May 17, 2013, 11:00 – 18:00
House of Architects
7 Borisa Hrinchenko way, Kyiv

Sound and digital image are everywhere. A consequence of the ever-spreading reach of advertising, the rise of new technologies such as ubiquitous and pervasive computing, and also of networks as the de facto means of working within the arts and indeed most fields. Never before has creativity and new artistic trends spread so rapidly between different regions and communities. Never before have artists and the general public been so active in using networks, both as producers and viewers at the same time. Facilitated through computers and the internet, the intertwining of networking and creativity is changing the way artists, professionals and the public work and play, as well as dissolving the boundaries between them.

Uniting 9 European digital music organizations (the ECAS project), as well as guest speakers, the conference aims to explore the changing relationships of art and music within networks, and also to examine the role that creativity has in shaping the networks themselves. The conference also aims to stimulate dialogue between the visiting network and local Ukrainian artists and professionals.

Presented in collaboration with the Nextsound festival:
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11h – 11h10 Oliver Baurhenn (CTM Festival, DE)
Greeting. Introduction to ECAS and Conference Theme

11h15 – 12h40 Monika Mokre (EIPCP/ Focus/ Austrian Academy of Sciences, AT)
Between a Rock and a Hard Place: EU Cultural Politics as Identity Politics and/or Economisation
From 2014 onwards, EU cultural and media policies shall be integrated into the common programme “Creative Europe”. This programme is meant to support “the cultural and creative sectors and to help promote their important contribution at EU level. It offers the best basis to focus attention on the challenges currently facing these sectors and to target EU support on those measures that provide EU added value by helping them optimise their potential for economic growth, job creation and social inclusion.

The strong economic focus of the new programme stands in clear contrast to “Culture 2000” striving for support and participation of European citizens by placing “greater emphasis (…) on their common cultural values and roots as a key element of their identity and their membership of a society founded on freedom, democracy, tolerance and solidarity”, and also to the program of 2008 aiming “to achieve three main objectives: to promote cross-border mobility of those working in the cultural sector; to encourage the transnational circulation of cultural and artistic output; and to foster intercultural dialogue.

A discussion of the development of EU cultural politics will not only allow us to analyze its context and rationalities but also to gain insights in the opportunities, challenges, and fault lines of cultural politics in their relationship to identity politics, external relations, and economic goals.

12h45 – 13h10 Sarah Lauzemis (Cimatics, BE)
Different perspectives within a network. ICAS case study.
Intercultural communication issues and the challenge of a common sustainable network development strategy
Counting 38 members over 5 continents, the ICAS – International Cities of Advanced Sound Network and Related Arts network regroups a large number of culturally diverse organizations. The heterogeneity of its members and their cultural backgrounds is undoubtedly an artistic strength as much as a cultural enrichment for all organizations, but also poses structural challenges for the network’s internal functioning.

The variety of cultural identities, expectations, and motivations raises the issue of how to bridge the network’s diverse viewpoints while fostering and maintaining the diversity of its cultural, intellectual, and artistic exchanges. This case study reflects on how to manage a sustainable network development strategy by focusing on intercultural communication issues.

13h15 – 14h15 Dmytro Fedorenko (Kvitny, UA), Mat Schulz (Unsound, PL), Toms Aunins (artist, LV)  Moderator: Viestarts Gailitis (Skanu Mezs, LV)
Is Experimental and Underground Music a Western Monopoly?
“Experimental music” and “underground music” are terms that immediately conjure certain images and connotations. For many of today’s listeners, their character is often suffused with western aesthetics – not surprising given that currently these musics are predominantly gaining exposure in the west. What are the defining traits of “experimental/underground music” aesthetically, socially, politically, and in terms of marketing? How can eastern europe and the rest of the world contribute to it, or is it destined to remain a fundamentally western endeavor dictated by western aesthetics and politics?

14h15 – 15h15 LUNCH BREAK

15h15 Christian Hollingsaeter (Insomnia, NO), Tim Terpstra (TodaysArt, NL)
Announcement of the Winners of the ECAS Open Call for Residencies.

15h30 – 17h30
Speed-dating Session
Registration required:
Short, 10-minute sessions where pre-registered participants meet one-on-one with different ECAS members as well as a representative from The Wire magazine in order present their work and get acquainted with the network and its individual members.

17h45 Oliver Baurhenn (CTM Festival, DE)
Closing Remarks


Cimatics v.z.w (Cimatics ı Brussels, Belgium)
DISK – Initiative Bild & Ton e.V. (CTM Festival ı Berlin, Germany)
Fundacja Tone Muzyka i nowe formy sztuki (Unsound ı Krakow, Poland)
FutureEverything CIC (FutureEverything ı Manchester, UK)
Österreichischer Rundfunk (ORF musikprotokoll im steirischen herbst ı Graz, Austria)
Skaņu Mežs Association (Skaņu Mežs ı Riga, Latvia)
Stichting The Generator (TodaysArt ı Den Haag, Netherlands)
Stiftelsen Insomnia Festival (Insomnia, Tromsø, Norway)
Trans-Media-Akademie Hellerau e.V. (Cynetart ı Dresden, Germany)

Written by ECAS
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