Call
for Digital Video Submissions.
'Laissez-Faire, Creative Destruction, Disruptive Technology'.
Transvoyeur International DV Platform 2007.
12 June 2007.y'.
Co-curated
by Chris Boyd and Gaynor Evelyn Sweeney with associate
technical support by Tony Knox.
A
digital video screening is being prepared to run from
Autumn this year in:
Liverpool
(UK).
London (UK).
New York (US).
Cologne (Germany).
BBC Big Screen (Liverpool, UK).
Venues
to be confirmed and announced with to further to be
added.
If
you wish to submit to this programme please email the
following information to Gaynor Evelyn Sweeney (UK Projects
Co-ordinator) at transvoyeuruk@hotmail.co.uk.
-
Name.
- Email.
- Website.
- Professional Statement (no more than 250 words).
- Title and summary description of film concept (no
more than 150 words).
- Photographic still of digital video short (72 dpi
jpeg).
From
this preliminary submission you will receive the postal
address to send your work.
The
digital video format for submission:
-
2 @ DVD (PAL or NTSC, as work willl transfered to compilation
of both formats).
- Running time maximum five minutes.
- Theme and title: 'Laissez-Faire, Creative Destruction,
Disruptive Technology'.
Cut
off Date: 21 June 2007.
Transvoyeur
Artits - Call for Digital Video Submissions.
'Laissez-Faire, Creative Destruction, Disruptive Technology'.
Transvoyeur International DV Platform 2007.
Part
of the Transvoyeur Programme 2007.
Co-Curators
Chris
Boyd
E-mail: boydism@hotmail.com
Website: www.myspace.com/boydism
Mobile: +44(0)7866963061
Gaynor
Evelyn Sweeney
E-mail: ges1967@hotmail.com
Website: www.gaynorevelynsweeney.co.uk
Mobile: +44(0)7944141519
Transvoyeur
E-mail: transvoyeuruk@hotmail.co.uk
Website: www.transvoyeur.com
Tel. No.: +44(0)151 726 0247
Mobile: +44(0)7944141519
Press
Release
Transvoyeur
International DV Platform 2007
'Laissez-Faire, Creative Destruction, Disruptive Technology'.
Programme
August - December 2007.
The Transvoyeur International DV 2007 is an international
digital video platform and will screen new media in
Liverpool (UK), London (UK), New York (US), Cologne
(Germany) and BBC Big Screen (UK). The title and theme
is 'Laissez-Faire, Creative Destruction, Disruptive
Technology'. Co-curated
by Chris Boyd and Gaynor Evelyn Sweeney with associate
technical support by Tony Knox.
A digital video screening in a range of venues and spaces
in Liverpool (UK), London (UK), New York (US), Cologne
(Germany) and BBC Big Screen (UK).
Screening dates and venues to be announced.
Concept
The concept to the digital video programme is to provide
a platform to contemporary art practitioners to reflect
and produce visual representation of the economic phases
laissez-faire, creative destruction and disruptive technology.
To apply those medias of digital, cyber and more that
permeate much of our lives by innovation, mass production,
consumerism and commodification that change the socio-economic
and cultural structures of post modern society. How
the artist interprets the fundamentals of these terminologies
is open to how their creative insight, knowledge and
understanding conceptualise them as a collective set
theme for consideration. All very much factors that
have impacted on everyone’s lives in the 21st
century from work, leisure, local, national and global
communications, culture and commerce.
Contacts
List for Transvoyeur DV 2007 Programme
Co-Curators
Chris
Boyd
E-mail: boydism@hotmail.com
Website: www.myspace.com/boydism
Mobile: +44(0)7866963061
Gaynor
Evelyn Sweeney
E-mail: ges1967@hotmail.com
Website: www.gaynorevelynsweeney.co.uk
Mobile: +44(0)7944141519
Transvoyeur
E-mail: transvoyeuruk@hotmail.co.uk
Website: www.transvoyeur.com
Tel. No.: +44(0)151 726 0247
Mobile: +44(0)7944141519
Additional
Information
Research
Terminologies
Laissez-faire
Laissez-faire
is a French phrase meaning "let do". From
the French diction first used by the 18th century physiocrats
as an injunction against government interference with
trade, it became used as a synonym for strict free market
economics during the early and mid-19th century. It
is generally understood to be a doctrine that maintains
that private initiative and production are best allowed
to roam free, opposing economic interventionism and
taxation by the state beyond that which is perceived
to be necessary to maintain individual liberty, peace,
security, and property rights.
In the laissez-faire view, the state has no responsibility
to engage in intervention to maintain a desired wealth
distribution or to create a welfare state to protect
people from poverty, instead relying on charity and
the market system. Laissez-faire also embodies the notion
that a government should not be in the business of granting
privileges. As such, advocates of laissez-faire support
the idea that the government should not create legal
monopolies or use force to damage de facto monopolies.
