Tag Archives: 2015

The Wrong

still from "The Noise of the City" by Alexander Antipin

still from "The Noise of the City" by Alexander Antipin

The Wrong is big. Really ridiculously, absurdly large. The sheer number and variety of works encompassed in this digital biennial is overwhelming, across its pavilions, curated pieces, and events. When this second iteration of The Wrong was about to launch, even organizer Guillo had not yet seen every work. The scale is mostly a positive thing -- as someone fairly immersed in new media and net art, I found many pavilions filled with unfamiliar artists -- it was great to break out of the digital art I'm exposed to through social media into currents of work that are farther afield. On the downside, the site offers little in the ways of an entry point, which can create a barrier for those not already knowledgeable about net art. It is easy to follow links from the Wrong into Facebook groups that no longer have content posted, or to 404s, or pages which ask you install questionable software locally.  My guess is that most people will end up entering The Wrong from pavilions or artworks by people they know, which somewhat defeats the purpose -- my favorite works were mostly those that I found accidentally.

The strongest pavilions tend to have the more specific themes. A stand-out for me is  www.not-found-exhibition.com (curated by Cesar Escudero Andaluz and Mario Santamaría), a selection of netartworks no longer found online, at least not in their original locations. Rather than netart that is intentionally ephemeral, these are works that have died a natural online death; either consciously taken down, or simply moved when sites are updated or retooled. It reminds me of Curt Cloninger's Pantry War, recently killed by Rhizome's redesign (which invalidated its own comment markup language). In this work, Curt paired opposing images, posted inline from other sites, as a contest to see which would outlast the other -- for instance a magic marker vs an eraser.

Some of the works in Not Found Exhibition can still be found rather easily in web searches -- but the strength of the pavilion lies in how intriguing the written descriptions of the works are. The minimal design does not interfere with the descriptions: big blue classic HTML style links, lots of monospaced type giving it a library feel, wiki-media-style markup for the title, and plenty of whitespace to keep it uncluttered.

DiMoDa, exterior view

The DiMoDa (the Digital Museum of Digital Art) pavilion took an almost opposite approach, building a virtual 3D environment filled with immersive works. At DiMoDa (designed by Alfredo Salazar-Caro and William James Richard Robertson), it is always sunset. It feels like a place found by accident; the loneliness of the space, with the insect sounds which follow you into the museum. It capitalizes on the airless VRML-quality of Unity, reflecting on the feel of the institution. The museum itself is beautifully designed, juxtaposing classical and contemporary architectural styles familiar from current trends but taken further, just barely within the realm of what's realistically possible architecturally. Inside are four digital art installations, by Claudia Hart, Tim Berresheim,​ Jacolby Satterwhite​, and my favorite election prediction by Salvador Loza and Gibrann Morgado (it involves Sarah Palin, Donald Trump, and a tumorous horse-like thing). Each installation feels distinct from the others and from the museum itself, and sometimes change the physical laws. At one point, I got rickrolled, so there is at least one Easter Egg, possibly more (you'll have to find where on your own 🙂 ).

Apart from the pavilions, there are also featured artworks, such as Jan Robert Leegte's Random Selections Object. Here, the rectangles of spectral Photoshop ants are the content, against a black backdrop. In very dense groupings of selections, the clusters of digital ants appear to walk in two directions at once. It continues Leegte's experiments with the materiality of digital artist's immaterial tools.

The Wrong (again) can be found at http://thewrong.org/. It officially runs from Nov 1 to Jan 31, 2016. More content, including events, will continue to appear throughout the exhibition.

[Full Disclosure: I participated in the Wrong within the UnnamedGroup pavilion]

RESEARCH-CREATION: EXPLORATIONS Media-N, Journal of the NMC- FALL 2015: V.11 N.03

Media-N, Journal of the New Media Caucus is pleased to announce the launch of our fall 2015 online and print edition.

Pat Badani
, Editor-in-Chief, Media-N, Journal of the New Media Caucus


Media-N’s enticing fall edition took shape over a period of months in partnership with Hexagram, an international community of scholars centered around two major universities in Montreal: Concordia University and Université du Québec À Montréal.  As a distinctive thematic publication, it prefaces RE-CREATE 2015 International Conference on the Histories of Media, Art, Science and Technology, a biennial conference hosted this year by Hexagram in Montreal. 

The Hexagram network of scholars is dedicated to research-creation in media arts, design, technology, and digital culture, and the current issue ofMedia-N – Research-Creation: Explorations ­– assembles fourteen essays that reflect upon ideas and pathways that weave methodological, social, material and historical considerations about “research-creation.” The term refers to an evolving research trend conducted internationally and in Canada – specifically by Hexagram’s affiliated writers, artists, thinkers and pedagogues.  Contributors were asked to map out past visions, current revelations, and future prospects involving the formation of knowledge in and through creative material and performative practices linking interpretive disciplines (humanities and social sciences) with creative ones (art and design).

The issue represents a collaboration among four guest editors, Université du Québec À Montréal scholars Louis-Claude Paquin and Louise Poissant, and Concordia University scholars Owen Chapman and Kim Sawchuk. The editorial alliance between Media-N and Hexagram was facilitated by Ricardo Dal Farra, Concordia University scholar and Media-N’s supporting Associate Editor for Research-Creation: Explorations.

Media-N Journal extends sincere thanks to the editors for their teamwork; the authors for their contributions; Lorella Abenavoli, Hexagram’s editorial coordinator, for facilitating communication and compilation; Catriona LeBlanc, Hexagram’s translator for essays originally written in French; and Stephanie Tripp, Media-N’s Deputy Executive Editor, for her dedicated editorial assistance.

Pat Badani



V.11 N.03 acknowledgements

Editor-in-Chief: Pat Badani, independent artist, curator and scholar (Argentina, Canada, USA)

Deputy Executive Editor: Stephanie Tripp, Associate Professor, College of Arts and Letters, University of Tampa, Florida, USA

Supporting Associate Editor: Ricardo Dal Farra, Associate Professor and Hexagram former Director, Faculty of Fine Arts, Concordia University, Montreal

Guest Editors: Owen Chapman, Associate Professor, Faculty of Arts and Science, Concordia University, Montreal; Louis-Claude Paquin, Professor, Faculty of Communication, Université du Québec À Montréal; Louise Poissant, Dean, Faculty of Arts, Université du Québec À Montréal; and Kim Sawchuk, Professor and Associate Dean, Faculty of Arts and Science, Concordia University, Montreal

Hexagram editorial coordinator: Lorella Abenavoli

Hexagram translator: Catriona LeBlanc

Media-N Graphic Design Director: Brooke Scherer, Assistant Professor, College of Arts and Letters, University of Tampa, Florida, USA

Media-N Web Design Manager: Stacey Stormes, independent artist and educator, USA

Copy editors and proofreaders for the current edition: Stephanie Tripp, Thomas F. Cohen, and Pat Badani


Assistant Professor Tenure Track in Digital New Media at The Ohio State University Department of Art & Advanced Computing Center for the Arts and Design

We seek an artist who is creatively and critically engaged in the practices and discourses of New Media art. We are especially interested in a candidate whose practice engages emerging technologies and finds relationships and expressive modes of production across multiple disciplines, such as traditional and non traditional art practices, the humanities, the sciences and engineering.

As part of the College of Arts & Sciences, the Department of Art at The Ohio State University is broad-based, both discipline intensive and boundary pushing, a modern laboratory in which to create and explore art and ideas. Through the production, examination, and evaluation of the arts, the Department of Art serves as a place where students and faculty can experiment with material and content, and where a diverse audience can take part in our exhibitions, public lectures, and educational programming.


Significant art and technology-based background with commitment to conceptual inquiry. An active professional creative practice, including a record of exhibitions / presentations / projects beyond the local, regional level. Successful candidates will have a M.F.A. degree prior to August 2016.

Accomplishments in one or more of the following art practices: 3D animation, computational/interactive media, games art, new media/performance installation, tactical media, emerging and/or hybrid forms. Fluency in the conceptual and historical frameworks of contemporary new media art is important. Successful candidates will be able to integrate their digital art practice with other fine art and/or academic disciplines in a manner relevant to broader culture. University-level teaching experience beyond the terminal degree preferred.

Special consideration may be given to applicants who are open to collaborative or interdisciplinary projects. This position will require a commitment to teaching both undergraduate and graduate courses and creating a critical and experimental teaching environment. Previous experience in curricular development, mentoring students, and service on graduate committees is a plus.

As part of this joint position, this faculty member will contribute to the community of faculty and students pursuing creative research at the world-renown Advanced Computing Center for the Arts and Design. This collaborative space hosts experimental and collaborative projects as well as technology-related courses, both of which will be a part of this position. To meet this expectation, the successful applicant should excel at participating as a productive member of collaborative cross-disciplinary teams.

Appointment is contingent on the university’s verification of credentials and other information required by law and/or university policies, including but not limited to a criminal background check.

About Columbus:

The Ohio State University campus is located in Columbus, the capital city of Ohio. Columbus is the center of a rapidly growing and diverse metropolitan area with a population of over 1.5 million. The area offers a wide range of affordable housing, many cultural and recreational opportunities, excellent schools, and a strong economy based on government as well as service, transportation and technology industries (see http://liveworkplaycolumbus.com/). Columbus has consistently been rated as one of the Top U.S. cities for quality of life, and was selected as one of the Top 10 cities for African Americans to live, work, and play by Black Enterprise magazine. Additional information about the Columbus area is available at http://www.columbus.org.

Application Instructions:

Apply to: https://osuart.slideroom.com/ A complete application includes a cover letter, curriculum vitae, a statement of research and teaching interests, a digital portfolio of creative works, research projects, student learning outcomes and examples of course syllabi. Please also submit the names and complete contact information for three referees. Applications will be accepted until the position is filled. However, those received by November 30, 2015, will receive priority consideration. Inquiries may be directed to Kara Campbell (campbell.1644@osu.edu).

The Ohio State University is committed to establishing a culturally and intellectually diverse environment, encouraging all members of our learning community to reach their full potential. We are responsive to dual-career families and strongly promote work-life balance to support our community members through a suite of institutionalized policies. We are an NSF Advance Institution and a member of the Ohio/Western Pennsylvania/West Virginia Higher Education Recruitment Consortium (HERC).

The Ohio State University is an equal opportunity employer. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, disability status, or protected veteran status.

The Ohio State University, one of the nation’s leading public research universities, provides a distinctive educational experience for students and a research program of significant strength. Ohio State serves 63,964 students and is ranked 18th among national public research universities in the United States, according to U.S. News & World Report. Located in Ohio’s capital city, Columbus, The Ohio State University is a major educational and economic force through its mission of teaching, research, and service.

IEEE VIS Art Exhibition VISAP’15

Data Improvisations
VISAP’15, the IEEE VIS Arts Program Exhibition

Exhibition - October 19 – 30
Opening – October 27, 7-9 pm
LeRoy Neiman Center, School of the Art Institute of Chicago
37 S Wabash Ave.
Chicago, Illinois


Please join us for the Art Exhibition Opening on October 27th 7-9pm
at the LeRoy Neiman Gallery, School of the Art Institute of Chicago, 37 S. Wabash St. The Exhibition is free and open to the public.

Data Improvisations showcases projects at the intersection of new media arts and data visualization. Twelve featured artists explore new ways of perceiving and interacting with complex data and examine the accelerating quantification of contemporary life.

Featured artists: Donna Cox, Eduardo Kac, Daniel Sandin, Jo Wood, Rebecca Ruige Xu & Sean Hongsheng Zhai, Emilio Vavarella, Benedikt Gross & Joey Lee, Scott Kildall, Ben Ridgway, Kevin Badni, Haru Ji & Graham Wakefield, and Charlie Roberts.

Data Improvisations is organized by Angus Forbes, Daria Tsoupikova, and Fanny Chevalier, with support from IEEE VIS 2015, the University of Illinois at Chicago, the School of the Art Institute of Chicago, and the Shapiro Center for Research and Collaboration.

Other Art events during the exhibition include the art panel, art paper presentations, performances and artist talks. The full schedule of the events is available on the VISAP'15 website: http://visap.uic.edu/2015/schedule.html




The IEEE VIS 2015 Arts Program, or VISAP'15, showcases innovative artwork and research that explores the exciting and increasingly prominent intersections between art and visualization. Through a dedicated papers track and an exhibition that run concurrently with the IEEE 2015 VIS conference, the Arts Program aims to foster new thinking, discussion, and collaboration between artists, designers, technologists, visualization scientists, and others working at the intersection of these fields.

Tenure Track Assistant Professor in Contemporary Art at Miami University

Tenure-track assistant professor with specialization in contemporary art (post-1945), beginning August 22, 2016. To complement existing faculty with degree programs in art history, studio, graphic design, and art education. We especially seek candidates whose research bridges discussions of the impact of new media on contemporary art theory and practice and who can therefore foster connections to related disciplines.

