Dominic Smith
Works in Newcastle upon Tyne United Kingdom of Great Britain and Northern Ireland

BIO
I manage The Pixel Palace. This is a new media programme based at the Tyneside Cinema in Newcastle upon Tyne UK. It extends the cinema’s mission by working with new media artists and curators to reflect upon cinema’s past and to engage new audiences in its expanded present and pervasive future.
Discussions (1) Opportunities (9) Events (1) Jobs (1)
JOB

Inaugural Curator


Deadline:
Mon Sep 30, 2013 17:00

Location:
Newcastle upon Tyne, United Kingdom of Great Britain and Northern Ireland

Pixel Palace & Tyneside Cinema are looking for an Inaugural Curator to set the curatorial vision and artistic programme for a brand new gallery and cinema space opening in 2014.

Tyneside Cinema is one of the UK’s leading independent specialised film and media venues, housed in its spectacular Grade II listed building in the heart of Newcastle. As well as showing the best films from around the world, in 2011 the cinema launched Pixel Palace, a new programme of digital media art.

The curator will input into the final design of the new space and curate and deliver the inaugural programme of work for this Arts Council funded space, helping to shape the future direction of the organisation’s wider artistic programme. This post holder will make a significant contribution to Tyneside Cinema and leave a lasting legacy for the future.

Job title: Inaugural Curator, Screen Based Media

Tenure: 2 days per week, 1 year fixed term contract, commencing October 2013.

We are happy to consider proposals from freelancers to provide this service.

Salary: £25,000-30,000 dependant on experience (pro rata) or flat rate by negotiation.

The deadline for applications is 5pm Monday 30 September 2013.
Interviews will be held on Monday 7 and Tuesday 8 October 2013.

To see the full Job Specification, and for more details of how to apply, please visit our website.

If you would like an informal chat about the role, please contact us at recruitment@tynesidecinema.co.uk.


DISCUSSION

A Roundup of Online Art Radio


There is also Basic.fm - http://basic.fm an art radio station we have been running for the past year at Pixel Palace


OPPORTUNITY

MAPPING THE NORTH’S DIGITAL ASSETS


Deadline:
Mon Dec 17, 2012 17:00

Location:
Newcastle upon Tyne, United Kingdom of Great Britain and Northern Ireland

WHO: This commission opportunity is for artists currently based in the North of England who have had previous experience with the commissioning process and an interest, knowledge and application of critical and social engagement methods.

WHAT: Engage with a mapping project to generate a conceptual artwork that detours from the obvious ‘data visualisation’ model, placing significance upon the creation of work that compliments the investigative aims of the larger project.

WHEN: The time frame for production is between January and March 2013

PAYMENTS: £10k (Inclusive of artist fee, materials fee and any other relevant costs) An additional budget is available for travel across the northern region

DETAILS: See full project background and context on our website

APPLY: The full application process can be found at: http://www.thepixelpalace.org/opportunities/mapping-the-norths-digital-assests-commission-opportunity-


EVENT

or-bits.com presents ’128kbps objects’ on basic.fm


Dates:
Mon Oct 22, 2012 12:00 - Sun Oct 28, 2012

128kbps objects is a week-long internet radio exhibition by or-bits.com, which explores ideas of objects in transformation across a variety of artistic practices, mediums and sites.

22 – 28 October 2012 at basic.fm

Tune in from Monday 22 October at 12noon


Download Full Radio Schedule at http://www.or-bits.com/blog/

With new commissioned works by Jamie Allen, André Avelãs, Victoria Bradbury, Helen Brown, Ellie and Oliver, Claudia Fonti, Juneau Projects and Sara Nunes Fernandes; works by artists featured in previous or-bits.com online programmes and events (Angus Braithwaiteand Beth Collar, Erik Bünger, Rob Canning, Patrick Coyle, Benedict Drew, Extra-conjugale, Jamie George and Richard Whitby, Emma Hart, David Horvitz, Irini Karayannopoulou and Yannis Saxonis, IOCOSE, Tamarin Norwood, Radiomentale, Adam Rompel, Richard Sides and Simon Werner, Maria Theodoraki, Tonylight,Nathan Witt); works by artists selected from 128kbps Open Call (Sol Archer, Steven Ball, Sarah Boothroyd, Paul Carr, Osvaldo Cibils, Ami Clarke, Richard Crow/Institution of Rot, Steven Dickie,Ciarán Ó Dochartaigh, Adam Knight, Haydn Jones, Scott Mason, Material Studies Group, Chiara Passa, James Prevett, Stuart Pound, Erica Scourti, Andy Weir, Tom White and Mark Peter Wright), along with curated interventions by CuratingYouTube.net (CYT), Tim Dixonand Anne Duffau, a workshop by Daniela Cascella, and many other sounds.

128kbps objects presents newly commissioned and already existing artworks in the form of sound works, live performances and recordings, interviews, readings, thematic playlists and music. These works contemplate and expand on notions of object-hood, looking at the potentials of displaying objects sonically, such as exploring ideas related to the erasure of visual language and the loss of direct interaction with artistic content. They also reflect on the characteristics inherent in the medium employed for the exhibition, an internet radio, interrogating the relationship between speed and quality in the transmission of information on the web, where all the sonic data above a quality threshold of 128 kilo bytes per second is cancelled out.

