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

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

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

Sculpture:

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

Responsibilities:

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

Required application materials:

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

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

The deadline to apply is January 5, 2017.

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

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

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

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

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

New Media:

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

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

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

Required application materials:

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

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

The deadline to apply is January 5, 2017.

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

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

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

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

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

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

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

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

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

snap-to-grid-sharabani

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

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

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

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

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

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

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

ABOUT UPCOMING & RECENT RONEN SHARABANI PROJECTS:

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

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

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

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

ABOUT RONEN SHARABANI:

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

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

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

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

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

ABOUT THE ARTERY:

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

Application Instructions

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

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

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

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

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

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

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

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

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

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

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

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

Responsibilities:

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

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

Qualifications:

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

Additional Information:

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

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

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

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

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

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

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SMU seeks Assistant Professor of Digital/Hybrid Media

Assistant Professor in Digital/Hybrid Media, position #6569

Division of Art at SMU, Meadows School of the Arts

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

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

Minimum qualifications

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

Preferred qualifications:

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

Applications must include:

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

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

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

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

2017 NMC SHOWCASE (16 NMC members)

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

CHAIRS

HOW TO ENTER

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

PROCESS

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

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

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

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

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

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

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

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

Pat Badani

Editor-in-Chief

2010-2016

Kraus Distinguished Professorship at Carnegie Mellon University

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

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

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

Qualifications:

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

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

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

Materials To Include:

• Letter of application with teaching philosophy

• Proposal for an introductory or advanced level class in animation

• Curriculum Vitae

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

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

Deadline: January 30, 2017

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

Application review will begin January 30, 2017

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

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

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

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

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

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

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

Search Chair, Ellen_Wetmore@uml.edu

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

POSITION SUMMARY

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

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

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

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

REQUIRED JOB QUALIFICATIONS

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

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

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

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

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

REQUIRED JOB QUALIFICATIONS

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

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

Job posting can be found here.

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

 

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

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

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

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

RESOURCES:

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

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

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

HOW TO APPLY:

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

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

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

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

Between Biology and Art

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

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

Tenure Track – Assistant Professor of Animation at Missouri State University

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

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

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

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

Report from Computer Art Congress 5

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

Bonjour de Paris!

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

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

 

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

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

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

Daniela de Paulis, OPTICKS

Daniela de Paulis, OPTICKS

cac5_hub_05

Christa Sommerer with Laurent Mignonneau

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

Bernard Stiegler, invited keynote lecture

Bernard Stiegler, invited keynote lecture

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

cac5_hub_07

Andres Burbano presenting on Konrad Zuse

cac5_hub_08

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

monkeyTURN

monkeyTURN

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

Frank Soudan presenting on "FFF"

Frank Soudan presenting on "FFF"

Malu Fragoso presenting on WE BEES

Malu Fragoso presenting on WE BEES

Lev Manovich, invited keynote with remote delivery

Lev Manovich, invited keynote with remote delivery

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

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

-----

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

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

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

 

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

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

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

 

The following people are eligible for Officer positions.

 

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

Terminal 1.0

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

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

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

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

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

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

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

terminal1_screenshot

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

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

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

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

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

screenshotterminal_lemelia

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

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

 

REFERENCES

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

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

By: Carrie Ida Edinger

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

The Body Electric – an Invitational Exhibition at UW Whitewater

Installation View, The Body Electric

Installation View, The Body Electric

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

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

Anna Weisling, 3D prints from MOCAP

Anna Weisling, 3D prints from MOCAP

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

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

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

Paul Hertz, prints generated through custom designed boids flocking software

Paul Hertz, prints generated through custom designed boids flocking software

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

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

A. Bill Miller, "untitled (fursuit04)"

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

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

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

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

Nicholas O'Brien,

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

Alex Myers "The Body That Produced Them"

Alex Myers "The Body That Produced Them"

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Download prospectus at www.raritanval.edu/videoshow

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

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 https://jobs.oakland.edu/postings/9429. 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: https://www.aus.edu/caadsearch

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: www.aus.edu

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: https://www.aus.edu/caad.

