[-empyre-] empyre Digest, Vol 104, Issue 25
carol-ann braun
carol-ann.braun at wanadoo.fr
Sat Jul 27 23:53:30 EST 2013
Yes, and the term ³living art² is in the Fluxus manifesto...which is a call
to ³purge the world of dead art, imitation, artificial art, abstract art,
illusionistic art, mathematical art...(..) promote living art, anti-art,
promote NON ART REALITY...²
le 27/07/13 15:03 Simon Biggs simon at littlepig.org.uk wrote:
> ----------empyre- soft-skinned space----------------------
>
> The term 'living art' was used extensively in the 60's and 70's to refer to a
> particular form of performance art, specifically that associated with Gilbert
> and George and a number of other UK based artists. Live Art is a related area
> of activity, but not quite the same. Living Art was concerned with artists
> live activities that never turned off - an 'always on' artwork, where the
> artist, as a specific human being, is the artwork. Due to this precedent we
> can't appropriate the term, especially as some of those artists who first used
> it are still working.
>
> I've worked used interactive systems as key elements in my work for over 30
> years but I've never called what I do interactive art. It's too narrow a term
> for any artist to happily confine their practice to.
>
> best
>
> Simon
>
>
> On 27 Jul 2013, at 11:22, carol-ann braun <carol-ann.braun at wanadoo.fr> wrote:
>
>> ----------empyre- soft-skinned space---------------------- Re: [-empyre-]
>> empyre Digest, Vol 104, Issue 25
>>
>> Perhaps, but a new terminology is also very helpful. Why talk of
>> ³composition² when the term ³montage² helps define the specificity of film?
>> And didn¹t ²montage² provide a handle for subsequent innovative hybrid
>> time-based practices ?
>>
>> Yes, in the word technogenesis there is ³genesis², becoming, process,
>> movement, evolution...But then, does the expression ³technogenesis art² work
>> ? Or ³inter-agency art² ? The terms strike me as more appropriate for
>> sociologists than for artists.
>>
>> How to characterize a kind of art doted with autonomous behaviour and capable
>> of taking an initiative with respect to its environment (including the
>> viewers whose behaviour it seeks to manipulate) ? What are the terms of this
>> new ³rhetoric² rooted in data and fictional agency ?
>>
>> I don¹t like the term ³living art², because it masks the building blocks of
>> the illusion of ³life/intelligence²; though, as has been argued here, perhaps
>> it is futile to ³resist² vast and invisible manipulation. Florent
>> Aziosmanoof, with whom we regularly discuss these questions at ³Le Cube², is
>> not interested in resisting anything; he just wants to know how to dive
>> (artistically) into the fray.
>>
>> If we narrow the scale of the discussion to consider the building blocks of a
>> new kind of art-making, there are some basic pillars to consider : the
>> principles of generated movement + the criteria for analysing sensory data +
>> the structural principles of ³alterity²... In each of these three areas,
>> there are precedents that provide ³leads² and the basis for a specific
>> terminology.
>>
>> One lead: Italo Calvino¹s ³Invisible Cities² is a kind of inventory of
>> structural (and power) relationships between people and their environments.
>> For me, this book is a key to understanding poetic ³inter-agency²...
>>
>> Carol-Ann
>>
>>
>>
>> le 27/07/13 04:40 Garth Paine garth at activatedspace.com
>> <x-msg://154/garth@activatedspace.com> wrote:
>>
>>> ----------empyre- soft-skinned space----------------------
>>>
>>> Hi all
>>>
>>> Interesting discussions....
>>>
>>> I wonder why it is necessary to change the term? surely to some extent it
>>> avoids the discussion? That is how have notions of interaction evolved in
>>> recent decades?
>>> todays discourse is of course around evolving notions of interaction once
>>> pushing the play button on the CD player was regarded as interactive and
>>> music resulted as an outcome.
>>> As I mentioned in a recent post in response to comments by Mez, I think
>>> asking the same (or similar) questions is a constructive discipline. For the
>>> context of the discourse changes and similarly the nature of the discussed
>>> actions evolve.
>>>
>>> There is an evolving taxanomic discourse and an epistemic one - both equally
>>> engaging and with long histories - so to move the target (change the term)
>>> seems to me to disassociate the evolving discourse from past endeavors - all
>>> of which have led to our current depth of understanding - surely we want to
>>> thicken the knowledge, not move its focus completely ?
