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 or search on 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 ( 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 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 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. (

For more info, see:

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

For more info + questions please contact

Assistant Professor of Art – Graphic Design at Oakland University

The Department of Art and Art History within the College of Arts and Sciences at Oakland University seeks applicants for a full time Assistant Professor of Graphic Design beginning August 15, 2017.

The successful applicant must have a record of or potential for excellence in teaching at the undergraduate level. Applicants must be proficient in current industry software applications and able to teach digital illustration, motion graphics, and web design. Candidates should have strong professional and student portfolios, an understanding of design history and theory, the aptitude to articulate design ideas through professional practice and personal research, and an interest in community and department service. Candidates with design industry experience and/or coding experience may be given higher consideration. MFA degree in Graphic Design or related field from an accredited institution required.

The Department of Art and Art History at Oakland University has over 350 students in BA programs in Art History, Studio Art and Graphic Design. Oakland University is a state-supported institution of more than 20,000 students situated on a beautiful 1600 acre campus 25 miles north of Detroit, MI.

To apply, visit Applications received on or before January 1, 2017 will take precedence in reviewing process. All applications will be considered until the position is filled. Oakland University is an Affirmative Action/Equal Opportunity Employer and encourages applications from women and minorities.

Oakland University is a state-supported institution of more than 20,000 students situated on a beautiful 1600 acre campus 25 miles north of Detroit, MI.


Regular / Visiting Appointment Open Rank at American University of Sharjah

Regular / Visiting Appointment | Open Rank - Visual Communication

The successful candidate will primarily teach studio courses in the Bachelor of Science in Visual Communication program and/or the Foundation Year. A terminal degree (MFA or MA) in Visual Communication or a related area is required along with significant academic and professional experience. A thorough knowledge of contemporary design practice and history/theory is required. Candidates should have expertise in one or more of the following areas: Graphic Design, Illustration, Printmaking and/or Photography.

Regular / Visiting Appointment | Open Rank - Multimedia Design

The successful candidate will primarily teach studio courses in the Bachelor of Science in Multimedia Design program and/or the Foundation Year. A terminal degree (MFA or MA) in Multimedia Design, Digital Media or a related area is required along with significant academic and professional experience. Candidates should have expertise in one or more of the following areas: Film Theory, Film/Video production, Editing, Sound Design, Animation, UX, Physical Computing, App Design and other digital media.

Regular / Visiting Appointment | Open Rank - Design Management

The successful candidate will primarily teach courses in the Bachelor of Science in Design Management program. A terminal degree (MSc or MA) in Design Management or a related area is required along with a strong design ability and significant academic and professional experience. Candidates should have expertise in one or more of the following areas: Design Management, Design Thinking, Product Design, Strategic Design, User-centered Design and Service Design.

Regular / Visiting Appointment | Open Rank - History of Art

The successful candidate will primarily teach first-year courses on the history of architecture, art and design along with courses that address the university's general education requirement in arts and literature. A terminal degree (PhD) in Art History or a related area is required. Candidates should have the proven ability to teach large-enrollment courses and a publication record appropriate to their rank.

More information on the positions can be found here:

The College of Architecture, Art and Design (CAAD) at the American University of Sharjah (AUS) invites applications for multiple regular or visiting faculty positions in the Department of Art and Design. All positions feature a competitive salary and an exceptional benefits package inclusive of free housing and generous retirement contribution along with funding for annual return airfare, school tuition for dependents, and health insurance. The successful candidate is expected to assume duties in August 2017.

The American University of Sharjah is a leading comprehensive coeducational university in the Gulf, serving students from the United Arab Emirates, neighbouring countries in the region, and around the world. In addition to CAAD, the University is comprised of the College of Arts and Sciences, College of Engineering, and School of Business Administration. Website:

All Degree programs are accredited by the Commission on Higher Education of the Middle States Association of Colleges and Schools (USA) and by the United Arab Emirates (UAE) Ministry of Higher Education and Scientific Research.

The Department of Art and Design offers three undergraduate programs leading to degrees in Visual Communication, Multimedia Design, and Design Management along with minors in Design Management, Film, Illustration and Animation, Photography, and Product Design. Faculty teach required and elective courses in these majors and minors as well as beginning design courses to students in the Foundation Year Regular faculty appointments are initially made as a three-year contract; after a second three-year contract, faculty are reviewed for a four-year rolling contract, the equivalent of tenure at North American universities.

All courses are taught in English. Web site:

Samples of student work can be found here:

Besides teaching, faculty are required to mentor students, engage in scholarly activities (which can include both research and creative work) and participate in service activities for the college, university and community. Applicants should have an excellent record of teaching and scholarship from a reputable university (or the potential for developing such a record, if at the Assistant Professor rank).

Successful candidates are expected to assume duties in August 2017.
Interested applicants should send a single PDF file including

  1.  a letter of interest outlining areas of teaching, practice, scholarship, and service,
  2.  a Curriculum Vitae,
  3.  names and contact information for three references,
  4.  a digital portfolio outlining scholarship, professional and student work.

Applications should be uploaded by visiting Art and Design Search.
The review of applications will begin on November 1, 2016 and continue until the positions are filled.

Assistant/Associate Professor – Animation/Illustration at Montclair State University

The Department of Art and Design at Montclair State University invites applications for a 10-month tenure-track faculty position at the rank of assistant or associate professor in the Animation/Illustration BFA program. The successful candidate will teach in both 2D and 3D computer animation required courses, and other animation formats as electives; advise students; engage in student recruitment; communicate and work effectively with faculty, students, and staff; engage industry partners; actively participate in faculty governance and service; establish a scholarship program in an area of specialization that contribute to the reputation of the department, the College of the Arts and the University.

The BFA Animation/Illustration shares in the Department of Art and Design’s common foundation. The program aims to lead students to think conceptually, to develop necessary technical skills and to define their own unique style as visual communicators or artists. The Department seeks to recruit a faculty member who is open-minded and receptive to change and to challenge fluent in emerging technologies.

Contact - Lauren Carr


Building on a distinguished history dating back to 1908, Montclair State University is a leading institution of higher education in New Jersey. Designated a Research Doctoral University by the Carnegie Classification of Institutions of Higher Education, the University’s nine colleges and schools serve more than 20,000 undergraduate and graduate students with over 300 doctoral, master's and baccalaureate level programs. Situated on a beautiful, 252-acre suburban campus just 14 miles from New York City, Montclair State delivers the instructional and research resources of a large public university in a supportive, sophisticated and diverse academic environment.

EEO/AA Statement:
Montclair State University is an Equal Opportunity/Affirmative Action institution with a strong commitment to diversity. Additional information can be found on the MSU website at

Assistant Professor of Design, Tenure-Track; Concentration in Digital Media at University of San Francisco


The Design Program at the University of San Francisco invites applications for a full-time tenure-track Assistant Professor position in Digital Design to begin Fall 2017. Situated in the Department of Art + Architecture, the Design Program at USF merges innovative graphic design with digital and interactive media into a dynamic interdisciplinary curriculum. By learning through an expanded definition of design, our students gain comprehensive experience with a wide range of process-oriented skills, including conceptual development, visual rhetoric, formal experimentation, and critical thinking. Located in the heart of San Francisco, USF is a diverse, liberal arts university that emphasizes social justice and global perspectives.

This position seeks candidates with interdisciplinary experience who are able to teach a variety of courses in emerging technologies and digital design practices. Ideal candidates will be conversant with both historical and contemporary issues in the discipline, and will be able to connect design practice to issues of political, environmental, and community concern. The position entails teaching undergraduate studio classes at all levels, from introductory to advanced; opportunity to teach seminar courses; curriculum development; and service to the program, department, and university. Ideal candidates possess both expansive and specialized knowledge in technologies, techniques, and practices in the digital sphere. Areas of specialization may include data visualization, web design, interaction design, mobile design, and other intersections between art, design, and technology.

More information about the Design Program and the Department of Art + Architecture can be found on our website at:

The successful candidate will be expected to teach a range of studio and seminar courses. The standard teaching load for this position at USF is two 4-unit courses per semester with an additional third course every fourth semester (2-2-2-3 over two years). In addition, the successful candidate will be expected to engage in service to the department and college, as well as maintain an active research program that engages students when possible.


The University of San Francisco is located in the heart of one of the world’s most innovative and diverse cities, and is home to a vibrant academic community of students and faculty who achieve excellence in their fields. Its diverse student body enjoys direct access to faculty, small classes and outstanding opportunities in the city itself. USF is San Francisco’s first university, and its Jesuit Catholic mission helps ignite a student’s passion for social justice and a desire to “Change the World From Here.” For more information, visit

Instructor or Professional-in-Residence- Digital Art and Animation at Louisiana State University

Instructor or Professional-in-Residence- Digital Art and Animation
College of Art and Design - Louisiana State University

LSU is seeking an energetic, articulate, and accomplished industry professional to teach 3D modeling, animation, and visual development for games, animation, and visual effects in LSU's School of Art and Digital Media Arts and Engineering program. We are looking for someone to help shape a program for a rapidly changing industry that engages emerging technologies and innovation. The successful candidate will teach undergraduate and graduate level courses in a thriving cross-disciplinary digital arts program.

This position will teach applied hands-on classes to students with diverse background experiences, work with the program directors to develop and maintain new courses and curriculum, participate in school activities with relation to the program, and keep abreast of industry trends and content creation tools.

The LSU School of Art is comprised of undergraduate and graduate programs in Digital Art, Graphic Design, Studio Art as well as Art History. The School has 600+ students and is a unit of a College that also includes Architecture, Landscape Architecture, and Interior Design.

LSU’s Digital Art program is closely connected with the Digital Media Arts & Engineering program and Cultural Computing research group within the Center for Computation and Technology. The group emphasizes arts, visualization, advanced technologies, and research. It is a platform for intersections among the arts, and computational sciences, uniting scholars across the university, including Music, Mass Communication, Computer Science, Electrical and Computer Engineering, and English.

Required Qualifications: Master's degree in related field. Candidates with significant experience who do not currently possess the terminal degree required may still be considered.
Professional experience with games, visual effects, or animation as a senior-level artist or instructor. Basic knowledge of modeling, rigging, texturing, rendering, and animating 3D models in a software package such as Maya, 3ds Max, or Houdini.

Preferred Qualifications: Master's degree in Fine Arts or equivalent degree in a related discipline. 7-10 years of industry experience. Prior experience with teaching.

Salary will be commensurate with qualifications and experience. An offer of employment is contingent upon a satisfactory pre-employment background check. Application review will begin October 31, 2016, and will continue until a candidate is selected. Apply online and view a more detailed ad at: Position # R00006579.

LSU is committed to diversity and is an equal opportunity/equal access employer.

The LSU School of Art is comprised of undergraduate and graduate programs in Digital Art, Graphic Design, Studio Art as well as Art History. The School has 600+ students and is a unit of a College that also includes Architecture, Landscape Architecture, and Interior Design.

LSU’s Digital Art program is closely connected with the Digital Media Arts & Engineering program and Cultural Computing research group within the Center for Computation and Technology. The group emphasizes arts, visualization, advanced technologies, and research. It is a platform for intersections among the arts, and computational sciences, uniting scholars across the university, including Music, Mass Communication, Computer Science, Electrical and Computer Engineering, and English.

Assistant Professor of Creative Arts and Technology at Bloomfield College

Division of Creative Arts & Technology

Assistant Professor of Creative Arts and Technology

Bloomfield College invites applications for a full time, tenure track position, at the rank of Assistant Professor in the division of Creative Arts & Technology for the 2017-2018 academic year. We are at a very exciting time with new facilities and are seeking a skilled trans-disciplinary new media artist with expertise in interactive storytelling and a deep understanding of game creation and play. We are seeking someone who is visionary, experimental and can bridge contemporary art making practices with the current cultural effects of new media and Internet technologies. We look to influence the next generation of art-makers through the presentation and production of ideas, issues and criticism.

The ideal candidate should be socially and culturally active - globally perceptive, and be able to incorporate several new media forms. Critical to this position will be a deep commitment to understanding race and class issues and the ability to relate to a diverse student population. We celebrate learning about the strengths and differences of our students.

The strength of CAT has always been forward thinking in collaborating within the following areas: animation, music technology, video, photo and expanded media, design, physical computing, creative coding, interactive, locative and web-based art making, mobile design & development, UX design, virtual reality, performance and play.