How would an object manifest itself, be described or narrated when its inherent material quality is taken away, when the viewer is not confronted with its visual appearance?

How can an art object be thought of in relation to the nature of its reception and social presence within the context of an internet radio broadcast?


These were the two questions proposed to the artists, curators and writers contributing to 128kbps objects.

What the audience will be listening to throughout the week are explorations of the malleable and fluctuating relationship between object-hood, medium and site, and their possible impact on the listener. This broadcast is an exploration of ideas of objects in transformation that stretches the often rigid borders created by definitions of materiality and immateriality, interrogating a terrain which is, perhaps, that of a “realism without materialism” (Graham Harman, 2011)*.

*In his essay On the undermining of objects: Grant, Bruno, and Radical Philosophy Graham Harman defines his philosophical position as one which “amounts to a realism without materialism”. (in The Speculative Turn, 2011. Melbourne: re.press)

Please note: 128KBPS OBJECTS RUNS FOR EIGHT HOURS A DAY (12 NOON-8PM GMT) FROM MONDAY 22 TO SUNDAY 28 OCTOBER.

More details about each of the featured artists and their respective work is available in full on basic.fm during the broadcast via clicking on the read more link next to each listed item.

128kbps objects is supported using public funding by Arts Council England in partnership with basic.fm (a Pixel Palace project based at Tyneside Cinema in Newcastle-upon-Tyne) and The Northern Charter.


OPPORTUNITY

basic.fm & or-bits.com: 128kbps objects


Deadline:
Mon Oct 08, 2012 17:00

Location:
Newcastle upon Tyne, United Kingdom of Great Britain and Northern Ireland

or-bits.com is inviting artists to submit work for inclusion in the project 128kbps objects, a week-long internet radio broadcast on basic.fm that will explore the idea of objects in transformation.

basic.fm is a net radio broadcast project initiated by Pixel Palace. We are looking after it and nurturing it in the hope that one day it will grow up to be big and strong. basic.fm stands for Broadcast Art, Sound and Independent Culture. It is a slow growing project; each month we add new features and work.

The project 128kbps objects will look into contemporary notions of object-hood across a variety of artistic practices, mediums and sites, investigating the potentials of displaying objects sonically. It will take into considerations the characteristics of the web-tool employed, the internet radio, such as the erasure of visual language, the loss of direct interaction with artistic content, the relationship between speed and quality, for which, for instance, all the sonic data above quality threshold of 128 kilo bytes per second are cancelled out.

How would an object manifest itself, be thought of, described or narrated when its inherent material quality are taken away, when the viewer is not confronted with its visual appearance? How can an art object be thought of in relation to the nature of its reception and social presence within the context of an internet radio broadcast?

Many and varied are the discourses about the relationship between object-hood, medium and distribution, starting from Walter Benjamin’s observations on mechanical reproductions, and many are the trajectories these discourses have opened up: from looking at base materiality to social interaction, from the aura of the work of art to the disappearance of medium-specificity.
For Maurice Merleau-Ponty “to turn an object upside-down is to deprive it of its meaning” because it looses its spatial coordinates when confronted with the viewer, it looses its “natural position”. (in “Phenomenology of Perception”, 1945). Rosalind Krauss discusses spatiality through looking at the relationship between the object and the viewer’s field, and when writing about Robert Smithson’s mirrors in thw work “Enantiomorphic Chambers” (1964), says “it is not just the viewer’s body that cannot occupy this space, then, it is the beholder’s visual logic as well; Chambers explores what must be called a kind of “structural blindness”” (in “Formless. A User’s Guide”, 2007). Others, such as writers and critics more concerned with the status of the digital object or the so-called Post-Internet art, write about objects in connection to current “Internet-users tactics” employed by artists (Artie Vierkant in “The Image Object Post-Internet”, 2010), focusing on information dispersion, multiplicity of formats and convergence of mediums; “objects have lost exclusive singular spatial properties. They exist and manifest in fluid forms through different media. In this, there is no moral hierarchy or pure differentiation in authenticity” as Gene Gene McHugh writes in the press release of Harm van den Dorpel’s show “Rhododendron” at W139 in Amsterdam (“Endless Problem”, 2011).


or-bits.com has invited an array of artists, new and already featured on its online exhibitions, writers, curators and organisations to create a work or represent an existing one in response to the above text.

We also want to open up this project to other artists we don’t know and we are looking for contributions that will reflect and expand on these themes, or question them.

We look forward to receiving your contributions,
or-bits.com and basic.fm

Submission Guidelines:

Submission can be in the form of a sound work, music, a reading, a performance or an interview. They can be proposed to be broadcasted as a one-off or as a series to be presented at different times during the week of broadcast. This is an unpaid opportunity.

If you are submitting/describing potential playlists, or excerpts of other artists’ works, you will have to include a full list detailing name of artist, title of work, year and copyright holder, i.e. Distributor/record label (basic.fm holds PLL/PRS licences).

Sound files should be in mp3 128kbps format.

Deadline for submissions: 8 October 2012
Dates of broadcast: 22-28 October 2012

Submissions should be made via the basic.fm website: http://www.basic.fm/?page_id=1291