Samples of student work can be found here: https://www.aus.edu/caad/dod/student_work

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 carrl@mail.montclair.edu


 

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 www.montclair.edu.

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: www.usfca.edu/arts-sciences/undergraduate-programs/art-architecture/design

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.

https://www.usfjobs.com/postings/11456

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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 www.usfca.edu.

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: https://lsu.wd1.myworkdayjobs.com/LSU/job/LSU---Baton-Rouge/Instructor-or-Professional-in-Residence--Full-Time----Digital-Art-and-Animation_R00006579. 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.

QUALIFICATIONS:

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.

HOW TO APPLY:

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: CAT_Search@bloomfield.edu.

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.

QUALIFICATIONS

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

APPLICATION INSTRUCTIONS

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 (lopez@tulane.edu), Chair of the Search Committee. Review of applications will begin 7 November 2016 and will continue until the position is filled. https://apply.interfolio.com/37636

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 facultyjobs@twu.edu 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

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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: http://fuse2015.thefusefactory.org/.

EXHIBITION THEME

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.)

ELIGIBILITY

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 alison@thefusefactory.org 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.

HOW TO SUBMIT

Applicants are required to submit the following:

  • Email your application materials to alison@thefusefactory.org 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)

TIMELINE

  • 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

ENTRY FEES/DONATIONS

  • 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 alison@thefusefactory.org

JURYING MEMBERS

  • 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

OUR SUPPORTERS

Granters

  • Ohio Arts Council
  • Greater Columbus Arts Council

Support

  • 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 servus.at 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: Kairus.org – Linda Kronman, Andreas Zingerle, published by: servus.at | process coordinator: Us(c)hi Reiter, layout by: lafkon.net

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: http://www.aec.at/radicalatoms/en/live/ (Siegfried Zielinski 5:15:00, Verena Kuni 5:58:30)

Exhibited works

 


 Research lab video:https://vimeo.com/182564733

"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, Fuze.dj

#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.

 

 

Links:
KairUs Art+Research: http://www.kairus.org
servus.at: http://www.servus.at
The "Behind the smart world" publication (epub, pdf, web version): http://publications.servus.at/2016-Behind_the_Smart_World/
"Behind the smart world" research blog: http://research.radical-openness.org/2015/
Symposium II: The Alchemists of our time: http://www.aec.at/radicalatoms/en/symposium2/
Fabian Kühfuß: http://www.kuehfuss.com
Martin Reiche: http://martinreiche.com
Raphael Perret: http://raphaelperret.ch
Michael Wirthig: https://www.radical-openness.org/vortragende/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 servus.at 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 https://apol-recruit.ucsd.edu/apply/JPF01202.

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 http://facultyequity.ucsd.edu/Faculty-Applicant-C2D-Info.asp);

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)
  • 3 ONE-DAY WORKSHOPS with 3 ARTIST COLLECTIVES

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.

APPLICATIONS UNTIL 10. OCTOBER 2016

Online application form: www.pact-zollverein.de/en/platforms/ 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 www.sunypoly.edu/employment.


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: https://jobs.rutgers.edu/postings/31552

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:
https://currentsnewmedia.org/festivals/currents-new-media-2017/


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.

HOW TO ENTER
Email a vimeo or youtube link to simpat@vt.edu 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)

ELIGIBILITY
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: secacart.org.

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

SCHEDULE
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

QUALIFICATIONS:
• 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.

RESPONSIBILITIES:
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.

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

HOW TO APPLY:
Send an email expressing your interest in the position to wittenbp@gvsu.edu. 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).

DEADLINE:
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: http://visualstudies.art.gvsu.edu.

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. 

maya-jeffereis-fallout-shelter-2016

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.

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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

_MG_9897

 

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.

_MG_9919

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.

_MG_9910

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.

Niki_paint_robot2

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: http://www.fluxfactory.org/events/robot-making-workshop/

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