>>>
>>> Cheers,
>>> Garth Paine
>>> garth at activatedspace.com <x-msg://154/garth@activatedspace.com>
>>>
>>>
>>>
>>> On Jul 26, 2013, at 11:05 PM, Simon Biggs <simon at littlepig.org.uk
>>> <x-msg://154/simon@littlepig.org.uk> > wrote:
>>>
>>>> ----------empyre- soft-skinned space----------------------
>>>> I only intended to state that interactivity was part of the mix, not the
>>>> complete paradigm.
>>>>
>>>> I quite like the term inter-agency and Hayles's term technogenesis is
>>>> workable.
>>>>
>>>> best
>>>>
>>>> Simon
>>>>
>>>>
>>>> On 26 Jul 2013, at 12:05, carol-ann braun <carol-ann.braun at wanadoo.fr
>>>> <x-msg://154/carol-ann.braun@wanadoo.fr> > wrote:
>>>>
>>>>> ----------empyre- soft-skinned space---------------------- Re: [-empyre-]
>>>>> empyre Digest, Vol 104, Issue 25
>>>>>
>>>>>
>>>>> The ³entanglement² Hayles writes about is so complex and the technologies
>>>>> so polymorphous that the term ³interactivity² (in its simplest form :
>>>>> command-response...) is both too limited and too vague...
>>>>>
>>>>> What other concept/term? At the CUBE¹s ³Living Art Seminar², we¹re stuck
>>>>> on the term ³living² (...which survives a French accent...but maybe not
>>>>> Spanish or Chinese...) and evokes a relational, pragmatic (and mutually
>>>>> attentive?) context. We¹re even into ³Living community management² :-)
>>>>>
>>>>> How does the term strike those of you who are on the other side of the
>>>>> globe ? I¹ve been in France so long, I can no longer resist the funky
>>>>> terms that keep popping up here.
>>>>>
>>>>> On another note, artistic activity for me is....I¹m embarrassed to
>>>>> admit...resistance to living, however mediated...But that¹s another
>>>>> subject...
>>>>>
>>>>> Carol-Ann
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>> le 26/07/13 11:52 Simon Biggs simon at littlepig.org.uk
>>>>> <x-msg://154/simon@littlepig.org.uk> <x-msg://32/simon@littlepig.org.uk
>>>>> <x-msg://32/simon@littlepig.org.uk> > wrote:
>>>>>
>>>>>> ----------empyre- soft-skinned space----------------------
>>>>>>
>>>>>> I want to pick up on Sue's comments about the ubiquity of, and
>>>>>> entanglement of ourselves with, technology and Johannes' comment that
>>>>>> interactivity is "over".
>>>>>>
>>>>>> I'm not sure what Johannes intends with this comment. I agree with Sue -
>>>>>> that we live in a technologised environment and we are enmeshed within
>>>>>> it. We are in a constant state of "interactive" alert with that
>>>>>> environment - although perhaps, for many, this has become such a default
>>>>>> condition we are unaware of it. Sue's concern with attentiveness suggests
>>>>>> a practice intended to address this existential complacency.
>>>>>>
>>>>>> Katherine Hayles' recent work on what she terms technogenesis is relevant
>>>>>> here. She argues that human evolution is not an entirely biological
>>>>>> process but also social and, thus necessarily, technological. The
>>>>>> relationship between language, tool making and social formation is the
>>>>>> focus of her thinking, building on the work of Heidegger, Foucault,
>>>>>> Latour and others. In her view we have been enmeshed in ubiquitous
>>>>>> technology for as long as we have made tools and used language - it
>>>>>> follows that being human is all about this entanglement as it is these
>>>>>> characteristics that define us as a species.
>>>>>>
>>>>>> In this light I would argue that interactivity, in art and in life, is
>>>>>> extremely relevant. In this context it might be considered the artist's
>>>>>> role, at least in part, to facilitate the critical self-consciousness
>>>>>> required to become aware of this condition. I assume this is what Sue
>>>>>> means by attentiveness.