The successful candidate should have the appropriate terminal degree for their field (MFA, PhD, or equivalent), proven excellence and commitment in teaching, and share our values in a deep commitment to our students, with at least three years of prior teaching experience. A strong professional record of exhibitions, publications or productions and knowledge of traditional and contemporary art, theory and criticism will be regarded highly.

Responsibilities include teaching six courses per year. The candidate is expected to participate in the administration of the division, student advising, organization of special events, committee participation and to perform college-wide services.


Applicants should submit the following as two PDF files:

1) Cover letter, Curriculum Vitae, list of three references and contact information, Teaching Philosophy, Diversity Statement and URL(s) for an online portfolio of work. Optional: examples of student work, writing samples, etc.

Maximum PDF file size: 5 MB.

2) Examples of your creative work: maximum 20 still images and/or video with links embedded in a PDF. Maximum PDF file size: 5 MB.

Please send two PDF files (Electronic applications only, no hard copies will be accepted), with subject heading: Full Time Search - to:

Deadline: Review of applications will begin immediately; applications must be received by November 15, 2016 (11.59pm EST) to be considered.

Tenure-Track Assistant Professor in Transnational identities and digital media studies at Tulane University

The Department of Communication at Tulane University invites applications for a tenure track position at the Assistant Professor rank focusing on the cultural-political implications of digital media in global contexts. We are especially interested in qualified applicants whose research addresses intersections of cultural identities, new media, and social/political formations. Possible areas include the role of digital and new media in political struggles, postcoloniality, populism, mobile communication, social networking, technological affordances, and/or cultural production. We encourage scholars who can teach fieldwork methods to apply.

This is a tenure-track position that will begin August 2017. We are an interdisciplinary department in the School of Liberal Arts specializing in the critical study of media, technology and transnational communication. With more than 200 undergraduate majors, our full-time faculty offers a range of theoretical, historical, and practice-oriented courses.


Qualified candidates for this position will hold a PhD degree in Communication or a related field by May 2017.


Candidates should submit a letter or application, a curriculum vitae, three recommendation letters, and two writing samples (articles, papers or chapters). Whenever applicable, candidates should submit up to two syllabi of courses taught and teaching evaluations. Questions can be directed to Dr. Ana Lopez (, Chair of the Search Committee. Review of applications will begin 7 November 2016 and will continue until the position is filled.

Assistant Professor of Art, Design and Technology at Texas Woman’s University

The Department of Visual Arts at Texas Woman's University seeks a candidate to teach and develop courses that bridge the many intersecting areas of art, design, and technology, within a visual arts context. Qualifications include a terminal degree (MFA, MD, or PhD) in Art, Art History, Art Education, Design, Visual Culture or related fields, with an interest in contemporary hybrid practices that employ new technologies alongside traditional approaches. Experience beyond graduate teaching, as well as a record of exhibitions, publications, and/or any other peer-reviewed accomplishments for intellectual endeavors, are highly desirable. The ideal candidate will engender hybrid practices in the department, and teach courses in all levels of undergraduate teaching (foundation/core, intermediate, advanced concentration, cross-disciplinary, and special topics), and graduate teaching (seminars, independent studies, theory and practice). Special consideration will be given to candidates who possess experience, and have the ability to teach/develop courses (both online and face-to-face), in more than one of the following areas: Art Education, Graphic Design (interactive/responsive), 3D Aspects and Design, Foundations in Art/Design/Media, Computer-aided Art, Time-based Art (Animation, Installation, Performance, Photography, Film, Video), Community Arts, and Social Practice. Alongside their teaching responsibilities, candidates must maintain a scholarly practice in the form of creative/research activities, as well as serve the department, school, college, university, community and discipline through service.

Please submit the following materials to position IRC1266:

- Application letter
- Curriculum vitae
- Teaching philosophy
- Statement of scholarly (creative/research) practice
- Samples of students works (images, papers, et cetera) in the form of one URL or PDF file
- Samples of own works in the form of one URL or PDF file
- Name and contact information of three references willing to provide a letter upon request
- Abbreviated sample syllabi (optional)

Deadline: December 15, 2016 or until filled.

The Department of Visual Arts offers programs leading to the Bachelor of Arts (B.A.), Bachelor of Fine Arts (B.F.A.), Master of Arts (M.A.), and Master of Fine Arts (M.F.A.) degrees in art. An undergraduate program may be selected with a focus in art history, ceramics, graphic design, painting, photography, sculpture, studio arts, or visual art leading to teacher certification in art. The programs are designed to prepare visual artists, scholars and/or educators who are well grounded in studio art practices, history and criticism of art, and professional practices. The department strives to build the student's awareness of context, purpose, creative and aesthetic inquiry, critical theory and practice, historical and contemporary trends, professional responsibility and personal voice in the visual arts. Integrating studio and theoretical studies, the various programs provide a comprehensive approach to art learning, which facilitates a collaborative, cooperative, and supportive community. The faculty, staff and students are very active in their pursuits of excellence in their disciplines. Gallery showings, juried exhibitions, conference presentations, publications and positions with many well respected universities and arts organizations are some of the ways that the Department of Visual Arts continues to excel in all areas of the arts.

Call For Entries – The Fuse Factory Annual Juried Exhibition 2016


Deadline for Applications: October 15th, 2016

The Fuse Factory Art and Technology Lab is pleased to announce the Call for Entries for the Annual Juried Exhibition 2016: ANTHROPOCENE

The Fuse Factory’s annual juried exhibition features work created with technology-based new media, electronic, and digital tools. Our upcoming exhibition will run from Monday, November 7th to Wednesday, December 7th at the Pearl Conard Art Gallery, located on the Ohio State University-Mansfield campus. Accompanying the exhibition is a series of hands-on workshops that will be held at the Ohio State University main campus, the Columbus College Art & Design, and the ROY G BIV Gallery. Documentation of our 2015 juried exhibition can be found here:


Since the start of the current epoch - the Holocene - humans have been physically transforming the natural world and, in the process, technologizing nature’s inhabitants and environments to benefit human needs and desires. The human activity engendered by this anthropocentric mindset, while benefiting human health and well-being in a myriad of ways, has also negatively affected a wide range of ecosystems, resulting in ecological destruction, extinction, genetic malformations and abnormalities, and other problematic environmental phenomena. As a result, some scientists have proposed that we are entering a new geological epoch: the Anthropocene, an epoch characterized by the global changes wrought by human actions made possible by technology’s evolution.

The Fuse Factory annual juried exhibition 2016 will explore the theme of ANTHROPOCENE. We seek to include artworks that examine the following:

  • How artists can enable us to view technology, as it is manifested by an anthropocentric mindset, in a more critical manner
  • How artists shape our perception of how technology can and should be used to harness and shape the natural world for the betterment of all
  • How artists can create technological interfaces and forms that mediate rather than dominate, i.e., encourage cohabitation and coexistence between humans and nonhuman living beings, and organisms, and between organic and inorganic systems (systems that are computational, mechanical, programmable, etc.)


The Fuse Factory Art and Technology Lab encourages all artists, inventors, and scientists working with a wide range of high and low technologies to submit works that fall within the following genres: electronic art; interactive installation and interfaces; robotic art; live performance; 3D modeling and animation; art games; virtual and augmented reality; experimental video and moving images; video mapping; digital imaging; sound art; Internet art; creative coding; biological art; eco-art; and other emerging forms not mentioned here. We will also consider traditional forms of art and film, provided that they also explore the exhibition theme.

Both U.S.-based and international applicants are encouraged to submit entries. If you are an international applicant and your work is composed of physical components and/or physical installations that require an international delivery cost, the jurors will need to take this into consideration when evaluating your artwork for inclusion in the exhibition. While we will do what we can, we cannot guarantee that we can cover your shipping costs if your work is accepted. Please feel free to contact our Executive Director, Alison Colman, at if you have any questions or concerns.

  • Artworks that were produced before 2014 will not be considered.
  • Selected artwork must be exhibited during the full month-long exhibition period. However, performative artwork will be scheduled to occur at a specific time and place during the exhibition.


Applicants are required to submit the following:

  • Email your application materials to and include “FFE 2016 APPLICATION_your name” in the subject line.
  • 3-5 images (website links only)
  • Video links (3-minutes-or-less video highlights on YouTube or Vimeo. If your application videos exist on private channels, please include passwords so jurors can access your links)
  • Short art statement (300-500 words, .pdf file) describing what you propose to exhibit and how your artwork fits within to the exhibition theme
  • CV
  • One-page (.pdf file) document specifying your installation requirements and dimensions, and other technical requests
  • Contact details (email, phone, website)


  • Application deadline: Saturday, October 15th
  • Notify artists: Friday, October 21st
  • Announcement for lineup: Monday, October 24th
  • Installation: Thursday, November 3rd – Sunday, November 6th
  • Exhibition duration: Monday, November 7th – Wednesday, December 7th (closed Wednesday November 23 – Friday, November 25 for Thanksgiving)
  • Reception: Saturday, November 12th, 6 pm – 9 pm
  • De-installation and Art pick-up: Thursday, December 8th – Friday, December 9th
  • NOTE: The Fuse Factory may be able to partially reimburse a limited number of artists (on a case-by-case basis) for the shipping and traveling costs they incur by participating in the exhibition. Please contact us to discuss about the supports


  • There is no entry fee, but we will gratefully accept donations.
  • The Fuse Factory is a not-for-profit art 501c3 organization, and all of our programing is made possible by grants, sponsorships, and donations. All donations made toward the exhibition will be used for guest juror honorariums, exhibition workshop materials, and exhibition promotion.
  • PayPal donations can be made to


  • Victoria Vesna - Ph.D., New media artist/Professor, Department of Design Media Arts, The University of California, Los Angeles (UCLA) and Director of the Art|Sci center at the School of the Arts and California Nanosystems Institute (CNSI)
  • Matthew Kenyon - New media artist/Associate Professor, The Department of Digital + Media, Rhode Island School of Design (RISD)
  • Paul Catanese - New media artist/Associate Professor, Art & Art History, Columbia College Chicago
  • Doo-Sung Yoo - New media artist/Adjunct Faculty, Art & Technology, The Ohio State University



  • Ohio Arts Council
  • Greater Columbus Arts Council


  • Pearl Conard Art Gallery of The Ohio State University at Mansfield
  • Department of Art, The Ohio State University at Columbus
  • Columbus College Art & Design

ROY G BIV Gallery

“Behind the Smart World Research Lab” at Ars Electronica 2016

For most of us consumers electronic devices such as smartphones, tablets, notebooks, printers or microwaves are a fundamental and indispensable parts of our daily lives. As a result of rapid growth and constant innovation the electronic industry is the world’s fastest growing industry. The “Internet of things” is increasingly adding electronic devices onto our shopping list. Devices that are adding up to a 24h surveillance system that are tracking every aspect of our life and are containers for private data. The life cycle of these products are considerably short and when they break we do not know how to fix them. When it is cheaper to buy a new one than to repair the old one we move on to a upgraded model. But where do these electronic devices go to die? Some of them end up in regulated e-waste centrals in Europe, yet lot of them are dumped illegally on electronic-wastelands in developing countries where they become a serious environmental threat. A privacy issue is that these devices still contain personal data that can be reanimated and abused when falling into wrong hands. In the ‘Behind the smart world’ – research lab we question what happens to our electronic waste? What environmental and privacy threats exists? And how can we become more responsible users of technology.

Since 2010 Linda Kronman and Andreas Zingerle work as the KairUs artist duo and have focused on researching topics such as spam, scam and Internet fraud. In August 2014 our research had evolved to the stage that we needed to take a field trip to West Africa, where a considerable number of so called advance fee fraud originates. Rather than hunting down scammers in Internet cafés, we were interested to see which technological affordances or limitations the scammers were faced with in this part of the world. In our initial research we came across reports about an electronic waste dump called Agbogbloshie. In the middle of Ghana’s capital Accra, in this toxic wasteland by a lagoon, is where our electronics from developed countries are illegally dumped. There we bought 22 hard drives from old desktop and laptop computers, each cost around 3-5 USD.

Talking to recyclers at the e-waste dump

Price haggling for the hard drives

Once back in Austria our plan was to recover the data from the hard drives and offer the data and the hard drives as source material for artistic production. Together with the local net&culture hosting provider called we started a research lab. 