Responsibilities include teaching introductory surveys, upper-level courses in contemporary art, undergraduate seminars in area of expertise, and opportunities for graduate classes with MFA students; maintaining a high level of research and scholarly activity consistent with tenure expectations; and service requirements such as committee work, curriculum development, and/or service to student organizations.

Required: Ph.D. in History of Art or related field (by December 31, 2016 for re-appointment to second year). Strong candidates will have a record of scholarly activity and teaching experience. Inquiries about the position can be directed to Andrew Casper at casperar@miamioh.edu. Submit cover letter, vita, teaching philosophy, writing sample, list of three references to https://miamioh.hiretouch.com/job-details?jobID=1845.

Review of applications will begin on December 1, 2015 and continues until position is filled. Miami University, an EO/AA employer encourages applications from minorities, women, protected veterans and individuals with disabilities.

Miami does not permit, and takes action to prevent, harassment, discrimination and retaliation. Requests for reasonable accommodations for disabilities should be directed to Ms. Mary Jane Leveline at (513) 529-2027. Annual Security and Fire Safety Report may be found at: http://www.MiamiOH.edu/campus-safety/annual-report/index.html. Criminal background check required. All campuses are smoke- and tobacco-free.


Lessons from Luftwerk’s Solarise: A Sea of All Colors

Solarise: A Sea of All Colors, is an exhibition of light and sculptural installations by the artist duo Luftwerk on view at the Garfield Conservatory in Chicago. This new project is ambitious in scale, extending Luftwerk’s application of digital and physical materials as they consider the environmental and social impact of their rapidly growing studio. On Tuesday September 29th 2015, Petra Bachmaier, co-founder of Luftwerk, spoke at Alfred University’s Nevins Auditorium about the installation and design of Solarise.

Seed of Light in Solarise: A Sea of All Colors, Garfield Conservatory, 2015, Luftwerk. From: http://luftwerk.net/projects/solarise-a-sea-of-all-colors/

In recent years, Luftwerk have worked across Alfred University’s School of Art and Design to accomplish collaborative and individual projects. Bachmaier is the current Theodore Randall International Chair in the Division of Sculptural and Dimensional Studies. Luftwerk’s Spectrum, a video projection map on a large digital print, is now on view at Alfred University’s Fosdick Nelson Art Gallery. Spectrum is part of Typology/Morphology, a group exhibition from the Institute for Electronic Arts (IEA) highlighting print works by 26 resident artists. In 2014-15, Luftwerk collaborated with D. Chase Angier on her performance installation, As The Air Moves Back From You, also presented at the Fosdick Nelson Gallery. Like many of Luftwerk’s previous projects, As The Air Moves Back From You required complex digital projection mapping of an architectural space.

As The Air Moves Back From You, D. Chase Angier, Setup, Photo by Yasmina Chavez

As The Air Moves Back From You, D. Chase Angier, Setup, 2014-15. Photo by Yasmina Chavez

Solarise sets in motion bespoke LED video displays and analog applications of transparency and light across five new installations works. Seed of Light is a circular chandelier that reflects droplets and rippling water onto the floor of Garfield’s Horticulture Hall. Florescence applies a floral pattern of red and blue translucent Perspex to the arched conservatory ceiling. Throughout the day, directional sunlight projects color and overlapping shapes onto the floor below. After dark, artificial light illuminates the room. The Beacon consists of a parallel series of LED’s magnetically adhered to Garfield’s front entry scaffolding. These display footage of plants blowing according to live data that reflects local Chicago wind speeds. Portal and Prismatic activate light and reflection through sculptural forms within the Garfield Conservatory building.

Luftwerk’s intent is to control the environmental impact of Solarise, which must remain installed and robust for a year-long exhibition period. Bachmaier stated that, “With video and light you can greatly transform a space without interrupting the building at all.”((Petra Bachmaier, Alfred University, Nevins Auditorium, September 29, 2015.)) Each installation in Solarise breaks down to modular parts that easily disengage with the architecture of the 1908 conservatory structure. The artworks that use LED’s or consume electricity are powered through solar cells. Throughout the installation period in the summer of 2015, Luftwerk built relationships with contractors who were hired from the neighborhood surrounding the conservatory. No one traveled more than a mile to install the piece on a given day. This not only employed local workers, but also curtailed the carbon emissions that would have resulted from longer commutes.

Florescence in Solarise: A Sea of All Colors, Garfield Conservatory, 2015, Luftwerk. From: http://luftwerk.net/projects/solarise-a-sea-of-all-colors/

Solarise: A Sea of All Colors serves as a useful case study for new media artists who want to work at an architectural scale. Luftwerk’s methods draw upon sculpture, projection, and light while activating visitor participation across a grand space. Their consideration of the environmental impact of the work will be beneficial throughout the duration of the exhibition. Luftwerk were savvy in their use of practical and aesthetic strategies that circumvent many of the issues that can arise with the use of high-powered projectors and computing systems. When other new media installations would require the repair of equipment or the replacement of bulbs, Solarise’s analogue luminescence will continue to glow.

[Looking Forward] October 2015 Theme: Electronics / Arraylist Listserv –> New Media Pedagogy Of The [ ]

We are happy to share this announcement from the ArrayList for October 2015

ArrayList discussion theme: New Media Foundations: Electronics

ArrayList series details here: http://arrayproject.com/content/discussion

Subscribe here: https://lists.riseup.net/www/info/arraylist

OCTOBER 2015 GUEST THREAD LEADERS Alejandro Borsani [RISD], Paula Gaetano-Adi [RISD], Dawn Hayes [City University of New York], Justin Lincoln [Whitman College], Brittany Ransom [California State University Long Beach], Chris Reilly [Eastern Michigan University]

Alejandro Borsani, Assistant Professor, Division of Experimental & Foundation Studies, Rhode Island School of Design Alejandro Borsani is an artist and educator who explores the intersection of natural and artificial systems by creating videos, installations, sculptures, custom software and electronics. His research is driven by a curiosity about physical phenomena an d the exploration of emergent technologies. His works have been presented in solo and group exhibitions internationally. Currently, he is Assistant Professor in the Experimental and Foundation Studies Division at RISD. He served as faculty in the Creative Computation Program at the Southern Methodist University and in the New Media Arts Program at the University of North Texas. Borsani holds an MFA in Electronic Arts from the Rensselaer Polytechnic Institute (2012) and an MFA in Electronic Visualization from the University of Illinois at Chicago (2010). He also received a degree in Audiovisual Design from the School of Architecture, Design and Urbanism at the University of Buenos Aires (2007).

Paula Gaetano-Adi, Assistant Professor, Division of Experimental & Foundation Studies, Rhode Island School of Design Paula Gaetano Adi (born in San Juan, Argentina) is an artist, educator, and researcher working in sculpture, performance, interactive installations, and robotic agents. Her work has been presented extensively in exhibitions and festivals in Beijing, Berlin, Madrid, Moscow, Stockholm, Sao Paulo, New York, Poznan, Mexico City, Buenos Aires, Copenhagen, Vancouver, among other locales. She was the recipient of different awards and honors, including the First Prize VIDA 9.0 – the international competition on Art & Artificial life; the First Prize ‘LIMBØ’ at the Museum of Modern Art of Buenos Aires; the National Endowment for the Arts, Argentina; the Fergus Memorial Scholarship in 2009 and 2010; and the 2012 “Artistic production Incentive Prize for Ibero-American Artists” awarded by VIDA 14.0. Gaetano Adi received a degree in Audiovisual Communication from Blas Pascal University in Argentina and a MFA with emphasis in Art & Technology, from The Ohio State University. She was visiting scholar at the UCLA REMAP, University of California Los Angeles, and artist-in-residence at Sachaqa Eco Art Center (Perú). She has served as faculty for the Electronics Arts program at the Tres de Febrero National University in Buenos Aires, the Rensselaer Polytechnic Institute in Troy, NY, and she directed the undergraduate and graduate program in New Media Art at the University of North Texas. Currently, she is Assistant Professor of Experimental & Foundation Studies at the Rhode Island School of Design (RISD).

Dawn Hayes, City University of New York Dawn C. Hayes tinkers, educates and explores emergent media arts and technology as facilitators of public engagement. She runs COOL Labs (www.coollabs.org) and has taught creative technology-centered courses at CUNY since 2010. Currently, Dawn's interests include applications of repurposed and networked artifacts as information resources in connected cities. Dawn holds a bachelor’s degree from Muskingum College and has pursued post-graduate studies at Columbia University and NY U.

Justin Lincoln, Assistant Professor, Whitman College Justin Lincoln is an experimental artist and educator teaching New Genres & Digital Art at Whitman College in Walla Walla, WA. His work involves creative computer programming, the online community tumblr, video montage, and the history of experimental film. He is a prolific presence online and his work shows extensively in international exhibitions and screenings. Recent screenings include The Chicago Underground Film Festival, FILE Digital Languages Festival in Sao Paulo, Brazil, the Dallas Videofest, and the exhibition Across Voices: New Media Art 2015 at CICA Museum in Gimpo, Korea.

Brittany Ransom, Assistant Professor, California State University, Long Beach Brittany Ransom is an artist and educator currently living in Long Beach, California. Ransom is the recipient of numerous awards and grants including the highly competitive Workshop Residency in S an Francisco (upcoming Spring 2016), the Arctic Circle Research Residency (2014), University Research council and Instructional Technology Grant Awards (2013-2014), and the prestigious College Art Association Professional Development Fellowship (2011). Ransom has shown internationally and nationally and has been featured in numerous publications. Her most recent work has been exhibited in Long Island City, Los Angeles, Chicago, and Dallas. She collaborates with a number of local institutions and has a current large scale project at the Perot Museum of Nature and Science. Ransom received her Master of Fine Arts Degree in Electronic Visualization from the University of Illinois at Chicago and her Bachelor of Fine Arts from The Ohio State University with a concentration in Art and Technology. Ransom is currently serving as the Assistant Professor of Sculpture + New Genres at California State University Long Beach. As a member of the faculty of the College of The Arts, she works within the sculpture area and specializes in 3D computerized production / digital fabrication and physical computing / kinetics. Ransom is half african american and italian / german and was born and raised in the small city of Lima, Ohio.

Chris Reilly, Assistant Professor, Eastern Michigan University Chris Reilly is a Detroit-area artist, hacker and teacher. He holds a MFA from UCLA’s School of the Arts and Architecture, and a BFA from the School of the Art Institute of Chicago. He is currently Assistant Professor of Digital Media in the Art Department at Eastern Michigan University. Since 2003, he has shown work in solo and group art exhibitions in the US, Europe and Asia. Working individually and collaboratively, his artwork explores telepresence, relationships, physical subjectivity and community building with media including games, performances, relational objects, robots, and open-source hardware/software projects.

Link: http://arrayproject.com/content/discussion


The purpose of ArrayList is to connect new media artists, designers, educators, theorists, producers, activists, and organizers while facilitating critical discussion about foundation level new media pedagogy and context (both inside and outside traditional academic structures). For those new to the listserv format, a listserv is an archived asynchronous thread of email conversation. Subscribe to the listserv so that you can read [fly-on-the-wall is a-ok] and/or respond to the written activity, and read the archives. We hope to engage a wide range of critical perspectives so please chime in with thoughts and questions. [share your worlds/priorities/philosophies with the rest of us] Sincerely, j.duran, Adam Trowbridge, Jessica Parris Westbrook, ARRAY[ ] founders

CAA Conference Edition – New York 2015 – NMC/Media-N – SRING 2015: V.11 N.02

CAA-Conference-2015-cover-smallCAA Conference Edition – New York 2015

NMC/Media-N - SRING 2015: V.11 N.02

Media-N, Journal of the New Media Caucus is pleased to announce the launch of our summer 2015 online and print edition.


Online & print edition


CAA Conference Edition – New York 2015

I am delighted to publish the current CAA Conference Edition 2015, New York, and would like to thank Associate Editor Tiffany Funk for her role as Managing Editor of V.11 N.02. Tiffany assembled and edited the publication material with the assistance of Rachel Clarke and Sid Branca.

Each year, the New Media Caucus – an affiliate of the College Art Association – organizes panel presentations, events and exhibitions during the CAA annual convention, and Media-N Journal dedicates its summer edition to showcasing NMC conference proceedings and concurrent offsite events. The New Media Caucus’ Events and Exhibitions Committee – chaired by Joyce Rudinsky –organized the 2015 proceedings.

This year we saw one panel presentation and two events, the first a series of presentations in the Media Lounge onsite at the conference venue in the New York Hilton and the second our customary offsite Showcase event hosted this time around by Hunter College.