>>>>>>
>>>>>> Seeking to respond to Ruth's lament concerning the lack of politics at
>>>>>> ISEA I would suggest that developing a critical self-consciousness is a
>>>>>> political activity and, perhaps, a necessary step if one is to engage
>>>>>> broader political agendas. Assange kicked off his keynote by insulting
>>>>>> his audience. I can't remember exactly what he said, but it was to the
>>>>>> effect that artists are self-absorbed a-political wankers (he definitely
>>>>>> said "wankers"). I'm not going to try and defend artists against his
>>>>>> attack, firstly because they don't need defending and secondly because
>>>>>> Assange is right. Nevertheless, you are likely to find quite a few
>>>>>> politically aware and committed people in the ISEA crowd - I know the
>>>>>> scene well enough to know they are there and they purposefully choose to
>>>>>> work in that context. This would seem to come back to the idea that the
>>>>>> artist has an obligation to encourage self-awareness and awareness of
>>>>>> context amongst those who encounter their work.
>>>>>>
>>>>>> Perhaps the lack of a sense of the political at ISEA was less a product
>>>>>> of a lack of politics but of the fragmentation of the agendas being
>>>>>> addressed in and around the event? ISEA addressed so many themes and
>>>>>> sub-themes, seeking to respond to so many threads of current discourse
>>>>>> and practice. This broad engagement and willingness to take on board so
>>>>>> many concerns suggests an openness in the direction of ISEA, which we
>>>>>> should welcome. However, perhaps future ISEAs need to be more focused,
>>>>>> addressing specific questions, if a sense of urgency is to emerge from
>>>>>> ISEA's activities. I suspect that even debating what such a focus might
>>>>>> be would generate significant heat.
>>>>>>
>>>>>> best
>>>>>>
>>>>>> Simon
>>>>>>
>>>>>>
>>>>>> On 25 Jul 2013, at 20:23, Sue Hawksley <sue at articulateanimal.org.uk
>>>>>> <x-msg://154/sue@articulateanimal.org.uk>
>>>>>> <x-msg://32/sue@articulateanimal.org.uk
>>>>>> <x-msg://32/sue@articulateanimal.org.uk> > > wrote:
>>>>>>
>>>>>>> ----------empyre- soft-skinned space----------------------
>>>>>>> Dear Simon & all
>>>>>>>
>>>>>>> Thanks for the invitation to join this discussion. I'd like to pick up
>>>>>>> on a point made early on in the month's discussion by Christina Spiesel:
>>>>>>>
On 4 Jul 2013, at 18:21, Christina Spiesel
<christina.spiesel at yale.edu<mailto:christina.spiesel
<x-msg://154/christina.spiesel@yale.edu%3Cmailto:christina.spiesel>
<x-msg://32/christina.spiesel@yale.edu%3Cmailto:christina.spiesel
<x-msg://32/christina.spiesel@yale.edu%3Cmailto:christina.spiesel> >
@yale.edu <http://yale.edu> <http://yale.edu/> >> wrote:
>>>>>>>
We are organisms in environments. If we can't "see" those environments, we
can't adapt for self-protection. If we wish to sustain our lives, we must be
able to operate under changed signals from a changing environment ... So how
we "attend" to what is there, I submit, is very important. And the capacity
for play which is the science of children.
>>>>>>>
>>>>>>>
>>>>>>> As a dance artist, I am interested in exploring how people shape and are
>>>>>>> shaped by their environment. Immediately after the debate and activity
>>>>>>> of ISEA (my first), I had the pleasure of spending time in residency at
>>>>>>> Bundanon Trust, working with collaborators on the development of a new
>>>>>>> interactive performance installation work. In the context of the
>>>>>>> beautiful setting of Bundanon, it sometimes seemed at odds to be in a
>>>>>>> darkened studio, immersed in projected image, learning to negotiate a
>>>>>>> highly mediated environment where motion was tracked, voice captured,
>>>>>>> action augmented, space constrained.
