CFP: UNFOLDING IMAGES – VR, Volumetric Filmmaking and Spatial Control

UNFOLDING IMAGES – VR, Volumetric Filmmaking and Spatial Control
7th Besides the Screen International Conference
Federal University of Espirito Santo, Brazil, 31 May to 2 June 2017

Deadline for proposals: 20th March 2017

Once again, virtual reality is a technology to come. The recent popularisation of immersive displays has revamped the interest on the possibilities of this subject. Alongside came the growth of other forms of volumetric image capture and exhibition, such as 3-D scanning and 360o video. These systems, many of them created to enable computer sensing, are now informing other observers. The way they have been deployed in fields from social media to heritage preservation and prosthetic medicine indicate their broad impact on emerging spatial ontologies.

The next Besides the Screen conference means to frame these growing trends in volumetric imaging in the long history intertwining geography and optics. Departing from cinema, the event seeks to explore how space and image have shaped one another across different media and cultural systems, tracing the power relations that cause topological subjectivities to emerge.

We invite proposals of papers, workshops, performances, screenings, artist presentations, and experimental projects that address, explore, and subvert topics such as:

  • the past, present, and future of VR technologies
  • 360o and immersive filmmaking in different genres
  • bodily affects and proprioception within virtual environments
  • multi-camera stitching aesthetics
  • visual effects / in-frame spatial compositing, both digital and analog
  • 3-D animation and synthetic spaces
  • moving images resulting from 3-D scanning, photogrammetry, and structured light capture
  • developments in computer vision and depth perception
  • real-time cartography as control interfaces
  • responses from the media and data industries to new image technologies
  • early stereoscopic, anamorphic, and panoramic devices
  • event cinema, site-specific projections, and pop-up screenings
  • cleavages and continuities between architecture and the moving image
  • moving image installation and performances
  • etc

To submit a project, please send an abstract (~250 words) and a short biographical note (~150 words) to the address besidesthescreen@gmail.com, with the subject SUBMISSION: BESIDES THE SCREEN 2017. Please include links for demos / previews of any video, performance, or installation submission. The deadline is 20th March 2017.

* * *

Besides the Screen is an international research network on the subject of experimental audiovisual media. It aims to reconfigure the field of screen studies by refocusing it on the seemingly secondary objects, processes, and practices that exist within cinema. Besides the Screen also means to promote an open and horizontal academic environment, favouring practice-based approaches to research and artist collaborations. More info can be found at besidesthescreen.com.

Call for Entries: The Light Factory 9th Annuale

The Light Factory is pleased to announce its 9th Juried Annuale, a photography competition that will showcase challenging and inventive new work from photographers and artists throughout the international photographic community. From traditional to digital, still and moving, all photographic techniques and approaches are welcome. This can include works that stretch the boundaries of the assumed definitions of photographic-based media. The exhibition will consist of 4-6 photographers, each of whom will be represented by 5-7 images [size permitting].

EXHIBITION DATES Thursday, April 20 – Friday, June 2, 2017
OPENING RECEPTION Thursday, April 20, 2017 / 6:30 – 8:30 PM

ENTRY DEADLINE Friday, February 24, 2017
WINNING ENTRIES DUE TO THE LIGHT FACTORY April 3 – 7, 2017

JUROR
Rick Wester
Rick Wester Fine Art, New York City, NY

ELIGIBILITY
The Light Factory 9th Juried Annuale is open to everyone. Entrants must enter only 5–7 images from a specific series or body of work, however, artists may submit up to two different applications. If you submit an installation, it should include only 5–7 images. Please include a short statement (no more than 150 words) about the work along with a current resume or curriculum vitae.

MEDIA
From traditional to digital, still and moving, all photographic techniques and approaches are welcome. This can include works that stretch the boundaries of the assumed definitions of photography-based media.

ENTRY FEE
$35 non-refundable entry fee per series of 5-7 images. Artists may submit up to two applications.

The Light Factory is a community-based center for photography and film located in Charlotte, NC. The Light Factory is dedicated to enriching lives and transforming communities through thought provoking exhibitions, world-class education and vibrant community engagement. Throughout its 43 years of continuous operation, The Light Factory has featured artists such as Sally Mann, Ansel Adams, Tina Barney, Debbie Luster, Pinky/MM Bass, Keith Carter, Annie Leibovitz, Ralph Gibson, Susan Kae Grant, Edward Weston, Jerry Uelsmann, Richard Renaldi, Bill Viola, Andres Serrano, Mary Ellen Mark, and many more.

CFP – Autonomous Art Systems: Opportunities, Pitfalls and Implications – Media-N -2017 Fall Issue

Guest Editors

Nick Bontrager, Texas Christian University

Adam Fung, Texas Christian University

Editor-In-Chief

Kevin Hamilton

Media-N, the Journal of the New Media Caucus, invites submissions for an issue about the use of Autonomous Art Systems, tethered and untethered systems of making, self-guided vehicles, and related programming in creative fields of study. Submissions could include: accounts of new artworks that address concepts of drones or autonomous surveillance as subject or form; reflections on the influence of emerging “intelligent” technologies on studio art practices; or critical/historical analysis of the aesthetics of autonomous technologies in light of their social and technical implications.

Artists have long engaged concepts and techniques of artificial intelligence, emergent order, and generative systems. Others have reflected through practice on technologies of surveillance and war as extensions of the human body and senses. How might these histories and examples help us understand contemporary forms of autonomous production, with all their accompanying ethical and social questions?

Paired with video or audio in their mobile form, Autonomous Art Systems offer new visual perspectives, production values, and aesthetics previously unattainable or associated only with state power. Autonomous assembly systems offer possibilities for emergent spatial order, with inevitable influence on design for the built environment. This issue poses the question: how will the new abilities, access, perspectives, and potential restrictions on technology associated with autonomous machines and systems be reflected in art practice of the future?

Submissions for this special issue on Autonomous Art Systems might address the following questions:

  • How has the field of new media art as a whole been affected by Autonomous Art Systems (AAS), and what is the significance of the modalities in which this dialogue takes shape?
  • What are the new media forms and aesthetics, from locative media to visualization, generative art, or even physical computing, that are common to AAS?
  • What is the legal status of AAS, particularly related to drones, today? How do regulations, rules, laws, and reception inform this form of new media art?
  • How do today’s explorations of AAS build on past examples of generative or programmatic aesthetics?
  • How do artistic explorations of such technologies contend with their associations and origins within military, policing, or other defense-related industries?
  • How do AAS further, hinder, or complicate the dialogue surrounding authorship in contemporary art?

Media-N is an English language journal, and all submissions must be received in English adhering to the standards set by the 16th edition of the Chicago Manual of Style.

(http://www.chicagomanualofstyle.org/)

Media-N, Journal of the New Media Caucus (ISSN: 1942-017X) is a scholarly, invitational, and double blind peer-reviewed journal. It is open to submissions in the form of theoretical papers, reports, and reviews on new media artworks. The journal provides a forum for national and international New Media Caucus members and non-members featuring their scholarly research, artworks and projects.

TIMELINE:

April 1, 2016: Deadline for submission of abstracts/proposals.

May 1, 2016: Notification of accepted proposals – invitation to submit.

July 1, 2016: Deadline for submission of final papers.

ABSTRACT GUIDELINES:

Please send your submission proposal by email adhering to the following:

Proposal Title, and a 300-500 word Proposal Description. Include your Email(s), your Title(s)/Affiliation(s) (the institution/organization you work with ­ if applicable, or independent scholar/practitioner).

On a separate document, send a Resume (no longer than 3 pages).

NOTE: Materials should be submitted in English, as Microsoft Word documents (.doc or .docx).

SEND THE SUBMISSION TO:

Email to: n.bontrager@tcu.edu and adam.fung@tcu.edu

Seeking Chairperson for Department of Art & Design at University of Delaware

The College of Arts and Sciences at the University of Delaware seeks a dynamic artist and administrator to lead the Department of Art and Design. The Department Chair is tasked with cultivating an environment that fosters creative research, academic excellence, and student success. The ideal candidate is an innovative leader who can bring an interdisciplinary approach to collaborations among faculty with diverse interests, providing visionary leadership and enhancing the overall quality of teaching, research, and service in the department. The successful candidate will likewise provide mentorship for our students and cultivate evolving art and design practices. The Chair supervises faculty and staff, manages budgets, and implements our newly revised curricula in the art and design majors. This position is an opportunity for an original thinker and collaborative leader to continue building a department engaged in critical discussions around the arts, design, technology, and the humanities.

The successful candidate will have a substantial record of work as an artist, designer, and/or scholar along with demonstrated experience leading or coordinating an academic department or discipline. Additionally, applicants should be able to articulate a pedagogical vision. The successful candidate will advocate for our faculty’s diverse research and engagement in studio and/or applied practices, and publishing. He or she will also create links with different areas of the university and public communities commensurate with UD’s Carnegie Foundation Community Engagement Classification. Desirable candidates will show evidence of attention to cultural diversity in teaching and/or professional practice and proven ability to support the University’s commitment to equity.

Application Information: https://apply.interfolio.com/40199


From its roots as a private academy in 1743, the University of Delaware today is a research-intensive, technologically advanced university with global impact. The University's location on the Northeast corridor of the United States makes it an ideal place to study art and design. Situated midway between Philadelphia and Baltimore, the campus is about two hours by train/car north to New York City, or south to Washington, D.C. Proximity to so many art and design centers offers access to opportunities and inspiration for students and faculty.

#CrisisPedagogy

HOW TO TEACH ART AND ART HISTORY UNDER CONDITIONS OF CRISIS?

Teaching Resource Sharing Party
Friday, February 17, 7-10pm
e-flux, 311 E Broadway (accessible by B,D,F,J,M,Z trains)

Bring your data! Flash drives, JPGs, PDFs, PPTs, lesson plans, syllabi, etc., or send files to crisispedagogy@gmail.com.

Drinks and bites will be provided; additional contributions are welcome.

Sponsored by the Society of Contemporary Art Historians, Sense of Emergency, Art History That, Association for Latin American Art, Association of Historians of American Art, the European Postwar and Contemporary Art Forum, Material Collective, New Media Caucus, Queer Caucus for Art, US Latinx Art Forum, Visual Culture Caucus, The Research and Academic Program of the Clark Art Institute, and the College Art Association.

 

Assistant Professor, Tenure Track at University of California, Berkeley

The Department of Film and Media at U.C. Berkeley seeks applications for an Assistant Professor in New Media theory and history (tenure track), with an expected start date of
July 1, 2017. Applicants for this Assistant Professor position must have completed all degree requirements except the dissertation at the time of application and must have the Ph.D. in Film/Cinema Studies or a related field in hand by June 30, 2017.

Additional qualifications for all applicants include: broad competence in New Media studies, demonstrable either through formal study or publication record; the ability to teach courses in New Media theory/history and digital culture and media; and a strong understanding of the study of media in the Arts and Humanities. Preference will be given to applicants demonstrating clear evidence of scholarly achievement relative to their career stage. Research and teaching interest in critical race theory and/or gender and/or sexuality is also preferred.

Applicants should apply at https://aprecruit.berkeley.edu/apply/JPF01271. As part of their
application, applicants are asked to discuss their research and teaching interests in a cover letter. In addition they should supply their most recently updated CV and a writing sample of
maximum 25 pp. A statement of contributions to diversity is optional. Referees are strongly recommended to submit their letters of recommendation by March 6, 2017. All letters will be
treated as confidential per University of California policy and California state law. All applicants are asked to refer their recommenders to the UC Berkeley statement of confidentiality prior to submitting their letters, including when letters are provided via a third party (i.e. dossier service or career center): http://apo.berkeley.edu/evalltr.html. Complete applications must be received by March 10, 2017.

Please direct questions to the Chair of the Search Committee at film_search@berkeley.edu.

The Department is interested in candidates who will contribute to diversity and equal opportunity in higher education through their teaching, research, and service.

The Department is committed to addressing the family needs of faculty, including dual career couples and single parents.

The Department of Film and Media at UC Berkeley offers undergraduate and graduate degrees in the study of film, television, and new media. Teaching and research in the department emphasize Arts and Humanities methodologies within an interdisciplinary framework.

The University of California is an Equal Opportunity/Affirmative Action Employer. All qualified applicants will receive consideration for employment without regard to race, color,
religion, sex, sexual orientation, gender identity, national origin, disability, age or protected veteran status. For the complete University of California nondiscrimination and affirmative
action policy see: http://policy.ucop.edu/doc/4000376/NondiscrimAffirmAct

 

NEH Summer Institute: Space, Place and the Humanities

Space, Place, and the Humanities” is a three-week summer institute hosted by the Humanities Center at Northeastern University in Boston (July 24-August 11, 2017) on the newly emerging, interdisciplinary field of Geohumanities. At the intersection of geography, history, literature, creative arts, and social justice, Geohumanities focuses on the role of space and place in a range of humanities disciplines.
The aim of this Institute is to help scholars in humanities disciplines integrate spatial thinking into their research and teaching in new ways. Prominent scholars from cultural geography, literary studies and the digital humanities will lead the Institute, foregrounding the study of space and place as an interdisciplinary endeavor.

Institute Faculty

Tim Cresswell, Trinity College - @CresswellTim
Nicholas Brown, Northeastern University - @nicholassenn
Elizabeth Maddock Dillon, Northeastern University - @emdillon
Wendy Harding, University of Toulouse
Catherine D’Ignazio, Emerson College - @kanarinka
Bruce Janz, University of Central Florida
Sarah Kanouse, Northeastern University
Cindi Katz, CUNY Graduate Center
Anne Knowles, University of Maine
Khury Petersen-Smith, Tufts University - @kpYES
For more information on the institute, eligibility criteria, and our online application please visit: http://www.northeastern.edu/spaceandplaceneh/.

Applications due March 1.

For all Institute updates, follow @nuhumanities on Twitter and look for our Institute hashtag: #spaceandplace17

Founded in 2008, the Northeastern Humanities Center supports faculty and student research in the humanities and social sciences; facilitates collaboration across disciplines; and presents humanistic and social scientific research to the wider university community and general public. Through our fellowship program, working groups, discussion forums, symposia, seminars, informal dialogues, conferences, and joint projects, the Humanities Center fosters a wide-ranging interdisciplinary exchange of ideas in an atmosphere of respect for diverse perspectives and expertise. An integral part of Northeastern University’s signature experiential liberal arts program, the Humanities Center offers various opportunities for engagement with art, literature, philosophy, history, and social and political formations, thereby strengthening the foundation from which to respond meaningfully to one another and the needs of our world.

Art/Sci/Tech with Leonardo at CAA 2017

On Saturday February 18th, 2017 at the College Arts Conference in New York City, Leonardo/ISAST is hosting 4 events. We have included this information in our conference listing, but the Leonardo schedule is also below:

8:30 a.m. - 10:00 a.m.
The Centenary of D’arcy Wentworth Thompson’s On Growth and Form, Part I: Art, Architecture, and Design in the Postgenomic Present

10:30 a.m. - 12:00 p.m.
The Centenary of D’Arcy Wentworth Thompson’s On Growth and Form, Part II: Performance Art, Interactive Media, and Bioart

12:15 p.m. - 1:15 p.m.
Leonardo Education and Art Forum Meeting

4:00 p.m. - 7:00 p.m.
Leonardo LASER Gathering
Offsite - RSVP Required

Leonardo/The International Society for the Arts, Sciences and Technology (Leonardo/ISAST) is a nonprofit organization that serves the global network of distinguished scholars, artists, scientists, researchers and thinkers through our programs focused on interdisciplinary work, creative output and innovation. From its beginnings, Leonardo/ISAST has served as THE virtual community for purposes of networking, resource-sharing, best practices, research and events in Art/Science/Technology.

Tenure/Tenure-Track Position, Games and Simulation Arts and Sciences at Rensselaer Polytechnic Institute

Open Rank Faculty Position in Games and Simulation Arts and Sciences

The program in Games and Simulation Arts and Sciences (GSAS) at Rensselaer Polytechnic Institute in the School of Humanities, Arts and Social Sciences invites applications, nominations, and expressions of interest for an Open Rank faculty position. The selected candidate will have a tenure home in one of the five departments of the School of Humanities, Arts and Social Sciences: Arts, Cognitive Science, Communication and Media, Economics, or Science and Technology Studies.

Applicants must hold a terminal degree (PhD, MFA or foreign equivalent) in Computer Games or a related field such as Digital Media, Computer Science, Cognitive Science, or Human-Computer Interaction. The ideal candidate will have a successful record of collegiate teaching and a proven track record of both leading and participating in collaborative interdisciplinary research.