With the intention of creating a conversation outside of the habitual rhetoric of techno euphoria, skepticism, or dread, Aleksandra Kaminska chaired the panel “Technologies of Wonder: Affective Responses in a Posthuman World.” Panel members Janine Marchessault, Florence Gouvrit Montaño and Jordi Vallverdú, Robert Gero, and Aleksandra Kaminska herself, discussed ideas on how to restore and nurture the affective dimensions of techno-encounters.

The Media Lounge at the Hilton became the locus for various events around the theme of “Alternative Economies” presenting two dominant themes: how bodies and narratives can act as disruptive forces within certain economies and the modes in which alternative economies are established. These topics are covered in this edition via Mat Rappaport’s introduction, Stephanie Tripp’s roundtable discussion with event organizers, a curatorial statement on the first session by Liss LaFleur and Ash Eliza Smith, and finally, a report on the second session by Tiffany Funk.

Tiffany Funk also contributes a comprehensive, illustrated report on the exciting CAA 2015 Showcase event in which we saw the participation of eighteen artists.

Pat Badani


V.11 N.02 publication acknowledgements:

-Publication coordinator and Editor-in-Chief: Pat Badani
-Managing Editor for the current edition: Tiffany Funk
-Publication design and layout: Michael Powell (print); Stacey Stormes (web)
-Copy editors and proofreaders for the current edition: Stephanie Tripp, Tiffany Funk, Thomas F. Cohen and Pat Badani.
-Cover image: Voice of Echo, 2011, Erin Gee, © Erin Gee. (Used with permission.)



Tecnológico de Monterrey Campus Metropolitan Area of Mexico City, in collaboration with Centro de Cultura Digital, Fonoteca Nacional, Escuela Superior de Música and Yamaha de México S.A. de C.V, announces the CALL FOR WORKS FOR


To support the creation and the spread of electroacoustic pieces, Tecnológico de Monterrey Campus Metropolitan Area of Mexico City organizes the process of selection of pieces that will be part of the First Electroacoustic Music Festival “Ecos Urbanos”. The Festival will have the participation of invited composers and lecturers from different countries, and it will take place from September 21th to 25th, 2015 at different locations in Mexico City.

RULES: The works will have to be electroacoustic pieces composed and recorded in studio. They will be played in concert without any intervention of live sound sources. They may include a maximum of 8 channels and they must be between 5 to 10 minutes. The process of selection is open to composers and sound artist from any nationality and age, each of whom may submit only one work, which may be world premiere or commercially published or premiered in any other national or internacional festival.

All applications must be sent via www.wetransfer.com (or equivalent web file transfer service) in 1 single ZIP file to the email: ericperezsegura@itesm.mx

The ZIP file should cotain 2 files inside a single folder:

A text file (.doc, .txt, .rtf of .pdf) with a short biography, contact information, as well as information about the piece (methods used, concept, if it has been premiered, etc.).

An audio file .AIFF or .WAV, 16 or 24 bits at 44.1 khz sampling rate containing the stereo version of the piece. Additionaly, in the case of multi-channel pieces, the audio files corresponding to each of the channels in AIFF or WAV inside a folder.

IMPORTANT: The name of the ZIP folder should be identical to submitted piece. The deadline for submissions is 09:00 AM September 18th, 2015. Applications sent after the deadline will not be considered valid. The list of selected works will be announced no later than September 18th, 2015. Composers and sound artists whose works were selected will be notified about the date when they will be played on the festival. Any questions regarding these regulations and their interpretation shall be clarified by the authorities of Tecnológico de Monterrey.

ISEA2015 :: Disruptive Closing Ceremony

After another great day of listening, meeting, and discussing, The Yes Men keynote and closing ceremony was intense. It unexpectedly began with a student protest after the opening remarks by Simon Fraser's President, Andrew Petter. The student called attention to alleged monies being accepted by Simon Fraser from the tar sands pipeline. The Yes Men where then asked to participate in a video to assist in the protest by the student (NSFW), which they readily did. This was all very disruptive, and therefore, highly appropriate.

The Yes Men continued with their goals and background, showing clips from their recent movie: The Yes Men are Revolting.They are available for workshops and hope to encourage others in their own hijinks.

Right before the keynote began, I was sitting near Leo Selvaggio of the URME project fame, which was at the DISRUPTION opening reception. He was kind enough to let me handle the 3D printed mask. It is eerily gorgeous and if you ever have the chance, it is worth a closer look.

It was wonderful to catch up with many NMC members that I had met at CAA 2014 and 2015, such as Leo and also Taylor Hokanson. Taylor and Dieter Kirkwood were "Hacking the Knitting Machine" in a workshop they had given earlier in the conference. I am eagerly awaiting the arrival of my Brother KH-930e.

After the closing, the conference was handed over to Hong Kong for 2016. I can't wait for the ISEA2016 Cultural R>evolution!

Exhibition Announcement – Revisions—Zen for Film

Revisions—Zen for Film
On view September 18, 2015–January 10, 2016

How do works of art endure over time in the face of aging materials and changing interpretations of their meaning? How do decay, technological obsolescence, and the blending of old and new media affect what an artwork is and can become? And how can changeable artworks encourage us to rethink our assumptions of a work of art as fixed and static? Revisions—Zen for Film, an exhibition on view in Bard Graduate Center’s Focus Gallery from September 18, 2015 through January 10, 2016 explores these questions through Zen for Film (1962-64), one of the most evocative films created by the Korean-American artist Nam June Paik (1932–2006).

The exhibition was curated by Hanna Hölling, Andrew W. Mellon Visiting Professor, Cultures of Conservation, at Bard Graduate Center.

Bard Graduate Center Gallery
18 West 86 Street,
New York, NY 10024

Bard Graduate Center is a graduate research institute in New York City. Our gallery exhibitions and publications, MA and PhD programs, and research initiatives explore new ways of thinking about decorative arts, design history, and material culture. Founded in 1993, we are an academic unit of Bard College.

Dispatch from Vancouver – ISEA2015 Part 2

ISEA2015 is barely half over, and its amazing to think back to what's already happened and also what is still to come. I'm not able to stay for the entire conference, but have really enjoyed the engaging programming and all of the events. I'm going to just mention a few... as I'm sure you know its impossible to see everything that you really want to at a conference of this scale. The quality of what I've seen and heard about, however, puts you in the position where its difficult to make a bad decision - there's something for everyone.

On Sunday morning, Brian Massumi delivered an intense and immensely interesting keynote address to a packed room. The talk was centered around what he sees as key concepts in explaining his approach and interest in affect. He also careful expanded on some of the misconceptions surrounding those concepts. Although the talk was dense, it was a great way to kick off the next several days which will include hundreds of papers, posters, demos, exhibitions (proceedings here).

And in regards to exhibitions, it would be hard to report on what I did and saw in Vancouver without going back to the Saturday evening opening of the ISEA Disruption exhibition at Vancouver Art Gallery. The show coincided with an annual event at the gallery called FUSE. After the private opening for ISEA attendees, the gallery opened to the community and it included music and performances in the gallery courtyard/park. The word is that something like 5000 people attended the opening - it was completely packed. The gallery was so crowded at times it was tricky to see the work, but if that's a trade off for being able to show and share the work that artist involved with ISEA are doing then its not necessarily a bad thing in my opinion.

A second keynote was given by Michael Connor from Rhizome on Sunday afternoon. He gave an interesting overview of the development of the site and organization over the years and its numerous shifts in focus. I couldn't make out in his conclusion whether or not he thinks Rhizome , as an institution of some sort, is acting basic or is normcore. 

Sunday evening programming included an opening at the Museum of Vancouver. Just outside the museum, as the evening went on, the sun set over the mountains/bay. And after a quick ride back to the SFU Woodwards campus the night continued on with audio/visual performances. This was the first of the two nights of performance programming from the Mutek Cabaret. It was another intense and interesting way to end a intellectually stimulating and fun day.

I'm about to board my plane... I can't believe I'm gonna miss the next few days, with equally engaging content. Don't miss The Yes Men or Rosa Menkman - all having keynotes later this week.


Dispatch from Vancouver – ISEA2015 Part 1

I'm a bit at a loss for words, but wanted to share a little bit as everything starts to take off here in Vancouver for ISEA2015. If you're around, you should try to catch up with me, but I know it's probably next to impossible with all the great things going on. Thanks so much to Simon Frasier University and just about all of Vancouver for the welcome and good vibez!

As I write this dispatch, I'm sitting at the venue waiting, excitedly for the Hakanaï performance to begin. I've heard a lot of great things about their work and am eagerly anticipating the show.   Hakanaï  are part of the Movement in Computing Workshop (MOCO) programming during the first few days at the symposium. This is of particular interest to me, as a MOCO participant, because of the combination of live realtime, audio/visual performance and installation. There is a lot happening in these vectors : the crossovers/intersections of the Arts and Technology. 

But this is really just the tip of the digital media practices in the proverbial cross-pollinating theory/practice oceans of contemporary technological experience. In the next several days there will be artists and scholars from across our planet aligning in Vancouver and mixing it all up. I'll be in and out of panels, papers, demos, posters, performances, screenings, and just about as much as I can handle. I promise to write a little more during and after it all. Maybe we'll cross paths - or if you want to cross paths and we didn't yet - I'll be at the Vancouver Art Gallery Opening for FUSE/DISRUPTION for sure (I've got something to show there) - hope to catch up with you!!!¡¡¡




#ISEA2015 and #MOCO'15

A photo posted by a bill miller (@abillmiller) on

Call for Entries – Voices Exhibition at Kala Gallery

Application Deadline: September 11, 2015

Kala Gallery announces Voices a call for entries exhibition open to artists working in all media. Voices seeks work by artists who explore the idea and action of making sounds from a wide range of perspectives.

The voice consists of sounds and non-sounds including talking, singing, laughing, crying, screaming, etc. It is an act of self-expression, communications and story telling, and a part of our cultural identity. The exhibition Voicesexamines the human body as a memory chamber and musical instrument; voice as expression of political conflicts and rhythm of nature; immersion in sonic landscape; and more. Work will be selected by Mayumi Hamanaka, Kala’s Gallery Manager.

Application Guidelines, eligibility requirements and other details

Gallery Location: Kala Gallery, 2990 San Pablo, Berkeley, CA 94702

Exhibition Dates: October 22 – December 5, 2015

Application Deadline: September 11, 2015

Eligibility: Open to artists working in all media.

Submissions: Artists may submit up to five images of work created in any media. Only submit images of work available for the exhibition. Work previously presented at Kala Gallery is not eligible.

Application fee: $35 or Join the Friends of Kala Membership Program and the fee is waived

Shipping and Delivery:
Artists are responsible for the delivery and pick-up of selected artwork. All accepted work must be received by Kala Gallery by October 10, 2015. Kala will accept artwork shipped by Fed-Ex, UPS, USPS, but cannot provide funds for the transportation of artwork. Please label all packing materials with your name. Shipped work should arrive in a reusable container with return postage or prepaid shipping documents and correct return labeling. Hand-delivered artwork may be dropped off October 7-9, 12:00-5:00 pm.

Insurance: Artwork is insured while on site at Kala.

Submit the following items to Kala Art Institute & Gallery through Slideroom: kala.slideroom.com

Artist Statement (maximum 2000 characters - app. 400 words).

Artist CV

Installation Requirements

Work Samples
5 images and/or video samples
(see specifications on the online application for guidelines)

Application fee: $35 or join Friends of Kala Membership Program at the Artist/Student level ($45) and waive the application fee, along with receiving all other membership benefits, including 10% off of workshops, classes and art purchases. For more information and to apply for the call-for-entry while joining Friends of Kala, contact Ellen Lake in the Kala Development Department atellen@kala.org or 510-841-7000, ext. 204. Please do not use Slideroom for this process. You will receive information how to submit your application materials.

Online application form: kala.slideroom.com

For questions about Voices and the online application guidelines, e-mail Mayumi Hamanaka at mayumi@kala.org

Selected artists will be announced at WWW.KALA.ORG on September 25, 2015.


Call for Work – IDEAS Exhibition

Call for Entry iDEAS 15

iDEAS 15 is an international exhibition of Hybrid forms, digital art, design, and new media. The iDEAS 15 exhibition coincides with the annual International Digital Media and Arts Association (iDMAa) conference, to be held on the campus of East Tennessee State University in Johnson City, Tennessee, from November October 21st – 23rd. Opening reception is Wednesday evening, October 21st.

The International Digital Media and Arts Association (iDMAa) was founded in early 2004 by a group of 15 universities. iDMAa is dedicated to serving educators, practitioners, scholars, and organizations with interests in digital media.

