The New Who vs Oldskool Timey-Wimey Whovians [#geekgirl] [#DrWho]
—–[“The Time of The Doctor” SPOILERS (Sweetie) Alert]—–
On the 25th December 2013, Doctor Who received 12 new lives. In the episode “The Time of The Doctor”, the current series showrunner, producer and lead writer Steven Moffat imbued the once-labelled as 11th [and now redubbed the 12th, or even 13th] Doctor a new regeneration cycle. In this episode filled with heavy-duty retconned plot threads, we see the New [old] Who emerge.
From a traditional Whovian perspective, there’s been substantial trouble with Moffat’s version of a character who, like his regenerations, has undergone substantial re-jigging as part of the entire franchise reboot, many of which have been largely controversial. When Moffat plucked the Doctor Who writing mantle from Russell T Davis, there was substantial concern that his [then] largely episodic inflected story style wouldn’t be able to adequately extend beyond flashy emotion-inducing viewer bait, complete with thrill laden plot segments and incomplete long arc shifts where foregrounding, consistent character development and plots worthy of the previous writers were/are [mostly] abandoned.
In this pivotal episode, Moffat attempts to disassemble and reassemble elements of the Who Canon in an effort to extend the longevity of the franchise beyond the Doctor’s accepted and restricted Regeneration cycle. The episode contains all the benchmarks we’ve come to expect from Moffat: companions posited as disposable tools or eye-candy mannequins, story gaps you could drive a TARDIS through and plot-hole-construction-gloss thrown about almost randomly by the shiny bucketful. The result creates a type of standard willing Suspension of Disbelief that only just lightly grips the edges of believability. Emotional key points fall cheaply and wantonly [like the death of his handy Cyberman-head-pal “Handles”, or the Doctor's promise to Clara that he'll never abandon her again]. The rushed passage-of-time markers rub the viewer in any manner of annoying ways, and flimsy self-referential exposition becomes paramount when the contrived CGI effects fail to impress.
And yet, given all of the failings of this crucial episode, the emotional reefing that Moffat does best still manages to evoke a type of stretched wonder-thrall. Moffat discards [and has now for many, many episodes] conventions that traditional Dr Who fans hold dear: Joseph Campbellesque hero variables and crucial sci-fi story elements are bypassed in order to cater for more incrementally-oriented audience members used to absorbing their story snippets through 2 minute YouTube blipverts or Tumblr-emulating focals. Moffat knits together these contemporary absorption points via a method that, instead of catering for narratives comprising sequential beginning, middle and ends, seeks to harness the power of discrete narrative units. These units merge techniques drawn from graphic novel variable truncation to story-board framing, resulting in staggered story-time acceleration and retconned plot explosions designed for nonlinear attention spans.
Moffat may not be the great grand hope for old-timey-whiney Whovians [ahem] who yearn for believable extensions to Who chronology beyond an established and pre-mapped regenerative timeline. But through the New Who incarnation, Moffat instead offers us an extension of a well-worn and much-loved character, one that at least utilises the very methods that a contemporary audience regularly deploys to maintain narratives beyond standard story knitting.
All Known Manuscripts of #Frankenstein in Digital Form [#geekgirl]
[Amazing] “We present here for the first time in digital form all the known manuscripts of Frankenstein, perhaps the most famous and widely reproduced work of British Romanticism. These manuscripts consist of the now disbound pages from five notebooks once the property of Mary Shelley, purchased by the Bodleian Library, Oxford, in 2004, from her descendant, Lord Abinger.”
Announcing “#PRISOM”, A Synthetic Reality Surveillance Game [#geekgirl]
So we (meaning Mez Breeze Design) can finally let the (Schrödinger’s?) cat out of the very tightly zipped bag: we’re *extremely* excited to officially announce our latest co-production with Dreaming Methods: “#PRISOM“. #PRISOM is a Synthetic Reality Game where a player is set loose in a Glass City under infinite surveillance. Will you be brave enough to enter?
The project is making its début at (and is funded by) the “MARart4 Transreal Topologies Exhibition” as part of #ISMAR2013, the International Symposium on Mixed and Augmented Reality in conjunction with SA Uni’s Wearable Computer Lab. So if you’re keen to don a HMD (Head-Mounted Display) and throw yourself into #PRISOM, head to the Adelaide City East Campus of the University of South Australia on October 1-4th.