We seek a colleague with a passion for the future of games and a publication or exhibition record in human-computer interaction, experimental games, artificial intelligence, behavioral science, games for learning, health, and social impact, or a related area of game design and research. An entrepreneurial spirit and expertise in game creation is desirable.

Teaching responsibilities include courses in game design, game development, or game programming, with the possibility of developing and teaching new courses in the faculty member's area of expertise.

Games and Simulation Arts and Sciences is a top-ranked, interdisciplinary program that combines theory with practice and technical rigor with creative exploration in order to educate the next generation of game designers. Rensselaer Polytechnic Institute has been named a Digital Gaming Hub by the State of New York to increase the economic impact of games by fostering innovation and creating collaborative activities that spur the growth of new games or companies.

Founded in 1824, Rensselaer Polytechnic Institute is the nation's oldest technological university. With approximately 5,000 undergraduate and 2,500 graduate students from around the world, the university offers programs at the bachelor's, master's, and doctoral levels. Rensselaer is located in the city of Troy, in New York State's scenic Hudson Valley, roughly equidistant from New York City, Boston and Montreal. The university's Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) offers opportunities for creative interdisciplinary research in the arts, performance technologies, science and engineering in a unique, world-class facility.

We welcome candidates who will bring diverse intellectual, geographical, gender and ethnic perspectives to Rensselaer’s work and campus communities. Rensselaer Polytechnic Institute is an Affirmative Action/Equal Opportunity, Race/Gender/Veterans/Disability Employer.

To apply, please submit a letter of interest, curriculum vitae, research statement, teaching statement, (optional) online portfolio URL, and three letters of reference to http://rpijobs.rpi.edu/postings/3064. Applications will be accepted until the position is filled. The appointment has an anticipated start date of August 2017.

Contact: Kim Osburn osburk@rpi.edu with questions.

GSAS is an interdisciplinary program in game design and development, with game designers, cognitive scientists, media artists, computer scientists, writers, musicians, and media scholars. Our B.S. degree was launched ten years ago, and this new position will join us in extending it to the development of a graduate program. RPI has a long history at the forefront of media arts, with one of the first practice-based doctoral degrees in Electronic Arts, a world-class artist-in-residence program at EMPAC, and an Arts Department that encompasses computational media, animation, documentary filmmaking, music, bioar, performance and more.

Applications Open for the University of Maine Intermedia MFA & PHD programs

We have exciting news for potential Intermedia MFA Program graduate students. The Regional Graduate Scholarship builds upon UMaine's commitment to affordability and creates a pathway for academically-talented students to access graduate education. With the Regional Graduate Scholarship, new students from VT, RI, NJ, MA, CT, NH, and PA accepted into the MFA Program are automatically given an out-of-state tuition reduction from $1,361/credit hour to $650/ credit hour.

That means a saving of over $42,000 for the full degree program!

This program, coupled with additional available grants, scholarships, teaching and research assistantships, makes attending the University of Maine one of the most affordable programs in the nation. Beyond affordability the Intermedia MFA is a highly individualized, interdisciplinary program that offers 24 hour access to cutting edge technologies in a new building, exhibition and publishing opportunities, dynamic visiting artist programs, and a nurturing environment and faculty that will help any creative practitioner reinvent and/or expand their work.

Applications received by February 15th will be eligible for the Regional Graduate Scholarship as well as other funding opportunities. If you are able, we welcome you to contact us to speak with us about your interests in Intermedia and to schedule a tour of our program and facilities.

The Masters of Fine Arts in Intermedia at the University of Maine provides substantial advanced study for individuals interested in interdisciplinary study in the arts. The program emphasizes intensive development of students' creative and innovative abilities through a diverse engagement with multiple research processes, critical thinking skills and creative production tools and technologies. The Faculty in Intermedia is drawn from a wide variety of disciplines including Art, New Media, Theater, Dance, Philosophy, Art History, Engineering, Communications, Media Studies, Music, Psychology, Natural Sciences, and others. Students come from many disciplinary backgrounds but are united by their interest in exploring the potentials of creative work in the 21st century.

Tenure Track Faculty Position In New Media: The University of Maine

The University of Maine School of Computing and Information Science invites applications for a full-time, academic-year, tenure-track Assistant Professor for the New Media Program, effective August 28, 2017. Candidates with teaching and research interests in creative programming are encouraged to apply to enhance and/or complement UMaine’s New-Media strengths in digital storytelling; video, photographic, and audio production; Web design and development; rapid prototyping; and user experience and interaction design. Candidates may either be programming language experts who focus on creative content or creative artists with strong programming credentials.

Essential Duties & Responsibilities:
- Teaching introductory programming classes as well as upper-level courses in server-side development for the New Media BA and Minor.
- Advising and mentoring undergraduate students in New Media.
- Collaborating with students and colleagues to develop creative applications.
- Service to the school, the college, the university, and the profession.

Knowledge, Skills & Qualifications:
- Terminal degree (earned doctorate or MFA) in a discipline closely related to New Media required by date of hire.
- A rich and deep understanding of the contemporary field of digital culture is required.
- A commitment to excellence in teaching and research is required.
- Demonstrated skills in contributing to the New-Media research agenda are required.
- Extensive experience in writing custom software for new media contexts, such as online, mobile, and physical environments is required.
- Familiarity with such topics as user interface design, user interaction, and new media art and design practices required.

Research interest and expertise in one or more of the following areas are desired: Web and mobile development (e.g., PHP, MySQL, HTML, CSS, JavaScript, and Swift), gaming (e.g., Unity, Python, and Lua), and physical computing (e.g., Processing and OpenFrameworks).

The application includes a cover letter with a URL for documentation of the candidate’s creative programming, preferably including at least one example of custom source code; a curriculum vitae; copies of graduate academic transcripts (photocopies acceptable for initial screening); and statements of both research and teaching interests.

Visit our Website for more details: http://umainenewmedia.org/new-media-position

Review of applications will begin on February 15, 2017 and continue until the position is filled. Questions can be addressed to NewMediaSearch@umit.maine.edu.

Representatives of the New Media program will also be available to answer questions about the position at the College Art Association (CAA) conference in New York from 15-18 February.


The New Media Program at the University of Maine offers an interdisciplinary course of study in the systems, technologies, history, design, and theory of information. The curriculum enables students to investigate the creative and applied processes essential to this area of study. It prepares students to be technologically capable, articulate thinkers, and creative media professionals.

Today, information is becoming fluid, continuous and instantly accessible. This has caused a shift in the ways in which we create, access, use, understand and distribute information. The advent and convergence of new ideas, technologies, and information systems has rekindled the relationship of the applied and creative arts and sciences. This renewed bond presents new collaborative opportunities for artists, scientists, communicators, and other creative thinkers. Our program provides an interdisciplinary, experiential approach to learning that emphasizes creativity, critical thinking, teamwork and entrepreneurship.

CFP and Artwork: Taboo – Transgression – Transcendence in Art & Science 2017 at Ionian University

Corfu, Greece | May 26-28, 2017
Deadline for proposals: February 28, 2017

The Department of Audio and Visual Arts of the Ionian University organizes for the second year in a row the interdisciplinary conference "Taboo - Transgression - Transcendence in Art & Science", including theoretical and artwork presentations. The conference continues to focus: a) on questions about the nature of the forbidden and about the aesthetics of liminality - as expressed in art that uses or is inspired by technology and science, b) in the opening of spaces for creative transformation in the merging of science and art.

More info: http://avarts.ionio.gr/ttt/2017/en/description/

Art is, in so many ways, a reflection of reality, its glorification as well as its challenger, in an instinctive understanding that nothing is stable despite the effort to keep a balance between the comfort of belief and the delusion of control. Art and science interrelations are not always clear and one could have the impression that the artist seems more permeable to the influence of science than the scientist to the influence of art. This year's conference is dedicated to all those who keep pushing the limits further than the next gadget and understand the essential role of fantasy when synchronized with reality. One step further, one more time, knowing that the truly opening dimension might be towards the voyaging of consciousness.

Submissions are welcome from all art and research fields with emphasis on filmmaking, illustration, video art, sound art / electroacoustic music, photography, animation, videogames, computer art, installation art, performance art, bio art, net.art, electronic art, robotic art and cutting-edge technology in art research.

Suggested, but not exclusive topics, are those associated, with: Chemistry of the mind, natural healers and mind enhancement | Post gender, transgressive identities and social models | Cyborg, augmentation and bοdy modification | Psycho-pharmacology, somatechnology and post-humanism | Human-like machines, uncanny valley and sex technology | Biopunk, hybridity and aesthetics of mutation | Biotechnology, biophysics and music technology.


Including a wide range of artistic and scientific activities, the Audiovisual Arts Festival provides a chance to highlight the overall results of the educational and research activities developed by the Faculty of Audiovisual Arts, particularly in the field of contemporary sonic and visual arts. The festival’s main program include, among other events, presentations of digital interactive audiovisual works/installations and electronic music concerts by artists from Greece and abroad. Ultimately, there will be a summer school in hybrid arts and an international conference, in 2017 under the title “Taboo-Transgression-Transcendence in Science and Art”.

CFP Moving Forward: Where is the Journalist in Social Media?

Centre for Ecological, Social, and Informatics Cognitive Research (ESI.CORE)
Inaugural International Conference

Moving Forward: Where is the Journalist in Social Media?

SpringHill Suites Downtown Denver
Metropolitan State University of Denver
Denver, Colorado USA
June 23-24, 2017

Call for Papers:

In the current political climate, the constructions of celebrity leaders and popular forms of mediated truths, especially with the recent "fake" internet news, have raised questions about journalism. Tabloid and other forms of popular journalism use narrative devices of gossip, rumor and scandals while many news media have abandoned facts and intelligent analysis in favor of spectacular outrage and incivility, both situations acting as testaments to the lack of informed opinions. Although scholars and journalists work together during news reporting, investigations/documentaries, and on other issues that are covered by news media, scholars are often confined to academic research and disconnected from the realities faced by journalists. Can citizen journalists and journalism scholars help move forward with progressive research and practice? What are the qualifications and definitions of a ‘journalist?’ Is this someone who is employed professionally - or someone who has received an academic certification (degree) to be qualified? Or can anyone today be a journalist?

Citizen participation has been seen as essential in the democratic processes of production, distribution, and reception of news. Online participatory media such as blogs, comments and videos offer a democratic platform for the expression of alternative ideas that may otherwise be filtered by traditional journalism. Yet, citizen journalists need critical media literacy that is often lost in the lure of visibility. How can journalism scholars creatively and critically engage citizen journalists in the dissemination of their research, informed opinions and cultural productions?

The Centre for Ecological, Social, and Informatics Cognitive Research (ESI.CORE), in association with sponsors Centre for Media and Celebrity Studies (CMCS) and WaterHill Publishing, invites academics, journalists, publicists, producers and guests to attend, speak and collaborate at the inaugural international conference Moving Forward: Where is the Journalist in Social Media? Join us in Denver, Colorado where the conference will uniquely combine vibrant roundtable and media workshop panels in a collaborative network.

The format of the conference aims at being open and inclusive ranging from interdisciplinary academic scholars to practitioners involved in all areas of print, broadcast and online journalism. Working papers and media productions will be considered for the conference.

Extended versions of selected best papers will be published in an edited book.

Registration includes: Your printed package for the complete conference, professional development workshops, coffee / tea breaks, access to evening receptions, complimentary evening drinks, consideration for publication.

Submission guidelines:
◦ 250-word abstract or workshop / roundtable proposal
◦ Include a title, your name, e-mail address, and affiliation if applicable
◦ Submit to conference Chair Dr William Huddy at email address: submit@esi.core.org
◦ Deadline for abstract submission: February 15, 2017
◦ Notification of acceptance: March 15, 2017
◦ Early bird registration deadline: April 30, 2017
◦ Full registration deadline: May 30, 2017
◦ Conference reception and presentations: June 23-24, 2017

Topics include but are not limited to:
Communication
Media
Journalism
Photojournalism
Television and Radio
Social Media
Informed Opinions
Infomercials
Advertisement
Publicity and Promotion
News
Interviews
Audience
Race
Gender
Environment and species
Class
Fiction
Genre
Biography
Theory and Methods
Ethics and Morality
Cognition
Media Literacy
Education and Advocacy
International Relations
Business and Community Partnerships

Conference Web Page: www.esicore.org/events/denver2017.html
Conference Twitter @esicore #MF2017
Committee Members: Josh Nathan and Ngoma Evelyn Moghalu
Conference Chair: Dr William Huddy
Dr. William Huddy earned his Ph.D. in Communication Studies from the University of Denver (2012). Prior to academia, Huddy worked as a journalist and anchored television newscasts in Colorado Springs, Colorado, El Paso, Texas, Milwaukee, Wisconsin, and Fort Myers, Florida. He’s a Past-President (2007) of the Rocky Mountain Communication Association, and an active member of the National Communication Association since 2001. He teaches Political and Campaign Communication, Communication Research and Theory Building, Interpersonal Communication and Public Speaking at Metropolitan State University of Denver (since 2013), with a research focus on student engagement and communication activism. His most recent publication came from the Sept. 2-3, 2015 Center for Media and Celebrity Studies Conference presentation of his paper, “Corporate Colonization and the Myth of Authentic Journalism.”

ESI.CORE is a not-for-profit research and education organization. Its focus is the multidisciplinary study of cognition, perceptions and emotions, particularly investigating social, artistic, psychological, ecological and technological aspects.

Extended CFP “Video Game Art Reader” Inaugural Issue, Deadline: January 23, 2017

Video Game Art Reader Call for Papers Extension, Issue #1:

To accommodate the demands of the holiday season, the Video Game Art Reader (VGAR) has extended its deadline for paper submissions for its inaugural issue in the summer of 2017 to allow interested authors time to proof and polish their submissions. All paper submissions are now due by 11:50pm on January 23rd, 2017.
Late submissions will be accepted purely at the discretion of the Editor in Chief, Dr. Tiffany Funk.

Context:
The VGAR seeks a variety of art historical analyses and works of art criticism pertaining to all levels of video game production; from art game experiments, to significant developments in indie and small studio games, to high-profile mass-audience titles. Objects of analysis can reside on any video game platform including consoles, personal computers, mobile devices, alternative and custom hardware, virtual reality platforms, and other emerging technologies. Each submission should be framed within its historical and cultural context in order to help generate and add to a growing overlap between art history and video games as an inviting and rich field of inquiry.

Mission Statement:
The VGA Reader is a peer-reviewed journal for video game audiences and video game practitioners interested in the history, theory, and criticism of video games, explored through the lens of art history and visual culture. Its primary aim is to facilitate exploration and conversation of video game art, documenting and disseminating discourse about the far- reaching influence of video games on history, society, and culture.

Submitting:
All submissions and questions should be sent to: Editor in Chief, Dr. Tiffany Funk tfunk@vgagallery.org
Date: January 23rd, 2017

Possible topics include but are not limited to:
● Analysis of video game genres and platforms, both emerging and historical
● Analysis and documentation of significant experiments in avant-garde video games
● Analysis of issues pertaining to representations, gender performance, sexuality, class, and race in video games
● Analysis and critique of gaming culture(s), of gaming and consumer habits as a whole, or of a specific franchise or trend
● The public exhibition of video games in museums, galleries, festivals, conventions, and arcade bars
● Investigations and descriptions of video game development, design, and authorship
● Analysis of existing video game criticism, reviews, advertising, and marketing
● Gamification and how it functions in both the humanities and sciences
● Analysis of the function of video games in culture and society
● The formation of new communities, institutions, and contexts for video games
● Analysis of the development of virtual and physical communities in video games, gaming culture, and the politics of video game spaces

For more information and formatting guidelines, visit:
http://www.videogameartgallery.com/education-1/
http://www.videogameartgallery.com/s/VGAReaderSUBMISSIONGUIDELINES-6z5x.pdf

Please direct any questions to: reader@vgagallery.org

Amanda Coleman
The VGA Editorial Team

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Founded in 2013 in the lively game community of Chicago, Video Game Art (VGA) Gallery seeks to increase cultural appreciation and education about one of the most important mediums of the 21st century -- video games --through exhibition, study, and sale. VGA Gallery is an Illinois 501(c)(3) not-for-profit corporation.