Supporters of laissez-faire also support the notion
of free trade on the grounds that the state should not
use protectionist measures, such as tariffs and subsidies,
in order to curtail trade through national frontiers.
In
the early stages of European and American economic theory,
laissez-faire economic policy was in conflict with mercantilism,
which had been the dominant system of the United Kingdom,
Spain, France and other European countries, during their
rise to power.
The
term laissez-faire is often used interchangeably with
the term "free market". Some use the term
laissez-faire to refer to "let do, let pass"
attitude for matters outside of economics.
Laissez-faire
is associated with classical liberalism, libertarianism,
and Objectivism. It was originally introduced in the
English-language world in 1774, by George Whatley, in
the book Principles of Trade, which was co-authored
with Benjamin Franklin. Classical economists, such as
Thomas Malthus, Adam Smith and David Ricardo did not
use the term. Bentham employed it, but only with the
advent of the Anti-Corn Law League did the term receive
much of its (English) meaning. Free-market anarchists
take the idea of laissez-faire to its full length by
opposing all taxation, preferring law and order to be
privately funded.
Creative
Destruction
Creative
destruction is the dynamic process inherent in a free
market economy (or one that is largely so) of existing
products (i.e., goods and services), production techniques,
professions, companies and even entire industries becoming
obsolete and dying out as a result of technological
advances (including the development of new or improved
products, more efficient production techniques and better
distribution methods).
A
term coined by Joseph Schumpeter in his work entitled
"Capitalism, Socialism and Democracy" (1942)
to denote a "process of industrial mutation that
incessantly revolutionizes the economic structure from
within, incessantly destroying the old one, incessantly
creating a new one."
Creative
destruction occurs when something new kills something
older. A great example of this is personal computers.
The industry, led by Microsoft and Intel, destroyed
many mainframe computer companies, but in doing so,
entrepreneurs created one of the most important inventions
of this century.
Schumpeter
goes so far as to say that the "process of creative
destruction is the essential fact about capitalism."
Unfortunately, while a great concept, this became one
of the most overused buzzwords of the dotcom boom (and
bust), with nearly every technology CEO talking about
how creative destruction would replace the old economy
with the new.
Disruptive
Technology
Disruptive
technology is a term coined by Harvard Business School
professor Clayton M. Christensen to describe a new technology
that unexpectedly displaces an established technology.
In his 1997 best-selling book, "The Innovator's
Dilemma," Christensen separates new technology
into two categories: sustaining and disruptive. Sustaining
technology relies on incremental improvements to an
already established technology.
Disruptive
technology lacks refinement, often has performance problems
because it is new, appeals to a limited audience, and
may not yet have a proven practical application. (Such
was the case with Alexander Graham Bell's "electrical
speech machine," which we now call the telephone.)
In his book, Christensen points out that large corporations
are designed to work with sustaining technologies. They
excel at knowing their market, staying close to their
customers, and having a mechanism in place to develop
existing technology.
Conversely,
they have trouble capitalizing on the potential efficiencies,
cost-savings, or new marketing opportunities created
by low-margin disruptive technologies. Using real-world
examples to illustrate his point, Christensen demonstrates
how it is not unusual for a big corporation to dismiss
the value of a disruptive technology because it does
not reinforce current company goals, only to be blindsided
as the technology matures, gains a larger audience and
marketshare, and threatens the status quo.
Professional
Information
Chris
Boyd (b. 1983, Warrington, England).
Chris
Boyd.
Curatorial
Statement
Chris
Boyd is an Artist, Video Director and Curator.
As
a Curator, he has explored the concept of ‘Chaosmos’
with an exhibition of work by recent graduates spanning
sculpture, new media, photography and installation.
‘Chaosmos’,
a term used by James Joyce to describe a "cosmos
at the verge of chaos, one that is surging toward the
exciting possibility of going out of existence, struggling
onward at the edge of the existential abyss".
Boyd
has collaborated with Noisefestival.com co-curating
an exhibition including work selected by Stella Vine,
during the Independents Biennial 2006 at the View Two
Gallery (Liverpool, England).
His
creative eye in contemporary arts and culture is one
founded on philosophical discourse, the cannons and
the innovation of new media and technology. His professional
interest in the broader implications of Fine Art to
the Contemporary establishes him with an innate vision
in the constructs of temporal and spatial relationships
from the alternative gallery practice to the dimensions
of cyberspace and digital media.
Art
and Philosophy
Chris
Boyd is a draughtsman who creates videos that are painterly
outpourings that integrate traditional techniques with
modern computer animation. Boyd works in narrative that
draws upon autobiography, psychology and mythology that
mixes memory, metaphor, fact and fiction. The majority
of these are based on creation and transformative processes
that reference and / or attempt to address subjects
like transhumanism and accelerating change.