Networked Art Forms and Tactical Magick Faerie Circuits [#geekgirl] [#misshack]
Big day today: it’s the opening of our “Networked Art Forms and Tactical Magick Faerie Circuits (NAF:TMFC)” which is a “…durational event including symposia, exhibition, performances, workshops and social gatherings that will take place in Hobart, Tasmania, Australia 31 May – 30 June 2013 at Contemporary Art Spaces Tasmania (CAST) and on the Internet.” See the schedule here – of note are Florian Cramer’s keynote, contribs by Josephine Bosma and Matthew Fuller plus workshops by Julian Oliver + Danja Vasiliev [oh + some weird "txtual coding sheete" by someone called netwurker?;)]
City Talks 2013 – What Creative Life do You Want for #Sydney? [#geekgirl]
What creative life do you want for Sydney?
Great cities’ reputations are built on their cultural life and Sydney is no exception.
From the museums, galleries, theatres and concert halls to street art, small bars, shops and hole-in-the-wall venues – some of the best things about Sydney are bound up in its cultural life.
How can we inspire an even richer creative culture? How do we support creative people to live and work here? And how can we encourage people to go out to shows or invest in local work?
Hear from Carol Coletta, CEO, Artplace America, about how Artplace changed culture and creative communities across the US and what Sydney could learn from the experience.
A panel of creative leaders and innovators will debate the opportunities and practical steps we could take to inspire a more creative Sydney.
Tell us what creative life you want for Sydney.
MC: Adam Spencer
SMH INTRODUCTION: Sherrill Nixon, Director, Sydney Newsroom Operations, Fairfax Media
GUEST INTRODUCTION: Richard Roxburgh
WELCOME: Lord Mayor Clover Moore
KEYNOTE: Carol Coletta, CEO, ArtPlace America
Marcus Westbury, Founder and Director, Renew Australia
Nicole Durling, Senior Curator, Museum of Old and New Art (MONA)
Katherine Hough, Director, Arts Tasmania
Louise O’Donnell, Digital Director, Seed Production
Charles Firth, CEO, Manic Studios and co-founder,The Roast
Wednesday, 10 April 2013
State Theatre, 49 Market Street, Sydney
Rail: Town Hall Station or St James Station
Bus: George, Druitt and York Streets
Bike: Valet bike parking located on Pitt Street near the corner of Market Street from 5.30–9pm
Auslan interpreter services and live captioning for this event can be arranged on request. For these or other access enquiries please contact the City of Sydney on 9265 9333. This venue is wheelchair accessible.
You can also watch a podcast of the event soon after here.
Visit sydney2030.com.au for information on our sustainability projects.
The Perils of #Doublethink [#geekgirl]
“How are you to imagine anything if the images are always provided for you?
Who here read ’1984′ last year?…[Doublethink is] …to deliberately believe in lies while knowing they’re false. Examples of this in everyday life: “Oh I need to be pretty to be happy. I need surgery to be pretty. I need to be thin, famous, fashionable.
Our young men today are being told that women are whores, bitches, things to be screwed, beaten, shit on and shamed.
This is a marketing holocaust. 24-hours a day, for the rest of our lives, the powers that be are hard at work dumbing us to death. So, to defend ourselves and fight against assimilating this dullness into our though processes we must learn to read: to stimulate our own imaginations, to cultivate our own consciousness, our own belief-systems. We all need these skills – to defend, to preserve, our own minds.”
#femalepressure: An Urgent Call for #Female Representation [#geekgirl]
“Let’s be frank – enough is enough. femalepressure believes there is no justification for more male-dominated music events. We need – and paying audiences deserve – invigorating and entertaining diversity!
Festival curators, sponsors, label owners, journalists: Give more opportunities to women!
Female festival curators, sponsors, label owners, journalists: Don’t try to be the better men by only taking ‘risks’ on established, male artists! Give more women a chance!
We look forward to your response and positive developments in this cultural sector in the future. Please do not hesitate to contact us if you have any questions regarding this issue.
Here’s to a brighter future for the arts.”