Assistant/Assoc. Professor of 3D Graphics and Animation at Virginia Tech University, School of Visual Arts, Creative Technologies

The School of Visual Arts seeks applications for an Assistant or Associate Professor, tenure-track faculty with a specialization in 3D graphics and Animation. Responsibilities include teaching a strong curriculum of learning, discovery, and engagement; developing and teaching undergraduate and graduate curriculum; providing creative direction and scholarship; maintaining a strong national/international creative research agenda; facilitating design studios; and advising students. Faculty are expected to participate in school, college and university level service and outreach programs including collaboration and cross-disciplinary work with other programs within the School of Visual Arts (SOVA), committee work, and administrative duties.

This position requires a terminal degree in 3D animation or related field; experience teaching 3D animation at the university or college level beyond graduate school teaching appointments; a desire to work collaboratively and across disciplines with proven academic leadership experience. The candidate’s portfolio should demonstrate a good sense of character design with 3D modeling, texturing, rigging, lighting and rendering; experience using motion capture; professional experience in the field of VFX is highly desirable.

The ideal candidate should have a strong working knowledge of industry standard content creation software packages (i.e Maya, Zbrush, Cinema4D, AfterEffects, Photoshop, and RenderMan); and evidence of an on-going and active professional exhibition record at a national and international level with a broad understanding in the history and theory of contemporary 2D and 3D animation. Expertise with MEL/Python scripting in Maya, or coding in Unity or Unreal game engines is highly desirable.

contact Search Committee Chair Thomas Tucker thomasjt@vt.edu


Virginia Tech is a public land-grant university, committed to teaching and learning, research, and outreach to the Commonwealth of Virginia, the nation, and the world. Building on its motto of Ut Prosim (that I may serve), Virginia Tech is dedicated to InclusiveVT—serving in the spirit of community, diversity, and excellence. We seek candidates who adopt and practice the Principles of Community, which are fundamental to our on-going efforts to increase access and inclusion, and to create a community that nurtures learning and growth for all of its members. Virginia Tech actively seeks a broad spectrum of candidates to join our community in preparing leaders for the world.

The School of Visual Arts (SOVA) at Virginia Tech offers an expansive undergraduate and graduate education in fine art, creative technology, art history, and graphic design. Our Studio Art, Creative Technology and Graphic Design BFA programs offer an inclusive approach to educating artists and designers, implementing new and established technologies that are uniquely available at Virginia Tech.

Our Art History BA educates students to place visual culture in its broader historical context. We offer an MFA in Creative Technologies, a cross-departmental MA in Material Culture and Public Humanities. Our programs enable students to combine technical expertise with critical and creative inquiry.

Assistant/Associate Professor in Gaming at Virginia Tech University, School of Visual Arts, Creative Technologies

The School of Visual Arts at Virginia Tech seeks applications for an Assistant or Associate Professor, tenure-track faculty position with a specialization in Gaming; with experience teaching 2D and 3D gaming at the university or college level beyond graduate school teaching appointments; maintaining a strong national/international creative research agenda; and advising students. Faculty are expected to participate in school, college and university level service and outreach programs including collaboration and cross-disciplinary work with other programs within the School of Visual Arts (SOVA), committee work, and administrative duties.

The School of Visual Arts (SOVA) is housed within the College of Architecture and Urban Studies. Within three areas of SOVA (VCD, Studio Arts and Art History). The school also offers an MFA in Creative Technologies, an MA in Material Culture, and an individualized Ph.D. in Human-Centered Design. Information can be found at: http://www.sova.vt.edu.

This faculty search is part of a cross-college cluster hire being conducted within the Destination Area and the Creative Technologies and experiences Strategic Growth Area, which are two initiatives created to recruit and support world-class groups of faculty colleagues that bridges disciplinary strengths. This cluster hire will foster interdisciplinary collaborations that explore interactive approaches to thinking and problem solving through the lens of technology. (http://provost.vt.edu/destination areas.html)

This position requires a terminal degree in Gaming or related field; experience teaching 2D and 3D Gaming at the university or college level beyond graduate school teaching appointments; a desire to work collaboratively and across disciplines with proven academic leadership experience. The candidate’s portfolio should demonstrate a good sense of level and set design, environment design, lighting, texturing and character design in gaming, know how to weave storytelling and content into games, experience in browser based gaming, experience in AR and VR gaming; professional experience in the field of Gaming is highly desirable.

Virginia Tech recognizes the critical importance of diverse teams of scholars. It seeks to diversify its faculty along multiple dimensions, including those that have been historically marginalized and excluded given the institutional history and legacy of the university. Virginia Tech is a public land-grant university, committed to teaching and learning, research, and outreach to the Commonwealth of Virginia, the nation, and the world. Building on its motto of Ut Prosim (that I may serve), Virginia Tech is dedicated to InclusiveVT — serving in the spirit of community, diversity, and excellence. We seek candidates who adopt and practice the Principles of Community (http://www.inclusive.vt.edu/), which are fundamental to our on-going efforts to increase access and inclusion and to create a community that nurtures learning and growth for all of its members. Virginia Tech actively seeks a broad spectrum of candidates to join our community in preparing leaders for the world.

The ideal candidate should have a strong working knowledge of industry standards in content creation software packages (Unity, Unreal, Maya, Zbrush, Substance Designer, Headus and Photoshop); evidence of an on-going and active professional exhibition record at a national and international level with a broad understanding of the history and theory of contemporary 2D and 3D gaming. Expertise with coding in Unity or Unreal game engines is highly desirable.

contact Search Committee Chair Thomas Tucker thomasjt@vt.edu


Virginia Tech is a public land-grant university, committed to teaching and learning, research, and outreach to the Commonwealth of Virginia, the nation, and the world. Building on its motto of Ut Prosim (that I may serve), Virginia Tech is dedicated to InclusiveVT—serving in the spirit of community, diversity, and excellence. We seek candidates who adopt and practice the Principles of Community, which are fundamental to our on-going efforts to increase access and inclusion, and to create a community that nurtures learning and growth for all of its members. Virginia Tech actively seeks a broad spectrum of candidates to join our community in preparing leaders for the world.

The School of Visual Arts (SOVA) at Virginia Tech offers an expansive undergraduate and graduate education in fine art, creative technology, art history, and graphic design. Our Studio Art, Creative Technology and Graphic Design BFA programs offer an inclusive approach to educating artists and designers, implementing new and established technologies that are uniquely available at Virginia Tech.

Our Art History BA educates students to place visual culture in its broader historical context. We offer an MFA in Creative Technologies, a cross-departmental MA in Material Culture and Public Humanities. Our programs enable students to combine technical expertise with critical and creative inquiry.

3D Additivist Cookbook

Cookbooks tend to be written in the present tense and can thus become historical documents of social traditions. The 3D Additivist Cookbook is a reference to the utilization of a current technological medium for social and political response and an insight to networked cultural production. The content of the cookbook is formed from participants' recipes, toolkits, theoretical writings and potential objects. Being published within the cookbook genre situates this text among a diversity of tastes, ranging from artists to writers who view the 3D printer beyond its ability to produce standard objects.

Production from a 3D printer is categorized as an ingredient in the 3D Additivist Cookbook. The basis of the cookbook is to begin a dialog about the material politics of the 3D additive manufacturing process, but the contents of the cookbook mix these plastic layers with contemporary political and social projects.

The cookbook is published as a downloadable 3D PDF document, a current medium of our time. This format allows 3D printable files to be embedded in the actual pages of the PDF, simultaneously enableing the distribution of the 3D printable files. The publisher of the cookbook, Institute of Network Cultures in Amsterdam, is focused on the transdisciplinary nature of new media, do-it-yourself (DIY) culture, and open source elements. The PDF format of the book paired with the Creative Commons license invites the free distribution and expansion of knowledge from this digital publication.

Cover of The 3D Additivist Cookbook

Cover of The 3D Additivist Cookbook

To follow a recipe to its final outcome poses a variety of action and step-oriented processes. This is how the cookbook’s creators and editors, Morehshin Allahyari and Daniel Rourke, relate the manufacturing of other realities from the contents of the cookbook. A few of these behaviors are making, learning and sharing. These actions, which spring from the process of following a recipe, have the possibility to transform something on a small scale (such as a situation) or on a large scale (such as the world). The example I chose to examine from the 3D Additivist Cookbook documents the physical and virtual effects of an intervention-based project.

Nora Al-Badri and Jan Nikolai Nelles' intervention of a Berlin-based museum is entitled NefertitiHack. The artistic intervention is questioning the ownership and possession of material objects from other cultures. The Egyptian Nefertiti Bust can be associated with material culture theories and colonialist museum methods of acquiring objects, but in the case of this artwork, the scanning process that was used for the 3D printer facilitated the reassessment of the original sculptural object by activating it in the virtual space.

The original Nefertiti Bust was allegedly scanned on the premises of the museum using a hand-held digital device. The data to replicate the sculptural bust was released into the public domain. The public accessibility to this 3D printable file offers a blueprint for many forms of manipulation or the creation of multiples.

The process for this project does not end with an option of printing an object, nor does it linger in the virtual realm. In the cookbook, the NefertitiHack project includes documentation in the form of news media headlines from the final effects of the public release of the data. Since it is stated that the museum’s original Nefertiti Bust was scanned, this digital artistic intervention continues a political and social debate about cultural and intellectual property rights.

Screenshot of Nefertithack Cookbook Page with News Media Headlines

Screenshot of Nefertithack Cookbook Page with News Media Headlines from The 3D Additivist Cookbook

This chosen example is but a sliver of the broad networked cultural production that is included in the 3D Additivist Cookbook. To loosely define networked culture, digital technology is used to maintain everyday communication with a group of individuals who share similar interests. Social media sites, such as Facebook, contributed to the growth of the networked culture of Additivists. Digital technologies offer the capabilities of linked global communication that bring these Additivist participants together, but the cookbook genre represents this specific network’s production.

Historically, a community-based cookbook referenced primary sources of ingredients and methods to carry out a recipe that would document the tastes of a particular region. A networked culture extends the concept of community through the possibilities of digital culture and the immaterial production of information. The cookbook format is used as an organizational tool to present this specific time-period (today) and individual artists' concepts regarding the oddities of 3D print production.

The process of a recipe can be altered either by the maker’s taste or the lack of an ingredient. For this cookbook, however, the change of recipe is desired and the contents have the capabilities of evolving at an even faster rate. Because networked culture helped form the content, it will also continue this trajectory of mutation. It is not easily determined if the mutation will lead to less 3D print production or to more participatory social projects. The 3D Additivist Cookbook has begun to document the work of those who have actively pursued the expanded scope of this new medium.

 

References

The 3D Additivist Cookbook [Internet], Available from: http://additivism.org/cookbook [Accessed December 5, 2016].

Institute of Network Culture (INC) [Internet], Amsterdam, Hogeschool van Amsterdam. Available from: http://networkcultures.org/about/ [Accessed December 16, 2016].

Varnelis, K. The Immediated Now: Network Culture and the Poetics of Reality [Internet], networked a (networked_book about (networked_art). Available from: http://varnelis.networkedbook.org/the-immediated-now-network-culture-and-the-poetics-of-reality/ [Accessed December 26, 2016].

Varnelis, K. (2010) The meaning of network culture (1) [Internet], openDemocracy. Available from: https://www.opendemocracy.net/kazys-varnelis/meaning-of-network-culture-1 [Accessed December 26, 2016].

Wessell, Adele. Cookbooks for Making History: As Sources for Historians and as Records of the Past. M/C Journal, [S.l.], v. 16, n. 3, aug. 2013. ISSN 14412616. Available at: http://journal.media-culture.org.au/index.php/mcjournal/article/view/717 [Accessed December 26, 2016].

 

By: Carrie Ida Edinger

Carrie’s interest with new media is in interdisciplinary methods and the use of the Internet as a presentation site for evolving contemporary projects.

Terminal 2.0

This second part of my four part Hub blog series continues to discuss my singular interface experience of the Western Front’s virtual space of Terminal. Terminal 2.0 is a web presence that considers the impact of graphical user interfaces (GUI’s) on the progression of artists' creative processes. In the early 1980’s, GUI’s offered a user-friendly visual means of making the operation of personal computers more accessible. These types of visuals are usually in the form of graphic icons or menus. The transition of computer operations from command-line interfaces to point and click devices transformed the manipulation and processing of imagery.

Commodore Amiga 1000 personal computer with 1081 RGB monitor. (1985) Photo Courtsy of Creative Commons Attributions, Kaiiv

Commodore Amiga 1000 personal computer with 1081 RGB monitor. (1985) Photo Courtsy of Creative Commons Attributions, Kaiiv

The web presence of Terminal 2.0 consists of computer animations by artists Barry Doupé and Amy Lockhart, along with Clint Enns’ text, Nostalgia for the Digital Revolution: Interfacing with Obsolescence. The Amiga personal computer that was sold by Commodore as a ‘multi-media’ machine is the focus of Terminal 2.0. The personal computer era from the 1980’s and 90’s was a technological phase that influenced digital drawing and animation. Clint Enns’ text illustrates the historical and technological influences on digital tools that are utilized today with personal computers. With these insights, Enns also includes the relevance of nostalgia toward this style of digital imagery and the devices that enabled it.

Doupé and Lockhart’s animations have a sense of nostalgia. Doupé’s Vhery visually presents an abstract manner of drawing, but progresses traditional drawing techniques by pairing them with digital animated movement and “techno” sound. Lockhart’s Amiga Shorts presents the sense of nostalgia by indicating to the viewer that her digital animation was created with an Amiga Emulator. An emulator offers the ability to obtain a specific style by simulating obsolete equipment and software. Both animations embody an early experimental approach to digital imagery. The bright color palette and pixelated edges of the 2D forms indicate some of the limits present in early stages of painting and drawing software.

I grew up during this time-period (1980’s – 1990’s) and have my own sense of nostalgia toward this style of digital imagery. With the progression of digital imagery and my own fine art study from the early 1990’s, I can relate to the nostalgic accessibility of obsolete software. Because of my work with current software, I can also relate to the progression of Photoshop that has enhanced my ability to digitally refine imagery. I remember an undergraduate design course that included a painting program in the curriculum. These software options were offered as part of the course to stimulate critical thinking around the use of digital imagery and to make these tools accessible for students to utilize in future projects.

Looking back on that course, I realize that the inclusion of the painting software offered an inkling of how to work in the “now”. I define “working in the now” as an artist working with a current technological means to create art. Considering the exploration of Clint Enns’ essay and accompanying videos, below are two examples of artists that created work with the media available at the time. Each example is accompanied by a video that documents the artist’s perspective.

John K. Ball’s The Artist and the Computer, a 1976 documentary about experimental filmmaker Lillian Schwartz, explores Schwartz's experience working with a Bell Telephone Laboratory engineer to produce some of the earliest computer animations. Approximately a decade later, Andy Warhol used the Amiga 1000 to push the boundaries of the portrait further. Watching Warhol’s ease-of-use with the early 1980’s GUI’s offers a move away from complicated technological notions of the creative process. The decade’s difference in videos visually depicts the "user-friendly" options of a personal computer to an artist collaboration with technicians with specialized computers.

Screen Shot of Terminal 2.0 Graphical User Interface on Western Front website November 2016

Screen Shot of Terminal 2.0 Graphical User Interface on Western Front website November 2016

Because of my own background with fine art printmaking, I can’t help but consider Warhol’s foundations in graphic arts and print in relation to this digital work.  Walter Benjamin's The Work of Art in the Age of Its Technological Reproducibility investigates the cultural influence of media and art.  Benjamin's essay refers to the condition of media production by considering chronological print history (woodcut, moveable type, lithography) and how print was surpassed by photography in pictorial reproduction. Benjamin includes artists' tasks within his discussion of media production. His argument is that photography relies primarily upon the eye to create an image. The succession of media has freed the artist’s hand from manual tasks, especially drawing. Benjamin’s 1930’s perspective of the human relationship to the acceleration of technological processes comes full circle with the specific working tasks and digital tools of Schwartz and Warhol. Benjamin’s argument is that “the eye perceives more swiftly than the hand can draw.”  The computer brings a quicker speed of production to Benjamin's condition of media production, while the computer's capabilities of restoring and remembering an artist process bring the eye and the hand back together for the artists tasks.

This is particularly demonstrated with Schwartz using a light pen in the production of her animations. The Amiga 1000 and the early 1980’s GUI’s bring the concept of “point and click” to the ways in which hand and eye relate in the process of creating imagery. While these late 20th Century technologies do bring back some sense of physicality to artists' tasks, Lillian Schwartz describes her experience of using a light pen in detail in the documentary. She considers the physicality of working with a digital tool, but relates the task back to the movement of painting or creating visual gestures. Schwartz states in the video that the only thing missing in this process is the smell of the paint.

