Followers

The world of devices that screen flows - of light or sound, of water or information - their attraction, their impact, their strengths & vulnerabilities

NETS Project Coordinators

Valerie Kirk
Annie Trevillian
Sharon Peoples




SUBSCRIBING TO NETWURKS

Up to 100 participating artists/students can dialogue here about Nets - with their posts and comments - by joining Netwurks.

A post doesn't need to be too polished in the first instance. It is a simple matter to return to radically edit it later if desired.

It is a simple process to add images and videos, however, to avoid clogging the blog, an accessible image gallery can also be maintained on a personal website, the link to which can be included in a relevant post.

Ongoing help
with using Netwurks can be provided. Difficulties encountered and general queries can be posted to the blog.


THINKING ABOUT NETS


The function of any net is to separate defined items of interest from a specific flow. They are intrinsically mysterious.


Is the function of a facial veil to screen out or to invite the external gaze?

Blinds and net curtains are covert street surveillance systems, sometimes revealing pretty images, other times odd behaviour. If insiders leave the light on, they are exposed and the outsider hidden from view.

When do those nets that are being strung across the flows of cyberspace - the 'firewalls' - change over from being defensive (stopping 'incoming') to being aggressive? How can the misdeeds of their creators be detected by the outsider?

Nets of lies and half-truths are woven
over events, winding up as 'history'. Before becoming spoken words, means of expression are continually modified by a host of personal and institutional restraints.

Micro-nets block contagions. Fishing nets haul in 'by-catch'
(marine 'collateral damage') with their targeted prey. Good nets, bad nets?








July 30, 2009

Hello everyone:
I just came back from my research trip in Nanjing. It is very interesting that I can see one of the topmost craftsmanship of Chinese Brocade (Yun Jin).

The big platform jacquard loom operate by two people, one on the top called (Thread Puller) and the other sit on the bottom called (Weaver). They are able to produce no more than a 5-6 cm length in one day. There is no machine has yet been devised to replace this manual technique.

There are some pictures I have taken inside the production workshop.

And I've got a few simple pieces on hands if you are interested, pls dont be hesitated to contact me.

July 28, 2009

Battle 2011


Watch Accordion Wrestling.

"Battle 2011 brings to stage also other forms of combat sports, such as budo, kick boxing and ultimate fighting."

Perhaps there'll be Sumo.

"The music composed by Kimmo Pohjonen will form the framework for the performance."

The Finnish for accordion is 'hanuri'.

"The new concept will be utilised as a Finnish cultural export product … Discussions have already been conducted for including parts of Battle 2011 in the opening ceremony of the London 2012 Olympic Games"

Next, by popular demand, 'Saxophone Wrestling".


July 27, 2009

THE SMOKE AND THE MIRROR

I'm into the advertising-net world now (where there are 40 words for 'deceit'). Smoking and dressing are related - top-hats and ball gowns, cowboy outfits, military uniform, the golfer look, the debutante, the pretty wife, Spencer Tracey and Father Christmas.

Of all product placement advertising in the millenium to date, BAT Germany's intentional exploitation of the 9/11 event, must be the most audaciously offensive, at least in its own history of unethical, prosecutable, net-casting practices. And the strange thing is that it has never drawn attention - until now.

You'll get the idea from this 'Project 1' link.

July 26, 2009

CASTING A WIDE NET

First Workshop

The weekend workshop in June 2009 was run by Valerie Kirk, Head of Textiles at the ANU School of Art, with myself as a secondary facilitator, explored types of nets, their uses and the participants’ associations.




It was difficult to avoid the close textile connections and textile metaphors that are use in nets. The overwhelming older female majority … Those whose arts practices, such as ceramics, drawing, painting, sculpture, are outside textiles were a little concerned at the point of departure. Networking skills physical, intellectual and web-based were on the agenda. What we are trying to achieve in the long term is to build skills in both familiar and new technologies that would enable to cast our nets much further.

Valerie Kirk led a brain-storming session, followed by discussion that captured ideas on the possibilities of nets and netlike structures, both real and virtual, and the infrastructures that support them. This was followed by some participants generously teaching their net-making skills in informal groups. Hands were dexterously knotting, knitting, looping and thinking.

Weaving Threads

Before the workshop I began to hunt out reading material for the participants. I enjoy chasing material on the net. I found it difficult not to provide textile based reading. I sourced older anthropological and archeological papers to highlight the importance of nets in indigenous societies and the formation of communities, hoping to spark creative visual processes. I worked my way through the web on databases, often finding material that was biased towards my own arts practice and intellectual interest in the histories of embroidery and a more recent fascination in lace-making.

On the afternoon of the second day, there was in a deeper discussion on nets between a small number of participants. We used the material from the brainstorming session of the previous day and we came to the understanding that for nets to function there needs to be a dynamic force at play. This ranged from the dynamism warm air/water to cool air; water flows to catch fish; the dynamism of tides; blood flowing through the body; through to firewalls that inhibit freedom of speech towards a wider audience in countries like China. Discussion then followed on the size of the net structure or holes – the parameters set by the netmakers. Michael referred to the Munk Institute (see blog entry below)

Reflections

In reflecting on this discussion I began to think about nets as boundary mechanisms. Using cell biology, boundaries can be thought of as permeable, selectively permeable and nonpermeable. The permeable boundary is one that allows ready passage from one side to another; a non-permeable prevents passage. A selective boundary, in contrast, would allow some to pass and prevent others in doing so.