During two DIY-data recovery sessions we accessed data from three hard drives, just by plugging them in to a computer. This means that the data on the hard drives was not even deleted. Two hard drives were recovered by trying out open source tools such as PhotoRec, TestDisc and Partition Magic. Over an extended weekend we invited the international artists Emöke Bada (Hungary), Lilian Beidler (Switzerland), Joakim Blattmann (Norway), Simon Krenn (Austria), Fabian Kühfuss (Germany), Marit Roland (Norway), Matthias Urban, (Austria), Michael Wirthig (Austria) and Pim Zwier (Netherlands) to join us in Linz for a symposium with talks by Fieke Jansen (Tactical Tech), Dr. Michael Sonntag (Data forensic, JKU Linz) and Can Sinitras (data recovery). The artists who work with various mediums such as: soundart, interactive installations, videoart, performance and data visualizations spent the rest of the weekend discussing their concepts and prototyping first ideas. In the upcoming months we broadened our research and invited artists to write about their artistic research projects that deal with the saving, deleting and resurfacing of data. The outcome is a publication that available in a printed format as well digital in various formats. The publication includes essays by Fieke Jansen (Tactical Tech), Ivar Veermäe, Emilio Vavarella, Leo Selvaggio, Marloes de Valk, Research Team “Times of Waste”, Stefan Tiefengraber, Dr. Michael Sonntag and interviews with Audrey Samson and Michaela Lakova.

Behind the Smart World – saving, deleting and resurfacing of data as part of the AMRO Research Lab 2015 edited by: – Linda Kronman, Andreas Zingerle, published by: | process coordinator: Us(c)hi Reiter, layout by:

16 artworks from the ArtLab, the publication and an open call were curated into an exhibition for the 'Art Meets Radical Openness' - festival in Linz. The festival exhibition was co-curated by KairUs and Ushi Reiter and hosted by KunstRaum Goethestrasse xtd. From this exhibition 5 artworks were selected for a presentation during the Ars Electronica festival. A new collaborative work 'Mapping the Smart World' was started with the exhibiting artists and was presented on the interactive GeoPulse system provided by Ars Electronica Solutions.

Exhibition setup at Ars Electronica 2016 - PostCity

Observations: 'Behind the Smart World' at Ars Electronica 

Our works where exhibited as part of the 'LabOratorium' exhibition organized by Ars Electronica Solutions in the huge Post City building. The electronic waste provided by Austrian recycling company Müller-Guttenbrunn Gruppe, Raphael's e-waste yantra and the rather low tech artworks stood in contrast to the techno-utopian mindset that was apparent in the Post City. We found this an excellent context to question the rather hidden, negative impact, that the 'smart world' technology has on humans and the environment. Several exhibitions in the Post City including the 'LabOratorium' had alchemists and alchemy as an overall theme asking; "Who are the alchemists of our time?" or "What is the Gold of our time?". Also the second session of the symposium (FRI 9 September 2016, 2:30PM-5:50PM) was devoted to this topic in which among others Siegfried Zielinski and Verena Kuni discussed how the ethics of the alchemist play an important role in their creations. In her presentation (AN)ALCHEMIST Verena Kuni talked about reverse-engineering the four steps in the alchemist's search of gold, and reminded us how our consumer electronics are intertwined in complex networks that includes e-waste dumping, mining, poor labor conditions, etc. This talk supported well the perspective that the 'Behind the Smart World' Lab represents in the midst of the more utopian tech dreams.  In the following discussion Zielinski disliked the (AN) in front of the word ALCHEMIST, whereas he meant that the ethical perspective always was included in the alchemist practices. If we as artists, designers, researchers, engineers are to be seen as the alchemists of our time, we should also take time to be more aware of  the consequences technology has throughout its whole life cycle. Right now there is a lot to improve. It is not just the produced waste, or the toxic conditions of urban mining in some parts of the world that needs to be concidered. Some interesting discussions raised by the audience of the 'Behind the Smart World' exhibition included observations of the ruins of 'smart cities' or concerns of the amount of waste in space, that might hinder us to actually leave this planet, as so many scenarios portray it as the final salvation of the human race.

Link to the talks: (Siegfried Zielinski 5:15:00, Verena Kuni 5:58:30)

Exhibited works


 Research lab video:

"Shell performance" by Martin Reiche

"Shell performance" by Martin Reiche

‘Shell Performance’ is an open-source software art installation that transforms an operating system into a performative space. The performance is fueled by the data that is available on all attached internal storage devices. The underlying software is a Linux shell script that is constantly scanning the contents of the hard drives for files. Running on the data retrieved from one of the ‘Behind the Smart World’ hard-drives, ‘Shell Performance’ questions integrity of data as much as issues of privacy, highlighting the questionable relationship we have with data and our urge to save everything to protect us from potential losses through malfunctions.

"Shopimation" by Fabian Kühfuß

"Shopimation" by Fabian Kühfuß

Artistic statement: When I looked into the first restored ‘Behind the Smart World’ hard-drive, I realised that there was no longer a folder structure. I decided to build up a new structure and it became apparent that a lot of thumbnails had been stored on the drive. These commercial thumbnails are placeholders for the aesthetical reflection of the ‘original owner’. ‘Shopimation’ is an approach to get closer to an unknown individual by researching his or her ‘aesthetic dreams’. As the techno-imagination of Vilém Flusser is an approach of coding a function of the meaning of techno-pictures, ‘Shopimation’ could be a code to translate the very private dream of who one would like to be.


"Forensic fantasies" by Linda Kronman and Andreas Zingerle (KairUs)


‘Forensic fantasies’ is a series of three artworks dealing with data breaches of private information. In the artworks we use data that was recovered from hard-drives that were dumped in Agbogbloshie, Ghana. Reports suggest, that at this e-waste dump, criminals extract data from hard-drives to demand payments from their owners.

"Forensic fantasies" by Linda Kronman and Andreas Zingerle (KairUs)

#1 Not a blackmail:

‘Not a Blackmail’ examines the possibility to blackmail a pre-owner of a hard-drive. Besides finding data of the owner it is crucial to be able to contact the person to express ones demands. From one hard-drive we could find out who it had belonged to. The artwork consists of one package, containing the recovered data and a letter.

Photo by: by ‘tom mesic’, Creative Common by-nc-nd license

#2 Found footage stalker:

‘Found footage stalkers’ takes a closer look at images found on one of the ‘Behind the Smart World’ hard-drives. Scanning through the private photos enables very personal insights into the life of the pre-owners of this hard-drive. It is similar to the feeling of stalking someone unknown online, one starts to create a story to these fragmented digital representations. By presenting the photos in an album we approach the material as ‘found footage’, the practice of gathering material flea markets for remixing and creating new artworks. Hence the artwork confronts earlier practices of using ‘found footage’ with now digital materials found amongst our trash.

Photo by: Makoto Saito,

#3 Identity theft:

‘Identity theft’ focuses on the phenomena of romance scamming. Scammers conduct id-theft by copying bulks of images of people to create fraudulent profiles on social media platforms. The scammers pose to be in love with their victim and after gaining their trust they lure them to give gifts and money. One of the ‘Behind the Smart World’ hard-drives contained several images of ladies. We suspect that the images were copied to this hard-drive to create and sustain fraudulent profiles. In this artwork 18 of the fraudulent online profiles using the same images found on the hard-drive are combined with Nollywood clips that thematises the topic of romance scams.


"Recycling Yantra" by Raphael Perret

The installation ‘Recycling Yantra’ is on one hand a series of videos, documenting the informal e-waste recycling in Delhi, and on the other a contemporary interpretation of the tantric symbol ‘Smara-hara Yantra’ (Remover of Desire). The videos show how computers are collected, repaired, traded and taken apart over several steps, until all components are fed back into the production of new goods again. The yantra, composed of materials collected from the recycling process, is an energy diagram, comparable with a talisman which, in its original meaning, is supposed to help people free themselves from desire and the urges of consumer culture.

Photo by: by ‘tom mesic’, Creative Common by-nc-nd license

Photo by: by ‘tom mesic’, Creative Common by-nc-nd license

"Headcrash" by Michael Wirthig

The most interesting thing of the ‘Behind the Smart World’ hard-drives is for Michael Wirthig the magnetic disc itself. It is the physical place where all kind of personal data is saved on. In former works I’ve made various studies about the relationship between inner and outer worlds. Therefore I dissected the hidden world of a number of different appliances to turn them inside out, e.g. disassembling machines. For ‘Headcrash’ I extracted the discs of 2 Ghana hard-drives and explored the surface with a microscope. 1500 photos of the inside and outside influences of the discs, like scratches or dust result in a 1 min tour de force about the inner world of these drives.

Photo by: Michael Wirthig (videostill)

Collaborative work "Mapping the smart world"

‘Mapping the Smart World’ examines the life cycles of consumer electronics and network technologies. By mapping the key locations for mining, refining, production, storage and the urban mining of e-waste we want to bring forth the complex chains of development and production that enables our networked lives. The ‘Mapping the Smart World’ reveals locations of both stunning R&D, increasingly effective use of resources as well as dystopian working conditions and ecological disasters. We were able to show a first ‘work in progress’ with the Geopulse system that Ars Electronica Solutions produced for ESA. To make the future research process more participatory, we want to port the map to an open source system and collaborate with other research groups.



KairUs Art+Research:
The "Behind the smart world" publication (epub, pdf, web version):
"Behind the smart world" research blog:
Symposium II: The Alchemists of our time:
Fabian Kühfuß:
Martin Reiche:
Raphael Perret:
Michael Wirthig:

This HUB Post written and submitted by Linda Kronman & Andreas Zingerle


Additional credits: ‘Behind the Smart World’ – a project by Linda Kronman & Andreas Zingerle (KairUs) realised the first time in cooperation with as a research lab and an exhibition for the Art Meets Radical Openness 2016 festival in Linz, Austria.


Material sponsoring (e-waste): MGG – Müller Guttenbrunn Group, Amstetten (Austria).


Assistant Professor in Physical Computing at UCSD

The Department of Visual Arts at UC San Diego invites applications for an artist with a robust exhibition record who works with physical computing platforms and control systems for installation, robotics and public environments; computationally directed methods of fabrication and simulation; and other emerging areas of artistic production which physically manifest computational system interactions with human, social and material conditions. We especially seek artists with conceptually driven practices who use computing in a way that intersects with other departmental artistic practices, such as studio, performance, installation, or media, as well as with Speculative Design and Art History and Theory.

The Department of Visual Arts offers undergraduate degrees in Studio, Media, Speculative Design, Art History and the Interdisciplinary Computing in the Arts Major (ICAM), as well as, at the graduate level, an MFA and a PhD in Art History, Theory and Criticism which includes a concentration in Art Practice. The Physical Computing Artist is a research and teaching position centered in the ICAM, a program intermixing art, music and computer science to provide students with the basis of creating new forms of art which arise out of the affordances of computational systems. Teaching will encompass the entire curricular range from large undergraduate lecture courses, to intermediate production and technique courses, advanced undergraduate production and critique courses, and graduate courses for MFA and Art Practice students. Courses would include such areas as the use of microcontrollers in art,
3D fabrication and computing systems for social action. All Department faculty are expected to advise, work with, and serve on the committees of MFA students in all areas and also work with and serve on the committees of PhD students.

Assistant Professor appointments are open to emerging artists whose exhibition track record shows a trajectory for developing a national and international reputation. Since quality teaching is required for advancement, applicants with teaching experience are preferred. Applicants should possess an MFA and/or PhD.

Rank and salary commensurate with qualifications and experience based on UC pay scales.

To apply: All applicant materials including referee information should be submitted via UCSD Academic Personnel Recruit On-Line site at

Review of applications will begin on December 15, 2016 and continue until the position is filled, however, to guarantee full consideration by the search committee, applications must be fully completed and received by December 15, 2016.

Applications must include a cover letter with a description of research, training, and teaching experience; a curriculum vitae with degrees, academic and other employment positions, and evidence of work in the field with links to relevant websites (if any); teaching evaluations (if available); three letters of reference requested through the AP On-Line Recruit site; provide a link to online portfolio that is specifically curated for the search committee, prioritized with your most accomplished work in PDF format that can be uploaded into the AP On-Line Recruit site; and a summary of past or potential contributions to diversity (see;

UC San Diego is an Equal Opportunity/Affirmative Action Employer with a strong institutional commitment to excellence through diversity. All qualified applicants will receive consideration for employment without regard to gender, race, color, religion, sex, sexual orientation, national origin, disability, age or protected veteran status.