I view Schwartz’s remark as a moment of nostalgia in relation to a traditional art medium with her loss of the sense of smell in the digital process. Enns’ final section of his essay, Dead Media: Emulating Nostalgia offers these technological and nostalgic ideals toward obsolete equipment and imagery. While I have only hinted at a sense of nostalgia with my time spent with Terminal 2.0., Enns’ essay and accompanying media increased my sense of wistfulness toward the progression of media as it is used within the creative process.

REFERENCES

Benjamin, W. “The Work of Art in the Age of Its Technological Reproducibility: Second Version” in The Work of Art in the Age of its Technological Reproducibility and Other Writings on Media, Eds. Jennings, M., Doherty, B. and Levin, T., Translators Jephcott, E., Livingstone, R., Eiland, H., and others. Belknap Press of Harvard University Press, Cambridge, MA, 2008.

Enns, C. (2016) Nostalgic for the Digital Revolution: Interfacing with Obsolescence [Internet], Vancouver, Canada. Available from: http://terminal.front.bc.ca/ [Accessed November 10, 2016].

Standford Encyclopedia of Philosophy (2011) Walter Benjamin [Internet] The Metaphysics Research Lab, Center for the Study of Language and Information, Stanford University. Available from: https://plato.stanford.edu/entries/benjamin/ [Accessed November 30, 2016].

Terminal 1.0 Part One NMC Hub blog series

By: Carrie Ida Edinger

Carrie’s interest with new media is in interdisciplinary methods and the use of the Internet as a presentation site for evolving contemporary projects.

Call for Curators: CURRENTS New Media Festival 2017

OPEN CALL FOR CURATORIAL PROJECTS DEADLINE: December 31, 2016 Submission Fee $30USD

Use the online form on our website to submit your proposal:
https://currentsnewmedia.org/guest-curator-application/

Parallel Studios is seeking proposals from independent curators for a satellite exhibition that will be featured as a part of CURRENTS NEW MEDIA 2017, Santa Fe’s 8th annual international new media festival.
For more information about the festival and about Currents New Media:
CURRENTS homepage - https://currentsnewmedia.org

GUIDELINES
Proposals must be conceptually rigorous and focus on artists and themes that follow the mission of the Festival. Please see our website: https://currentsnewmedia.org
While New Media Arts embody the basic motivations and intentions of all the fine arts, their distinctive use of technologies that are pervasive in 21st Century culture, make New Media Art a bridge between contemporary art and the general public. The Festival introduces the public to new technology molded by artists into vehicles for expression and the communication of ideas, broadening the definition of 21st century art making and fostering a more expansive use of technology.

• Curators may not include their own work in the exhibition.
• The curator and proposed artists can be of any nationality.
• Curators are expected to be involved in all aspects of exhibition planning.
• Previous experience curating exhibitions is a plus but not mandatory. Equal consideration
will be given to those in the beginning stages of their curatorial careers.

For more information and to fill out an application please go to:
https://currentsnewmedia.org/guest-curator-application/


CURRENTS is a non-profit art festival based in Santa Fe New Mexico. CURRENTS is an annual festival that takes place for 3 weeks in June. During our exhibition we feature work from New Media artists around the world. Our festival showcases cutting edge work in a constantly evolving technological world. Our call for artists for our 2017 festival is now open and categories include:
New Media Installations, Outdoor Video and New Media Installations, Single Channel Video and Animation, Multimedia Performance, Fulldome, Experimental or Interactive Documentary, Augmented Reality / Mobile Device Apps / Art-Gaming / Web-Art, Virtual Reality Environments, Robotics, Digitally Generated Objects (ie. 3D Printing) and Interactive Installations for Children.

This may give you more of a sense of the dynamic and interactive nature of our festival.
7,200 visitors from 17 New Mexico cities/towns, 27 states and 9 countries attended our main venue, El Museo Cultural.
Opening night had over 2,000 visitors.
143 national and international artists, presenters and performers were represented in the main exhibition at El Museo and at venues around Santa Fe.

Non-Tenure-Track Professor of Practice Sculpture/Drawing (Interdisciplinary Artist) at Cornell University

Cornell University’s Department of Art invites applications for a non-tenure-track assistant/associate professor of practice position beginning in fall 2017. This position will have a term of two years and is renewable. Successful candidates should possess an innovative practice and informed teaching experience that complements the interdisciplinary profile of the department and the current research strengths across the university. We are seeking candidates whose critical practice has received distinctive national recognition. Candidates should have demonstrated proficiency and interest in teaching outside of their primary area of interest, including cross-disciplinary dialogue, theory, and critical practice at undergraduate and graduate levels.

The Department of Art is part of the College of Architecture, Art, and Planning, and offers both B.F.A. and M.F.A. degrees with a strong liberal arts orientation. The department enjoys a strong relationship with Cornell’s Herbert F. Johnson Museum of Art and academic units across campus. Art faculty and students have access to extensive traditional and digital production facilities in the college as well as to the resources of a major research university.

Sculpture:

The department embraces a broad definition of the sculpture discipline, and seeks energetic and visionary artists, actively engaged in extending the multiple traditions and emerging practices in the expanded field of contemporary sculpture. This person will be expected to contribute intellectual leadership, provide innovative approaches to departmental collaborative teaching, community engagement, technology, and other aspects of new sculptural practices.

Responsibilities:

The successful candidate will have significant teaching experience in all levels of undergraduate and graduate areas of sculpture, including material and nontraditional practices. The candidate will also be able to teach undergraduate drawing, develop topical seminars, advise students, and participate in administrative responsibilities related to departmental service such as admissions review and curriculum development. The position requires an M.F.A. Salary, title, and rank will be commensurate with qualifications and experience.

Required application materials:

  1. Letter of intent
  2. Curriculum vitae
  3. Teaching statement and artist’s statement
  4. Three course syllabi of the candidate’s design with samples of student work when possible
  5. PDF with images of 10–12 represented artworks with titles, dates, materials, and other explanatory information as needed and a link to a website where samples of the applicant’s work and/or performance documentation may be viewed
  6. Three letters of reference

All applicants should submit their materials electronically to Academic Jobs Online at https://academicjobsonline.org/ajo/jobs/8661.

The deadline to apply is January 5, 2017.

Further information about Cornell, the department, and art students, alumni, and faculty may be found at: http://aap.cornell.edu/academics/art.

EEO/AA Policy: "Diversity and inclusion are a part of Cornell University’s heritage. We are a recognized employer and educator for valuing AA/EEO, Protected Veterans, and Individuals with Disabilities."

Non-Tenure Track Professor of Practice New Media at Cornell University

Cornell University’s Department of Art invites applications for a non-tenure-track assistant/associate professor of practice position beginning in fall 2017. This position will have a term of two years and is renewable. Successful candidates should possess an innovative practice and informed teaching experience that complements the interdisciplinary profile of the department.

The Department of Art, part of the College of Architecture, Art, and Planning, offers both B.F.A. and M.F.A. degrees with a strong liberal arts component. The department enjoys a strong relationship with Cornell’s Herbert F. Johnson Museum of Art and academic units across campus. Art faculty and students have access to extensive traditional and digital production facilities in the college as well as to the resources of a major research university.

New Media:

The candidates should have an extensive knowledge of the history and theory of new media. Areas of specialization may include sound, performance, installation, interactive media, physical computing, and/or noncommercial approaches to technology.

Responsibilities include teaching all levels of the undergraduate program as well as graduate advising, developing topical seminars, and participating in related departmental service such as admissions and portfolio review, curriculum development, and student advising.

The successful candidate will have significant teaching experience, a strong national and international exhibition record and innovative research practice, and will be actively involved in professional art activity on a national scale. We are seeking a candidate whose critical practice has received wide recognition. Candidates should have demonstrated proficiency and interest in teaching outside of their primary area of interest, including cross-disciplinary dialogue and theory and critical practice at undergraduate and graduate levels. The position requires an M.F.A.. Salary, title, and rank will be commensurate with qualifications and experience.

Required application materials:

  1. Letter of application
  2.  Statement of teaching philosophy
  3. Examples of course syllabi
  4. Curriculum vitae
  5. Work samples (links or other appropriate documentation) and work list
  6. Student work samples
  7. Names and contact information for three references

All applicants should submit their materials electronically to Academic Jobs Online at https://academicjobsonline.org/ajo/jobs/8659.

The deadline to apply is January 5, 2017.

Further information about Cornell, the department, and art students, alumni, and faculty may be found at: http://aap.cornell.edu/academics/art.

EEO / AA Policy: "Diversity and inclusion are a part of Cornell University’s heritage. We are a recognized employer and educator for valuing AA/EEO, Protected Veterans, and Individuals with Disabilities."

Assistant Professor in Graphic Design at University of Wisconsin – Stevens Point

The University of Wisconsin-Stevens Point Department of Art & Design is searching for a full time, tenure track faculty member in Graphic Design. This program is well established and NASAD accredited within the College of Fine Arts & Communication. The program focuses on craft, conceptual development, design evolution and visual communication theory. Courses address typography, symbol development, image usage, history of design, branding, systems, strategies and identity. Our curriculum is based in contextual thinking about audience and experience, and prepares students for professional design practice.

The ideal candidate will be able to teach at all levels within this curriculum and bring strengths and abilities in user experience, development and current screen-based technology using design thinking and research methodology consistent with a “social model” of design instruction and practice. Candidates should demonstrate an understanding of screen-based work in both production and theory. Candidates are expected to show a facility with HTML/CSS and motion graphics and/or video production. Additionally, candidates will be expected to engage in professional creative research, advise undergraduates and perform university service.

The University of Wisconsin-Stevens Point is a leading 4-year comprehensive institution located in scenic Central Wisconsin. Approximately 9,300 students are enrolled. The 406-acre campus features modern facilities and the Schmeeckle Nature Reserve.

The university has a strong focus on sustainability initiatives and has been named one of the nation’s green universities by The Princeton Review. The university is committed to creating a safe, inclusive learning community for all faculty and staff from a variety of backgrounds.

The Department of Art & Design has 13 full time faculty members and approximately 300 majors. Art & Design majors pursue either a BFA degree in Art with an emphasis in 2D, 3D or Graphic Design, or a BA degree in Studio Art or Art History. The Graphic Design area currently has three full time faculty and approximately 150 majors. The area is invested in curriculum innovation and collaborative educational practice. There is department, college and university support for professional development.

The Artery Enters into Special Artistic Collaboration with Award Winning Video Artist Ronen Sharabani

snap-to-grid-sharabani

New York, NY, December 6, 2016 – Renowned Art + Technology company The Artery, which is actively expanding its award winning talent base by seeking the most talented digital artists in the world, has established a special artistic collaboration with acclaimed Video Artist Ronen Sharabani, a 2006 Cannes Gold Lion Prize winner. Vico Sharabani, The Artery’s Founder and Creative Director, as well as a brother of Ronen Sharabani, made the announcement.

This new collaboration between The Artery and Sharabani has been designed for two purposes:

  • To develop and present innovative and original Video Content to museums, art galleries, and other special artistic venues around the world; and
  • To integrate Virtual Reality and other new technologies into Ronen Sharabani’s upcoming art exhibits, installations, and live special events around the world.

Regarding this new collaboration with his brother, Vico Sharabani said, “We are extremely excited about our new relationship with Ronen, a digital artist with the highest caliber of talent! Working in tandem with him, this new collaboration will allow us the first time to really ‘show off’ our skills and expertise in the world of Art, as well as our unique and innovative capabilities in the world of Technology. Ronen will be conceiving, producing and presenting never-before-seen artistic installations and experiences all over the world.”

He adds, “We want our clients to know about this new collaboration because it exemplifies how The Artery can bring deep artistic conversation and experience to their advertising projects. This cross pollination of art plus technology is the DNA behind our company. Historically, we’ve delivered feature film level imagery to commercials and music videos, and the latest, interactive technologies to enhance advertising campaigns and experiential experiences. Our art plus technology expertise is what makes our company truly unique, as we bring this approach to all of our projects, large and small.”

Ronen Sharabani said, “My constant urge to create has allowed me to produce a number of well-received exhibits so far, but as a solo artist, there have always been limits to how far I could go by myself. The exciting new collaboration with The Artery allows me to make a major jump to the next level. The Artery is a very high-end post house that compliments my work process as we both combine art and technology in innovative ways. By joining forces, we break the borders and barriers of what has been possible so far within the worlds of digital art and VR. The Artery is truly a unique company, and Vico has always been a person who can stretch the limits of computers and their capabilities. He is a highly improvisational artist, has mastered the blending of Art and Technology, and can create imagery from the 5% of hidden software that you can’t easily get from plug-ins. I am really looking forward to see what the future will bring!”

The Artery’s new relationship with Ronen Sharabani adds to the company’s existing collaborations with other noted video artists whose works have been exhibited widely in galleries and museums in the United States, as well as China. These exhibitions include those seen at the Whitney Museum of Art, Mass Moca, The Contemporary Austin, Zhejiang Art Museum, Hangzhou China, and many more.

ABOUT UPCOMING & RECENT RONEN SHARABANI PROJECTS:

At present, Sharabani is preparing for his next solo art exhibition, which will take place at the Nahum Gutman Museum of Art in Tel Aviv starting on December 20th. Entitled “Snap to Grid,” Sharabani’s new work, which he calls a “Smart Exhibition,” will be comprised of imagery projections against a very large wall at the museum. “Snap to Grid” will include computer renderings and 3D environments which will also be translated to VR. Sharabani and The Artery hope to export this VR experience during early 2017, to a live installation located in New York’s Union Square. As such, people in New York will be able to experience the same imagery simultaneously with people physically located at the Gutman Museum in Tel Aviv.

In late September 2016, The Paul E. Singer Foundation sponsored a collaboration between Start-Up Nation Central and Artis to create an interactive showcase of the innovations in the Israeli art world and art-related technology solutions. The event, which featured a talk and presentation by Ronen Sharabani, was held at Sotheby’s New York, in front of an audience of more than 150 New-York collectors, art curators, and business related executives from the art industry, and was the first in a series of events.

Additionally, Sharabani, in conjunction with technology supplied to him by The Artery, also presented a large projected exhibit at the Contemporary Austin during May 2016. His exhibit was presented in celebration of the Driscoll Villa at Laguna Gloria’s hundred year anniversary. For the event, Sharabani created a site-specific outdoor and indoor video projection, entitled “Matchbox,” featuring Israeli dancer Iyar Elezra of the Batsheva Dance Company, with music by Avi Belleli. Matchbox’s running time was 15 minutes on a loop – the projection ran for two hours. For more info about this exhibition, please see: http://www.thecontemporaryaustin.org/event/ronen-sharabani/

Regarding Sharabani’s “Matchbox” exhibit in Austin, Andrea Mellard, the Director of Public Programs & Community Engagement with the Contemporary Austin Museum, said, “Ronen Sharabani transformed the museum’s well-known architecture using cutting-edge technology. The incredible projections of his project ‘Matchbox’ made familiar details hidden, while his powerful imagery seemed to emerge into three-dimensions. People who know and love the building could not believe their eyes.”

ABOUT RONEN SHARABANI:

Ronen Sharabani, a 2006 winner of the Cannes Gold Lion Prize for “Best Creative Commercial,” lives and works in Tel Aviv, Israel. Ritual, struggle, faith, and politics take center stage in his works, not for didactic purposes, but as the gateway for transformational experiences.

Profoundly influenced by his experiences in his home country of Israel, where his Israeli “survivalist” thinking has colored his artistic perceptions and POV, Sharabani’s films and videos blend movement, performance, architecture, and light into intensely visual and sensory projects. Musical scores, replete with chanting and techno-like sounds, often overlay Sharabani’s moving images, allowing his films to be at once secular and spiritual.

Sharabani’s recent Art Exhibitions include “Matchbox” at Austin’s Driscoll Villa in celebration of the Laguna Gloria’s hundred year anniversary (May 2016); his public installation entitled “Blocks,” a centerpiece at the Musrara Mix Festival in Jerusalem in 2015  and “Chairs,” another of his public installations, which was featured during “White Night” in Tel Aviv in 2014.

