Tag Archives: 2016

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

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

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

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

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

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

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

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

ABOUT UPCOMING & RECENT RONEN SHARABANI PROJECTS:

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

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

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

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

ABOUT RONEN SHARABANI:

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

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

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

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

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

ABOUT THE ARTERY:

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

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

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

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

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

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

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

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

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

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

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

Pat Badani

Editor-in-Chief

2010-2016

Report from Computer Art Congress 5

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Bonjour de Paris!

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

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

 

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

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

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

Daniela de Paulis, OPTICKS

Daniela de Paulis, OPTICKS

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Christa Sommerer with Laurent Mignonneau

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

Bernard Stiegler, invited keynote lecture

Bernard Stiegler, invited keynote lecture

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

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Andres Burbano presenting on Konrad Zuse

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

monkeyTURN

monkeyTURN

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

Frank Soudan presenting on "FFF"

Frank Soudan presenting on "FFF"

Malu Fragoso presenting on WE BEES

Malu Fragoso presenting on WE BEES

Lev Manovich, invited keynote with remote delivery

Lev Manovich, invited keynote with remote delivery

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

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

-----

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

The Body Electric – an Invitational Exhibition at UW Whitewater

Installation View, The Body Electric

Installation View, The Body Electric

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

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

Anna Weisling, 3D prints from MOCAP

Anna Weisling, 3D prints from MOCAP

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

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

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

Paul Hertz, prints generated through custom designed boids flocking software

Paul Hertz, prints generated through custom designed boids flocking software

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

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

A. Bill Miller, "untitled (fursuit04)"

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

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

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

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

Nicholas O'Brien,

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

Alex Myers "The Body That Produced Them"

Alex Myers "The Body That Produced Them"

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

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

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

 

Call For Entries – The Fuse Factory Annual Juried Exhibition 2016

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Deadline for Applications: October 15th, 2016

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

The Fuse Factory’s annual juried exhibition features work created with technology-based new media, electronic, and digital tools. Our upcoming exhibition will run from Monday, November 7th to Wednesday, December 7th at the Pearl Conard Art Gallery, located on the Ohio State University-Mansfield campus. Accompanying the exhibition is a series of hands-on workshops that will be held at the Ohio State University main campus, the Columbus College Art & Design, and the ROY G BIV Gallery. Documentation of our 2015 juried exhibition can be found here: http://fuse2015.thefusefactory.org/.

EXHIBITION THEME

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

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

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

ELIGIBILITY

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

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

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

HOW TO SUBMIT

Applicants are required to submit the following:

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

TIMELINE

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

ENTRY FEES/DONATIONS

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

JURYING MEMBERS

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

OUR SUPPORTERS

Granters

  • Ohio Arts Council
  • Greater Columbus Arts Council

Support

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

ROY G BIV Gallery

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

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

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

Talking to recyclers at the e-waste dump

Price haggling for the hard drives

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

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

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

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

Exhibition setup at Ars Electronica 2016 - PostCity

Observations: 'Behind the Smart World' at Ars Electronica 
                                   

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

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

Exhibited works

 


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

"Shell performance" by Martin Reiche

"Shell performance" by Martin Reiche

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

"Shopimation" by Fabian Kühfuß

"Shopimation" by Fabian Kühfuß

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

 

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

 

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

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

#1 Not a blackmail:

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

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

#2 Found footage stalker:

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

Photo by: Makoto Saito, Fuze.dj

#3 Identity theft:

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

 

"Recycling Yantra" by Raphael Perret

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

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

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

"Headcrash" by Michael Wirthig

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

Photo by: Michael Wirthig (videostill)

Collaborative work "Mapping the smart world"

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

 

 

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

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

 

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

 

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

 

INTERNATIONAL OPEN CALL – IMPACT16 – Symposium and Public Presentations

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

  • 4-DAY SYMPOSIUM with extensive interdisciplinary exchange
  • 30 PARTICIPANTS (artists, scientists and experts from other varied fields)
  • 3 ONE-DAY WORKSHOPS with 3 ARTIST COLLECTIVES

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

APPLICATIONS UNTIL 10. OCTOBER 2016

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

Assistant Professor of Creative Arts and Technologies at SUNY Polytechnic Institute

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

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

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


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

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

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

Grand Valley State University

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

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

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

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

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


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

Call – iDEAS Exhibition 2016

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

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

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

Click on the link below to find out more
http://idmaa.org/conferences/ideas2016/

Submit work!
http://idmaa.org/conferences/ideas2016/

Apply Now!

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


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.