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

Call for Entries – 19th Japan Media Arts Festival

The Japan Media Arts Festival is a comprehensive festival of Media Arts (Media Geijutsu) that honors outstanding works from a diverse range of media - from animation and comics to media art and games. The festival gives awards in each of its four divisions: Art, Entertainment, Animation, and Manga. Since its inception in 1997, the festival has recognized significant works of high artistry and creativity, and in addition to a yearly Exhibition of Award-winning Works has held other events, such as symposiums, screenings, and showcases.

Entries are sought from professional, amateur, independent and commercial creators across the globe. Works completed or released between September 3, 2014 and September 9, 2015 are eligible for entry in the four divisions - Art, Entertainment, Animation and Manga.


The Four Divisions(Art, Entertainment, Animation, Manga)

Art Division
Works of art created with new media and digital technologies.
Interactive art, media installations, video works, video installations, graphic art (digital illustrations, digital photographs, computer graphics, etc.), internet art, media performances, etc.

Entertainment Division
Works for entertainment created with digital technologies.
Games (video games, online games, etc.), video / sound works (music videos, independent and advertising videos, etc.), multimedia productions (including special-effects videos, performances, projections), gadgets, electronic devices, websites (including web promotion, open source projects), application software, etc.

Animation Division
Animated feature films, animated short films, animated series, etc.

Manga Division
Comics published in book form, comics published in a magazine (including works still being serialized), comics published online (for computer or mobile), self-published comics, etc.

Works must be completed or released between: Wednesday, September 3, 2014 and Wednesday, September 9, 2015.

For each division, one Grand Prize, four Excellence Awards, and three New Face Awards will be awarded on the basis of artistic quality and creativity. In addition, a Special Achievement Award will be awarded on the recommendation of the Jury to a person or group having made a special contribution to Media Arts in any of the four divisions.
Grand Prize: Certificate*, trophy, 600,000 Japanese Yen
Excellence Award: Certificate*, trophy, 300,000 Japanese Yen
New Face Award: Certificate*, trophy, 200,000 Japanese Yen
Special Achievement Award: Certificate*, trophy

Other outstanding entries will be chosen by the Jury as Jury Selections.

JMAF Official Website:

Organizer: Japan Media Arts Festival Executive Committee
Contact Information: Japan Media Arts Festival Secretariat [c/o CG-ARTS]
Email: jmaf@cgarts.or.jp

Call for Work – In the In-Between: Journal of Digital Imaging Artists

We accept submissions of photographic and video work that critically examines the world through the properties, theories and applications of digital and web-based technologies.

We also welcome inquiries from volunteer writers, curators and historians interested in participating.

More Information on our website: www.inthein-between.com

In the In-Between: Journal of Digital Imaging Artists is a web-based research platform that publishes artists working at the intersections of photography and digital media.

Since June 2012, In the In-Between has published portfolios, interviews and essays on the work of nearly 60 artists investigating the use of 21st century image-making technology.





The Ammerman Center at Connecticut College seeks submissions for its 2016 Biennial Symposium for Arts and Technology being held February 25-27, 2016 at Connecticut College.

Paid Commissions Deadline: September 30
General Submissions Deadline: October 19

The aim of the symposium, now in its 30th year, is to create a forum for multi-disciplinary dialogue at the intersection of arts, technology and contemporary culture. The symposium brings artists and researchers from a wide range of fields together to engage, interact and share ideas as they present new works, research and performances in a variety of formats. Featured events include a keynote address by Natalie Jeremijenko, several commissioned multi-disciplinary works, panel discussions and paper presentations, workshops, gallery exhibitions, music concerts, installations, screenings, public interventions and live media performances. Newly commissioned works will be presented alongside selected works by symposium participants.

This year, the symposium theme is “Open All Ports”. Ports, as physical places, demarcate points of passage such as arrival and departure, entry and exit. Historical New London, the host city for the symposium, is a prime example of such a port. Virtual ports (such as network and computer ports) undergird our digital connectivity. We now exist in an era in which we attempt to balance access, information, security, privacy and freedom. Ports have gained newfound significance, no longer understood solely as traffic nodes, but as points of a larger exploration and reflection on connectivity and sharing. As such, they lead us to a revealing diversity of perspectives that range from corporeality to virtuality, and from empowerment to vulnerability.

In working at the crossroads of technology, the arts and the humanities, one often encounters calls to openness, alongside some real issues that this very openness engenders. In making “Open All Ports” the theme of this symposium, we ask: What if, once all the points of connection were made available, new linkages could indeed take place? New representations, previously unseen, were afforded the platform for visibility and voice? New and unknown interfaces, realized? All the “big data” was completely unfiltered, flowing in all directions? What are the implications of all source code being open? We encourage and invite participating artists, theoreticians and researchers to relate their work to this theme or to an expanded context.


The Ammerman Center for Arts and Technology is pleased to present Open All Ports: the 15th Biennial Symposium on Arts and Technology, february 25 - 27, 2016.

This three day event will be highlighted by sessions, performances, exhibitions, and new works at the intersection of arts and technology.


Announcing the upcoming July 2015 ArrayList discussion theme: New Media Foundations: Code!

Sign up/join in here: https://lists.riseup.net/www/info/arraylist

The purpose of ArrayList is to connect new media artists, designers, educators, theorists, producers, activists, and organizers while facilitating critical discussion about foundation level new media pedagogy and context (both inside and outside traditional academic structures). Thanks, j.duran, Adam Trowbridge, and Jessica Parris Westbrook, ARRAY founders


Ubi de Feo:
very curious person, creative technologist
"I was born in 1974 and I believe I belong to one of the most lucky, unique generations ever lived: I am part of a demographic which grew up without Internet, slowly saw it appearing on computer screens, and gradually transitioned into a world where the net is now in our pockets, on our wrists, in our fridge and many more connected devices. I started taking stuff apart when I was 6, and this desire to discover the inner workings of objects has guided me my whole life through hacking computers, engines, code and electronics. Armed with this curiosity I became interested in many aspects of computing and technology, as well as many things technical. ... I currently teach programming, electronics and other things to whoever wants to learn, often developing my own methods to explain really complicated things in a more tangible, down-to-earth fashion. I do not try to teach things I don't thoroughly understand, which often leads me to learn completely new subjects in order to be able to explain them to myself and others. In my off-time, when I shower or do the dishes, I think about ways to improve things or invent new ones. I began experimenting with mobile devices in 2001, and internet connected objects in 2007." more: http://ubidefeo.com, https://github.com/ubidefeo

Evelyn Eastmond:
Viewpoints Research Institute, Digital+Media, RISD
Evelyn Eastmond is an artist and software researcher. She received her BS and MEng degrees in Electrical Engineering and Computer Science from MIT and an MFA in Digital + Media from the Rhode Island School of Design. In 2003, she joined the Lifelong Kindergarten Group's Scratch project at the MIT Media Lab, where she worked for seven years as a software engineer, user experience designer, and workshop facilitator. Before leaving MIT for RISD in 2010, she developed DesignBlocks, a spinoff of Scratch focused on interactive computer graphics. At RISD, Evelyn became interested in the languages of traditional painting and drawing and their loose relation to the languages of computing. Evelyn is currently interested in the role of computation in contemporary arts, media and culture and in how the design of programming languages and learning environments affects the stories people can tell with them. She recently completed a residency at the Gushul Studio in Alberta, Canada. She has shown work in Providence and Boston, and has lectured and taught new media workshops and courses internationally. more info: https://github.com/evhan55

Ira Greenberg:
Director, Center of Creative Computation and Professor, Computer Science and Engineering Southern Methodist University
With an eclectic background combining studio arts and computer science, Ira Greenberg has been a painter, 2D and 3D animator, print designer, web and interactive designer/developer, programmer, art director, creative director, managing director, art and computer science professor and author. He wrote the first major language reference on the Processing programming language, Processing: Creative Coding and Computational Art, (Berkeley, CA: friends of ED, 2007). Greenberg holds a B.F.A. from Cornell University and an M.F.A. from the University of Pennsylvania. Greenberg’s research and teaching interests include aesthetics and computation, expressive programming, emergent forms, net-based art, artificial intelligence (and stupidity), physical computing and computer art pedagogy (and anything else that tickles his fancy). He is currently building a new 3D Graphics Library, called Protobyte, for developing artificial life forms. more info: http://iragreenberg.com, https://www.smu.edu/Meadows/AreasOfStudy/CreativeComputation/Faculty/GreenbergIra

Rebecca Miller-Webster
Software Engineer and Managing Director thoughtbot Chicago, Write+Speak+code Conference Organizer, Educator
Rebecca Miller-Webster is a software engineer, conference organizer, and teacher. She is the founder of Write/Speak/Code and Managing Director for thoughtbot Chicago. Rebecca has been developing software professionally for over 10 years and previously organized GORUCO. She was the founding teacher at Dev Bootcamp NYC and has taught hundreds of students software development as well as led workshops on public speaking, leadership, and oppression. Rebecca holds an Masters in Computer Science and a BA in Women and Gender Studies from Washington University in St. Louis and was named one of 7 Brilliant Women in Tech by Craig Nemark, founder of Craigslist. She loves cupcakes, sea mammals, and prosecco. Rebecca lives in Oak Park, IL with her husband, black pug, and rescued havenese. And she changes her hair. A lot. more: http://www.rebeccamiller-webster.com, https://github.com/rmw

Daniel Shiffman:
Assistant Arts Professor, Interactive Telecommunications Program, NYU Tisch School of the Arts
Daniel Shiffman works as an Associate Arts Professor at the Interactive Telecommunications Program at NYU's Tisch School of the Arts. Originally from Baltimore, Daniel received a BA in Mathematics and Philosophy from Yale University and a Master's Degree from the Interactive Telecommunications Program. He works on developing tutorials, examples, and libraries for Processing, the open source programming language and environment created by Casey Reas and Ben Fry. He is the author of Learning Processing: A Beginner's Guide to Programming Images, Animation, and Interaction and The Nature of Code (self-published via Kickstarter), an open source book about simulating natural phenomenon in Processing. more: http://shiffman.net


Tenure Track Assistant Professor in Media Arts and Game Development at University of Wisconsin Whitewater


Position Announcement: The University of Wisconsin-Whitewater Department of Communication is now accepting applications for a tenure-track assistant professor in the Media Arts and Game Development (MAGD) program. The starting date for the position is August 19, 2015.

Qualifications: Candidates for this position will have the academic preparation and demonstrable experience to teach undergraduate courses in some of the following areas: game design, creative coding, game development, web design/development, physical computing, and other emergent/computational media (theory and practice). The candidate should also have an active research and/or creative agenda within one or more of these areas. A terminal degree (Ph.D. or M.F.A) in a relevant field by time of appointment is required for this position.

An interest in creating courses in the candidate’s areas of expertise and determining the future direction of the program are considered assets for this position. We welcome applications from those who consider themselves creative practitioners as well as research practitioners in any of the areas above.

The Media Arts and Game Development (MAGD) Program: MAGD is an innovative interdisciplinary program that emphasizes the use of digital technology for the conceptualization and development of computer-based multimedia applications. The program serves a diverse population of students, and embraces the principles and practices of Inclusive Excellence that are reflected in the University of Wisconsin System’s commitment to diversity and educational opportunity. The successful candidate will teach basic and advanced courses in the media arts and game development area.

The Department of Communication: The Department of Communication is the largest department in the College of Arts and Communication and one of the largest at the University. The department serves more than 600 students who major in one of our seven emphases: Advertising, Broadcast/Print/Web Journalism, Corporate and Health Communication, Electronic Media, International Journalism, Media Arts and Game Development, and Public Relations. The department’s graduate program serves a diverse population of recent undergraduates and returning professionals.

The College of Arts and Communication: The College of Arts and Communication serves a diverse population of students and embraces the principles and practices of Inclusive Excellence that are reflected in the University of Wisconsin System's commitment to diversity and educational opportunity. We actively seek candidates who possess the interest and ability to work with students from diverse socio-economic, educational, and ethnic backgrounds.

The University of Wisconsin-Whitewater: The University of Wisconsin-Whitewater is a comprehensive university in the well- respected University of Wisconsin system. Established in 1868, the University has approximately 12,000 students enrolled in 50 undergraduate and 11 graduate degree programs. We are committed to the development of the individual, the growth of personal and professional integrity and respect for diversity and global perspectives. Our core values include: Commitment to the pursuit of knowledge and understanding; Development of the Individual; Personal and Professional Integrity; Commitment to Serve; Commitment to develop a sense of community, respect for diversity, and global perspectives. We strive to create and maintain a positive and inviting environment for multicultural students, students with disabilities, and nontraditional students. See http://www.uww.edu for more information.

The Community: Whitewater, a city with a population of over 14,000, is located in southeastern Wisconsin near the scenic Kettle Moraine State Forest. The immediate area offers a wide variety of summer and winter recreational activities, including facilities of the nearby Whitewater Lake recreational area. Whitewater is 50 miles from Milwaukee, 45 miles from Madison and 110 miles from Chicago.