During the course of his career, Ronen Sharabani has worked for a number of film, advertising and production companies, including The Artery, McCann-Erickson, Dreamworks, and Gravity VFX/Tel Aviv. Sharabani was Lead Compositor on the 2012 film “A Late Quartet,” and was Flame Compositor on the 2008 film “Ghost Town. He also served as the On-Set Digital FX Supervisor, while working with Rhino FX, on John Sayles’s 2004 feature film, “Silver City.”

In 2015, Sharabani appeared as himself in the short documentary film interview “Art in Clubs.” He earned a Certificate as a graduate of the New York Studio School, which he attended from 1999-2003.

ABOUT THE ARTERY:

Based in New York City, The Artery is a highly regarded Art +Technology company that designs, creates and produces unique and compelling visual content across all screens. The company has established partnerships with iconic brands, ad agencies, and entertainment studios to create high profile and compelling visual content for feature films, TV programs, commercials, music videos and art installations.

Utilizing breakthrough technologies, The Artery’s uniquely talented, curated teams -- which include its Virtual Reality/Augmented Reality unit, led by Creative & Technical Director Ronen Taschum, and its Experiential arm, led by Creative Director Yaron Tsinman -- also create stunning virtual reality content, experiential brand events, and 360-degree experiences for clients around the globe. The Artery offers custom-tailored A-teams and production pipelines, focused solely on efficiently achieving outstanding results.

With its global perspective, top-tier talent, newest technologies and unlimited creative capabilities, The Artery has the proven expertise to efficiently deliver extraordinary content, branding, and multimedia experiences, worldwide.

For Further Information visit The Artery’s Social Media Sites:

Tenure-Track Assistant Professor in Design at Stevens Institute of Technology

The Visual Arts & Technology program at Stevens Institute of Technology invites applications for a tenure track position in Design, to begin fall 2017. We seek a dynamic teacher and designer that can teach courses at all levels of our undergraduate graphic design concentration, whose work advances their field into new and innovative territories, and who is committed to both creative making and a critical dialog about design. We invite designers from all backgrounds to apply, though additional consideration will be given to candidates with experience in client-focused work or in interdisciplinary collaborations. The ideal candidate will play a key role in defining the design curriculum within the program, and forge collaborations across the College and Institute.

Responsibilities:
Teach an average of five courses per year, working with students across all levels of the undergraduate program; develop new design courses in the candidate’s area of expertise and research interest; maintain an active creative and/or research practice; work with Professional Practices and Capstone students; advise majors and minors; participate in program, College, and university service; and assist with program growth.

More information and to apply:
https://stevens.wd5.myworkdayjobs.com/en-US/External/job/Hoboken-NJ---Main-Campus/Full-Time-Tenure-Track-Assistant-Professor-in-Design_RQ18242-1


The College of Arts and Letters at Stevens values diversity and seeks candidates who can contribute to a welcoming climate for students of all races and genders. Stevens is an NSF ADVANCE institution committed to equitable practices and policies. We strongly encourage qualified women and minority candidates to apply.

Stevens Institute of Technology, founded in 1870 and located on the Hudson River across from midtown Manhattan, is a small, selective research university with approximately 2,900 undergraduate students in 33 disciplines ranging from Music and Technology, Computer Science, Marketing, and Science and Technology Studies. Housed in the College of Arts and Letters, the Visual Arts & Technology program offers a unique Bachelor of Arts degree with a focus on the intersection of technology, art, and design.

Located a 10-minute subway ride from New York City and a short train ride to Boston, Philadelphia, and the rest of the east coast, Stevens draws some of the most talented and gifted undergraduate students from across the globe.

Position in Interdisciplinary Arts and Sciences at University of Washington, Bothell

Organization: University of Washington, Bothell, School of Interdisciplinary Arts and Sciences, Bothell
Title : Artist in Residence, Lecturer, full-time, competitive recruitment, Senior Artist in Residence, Senior Lecturer, full-time
Search Number : AA21595

Position Details:
The University of Washington Bothell (UWB) seeks a dynamic scholar and educator who bridges theories and practices of interactive media and interdisciplinary research, with expertise in one or more of the following areas: human-centered design, creative coding, new media art, socially engaged design, speculative design, critical theory, queer and feminist design principles. Candidates should be prepared to teach studio/practice-based courses in interactive media design; the ideal candidate will be able to use an interdisciplinary approach that can account for how forms of difference such as race, gender, sexuality and ability are co-constituted through interactive media and design.

The successful candidate will provide collaborative leadership in the campus’s Interactive Media Design (IMD) major, which is jointly offered between the School of Interdisciplinary Arts and Sciences (IAS) and the division of Computing and Software Systems (CSS) in the School of Science, Technology, Engineering, and Mathematics (STEM). The candidate’s faculty home will be in the School of IAS or the division of CSS in the School of STEM, as appropriate. Record of teaching excellence, evidence of commitment to working with diverse student and community populations, and Masters, MFA, MDes or Ph.D. are required are required at time of appointment. Salary is commensurate with qualifications and experience.

The University of Washington Bothell houses an array of undergraduate and graduate programs, is located in the Seattle metropolitan area, and provides faculty members with access to the research and funding resources of the UW as a whole. Co-housed in the Schools of IAS and STEM, the major in IMD is part of a dynamic digital media production ecology on and off campus. Along with related degrees in IAS (media and communication studies; interdisciplinary arts) and STEM (applied computing), IMD educates students to become critical, collaborative, and creative media producers, artists, and designers. In this way, the major contributes to the campus’s broader commitment to the linkage of theory and practice through scholarship and curricula that are relevant to diverse student populations.

When hired through a national search, Lecturers and Artists-in-Residence are eligible for renewable multi-year appointments, promotion, and sabbatical, among other benefits available to full-time UW faculty members. For more information about the position, the IMD major, and the Schools of IAS and STEM, please visit the campus website (http://www.uwb.edu/).

University of Washington faculty members engage in teaching, research and service. Candidates should expect to teach at all levels of the undergraduate and graduate curriculum.

Diversity is a core value of University of Washington Bothell. We believe the power of diversity enriches all of us by exposing us to a range of ways to understand and engage with the world, identify challenges, and to discover, design and deliver solutions.

Application Instructions

Applications should include a letter addressing the candidate’s scholarly and pedagogical qualifications for the position; CV; research/creative work sample; and evidence of teaching success or teaching dossier. Please submit applications through InterFolio via this URL: http://apply.interfolio.com/39306 . Letters of recommendation will be requested of candidates who advance in the process. Preferred deadline: 27 January 2017.

University of Washington is an affirmative action and equal opportunity employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, gender expression, national origin, age, protected veteran or disabled status, or genetic information.

The University of Washington Bothell is the fastest growing public university in the state of Washington. We provide a leading-edge student experience grounded in hands-on learning, close relationships with faculty members as teachers and mentors, and staff dedicated to student success. The academic work of the campus focuses on cross-disciplinary research and creative practice, connected learning, and community engagement. UW Bothell’s current enrollment is approximately 5,000 students. A majority of those students are first generation college attendees or are from underrepresented groups; approximately 92 percent are from Washington. Located in the Seattle metropolitan region, UW Bothell builds vibrant regional partnerships, creates and disseminates new knowledge, and prepares students for leadership in the state of Washington and beyond.

OPEN CALL – Immersive Expressions: Virtual Reality on the Web – ACM SIGGRAPH Digital Arts Community

Submission Call for Online Exhibition
Immersive Expressions: Virtual Reality on the Web
---
Virtual Reality presents a range of new possibilities for immersive expression and interactivity for artists and developers. The ACM SIGGRAPH Digital Arts Community is seeking projects for an online exhibition that explores the web browser as a medium for work at the intersection of creative expression and virtual reality. VR has had an exceptionally fast growing user base over the past three years with head mounted display options becoming increasingly portable and affordable. Along with the growing list of hardware variations like the Oculus Rift, HTC Vive, or PlayStation VR a number of new distribution models have also been released such as HTC Viveport, Oculus Store, Samsung VR or WEARVR. While much of the content delivered on these platforms are made to be experienced inside of game engines, VR has also made its way to the browser through a variety of projects using WebGL and three.js.

We are looking to showcase and discover new content that pushes conceptual or technological boundaries. It is important that these works be web-based. Online VR works are unique because they exist in the browser, unlike apps relegated to approval by a major distributor. We hope to engage indie developers, artists, computer scientists, and companies working at the forefront of web-based VR through the development of the exhibition.

The WebVR W3C Specification Draft has laid the foundation for content designers to build frameworks and applications for a multitude of browsers and hardware devices. This includes VR initiatives such as Mozilla's MozVR Team (mozvr.com) and accompanying A-Frame javascript framework. Oculus has also announced the ReactVR framework for enabling web-based VR experiences on the Rift in addition to inexpensive head-mounted displays such as Google Cardboard, Daydream View, or Samsung Gear. Artists and developers new to the WebVR arena are encouraged to apply and can take advantage of these resources.

We also encourage VR experiences and interactions that might not fit inside a typical commercial package. This includes works that are more abstract and conceptual, or those created by independent developers with a unique approach to virtual reality. Criteria for inclusion will involve technological innovation, creativity, design, and concept. Submissions could potentially include interactive experiments, games, animation, 360-degree video experiences or a hybrid approach. This call for work welcomes artistic interpretation and collaborations working from any discipline or intersection of art, science, design, and technology.

Works in progress will also be considered as long as they are in a presentable format by the end of April. For a list of resources helpful in getting started with WebVR see: http://lsuatlab.github.io/webvrnotes. Visit the ACM SIGGRAPH Digital Arts Community website at: http://siggrapharts.ning.com. Last year's exhibition site can be viewed here: http://science-unseen.siggraph.org. For more information contact dostrenko@lsu.edu.

Submit your work and learn more about the show at: http://bit.ly/graphvr.
---
Timeline:
Submissions Open: November 25, 2016
Submissions Close: March 7, 2017
Notification of Acceptance: March 28, 2017
Exhibition Launch: May 2017
---
The ACM SIGGRAPH Digital Arts Community fosters the evolution of a strong year round Digital Arts Community within the international organization and promote a dialogue between visual artists and the larger ACM SIGGRAPH community.

Professor and Chair of the Department of Art Design at Northeastern University

Northeastern University
Professor and Chair of the Department of Art Design
Requisition Number: FTFR000889
Division/College: College of Arts, Media and Design
Location: Boston Main Campus
Full-time/Part-time: Full Time

Responsibilities:

The College of Arts, Media and Design at Northeastern University seeks a Professor and Chair to lead the Department of Art + Design. We seek a visionary and experienced leader with an international record as an innovative artist, designer, or scholar and demonstrated capacity to catalyze interdisciplinary research in which creative and humanistic methods hold key roles. The successful candidate will be a broad-minded advocate and guide for a dynamic faculty; an experienced and successful administrator; skilled and forward-looking educator; and a builder of bridges between departments, institutions, industries, agencies, and communities. In keeping with Northeastern's commitment to use-inspired research, we are particularly interested in candidates whose practice pushes beyond traditional disciplinary boundaries to transform urgent social, technological, environmental and ethical issues. The appointment will be made at the level of Professor, with tenure, and has an anticipated start date of July 1, 2017.

Centered in the cultural hub of Boston and located within an R1 research university renowned for its embrace of experiential learning, the Department of Art + Design has expanded rapidly in the last five years and now encompasses 34 full time faculty, over 500 undergraduate majors, and nearly 70 graduate students in fast-growing Master's programs. The successful candidate will consolidate and build on these successes just as Northeastern embarks on a new long-range plan. The position represents a strategic opportunity for an integrative thinker and pragmatic leader to build an environment in which critically informed, publicly engaged creative research can shape the university well into the 21st century.

Qualifications:

The successful candidate will hold a terminal degree or equivalent in the practice, history, or theory of the visual arts or design, or a closely related field. A demonstrated commitment to diversity, a track record of leading successful interdisciplinary initiatives, and substantial administrative experience, preferably in higher education, are also required. The candidate’s creative and/or scholarly achievement must be appropriate to an advanced academic rank in the context of a major research university. Salary is competitive and commensurate with qualifications and experience.

Additional Information:

To apply, go to http://www.northeastern.edu/camd/about/careers/; under “Faculty Positions,” click on the Full-time positions link. Or if viewing this description on the Northeastern University website, click “Apply to this job.”

Applicants should submit a CV and a cover letter describing your qualifications and vision for transformative, 21st century art and design research and education. Candidates should also provide the contact information of three references. References, dossiers, and examples of research, creative or published work may be requested at a later date. Review of applications will begin immediately and continue until the position is filled. Applications received by January 9, 2017 will receive priority consideration. Inquiries may be directed to Professor Kristian Kloeckl, chair of the search committee, at k.kloeckl@northeastern.edu.

Northeastern University is committed to building an inclusive environment that celebrates diversity in all its forms. Women, members of the LGBTQ community, persons with disabilities, and underrepresented minorities are strongly encouraged to apply. Northeastern University is an Equal Opportunity, Affirmative Action Educational Institution and Employer, and Title IX University. Northeastern University is also an E-Verify Employer.

To be considered for this position please visit our web site and apply on line at the following link: http://apptrkr.com/920451

Northeastern University is an Equal Opportunity, Affirmative Action Educational Institution and Employer, Title IX University. Northeastern University particularly welcomes applications from minorities, women and persons with disabilities.Northeastern University is an E-Verify Employer.

Northeastern University is committed to building an inclusive environment that celebrates diversity in all its forms. Women, members of the LGBTQ community, persons with disabilities, and underrepresented minorities are strongly encouraged to apply. Northeastern University is an Equal Opportunity, Affirmative Action Educational Institution and Employer, and Title IX University. Northeastern University is also an E-Verify Employer.

Copyright ©2015 Jobelephant.com Inc. All rights reserved.
jeid-11b2712fd03c1f4db73cf7479534ff73

SMU seeks Assistant Professor of Digital/Hybrid Media

Assistant Professor in Digital/Hybrid Media, position #6569

Division of Art at SMU, Meadows School of the Arts

The Division of Art at SMU, Meadows School of the Arts invites nominations and applications for an opportunity to be involved in the shaping of a dynamic interdisciplinary curriculum in Art. The candidate selected will be expected to be a significant partner in connecting the Division to an increasingly diverse and globally connected community at the University and in the Dallas/Fort Worth Metroplex. This position will further curricular collaboration with the department of Creative Computing and Lyle School of Engineering.

We are interested in an artist and educator working dynamically across a range of possible platforms including interactive art, performance, live image processing, 3D computer modeling and animation, internet-based art, physical computing, robotics and sound art. Teaching responsibilities will include introductory and advanced courses including creative computation, responsive arts, and computational sculpture. Other responsibilities include graduate teaching and advising the Division of Art’s technician to support and maintain Fabrication Labs and other digital media platforms.

Minimum qualifications

  • MFA in Art
  • Understanding of contemporary art and the theory and history of digital and hybrid media practices
  • At least one year full-time teaching at university level
  • Active professional practice within the field of contemporary art

Preferred qualifications:

  • Two years full-time teaching at university level
  • A demonstration of an artistic practice and/or teaching that integrates Digital/Hybrid Media with any of the following areas: film/video, performance, sculpture, installation, painting, or printmaking.

Applications must include:

  • Letter of application highlighting the candidate’s accomplishments
  • Artist statement describing the artist’s work in relation to current Digital/Hybrid Media practices.
  • CV
  • Name and contact information of three references
  • 20 work samples

Applications must be submitted via Slideroom  and are due by January 15. The committee will continue to accept applications until the position is filled. Hiring is contingent upon the satisfactory completion of a background check.

CALL FOR PRESENTATIONS 2017 NMC Showcase during CAA 2017 in New York, NY

We are proud to announce that Hunter College of the City University of New York will host the eighth annual NMC Showcase during CAA 2017 on Thursday February 16th, 2017. The NMC showcase is a series of rapid-fire presentations by 16 NMC members (6 minute presentations). It has proven to be a great forum to get to know the work of a number of fellow members in a lively atmosphere and a great way to present your work to like-minded individuals.  Several spots are reserved for graduate students currently enrolled in an MFA or PHD program. How you use the 6 minutes is up to you – show one project or a dozen – finished or in-process work. Presenters are chosen by lottery. You must apply via email to be considered by December 12, 2016. Only members that have not participated in the showcase in the past three years are eligible. If you are selected, your attendance and presentation is required at the NMC showcase. We publish simultaneous web and print on demand CAA Conference Editions yearly that includes the NMC Showcase. The participants are asked to submit a statement, work samples and presentation by January 30, 2017.