INTERNATIONAL OPEN CALL – IMPACT16 – Symposium and Public Presentations

How and where do alternative realities come about both in and between different fields of knowledge? How can we productively uncover contradictory “rift zones” in today’s world? What kind of frameworks for action can we cultivate?

  • 4-DAY SYMPOSIUM with extensive interdisciplinary exchange
  • 30 PARTICIPANTS (artists, scientists and experts from other varied fields)

impact16 is aimed at artists and advanced students, practitioners and theoreticians from the natural and social sciences, technology, architecture and urban planning, philosophy, political activism, as well as from the visual and performance arts.


Online application form: impact-application Limited number of 30 participants. Selection is based on the quality of submitted applications (CV, letter of motivation and, where applicable, work samples). The working language is English.

Assistant Professor of Creative Arts and Technologies at SUNY Polytechnic Institute

The Department of Communication and Humanities, College of Arts and Sciences at SUNY Polytechnic Institute seeks to hire an Assistant Professor whose research and practice addresses the intersections between the creative arts and technologies. The preferred candidate will be able to work at the levels of theory and practice, integrating insights and applications in the arts, humanities, and technologies to engage students to become creative thinkers, practitioners, and problem-solvers. The successful applicant will develop and teach a range of undergraduate and graduate courses that encourage students to explore and develop their creative, aesthetic, and technical abilities and that contribute to the degree programs and general education mission of the Department.

The Department offers a B.A. in Interdisciplinary Studies, a B.S. in Communication and Information Design, a B.S. in Interactive Media and Game Design, and an M.S. in Information Design and Technology, and provides a range of general education in the arts and humanities. SUNY Polytechnic is developing a state-of-the-art makerspace and collaborative interdisciplinary learning environment and is seeking candidates who can leverage these facilities to explore and capitalize upon the intersections between the arts and technologies.

Persons interested in the above position should submit a resume, contact information for three work-related references, letter of application, and the SUNY Polytechnic employment application to

SUNY Polytechnic Institute (SUNY Poly) is New York’s globally recognized, high-tech educational ecosystem. As the world’s most advanced, university-driven research enterprise, SUNY Poly boasts more than $43 billion in high-tech investments, over 300 corporate partners, and maintains a statewide footprint.

SUNY Poly is dedicated to the goal of building a diverse and inclusive teaching, research, and working environment. Potential applicants who share this goal, especially underrepresented minorities, women, persons with disabilities, and veterans are strongly encouraged to apply.

Assistant Professor of Media Arts, Tenure Track at Mason Gross School of the Arts, Rutgers University

The Visual Arts Department of the Mason Gross School of the Arts, Rutgers University invites applications for a full-time tenure-track Assistant Professor position in the area of Media to begin September 2017. The position entails teaching undergraduate and graduate studio and seminar classes at all levels, from introductory to advanced; curriculum development; and committee service to the Department and University. The successful candidate will be expected to contribute to the vision, development, and growth of the Media Area. The candidate should have a demonstrated commitment to teaching, the potential for academic leadership, and the ability to work in an interdisciplinary arts environment. Candidates should be active in their field, with a strong record of professional achievement. Candidates should also have an expansive and deep knowledge and proficiency in the techniques, practices, histories and theories of media art as well as the field of art and technology. Areas of specialization may include sound, interactive media, animation, and other intersections between art, media, and technology.

Position information can be found here:

The Visual Arts Department provides both disciplinary focus and an environment for interdisciplinary exploration, as well as access to the rich intellectual resources of a major research institution. This breadth enables students to graduate with the skills and thinking necessary for careers in today’s diverse and changing art world. BFA, BA, and MFA degrees in Visual Arts are offered with undergraduate concentrations in Design, Drawing, Media, Painting, Photography, Print, and Sculpture. Proximity to New York and Philadelphia gives students access to a faculty of renowned professional artists and designers, prestigious museums and galleries, visiting artists and critics, and profoundly affects the exchange of ideas within the Visual Arts Department. Visual Arts graduates become professional artists and designers, and work in creative environments such as museums, galleries, schools, and universities and industries including film, television and advertising.

CURRENTS New Media Festival 2017 Call for Submissions

This is a call for our 2017 show June 9th-25th 2017 in Santa fe, New Mexico. CURRENTS is a non-profit organization and there is no charge for admission to the festival. Last year over we counted over 7,000 visitors to our festival events.

Some artists who are accepted into the festival are eligible for full coverage of lodging, travel, and shipping costs.

This years categories include:
• New Media Installations,
• Outdoor Video and New Media Installations,
• Single Channel Video and Animation,
• Multimedia Performance,
• Fulldome,
• Experimental or Interactive Documentary,
• Web-Art / Art-Gaming / Mobile Device Apps,
• Virtual Reality Environments,
• Robotics,
• Digitally Generated Objects (ie. 3D Printing)
• Interactive Installations for Children

For more information about our festival and our submission guidelines:

CURRENTS is an international NEW MEDIA art festival produced by the non-profit organization Parallel Studios. We showcase a variety of art that is pushing the boundaries of art and technology, experimental films, installations, and performances. CURRENTS brings together New Media artists in an atmosphere that fosters open exchange and professional networking.

CURRENTS serves as a platform for artistic experimentation and generates exploration into all forms of new media art, while providing the public with an opportunity to experience an outstanding selection of innovative work. Committed to making this extraordinary work available to everyone, the CURRENTS Festivals are free to the public.

Travel Shorts a Moving Image Festival for SECAC 2016

TRAVEL SHORTS A Moving Image Festival
SECAC Conference 2016
Call For Work

Calling for video, animation, motion graphic works that in some way deals with the theme of travel. Works are to be no longer than 10 minutes and may include sound. The selected works for the festival will be exhibited during the SECAC Conference at the Armory Mezzanine Gallery, Virginia Tech and on the bus ride between Roanoke and Blacksburg, VA to attend the keynote address by Lynn Hershman Leeson, at the Moss Arts Center’s theater in Blacksburg on Oct 21, 2016.

Email a vimeo or youtube link to using TRAVEL SHORTS as subject.
Submit entries prior to 11:59 PM EDT August 31, 2016
Entry is free
Up to three entries per person is permitted.
Late entries will not be reviewed.
On acceptance uncompressed files will be called for via WeTransfer (a free transfer service up to 2 GB)

Travel Shorts, A Moving Image Festival is open to all. However, membership to SECAC is required within 10 days of acceptance to the festival. For membership information, visit the Membership page on the SECAC website:

Dr. Simone Paterson, Associate Professor of New Media and Chair of Undergraduate Studies in Creative Technologies at The School of Visual Arts, Virginia Tech.

Submission deadline August 31, 2016
Notification of acceptance Sep 18, 2016
Deadline for selected work via WeTransfer Sep 30, 2016

Travel Shorts, A Moving Image Festival
Armory Mezzanine Gallery, Virginia Tech, SECAC Conference October 19-22, 2016.
Bus ride between Roanoke and Blacksburg, VA Friday Oct 21, 2016.


SECAC 2016 - Roanoke, VA
The city of Roanoke, Virginia, Virginia Tech, and Hollins University are proud to host the 73rd annual SECAC meeting October 19-22, 2016. Kevin Concannon, Director of the School of Visual Arts and Professor, Art History, at Virginia Tech, serves a conference director.

Join us in the beautiful mountains of Southwest Virginia for SECAC 2016. Sessions will take place at the official conference hotel, the Hotel Roanoke & Conference Center. The Hotel Roanoke, which was added to the National Register of Historic Places in 1996, is located in the heart of vibrant downtown Roanoke within easy walking distance of the Taubman Museum of Art, The Harrison Museum of African American Culture, and the O Winston Link Museum, and many restaurants and bars.

Evening excursions to Virginia Tech and Hollins on Thursday and Friday evenings include the SECAC 2015 Artist's Fellowship exhibition opening, Juried Exhibition, and keynote speaker Lynn Hershman Leeson, who will be speaking in the Moss Arts Center’s spectacular Snohetta-designed theater on the Virginia Tech campus. The annual SECAC Awards luncheon will be held on Thursday.

Visiting Assistant Professor Visual Studies – Digital 2016-17 at Grand Valley State University

Grand Valley State University

• MFA (or comparable degree) with in-depth working knowledge in the use of digital media in art and design.
• Deep practice and knowledge in the use of time-based and interactive media.
• Familiarity and facility with theory relevant to Visual Studies, New Media, Foundations, and Contemporary Art and Design.
• Ability to organize and maintain a healthy studio environment with engaging studio activities and projects.
• Successful candidates will be able to work in digital media in relation to other studio and intellectual ways of knowing and working. Visual Studies is organized to operate integrally with other visual and academic methodologies within the department, University, and community.
• Awareness and experience in the formation, presentation and critique of culture.
• Knowledge and skill to teach one or more of the six Foundations courses.

Teach three courses per semester in a NASAD accredited undergraduate program with approximately 300 majors. Teaching responsibilities will include Visual Studies courses (primarily Time Studio and Interactive Studio), a foundation course about contemporary practices Art 153 Making and Meaning in Art and Design, and other courses as needed: Drawing 1 and 2, 2D Design, 3D Design, or Color and Design.

Competitive; commensurate with rank and experience; one year contract, renewable up to three years.

Send an email expressing your interest in the position to Include link(s) to online samples of work and samples of student work. Attach a CV, a list of 3 references, and any other pertinent documents (letter, teaching statement, artist statement). Please include an overview of time-based and interactive processes and technologies indicating level of proficiency for each (familiar, competent, expert).

Position is open until filled. Given the tight timeline send your materials asap: applications will be reviewed immediately upon receipt. Send by August 5th to assure full consideration.

Visual Studies is a studio emphasis area in the Department of Art and Design at GVSU that uses innovative pedagogies to address rich contexts in contemporary art practice. In Time Studio, Interactive Studio and Image Studio students engage the prevalence of digital media and networks in human experience by making and thinking critically about these media. In Civic Studio, Curatorial Studio and Space Studio students design and implement special contexts and engagements to learn about human experience and power. These six courses make up the core Visual Studies BFA curriculum, one of the BFA studio emphasis areas in the Art and Design Department. For more information about Visual Studies see:

Fermenting at Flux (Live and Active Cultures: Part 2)

Presented by Christina Freeman, Flux Factory artist-in-residence

Over the course of my 5-month residency at Flux Factory in Long Island City, New York, I am recording a series of studio visits with other artists-in-residence (aka Fluxers), as well as outside artists collaborating with Flux for its various public programs. Through its studio residency program, Flux Factory supports approximately 30 emerging artists each year from a range of creative disciplines and international locations. Flux commissions new work through quarterly exhibitions, and residents produce public events at a prolific pace.

For this interview, I invited Maya Jeffereis to talk about her current project, Fallout Shelter which stages a moral values exercise developed by the US Navy. Maya invited visitors to participate in the exercise at Flux Factory on July 14, as one of the featured collaborators for Interdependence DayFallout Shelter is on view at the Soho20 Gallery in Brooklyn until July 25 and the New Britain Museum of American Art through September 11. 


C: How did your Fallout Shelter project come about?
M: I found a U.S. Navy training manual at an abandoned military site in Puerto Rico. Inside was this exercise on moral values: a hypothetical apocalyptic scenario with ten people occupying a fallout shelter. As participants, you are on a civil defense committee appointed by the President and it's your job to decide which six occupants should remain in the shelter in order to rebuild society and which four have to leave, because there is only space for six. The exercise describes each occupant by very problematic statements that include information about age, race, gender, sexuality, profession, and ideology.


Text taken from the fallout shelter exercise:

  1. Thirty-six year old female physician, known to be a confirmed racist.
  2. Marine drill instructor, 37, white, accused of brutality to recruits -- has a revolver.
  3. Black militant, 35 year old biological researcher (PhD).
  4. Biochemist, 62 years old, white male.
  5. Olympic athlete, 26, decathlon champion, Asian female.
  6. Hollywood starlet, 27 year old white female, known drug user.
  7. Third year male medical student -- homosexual, 28.
  8. Sixteen year old girl, pregnant, questionable IQ, high school dropout.
  9. Thirty year old Catholic priest, Hispanic.
  10. Thirty-eight year old carpenter, and “Mr. Fix-It” man. Served seven years for pushing narcotics, has been out of jail for 7 months.