How to Apply: Submit a completed application packet online containing a letter of application, curriculum vitae, names and contact information of three references, graduate and undergraduate transcripts (copies will suffice until final stages of interview process) and representative evaluations of your teaching (if available). Also submit a portfolio of research and/or creative work, consisting of some or all of the following: research articles and papers, representative images of your work with descriptions, links to any video or interactive work, representative writing sample, and representative student work.

To insure full consideration please submit your materials prior to July 24, 2015. Review of applications will continue until the position is filled.

Application packets should be sent electronically to:
Patsy Latimer, University Staff
Communication Department
University of Wisconsin-Whitewater
800 W. Main St.
Whitewater, WI 53190

Questions about the position can be addressed to:
Prof. Jim TerKeurst, Search Committee Chair

UW-Whitewater is an Equal Opportunity and Affirmative Action Employer, and actively seeks and encourages applications from women, people of color, persons with disabilities, and all veterans Names of applicants may be disclosed unless requested otherwise. Names of finalists will be released. UW-Whitewater conducts criminal background

ISEA2015 Student Volunteer Program




The 21st International Symposium on Electronic Art invites students, artists, practitioners who want to be ‘where the action is’ to volunteer for ISEA2015.

What is ISEA2015?

The International Symposium on Electronic Art (ISEA) is the main nomadic international academic gathering focused on electronic and digital arts. Since its inception in 1988 in the Netherlands, it has been organized in 4 continents and in over 20 international cities that span Istanbul, Paris, Munich, Albuquerque, Sydney and Dubai. ISEA last came to Canada in 1995 in Montreal, where it had a tremendously positive impact on the local community both in terms of cultural and economic shifts that remain central to Montreal even today! ISEA brings together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media.

ISEA2015 is hosted by Simon Fraser University's Faculty of Communication, Arts, and Technology, its School for the Contemporary Arts, and its School for Interactive Arts + Technology (SIAT). We expect 1000+ artists, scholars, researchers and students from around the world, making it the largest event on electronic art and digital media offered to date in British Columbia. While centered at SFU Woodward's, our programming is overflowing in various venues in the Vancouver area. Partners include many local artistic organisations and venues including: the vancouver Art Gallery, the Western Front, VIVO, the Museum of Vancouver (MOV), Grunt Gallery, Vancouver New Music, 221A, New Westminster New Media Gallery, Fortune Sound Club, the New Form Festival, amongst others. As such, we believe that this event will exemplify SFU's vision of engaging students, engaging research (both practice and theory), and engaging the local, national and international communities.

ISEA2015 is a five-day symposium featuring over 500+ speakers, presenting 19 workshops, 10 tutorials, papers, panels, roundtables, posters, and demonstrations, and showcasing over 180 artworks ranging from large-scale interactive artworks to cutting-edge electronic music performances. The theme of ISEA2015 - Disruption - will allow re-examining and re-negotiating the frontiers between the academic and the art world, between practice and theory, between systems and reality, between art and society.

To frame this dialogue, ISEA2015 will feature keynote addresses by visionary pioneers such as Brian Massumi, Michael Connor, Dominique Moulon, Hildegard Westerkamp and Sara Diamond. The Yes Men will cloture the symposium with an address on the use of creative expression for disruption and subversion.

Volunteer Benefits

Volunteers will have the opportunity to be immersed in the network of inspired fellow students, professional artists, designers, academics and scientists. Other benefits include:

  • ISEA 2015 full symposium pass
  • Complimentary snacks for the breaks between shifts (no lunch is provided)
  • Conference T-Shirt
  • Certificate of participation as a volunteer, upon request


Visit the Call For Volunteers and apply Today at isea2015.org
Notification of acceptance will be sent out on July 5th.
If your application is unsuccessful (which you will know on July 5th), you will be given a code in order to benefit from the early bird rate for attending the symposium.

Volunteer Position

You can participate as volunteer for different positions, including some due before the conference.
Visit http://isea2015.org/call-for-volunteers-2015 for details about each position available.

  • Volunteers Lead (Pre-Conference Position)
  • Installation Setup (Pre-Conference and Conference Positions)
  • Registration Desk Clerks
  • Room Monitors
  • Room Technical Setup
  • Way-finding
  • Openings, Performances, Sitting Artwork and Exhibitions Monitors

Volunteer Requirements

As volunteer you will be asked to fulfill 25-hours in 5 shifts of 4 hours each, and up to 4 hours of training during the orientation session. The symposium holds a diversity of events from 8am until 1am most days. Volunteer managers will try to accommodate your preferences for volunteer times, however, our priority is to ensure there are enough volunteers for each area. You must be able to work all 5 shifts, plus training time, in order to qualify as a volunteer

The volunteer orientation will be held on prior to you first shift. In order for you to fully understand your role at the conference as well as the location of various meeting rooms, participation in the volunteer orientation session is mandatory. This means that you have to be in Vancouver on Thursday the 13th of August.

We will be grateful if you disseminate the call-out to relevant parties through your channels. We need around 120 volunteers.

Philippe Pasquier
ISEA2015 Symposium Director
Miles Thorogood
ISEA2015 Volunteer Chair.

Contact us:
For further information please contact isea2015volunteer@sfu.ca
ISEA 2015: http://isea2015.org
on Facebook: https://www.facebook.com/ISEA2015
on Twitter: https://twitter.com/ISEA2015

Call for Proposals : Chronus Art Center Research & Creation Fellowship

Deadline: July 15, 2015

Call Type: Fellowship
Start Date: 05/15/2015

2015 (Fall) Research and Creation Fellowship – Chronus Art Center

All applications must be received electronically by 23:59 (Beijing Time), Wednesday, July 15, 2015via fellowship@chronusartcenter.org.
Applicants will be informed of their application status by August 15, 2015.

September 20, 2015 (starting date negotiable within reason)

This 12-month fellowship program is designed to host international artists and researchers of extraordinary talent working in the area of new media art in order to conduct research and creation at Chronus Art Center (CAC) in Shanghai. The Research and Creation Fellowship aims to advance the experimental nature of media art, contribute to CAC’s research and educational mission, foster global exchange, and explore new models collecting new media art work.

The Fall 2015 Season Fellowship will sponsor one international artist/researcher (individual or team) to engage with the Shanghai and other Chinese art, and technology communities. The selected Fellow will be expected to work in CAC’s laboratory with CAC’s research and creation team on a range of activities including: active contribution to the larger CAC community, collaborative partnership with other residents, leading research initiatives, educational programs and public engagement, and developing current or future research areas for the organization. Developed projects, including prototypes, documentation, and work-in-progress, will be presented to the public at Chronus Art Center.

In the inaugural year of the Research and Creation Fellowship program, we are seeking exploratory and innovative proposals that explore artistic applications of emerging technologies, and have the potential to engage CAC and the public to learn alongside artists and creative technologists developing thought-provoking work. Proposed projects should relate to one or multiple of the following areas:

1. Emotive Networks & Haptic Gaming: Using networking and Internet technologies to share biofeedback data (EEG and ECG as well as other body-based sensors, wearable technology, etc.) and physical computing to create body-actuators (haptic and force feedback) in order to produce expanded/immersive gaming and telematic experiences, performances, interactive objects and responsive environments.

2. Generative Art and Big Data: online back-end (server), front-end (interface) programming and internet enabled hardware/objects focused on the development of real-time data-mining and scrapping applications, generative art, interactive installations and dynamic sculptures, which utilize and process data using swarming, flocking, machine learning and genetic algorithms.

3. Intelligent Audio-visual Systems: Augmented and virtual reality, mobile technology and/or custom hardware to explore non-linear, experimental narratives in cinema, T.V, mobile devices and other media. Autonomous audiovisual and/or music systems that make use of participatory dynamics, in both physical and virtual spaces and explore the use of the large-scale, 360 degree projection system located at CAC.

4. Existential Technologies: This line of research explores the use of wearable technology, robotics, interactive media and physical computing in order to examine fundamental ontological questions regarding the nature of reality and human perception; synesthesia, sensory substitution, sensory augmentation, etc.

5. It from bit: Aesthetic objects that examine the ideas of simulation and representation through the hybridization of digital and physical forms. The transmutation of bits into atoms and vice-versa becomes the exploration of new forms of art in the field of mixed and mediated reality through physical computing, VR and AR.

One selected Fellow (either as an individual or as a team) will be offered a total amount of USD30,000 grant for a period of one year to cover travel, accommodation and stipend, including materials during his/her residency in Shanghai.

CAC will provide the necessary paperwork and advice for the process of visa application and help identify local accommodation in Shanghai.

CAC will work closely with the selected Fellow to ensure the realization of the proposed project and offer program support in developing work for performance, events, seminars, exhibitions, or other public and educational programming during the term of the Fellowship. CAC will also partner with appropriate local and neighbor organizations, facilitate joint presentations of works-in-progress, host conversations with the artists and display works in progress, revealing the creative process as it happens.

All fellowship related activities will be documented and archived for future publications.

-This fellowship is open to international artists and researchers.
- Applicants are expected to demonstrate previous experience in the development of similar projects.
- Individuals and collaborative teams are invited to apply. In either case, please detail in your application how technical and creative responsibilities will be met.

Please fill out and submit the application form online here (https://docs.google.com/forms/d/18jCSuDuwLhsvJR9EV7q2tYpYIThHa2zdQGZAIjKLSco/viewform) and send other supporting materials as email attachments in PDF format to: fellowship@chronusartcenter.org

Complete applications must include the following materials:
- Application Form. Please indicate in the application form the focus area(s) of your proposed project by choosing from CAC’s five areas of concentration;
- Resume or CV in PDF format. If applying as a collaborative team, please include information about team members’ relevant prior experience and combine CVs into a single document.
- One PDF document with visuals that further outline the proposal(less than 30M). For visual materials (images, schematics, renderings, etc.) that exceed 30M, please provide URLs. Video files (.mov, mp4) of less than 5 minutes in length will also be accepted in URLs. Please indicate URL passwords if any.
- Portfolio or Work samples. Include project descriptions with your portfolio or work samples that explains how it relates to your proposed project(s)/research. Combine all descriptions with URLs and passwords into one PDF document. You may use a free hosting service such as Flickr (flickr.com) for images, SoundCloud (soundcloud.com) for audio, or Vimeo (vimeo.com) for video.

NOTE: Allow permission to download a high quality version of file if using one of these 3rd party services. Alternatively, you may provide a link to your own page with high quality versions of your work samples available for review and download.

Applications will be reviewed by CAC International Advisory Board comprised of leading scholars, artists and museum professionals. Acceptance is based on artistic excellence, quality, feasibility and visionary potential. The successful applicant will outline clear goals, milestones and timelines.

Please send further inquires to: fellowship@chronusartcenter.org

About Chronus Art Center

Established in 2013, Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation and scholarship of media art. CAC with its exhibitions, residency-oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences.


Call for Entries : MADATAC 07

Screen Shot 2015-06-04 at 5.52.55 PM

Spain and International/ It is left open without restrictions a call to select, by means of a criteria in which will be valued particularly the experimentation, the innovation and the risk, the creations of all those audio-visual artists who wish that their works are part of the MADATAC/TRANSMADATAC project.

More information on the MADATAC websitehttp://madatac.es/en/madatac-07-call_2015/

The 7th edition will give a free approach to the concept:

.A quantum means the smallest possible discrete unit of any physical property, such as energy or matter.

.A chronon is a unit of time, as part of a hypothesis that proposes that time is not continuous, considered to be the smallest time interval that can be measured.

.A chronon is a quantum of time.

.How many chronons will fit into a moving image?

This project is dedicated to divulge Video Art and Audio Visual-Art in all its modalities, any processes of image-sound interaction without exclusion of experimental-expanded cinema and similar processes, with the aim to disclose to the great public a view of the consolidated video artists and offer a platform for all those emergent video artists with a future projection who contribute with renewing proposals, avoid conventional visual language and does not find their place in other mass media spaces.

Call for Short Films and Videos – Transient Visions: Festival Of The Moving Image

Transient Visions: Festival of the Moving Image, will be held October 16 & 17, 2015, at Spool Mfg., an artist-run Art Space in Johnson City, NY. Transient Visions is accepting submissions of challenging and experimental short films and videos, 20 minutes or less, from emerging and established artists/filmmakers across the globe. Transient Visions: Festival of the Moving Image has screened works of Albert Alcoz, Amber Bemak, Jason Bernagozzi, Vera Brunner-Sung, Alberto Cabrera Bernal, Roger Deutsch, Clint Enns, Thorsten Fleisch, LJ Frezza, Vincent Grenier, Christina Hunt, Ted Kennedy, Eva Kolcze, Péter Lichter, Jesse Malmed, Kristin Reeves, Joel Wanek, Josh Weissbach, among many others.