2017 NMC SHOWCASE (16 NMC members)

  • Date/Time: 7-9pm (presentation), 9-10pm (conversation) on February 16, 2017
  • Address: Hunter College, Main Campus (25 min walk from the Hilton)
  • Lang Auditorium
  • 695 Park Ave at 68th street
  • New York, NY 10065

CHAIRS

HOW TO ENTER

  • Contents: Name, Statue (FT professor, PT professor, Graduate Student, Independent Artist or Scholar), Contact (email, website), Attendance for 2017 NMC Showcase
  • Please send Hye Young Kim kimhy@wssu.edu an email indicating that you would like to be entered into the lottery for the NMC Showcase.

PROCESS

  • Application Deadline: Monday December 12, 2016
  • Notification: Monday, December 19, 2016
  • Confirmation Email: Monday, January 9, 2017 (Please confirm your acceptance and attendance)
  • Presentation/Statement/Work Sample Submission Deadline: Monday, January 30, 2017
  • - Presentation Materials (6min with PPT, Keynote, QT files, etc)
  • - A statement (upto 300 words) and work samples (5 images and/or video links/website links)
  • - Please submit all materials via email kimhy@wssu.edu (under 10MB), WeTransfer (over 10MB upto 2GB) or DropBox link. All materials are on one computer for the presentations for 16 members.

Spring 2016: V.12 N.01 Mestizo Technology: Art, Design, and Technoscience in Latin America

Mestizo Tech link to web edition: http://median.newmediacaucus.org/mestizo-technology-art-design-and-technoscience-in-latin-america/

Mestizo Tech link to LULU edition: http://www.lulu.com/shop/new-media-caucus/mestizo-technology-art-design-and-technoscience-in-latin-america/paperback/product-22924280.html

Latin America is a diverse geographical and cultural region populated by a wealth of extremely productive new media specialists with significant local and global exposure. Yet, scarce are academic English language anthologies composed of theoretical writings that survey the status of art, technology and design practices in and by that constituency.

With this in mind, Media-N’s mission has been to support a provocative theme that might begin to fill the gap. “Mestizo Technology: Art, Design, and Technoscience in Latin America” is the title proposed by Guest Editors Paula Gaetano Adi and Gustavo Crembil who employed a lens merging notions of mestizaje and new technologies to scan the development of new media practices distinctive to Latin America; to survey how influences from the global North have been appropriated and adapted to particular needs, resources and interests of Latin American thinkers and makers; and to also challenge traditional dichotomies afflicting perceptions about productions emerging from the global south: western/indigenous; modern/traditional; craft/technology; and big science/small science.

Further, Media-N enhances this issue with timely Reviews and Reports. Edited by Francesca Franco, this section of the journal presents interviews with prominent international new media artists, as well as reviews of events taking place in Italy, Australia, the USA, and online.

Media-N’s Vol.12 N.01 also marks the culmination of a vigorous six-year journey where I have had the pleasure to contribute to the New Media Caucus as Officer of the organization’s Executive Board, and to shape the direction of its academic publication as Editor-in-Chief of Media-N Journal. Upon concluding my second term as Editor-in-Chief of Media-N, I think that it is timely to extend my heartfelt thanks to the NMC board, to Media-N’s editorial board and managing editors, to our copyeditors and proofreaders, to our web and print design directors, and to the various guest editors and authors for their efforts, the sharing of expertise, and their commitment to quality throughout the last six years. For me, it has been an invigorating project, one that an exceptional Media-N team will sustain and build upon in the years to come.

Pat Badani

Editor-in-Chief

2010-2016

Kraus Distinguished Professorship at Carnegie Mellon University

The School of Art at Carnegie Mellon University announces the Kraus Distinguished Professorship, a one-year position within the School. We are seeking an established artist with a record of international exhibition and presentation in the practice of animation. Artists whose work explores experimental or aesthetic approaches to animation or who are working with animation in unconventional formats, hybrid media, and other alternative forms are encouraged to apply. Special attention will be given to candidates whose practice includes scholarship in the history of animation and/or the moving image, and who bring both critical and technical knowledge into their work.

The Kraus Distinguished Visiting Professor will teach one class per semester, conduct senior project/graduate student critiques, maintain a visible studio practice, and present a lecture in the School of Art Lecture Series. A private studio will be provided, with access to the school’s myriad digital and technology-based facilities and fabrication tools.

Carnegie Mellon University is located in Pittsburgh, Pennsylvania, which has been cited as being the “Best Arts Destination” among mid-sized cities and one of the USAʼs most affordable and livable places. In addition to the Carnegie Museum of Art, the Andy Warhol Museum, the Mattress Factory, Pittsburgh Filmmakers and The Pittsburgh Glass Center, the city has a vibrant young art scene that includes many small galleries and alternative exhibition opportunities.

Qualifications:

A versatile, strongly committed artist with a background in animation and a significant international exhibition record. Advanced Degree or equivalent required, as well as experience teaching at the college or university level.

Carnegie Mellon University and The School of Art value equality of opportunity, mutual respect and believe that a diverse campus community is essential to enriching intellectual exchanges and enhancing cultural understanding. As such, CMU does not discriminate against any Faculty or Staff, or any applicant for employment, on the basis of disability, protected veteran status, race, ethnicity, or gender.

Salary is $65,000 with a full-time benefits package.

Materials To Include:

• Letter of application with teaching philosophy

• Proposal for an introductory or advanced level class in animation

• Curriculum Vitae

• Names/addresses/telephone numbers of 3 references (no recommendation letters).

• Documentation of artwork: Submit up to 10 minutes of video and/or 20 images

Deadline: January 30, 2017

Submit to: https://cmuartjobs.slideroom.com/#/permalink/program/34292

Application review will begin January 30, 2017

The Kraus Visiting Professorship was established in honor of Herbert T. Olds Jr. and is made possible through the generous support of Jill Gansman Kraus and Peter Kraus.

The School of Art is one of five schools in the College of Fine Arts, which also includes the Schools of Architecture, Design, Drama and Music. Benchmarks of the School include collaborative relationships with innovative learning environments such as the Center for Arts in Society, the Frank-Ratchye STUDIO for Creative Inquiry and IDeATE; individual studios for all junior and senior BFAs; 24-hour access to state-of-the-art facilities; and a unique curriculum that includes contextual practice, critical theory, and technology alongside traditional programs in painting, drawing, and sculpture. The School of Art is ranked as number six in the US and is currently number one in Time based and New Media by US News and World Reports.

Faculty Position Lecturer in 3D Expanded Media at University of Massachusetts, Lowell

The Art and Design Department in the College of Fine Arts, Humanities and Social Sciences seeks applicants for a Lecturer, in Expanded Media/3-D Design, commencing September 1, 2017. The workload for this position is 60% teaching and 40% service. The successful candidate is expected to teach three classes a semester in Expanded Media/3-D Design and sculpture at the undergraduate level, as well as participate in student advising, curriculum development, senior project reviews, recruitment and outreach. \n\nThe successful candidate will also be expected to keep current with software and fabrication tools, work closely with Studio Manager, provide advice and supervise maintenance of 3-D equipment and lab, produce creative work, and keep office hours. The Art and Design Department emphasizes conceptual and aesthetic innovation while encouraging student-centered pedagogy. UMass Lowell welcomes applicants with experience working with diverse populations and who can work in and maintain an environment that is welcoming to persons of all backgrounds, nationalities, and roles. \n\nThe position is renewable based on excellence in teaching and service activities. Lecturer starting salaries are commensurate with years of teaching experience, with the range comparable to that of assistant professors within the department. Following six years of service, lecturers are eligible to apply for promotion to the position of Senior Lecturer, with these salary ranges comparable to those of associate professors within the School. \n\nSlideroom portfolio portal: https://umlartfaculty.slideroom.com/#/permalink/program/34238\nUML.edu/HR application portal:\nhttps://jobs.uml.edu/applicants/Central?quickFind=55190\n\nSearch Chair, Ellen_Wetmore@uml.edu\n"}" data-sheets-userformat="{"2":513,"3":{"1":0},"12":0}">The Art and Design Department in the College of Fine Arts, Humanities and Social Sciences seeks applicants for a Lecturer, in Expanded Media/3-D Design, commencing September 1, 2017. The workload for this position is 60% teaching and 40% service. The successful candidate is expected to teach three classes a semester in Expanded Media/3-D Design and sculpture at the undergraduate level, as well as participate in student advising, curriculum development, senior project reviews, recruitment and outreach.

The successful candidate will also be expected to keep current with software and fabrication tools, work closely with Studio Manager, provide advice and supervise maintenance of 3-D equipment and lab, produce creative work, and keep office hours. The Art and Design Department emphasizes conceptual and aesthetic innovation while encouraging student-centered pedagogy. UMass Lowell welcomes applicants with experience working with diverse populations and who can work in and maintain an environment that is welcoming to persons of all backgrounds, nationalities, and roles.

The position is renewable based on excellence in teaching and service activities. Lecturer starting salaries are commensurate with years of teaching experience, with the range comparable to that of assistant professors within the department. Following six years of service, lecturers are eligible to apply for promotion to the position of Senior Lecturer, with these salary ranges comparable to those of associate professors within the School.

Slideroom portfolio portal: https://umlartfaculty.slideroom.com/#/permalink/program/34238
UML.edu/HR application portal:
https://jobs.uml.edu/applicants/Central?quickFind=55190

Search Chair, Ellen_Wetmore@uml.edu

Assistant Professor of Electronic Art/Digital Foundations at Colorado State University

POSITION SUMMARY

The Department of Art & Art History at Colorado State University seeks applicants for a full-time tenure track position in Electronic Art/ Digital Foundations to begin August 16, 2017. We seek an exceptional artist and educator who will join our team of dynamic, creative professionals in studio art, art history, and art education.

Creative Research – An active exhibition record and participation in on-going research in the form of scholarly publication, residencies, workshops, awards, or lectures is considered part of a well-rounded research portfolio.

Teaching – Teaching duties consist of five studio courses per year (3/2), including digital foundations courses and beginning though advanced undergraduate electronic art courses. In addition, the successful candidate may work closely with independent students and will have the opportunity to develop new or revised course offerings. Involvement with interdisciplinary graduate programming and other teaching within the department is encouraged.

Service – This position requires close collaboration with the Foundations area faculty and Electronic Art faculty in curricular review, studio oversight and maintenance. Additional duties include service on Department, College, and University committees.

REQUIRED JOB QUALIFICATIONS

M.F.A. or Ph.D. in New Media/Electronic Art/Art and Technology/Art and Science/Digital Art/Computer Art (or similar degree relating to Electronic Art) at the time of appointment is required. Candidates must show evidence of an evocative and noteworthy artistic career in progress as well as a growing record of excellent teaching at the university level. The successful candidate will demonstrate the breadth and expertise to teach electronic art from introductory to upper-division courses, addressing trends and topics current in the field as well as the flexibility to teach foundations level digital courses. Candidates must additionally demonstrate expertise in at least one of the following art forms: art+code, sound, physical computing, net.art, generative, virtual reality, dome. In addition to their area of specialty, the successful candidate will also be conversant in the historical and contemporary movements within the field of electronic art.

Colorado State University is committed to providing an environment that is free from discrimination and harassment based on race, age, creed, color, religion, national origin or ancestry, sex, gender, disability, veteran status, genetic information, sexual orientation, gender identity or expression, or pregnancy and will not discharge or in any other manner discriminate against employees or applicants because they have inquired about, discussed, or disclosed their own pay or the pay of another employee or applicant. Colorado State University is an equal opportunity/equal access/affirmative action employer fully committed to achieving a diverse workforce and complies with all Federal and Colorado State laws, regulations, and executive orders regarding non-discrimination and affirmative action. The Office of Equal Opportunity is located in 101 Student Services.
The Department of Art & Art History at Colorado State University seeks applicants for a full-time tenure track position in Electronic Art/ Digital Foundations to begin August 16, 2017. We seek an exceptional artist and educator who will join our team of dynamic, creative professionals in studio art, art history, and art education.

Creative Research – An active exhibition record and participation in on-going research in the form of scholarly publication, residencies, workshops, awards, or lectures is considered part of a well-rounded research portfolio.

Teaching – Teaching duties consist of five studio courses per year (3/2), including digital foundations courses and beginning though advanced undergraduate electronic art courses. In addition, the successful candidate may work closely with independent students and will have the opportunity to develop new or revised course offerings. Involvement with interdisciplinary graduate programming and other teaching within the department is encouraged.

Service – This position requires close collaboration with the Foundations area faculty and Electronic Art faculty in curricular review, studio oversight and maintenance. Additional duties include service on Department, College, and University committees.

REQUIRED JOB QUALIFICATIONS

M.F.A. or Ph.D. in New Media/Electronic Art/Art and Technology/Art and Science/Digital Art/Computer Art (or similar degree relating to Electronic Art) at the time of appointment is required. Candidates must show evidence of an evocative and noteworthy artistic career in progress as well as a growing record of excellent teaching at the university level. The successful candidate will demonstrate the breadth and expertise to teach electronic art from introductory to upper-division courses, addressing trends and topics current in the field as well as the flexibility to teach foundations level digital courses. Candidates must additionally demonstrate expertise in at least one of the following art forms: art+code, sound, physical computing, net.art, generative, virtual reality, dome. In addition to their area of specialty, the successful candidate will also be conversant in the historical and contemporary movements within the field of electronic art.

Colorado State University is committed to providing an environment that is free from discrimination and harassment based on race, age, creed, color, religion, national origin or ancestry, sex, gender, disability, veteran status, genetic information, sexual orientation, gender identity or expression, or pregnancy and will not discharge or in any other manner discriminate against employees or applicants because they have inquired about, discussed, or disclosed their own pay or the pay of another employee or applicant. Colorado State University is an equal opportunity/equal access/affirmative action employer fully committed to achieving a diverse workforce and complies with all Federal and Colorado State laws, regulations, and executive orders regarding non-discrimination and affirmative action. The Office of Equal Opportunity is located in 101 Student Services.

Job posting can be found here.

CALL FOR PARTICIPATION: Re-Invent Yourself: Cyborg Futures Technology & Art Collaborations

 

Open to Artists, Scientists, Designers, Programmers, Engineers, Makers and Technologists

Apply to: call2017@cyborgfutures.com
Deadline: December 19, 2016
Location: New York City

How do you create a new sense or augment those that already exist in order to engender new forms of expression, creativity, and understanding? Cyborg Futures is an open call and collaboration between artists, technologists, designers, engineers, makers, and/or scientists to create and develop technologies that expand human capabilities and perception. Inspiration is drawn from the biosphere, where animals and plants relate through infrasound, radiation, sonar, as well as other forms of augmented realities.

Cyborg Futures will team together artists of any discipline with technologists and scientists to help build new senses or expand those that already exist beyond the possibilities of perception. These unique forms of experience are the basis for the creation of a new type of cybernetic art – one that redefines the relationship between technology and the human organism.

RESOURCES:

Meeting spaces will be provided at New Inc, Parsons/New School, and Pioneer Works. Access to specialized equipment, such as 3D printers, laser cutters, and other fabrication tools will be provided on a project-by-project basis. There will be funding available for materials up to $500 per project.

Additionally, the Cyborg Foundation’s Neil Harbisson and Moon Ribas, and a network of technologists, artists, and others will provide consultations. Each team will also be assigned student interns from Parsons/New School MFADT program to provide assistance and document their collaborative progress.

All applicants must be consistently available for meetings and collaborations at least once a week through the duration of the workshop, which begins the week of January 23, 2017, and concludes the week of May 8, 2017, most likely on Tuesdays from 7PM – 9:40PM.

HOW TO APPLY:

To apply, individuals or teams should send their ideas now to call2017@cyborgfutures.com. Artists of any discipline should propose a project idea that utilizes a new sense, or augments those that already exist. The new sense or form of augmentation does not necessarily need to exist yet. Designers/engineers/makers and others should propose a project idea that explores the conception, design, and fabrication of cybernetic or wearable devices that develop a new sense or augment those that already exist. Individuals or teams can apply as both artists/designers or technologists/engineers/makers/scientists. Describe a project idea you want to try, the technologies you’d like to get into, or the skills you have to contribute.