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

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

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

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

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

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

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

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

Screening of applications will begin immediately and will continue until the position is filled. To apply, please submit a letter of interest, curriculum vitae, up to three (3) portfolio samples and three (3) letters of reference at: http://rpijobs.rpi.edu/postings/3785. Applicants with more than three portfolio samples are encouraged to use their letters of interest to advise the reader that more samples are available upon request.
We welcome candidates who will bring diverse intellectual, geographical, gender and ethnic perspectives to Rensselaer’s work and campus communities. Rensselaer Polytechnic Institute is an Affirmative Action/Equal Opportunity Employer.

Call For Essays – Cinematic Fixations

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

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

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

Call for papers: Digital Fabrication @ FATE 2017

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

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

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

Possible topics to explore:

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

To apply, please fill out this form, then email the following to tburto1@artic.edu and taylor@taylorhokanson.com by Friday, July 15:

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

ART NEWS FROM SIGGRAPH 2016

HIGHLY INTERACTIVE ART GALLERY PRESENTATION - 'DATA MATERIALITIES'

TO BE SPECIAL FEATURE AT SIGGRAPH 2016 IN ANAHEIM

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

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

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

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

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

"Data Materialities" Art Gallery highlights include:

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

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

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

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

For more information on the SIGGRAPH 2016 Art Gallery, please see: s2016.siggraph.org/content/art-gallery.

To register for SIGGRAPH 2016, visit s2016.siggraph.org/registration.

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

----

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

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

Media Contact:
Dan Harary
Public Relations Director
+1.310.859.1831
danharary@siggraph.org

CineSpace 2016 – Short Film Competition from NASA & HCAS

CineSpace 2016[2]

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

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

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

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

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

 

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

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

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

Call for Applications to The Art & Law Program

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

Information about the Art & Law Program is available here: http://www.artlawprogram.com/new-page/

Applications are accepted online here: http://www.artlawprogram.com/new-page-1/

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

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

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

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


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

The #Additivism #Deluge: A Final Call to Arms

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

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

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

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

NOW GO... AND STOP PROGRESS!!!

 

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

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

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

Qualifications

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

Alfred University

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

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

Application Process

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

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

For more information, contact Mary McInnes at mcinnes@alfred.edu

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

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

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

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

For more information, please visit the VISAP’16 website: http://visap.uic.edu/2016

Leonardo ABstract Services Opportunity

What is LABS? - http://collections.pomona.edu/labs/

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

Deadline : June 30

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

Sign Up to Receive Opportunities for Leonardo

Survey on Data Usage in Art History

NMC members,

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

The survey is here: http://goo.gl/forms/a1TOlGUEPE

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

Sarah E. Seymore
Digital Metadata Technician
Digital Scholarship Center
University of Oregon Libraries
sseymore@uoregon.edu

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

A Normal Future – Interview with NORMALS

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

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

*Open Call for Artists: Black Box 3.0*

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

Festival Dates: September 21 - October 2, 2016
Hashtag: #BlackBoxing
Shareable URL: bit.ly/blackboxing

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

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

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

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

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

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

APPLY: www.aktionsart.org/submissions


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

www.aktionsart.org
www.twitter.com/aktionsart

 

Call For Papers SECAC: Vision Machines and Pre-Cinematic Optical Devices: Panoramas, Stereoscopes and Places of Otherness

Vision Machines and Pre-Cinematic Optical Devices: Panoramas, Stereoscopes and Places of Otherness Since the 18th century, optical devices and immersive technologies have been used in the form of panoramas and later the stereoscope, in order to transport the viewer into foreign lands or historical times, often seen as places of otherness. Viewers experienced a form of virtual travel, through the act of seeing panorama in a public place or a stereoscope in their living room. Some argue that these devices contributed to a new kind of observer in the 1840s (Crary), or that they are responsible for the rupture of established ideas of separated subject and object relations, as pre-cinematic devices. Today cardboard stereoscopes from google enable us to map things in virtual space, or walk the streets of Mumbai using our phones as VR viewers. What role did these devices play in society, art and culture in the past and how may they impinge today on perceptions of place making, mapping, the body, or underrepresented urban environments in their contemporary manifestations (as art practice or scholarship), for example? We are interested in proposals from artists, theorists and art historians, whose work engages these devices in their various forms. These can encompass the panorama, phenakistiscope, zoetrope, stereoscope or virtual reality.

Session Chairs: Simonetta Moro, Institute for Doctoral Studies in the Visual Arts, and Rebecca Hackemann, University of the Arts London. Kansas State University.