Transient Visions: Festival of the Moving Image celebrates the cutting edge art of the moving image through screenings, exhibitions and performances, providing a cultural experience that enriches the local community. The Festival serves as a venue to meet artists in this region and beyond, exchanging and sharing ideas, while developing mutual relationships.

Funding for the 2015 Transient Visions: Festival of the Moving Image is provided in part by a project grant from Broome County Arts Council’s United Cultural Fund.

Website: http://www.transientvisions.org/

Submission Guidelines: http://www.transientvisions.org/submission-guidelines.html

Brighton Digital Festival Opportunities: Arts Commissions for 2015

 Brighton Digital Festival is incredibly pleased to announce two new artistic commissioning opportunities for the 2015 Festival, which will run fromSeptember 1st to 27th this year. These two new commissioning strands have been developed to support artists, technologists and contemporary creative practitioners to produce ambitious new work for the 2015 Festival.

Prior commissions by the Festival have supported artworks such as Oliver Hein’s kinetic multimedia installation Hidden Lines, and Joseph Young’s subversive yet earnest exploration of democracy in Revolution #10. As the Festival continues to grow, the depth and scope of the arts commissions is being ever expanded to reflect the diverse nature of contemporary arts practice, and increase the opportunities for the Festival to support artists in producing new works.

Arts & Technology Commissions

The Festival has increased the Arts & Technology Commissions for 2015, now offering up to £8,000 to artists and creative technologists to produce ambitious interdisciplinary work that explores the intersection of arts, technology, and society. More information can be found in the full brief for the Arts & Technology Commission. (http://www.brightondigitalfestival.co.uk/wp-content/uploads/2015/05/BDF-2015-Arts-and-Technology-Commissions-Brief.pdf).

newforms Commissions

Supporting emerging artist and collectives, 2015 will see the premier of the newforms commissions, which will award £3,500 to produce new work that presses against or transcends boundaries between art and digital culture. More information can be found in the full brief for the newforms Commissions. (http://www.brightondigitalfestival.co.uk/wp-content/uploads/2015/05/BDF-2015-newforms-commissions-Brief.pdf)

The deadline for applications on both commission strands is Midnight on Sunday 28th of June 2015. Questions or comments? You can reach us at @DigitalBrighton or contact arts@brightondigitalfestival.co.uk with all inquiries.

Call for Papers and Artworks IEEE VISAP’15 “Data Improvisations”

IEEE VISAP'15 "Data Improvisations": Call for Papers and Artworks
Oct 16-30, 2015
Chicago, Illinois

Paper and artwork submissions due June 26, 2015

The IEEE VIS 2015 Arts Program, or VISAP'15, showcases innovative artwork and research that explores the exciting and increasingly prominent intersections between art and visualization. Through a dedicated papers track and an art show that runs concurrently with the IEEE 2015 VIS conference, the Arts Program aims to foster new thinking, discussion, and collaboration between artists, designers, technologists, visualization scientists, and others working at the intersection of these fields. Submissions to VISAP'15 are due on June 26th; the theme for the Call for Papers and Artworks this year is Data Improvisations.

VISAP'15 runs for two weeks from October 16th through October 30th at two locations in Chicago, Illinois. During the main IEEE VIS 2015 conference (October 25th-30th), events will take place at the historic Palmer House Hotel and at the LeRoy Neiman Center at the School of the Art Institute of Chicago, both located in downtown Chicago. Additionally, the LeRoy Neiman Center will be open to the general public for viewing the VISAP'15 art installations both the week before and during the IEEE VIS conference.

Both the artworks and the papers will be selected through a rigorous peer review process in which submissions are evaluated on both quality and relevance to the IEEE VIS community by a program committee made up of experts in visualization and media arts. All accepted papers appear in the VISAP'15 proceedings; accepted artworks will be featured in a exhibition catalog designed by Jack Henrie Fisher. Additionally, in collaboration with Leonardo/ISAST, we will be selecting outstanding submissions to appear in a special section of an issue of Leonardo, the Journal of the International Society of the Arts, Sciences and Technology.

VISAP'15 Chairs: Angus Forbes, Fanny Chevalier, and Daria Tsoupikova

For more information, please contact Angus Forbes: aforbes@uic.edu.


IEEE VIS 2015 is the premier forum for advances in scientific and information visualization. This weeklong event convenes an international community of researchers and practitioners from academia, government, and industry to explore their shared interests in tools, techniques, and technology.

A full complement of research presentations, tutorials, workshops, panels, demonstrations, posters, and exhibitions make this conference one of the largest and most important gatherings of researchers and professionals who specialize in the visual analysis of data.

Triple Canopy Commissions at New York Public Library Labs

Apply online by midnight June 30, 2015. Commission recipients will be announced on September 1.
For the sixth annual call for proposals, Triple Canopy is pleased to announce a partnership with New York Public Library Labs, which will support two commissions. Triple Canopy invites applicants to propose projects that engage a collection or body of materials, physical or digital, in the NYPL’s holdings. Applicants are asked to consider archival material both critically and imaginatively, in its capacity to evidence past events and practices as well as to form the basis for new creative work. Individuals pursuing research toward an MA or PhD thesis may not apply with a proposal that encompasses or includes their degree-related work.
Recipients of commissions will receive:
  • Eight to twelve months of artistic, editorial, and technical support;
  • Six months of access to one of the research study rooms at the Stephen A. Schwarzman Building;
  • Access to reference librarians for one-on-one consultations;
  • An honorarium of $2,000;
  • The opportunity to present work related to the commission as a public program hosted by the NYPL;
  • Coordination and production of any print publication or live event that results from the recipient’s work;
  • The opportunity for inclusion in Triple Canopy’s annual print anthology, Invalid Format;
  • Archiving of materials and long-term maintenance of any online version of the project by Triple Canopy in partnership with New York University's Fales Library and Special Collections.

Inspiring Community Use of Public Space: Hapesira Jone: Shkodra

Hapesira Jone: Shkodra

This project will inspire Shkodrans about the potential of community involvement in public space. These areas are a key element of public life, but are not used to their full potential as spaces for culture, learning and interaction. Sometimes they are weakened by uses such as formal or informal structures, areas of vehicle parking or unauthorized sidewalk cafes. This limits the utility and value of public space is limited and overall quality of life in the city.

10 winners will be selected for the exclusive use of a 250 square meter space in the center of Shkodra, Albania’s 3rd largest city, on the fourth Saturday of each month between July 2015 and April 2016.

PAYMENT: Each installation will be awarded 250 Euros for their time, plus up to 250 Euros for expenses. To apply, visit our Google Form

The goal of the project is to inspire passersby to reconsider the use of public space and their interactions with it. Each installation will reflect a new, meaningful idea for community engagement in public space. The best installations will be very interactive, engaging, creative and unique.

Call for Participation Istanbul New Media Arts Fest 2015

Screen Shot 2015-05-19 at 6.44.01 AMLaboro Ergo Sum

I work, therefore I am.
November 6-15, 2015 Istanbul

amberPlatform’s amber’15 Art and Technology Festival is to take place in Istanbul from November 6 to 15, 2015. This year’s theme is “Laboro Ergo Sum”.

We invite you to join amber’15 which is undergoing a new organisational structure. To apply, click the link ‘application form’. http://15.amberplatform.org
Artistic output, installations, performances, curatorial practices, workshops, contemporary dance, concerts, seminars, presentations, panels, academic articles are welcomed.

June 2, 2015, 19:00
As artists, academics, makers, individuals and institutions, you are all invited to the launch meeting at StudioX: a great occasion to talk face to face and answer your questions!

July 17, 2015 22:00

July 25, 2015 14:00
jury roundtable (location to be verified). In this round the jury is made up of all the applicants. the festival programme is to be created collectively.

August 20, 2015
announcement of the programme



When we talk about how the digital revolution has increasingly turned our lives around in the last three decades, we fix our gaze on the center stage and focus on the results. Our ways of doing things, from health to security, from education to entertainment have changed. This has made our life easier as much as it has caused complications. Nevertheless, a world where everyone is reachable anytime is a world much different from before. Mostly we admired it, got mad at it or feared it.

We have ignored the labor behind all this change and how the labor that creates the digital revolution is organized. We have disregarded the ways in which the digital revolution has transformed labor from mines to assembly lines, from homes to offices. Now that our initial fascination has ceded, the digital and the digitally transformed have made it to our daily routines. To better understand this revolution we’d like to look into its relation with labor and contextualize it beyond what is immediately visible in terms of change.

The theme of amber’15 is work and labor. Has digitalization devalued or cheapened labor? How has the relation between labor and capital changed? How widespread is insecurity with regards to work, how has unpaid labor increased? In what way has the relation between work and labor evolved? From white collar to youth who use digital tools, how has people’s attitude toward their own labor changed? Can we talk about robotic or cyborg labor? What’s the role of digital technologies in the growing unemployment, poverty and deepening class-wage gap? Have digital technologies honed the existing antagonisms? Is the reappearance of Marx’ theory of value in contemporary thought-scape an indication of a lack of change in terms of labor and exploitation?

amber’15, in its collective restructuring, invites you all to a discussion around the theme “Laboro Ergo Sum”.

Festival Organization:
Merve Çaşkurlu, Ekmel Ertan, Fatih Aydoğdu

amberFest is the only international new media arts festival of Turkey hosted in Istanbul in second week of November since 2007.

This year, amberPlatform offers a new collective festival model instead of a curated one. amber’15 invites academics, curators, makers and creative individuals (and institutions?) to be part of a sustainable, inclusive, open and common grounds collaboration.
The applicants can vote for the works during the jury roundtable on July 25 and be part of the selection committee of the festival.

As we embark on this new structure, we envision a new and integral ecology of which technology is an essential part, that aims at democratization of the relations of production and consumption; and promotes movements we have been supporting since the very beginning such as open data, free software, DIY or do it together, ecological activism, sustainable living, urban farming, community (guerrilla) gardening and slow city. We propose a festival in these lines.

CURRENTS 2015: 6th Santa Fe International New Media Festival

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.

Friday, June 12 through Sunday, June 28 (closed Mondays and Tuesdays) 2015

Parallel Studios ( a 501(c)(3) non-profit ) has been producing, curating and designing small and large scale currents video exhibitions in Santa Fe since 2002. In 2010 we launched CURRENTS: Santa Fe International New Media Festival as an annual, citywide event. The Festival brings together the work of established, unrecognized and emerging New Media artists, from New Mexico, the US and the world, for events showcasing interactive and fine art video installations, multimedia performances, single channel video, animation, digital dome programs, experimental documentary,web based/app art forms, architectural mapping, the oculus rift, robotics and 3D printing. Parallel Studios reaches out to local high and middle school students through its Youth Media Makers Program. All events and programs are free.



Call For Entries – Video + New Media

Grey Projects invites Work in Video, Video/Media Installation, and New Media. All video art styles will be considered including shorts, experimental, poetic, abstract, documentary, music, animation. 10 min max, 5 min or less preferred. Entries will be considered for multiple exhibitions. See prospectus for full information and details on Installation and New Media work.

Grey Projects curates video and new media works for multiple venues, customizing selection and presentation based on exhibition parameters.

Open Call: Black Box and Newhive

Black box is a widely used term that refers to many things: movie theaters, transistors, flight recorders, algorithms, the human brain. It is also an abstract theory that relies on observable inputs and outputs to define the invisible functions of a device, network or object. The box is “black” because the opaque facade obstructs visibility. In order to understand the internal workings of the box, one must enter its system. 

In an artistic context, black box theory provides a way to explore systems of the unknown which are widely accepted by society – particularly the social, political, ethical, and aesthetic implications concealed within a culture increasingly shaped by technology. How might art reveal black boxes? Is art, itself, a black box?

All newhives tagged #BlackBoxing before Friday May 15 will be considered submissions for Black Box – a new art, film and technology festival produced by Aktionsart in partnership with SIFF, SAM, Cornish and DXARTS in Seattle, Washington – and a featured collection on NewHive’s homepage.

Call for Design Exhibition ISWC 2015

International Symposium on Wearable Computing

Dear Colleagues,

We are pleased to announce the call for the 2015 ISWC Design Exhibition.

Please kindly forward this email to interested colleagues, researchers, designers, and scholars.
**Important Dates**
1. Submission deadline: May 29, 2015 11:59pm PDT
2. Notification of acceptance: June 19, 2015
3. Camera-ready version of submission and supporting images: July 3, 2015


Call for Design Exhibition Submissions


ISWC 2015 (Collocated with UbiComp 2015)


September 7-11, 2015, Osaka, Japan

ISWC 2015, the nineteenth annual International Symposium on Wearable Computers, is the premier forum for wearable computing and issues related to on-body and worn mobile technologies. ISWC 2015 brings together researchers, product vendors, fashion designers, textile manufacturers, end users, and related professionals to share information and advances in wearable computing. ISWC 2015 will be held September 7-11 in Osaka, Japan, collocated with UbiComp 2015.