  • Please include info about your background you would like us to know about
  • If you can program/fabricate, please tell us what languages you work with
  • If you can’t program but are are an artist, let us know what you are thinking about creating
  • If there are social issues you are interested in, and would like to highlight those with tech, let us know
  • Please confirm that you are available for the dates listed above

When we receive your applications, we will match you up with others who have complementary skills. This will help you all achieve something together as a team. This process is quite ad-hoc, and depends entirely on the mix of applications we receive. We group people together around the most compelling ideas. This means your idea may not be selected, but you may be invited to participate nevertheless. Because we prioritize the creation of teams with complementary skills and ideas, sometimes we wont’ be able find the correct match for your skill sets. Those selected will be notified by January 3, 2017.

Call for Presentations for the New Media Caucus, New Media Lounge at College Art Association, New York City

Between Biology and Art

Convened by Renate Ferro, Chair
Tohm Judson, and Elisabeth Pellathy

Within the hybrid interventions of BIOART, the tools of the citizen artist and new media technologies converge.  This round table will investigate this territory that encapsulates the boundaries between truth and the imagination as it relates to such conceptual issues as politics, race, feminism, ethics, scientific methodology, among others.  These new generative iterations create grounds of tension for creative and critical engagement within the fields of research and art.  We invite new media artists, researchers, historians and others to join this round table where we investigate current topics such as germs, fermenting, probiotics, skin, ecologies and many more intersections between biology, technology, and new media practices. We particularly seek innovative presentations.  Please send a proposal with documentation (imagery, vimeo links, other links) and a cv to Renate Ferro, Cornell University, rferro@cornell.edu by December 1st.

Tenure Track – Assistant Professor of Animation at Missouri State University

The Department of Art + Design at Missouri State University is accepting applications for a new Tenure Track Assistant Professor of Animation position. We are looking for an individual with strong artistic / technical skills who is also able to help students develop a sophisticated conceptual point of view. The candidates should be able to teach foundations through graduate-level courses—addressing the conceptual, artistic, and technical aspects of animation and visual storytelling. In addition, she or he will have the breadth, flexibility and interest to guide advanced students working on innovative, interdisciplinary projects. Candidates should have experience, interest, and demonstrated ability in more than one of the following areas: 2D and 3D Computer Animation, Character Modeling and Rigging, Frame by Frame Animation, Asset Development for Interactive Experiences, 3D scanning techniques, Motion Capture, Visual Effects, Compositing, 3D Printing / Rapid Prototyping, Stop-Motion Production including Character and Set Building, Storyboarding and Concept Art.

Candidates must have an MFA (60 hours) or equivalent terminal degree in a relevant discipline completed by August 01, 2017.

For more information visit the online posting: https://jobs.missouristate.edu/postings/30007

Missouri State University is a public, comprehensive university system with a mission in public affairs. Our purpose is to develop fully educated persons with a focus on ethical leadership, cultural competence and community engagement.

Report from Computer Art Congress 5

screen-shot-2016-10-29-at-10-42-22-am

Bonjour de Paris!

I'm writing today quite early in the morning before I head out to Charles de Gaulle and return home. In my short stay I've had difficulty sleeping, so I thought I might make use of some of that time while everything is still relatively fresh in my head. Its likely I won't get it all here before I begin traveling, but I couldn't wait to get started.

The Computer Art Congress is an international gathering around Art, Science, Technology, and Design. The first edition was celebrated in Paris (2002), followed by Mexico City (2008), Paris (2012), and and Rio de Janeiro (2014). In fourteen years, this community of artists, curators, researchers, scholars, scientists, designers, students, and professionals have contributed to the domain of knowledge surrounding digital media with artworks, papers, round tables, workshops and exhibitions. This edition of CAC was held in Paris, at the Maison des Sciences de l'Homme and extended this tradition under the theme "Digital Art: Archiving and Questioning Immateriality". It was held from October 26-28 2016. CAC.5 was developed through 45 accepted proposals from 80 submissions and included representatives from 19 countries.

 

Maison des Sciences de l'Homme, Saint Denis, Paris

Maison des Sciences de l'Homme, Saint Denis, Paris

Each panel and paper was well developed, and presented a different aspect of the selected theme. Because the congress is a relatively small and welcoming group, I was able to attend all of the panels. To me this was an added benefit because, as many of you may experience at academic conferences, I didn't have to select between different panels that were concurrent. The panels were also complemented by performances and an exhibition. I'm going to mention only a small handful of things that stand out to me in this report (although I would love nothing more than to continue the discussions initiated by each paper, performance, and artwork). Several of us used the #cac5p to share our observations in realtime and perhaps that might give a different sort of snapshot.

Daniela de Paulis, OPTICKS

Daniela de Paulis, OPTICKS

cac5_hub_05

Christa Sommerer with Laurent Mignonneau

In the first panel, Daniela de Paulis discussed her work on the project OPTICKS which uses moonbounce to sound/receive images. The performances described used a radio telescope to transmit images in an earth-moon-earth circuit. It struck me as an interesting appropriation of historical equipment developed for military and scientific purposes in the service of artistic expression. The work embraced interference and the potentials caused by transforming and transmitting images between digital and analog technologies. Among the other presentations, Christa Sommerer shared the interactive work that she and Laurent Mignonneau have develop in recent years with flies as a visual metaphor or momento mori.

Bernard Stiegler, invited keynote lecture

Bernard Stiegler, invited keynote lecture

The first day of CAC.5 was closed by an invited keynote from Bernard Stiegler. The philosopher presented his well developed concerns regarding the anthropocene and exosomatization. Although the talk was dense, Stiegler presented his thoughts in a lucid and engaging way. I was struck by his ability to explain the transformation or traces of words that describe how we think about the world through time... at once historical but also cross-referenced with our current or contemporary understanding. To me, it was a philosophy as a form of alchemy - searching for the trace of a formula for more complete understanding of our experience in the world as the world begins to disappear.

cac5_hub_07

Andres Burbano presenting on Konrad Zuse

cac5_hub_08

Ricardo Dal Farra presenting on an archiving project of electroacoutsic music from Latin America

monkeyTURN

monkeyTURN

Day two begin with Andres Burbano giving us an overview of the first programmable flatbed plotter-type drawing machine developed Konrad Zuse around. Later in the day Ricardo Dal Farra shared his research into the collection and preservation of electroacoustic and electronic music from Latin America that is supported by the Daniel Langlois Foundation. In the evening he gave a performance titled "ORGANIC" that was a form of visual music wherein the animated forms were developed by algorithms that were also used to produce sound. The performance just prior to this was from Naoyuki Tanaka and included animation projection mapped onto an robot. In this work, titled "monkeyTURN", Tanaka performed the visuals, robot, and sound at once creating a unified sequence that called into question the relationships between man, animal, and machine.

Frank Soudan presenting on "FFF"

Frank Soudan presenting on "FFF"

Malu Fragoso presenting on WE BEES

Malu Fragoso presenting on WE BEES

Lev Manovich, invited keynote with remote delivery

Lev Manovich, invited keynote with remote delivery

The third and final day of CAC.5 continued the program of thought-provoking and expressive ways of considering the question of the immaterial in digital art practices. Frank Soudan gave an overview of the work "FFF" that he has been developing with Marc Veyrat. The project explores the use of data as a material for sculpture and not in the service of visualization. It pulls data from participants Facebook streams to generate and accumulate stoppages on the mesh of an interactive sphere. This was followed by Malu Fragoso's recent work creating artificial interfaces with natural and organic elements that are developed through hybridization, telematics, and networked or distributed materiality. Colonies of bees are tracked using simple DIY electronics systems and the data is streamed into the artistic installation that includes objects, sounds, smells, and projections related to the data. The invited keynote later in the day was given remotely by Lev Manovich who had recently submitted a draft for his forthcoming book on Cultural Analytics.

At the close of the congress, a round table announced the plans for CAC.6 to be held in Guanajuato City in 2018. The plans will be developed over coming years as will the theme which will include topics related to digital art education. I look forward to the potential of meeting and seeing everyone at the next Computer Art Congress. In closing, I'd like to thank the Everardo Reyes, Khaldoun Zreik, and everyone at Computer Art Congress for having me, my paper, and my artwork... it was a wonderful time!

-----

A. Bill Miller is an Assistant Professor at University of Wisconsin - Whitewater.

Call For Board of Directors and Officer Positions, Deadline 11/11

The New Media Caucus is accepting nominations for election to the Board of Directors and Secretary.
Deadline: midnight EST Friday, November 11th, 2016

 

BOARD MEMBERS (3 positions)
New Board Members will be joining an international team of dynamic practitioners and scholars who make up the twenty one person board. The Board is engaged with the daily operation of the organization as well as collaborative committee initiatives for Communications, the Media-N journal, and Exhibitions and Events. Board Members duties include attending Board Meetings, participating on committees, and offering their expertise and assistance in the operation and development of the New Media Caucus. Board Members actively participate in attracting new Members and organizational sponsors and positively represent and promote the New Media Caucus. Board members are required to pay a $75.00 per year membership fee.
Board Members serve a three-year term beginning at the close of the Annual Regular Meeting of the Organization. The next meeting will take place in New York City during the College Art Association Conference in February of 2017.
Any member of the New Media Caucus is eligible to make nominations and be nominated to the Board. Self-nominations are encouraged and accepted.
Nominations are submitted via an online form.

The form includes a 250 word biography and 250 word position statement addressing the following questions.

  • Why do you want to serve on the New Media Caucus Board?
  • What interests, skills or experience can you bring?
  • What NMC initiatives are you interested in working on?
Deadline: midnight EST Friday, November 11th, 2016
SECRETARY
The New Media Caucus is accepting nominations for the Officer Position of Secretary. Per the NMC Bylaws, only current Board Members may be nominated for officer positions, however any member of the NMC may submit a nomination.
The duties of Secretary shall be to keep records of all membership and Board of Director meetings and will perform such other duties as assigned by the Board of Directors or delegated by the President. The Secretary shall be a member and Chair of the Nominating Committee which coordinates Board of Director, and shall also coordinate Officer elections.

 

The following people are eligible for Officer positions.

 

Vagner Whitehead, President Associate Professor, Oakland University
Nadav Assor Assistant Professor, Connecticut College
Victoria Bradbury Researcher @ CRUMB, Sunderland, UK
Mina Cheon Interdisciplinary Professor, Maryland Institute College of Art
Rachel Clarke Professor, California State University, Sacramento
Darren Douglass-Floyd Independent Artist
Renate Ferro Visiting Assistant Professor of Art, Cornell University
Meredith Hoy Assistant Professor, Arizona State University
Patrick Lichty Assistant Professor, Columbia College Chicago
Jessye McDowell Assistant Professor of Art and Exhibitions and Lectures Coordinator, Auburn University
Barbara Rauch Associate Professor, Ontario College of Art & Design University, Toronto
Carlos Rosas Associate Professor, Penn State University
Joshua Selman President, Artist Organized Art
Daniel Temkin Independent Artist
Stephanie Tripp Associate Professor of Communications, The University of Tampa
Abigail Susik Assistant Professor of Art History, Willamette University
Doreen Maloney Associate Professor, The University of Kentucky

Terminal 1.0

My curiosity began with an animated, vintage flashing square cursor next to the title Terminal 1.0. Terminal is an installation project at Western Front in Vancouver, Canada. The installation project examines single-user interfaces, along with how technology influences the adaptation of new artistic forms. My mini blog series will follow the four-part installation project through 2017.

Media Curator, Allison Collins has curated the project so that it occupies two available spaces, one physical and one virtual. In our email exchange Collins described the physical location, “The on-site element of the project repurposes an under-used space in the Western Front building, to deliberately offer an alternative to installing a computer into a traditional exhibition space. It allows for a single user to access an intimate experience of a work created to take place on a machine.”

bp Nichol, First Screening, 1984 Photo credit : Ben Wilson

bp Nichol, First Screening, 1984 Photo credit : Ben Wilson

I asked Collins about her specific curation methods for Terminal. She stated, “The methodology was one of pairing and contrasting the possibilities for accurately conveying artworks within those two spaces.” With these methods she considered what the project addressed, which was the user-experience of the computer. What brought together these two different spaces were both the experience of artists who utilize computers to create and the viewers of the computer-based artist works. This is how her curation methodology necessitates thinking about the virtual and physical spaces as separate experiences.

Collins has navigated the different spaces to inquire with an audience for viewing a specific work on-site and other work online. Since she curated the project in Vancouver and I reside on the East Coast of the United States, my text will present the single-user experience from online viewing. The first installation is entitled Terminal 1.0 Programmed Poetry. It considers language within the broader investigations of the overall installation project. The artist and two poets presented on the webpage utilize text, while the written format was modified from a specific technological time-period. This not only demonstrates the experimental process from the 1960’s era to now, but also offers insight to how artists and poets from the Vancouver area had a role in influencing theses specific processes.

From my singular interface experience, I immediately noticed how the curation of the digital content runs parallel with the context of the selected work. The acts of composing text, distributing and reinterpreting language can be distinguished within the curation process. I have observed this by the multimedia choices of text, audio and video. These multimedia elements refer back to Collins’ curatorial selections, made specifically for the virtual space.

terminal1_screenshot

Screen Shot of Terminal 1.0 Programmed Poetry on Western Front website October 2016

Collins’ text, Media Poetics: The Cut, The Context and The Cute, offers the viewer an opportunity to have a detailed insight that reaches beyond the technical elements of a computer-based work. The inclusion of social and cultural aspects of the artist creative process offers a broader depiction to the progression with technology, along with the impact the medium had for contemporary experimentation. The text depicts this with the work of each poet and artist.

Programmed Poetry regards the human element from the creative process with technology. In 1966 Experiments in Art and Technology (E.A.T.) was formed and was based in New York City. The first large project that E.A.T. is known for is Nine Evenings. The electrical engineer at the forefront of the movement E.A.T., Billy Kluver acknowledges, from a 1995 interview with Garnet Hertz, that from his experience with E.A.T. he recognized that involvement of artists with technology has introduced a more humanizing element with the collaborative projects. Kluver’s assessment is derived from his matching of artist’s projects with knowledge from engineers. Part of his evaluation suggests that the artists brought situations to the standards of technology that were not in an engineer’s everyday routine concerning rational problems. Kluver believes the questions raised by artists concerning the use of technology brought the engineers and the technology from that time-period closer to humanity.

Programmed Poetry examines single-user interfaces from poets and artists and their own technological knowledge rather than a specific collaboration between artist and engineer. Poet, bpNichol transformed language and the viewer’s engagement with basic code. In the early 1980’s, a period of technological evolution where computers became affordable and portable, the Apple IIe was accessible on a consumer scale. bpNichol utilized the Apple BASIC programming language to animate, communicate and distribute his twelve kinetic poems, First Screening. He extends the context of code by embedding the virtual accessibility of two of the twelve poems on a 5.25 inch floppy disc that was in an edition of 100. The viewer would have needed to be code savvy to activate the text-based digital animation with the BASIC command (RUN 1748-). Reading Collins’ text reveals the human element of bpNichol’s creative process with code, which was by placing puns and language tricks to play on the commands of the program for the curious viewer. She does acknowledge bpNichol’s perspective of handling code as a space for the invitation of user interaction.

Crossing disciplinary boundaries in the 21st Century is artist and poet Tiziana La Melia. Viewing the Eyelash and the Monochrome images on the webpage, I relate back to the concept of “the cut” with the direct collage composition of each print. The two spaces La Melia is inquiring with are from the software of Word’s virtual page and the visual art space of the image plane. The Eyelash and the Monochrome image titles that begin with (Spread 1) (Spread 2) persuade my thinking of how many variations there could be of these prints. Collins’ text and the image titles inform me that La Melia’s working progress has direct links to the computer. It comes from the input of composing text and output of printed objects. In a broader context, La Melia’s project resonates with the current single-user interface by creating the unlimited ability to reinterpret content and the various transmission methods.

screenshotterminal_lemelia

Screen Shot from Terminal 1.0 Programmed Poetry of Tiziana La Melia, The Eyelash and the Monochrome on Western Front website October 2016

My intimate viewing via the Internet had the curation structure and multimedia elements aiding in my interpretation of the time-periods and specific works. The obvious limit is being absent from the physical object or moment of experiencing the physical site of Terminal 1.0. Even though I haven’t physically seen bpNichol’s First Screening run on an Apple IIe, or stood in front of Tiziana La Melia prints, I was able to mentally engage with the physical aspects of these works by invitation of Collins’ text. I do not see that I am completely missing out on the physical site, because Programmed Poetry occupies two available spaces and I experienced the work in the virtual space. The virtual space, similar to the context of the works and the curation of Programmed Poetry, has transformed the language of experiencing installation projects.