Contact: smoro@idsva.org

More Info: https://secac.memberclicks.net/assets/documents/secac/conference/secac-2016-call-for-papers.pdf

The 2016 SECAC Conference will be held in Roanoke, VA, hosted by Virginia Tech and Hollins University (http://www.secacart.org/conference). Sessions will include panels by artists and art historians on a variety of topics.

Call for Papers SECAC: Ecology Communication in Art and Education

Today, we live in a time of increasing pressures on the environment from climate change and
other sources. As the current state of political discourse sometimes demonstrates, this makes it
critical to use various media to inform and engage the public on the challenges we face. In this
panel, the participants will discuss projects that explore how art communicates vital
information about ecology and science. From landscape painters to land artists, there is a long
tradition of art dealing with the environment and man's impact on it. This panel will explore
how new artistic practices and interdisciplinary efforts are meeting the greater challenges we
face today.

This session will focus on the critical role that art can play in communicating scientific and
ecological challenges. The panel will present examples demonstrating a broad spectrum of
ways to approach this challenge. These include the communication of science through visually
representative means, scientifically rigorous investigations whose outcomes are both artist and
scientific, and collaborations between artists and scientists. The panel addresses both artistic
works and educational efforts.

Deadline: April 20th

Session Chairs: Sara Gevurtz, Virginia Commonwealth University, and Thomas Asmuth, University of West Florida

Contact: skgevurtz@vcu.edu

The 2016 SECAC Conference will be held in Roanoke, VA, hosted by Virginia Tech and Hollins University (http://www.secacart.org/conference). Sessions will include panels by artists and art historians on a variety of topics.

Call for Applications – Summer 2016 Programs at School of Machines, Making, and Make-Believe

The School of Machines, Making, and Make-Believe is thrilled to announce our open call for applications! Our four-week intensive summer programs will focus on three main areas: computer vision, machine learning for artists, and virtual reality. http://schoolofma.org/programs/

Leading figures in the fields of new-media art and technology will unite in Berlin to lead the full-time programs, which have in the past drawn attendees from as far away as Brazil, Mexico, India, and the US, as well as from several countries throughout Europe.

Visit our website to learn more and submit an application: http://schoolofma.org.

In addition, we're excited to offer two scholarships per program to cover tuition cost for refugee applicants with some experience in the areas of art and technology. If you know persons who may be interested in applying, please forward this email!

TOPICS | PROGRAM DATES::
See Or Be Seen (topic: Computer Vision): 6 June - 1 July
The Neural Aesthetic (topic: AI & Machine Learning for Artists): 4 July - 29 July
Virtual Fictions: (topic: Storytelling & Virtual Reality): 1 August - 26 August

Second Early application deadline: 2 May
Regular application deadline: Program Begin

Twitter | https://twitter.com/schoolofmaaa
Facebook | https://www.facebook.com/schoolofmachines

School of Machines, Making & Make Believe is a uniquely curated School born in Berlin, Germany in 2014, keen on inventing one-of-a-kind hands-on learning experiences in the areas of art, technology, design, and human connection. We embrace art, creativity and exploring the latest technology and ourselves with humility and curiosity.

We teach tangible skills like how to code, work with electronics and use digital fabrication tools while exploring concepts, narrative and play. Our goal is to help people take the fantastical ideas inside their heads out into the physical realm to further their artistic practice or to help wrestle out the confidence to begin one. We teach technology to artists and design, creativity, and art to the technology community.

 

CFP, Conference Session: New Aesthetics and the Postdigital, Their Effect on Contemporary Art

CFP: New Aesthetics and the Postdigital, Their Effect on Contemporary Art. Since its introduction at SXSW in 2012, "New Aesthetics" has been increasingly recognized as an important perspective in the discussions of digital and postdigital art as well as a driving force in art practice. At a time when contemporary art production is commonly facilitated by digital technology, New Aesthetics is a frame of reference and an attitude revealing the pervasiveness of digital objects’ presence in our everyday lives as well as the deeply rooted and persistent, autonomous agency of computational algorithms in many forms of contemporary art. Regardless of the inadequacy of its coinage, proposals addressing the variety of issues suggested by New Aesthetics, New Aesthetic artistic practice and objects, and New Aesthetic’s relationship to the notion of postdigital are welcome.

Session Chair: Scott Contreras-Koterbay, East Tennessee State University (koterbay@etsu.edu or scottkoterbay@gmail.com)

The 2016 SECAC Conference will be held in Roanoke, VA, hosted by Virginia Tech and Hollins University (http://www.secacart.org/conference). Sessions are include presentations by studio artists, art historians and a mix of these and other professionals.