C: How did you take the ideas from that document and transform them into a work?
M: The most interesting aspect of the exercise was the conversation about identity politics and values that it opened up. I invited participants to my studio to complete the exercise and make their own decisions about whom to keep and whom to remove. They improvised on camera playing three roles: a member of the civil defense committee discussing their decisions, an occupant they chose to keep, and an occupant they chose to get rid of. In the role of the fallout shelter occupants, they would make a video confessional speech about why they should remain in the shelter, with the idea that their speech would be sent to the civil defense committee making decisions.

C: How does the two-channel format influence our understanding of the content in the speeches?
M: The video is edited together with the civil defense committee members on the left channel and the fallout shelter occupants on the right. By having the same performer play three distinct roles, you get a conflict of interest. For example, you might see a member of the civil defense committee on the left talking about why we should get rid of the Hollywood Starlet but then on the right, you see the same performer making an argument in defense of herself. Many different performers play each of the occupants, so you might see 10 different performers playing the role of the Marine Drill Instructor. I wanted to create a collective identity for each of the 10 occupants that would represent the range of arguments for or against each occupant. This would expose latent biases, because you're having a very direct and open conversation about race and identity politics and your own values. You are also building your own conception of a utopia by doing this thought experiment of what it would mean to rebuild society. What kind of society are you building? What do you hope to bring to a new society and what do you wish to leave behind?

C: How many people participated and did they write their own scripts?
M: About 35 people participated in the video and all of the performers improvised their own parts. When directing the video, I offered some general guidelines but tried not to influence what they said because it was about what each person brought to their own performance.

C: You don’t guide them as to whether they should use their own value system or approach it like a philosophical exercise?
M: I’m interested in this gray area between the performance of the self and the performance of a character. Where do you draw the line between the two? When performing a character, you are calling on personal experiences and external experiences that you have observed or absorbed through culture and media and these experiences become internalized. When performing your own identity, I think of Erving Goffman’s research on how an individual acts differently in different contexts, constantly adapting to various situations. The question of real versus fictional can be asked of both the performer and the performed.

C: In reading the document, there is an absurdity to the exercise that makes it hard to take seriously, but there is something about watching people act it out that feels surreal and frightening in its plausibility.
M: I think of the occupants of the fallout shelter as archetypes: you have The Doctor, The Soldier, the Academic, The Athlete, The Movie Star, and so on. Each archetype may have varying degrees of relatability, depending on your own background. For example, the Female Physician is described as a “confirmed racist.” How do we interpret this information, especially when it seems to present a conflict of interest between a doctor who swears the Hippocratic Oath and a confirmed racist who may refuse to treat certain patients? When the participants play the occupants, they begin to humanize these characters, giving insight into their personalities, their flaws, and their motivations. Perhaps it’s this sense of empathy imbued in the performance or conveyed to the viewer that is unsettling, because we’re confronting morally ambiguous and ambivalent issues. But that’s the great thing about this thought experiment: it gets us to have very frank and candid discussions about difficult topics, like race, policing, and gun control--issues that we’re facing right at this very moment.

Maya Jeffereis is a video, performance, and installation artist based in New York. Her work has been shown most recently at SOHO20 Gallery, Flux Factory, and NARS Foundation. She holds a MFA from Hunter College and a BFA and BA from the University of Washington. Maya is also the Public Engagement Associate of Adult and Access Programs at the Guggenheim.

Christina Freeman is a Visiting Assistant Professor of Fine Arts at Haverford College in Pennsylvania and currently an artist-in-residence at Flux Factory in New York.


Fermenting at Flux: Live & Active Cultures (Part 1)

Presented by Christina Freeman, Flux Factory artist-in-residence

Over the course of my 5-month residency at Flux Factory I will be recording a series of studio visits with other artists-in-residence (aka Fluxers). Through its studio residency program in Long Island City, NY, Flux Factory supports approximately 30 emerging artists each year from a range of creative disciplines and international locations. Flux commissions new work through quarterly exhibitions, and residents produce public events at a prolific pace.  The next exhibition opening on July 20th in Flux's gallery is "Thinking Like a Machine," by Niki Passath.

Interview with Niki Passath



C: Tell me about your opening on July 20th.

N: It’s a hybrid event, both workshop and exhibition. The robotics workshop starts at noon and finishes when the opening reception begins, at 6pm. We will experiment with the machines we have made as a performance during the opening.


C: What are the materials you are using?

N: Styrofoam, wooden skewers, straws, mobile phone batteries, and e-waste.

[Recently Niki has been making robots that paint]

C: How do you see the action of the robot painting as cultural critique?

N: I propose new ways for looking at technology.  For example, a lot of people think, you can do anything with a good programming language. In reality, you are limited to what the producer of that language could conceptualize.

C: The robot acts as an intermediary, creating distance between you and the final painting. I assume you are thinking about technology mediating relationships and how we connect emotionally or disconnect.

N:  How we communicate and use technology nowadays, is the wrong way because we connect, mainly over software which has a reason. That reason is to make money. It might be a social software but the intention is different. There used to be couch surfing for free. The next idea was Airbnb, which was a good idea, but businesses were destroyed and in many cities the rents have increased.

C: It points to a global issue, of prioritizing short term consumer experience over long term sustainability.

N: It’s subjectivism, vs objectivism. The idea that everything that I would like to have and consume is inherently good.


C: The lines these days are a bit blurred, but a lack of specific function is often inherent to what defines art, as opposed to design or craft. How do you think about the function of your robots? Aren’t they unnecessary?

N: I come from the classical music world. An instrument is a very elaborate technological device. Even when you use that machine to create music, you interpret the composition. The musician, is a very small element in the whole system. There could be a billion musicians, but the way they interpret the work is special.

C: The point is not to make a painting.

N: I tried it, it’s not something that I like. I really enjoy the traces of the robots, they take two to three hours. It might be the same amount of time for me to make it myself, but I prefer if the robot makes it. It’s a very intense, emotional time for me. The reason for having the robots paint, is the connection to the idea of trace and cave painting. Everything the robots do is recorded by the trace, it is the abstract form of each robot's movement.

C: You create the robots with some intentional element of failure?

N: Yes, I realized that if there are small mistakes in the form, the behavior changes and it becomes very lifelike. My theory is that every great idea came out of a misunderstanding of something.

C: Are you open about the code and the technical process?

N: I come out of the open source world. If you look at the score for a piece of music, that is the source code of the piece. In some cases, I write code onto the gallery wall. Calling it a score can help you see code differently. It’s more interesting to create scores for machines, than a very dry, technical code.


C: The world of technology is still very male dominated, and your robots are working with the abstract expressionist language, which is also a male dominated language. Specifically this idea of the paintbrush as phallus is a reminder of this.

N: I’m looking forward to the conversation here in the United States, because Jackson Pollock is not so important in my world and I’m not coming out of that tradition. I was never a painter. I’m interested in the gesture, but not what a painter thinks is a gesture.

C: Your work reminds me of Yves Klein, with the traces of  bodies on canvas, performance in the gallery space, musical scores, neo-dada style happenings; also Nam June Paik releasing a robot into the street to be hit by a car.  It’s an event, alive and organic.

N: There’s no instructions for the evening. If you don’t look closely it would seem like a normal opening reception, with the artist present. It’s more subtle and I wouldn’t want it to be otherwise.

Niki Passath teaches Interface Design at the University of Applied Arts in Vienna. Christina Freeman is a Visiting Assistant Professor of Fine Arts at Haverford College in Pennsylvania. Both are currently artists-in-residence at Flux Factory in New York, where Niki will be leading a robotics workshop on Wednesday, July 20, 2016, followed by an opening reception and exhibition:












Call – iDEAS Exhibition 2016

iDEAS 16 is an international exhibition which explores current ideas and processes in hybrid form, digital art, design, and new media. The iDEAS exhibition coincides with the fourteenth annual International Digital Media and Arts Association (iDMAa) conference, to be held on the campus of Winona State University in Winona, Minnesota, from October 5th-8th. All entries will be selected based on a juried body of professional artists including the highly respected, Christiane Paul and Dene Grigar.

DEADLINE FOR ENTRIES EXTENDED – August 15th, 2016 (12:00am CST)

Wednesday, October 5, 2016 at
9:00AM CDT
Saturday, October 8, 2016 at
1:00PM CDT

Click on the link below to find out more

Submit work!

Apply Now!

If you have any questions, please feel free to contact us. We're looking forward to seeing you there!
Dr. Sherman Finch
iDEAS Chair

iDMAa was founded in early 2004 by a group of 15 universities. iDMAa is dedicated to serving educators, practitioners, scholars, and organizations with interests in digital media.

Around the world, universities and colleges are creating new programs and departments to teach and conduct research in Digital Media and Digital Arts. These programs are emerging from partnerships of Art, Computer Science, Communications-Radio/TV-Journalism, English, Music, Theater, Film and other disciplines. These programs often don’t fit within the neat and tidy confines of traditional university structures. Thus, their creators and champions often forge interdisciplinary partnerships to create opportunities, attract money, and stimulate explosions of creativity.

CALL FOR ENTRIES | Materials: Hard + Soft International Contemporary Craft Competition & Exhibition

The Greater Denton Arts Council announces the opening of its 2017 Call for Entries for the 30th Annual Materials: Hard + Soft Contemporary Craft Exhibition. This exhibition celebrates the evolving field of contemporary craft and the innovation of artists who push the boundaries of their chosen media. Recognized as one of the premier craft exhibitions in the United States, this year we are thrilled to be partnering with the National Endowment for the Arts to expand this national exhibition to now include international artists. Approximately 70 works will be selected for exhibition by juror JoAnn Edwards, Executive Director of the Museum of Craft and Design in San Francisco, California. Of the works selected, Juror Awards in amounts of $1000, $750, $500, and $250 will be awarded.

Online submissions and prospectus available at

SUBMISSION DEADLINE | September 30, 2016

2017 EXHIBITION | February 4 – May 6, 2017 at the Patterson-Appleton Arts Center in Denton, Texas. Inquires may be directed to the Arts Council at (940) 382-2787 or

The mission of the Greater Denton Arts Council is to support, promote, and encourage the arts in the Greater Denton Area.

The Greater Denton Arts Council has served the Denton Community for 45 years. The Arts Council provides foundational support for Denton’s artists and community arts organizations and collaborates frequently with area universities, the Denton Independent School District, and the City of Denton. The Arts Council presents a full schedule of programs and exhibitions in its two flagship facilities in historic downtown Denton, the Patterson-Appleton Center Arts Center and the Campus Theatre.

Lecturer or Professor of Practice, Writing for Games at Rensselaer Polytechnic Institute

Post: One Year Full-time, Non Tenure-Track Position in Writing for Games

Deadline information: Screening of applicants will begin immediately, and will continue until the position is filled.

The Program in Games and Simulation Arts and Sciences (GSAS) at Rensselaer Polytechnic Institute in Troy, NY invites applications for a one-year faculty position as Lecturer or Professor of Practice in Writing for Games. We seek a writer with a creative practice in storytelling through games and a passion for teaching the next generation of game designers. The successful candidate will bring expertise in writing and design for games, including digital or analog games; mainstream, serious or indie games; or closely related forms of interactive fiction and narrative. The appointment is full time, non tenure-track, as Lecturer or Professor of Practice in the Department of Communication and Media with primary teaching responsibilities in beginning, intermediate, and advanced courses in game writing and narrative design.

For appointment as Lecturer, candidates must have a terminal degree (MFA, PhD, or foreign equivalent) in a relevant discipline and evidence of successful teaching ability at the college level. For appointment as Professor of Practice, candidates must have a Terminal degree (MFA, PhD, or foreign equivalent) in a relevant discipline or comparable professional qualification in a senior role with at least 10 years of experience, and evidence of successful college-level teaching ability or mentorship.

Founded in 1824, Rensselaer Polytechnic Institute is the nation’s oldest technological university. With approximately 5,000 undergraduate and 2,500 graduate students from across the country and around the world, the university offers more than 145 programs at the bachelor’s, master’s, and doctoral levels. Rensselaer is located in Troy, NY, the heart of the "Tech Valley" region of the Hudson River Valley. The university’s Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) offers scholars and students opportunities for creative interdisciplinary research in the arts, performance technologies, science, and engineering. Games and Simulation Arts and Sciences is an interdisciplinary program housed in the School of Humanities, Arts, and Social Sciences, with faculty and courses from multiple departments including Arts, Cognitive Science Communication and Media, Computer Science, and Science and Technology Studies. Launched in 2008, it has been regularly ranked as one of the top 20 games programs in the North America, with one of the only game writing concentrations in the world.