ISWC 2015's Juried Design Exhibition invites submissions of original works of wearable technology and/or novel applications for new audiences using existing technologies. Submissions may comprise any type of wearable technology (electronic, mechanical, textile and garment-based, etc). Awards for the best design will be given in three categories: Aesthetic, Functional, and Fiber Art.

== Design Exhibition Categories==

*Functional:Submissions to this category should be functionally-focused wearable designs, aimed at using technology to solve a particular problem or meet a specific need.
*Aesthetic:Submissions to this category should be aesthetically-focused wearable designs, aimed at developing an aesthetic or visual effect through the use of technology.
*Fiber arts:Submissions to this category should be non-wearable, but textile- or fiber-integrated innovations. Fiber arts submissions may be functionally or aesthetically focused.

Confused about which category to pick? Many designs address both functional and aesthetic aspects of a problem. Designers should consider in which aspect their design is strongest, and submit it to that category.

==Submission Content==

Designers are asked to submit an illustrated design statement detailing the work's concept, motivation, intended audience and end-use, technological functionality, and execution. Detailed images must illustrate the text.
Please submit your document as one compiled PDF file, formatted according to the ACM extended abstracts format. The submission should not exceed 6 pages, including embedded images. All figures should be included in the document body and referenced in the text. Please cite all references used in the text according to the ACM formatting instructions. Your submitted PDF should not exceed 6 pages or 5MB. Please prepare your paper for blind review: do not include any names or institution affiliations within your submitted PDF.

Design submissions should include an illustration or image. It is strongly encouraged to include High Res Images and a Video at the time of submission. High Res Images and a Video will be required of all accepted designs for the camera ready submission and will be used in the ISWC Design Exhibition. Submit your design statement and supporting materials through the PrecisionConference site

Please note: Accepted designs will need to for shipped/transported to Osaka, to arrive on or before September 7, 2015. Authors will be responsible for shipping items to and from Osaka, Japan.
==Evaluation Criteria==
1) Concept Originality: How novel is the concept or application? Has it been done before? Is the approach novel? The work should exhibit depth of understanding and insight.
2) Technological Innovation: How innovative is the use of technology: have advances been made in the use of standard tools for a new purpose? Have new technologies been developed? What does the technology bring to the wearer or the viewer in the wearable environment?
3) Execution: How professional and polished is the finished product? Have appropriate or novel construction techniques been implemented? How have standard hardware components been adapted for the wearable environment?
4) Communication and Rigor:How well have the concept, novelty, and use of technology been communicated? Is the idea and process evident in written and visual materials?
5) Audience/Usability:How appropriate is the design for the intended audience/purpose? (Aesthetic and Fiber Art.) How well have the designers addressed the usability of their interface/interaction? (Functional and Fiber Art.)
All submissions will be evaluated by the jury panel for their following design elements, as outlined above: concept, use of technology, execution, and visual/written communication. Aesthetically-focused designs will also be evaluated with respect to their aesthetic novelty and appropriateness for the intended purpose, and functionally-focused designs will also be evaluated with respect to the usability of the technology for the specified audience.

Accepted works will be exhibited at the conference venue, and accepted exhibitors may be asked to supply additional visual materials to accompany the exhibition. Designers will assume the cost of transporting their work to and from Osaka, to arrive before September 7th, 2015.

Design statements from all accepted designs will be included in the ISWC Adjunct Proceedings. Design awards will be presented at the conference for the Aesthetic, Functional, and Fiber Arts categories.
== Submission Inquiries ==
Should you have any inquiries prior to the submission deadline, feel free to contact the Chairs of the Design Exhibition at ** design@iswc.net **.
==Design Exhibition Chairs==

1) Margarita Benitez, Kent State University
2) Halley Profita, University of Colorado at Boulder
==Important Dates==

1. Submission deadline: May 29, 2015
2. Notification of acceptance: June 19, 2015
3. Camera-ready version of submission and supporting images: July 3, 2015

Call for Papers and Artworks – Metaplastic Arts,Design Virtual Worlds 2015

Uppsala University, Campus Gotland, Visby, Sweden



Send your paper to: gianluca.mura@polimi.it

More information from http://artsvirtualworlds.artsmachine.org/

Submission include full paper (up to 8 pages), short paper (up to 4 pages)
poster and artworks (1 page, abstract).
The papers must be written in English, carefully proofread, and formatted to Conference Publishing Services Manuscript Formatting Guidelines
fro m http://www.computer.org/portal/web/cscps/formatting

Please use the following template for preparing your papers from:
http://www.artsmachine.org/web/docs/IEEECS_CPS.zip or


By submitting a paper the authors confirm that their papers represent original previously unpublished work, and if accepted, the author will register for the conference and present the papers.

Virtual Worlds are information spaces and communities that immensely augment the way we interact, participate and receive information throughout the world. Virtual Worlds seriously impact our lives and the evolution of the world economy by taking such forms as social networking services, 3D shared virtual communities, and massively multiplayer online role-playing games.

The goal of the MetaPlastic Arts,Design and Virtual Worlds is to analyze and trace the advancements of new Art and Design theories and practices in Virtual Worlds.
MetaPlastic Arts,Design and Virtual Worlds is a special session at the 2015 International Conference on Cyberworlds


– MetaPlastic Arts,Design & Virtual worlds papers will be published within the CYBERWORLDS 2015 Conference proceedings by IEEE Computer Society (through CPS) and submitted to the IEEE Xplore and Computer Society digital library, and for indexing through INSPEC, EI (Compendex), Thomson ISI,and other indexing services.

– MetaPlastic Arts,Design & Virtual Worlds Selected Papers will be asked to write an article for a Special Iss ue of the IJACDT International Journal of Art,Culture and Design Technologies

will address a wide range of research and development topics,but not limited to the following topics:
– Aesthetics and semantics
– Art and heritage in cyberspace, cyber-museums
– Artworks, performances, and installations
– Brain-computer interfaces
– Cognitive informatics
– Computer vision, augmented, mixed and virtual reality
– Creative and innovative media arts concepts and projects
– Cultural heritage within the Web
– Cyberethics and cyberlaws
– Cybernetics, artificial intelligence, and cognitive-based concepts and practices
– Cybersecurity
– Cyberworlds and their impact on the real worlds
– Data mining and warehousing in cyberworlds
– Digital art, digital culture, net art, and digital design
– E-learning in virtual collaborati ve spaces
– Edutainment
– Networked and shared virtual worlds
– Virtual collaborative spaces
– Shape modeling for cyberworlds
– Virtual humans and avatars
– Multimodal interaction and rendering
– Affective computing
– Social computing
– Online communities
– E-learning in cyberworlds
– Multi-user web games
– Art and heritage in cyberspace, cyber-museums
– Cyberethics and cyberlaws
– Cybersecurity
– Welfare in cyberworlds
– Data mining and warehousing in cyberworlds
– Visual analytics in cyberworlds
– EEG-based emotion recognition
– Haptic interaction and rendering
– Human-computer interaction studies and applications
– Human-computer interfaces
– Human issues/impacts
– Information visualization in art and design issues
– Imaginary and creative concepts and applications
– Innovative Web, Web3D, and multimedia studies and applications
– Intelligent talking a gents
– Multi-user web games
– Networked collaboration
– Psychology and cognition studies
– Shape modeling for cyberworlds
– Shared virtual worlds
– Social and ethical issues
– Social networking
– Technologies for teaching art and design
– Virtual architecture and heritage
– Virtual, augmented, and mixed realities in art and design
– Virtual collaborative spaces
– Virtual humans and avatars
– Visual languages
– Virtual metaplasticity, metaplastic virtual worlds

Prof.Dr.Gianluca Mura
MetaPlastic Arts&Design Virtual Worlds Chair


Call For Videos – Without Words Film Festival 2015

Words are everywhere.

In each sphere of society, they reflect our thoughts, reflexions and ideas.
Spoken or written, they convey stories, information and messages.
The only exception to this hegemony of words is arts.
Painting, sculpture, music, photography, installation and video art are the only mediums that are able to convey a message without the use of words.

Without Words Film Festival” celebrates once a year since 2014, video art that uses words only to announce its title and author.

Without Words Film Festival” takes place at the end of November at University of Lorraine, Ile du Saulcy in Metz (France).
It begins with a special contest open to Lorraine University students.

Each year, the members of the jury of “Without Words Film Festival” reward the three videos they prefer.

The theme of “Without Words Film Festival” 2015 is: “Time distorsions”.

Regulations :
1) Deadline to send your videos : September 15, 2015, exclusively by review link (vimeo, youtube, etc.)
2) There is no entry fee
3) Each author can send a maximum of 2 videos
4) The videos sent must be related to the theme “Time distorsions” and must not have been produced before 2013
5) The submitted videos have to last between one and ten minutes
6) If selected, the author will be asked to send a HD quicktime file by wetransfer
7) The result of selections will be communicated to the artists in November 2015
8) Required information to be sent to withoutwords@free.fr :
– Title
– Author
– Length
– Year of production
– Synopsis
– Review link

glitch.refrag.paris Symposium

reFrag: is a symposium exploring new connections between art, culture and technology.

reFrag: glitch gathers together artists working in the international networks of Glitch Art for 4 days of intensive workshops, talks and performances with exhibitions in Paris and online. reFrag: glitch address the multifold ways in which glitches manifest and/or are mobilized artistically in our lives. Glitches occur in our identity (de/re)constuctions; instabilities and errors in digitized financial markets (i.e. flash crashes); hacking, cracking and tactical glitches; Dirty New Media Art approaches and the non-neutrality of technological systems.

Parsons Paris and The School of the Art Institute of Chicago’s Film, Video, New Media & Animation Department collaborate on reFrag:glitch, an international Glitch Art event running from the 19th to the 23rd of March 2015.

reFrag: glitch breaks, cracks, ruptures as dirty disorganizational strategies for gathering/rallying glitch communities. Join us online and/or in Paris via the open track[s] for proposing and participating: These open track[s] to schedule opens room for surprises, improvisation and self-organized forms of participation.

Call: Terms of Service

Terms of Service at Grand Valley State University

We invite artists to submit work that explores identity, individualism and conditions people face as a result of our increasingly indexed and surveilled lives. We are interested in the psychological pressures that commercial and non-commercial monitoring create, as well as potential solutions or responses. The exhibit will be presented at the Urban Institute of Contemporary Arts in Grand Rapids, MI and take place during the annual Art Downtown event. Terms of Service is produced by the Curatorial Studio, a Visual Studies course in Grand Valley State University’s Department of Art and Design.

Email submissions to termsofservice15@gmail.com by noon on Thursday, March 12. You may include digital images, links to online sources and documentation, descriptions and statements about the work and the contextual conditions required for exhibition. Artists will be notified by March 16th. Selected works can be delivered digitally, or physically shipped to Grand Rapids by March 24th. Return shipping costs of artworks will be covered, and further transportation assistance may be available. Archival quality digital images can be produced, and would be returned to the artists at the conclusion of the exhibit. We also offer a range of digital and interactive technologies to facilitate remote implementation of projects.


Call for Entry // Black Box 2.0 at Aktionsart

Festival Dates: May 6 - June 7, 2015
Submission Deadline: March 31, 2015
Entry Fee: $10.00

BLACK BOX is the first international art, film and technology festival in Seattle. A multi-platform program of significant scope, BLACK BOX presents emerging and established artists who expand the language of cinema.

Core programming is nomadic and antidisciplinary, focusing on experimental film, video, new media art and moving-image-based work.

BLACK BOX 2.0 will take place from May 6 - June 7, 2015, during the 41st Seattle International Film Festival. It is organized independently by Aktionsart, a new art and technology nonprofit based in the Pacific Northwest.

A comprehensive festival program with screenings, exhibitions, artist talks, discussion panels, educational events and special presentations will take place in various locations throughout Seattle. BLACK BOX 2.0 incorporates multiple platforms - movie theaters, living rooms, galleries, museums, public spaces and shipping containers. An online channel premieres and distributes exclusive content to audiences in Seattle and beyond.

Shipping Containers: Installations in 20’ and 40’ models
Galleries: Installation, performance
Theaters: Single-channel screenings, performance
Festival Website: Browser-based artwork, interactive projects, apps, downloadable and streaming content, video premieres

Seattle Art Museum, Seattle International Film Festival, Center for Digital Arts and Experimental Media at the University of Washington, Cornish College of the Arts, Institute of Emergent Technology + Intermedia

Particular attention will be given to artwork that responds to the following themes, tools and mediums: mobile apps, interactive media, data visualization, augmented reality, virtual reality, gaming, social media, generative, surveillance, biotech, holography, robotics, digital culture, expanded cinema, innovation, disnovation.