>>>>>>>
>>>>>>> The presence of technology was very apparent in the particular
>>>>>>> environment we created in the studio, which at first glance seemed in
>>>>>>> total contrast to the 'natural' environment outside and loaded with
>>>>>>> constraints on 'the performers' 'freedom' to move. But outside, one has
>>>>>>> to negotiate the technological infrastructures of communications,
>>>>>>> transport, power, sanitation, conservation. Operating in an environment
>>>>>>> like Bundanon requires opening and closing of gates, driving with
>>>>>>> peripheral vision on high alert for kangaroos (although the roos also
>>>>>>> adapt to traffic, and carefully stop-look-listen before crossing the
>>>>>>> track!) taking care where one sits, avoiding wombat-holes, being mindful
>>>>>>> of the river's currents It would be simplistic to regard the different
>>>>>>> aspects of this experience as more, less or even un-natural. In the
>>>>>>> installation system we were creating, I developed embodied practices to
>>>>>>> nurture the performers' capacity to cope. these emphasised attending to
>>>>>>> change, treading lightly, listening carefully and/or reacting quickly.
>>>>>>>
>>>>>>> I'm sharing this because it was such a great way for me, to put in to
>>>>>>> practice and make sense of some of the ideas I heard at ISEA - in
>>>>>>> particular concerning the ubiquity of technology, the impossibility of
>>>>>>> disentangling ourselves from systems of mediation, and attentiveness to
>>>>>>> our changing environment.
>>>>>>>
>>>>>>> all the best, Sue
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> On 23 Jul 2013, at 03:00, <empyre-request at lists.cofa.unsw.edu.au
>>>>>>> <x-msg://154/empyre-request@lists.cofa.unsw.edu.au>
>>>>>>> <x-msg://32/empyre-request@lists.cofa.unsw.edu.au
>>>>>>> <x-msg://32/empyre-request@lists.cofa.unsw.edu.au> > >
>>>>>>> <empyre-request at lists.cofa.unsw.edu.au
>>>>>>> <x-msg://154/empyre-request@lists.cofa.unsw.edu.au>
>>>>>>> <x-msg://32/empyre-request@lists.cofa.unsw.edu.au
>>>>>>> <x-msg://32/empyre-request@lists.cofa.unsw.edu.au> > > wrote:
>>>>>>>
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----------empyre- soft-skinned space----------------------
Today's Topics:
1. empyre: Resistance is futile, ISEA, Sydney 2013 - week 4
(Simon Biggs)
----------------------------------------------------------------------
Message: 1
Date: Mon, 22 Jul 2013 10:52:01 +0100
From: Simon Biggs <simon at littlepig.org.uk
<x-msg://154/simon@littlepig.org.uk> <x-msg://32/simon@littlepig.org.uk
<x-msg://32/simon@littlepig.org.uk> > >
To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au
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<x-msg://32/empyre@lists.cofa.unsw.edu.au
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Subject: [-empyre-] empyre: Resistance is futile, ISEA, Sydney 2013 -
week 4
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Welcome to the fourth and final week of empyre's July 2013 discussion:
Resistance is futile, ISEA Sydney, 2013
Thank you to Garth Paine and Deborah Ely, who described their own activities
at ISEA and considered those of others. Thanks to all those who responded
and contributed to the debate. The focus during the week oscillated between
themes concerning embodiment and place and how each can be mediated and
affected as a creative and experiential site.
Our guests during the final fourth week (July 22-28) of our discussion about
ISEA are:
Clea T. Waite (US/D) is a research artist-scholar and experimental filmmaker
investigating the correspondences between art and science via somatic,
cinematic works. Her films are realized using animation, immersion,
stereoscopic imaging, structural montage and unique interfaces as well as
one inter-species collaboration with several hundred spiders. She received
her SB and SMVis degrees from the MIT Media Lab as a physicist and 3D
computer graphics developer. She has been an Alexander von Humboldt Fellow,
a Radcliffe Institute Fellow, and a fellow at the Academy of Media Arts
Cologne. Her artworks have been exhibited and awarded internationally,
notably the IBM Innovation Prize for Artistic Creation in Art and
Technology. She is currently an Annenberg Fellow at the University of
Southern California School of Cinematic Arts pursuing her PhD in Media Arts
and Practice.
Daniel C. Howe (HK/US) is an artist, hacker, writer, musician, and educator
whose work focuses on networked systems for image, sound and text, and on
the social and political implications of computational technologies. He has
a PhD in computer science and an MFA in interactive media and digital
literature. He currently lives in Hong Kong where he teaches at City
University's School of Creative Media.