Upcoming Events: IMRC at University of Maine

Located on the University of Maine Campus the Innovative Media, Research and Commercialization Center (IMRC Center), at Stewart Commons, is a 15,000+ square foot facility provides comfortable, state of the art prototyping facilities, audio and video production spaces, a resource library, performance and installation spaces, classrooms, and offices. IMRC is outfitted with a variety of tools and equipment, including a full shop, 3D printers and 3D scanner, computer controlled machine tools, a cutting and engraving laser, plastic vacuum former, large format printers, a range of design and production software, electronics workbenches, video and still cameras, audio recording and mixing equipment, and a variety of tools for supporting interactive environments and installations.

Opened in 2013, the IMRC Center is a hub for learning, creating and producing. It is the most recent of the portfolio of the University of Maine’s facilities that support innovation and economic development. The IMRC Center is supported by a range of expert instructors and a community of collaborators. Visit http://www.imrccenter.com/, where you can find information on the facility, programs and events.

The IMRC has several upcoming events:

FREE movie night at IMRC Center: "Fantastic Planet" On Tuesday, April 5 at 7p.m. the IMRC will host a free and public screening of Fantastic Planet as a part of Tuesday’s at the IMRC, the UMaine Intermedia MFA program’s visiting artist lecture series. Fantastic Planet  is a 1973 cutout stop motion science fiction film by French writer and artist René Laloux. The animated epic that is by turns surreal and lovely, fantastic and graceful, can be seen as allegorical of the relationship between various groups of humans, as well as between humans and animals, drawing on the themes of racism and speciesism. Fantastic Planet is recognizable for its dreamy, psychedelic imagery, that is backed by a soundtrack composed by Alain Goraguer.

Experimental Avant-Garde Music Performance at UMaine: Experimental avant-garde musician id m theft able will perform for the UMaine community on Tuesday, April 12 at 7p.m. as a part of Tuesdays at the IMRC. This concert is free and open to the public. id m theft able performs within and without the realms of noise, avant improvisation, sound poetry, and performance using voice, found objects, electronics, and whatever else is available. He has given hundreds of performances across 4 continents in settings ranging from the humblest of squats to the fanciest of festivals. The hear samples of id m theft able’s work, visit https://idmtheftable.bandcamp.com

FREE Brown Bag Workshop Series: The IMRC invites you to participate in a free workshop series utilizing the unique array of technology that the IMRC has to offer to the residents of the state of Maine. The IMRC serves as a technology and start up incubator for our local communities by providing training and and opening up access to cutting edge technology. This workshop series is free and will run on Thursdays and Fridays at 12:00pm from April 7 - April 29th. Feel free to bring your lunch! Topics covered will include 3D scanning and printing, textile art, photo and video, social media, music and sound, video editing and much more. For a complete list of workshops and sign up information, please visit http://www.imrccenter.com/workshops.

 

Assistant, Associate or Professor of Graphic Design/Visual Communication in The College of Arts and Creative Enterprises-Zayed University-UAE

The Opportunity

The College of Arts and Creative Enterprises seeks a qualified candidate to fill a full-time faculty position in the area of Graphic and Interactive Design and to teach in the BFA programs in Graphic Design with a full-time faculty appointment in the Abu Dhabi or Dubai campus starting August 2016. Candidates with an interdisciplinary practice/approach are encouraged to apply.

The Requirements

Applicants must have earned a Doctorate or Master of Fine Arts degree (or equivalent), preferably in the field of Graphic Design or Visual Communications, and demonstrate a record of professional activity and accomplishments especially in screen-based distribution, and/or active research in the field of communication design. The successful applicant should have a minimum of two (2) years’ college-level teaching experience with some experience of curriculum development, and will be expected to teach both introductory (Foundation) and advanced level courses. Experience with graduate programs would be an asset.

Our particular aim with this appointment is to develop and strengthen the delivery of graphic/interactive design across the major. As a result we would particularly like to encourage established creative with experience in creating interactive media for professional clients with a thorough knowledge of graphic/interaction design; interactive media; and new technologies for various platforms, including desktop, web, social networking, and design for social change.

The successful candidate should demonstrate versatility, forward thinking, and advanced working knowledge of the leading technology software (Adobe Creative Suite/Cloud) appropriate to Graphic Design, Interactive Design and Multimedia Design. Additionally, the position requires an awareness of current issues in Design education, and a working knowledge and insight into the innovative application of media tools. The candidate’s approach and experience in engaging students in new media tools and digital skills should be evident within their teaching portfolio – statement of teaching philosophy, syllabi and samples of student work. Proficiency with typography and Arabic typographic is considered an asset Candidates must understand and support the integrated nature of the curriculum and must be able to contribute to art and design excellence, both academic and professional, within the college. Applicants should also be willing to collaborate with other colleges within the University and demonstrate a commitment to education and to scholarly and professional work.