The Perfect #SXSW Troll [#geekgirl]
Like any major hybrid cultural event that jumps the shark and decides to evolve into what’s essentially a hipsterised parody of itself, #SXSW has been inverting from its original incarnation for years and sequentially de-evolving into a muddled coolhunting mess. So when AllThingsD reported on this glorious play containing yams and oily-networking-sycophants, it just had to be applauded:
In the weeks leading up to SXSW, a series of mysterious packages started being sent out to companies of import and some journalists. The contents included a set of instructions and one single, neatly wrapped object: A yam.
Those who received the yams in the mail — from “Yamtrader.com” were pitched on a new startup that, basically, sold itself as “an online marketplace for yam enthusiasts and traders.” It was absurd.
Yet attendees were encouraged to bring their yams to South By, where they could be traded in for a $50 AmEx gift card.
What they found when they reached South By on Sunday morning wasn’t a booth full of potato lovers. It was Tri-Net.
What is Tri-Net? It’s a 25-year-old cloud services company that deals with HR, payroll and IT backend issues for smaller startups, who may have a good idea for a company, but have little backend business acumen. It’s pretty big, too; it’s home to more than 1,500 employees, and works with upwards of 7,000 clients.I get it… IT and payroll services are about as exciting as attending an enterprise conference after taking a Xanax. So you have to resort to guerilla, somewhat unconventional marketing tactics to get noticed on occasion.
But Tri-Net did them one better. Theirs is a sort of meta-commentary on startup marketing on the whole, a tongue-in-cheek gesture on the stupidity of some single-serving companies that are appearing out of Silicon Valley these days — much less with millions of dollars in venture capital funding. By contrast, something difficult to market may prove more useful; it’s why the hottest topic in the Valley these days is indeed the enterprise (even if it is boring as hell).
A number of folks were taken in by it, with mixed reactions. “We have gotten feedback in both directions,” Breitweiser said. “Some thought it was really funny, while some were upset that we were fooling them.”
Governing City Futures Conference :: UWS, Sydney 16 – 17 August #cities #design #conference
Governing City Futures Conference :: UWS, Sydney
16 – 17 August 2012 :: Registrations now open
This conference asks: What is the future of the low density city? What are its prospects in a context in which ecological and population pressures make the infrastructure that under-grid such cities no longer sustainably, if it ever was? In the wake of these intersecting pressures, how are alternate futures for this urban form to be imagined and governed? How are its populations to be managed? Individual lives conducted? Resources circulated? How do these questions impact of relations of gender, ethnicity, and class and those between City and Bush? In addressing these questions this conference will bring together international and Australian academics, politicians and other expert speakers and commentators in the fields of cultural studies, urban sociology, urban infrastructure and population to discuss the future of the low density city in an era in which climate change and the prospect of population increase operates as a major challenge to established forms of urban life.
Public lecture: Jon Rose, VIOLINS TO FENCES – A Life of #Experimentation in #Music (July 27) #Melbourne #geekgirl
Jon Rose, VIOLINS TO FENCES
A Life of Experimentation in Music
At one end of the continuum is the violin – iconic, an instrument of perfection, a bastion of western culture; at the other end is the fence – metaphor for duality, the instrument of our species’ desire for control, ownership, and exploitation.
For most of the last forty years, Jon Rose has explored the musical possibilities of the string and the wire in all sizes and situations. In this lecture he connects the radical with the traditional, and the unique experience with the commonplace, in a practice of music that has led him into previously unexplored sonic worlds and sometimes into confrontation.
ABOUT THE SPEAKER:
Jon Rose performs on the global stage at the sharp end of experimental, new and improvised music. Central to that practice has been ‘The Relative Violin’ project, a unique output, rich in content, realising almost everything on, with, and about the violin – and string music in general. Most celebrated is the worldwide Fence project in existence since 1983; least known are the relative violins – over 20 home experimental string instruments, created specifically for and in Australia.
DATE AND LOCATION:
Date: Friday 27 July 2012
Location: Village Roadshow Theatrette – State Library of Victoria, 328 Swanston Street, Melbourne (Australia)
Cost: This is a free public lecture.
Light refreshments will be provided.
Please register through this link
Presented by the Faculty of Humanities and the Centre for Creative Arts, La Trobe University: http://www.centreforcreativearts.org.au
Contact Alix Austin firstname.lastname@example.org