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Here today, gone tomorrow
Vol 15 Issue 11 November 2001

Editorial: Nisar Keshvani

Almost two months, and it's still at the top of our minds.

Rightly so, too - how can it not be?

9-11 -- as it's now known -- is what I am talking about.

Ad nauseum we've been hit by it at all levels from conventional media to trade, government policy and now even to the arts. The economy, which showed glimpses of recovery, is now looking bleak. Singapore is looking at its worst ever economic downturn in its short 36-year history. Friends have lost jobs and families have had their stronghold blown over. It's getting personal and closer to home.

When I was in Manila in early October, an email arrived informing of the Lux Centre's (one of UK's premier film/video centres) closure. An entire two-month cinema program was abandoned. No one saw it coming - it was decided that its doors would close for good.

Is there a co-relation to the global downturn? Go figure. Yes, some may say it's unfair such things happen. But the point here, is not how we, artsworkers may be ditched like yesterday's fish & chip news wrap anytime.

Somehow the arts scene has become a transient and at times unappreciated field. Unbeknownst to us, we have accepted that as a synonymous fact to life in the arts world. Here today, gone tomorrow.

Unlike decades ago, when the arts was looked upon as essential culture, today its been given an 'if-we-can-afford-it' approach. So perhaps, it's appropriate to consider the economics of it all?

Maybe consolidation, collaboration, resource sharing, co-operation might be the solution. that's what I am beginning to realise anyway. Raise your hands, if it's an aye! If not, go ahead tell us what you think.

In this month's text section, Damien Broderick contemplates our future and warns us to take heed of our rapid advancement, while Fatima Lasay reflects on Digital Media Festival 2001.

Shu-Min Heng reviews Supercade: A Visual History of the Videogame Age, Elizabeth Amon reports on the IdN Fresh Conference, and Scott Esdaile reviews Sound Sculpture: Intersections in Sound and Sculpture in Australian Artworks.

We also have Sally Draper looking at the third INSTALMENT of Drunken Boat. Linda Carroli IS bringing us an insight into the world of computer-aided sculpture with a transcript of her interview with jeweller/sculptor Gilbert Riedelbauch.

See you - same time, same URL - next month!


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