Successful candidates will also demonstrate:

  • A proven record of excellence at baccalaureate-level teaching.
  • Dedication to curricular innovation.
  • Commitment to a sustained pace of scholarship and/or creative activities.
  • A record of professional accomplishment appropriate to their rank.
  • Substantial level of computer literacy and a good proficiency of usage of IT in education.
  • Willingness to provide service to the University, the College and the community.

The Benefits

The University’s benefits package is highly attractive, with competitive salaries free of tax in the U.A.E., housing, a furniture allowance, annual vacation airline tickets for the employee and immediate family, educational subsidies for children and healthcare is provided to the employee and sponsored family members.

To Apply

Please visit our web site www.zu.ac.ae click on ‘Employment’ to be directed to the recruitment website. In addition to completing the online application form, please include the following:

  • Cover letter
  • Current Curricular Vitae
  • Statement of undergraduate teaching philosophy
  • Statement of scholarly and creative interests
  • Sample syllabi
  • The names and contact details of three professional references
  • Portfolio (10-15 samples) of professional/research work and (10-15 samples) of student work should be provided on a CD/DVD, a PDF, or provide a dedicated and reliable website to view the work. Review of applications will begin immediately and continue until the positions are filled.

The University

Zayed University, a premier university in the United Arab Emirates, is an innovative institution based on an international model of higher education. With approximately 550 full-time faculty serving approximately 9500 undergraduate and 1000 graduate students on its campuses in Abu Dhabi and Dubai, the University prepares graduates to become leaders in government, business, civil society, and family life. The University expects its graduates to be competent in English and Arabic, proficient in the use of computing technology, and strong in quantitative and research skills. English is the primary language of instruction and administration.

Zayed University is fully accredited in the UAE and by the Middle States Commission on Higher Education in the US.

The United Arab Emirates is a progressive country known for its high standard of living and it’s safe and family-friendly environment.

Games++

games++ is a free 12-hour game development event where participants build games from scratch over 10 hours, then put down their mice and pencils so the public can play their creations. Individuals and teams of all ages and experience are welcome - last year we had over 120 participants and hope you will join us!

Designed as a collaborative, communal making experience, games++ incrementally adds to the pool of amazing, experimental, unique, one-off games in the world.

http://gamesplusplus.org/

 

CFP – Digital Humanities – MMLA – Due April 5th

The Digital Humanities section of the Midwest Modern Language Association is accepting proposals for scholarly and literary presentations that examine, complicate, or challenge concepts of borders and bordering as imagined across multiple modes of digital production. The MMLA conference will take place in St. Louis, Missouri, November 10-13, 2016.

We invite proposals that broadly interpret the conference theme, “Border States,” through multiple disciplinary lenses, such as computational text analysis, critical/creative media, game studies, data mining/archiving, and digital pedagogy. We are especially interested in presentations that explore the impact of digital media on literary production.

Please send a 200-300-word abstract and a brief bio to the section co-chairs, Melinda Weinstein (mweinstei@ltu.edu.) and Francesco Levato (falevat@ilstu.edu), by April 5th, 2016. Include in your abstract your name, institutional affiliation, e-mail address and paper title.

http://www.luc.edu/mmla/convention/2016permanentsectioncallforpapers/

The Midwest Modern Language Association is a non-profit organization of teachers and scholars of literature, language, and culture. A regional affiliate of the Modern Language Association, the MMLA provides a forum for disseminating scholarship and improving teaching in the fields of literary and cultural criticism.

Media-N Fall 2016 Issue CFP

Uncovering News: Reporting and Forms of New Media Art

Media-N -2016 fall issue: V. 12 N. 3

Guest Editors

Abigail Susik, Willamette University

Grant Taylor, Lebanon Valley College

Editor-In-Chief

Kevin Hamilton

Media-N, the Journal of the New Media Caucus, invites submissions for an issue about new media art and its relation to news, reportage, and journalism. Relevant subjects could include: media artworks that address news as subject or form; the influence of new media art on journalism; or critical/historical analysis of the reporting of new media art in popular or disciplinary press venues.

Media artists have mined news and journalism as raw material, as distribution form, and as a rhetorical act of reportage. Artists such as Paper Tiger Television or Negativland drew from television news broadcasts in their critical cut-ups. Feminist and aboriginal video art collectives such as Amelia Productions emerged in Vancouver out of counter-news video documentary efforts. Among contemporary tactical media artists such as the Yes Men or Critical Art Ensemble, mainstream news serves as distribution method or site of intervention. Still others have sought to critique the reliable reporter position of modern journalism, or to create new alternative networks for counter-hegemonic news production.