Artists from around the world are invited to submit work by March 31, 2015. Please submit an application through our website: http://www.aktionsart.org/submissions


Engaging technology, design and contemporary culture, Aktionsart is a 501(c)(3) nonprofit laboratory that produces ambitious art projects in public and private space.

Altered Books: Digital Interventions

Altered Books: Digital Interventions celebrates the book as an object that can carry experience, represent language, tell a narrative, convey culture, or archive memory in the context of contemporary arts. The on-line exhibition is presented by the ACM SIGGRAPH Digital Arts Community (DAC).

We consider the Altered Book as an artistic production made through the process of de-construction and re-construction of the book form. We are interested in Digital Interventions yielding screen-based still imagery that uses the legacy and symbolism of books, scrolls, manuscripts, and/or clay tablets as a point of departure.

Selected digital images will be presented in an online exhibition on the ACM SIGGRAPH Digital Arts site hosted at siggraph.org

See more at: http://www.siggraph.org/connect/digital-arts/call-submissions-altered-books-digital-interventions

Contact: arts@siggraph.org



The Digital Arts Community of ACM SIGGRAPH works to foster 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.

We maintain an interactive Arts Portal and an associated social networking site that provides a central place for artists and scientists to share resources, information, artwork, and opportunities for collaboration. We also organize on-line exhibitions that are promoted throughout the ACM SIGGRAPH community and the international arts community.

Call for Entries: [RE}Gen New Media Festival, Elon University

Call for Works
The [RE]Generative New Media Festival at Elon University invites the work of regional, national, and international artists across a wide variety of styles, contents, technologies, and lengths. Open to any new media artist working in screen- and time-based work, including video art, experimental documentary, animation, computational art, or any single or multiple-channel work that may be viewed on a single large-scale screen. Artworks may be but need not necessarily be narrative. A full-color print catalog will be published and distributed to all exhibiting artists.

Please use the following link to download a PDF with full entry information:

[RE]Generative Submissions Information

Elon University is an academic community that works to transform mind, body, and spirit and encourages freedom of thought and liberty of conscience. A private institution founded in 1889, it is the #1 ranked Regional University in the Southeast. The Department of Art and Art History is committed to scholarly pursuit and creative expression in the midst of our richly intellectual community. Our programs share a dynamic and challenging undergraduate arts curriculum grounded in the liberal arts and sciences and integrated learning across the disciplines.


Art of the Networked Practice | Online Symposium


March 31 – April 2, 2015

Presented by the NTU School of Art, Design & Media
Co-chaired by Randall Packer & Vibeke Sorensen
In Association with Furtherfield | London

The Art of the Networked Practice | Online Symposium is an international gathering exploring emergent forms of networked research, artistic production, and teaching in the arts. Intended as a global and inclusive gathering, without registration fees, the symposium unites local and remote speakers and audiences via Web-conferencing from around the world to discuss a range of topics, including: distributed teaching and studio models, collective research, peer-to-peer cultural production, networked performance, big data cultural analytics, and a broad array of issues in Internet art & culture. The Art of the Networked Practice | Online Symposium brings together artists, educators, theorists, and scholars from universities, art schools, museums, alternative art spaces, and other cultural institutions to capture the range and diversity of current networked practices in the arts.

Steve Dixon, JonCates, Peter Looker, Lev Manovich

Tim White, Anne Balsamo, Deborah Howes, David A. Ross, Anne-Marie Schleiner, Marc Garrett, Ruth Catlow, Alex Adriaansens, Juan Camilo González, Charlotte Frost, Melinda Rackham, McKenzie Wark

Live Webcam Cyberformance:
New work by Helen Varley Jamieson with NTU students

Networked Installation:
Data visualization by Juan Camilo González

The NetArtizens Project:
Created by Furtherfield with Nick Briz, Joseph Yølk Chiocchi

Visit the Website for full symposium details:

Sponsored by the NTU School of Art, Design & Media
Centre for Liberal Arts & Social Sciences (CLASS)
Teaching, Learning and Pedagogy Division | EdeX

Assistant Professor of Art (Sculpture) at Ramapo College of New Jersey

The School of Contemporary Arts at Ramapo College of New Jersey is searching for a full-time temporary Assistant Professor of Art with a specialization in sculpture for a one-year appointment effective September 1, 20015 through June 30, 2016.


Requirements include MFA in sculpture and at least two years of college level teaching. The candidate should have expertise in all aspects of foundry including casting bronze and iron, running and repairing the furnaces, and mold making in sand and ceramic shell. The candidate should also be proficient in digital fabrication systems, and preferably have a working knowledge of ceramics. The position is a combination of Foundry practices and Digital Fabrication including 3D Modeling and 3D Printing.

The Candidate should have a strong professional practice that has resulted in national and possibly international exhibitions. Courses to be taught include all levels of sculpture and Bronze Casting and Welding; possible additional courses include drawing and ceramics. In addition to teaching five courses for the year, the successful candidate will manage the sculpture facilities.

For full consideration applications must be in by April 1st.


Ramapo College also is one of 226 institutions recommended by The Princeton Review in the “Best in the Northeast” section in the 2014 edition of 2014 Best Colleges: Region By Region. This is, in part, due to its unique interdisciplinary academic structure, its size of approximately 6,000 students and its pastoral setting in the foothills of the Ramapo Mountains on the New Jersey/New York border.

Mission: Ramapo College is New Jersey’s Public Liberal Arts College, dedicated to providing students a strong foundation for a lifetime of achievement.  The College is committed to academic excellence through interdisciplinary and experiential learning, and international and intercultural understanding. Ramapo College emphasizes teaching and individual attention to all students. We promote diversity, inclusiveness, sustainability, student engagement, and community involvement.

The School of Contemporary Arts (CA), established in 1971, is an interdisciplinary arts program providing an understanding of the fundamental traditions of the Fine and Communication Arts while simultaneously preparing students to embrace new means of expression.

The Visual Arts Major offers a multidisciplinary education in the arts with advanced study in one specialization. Students may choose courses in art history, art and technology, 3-D modeling and animation, drawing, painting, photography, sculpture and video.

Chairperson, Department of Interactive Media at Slane College of Communications and Fine Art at Bradley University


Bradley University seeks a dynamic and imaginative Chairperson to continue the extraordinary development and growth of its nationally ranked department of Interactive Media. The Chairperson is the chief academic and administrative officer of the Department and reports directly to the Dean of the Slane College of Communications and Fine Arts. The successful chairperson will be:

  • a leader who, based on consensus with the faculty, will evaluate, cultivate, and articulate a vision for the department to develop programs and initiatives commensurate with its growing national reputation as one of the foremost programs of its kind.
  • an excellent teacher with a record of achievement in university-level instruction in new media fields and in scholarly research and publication and/or creative production;
  • an active collaborator who will create dynamic partnerships with other units in the college, across the university, with community organizations, other educational institutions, and commercial and not-for-profit enterprises;
  • a person of vision and wisdom, knowledgeable of the state of affairs and the state of the art in new media and in higher education in the region, in the nation, and worldwide; and
  • an administrator with significant experience and skills in personnel matters, budget management, fundraising, timely decision making, public relations and marketing, entrepreneurial initiatives, recruitment and retention of students and faculty, and delegation of responsibilities. The Chairperson will also be a mentor to guide students to appropriate academic and career paths and to facilitate and promote the professional development of faculty.

The Department

The Department of Interactive Media offers three areas of undergraduate study: Game Design, Animation and Visual Effects, and Interaction Design, with a total (and growing) enrollment of approximately 150 majors and 50 minors. The Department has four full-time faculty members, ten adjunct faculty members, a tech support staff, and an administrative assistant. This highly interdisciplinary department has strong ties to the Department of Computer Science and Information Systems through the joint coordination of the Game Design and Development programs. The Department also maintains strong interdisciplinary collaborations with the Departments of Art, Theatre Arts, Communication, and the University of Illinois College of Medicine. The Department of Interactive Media was created over ten years ago and is currently one of the fastest growing academic units at Bradley University. Both the Animation and Game Design concentrations have been ranked among the best programs in the country for several years, and the Department is a locus of award-winning innovative interactive design and production with an expanding national reputation. 

The Department of Interactive Media is part of the Slane College of Communications and Fine Arts that consists of the Departments of Art, Communication, Interactive Media, Music, Theatre Arts, an interdisciplinary Global Scholars Program, and its nationally renowned Hollywood Semester. The Slane College enrolls approximately 1,000 students and has a generous endowment, with excellent integrated technology to support teaching and scholarship in six exclusive campus buildings.


The offices, classrooms, labs, and production facilities for the Department of Interactive Media are located in the renowned Caterpillar Global Communications Center, a multi­million dollar state-­of­-the­-art facility that includes high-­end intermedia computer labs, a videoconference center, digital audio and video editing bays, fully mediated videoconference­-enabled wired and wireless classrooms, and the full HD studio and post-production facilities of the John C. Hench Production Art Studios.

Interactive media students also take classes in the Heuser Art Center with its two campus galleries and facilities for digital photography, printmaking, and 3D rapid prototyping. The Turner Center for Entrepreneurship, a not-for-profit program located at Bradley, assists existing businesses and students with internships, business plans, and start-ups opportunities. The Department partners with Peoria Riverfront Museum, a Smithsonian Affiliate, to produce an annual showcase of student and faculty creative work as a major event that draws industry leaders and thousands of attendees.  


Duties of the Department Chairperson include managing the Department budget and facilities; administering faculty retention, development, promotion, and tenure procedures; participating in strategic planning as a member of the Dean’s Executive Committee; working with internal and external constituencies to enhance active support; friend and fund raising; improving academic programs; recruiting and retaining excellent faculty, students, and staff; and facilities management in conjunction with full time university staff. The Chairperson is a member of the faculty and has release time for administrative duties. Teaching responsibilities usually include two courses each semester. At least one of the courses usually focuses on production and will engage students in a studio setting. Course instruction should be in the candidate’s areas of highest competency in one of our three programs: Game Design, Animation and Visual Effects, or Interaction Design.

Rank and Compensation

Associate or Full Professor with tenure in the Department of Interactive Media. Salary and benefits are very competitive. Appointment is for nine months with summer duties at additional compensation. Employment at Bradley University is contingent upon the satisfactory completion of a criminal background check.


Required: Qualification for appointment at the rank of Associate or Full Professor with tenure; an earned appropriate terminal degree in a related area of study such as Game Design, Animation, Human Computer Interaction, User Experience, Digital Media, Graphic Design, or Film and Television Production; a record and evidence of successful university teaching at the undergraduate level; evidence of leadership and significant academic administrative experience including personnel matters, budget management, fundraising, timely decision making, public relations and marketing, entrepreneurial initiatives, recruitment and retention of students and faculty, delegation of responsibilities, and the capacity to be the primary driver for an active and highly successful unit; experience in the commercial sector and/or other professional experience in interactive media; and a record of traditional and/or applied research and creative production. Candidates should also have a history of building industry relationships and professional partnerships, and the ability to leverage and build student opportunities through applied research and creative production. Preferred candidates will be conversant in new media theory and demonstrate a high level of technical skill in at least one of the department majors.

Starting Date: August, 2015


Send a letter of interest addressing suitability for the specific requirements of the position; curriculum vitae; portfolio evidence of research and/or creative production; and the names, titles, and contact information of at least three current professional references. Review of applications and nominations begins immediately and will continue until the position is filled. Nominations and applications for this position should be sent electronically in PDF format to Robert Rowe, Search Committee Chairperson at imchair@bradley.edu.

Visit Bradley University online at: www.bradley.edu

Visit the Slane College of Communication and Fine Arts at: http://gcc.bradley.edu/slane/

Visit the Department of Interactive Media at: http://gcc.bradley.edu/im/

Bradley University, highly rated by U.S. News and World Report, is an independent, comprehensive university enrolling 6000 students. Founded in 1897, it is among the finest universities in the Midwest. Bradley combines the advantages of larger research universities with those of smaller liberal arts colleges. Midway between Chicago and St. Louis, Peoria is a metropolitan area of 350,000 people with a very active creative community which hosts many professional arts organizations including two renowned symphony orchestras, ballet, theatre companies, and a Smithsonian-­affiliated museum. The metropolitan area is also home for many interactive media firms and outlets. The Peoria Civic Center houses convention facilities, a sports/concert arena, and a 2,200-seat theatre that hosts Broadway touring productions. Peoria is home to several companies with international operations, major medical facilities, and a regional airport with direct connections to Chicago, Dallas, Denver, Atlanta, Las Vegas, Detroit, Minneapolis, Tampa, and Orlando.


Bradley University is an Equal Opportunity/Affirmative Action employer. Members of ethnic minorities and women are especially encouraged to apply and identify their status.