The Department of Communication and Media at Rensselaer is an internationally recognized center for interdisciplinary education and research. Our graduate and undergraduate programs prepare students to understand traditional and emerging communication technologies from a variety of perspectives, including rhetorical studies, media studies, human-computer interaction, game studies, technical communication, professional and creative writing, cross-cultural communication, and graphic design. Students learn to use words and images to communicate powerfully with a critical understanding of how media operate across global cultures.

Games and Simulation Arts and Sciences is an interdisciplinary program housed in the School of Humanities, Arts, and Social Sciences, with faculty and courses from multiple departments including Arts, Cognitive Science Communication and Media, Computer Science, and Science and Technology Studies. Launched in 2008, it has been regularly ranked as one of the top 20 games programs in the North America, with one of the only game writing concentrations in the world.

Screening of applications will begin immediately and will continue until the position is filled. To apply, please submit a letter of interest, curriculum vitae, up to three (3) portfolio samples and three (3) letters of reference at: Applicants with more than three portfolio samples are encouraged to use their letters of interest to advise the reader that more samples are available upon request.
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 Employer.

Call For Essays – Cinematic Fixations

The Cinematic Fixations website is seeking short 500 word essays about the images in the database. The essays will be featured on the website, and eventually collected in a book. Topics for discussion can be the use of a signature color palette by a filmmaker (for example, Wes Anderson's fondness for earthy browns and his use of blue tinting to indicate climax), or color as indicator of location (think The Wizard of Oz's Emerald City and yellow brick road), or the shift from light to dark (as in the horror classics, Halloween and The Texas Chainsaw Massacre). The essays can also break this mold and be a discussion of the author's favorite cinematic moment, or a criticism of the project itself.

To get involved or submit essays, email Jeffrey Moser at This project is made possible through a grant from the Myer's foundation, and the support of the School of Art and Design, College of Creative Arts, and the Reed College of Media at West Virginia University.

The Cinematic Fixations website is a visual database of film. It currently contains over 1000 film fixations, from George Melies to George Miller. The project invites academics, filmmakers, artists, computer programmers and movie buffs to collaborate in creating a complete visual database of film. Each fixation is created by arranging every frame of a film into a grid with a ratio of 3:1. No matter the length of a film the fixations are standardized so that films across genres and of varying duration can be compared and contrasted. The result is a color-banded timeline that reveals the underlying palette and the pattern of light variation of a film. The website is designed as a tool for researchers, critics, and students of film to investigate the use of color by filmmakers to augment narratives, indicate changes in psychological or physical space, and signify climax.

Call for papers: Digital Fabrication @ FATE 2017

FATE (Foundations in Art: Theory and Education) 16th Biennial Conference
Hosted by the KCAI (Kansas City Art Institute) Foundations Department
April 6-8, 2017

FATE is a national association dedicated to the promotion of excellence in the development and teaching of college-level foundation courses. A full list of sessions for the 2017 conference can be found at

With the conference theme "To the Core and Beyond" in mind, session chairs Tom Burtonwood (The School of the Art Institute of Chicago) and Taylor Hokanson (Columbia College Chicago) seek abstracts from educators who promote digital fabrication in foundations level courses and beyond. This session invites papers addressing best practices for introducing, integrating and establishing digital fabrication into the art and design foundations curriculum, especially research that addresses experimental materials and collapses boundaries between disciplines. We aim to facilitate debate around a set of tools that is growing more common in our field. How have a few years of access to the technology changed how and what you teach on the subject?

Possible topics to explore:

Do you regard 3D printing technology/processes as equivalent to or fundamentally different from more familiar shop resources?
How do you address a potentially steep learning curve while avoiding easy introductory projects (keychains, etc.)?
What software/hardware do you use and why?
Where do you fall along the professional equipment/DIY tool spectrum?
Have you had the technology long enough for students to get four years of access? What effect did this have on their work?

To apply, please fill out this form, then email the following to and by Friday, July 15:

paper title
paper abstract (200 words max)
name, contact information & cv of any co-presenter (if applicable)




CHICAGO, June 16, 2016—Highly interactive art exhibits from around the world will be a special feature during SIGGRAPH 2016, the world's leading annual interdisciplinary educational experience showcasing the latest in computer graphics and interactive techniques. With the tagline "Render the Possibilities," SIGGRAPH 2016 will be held at the Anaheim Convention Center, 24–28 July 2016.

This year's Art Gallery, assembled under the banner "Data Materialities," represents a unique collection of 10 highly interactive installations created from 2003–2016.

SIGGRAPH 2016 Art Gallery Chair Jonah Brucker-Cohen said, "We have made a special effort to bring back large-scale, highly immersive displays for the Art Gallery. Our title, 'Data Materialities,' illustrates the fact that in 2016, we are all constantly surrounded by networks, information, and data. Whether these stimuli consist of electromagnetic frequencies or physical wired connections, networks are everywhere, consuming and permeating our offices, homes, schools, and public indoor and outdoor spaces. 'Data Materialities' exposes this plethora of data and transforms it to incarnations of tangibility that not only showcase their complexity, but also allow us to relate to them on a human scale. By injecting humor and kinetic energy to this year's exposition, the Art Gallery will make light of these data platforms and present them on a grand scale to reveal their ubiquity."

Artwork and artists for the SIGGRAPH 2016 Art Gallery Chair are selected by the program chair and not by a jury. This year's Art Gallery will be open to attendees during the following dates and times:

Sun, 24 July | Noon – 5:30 pm
Mon, 25 July | 10 am – 5:30 pm
Tue, 26 July | 10 am – 5:30 pm
Wed, 27 July | 10 am – 5:30 pm
Thu, 28 July | 10 am – 1 pm

"Data Materialities" Art Gallery highlights include:

Submergence | Chris Bennewith, Liam Birtles, Oliver Brown, Gaz Bushell, and Anthony Rowe, Squidsoup
"Submergence" is a large, immersive, walkthrough experience that uses up to 8,064 individual points of suspended light to create feelings of presence and movement within physical space. This video from YouTube user Nick Hunter shows the installation at the Geneva Mapping Festival.

Pixelbots | Paul Beardsley, Disney Research Zürich
Disney Research Zürich created a new kind of display in which pixels, called "Pixelbots," are represented as small colorful mobile robots which create cartoon-like images or animations. Pixelbots can be seen on the Disney Research YouTube channel, where they present a "Story of the Universe" animation, including a fish, a dinosaur, and a human.

The Kinetic Story Teller | Tine Bech, Independent Artist
"The Kinetic Story Teller" installation investigates how art, technology, and playfulness can create new systems of communication by materializing data through kinetic interaction - and offer people new ways of connecting with each other in public spaces. Two beautiful swings light up and display people's social media messages on screens, encouraging participants to connect while they play.

Plinko Poetry | Peiqui Su and Deqing Sun, New York University
A playful, interactive installation, "Plinko Poetry" has its roots in both the famous TV game show "The Price Is Right" and experimental blackout poetry. Every player can be both a winner and a poet. Drawing source text from current @nytimes and @FoxNews tweets, players can absurdly re-contextualize news headlines that are often overloaded with meaning.

For more information on the SIGGRAPH 2016 Art Gallery, please see:

To register for SIGGRAPH 2016, visit

To follow conference news on social media, check us out on Facebook, Twitter, Google+, YouTube, Instagram, or the ACM SIGGRAPH blog.


About SIGGRAPH 2016
The annual SIGGRAPH conference is a five-day interdisciplinary educational experience in the latest computer graphics and interactive techniques, including a three-day commercial exhibition that attracts hundreds of companies from around the world. The conference also hosts the international SIGGRAPH Computer Animation Festival, showcasing works from the world's most innovative and accomplished digital film and video creators. Juried and curated content includes outstanding achievements in time-based art, scientific visualization, visual effects, games, real-time graphics, virtual reality, and narrative shorts. SIGGRAPH 2016 will take place from 24-28 July 2016 in Anaheim, California. Visit the SIGGRAPH 2016 website or follow SIGGRAPH on Facebook, Twitter, YouTube, or Instagram for more detailed information.

About ACM
ACM, the Association for Computing Machinery, is the world's largest educational and scientific computing society, uniting educators, researchers, and professionals to inspire dialogue, share resources, and address the field's challenges. ACM strengthens the computing profession's collective voice through strong leadership, promotion of the highest standards, and recognition of technical excellence. ACM supports the professional growth of its members by providing opportunities for lifelong learning, career development, and professional networking.

Media Contact:
Dan Harary
Public Relations Director

CineSpace 2016 – Short Film Competition from NASA & HCAS

CineSpace 2016[2]

For the second year in a row, NASA and Houston Cinema Arts Society are inviting filmmakers around the world to participate in CineSpace, a short film competition that is inspired by, and utilizes actual NASA video footage. 

Eligible submissions include short video, film, and digital-media works of 10 minutes or less. CineSpace is seeking films from all genres and styles including but not limited to: experimental, narrative, documentary, comedy, drama, animation, ambient, music videos, re-mix, sports, horror, and underground. 

Prize Details: The total prize purse for this competition is USD 26,000. In addition to monetary prizes, winners shall receive tremendous exposure for their work. 

Application Instructions: Last date for submission is July 31, 2016. No entry fee is required.

Guidelines/ Registration Link: You may visit the CineSpace 2016 challenge page to register and to check out last year’s winners and finalists.


CALL FOR SUBMISSIONS – Public Journal of Imaging America


Special Issue: Digital Engagements – When the Virtual Gets Real

Now accepting one-page proposals at
Full submissions accepted August 1, 2016 – February 1, 2017 via the OJS submission portal.

For this special issue of PUBLIC, we invite artists, activists, designers, and scholars to explore the potential of digital technologies and practices to inspire creative, interactive, collaborative work for public engagement and the pursuit of social justice. The issue asks how engagement–the affective and embodied knowledges people gain in their everyday lives–can animate our virtual lives.

Technologically enhanced projects–digital archives and scholarship, social practice art, site specific installations, performance-based technologies, mobile applications, social media, and emerging experimental forms–are often touted as the new public commons. But how are artists, designers, and scholars committed to civic engagement creating virtual spaces that are interactive, a necessary condition for publicly engaged arts and scholarship?

We know the bad news. Virtual spaces have been hit by cyber-bullies–“Gamergate” is just one example. Digital access can be blocked by commercial gate-keeping. Gender, class, age, and other differences impact access to technology. What are the alternatives? Social media connects artists, academics, activists, and a broad public across the globe. Visualizations cut across language communities. This special issue of PUBLIC seeks to document, question, reflect upon, and advance projects in the digital arts and humanities that are designed not simply to be “in public” but also to engage diverse audiences and inspire collective action.

Possible Topics

We invite contributors to discuss the impact of projects that embody “digital engagements,” moving beyond description to the value, limitations, and potential impact of projects and practices. To suggest a few of the innumerable questions the issue might address– How can technologies activate diverse audiences, muster and support communities, and promote democratic practices? What new forms of collaboration are emerging in digital work? When does technology inhibit, change, or inspire cross sector partnerships–including campus/community partnerships–and how are artists, designers, and scholars tackling those obstacles? How are people from rural areas, inner cities, and developing regions participating in digital arts and humanities projects? How are artists, activists, scholars, designers, and developers overcoming social, economic, and technical obstacles? We also welcome projects focused on innovative research methods, syllabi, assignments, et cetera, at any level and proposals for reviews of studies, sites, art works or installations, conferences, blogs, etc. More generally, how do the resources and limits of virtuality change the assumptions and practices of artists, designers, and humanists?


Submissions can take diverse forms as long as they are linked to the theme of the issue. For example, discussions of principles and practices might be critical pieces in multiple media, single or collaboratively authored, narrative or interview format. Reflective case studies might link to online projects that ask what “engagement” means practically and philosophically in existing projects. Feel free to propose experimental or collaborative formats that capture your work most vividly. We can accept a wide variety of formats for consideration; if you have any questions, please contact the guest and design editors.