Media art has also benefitted from many a new platform for reporting and distribution of news about new works and ideas. Email listservs, mailed newsletters, faxes, episodic video, magazines, radio, or social media, have not only served as channels for sharing new works, but as forms of expression and community. Net artists learned about other net.art through the Thing, Rhizome, or even the Well before deploying their own web artworks back into those spaces. Sound artists tuned in to programs on ResonanceFM or San Francisco’s KQED before sending in their own works for broadcast, or gaining a show of their own.

Submissions for this special issue on new media art and news, reportage, and journalism might address the following questions:

  • How do new media artworks engage with journalism, information leaks, and information dissemination?
  • How and why has mainstream news covered media art as a story?
  • How are new media forms and aesthetics, from locative media to visualization or even physical computing, altering the work of journalists?
  • What is the status of new media arts reporting and criticism today? How do modes of communication, transmission and reception inform new media art?
  • How is the field of new media art as a whole affected by reporting, reviews and criticism of developing trends, and what is the significance of the modalities in which this dialogue takes shape?
  • How will we write about art and technology in the future, given new and emerging publishing platforms?
  • How has new media art as a field been particularly influenced by news and reportage as a primary disciplinary component in the work of dissemination, critique, and knowledge construction?

 

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

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

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

TIMELINE:

June 15, 2016: Deadline for submission of abstracts/proposals.

July 15, 2016: Notification of acceptance.

September 15, 2016: Deadline for submission of final papers.

ABSTRACT GUIDELINES:

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

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

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

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

SEND THE SUBMISSION TO:

Email to: asusik@willamette.edu - AND – taylor@lvc.edu

Symposium: Pioneers on the Prairie: Celebrating Women in New Media Arts

The School of the Art Institute of Chicago will hold a day-long, free public symposium in Chicago that will examine how women artists use new media to merge art forms, address feminist issues, and critique technology. We would be very grateful if you could forward this information to your members or anyone you feel may be interested.

Pioneers on the Prairie: Celebrating Women in New Media Arts looks at the achievements and strategies of women working in new media in the Midwest from the 1980s onward and will bring together more than a dozen artists from the field to share their stories and ideas. This event is centered around the upcoming release of the book Women in New Media Arts: Perspectives on Innovative Collaboration (University of Illinois Press; edited by Donna Cox, Janine Fron, and Ellen Sandor.) The day will consist of a number of hour-long panels, so attendees can choose to come for a selection of sessions or for the whole time.

Symposium participants include Brenda Laurel, Ellen Sandor, Claudia Hart, Tiffany Holmes, Joan Truckenbrod, Carolina Cruz-Neira, Colleen Bushell, Jane Veeder, Copper Giloth, Barbara Sykes, Maxine Brown, Dana Plepys, Mary Rasmussen, Nan Goggin, Annette Barbier, Abina Manning, Margaret Dolinsky, Stephanie Rothenberg, Terri Kapsalis, Sabrina Raaf, Lee Blalock, Faith Wilding, Jessica Westbrook, and Marlena Novak.

More information can be found about the event here, as well as in a feature article from E+D Magazine.

General information:
Friday, March 18, 2016
9:30 a.m. to 4:30 p.m.
SAIC Ballroom
112 S. Michigan Ave.
Chicago, IL 60603

Free and open to the public. Light refreshments will be served in the morning.

BAU AT CAMARGO ARTS RESIDENCY AWARD

In 2014 BAU Institute launched a new arts residency hosted by the Camargo Foundation in Cassis, France. The Residency provides BAU Institute funded Fellowships for the realization of projects in the arts. There is no cost to attend. Creative practioners demonstrating a serious commitment to their practice and a desire to work independently within an international community are welcome to apply. The BAU at Camargo Fellowship provides artists with live-work apartments at the Camargo Foundation in Cassis, France. at no cost.
A public exhibition and reading/performance will be held at FiveMyles gallery in Brooklyn, NY in January 2017 to showcase the new work created at the residency.

2016 RESIDENCY DATES
August 1 – August 22.

DEADLINE:
On-line applications are accepted between December 7, 2015 and March 15, 2016 at 11:59PM EST online via submittable:
https://bauinstitute.submittable.com/submit

COSTS
There is a $40.00 application fee. Notification of the admission committee decision will be in mid April. Upon acceptance a refundable security deposit of $250.00 is due.
BAU at Camargo provides live/work housing at no cost. There is no fee to attend.