The relationship between my own work on fashion theory and nets initially seemed to be two distinct arenas. While I did have appreciation of the aesthetic potential of nets as an expression of various media used with in the visual arts, I did not connect it with the issues I had been working on in fashion theory.

An area I have been looking at is the invention of national costumes in the 18th century which coincides with rise of the nation state and the demise of the divine right of kings. This process which has continued since then has now manifested in the use of national flags wrapped around the body. It raises the question of how does a community imagine itself? Werner Sollors in Beyond Ethnicity (1988) articulates two ways of imaging communities: one based on immutable ‘facts’ of biology, genetics and inheritance and the other based on desire, volition and choice. He suggests the terms ‘descent’ and ‘consent’. One must be born into a community of descent, while one may choose to join a community of consent (however, there are selective permeable structures or nets in place).

Dressing the body in a particular way is one to indicate nationalism. Religious affiliation, class, ethnicity, birth place can also be used to indicate nationalism. Dress often is tied in with these notions. Dress can be viewed like a net – sometimes only those who are of ‘descent’ can wear traditional dress. In Australia, association with country of origin, has moved towards ‘consent’ as ethnicity is watered down because small numbers of migrants from home countries and through intermarriage.

Jennifer Michael’s paper (Ad)Dressing Shibboleth; Costume and Community in the South of France (1998) explores how a person can become a member of a community and how mechanisms are used as a filter. Indigenous Australians, those who identify as indigenous, can’t be identified by dress, religious affiliation, social class, not necessarily by region or birthplace but by the strong association to country and by community agreement as to who belongs. Communities throughout the world have these network systems which are never transparent to those who are outside the community. Seeking and maintaining ‘authenticity’ can be paramount and can cause conflict.

July 25, 2009

TURKU 2011

University of Turku …with a department for the Science of Well-being



2011: celebrate the end of the first decade in turku ('one view town'), epicentre of happening euroculture


If anyone already knows what I just stumbled on, how come it didn't get out at Workshop One?

Sorry, then to be the one to break the news that Turku 2011 is a big forthcoming European cultural event.


To get an idea of the scale of this thing, you can see the amount of effort and investment that went into preparing the winning bid, by checking the beautiful, Flash-created bidding document, 'Turku on Fire: Turku for the European Capital of Culture 2011' (178 pages).

I really find it hard to imagine all the connections that have quickly taken this to the stage where 'Netwurkers' are presumably also preparing for what must be up among the top ten
exposure opportunities in our tiny lifetimes. Not to mention that the same thing's supposed to be going on in the University of Cumbria - another story.


This is how quickly these waves travel. Next stop Turku - exhibitions, performances, be-ins, music in wooded parks on very long summer evenings. Who's in? Communication is the key.


Ideas and their Implementers are Still Welcome

You may announce your interest in participating in the implementation of any of the projects in the Capital of Culture programme by contacting partners(a)turku2011.fi. You may also submit your ideas to the Idea Market, which will continue to be open on the Capital of Culture Web-site at http://www.turku2011.fi

The Turku 2011 Programme is an important element of the European Capital Culture − however, as a whole, the project is much larger.

- Everyone’s contribution is needed to build an unforgettable year of the European Capital Culture

PLUS

The founder of Linux operating system, Linus Torvalds is to be the official patron.

Turku, the European Capital of Culture, Initiates the World’s Largest Media Art Competition

Live2011.com Grand Prix invites artists and content producers working in the digital format to enter the competition in eight different categories, with a combined total value of prizes worth more than 140,000 euro.

AND EVEN!

Accordion Wrestling, 'with performances which combine accordion playing with wrestling, will culminate in a large-scale production called Battle 2011 at the Paavo Nurmi Stadium in Turku'.


See what I'm saying?



STOLL / VEIL

INVERTED TORNADO HEAD GARMENT: WITH WARMTH DISTRIBUTION AND INVISIBILITY FEATURES

July 23, 2009

The NETS weekend workshop.




A group of artists from Canberra and the wider region, associated with ANU, came together to kickstart work on the theme of "Nets". There was great excitement as people relished the opportunity to come together for discussion, practical experimentation and viewing of work relating to the theme. People were very supportive of each other and generous in sharing information, making for a reaxed working atmosphere. The two days provided enough time to scope the ideas, meanings and associations of nets to get brains twinkling with ideas and inspirations. We look forward to viewing works in progress later in the year.

NETS PROJECT with BA YEAR 1 ANU STUDENTS

In semester 1 2009 the BA year 1 students began work on the "Nets" project, an international(inter-university) textile project spanning countries and continents
- DEVELOPING IDEAS, EXPERIMENTING WITH TECHNIQUES and producing small works for a web/selected live “net” exhibition.

The project involved thinking about nets – in the widest sense. What are they? What are they used for? What do they suggest or symbolise? How can net making techniques be used in creative works? Netting, Knotting, Knitting and Crochet were explored in relation to personal ideas. Finished works developed through experimental and critical processes and will be showcased in the web/live exhibition in 2010.

July 3, 2009

FISHERMENS' LIFE IN HUNGARY





From Gabrielle Heyges:


Shows some interesting nets, history, songs, oral history of my birth country

http://ww3.szentes.hu/deaksuli/fishing.htm

Upper Tisza riverside ecosystem Hungary natural values

In 2000 an Australian gold mining company released cyanide into the upper Tisza River (link) causing mass poisoning of flora and fauna down stream.

I come from the lower Tisza region.

The paper talks about natural values and sustainable development

http://zeus.nyf.hu/~szept/uptisza.html

Nets Archive