Submission Process

We are currently accepting one-page description of the topic and format you are considering. Please email proposals to  Full submissions are due February 1, 2017 for peer review through our online submission portal at The guest editor and design editors will work with authors of accepted submissions through a process of revision and digital design in preparation for publication.

Contact guest editor Teresa Mangum ( if you have questions or submit proposals directly to

Call: Cinema Reset: New Media Exhibition at the New Orleans Film Festival

NOFF is looking to bring new media installations and experimental media artworks to the 2016 New Orleans Film Festival with an emphasis on virtual reality, video art, 360 video, game art, light / projection mapping, interactivity, and outdoor media installations. For consideration, please provide: a written proposal describing your project (no more than 500 words); a list of equipment you are able to provide and any/all specific equipment or technical needs; ideal space requirements, including prospective lighting needs; and please also submit any video, photos, stills, or sketches of your proposed project. This work must not have been exhibited in New Orleans previously.

Cinema Reset is the experimental media / new media partner of the New Orleans Film Festival. Since 2012, Cinema Reset has worked to bring emerging media artworks to New Orleans, facilitate open community media art workshops, and champion creative voices working on the front lines of emerging art and storytelling forms.

Call for Applications to The Art & Law Program

Applications are now open for the Fall 2016 session of the Art & Law Program in New York City.

Information about the Art & Law Program is available here:

Applications are accepted online here:

Fellows of The Program meet once a week for a 3-hour seminar to discuss readings and visual materials with the Director of the Program, Sergio Muñoz Sarmiento, curator/art historian and Associate Director of the Program, Lauren van Haaften-Schick, and/or with a guest seminar leader. There is an emphasis on the close analysis of legal cases, texts and materials. Through this examination of legal structures and modes of thought, the Program aims to critique current artistic, curatorial, theoretical, art historical, and design practices and methodologies. At the conclusion of the seminars, Fall term Fellows are expected to participate in a pecha-kucha presentation.

Applicants with backgrounds in art, art history/criticism, curating, architecture, film, writing, philosophy, business, economics, sociology, urban planning, political science and history are strongly encouraged to apply.

The Fall 2016 term runs from September 12 to December 12, 2016. Seminars will be held at the School of Visual Arts, in New York City, on Monday nights from 6pm to 9pm.

Applications for the Fall 2016 term are due on July 4, 2016. Application inquiries should be sent via e-mail to Sergio Muñoz Sarmiento:

The Art & Law Program is a seminar series & residency program with a theoretical and philosophical focus on the effects of law and jurisprudence on cultural production and reception.

Technical Artistry

Experimental animation is an atypical open-ended expression. The theory of experimental is inviting, indicating non-conformity, yet the substantive approach and production are uncertain when rules do not apply. The treatment of experimental animation is continuously new and certainly lacks a recipe. The development taps into a unique approach for creating animation and constructs more occasions of interdisciplinary collaboration. Emerging fine art produced with conventional mediums carried into 3D software can generate unseen and intriguing techniques yielding compelling inspiration.

Example images below are frames from the process of my animated short, Apology to a Television Set. The practice began with a sketch that was imported into Autodesk Maya (3D software) and attached to the front camera. The front camera is an orthographic camera, a two-dimensional view displaying the X and Y-axes. 1

My method starts by recreating the original drawing with curves and then modeling polygonal tubes, which follow the curves shape. I select an edge from each polygonal tube and convert it to a NURBS curve. The resulting curve has added depth compared to the original curve and also carries a circular shape at both ends. The winding shape enhances the sketch style by spreading the later applied strokes on each end of the curve. The below image demonstrates the effect of a stroke applied to a curve with circular ends.2 Within Maya is a set of paintEfx “brushes”; every iteration is referred to as a “stroke.” Strokes are either two-dimensional textures or three-dimensional geometry. For my method, I am using strokes as a 3D unit within the entirety of paintEfx.

This sketch style has applied dynamics such as wind, gravity and other force fields. The second layer of animation is implemented on the extensive array of attributes within the brush strokes. Directing brush strokes to travel and grow in a definite direction or wrap around an object involves finessing the simulation. One process I implement in my work is modeling polygonal surfaces for stroke collision. The manipulation of simulation requires keyframing polygonal surfaces to control the movement of the brush strokes. The two images below demonstrate brush strokes pushed by gravitational force as well as attraction and collision. Below, the images side by side show letters which are formed by brush strokes. These strokes are attracted to transparent polygon models which are modeled as the letters. A transparent material is applied to the polygon models and are unseen in the final render. Workarounds and practices such as these shed light on new notions to promote a further exploration of the 3D software as a tool to create work that appears as an animated charcoal drawing.

3 4

The below image is a simplified description of brush strokes attracted to and colliding with a polygonal sphere.


Creating the particular look I want to achieve is a process of trial and error involving strokes and curves. The image below shows curves, blue, and strokes, black, white and gray. I apply several strokes to one curve for animating blending strokes.

7   8

Curves allow for several forms of animation and can be quite intuitive. Editing control points, which make up the curve, can generate a predictable animation, which aids in manipulating simulation. I assign strokes to curves and animate both the curves and paintEfx strokes. The stroke follows and attaches itself to a curve, however, it is possible to animate the influence a curve has on the stroke resulting in interesting effects. The image below demonstrates curves deformed by a non-linear bend deformer. The left side of the image is what it looks like in Maya and the right side is the rendered image.


The second experimental animation I applied my method titled Barker is using the same concept to animate what looks like a charcoal drawing. Below are example frames from the animation showing the lead in brush strokes scattered and then forming into a figure.

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My third animation which I am currently working on titled The Art of Restraint and Cool Excuses will implement the above method.




Lauren Carr: Previously a Character TD in feature animation for 15 years, now is a 3D Animation  Assistant Professor at Montclair State University.


College Art Association in NYC
Feb 15-18, 2017
Deadline: June 10, 2016

New Media Caucus at CAA
Other Media: Decolonizing practices and cyborg ontologies


“Rather than going for the new object of study, the new product to consume, one should work on new ways of seeing, of being, or of living in the world.” – Trihn T. Minh-Ha from D-Passage: The Digital Way

“Cyborg writing is about the power to survive, not on the basis of original innocence, but on the basis of seizing the tools to mark the world that marked them as other.” – Donna Haraway from A Cyborg Manifesto

Following Donna Haraway’s epochal work A Cyborg Manifesto in which she imagines the cyborg condition as a site of liberation and decolonized subjectivity, this panel considers diverse approaches of artists, historians, theoretician-practitioners, and media activists that encode strategies of decolonization in their work and practice. Through a critical engagement of code as a (rhetorical) tool to re-inscribe historically marginalized bodies, this panel looks at a broad array of efforts, tactics, and projects that consider the ethos of a cyborg condition imagined by Haraway’s writing. As part of this conversation, we may begin to ask: through what means and technologies are these situations deployed? What are the strategies that allow for decolonized processes that are situated within feminist, queer, and anti-colonial subjectivities? And how do these methods enable, embody, and construct new realities of being?

Recognizing new media’s ability to rupture obsolete systems in the efforts to reconstruct other idealized ontologies, this panel extends the cyborg condition through theoretical approaches and practice in an effort to re-imagine human relation. In particular, this panel seeks to address how new media practice and theory can reconfigure our understandings of marginality as well as offer strategies that enable the repositioning of subjects so as to decolonize their subjectivity.

Artists, historians, theoretician-practitioners, and media activists are all invited to submit their work for consideration for this New Media Caucus panel at the College Art Association in New York February 2017. Interested applicants should submit an abstract, 3-4 samples of their work as a link (if necessary), a CV, and their contact information. Accepted panel participants will need to either register for the CAA conference or buy a one-day pass. Submissions are due June 3, 2017 to Alejandro T. Acierto at acierto [at] uic [dot] edu. Notifications will be sent out around July 1.

The #Additivism #Deluge: A Final Call to Arms

To celebrate one year of #Additivism we have reopened our call to arms for ONE FINAL WEEK. A final chance for theorists, designers, artists, activists and Additivists to submit radical, provocative, and weird projects to The 3D Additivist Cookbook.

For the #Deluge we are interested in simple projects and ideas. Provocations that take advantage of the democratic simplicity of plastic and desktop 3D printers for the purpose of activism, speculation, and disarray,

Therefore, this call to arms has a short deadline too…

The #Additivism #Deluge deadline is Tuesday 1st of June



Visiting Assistant Professor of Art History Contemporary and New Media Art at Alfred University

The School of Art and Design, New York State College of Ceramics at Alfred University is seeking a Visiting Assistant Professor in art history to teach the history of contemporary and new media art for the academic year 2016-17. Special attention will be given to candidates who can teach contemporary art from an international perspective. Teaching responsibilities include the equivalent of a 3/3 load: a freshman-level, half-semester course (to be repeated in fall and spring); a required sophomore-level course, Issues and Debates in Contemporary Art; an upper-level course in contemporary art; and a seminar in new media art for senior and graduate students. With the exception of the sophomore requirement, courses in art history are open to all undergraduate students at Alfred University and primarily serve students majoring in studio art (BFA), art history and theory (BS), interdisciplinary art (BA) programs.

The art history curriculum is an integral part of the program at the School of Art and Design. The Division of Art History is one of six divisions in a comprehensive art school with a very active faculty and prolific student body who access renowned facilities for artistic and scholarly research.


Required: PhD or ABD in Art History or related field. Teaching experience is preferred. Appointment begins in August 2016.

Alfred University

The School of Art and Design at Alfred University is an accredited member of NASAD, with 34 full-time faculty serving approximately 500 students. The School is unique among institutions of higher education with an open curriculum, allowing a robust and diverse experience in art history and studio art. Students and faculty alike thrive in an intensive and supportive learning environment. School of Art and Design students are fully integrated into Alfred University’s community of 2,300 students. The New York State College of Ceramics (NYSCC) includes the School of Art and Design, the Inamori School of Engineering, and Scholes Library. The NYSCC was established in 1900 to advance research in art, design, and engineering. That intellectual and creative legacy exists in all of the areas of study in the School of Art and Design.

Alfred University is an equal opportunity employer (EOE) and actively seeks diversity among its employees. Salary is commensurate with experience.

Application Process

Please e-mail, as a single pdf document, a letter of application, current CV, teaching philosophy, and the names and contact information of three references to: or mail to: Alfred University Human Resource Office, Greene Hall, One Saxon Drive, Alfred NY 14802.

Review of applications will begin immediately; the position is open until filled.

For more information, contact Mary McInnes at

IEEE VIS 2016 Arts Program – Call for Entries, Paper and Exhibition Tracks

The IEEE VIS 2016 Arts Program, or VISAP’16, showcases innovative artwork and research that explores the exciting and increasingly prominent intersections between art, design, and visualization. Through a dedicated papers track and an exhibition that runs concurrently with the IEEE VIS 2016 conference, the Arts Program aims to foster new thinking, discussion, and collaboration between artists, designers, technologists, visualization scientists, and others working at the intersection of these fields. The theme for the Call for Papers and Artworks this year is “Metamorphoses.” We are especially interested in projects and papers that explore the relationships between visualization research and arts and/or design practice, and that introduce creative visual techniques that emphasize transformative aspects of scientific or cultural exploration.

VISAP’16 runs for one week from October 23rd through October 28th during the IEEE VIS 2016 conference in Baltimore, Maryland. Both the artworks and the papers are selected through a rigorous peer review process. Submissions are evaluated on quality and relevance to the IEEE VIS community by a program committee made up of experts in visualization, media arts, and design. In 2015, the acceptance rate for artworks was 14.75% and the acceptance rate for papers was 25%; we expect it to be similarly competitive for the 2016 program.

Submissions to VISAP’16 are due on June 24th at 5pm PDT.

For more information, please visit the VISAP’16 website:

Leonardo ABstract Services Opportunity

What is LABS? -

LABS is a comprehensive database of abstracts of Phd, Masters and MFA theses in the emerging intersection between art, science and technology. Persons who have received advanced degrees in arts (visual, sound, performing, text), computer sciences, the sciences and/or technology which in some way investigate philosophical, historical, critical or applications of science or technology to the arts are invited to submit an abstract of their thesis for publication consideration in this database.

Deadline : June 30

What is Leonardo/ISAST? -
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.