ELIGIBILITY
BAU Institute welcomes international applicants. The residency supports the development of work in the Visual Arts (including photography, video and new media), Creative Writing, Dramatic Writing, Performance and Musical Composition. The residency may accommodate up to 15 people at a time. Fellowship selections are determined by a rotating panel of discipline specific professionals.

For more information please visit the BAU Institute website:
http://www.bauinstitute.org
http://www.bauinstitute.org/index.php?page=cassis-france


BAU Institute is a non-profit 501(3)C based in New York City. The mission of the BAU Institute is to support visual artists, creative and dramatic writers, composers, performance artists and other arts professionals in the creation and exhibition of new work. BAU Institute offers residencies in France and Italy to provide uninterrupted time and space for the development of new work in settings of cultural interest and extraordinary natural beauty.

 

FEBRUARY 2016 ARRAYLIST THEME: Performance [experimental, durational, networked] –> NEW MEDIA PEDAGOGY OF THE [ ]

We are happy to announce the upcoming ArrayList discussion theme:
Performance [experimental, durational, networked]
starts February 1, 2016

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

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

The purpose of the ArrayList year-long series 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 AKA lurking] and/or respond to the written activity, and read the archives. As always we hope to engage a wide range of critical perspectives so please chime in with thoughts and questions. Sincerely, j.duran, Adam Trowbridge, Jessica Parris Westbrook, ARRAY[ ] founders

Performance [experimental, durational, networked]:
with guest thread leaders: Thomas Albrech, Amy Alexander, L[3]^2 (Lee Blalock), Ricardo Dominguez, Kirsten Leenaars, Ellen Mueller, Heather Warren-Crow, Jorge Rojas, Angela Washko

Thomas Albrecht (State University of New York at New Paltz)
Thomas Albrecht’s performance projects have explored ritual and language in public spaces, galleries, and museums, prodding cultural beliefs and individual doubts. Current interests involve duration and elements of Absurdist Theatre, laying bare contingency in human constructions and slippage between truth and fiction. Albrecht has performed throughout the United States and internationally, notably at Grace Exhibition Space, Defibrillator Performance Art Gallery, Panoply Performance Laboratory, Dimanche Rouge Paris, the Queens Museum, and during festivals such as the Brooklyn International Performing Arts Festival, Month of Performance Art Berlin, and Performatorio, IV Muestra de Arte Duracional in the Dominican Republic. He received his BFA from the Rhode Island School of Design, a Master of Arts in Religion from Yale University where he served as the Menil Scholar in residence, and his MFA from the University of Washington. He serves as Assistant Dean in the School of Fine & Performing Arts, and Associate Professor in the Art Department at the State University of New York at New Paltz.

Amy Alexander (University of California, San Diego)
Amy Alexander is a digital media, audiovisual and performance artist who has also worked in film, video, music, tactical media and information technology. She has been making films since 1990 and creating art through programming since 1994. Much of Alexander’s work is performance-­based, often working at intersections of cinema, performing arts, humor, politics, and popular culture. Her current research and practice focuses on expanded approaches to the moving image that reflect contemporary cultural and technological shifts. Alexander has performed and exhibited internationally in clubs and on the street as well as in festivals, museums and on the Internet. She has written and lectured on software art, software as culture, and audiovisual performance, and she has served as a reviewer for festivals and commissions for digital media art, video, and computer music. She was a founding organizer of the runme.org software repository, and she has done residencies at The Media Centre in Huddersfield, UK, and the iota Center in Los Angeles. She is an Associate Professor of Visual Arts at the University of California, San Diego. More information at: http://amy-alexander.com

L[3]^2 (Lee Blalock) (School of the Art Institute of Chicago)
Lee Blalock is an artist who considers what it may mean to live in a future somewhere between here and nowhere. Her research began when she was a kid and would visit her father at his job as a computer programmer / operator. Rules and systems are inherent to her process, while her imagination leans toward the N3w Hum4n. Lee uses her work to create new origin stories, visual or written, which are influenced by a life long interest in speculative fiction and science fiction. Having moved fluidly from an undergraduate STEM education to a career in design and production, she eventually found that all of her conceptual and technical interests converge in the fine arts. The artist makes work using text, performance, computational video and sound, electronics and drawing. Many ideas behind Lee's work attempts to describe the future human, replacing the failed language around identity with the self-constructed and amplified self. This new body (or "NeueBody") often takes the form of abstraction and presents a mix of algorithmic and heuristic behavior. In all cases, Lee's work represents the physical, computational, or behavioral body and uses repetition as a strategy to move past the automatic and into something transformative. As an arts educator, Lee's research is specific to topics referring to the posthuman, systems and cybernetics. She received her Bachelor of Science (Chemistry and Math) from Spelman College and an Associates of Arts (Design) from Bauder College. In 2011, Lee received her Master of Fine Arts from The School of the Art Institute, where she currently teaches in multiple departments. Lee writes and performs under the alphanumeric moniker of L[e]^2. She can be found walking a tightrope in the center of a holographic sphere.

