the coast. It was quite an adventure for the
organization to get means of travelling for everyone interested, but
it worked out in the end (the solution was refunding participants=92
long-distance bus tickets). What prevented me from attending was
mostly the clash with the classes calendar.

Best!
Menotti


2013/10/23 Timothy Conway Murray <tcm1 at cornell.edu>:
> ----------empyre- soft-skinned space----------------------
> Gabriel,
>
> It's interesting that your experience at Socine parallels my thoughts abo=
ut the Bosun Festival.  You put it well that Bosun, apparently as with Soci=
ne, could have been more successful in integrating experimental medial appr=
oaches into its programming and discourse.  So that if convergence figured,=
 as it did so prominently as the theme of the Festival Conference, it did s=
o primarily as folded into the screen of more traditional cinema discourse.
>
> It's very disconcerting that those organizations most committed to articu=
lating and promoting artistic convergences have fallen on the budgetary cho=
pping block.  Would you be willing to say more about the context and histor=
ies of Arte.mov, Pr=EAmio S=E9rgio Motta, MIS-SP?
>
> I suspect that Dale is experiencing an alternative and more robust approa=
ch to funding the arts.  Dale, could say something about this and what diff=
erence it's making for thinking convergence and alternative approaches to t=
he screen arts?
>
> Thanks so much,
>
> Tim
>
> Director, Society for the Humanities
> Curator, Rose Goldsen Archive of New Media Art
> Professor of Comparative Literature and English
> A. D. White House
> Cornell University
> Ithaca, New York. 14853
> ________________________________________
> From: empyre-bounces at lists.cofa.unsw.edu.au [empyre-bounces at lists.cofa.un=
sw.edu.au] on behalf of Gabriel Menotti [gabriel.menotti at gmail.com]
> Sent: Monday, October 21, 2013 9:41 AM
> To: soft_skinned_space
> Subject: Re: [-empyre-] Week 3 on empyre: thoughts about the first two we=
eks and moving on
>
> ----------empyre- soft-skinned space----------------------
> Hello, Tim!
>
>> So would you mind elaborating a little more specifically about
>> the particular institutional contexts about which your thinking in Brazi=
l.
>
> Oh, sorry if I was unclear. I was referring mostly to academia and
> academic forums. Particularly, I was thinking about Socine, the
> biggest cinema/screen/film studies congress in the country, which is
> fresh in my mind because I was participating of it two weeks ago. I
> was hoping to see a more heterogeneous event, but it ended up very
> traditional. The only working group *slightly* opened to convergence
> (or issues of technology and culture) was the arts & cinema one.
>
> I was presenting a paper about piracy and ended up in a panel with
> someone doing statistical research on the participation of women in
> the production of Brazilian features in the last 20 years. While there
> could have been an interesting dialogue between our two projects, if
> the panel was better planned and chaired, it ended up feeling simply
> as the place where they throw the misfits. The point being: there is
> not enough people working in certain areas to constitute productive
> fields of academic dialogue and criticism.
>
> On the other hand, it is interesting to notice how sometimes it is
> non-academic events and institutions (like FILE) that work as
> catalysts of thought, creating conditions for the displacement of
> current research culture. Didi-Huberman, for instance, was brought to
> Brazil for a lecture by the newly opened Rio Museum of Arts (MAR), and
> this certainly played an important role in his recent surge of
> popularity.
>
> Such events have the conceptual freedom and necessary fundings to
> propose new questions/ bring new people. It is a shame that lots of
> them that were involved with arts & media were recently discontinued
> due to cuts in cultural budgets (Arte.mov, Pr=EAmio S=E9rgio Motta,
> MIS-SP). FILE is one of the few in the area that survived - perhaps
> because of its popularity with a wider public. Time will tell how
> negative will be the effects of these cuts to the variety of research.
>
> Best!
> Menotti
>
>
>
>
> 2013/10/19 Timothy Conway Murray <tcm1 at cornell.edu>:
>> ----------empyre- soft-skinned space----------------------
>> Hi, Menotti,
>>
>> It's so nice to hear your voice back on -empyre- and to receive it from =
your home territory of Brazil.  It strikes me as extremely important that y=
ou situate the possibilities for or restrictions of convergence in relation=
 to resources or institutions.  In some cultural contexts, it seems like mi=
nimal resources might have enhanced the possibility for and necessity for c=
onvergence (such as the Arte Povera movement, etc.).  So would you mind ela=
borating a little more specifically about the particular institutional cont=
exts about which your thinking in Brazil.  Many of our readers, for instanc=
e, might associate Brazil with the FILE Festival in Sao Paulo, which histor=
ically has been known for celebrating the convergence of artistic medial pr=
actice.  Is FILE the exception or do you see FILE being held back economica=
lly, etc.?
>>
>> Best,
>>
>> Tim
>>
> _______________________________________________
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> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
>
>
> _______________________________________________
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