Sign Up to Receive Opportunities for Leonardo

Survey on Data Usage in Art History

NMC members,

Please consider taking a short survey that seeks to gauge information about the usage and users of open data and datasets from museums and other cultural heritage institutions. If you’ve worked with museum APIs, SPARQL endpoints, or Github datasets (or other art historical data), this survey is for you! The primary survey groups are those working and researching in art history. However, researchers in all disciplines are encouraged to respond. Please distribute this survey to other interested parties!

The survey is here:

Thanks for your consideration, and if you have any questions, please contact me.

Sarah E. Seymore
Digital Metadata Technician
Digital Scholarship Center
University of Oregon Libraries

The Digital Scholarship Center (DSC) collaborates with faculty members and students to transform research and scholarly communication using new media and digital technologies. Based on a foundation of access, sharing, and preservation, the DSC provides digital asset management, digital preservation, training, consultations, and tools for digital scholarship.

Call for applications, symposium: Art History in Digital Dimensions

Deadline: May 30, 2016

Supported by the Getty Foundation and the Kress Foundation, the Department of Art History and Archaeology and the Maryland Institute for Technology in the Humanities of the University of Maryland will host a symposium, "Art History in Digital Dimensions," on October 19-21, 2016. We aim to unite diverse audiences and practitioners in a critical intervention for digital art history, providing a road map for the future. We seek applications for 15 participants, including 5 graduate students, to join 25 invited contributors. Participants will have experience from the academy and/or museum in art-historical research practices that intersect with the digital realm. Full CFP and guidelines at

The symposium, Art History in Digital Dimensions, is a joint enterprise of the Department of Art History and Archaeology and the Maryland Institute for Technology in the Humanities at the University of Maryland, College Park.

A Normal Future – Interview with NORMALS

Normals is a collective whose work crosses a number of boundaries. Perhaps their work is a proposal that the boundaries we once found useful in defining creative practice don’t work as well in our connected/networked/hybrid cultures. What do the spaces between design, digital studio practice, networked art, and Internet Art look like? What do the spaces between fiction, abstraction, and social media performance look like? What do the spaces between the real, the virtual, and the augmented look like? It isn’t easy to define through traditional categories what artists create in our contemporary visual culture more broadly and definitely challenging with the work of Normals in particular.
I met Normals in 2012 at the 2nd International Computer Art Congress in Paris, where their physical bodies live and work. Since that time they have continued to produce multifaceted speculative works of multiple disciplinary categories. In the past several months, they have been promoting a new work - APPAREL. Our interview focuses on that work but is ongoing.
# Hi Normals - for our readers not familiar with your work, tell us about APPAREL. The work has a number of parts - how do they fit together?
APPAREL is a piece of clothing designed to co-exist in the digital and physical spaces. It comes as a polygonal black cape, and an iOS application allowing the wearer to see the piece’s digital counterpart, in augmented reality. The cape itself is as minimalistic as its digital overlay is complex and refined. The digital model is generated through a text analysis of the wearer's Twitter feed, evolving in real time, and creates a unique piece of clothing, as an info-graphic, an incarnation of the wearer's online personality.
Being a speculative studio working on anticipation, we like to imagine what a world where our “products” are widespread would look like, and for that specific reason we tend to pair our projects with loads of fiction, describing hypothetical users, and their relationship to theses objects in a future where they have become… well… normal. So, for APPAREL, not only did we make a functional product (with the coding help of Julien “V3ga” Gachadoat), but we also imagined a future fashion show, a fashion contest, in which everybody wears an Apparel and competes over their digital personalities.
This has been the subject to a short story, a video depicting one of the contestants (3PLUS3MAKE5), a soundtrack generated from the contestants’ profiles, and a faux-documentary depicting fashion’s transfer over to the digital realm.
The work is speculative, but it is also about things that are currently happening and developing in Arts/Tech environments.  What do you think are some of the more interesting directions in creative culture today?
Everything speculative is about something currently happening! Honestly, there are many interesting aspects to the evolution of arts, tech, and fashion, but we decided to focus on one question that has driven the entire project: “what would our clothes look like if they became digital?” Considering AR as a potential technology to display a data-based esthetic layer over physical things, it seemed obvious that all things esthetic would transit to this reactive and polymorphous layer of contextual information. On the other hand, the physical piece of clothing had to be reduced to a simple protective piece of fabric, a pedestal for its glorious digital overlay.
But to answer your question, we feel anything can be interesting as long as it doesn’t fall into the trap of “fascination.” The role of artists, designers, or “futurists” is to look at what tomorrow might bring without being so fascinated by their subject that they transform critical thinking into wishful thinking without even knowing it. “What will [insert something] look like in the future?” is always a valid question, as long as the answer isn’t “flying cars” or “eternal life.” No one should look at innovation as something purely good or purely bad: whatever’s interesting lies in the middle.
APPAREL had/has a number of contestants - Users creating and sharing their fashion/design - what are some of your favorites?
We love them all! When imagining a product or an object, it’s always extremely fun to imagine the people interacting with it, whether it is as “hackers” of the system, or people full of admiration for the “progress” it stands for, it is one of the main focuses of our practice: imaginary users for speculative objects.
All the characters described in the story are representative of  an “attitude” towards digital fashion: the main character, Abdlcroco, is a competitor who only runs after achievements, while Mangel is seeking for the perfect performance, and 3PLUS3MAKE5 cultivates eye-candies to satisfy her audience’s craving for fun and cute things. Duall is probably the most intriguing character though, being someone who doesn’t care about this fashion contest, but comes to watch it every day, and is, despite his efforts to make people believe he doesn’t care, part of this system too.
A question for one of the contestants - is AbdlCroco available? 
He is.
Screen Shot 2016-04-18 at 10.11.32 AM
AbdlCroco - you used to be one of the top ranked contestants - tell our readers about one of your most highly rated designs - what was it like? What did the crowd think?
What I do is very personal. Whatever I feel like on the moment, I just turn it into a situational dance that spits epileptic graphics right into the viewer’s ‘i’. But if I have to chose one… I’d say back when I was Number Six or something. There was this one time… See, I made these bunky prisms that would go boom-boom-boom in your face as the bass in the soundtrack — the most epic collection of the deepest, darkest, fattest bass samples you could find on the Stream — also went boom-boom-boom. Even the floor looked like it was shaking, with all the lines blinking up and down looted from SK000N’s template — you know the one I’m talking about, right? So I had all this set up, and as I stepped on stage, there was some kind of power shutdown or something, and all the lights went out, and it was so in sync with my show that every frenz thought it was all planned. But truly it wasn’t. Just got lucky. And frenz digged my stuff so hard they remained silent throughout the whole thing, and I even got a standing ovation — well, the “standing” part doesn’t count though, everyone was standing already. But still got an ovation. That one was the best. Got straight to number 4 after that. But that was another time…
AbdlCroco - what do you think of Mangel’s fashion? His work seems to be on top lately - what does the crowd like about Mangel?
Allow me to speak frankly: Mangel’s a joke! Every single day Trudent welcomes a fashion show, with rules, RULES — you are judged on your LOOKS. The performance has now become a part of the show, and I’m okay with that: you should be able to display your outfit in the best manner possible. But what I HATE is frenz who use the performance to go hypno on the audience, to a point where they’re not even looking at the ONLY thing they should be looking at. Mangel’s just a comedian, he acts, makes people laugh, but no one sees that he just copies everyone else, and never comes up with ANYTHING NEW. Yet people like him, so they vote for him, and he remains there, everyday, trolling his way to the top.
 Normals - Thanks so much for sharing your thoughts with us, we look forward to seeing what happens next!

Call – Fullbright Scholars Program 2017-2018

The Fulbright Scholar Program offers teaching, research or combination teaching and research awards in over 125 countries for the 2017-2018 academic year. Opportunities are available for college and university faculty and administrators as well as for professionals, artists, journalists, independent scholars and many others.  

Opportunities that may be of particular interest include:

  • Norway: Digital Culture – A teaching and research award which allows the selected candidate to take part in the activities of the Digital Culture program and the Digital Culture and Electronic Literature research groups in the Department of Linguistic, Literary and Aesthetic Studies at the University of Bergen. The scholar will teach three courses in digital culture and digital media aesthetics and evaluate student work.
  • Latvia: Multiple Disciplines – Liepaja University has requested a specialist in new media arts. The selected scholar will teach undergraduate and graduate courses in one or more of their area of specialization. Interested applicants should contact the host institution for further information and to discuss their background and teaching.
  • Bulgaria: Communications, Journalism, Media – The selected scholar will teach undergraduate or graduate courses or both, consult on curriculum development and assist with student advising. Applications are sought in all appropriate disciplines with preference for scholars in digital technologies in the media and electronic media.

For further awards in the field, please visit our updated Communications, American Studies and Fine Arts discipline pages. There you will find award highlights and examples of successful projects in the discipline, and scholar testimonials which highlight the outcomes and benefits associated with completing a Fulbright Scholar grant.

For eligibility factors, detailed application guidelines and review criteria, please follow this link: You may also wish to register for one of our webinars or join our online community, My Fulbright, a resource center for applicants interested in the program.

Applicants must be U.S. citizens and the current competition will close on August 1, 2016.

Please contact Bill McShane at for additional information.

The Fulbright Program, sponsored by the U.S. Department of State’s Bureau of Educational and Cultural Affairs, is the U.S. government’s flagship international exchange program and is supported by the people of the United States and partner countries around the world.

Call For Artists: Black Box Arts & Technology Festival, Seattle

*Open Call for Artists: Black Box 3.0*

Eligibility: International
Location: Seattle, Online
Application Deadline: May 31, 2016 at 5PM PST

Festival Dates: September 21 - October 2, 2016
Hashtag: #BlackBoxing
Shareable URL:

Artists from around the world working in any medium are invited to submit work to Black Box 3.0. A multi-platform program of significant scope, Black Box is an annual international arts and technology festival produced by Aktionsart in Seattle. The festival explores how technology is transforming the arts, culture, and public life.

Black Box is a platform for the most talented and innovative artists, filmmakers, designers, curators, technologists, hackers, and makers in the Pacific Northwest and beyond. The festival features new work by international contemporary artists who are collected by major museums and routinely featured on the international art circuit. It is also an essential voice for emerging talent. Black Box is open to all arts disciplines and mediums, including visual art, performance, design, fashion, music, folk and traditional arts, literature, media, film, research, theater, and more.

Core programming is nomadic and experiential, presenting projects in unexpected spaces throughout the city. The tightly curated festival includes exhibitions, screenings, discussions, workshops, installations, performances, and hybrid formats. An online channel - which received over 25,000 visits in 2015 - premieres and distributes festival content to audiences in Seattle and beyond.

Black Box collaborates closely with a selective partner network of Seattle’s most adventurous institutions. Past partners include Seattle Art Museum, Seattle International Film Festival, University of Washington, Seattle Center, and Cornish College of the Arts. In 2015, Black Box exhibited over eighty artists including new work from Pierre Huyghe, Ed Atkins, Sue de Beer, Phil Collins, Josh Kline, Gillian Wearing, Roman Signer, Zach Blas, Petra Cortright, Lisa Tan, Stan Douglas, Knut Asdam, Kalup Linzy, Robin Rhode, Ellie Ga, and Julien Prévieux.

There is no overarching festival theme beyond the umbrella of “arts and technology”, which is intentionally open. Attention will be closely paid to intellectually rigorous and socially urgent ideas, emerging technologies, and experimental projects that present new modes of creating and thinking. We are interested in works that respond to the following themes, tools or mediums: augmented and virtual reality, gaming, expanded and immersive cinema, social media, architectural mapping, generative software, systems, mobility and mobile apps, wearables, digital labor, interactivity, data visualization, experimental and interactive documentary, surveillance, biotech, holography, space exploration, 3D printing, robotics, production and distribution tools/platforms, artificial intelligence, machine learning, hypercompliance, deep web, blockchain, digital culture, sustainability, innovation, disnovation, transmedia, utopia.

Technology disrupts the arts, but how do the arts disrupt technology? What is the role of artist and creator in an increasingly mechanized world? How can artists leverage new tools to produce, distribute, create access, and build audiences for their work? How does technological innovation and disnovation shape public life?


Aktionsart is a 501(c)(3) nonprofit laboratory based in Seattle that cultivates entrepreneurial actions in the arts and technology. Our mission is to engage technology, design and contemporary culture to produce ambitious art projects in public and private space. We support artists who use technology for positive cultural impact and social innovation.