 

REFERENCES

Collins, A. (2016) Media Poetics: The Cut, The Context and The Cute [Internet], Vancouver, Canada. Available from: http://terminal.front.bc.ca/ [Accessed September 10, 2016].

Hertz, G. (1995) The Godfather of Technology and Art: An interview with Billy Kluver [Internet], Vancouver, Canada. Available from: http://www.conceptlab.com/interviews/kluver.html [Accessed July 10, 2013].

By: Carrie Ida Edinger

Carrie’s interest with new media is in interdisciplinary methods and the use of the Internet as a presentation site for evolving contemporary projects.

Assistant Professor, Graphic / Interaction Design, Tenure track at The University of Delaware

Assistant Professor, Graphic/Interaction Design, Tenure track
Department of Art & Design
The University of Delaware
Newark, Delaware

The Department of Art and Design at the University of Delaware seeks well qualified candidates for appointment as Assistant Professor, tenure track, to commence in the fall semester of 2017. The ideal candidate’s teaching and creative research intersect graphic and interaction design and represent a significant contribution to inter¬disciplinary design discourse. She or he is a dynamic thinker and critical maker, demonstrating a depth of knowledge in design theory and practice and a broad understanding of how these influence culture and society both on¬ and off¬screen.

The successful candidate will teach in the department’s nationally ¬ranked undergraduate Visual Communications BFA as well as the new Master of Arts in Interaction Design program. On the undergraduate level, this person will have experience teaching hands¬on methods of design that emphasize reciprocity between creative thinking, traditional techniques and active making. For the graduate program, this person will be able to significantly contribute to an ever¬evolving discourse about relationships between technology and humanity that include aspects of business, engineering, industrial design, physical computing and social practice. Professional experience in interaction or industrial design is desirable, yet not required.

Required Qualifications:
Candidates must have a graduate degree (i.e. MFA, MS, MA, PhD or equivalent terminal degree) in graphic design, interaction design, or related field and a minimum of two years teaching experience at the college level.

Application Materials:
Applications must include: (1) A Letter of Intent: describing how specific experiences shaped your qualifications for this position and your vision for the role of design in a global society, (2) Curriculum Vitae, (3) Teaching Philosophy, Sample Syllabi and url link to Digital Portfolio of Student Work, (4) References: names and contact information of three people who can attest to your teaching or creative research capabilities, (5) List of Featured Creative Projects: with a url link to your full digital portfolio, (i.e. website). Please clearly specify your role(s) if your portfolio includes collaborative projects. You may also include samples of other accomplishments including evidence of exhibitions, conference papers, published writings, commissioned work, etc.

Application Process:
Please submit all materials listed as separate PDF documents through the University’s Interfolio system: https://apply.interfolio.com/38372. Review of applications will begin on December 2, 2016 and continue until the position is filled. Please indicate if you plan to attend the annual CAA conference in your letter of intent.
For a complete list of requirements and job duties and to apply online, please visit the UDJOBS website at https://apply.interfolio.com/38372

Equal Employment Opportunity
The University of Delaware is an Equal Opportunity Employer which encourages applications from minority group members, women, individuals with a disability and veterans. The University's Notice of Non-Discrimination can be found at http://www.udel.edu/aboutus/legalnotices.html. Employment offers will be conditioned upon successful completion of a criminal background check. A conviction will not necessarily exclude you from employment.

About the University of Delaware: 
From its roots as a private academy in 1743, the University of Delaware today is a research-intensive, technologically advanced university with global impact. The full¬time, tenure¬track faculty teaching load is five courses a year, comprised of a combination of freshman through graduate¬level courses. In addition to teaching, full-time faculty are expected to maintain active creative research, serve on college committees, advise students, participate in curriculum development and other departmental activities and projects, and contribute to the vibrancy of the intellectual life of the University.

 

Assistant or Associate Professor of Human-Computer Interaction (Tenure Eligible) at University of Arizona

The University of Arizona (UA) is assembling a team of transdisciplinary artists and scholars who can provide national leadership in computational media studies, an emerging research and teaching area in which computation supports the broad spectrum of arts, humanities, and social sciences. The faculty in this cluster will become the lead facilitators of a campus-wide initiative to: (a) synchronize the study and teaching of mass and popular media that are digitally produced and/or digitally distributed; (b) produce and engage computationally-based compositions by both students and faculty in a variety of media (e.g., film, video, music, games, literature, sculpture, illustration); and © coordinate the use of several valuable but underutilized media archives linked to the UA campus. The researchers in the Computational Media Cluster – four new people and more than a dozen existing faculty who will be close affiliates – will necessarily be transdisciplinary, that is, able to understand and appreciate projects that span the arts, humanities, social and natural sciences, engineering, and business, as well as to communicate that work to people outside the field, from other-field scientists to K-12 audiences.

The successful candidate hired into the Human-Computer Interaction (Computational Media Cluster) position will work at the intersection of human behavioral studies, design, and computation. Specific areas of technological expertise are open, but applicants should demonstrate the innovative application of computational approaches to their research and practice in HCI. We are especially interested in candidates with expertise in areas such as information visualization, web or game design, interactive systems, virtual/augmented reality platforms, and/or robotics.

A research profile that complements the iSchool’s emphasis on promoting healthy behaviors, access, social justice, and an informed citizenry will likely provide the best fit. For this reason, applicants whose work focuses on meeting the needs of underserved or underrepresented populations and communities, intervenes in problems tied to difference, inequality, and access, or studies how new technologies can work to bridge social divisions will be particularly welcome.

It is important to note that we are looking for someone who uses computational methods and programming skills to conduct their work, that is, someone who develops and applies computational models to their HCI research. We are especially interested in candidates researching and designing alternative computer interfaces that are completely out of box. Examples might include hardware, firmware, and software hacking for innovative uses, novel robots, ambient computing environments, affective computing, biometrics, embedded systems, and so on.

The cluster hire initiative in Computational Media is enabled by the University of Arizona’s Never Settle commitment to build cross-college collaborations that emphasize engagement, innovation, partnering, and programmatic synergy.

In addition to working productively with the Computational Media cluster at the UA, the successful candidate for this position will find creative connections with other new UA Campus clusters focused on Technological Enhancements in Language Learning, Big Data, Space Situational Awareness, and related areas. Online teaching at both the undergraduate and graduate levels, transdisciplinary team-based project funding and management, and academic leadership (e.g., program supervision, administrative duties within an academic unit) are all anticipated for this position. A commitment to the University of Arizona’s important Land Grant Mission is expected of all hires, and a distinguished career in research output (publications and sponsored research), teaching, and service is expected for hiring at the Associate Professor rank.

The School of Information is an academic department and a professional school in the College of Social and Behavioral Sciences at the University of Arizona, the state’s only public land grant university. The School of Information aims to inspire interdisciplinary understanding, and the diverse interpretation, creation, and use of emerging knowledge and information environments for innovative research and instruction. The iSchool is a place for the interdisciplinary study of information, broadly conceived, and is focused on preparing diverse students for living, thinking, and working in the digital age. The iSchool offers six degree programs and four graduate certificates: PhD in Information, MS in Information, MA in Library and Information Science, a BA in Information Science and eSociety, a BS in Information Science and Technology, and a BA in Information Science and Arts.

The University of Arizona is located in beautiful Tucson, a vibrant multicultural city in the spectacular US Southwest. There is a thriving tech industry, including the UA’s three Tech Parks and incubator facilities for startups, as well as an established maker community with both on and off campus makerspaces.

Outstanding UA benefits include health, dental, and vision insurance plans; life insurance and disability programs; UA/ASU/NAU tuition reduction for the employee and qualified family members; state and optional retirement plans; access to UA recreation and cultural activities; and more!

Accepting a new position is a big life step. We want potential candidates and their families to be able to make informed decisions. Candidates who are considering relocation to the Tucson or Phoenix area, and have been offered an on-site interview, are encouraged to use the free services offered by Above & Beyond Relocation Services (ABRS).Ask your department contact to be introduced to ABRS prior to your visit.

The University of Arizona has been recognized on Forbes 2015 list of America’s Best Employers in the United States and has been awarded the 2015 Work-Life Seal of Distinction by the Alliance for Work-Life Progress! For more information about working at the University of Arizona, please click here.

To apply, access https://uacareers.com/postings/14261 or search on https://uacareers.com/postings/search using the Posting Number: F20703

The Body Electric – an Invitational Exhibition at UW Whitewater

Installation View, The Body Electric

Installation View, The Body Electric

Over the past several years I have been managing the University of Wisconsin - Whitewater Motion Capture Studio. Our space is relatively small and we use a markerless system manufactured by Organic Motion. I was drawn to the use of MOCAP in animation because it offered a different way to make things move on the screen in relation to human movement. As I learned more about what MOCAP data looks like, I started to see potential for its use beyond conventional approaches that create figurative remediated versions of captured movements. This lead me to begin using samples from our studio to animate things like cloth simulations or typographic characters.

I began formalizing some of these interests through research and then started to write about my experiences. I noticed more instances of artists and musicians working with movement data in creative and expressive directions. Along with two of my colleagues at UWW, Jeff Herriott  and Nick Hwang, I put together an invitational exhibition and music performance event at the Crossman Gallery on our campus. The show, "The Body Electric", opened on October 13 and will run until November 12 with the performances occurring in the evening of October 20.

Anna Weisling, 3D prints from MOCAP

Anna Weisling, 3D prints from MOCAP

Giselle Zatonyl "Experimental Life Institute of Kepler 45 ( station 7, test 3)"

Giselle Zatonyl "Experimental Life Institute of Kepler 45 ( station 7, test 3)"

The poem “I Sing The Body Electric”, written by Walt Whitman and published in 1885, addresses a body and soul entwined. The body is electrified through various interactions that may be both explicit and implicit. These and other themes from Whitman’s poem can be extended to our contemporary culture where the ubiquity of digital technologies is evolving to extend our bodies. Artists from wide ranging fields of experience and creative practice regularly explore the relationships between the body and its multi-faceted involvement with digitized emergence. This invitational exhibition explores some of the threads where art, technology, interactivity, music, performance, and movement cross over in 'singing the body electric'. It also investigates some of the latest technological works emerging from the studios of artists using new media and time based technologies.

Paul Hertz, prints generated through custom designed boids flocking software

Paul Hertz, prints generated through custom designed boids flocking software

Featured Artists Include: #Additivism (Morehshin Allahyari and Daniel Rourke), Jeremy Behreandt, Christopher Burns, Dylan Bernard, Maria Gillespie, Nathaniel Stern, Jeff Herriott, Paul Hertz, Nick Hwang, Dale Kaminski, Justin Lincoln, A. Bill Miller, Alex Myers, Nicholas O’Brien, Anna Weisling, Connor Yass and Giselle Zatonyl.

A. Bill Miller, "untitled (fursuit04)" animation

A. Bill Miller, "untitled (fursuit04)"

Dylan Bernard, Maria Gillespie, and Nathaniel Stern "movement, meaning, gesture"

Dylan Bernard, Maria Gillespie, and Nathaniel Stern "movement, meaning, gesture"

Justin Lincoln "Quick Cut-up" from reel of 8 videos

Justin Lincoln "Quick Cut-up" from reel of 8 videos (Paul Hertz print grouping behind)

Nicholas O'Brien,

Nicholas O'Brien, prints generated from death sequence motion captures

Alex Myers "The Body That Produced Them"

Alex Myers "The Body That Produced Them"

#Additivism "The 3D Additivist Manfesto" (Morehshin Allahyari and Daniel Rourke)

#Additivism "The 3D Additivist Manfesto" (Morehshin Allahyari and Daniel Rourke)

Special thanks to Mike Flanagan of the Crossman Gallery and his staff for accommodating the show and allowing us the space to explore this work in the context of the gallery. Additional thanks to the New Media Caucus for the support and networking opportunities that help to make exhibitions like this possible.

 

Faculty Positions in New + Emerging Media at University of Illinois at Urbana-Champaign

Assistant Professors of New + Emerging Media
College of Media, University of Illinois at Urbana-Champaign

The College of Media invites applications for two entry-level, tenure-track assistant professor positions in New and Emerging Media. Successful candidates should demonstrate an innovative research and teaching agenda that complements the interdisciplinary profile of the College and the current research strengths across the university in New and Emerging Media. Appointments will be made on a tenure-track, 9-month academic year in one of the College’s three departments - Advertising, Journalism, or Media & Cinema Studies -- beginning August 16, 2017.

Academic scholars and creative artists are both encouraged to apply. For candidates who are academic scholars, a Ph.D. or equivalent terminal degree in mass communication, media studies or a related field (e.g., visual studies, design studies, digital studies, technology studies, social informatics, information and computer sciences, business, economics, psychology) is required. For candidates who are creative artists, a master’s degree or equivalent is required, and a terminal degree is preferred. All candidates should possess the potential for high-quality research or creative endeavor, publication, and teaching. Of particular interest are candidates who draw on interdisciplinary bodies of theory, are open to mixed-methods approaches and collaborations, and demonstrate a capacity for conducting original and creative research in one or more of the following areas:

  • Big data and society
  • Computational advertising and machine learning
  • Convergence culture and participatory media
  • Data semantics
  • Digital ethics, privacy, and policy
  • Digital humanities and digital archives
  • Digital/multimedia journalism
  • Disability studies in information communication technology
  • Game studies and digital narrative
  • Locative media, mapping, and platform studies
  • Media history and historiography of cinema and new media
  • Media literacy and multimodal scholarship
  • Mobile and interaction design
  • Natural Language Processing
  • Online /contextual advertising and behavioral targeting
  • Social media and new media use and effects
  • Virtual/augmented reality
  • Visual studies and data visualization

Successful candidates will be expected to develop funding for a strong research program, to work collaboratively with faculty and scholars within the College of Media, and to form collaborations with faculty engaged in new media research across the campus – including in Engineering, Fine and Applied Arts, Information Sciences, Business, and leading interdisciplinary research centers such as the National Center for Supercomputing Applications and the Beckman Institute. Successful applicants will teach current new media courses and develop conceptual courses and graduate seminars in a variety of areas related to new media. An ability to advance the College’s commitment to diversity through research, teaching, and outreach with relevant programs is desired.

The College of Media’s faculty consists of internationally renowned social scientists, media professionals, and humanities scholars and serves 1,300 undergraduate and graduate students (http://media.illinois.edu/). The College is also home to the interdisciplinary Institute of Communications Research and Illinois Public Media (WILL-AM-FM-TV-Online), the public broadcasting service of the University of Illinois.

The position will begin on August 16, 2017. Salary will be commensurate with experience. Candidates should create a candidate profile at http://jobs.illinois.edu and upload a cover letter explaining how the candidate’s academic training and background, including research, creative endeavors, teaching qualifications and/or professional experience, make the applicant suitable for the position; curriculum vitae, and a list of full contact information for three references. All requested information must be submitted for an application to be considered complete. The University of Illinois conducts criminal background checks on all job candidates upon acceptance of a contingent offer.

Full consideration will be given to applications received by November 18, 2016. Applicants may be interviewed before the closing date; however, no hiring decision will be made until after that date. The review will continue until the positions have been filled. For further information regarding application procedures, please contact Jane Dowler at dowler@illinois.edu or 217-333-2351.

Illinois is an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, religion, color, national origin, sex, sexual orientation, gender identity, age, status as a protected veteran, status as a qualified individual with a disability, or criminal conviction history. Illinois welcomes individuals with diverse backgrounds, experiences, and ideas who embrace and value diversity and inclusivity. (www.inclusiveillinois.illinois.edu).

For more info, see: https://jobs.illinois.edu/faculty-positions/job-details?jobID=71871&job=college-of-media-assistant-professors-of-new-emerging-media-f1600111

The College of Media at the University of Illinois at Urbana-Champaign is focused on the study and exploration of media – how to develop content that is informative, accurate, strategic, persuasive, entertaining, creative, targeted and sharable through any media platform. We are student-centered in our approach to learning and scholarship. Our faculty are scholars and researchers exploring the impact of media and messaging.

Call : The Video Show – Video, Digital Media + Installation at Raritan Valley Community College

Exhibition - No Fee - Open to original work in Video, Video Installation, Motion Graphics, Interactive Installation, or any “New Media” work. Work originally created in both digital and analog formats are acceptable. Duration may not exceed 10 minutes per piece. There is no minimum duration.

Work in all Video Art styles will be considered, including shorts, experimental, poetic, narrative, abstract, documentary, music, and installation.

Download prospectus at www.raritanval.edu/videoshow

For more info + questions please contact videoshow@raritanval.edu