Ruth Aylett (GB) has been working with intelligent graphical characters for
more than ten years and, more recently, with social robots. She has led
large EU projects (VICTEC, eCIRCUS, eCute) in this area and has helped
develop affective architectures driving virtual drama systems such as
FearNot!. She has more than 200 publications and leads the Autonomous
Affective Agents group at Heriot-Watt University, Scotland, where she is
Professor of Computer Science.
Sue Hawksley (UK) is a dance artist, bodywork therapist and artistic
director of articulate animal, an interdisciplinary performance company
which undertakes collaborative projects focused upon movement, identity and
territory which have been presented internationally. She has previously
performed with Rambert Dance Company, Mantis, Scottish Ballet and Philippe
Genty among others, as well as on many freelance projects as performer,
choreographer or educator. Sue holds a practice-led PhD from the University
of Edinburgh, Edinburgh College of Art. Her research critically examines
concepts of embodiment through choreographic and somatic practices,
philosophy, and mediation. She is Senior Lecturer in Dance at the University
of Bedfordshire. Her URL ishttp://www/articulateanimal.org.uk
Before proceeding to the final week's discussion we will again outline
July's discussion, engaging the themes and activities underlying and
emerging from this year's International Symposium of Electronic Arts, held
in and around Sydney, Australia during June 2013. The primary theme for ISEA
was "resistance is futile". How are we to interpret this? Resistance to
what? The conference programme offered a positive take on this statement -
proposing that the electronic arts have moved from the margins to occupy a
central role in contemporary culture. But has this happened - and, if it
has, is it generally the case or only so in certain contexts?
Other themes were also apparent at ISEA. Important questions were asked
about:
- sustainability - how this can be achieved in relation to the environment
but also how artists, arts groups, academics and activists might ensure
their activities are sustainable as the processes of technologisation and
globalisation unfold?
- notions of the human - what does it mean to be human now, in the context
of developments in genetics and ICT?
- globalisation, diasporas and cultural identity?
- the boundaries of the real - where virtual and augmented realities have
become pervasive media?
- the post-digital and its implications for aesthetics and questions of
agency?
- the challenges and opportunities associated with big data?
- urbanism, activism and the socially disruptive potential of technology?
Looking forward to another week's discussion...
moderator:
Simon Biggs
simon at littlepig.org.uk <x-msg://154/simon@littlepig.org.uk>
<x-msg://32/simon@littlepig.org.uk <x-msg://32/simon@littlepig.org.uk> >
http://www.littlepig.org.uk <http://www.littlepig.org.uk/>
<http://www.littlepig.org.uk/> @SimonBiggsUK
http://amazon.com/author/simonbiggs
s.biggs at ed.ac.uk <x-msg://154/s.biggs@ed.ac.uk>
<x-msg://32/s.biggs@ed.ac.uk <x-msg://32/s.biggs@ed.ac.uk> > Edinburgh
College of Art, University of Edinburgh
http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/
staff/staff?person_id=182&cw_xml=profile.php
http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4
452-9100-aaab96935e31%29.html
http://www.eca.ac.uk/circle/ http://www.elmcip.net/
http://www.movingtargets.org.uk/ http://designinaction.com/
MSc by Research in Interdisciplinary Creative Practices
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End of empyre Digest, Vol 104, Issue 25
***************************************
>>>>>>>
>>>>>>> Sue Hawksley
>>>>>>> sue at articulateanimal.org.uk <x-msg://154/sue@articulateanimal.org.uk>
>>>>>>> <x-msg://32/sue@articulateanimal.org.uk
>>>>>>> <x-msg://32/sue@articulateanimal.org.uk> >
>>>>>>> http://www.articulateanimal.org.uk <http://www.articulateanimal.org.uk/>