Calling
(Digital Video Still, Research), 2007.
Biography
Chris
Boyd was born in 1983 in Warrington (Cheshire, England).
He is a graduate Interactive Arts student at Manchester
Metropolitan from 2003-2006. In 2004, Boyd received
a Microwave award from FACT, the UK's leading organization
for the development and exhibition of film, video and
new media.
He
won the Big Art Challenge, where he was labelled a genius
by art critic Brian Sewell, the 6 part series on channel
5 was aiming to seek out the next Damien Hirst or JMW
Turner with a prize of £10,000. In 2005 Chris
received a Priestley prize and provided a video in 40
artists 40 Days, a special Tate Britain project supporting
London's Olympic bid that brought the Games to Britain
in 2012.
He
curated the Chaosmos exhibition for the Liverpool Biennial
2006. He is currently working on array of commissions
from London (UK) to LA (US) and researching new approaches
in his creative practice of Ferrofluids, Psychology,
mythology, and VJaying, as well as co-curating Transvoyeur
DV 2007.
Gaynor Evelyn Sweeney (b. 1967, Liverpool, England).
Gaynor
Evelyn Sweeney.
Curatorial
Statement
Gaynor Evelyn Sweeney is an Artist, Curator and Founder
of Transvoyeur has a history of a range of exhibitions
and project in the UK, Europe and the US. She is currently
completing her Doctorate at Liverpool John Moores University,
Liverpool, England.
As
Curator, she is an activist in initiating diverse projects
from live art platforms, exhibitions, research and development
and much more in contemporary arts and culture. From
independent to collaborative programmes these have encompassed
a range of curatorial constructs in spatiality from
the conventions of the gallery context to the more innovative
and technological explorations how art is experience
and distributed, such web based, digital media and more
to more alternative modes of expression in curatorial
practice.
Her
approach in curatorialship is extended from her creative
philosophies in the hybridisation of concept, media
and contextualisation. To initiate events that provide
insight to current issues in society and culture, as
well experimental and diversification in emergence of
new theories and practices with collaboration of artists,
curators, scientists, historians and more.
Art
and Philosophy
She
describes her mind and thoughts an anthology of memories,
images and residues of sensations. Visualisation relative
to others and not exclusive to her own existence. She
states she is not insular, neither her genome, which
is a recipe of hybridized evolutionary ingredients.
Her temporal and spatial existence she asserts is more
that her being. It extends to her lineage, not merely
of those she is conscious or familiar; mother, father,
grandmother, grandfathers, great and greater, as it
dissolves back, but to one of the singular organism,
where all life evolved.
The
chance, the accident, the mistake of this greater-than-great
relative of all ascended into cellular complexities
of sentience, no more and no less than the amoeba. She
welcomes you to our relative, the cell, the nuclei,
the DNA, the RNA, etc.. Somewhere in her body, her pet
dog is kindred. The canvas of creation, the biological
edifice on which she inscribes, at the moment of mark-making
on this, she is inscribing on not herself, but her pet
dog, her parents and predecessors, her lovers and familiars,
acquaintances and you.
A
performance artist who places temporal concepts within
the context of a live performance in the public arena,
the conventional and institutional readdressed, including
the various technological applications, such as multi
media processes, holographic, optical engineering and
digitalisation.
The
Temple Series, Live performance as part of the Transvoyeur
Exhibition 2004, Liverpool Biennial 2004.
Biography
Gaynor
Evelyn Sweeney is a performance artist and graduate
of Liverpool John Moores University, England, in 2002.
She is currently on her doctorate and researching the
body within contemporary arts, science an culture. Her
art explores the temporality and spatiality of body
politics within the post modern environment and institutional
structures.
She
has performed and exhibited in an array of international
events, such as the Liverpool Biennial, Venice Biennial,
Performance Art Festival (US), Hong Kong Biennial and
Berlin Kunst Salon. Her art is strongly founded on the
canon and philosophy within the context of live performance
interventions, as well as considering new and innovative
modes of expression modified through digital technology
and optical engineering. Other projects and commissions
have been in London, New York, Paris, Copenhagen and
many other places.
Although
she pursues her independent practice in performance
art, she is a strong advocate of contemporary art practice,
creating projects for exchange and dialogue in the concepts
and philosophies of post modern art and society. To
collaborate and share to realise new and diverse modes
of thinking and creative expression in the international
arts market.
She
is also founder and Projects Co-ordinator of Gesquoi
and TransVoyeur UK, both research and management programmes
in arts and culture within the international market.
She was also one of the original founders of the Whores
of Babylon Arts Collective (UK).