>>>>>>> <http://www.articulateanimal.org.uk/>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> _______________________________________________
>>>>>>> empyre forum
>>>>>>> empyre at lists.cofa.unsw.edu.au
>>>>>>> <x-msg://154/empyre@lists.cofa.unsw.edu.au>
>>>>>>> <x-msg://32/empyre@lists.cofa.unsw.edu.au
>>>>>>> <x-msg://32/empyre@lists.cofa.unsw.edu.au> >
>>>>>>> http://www.subtle.net/empyre
>>>>>>>
>>>>>>
>>>>>>
>>>>>> Simon Biggs
>>>>>> simon at littlepig.org.uk <x-msg://154/simon@littlepig.org.uk>
>>>>>> <x-msg://32/simon@littlepig.org.uk <x-msg://32/simon@littlepig.org.uk> >
>>>>>> http://www.littlepig.org.uk <http://www.littlepig.org.uk/>
>>>>>> <http://www.littlepig.org.uk/> @SimonBiggsUK
>>>>>> http://amazon.com/author/simonbiggs
>>>>>>
>>>>>> s.biggs at ed.ac.uk <x-msg://154/s.biggs@ed.ac.uk>
>>>>>> <x-msg://32/s.biggs@ed.ac.uk <x-msg://32/s.biggs@ed.ac.uk> > Edinburgh
>>>>>> College of Art, University of Edinburgh
>>>>>> http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-a
>>>>>> rt/staff/staff?person_id=182&cw_xml=profile.php
>>>>>> http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b
>>>>>> 1-4452-9100-aaab96935e31%29.html
>>>>>>
>>>>>> http://www.eca.ac.uk/circle/ http://www.elmcip.net/
>>>>>> http://www.movingtargets.org.uk/ http://designinaction.com/
>>>>>> MSc by Research in Interdisciplinary Creative Practices
>>>>>> http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.p
>>>>>> hp
>>>>>>
>>>>>>
>>>>>>
>>>>>> _______________________________________________
>>>>>> empyre forum
>>>>>> empyre at lists.cofa.unsw.edu.au <x-msg://154/empyre@lists.cofa.unsw.edu.au>
>>>>>> <x-msg://32/empyre@lists.cofa.unsw.edu.au
>>>>>> <x-msg://32/empyre@lists.cofa.unsw.edu.au> >
>>>>>> http://www.subtle.net/empyre
>>>>> _______________________________________________
>>>>> empyre forum
>>>>> empyre at lists.cofa.unsw.edu.au <x-msg://154/empyre@lists.cofa.unsw.edu.au>
>>>>> http://www.subtle.net/empyre
>>>>
>>>>
>>>> Simon Biggs
>>>> simon at littlepig.org.uk <x-msg://154/simon@littlepig.org.uk>
>>>> http://www.littlepig.org.uk <http://www.littlepig.org.uk/>
>>>> <http://www.littlepig.org.uk/> @SimonBiggsUK
>>>> http://amazon.com/author/simonbiggs
>>>>
>>>> s.biggs at ed.ac.uk <x-msg://154/s.biggs@ed.ac.uk> Edinburgh College of Art,
>>>> University of Edinburgh
>>>> http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art
>>>> /staff/staff?person_id=182&cw_xml=profile.php
>>>> http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-
>>>> 4452-9100-aaab96935e31%29.html
>>>>
>>>> http://www.eca.ac.uk/circle/ http://www.elmcip.net/
>>>> http://www.movingtargets.org.uk/ http://designinaction.com/
>>>> MSc by Research in Interdisciplinary Creative Practices
>>>> http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php
>>>>
>>>> _______________________________________________
>>>> empyre forum
>>>> empyre at lists.cofa.unsw.edu.au <x-msg://154/empyre@lists.cofa.unsw.edu.au>
>>>> http://www.subtle.net/empyre
>>>
>>>
>>>
>>> _______________________________________________
>>> empyre forum
>>> empyre at lists.cofa.unsw.edu.au <x-msg://154/empyre@lists.cofa.unsw.edu.au>
>>> http://www.subtle.net/empyre
>> _______________________________________________
>> empyre forum
>> empyre at lists.cofa.unsw.edu.au
>> http://www.subtle.net/empyre
>
>
> Simon Biggs
> simon at littlepig.org.uk
> http://www.littlepig.org.uk @SimonBiggsUK http://amazon.com/author/simonbiggs
>
> s.biggs at ed.ac.uk Edinburgh College of Art, University of Edinburgh
> http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/st
> aff/staff?person_id=182&cw_xml=profile.php
> http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-445
> 2-9100-aaab96935e31%29.html
>
> http://www.eca.ac.uk/circle/ http://www.elmcip.net/
> http://www.movingtargets.org.uk/ http://designinaction.com/
> MSc by Research in Interdisciplinary Creative Practices
> http://www.ed.ac.uk/studying/postgraduate/degrees?id=656&cw_xml=details.php
>
>
>
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
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