Ricardo Dominguez (University of California, San Diego)
Ricardo Dominguez is a co-founder of The Electronic Disturbance Theater (EDT), a group who developed virtual sit-in technologies in solidarity with the Zapatistas communities in Chiapas, Mexico, in 1998. His recent Electronic Disturbance Theater 2.0/b.a.n.g. lab project ( http://bang.transreal.org/) with Brett Stalbaum, Micha Cardenas, Amy Sara Carroll, and Elle Mehrmand, the Transborder Immigrant Tool (a GPS cell phone safety net tool for crossing the Mexico/US border) was the winner of “Transnational Communities Award” (2008), an award funded by Cultural Contact, Endowment for Culture Mexico–US and handed out by the US Embassy in Mexico. It also was funded by CALIT2 and the UCSD Center for the Humanities. The Transborder Immigrant Tool has been exhibited at the 2010 California Biennial (OCMA), Toronto Free Gallery, Canada (2011), The Van Abbemuseum, Netherlands (2013), ZKM, Germany (2013), as well as a number of other national and international venues. The project was also under investigation by the US Congress in 2009-2010 and was reviewed by Glenn Beck in 2010 as a gesture that potentially “dissolved” the U.S. border with its poetry. Dominguez is an associate professor at the University of California, San Diego, in the Visual Arts Department, a Hellman Fellow, and Principal/Principle Investigator at CALIT2 and the Performative Nano-Robotics Lab at SME, UCSD. He also is co-founder of *particle group*, with artists Diane Ludin, Nina Waisman, Amy Sara Carroll, whose art project about nano-toxicology entitled *Particles of Interest: Tales of the Matter Market* has been presented at the House of World Cultures, Berlin (2007), the San Diego Museum of Art (2008), Oi Futuro, Brazil (2008), CAL NanoSystems Institute, UCLA (2009), Medialab-Prado, Madrid (2009), E-Poetry Festival, Barcelona, Spain (2009), Nanosférica, NYU (2010), and SOMA, Mexico City, Mexico (2012): http://hemisphericinstitute.org/hemi/en/particle-group-intro.

Kirsten Leenaars (School of the Art Institute of Chicago)
Kirsten Leenaars’ creates participatory video and performance based work. In her practice Leenaars engages with specific people and communities. Her work oscillates between fiction and documentation, reinterprets personal stories and reimagines everyday realities through staging, improvisation and iteration. She examines the very nature of our own constructed realities, the stories we tell our selves and the ones we identify with and explores the way we relate to others. Recent projects include producing a series of 3 performances Notes on Empty Chairs, about loss, community and empathy for the Museum of Contemporary Art in Chicago; creating the video #thisistomorrow with Washington DC based performers in response to the deaths of Michael Brown and Eric Garner; and producing the science fiction film: The Invasion of the Hairy Blobs, currently edited at the Wexner Center for the Arts in Columbus, Ohio. Her work has been shown nationally and internationally, amongst others at: Museo Universitaro del Chopo, Mexico City, DCAC, Washington DC, the Museum of Contemporary Art, Glass Curtain Gallery, Threewalls, Gallery 400, 6018 North, and Elaine L. Jacob Gallery, Detroit, Printed Matter, New York, the Wexner Center, Columbus, and at the Witte de With Center for Contemporary Art, Rotterdam, Kunst Fabrik, Munchen, and Bethanien Haus, Berlin. She has been rewarded grants from the Mondrian Foundation, The Propeller Fund, the department of Culturall Affairs, Chicago, the Dutch Art Foundation and multiple cultural grants from the Dutch Consulate in New York.

Ellen Mueller (West Virginia Wesleyan College)
Exhibiting works nationally and internationally, Ellen Mueller explores hyperactive news media and corporate management systems via work in a variety of media including, but not limited to, performance, 3D printing, and drawing. Recent residencies include Ox-Bow, Virginia Center for Creative Art where she was a Mid Atlantic Arts Foundation Creative Fellow, Nes Artist Residency (Iceland), Coast Time (May 2016), and Signal Culture (August 2016). Mueller currently lives and works in Buckhannon WV as an Assistant Professor of Art at West Virginia Wesleyan College. She received her MFA in Studio Art from University of South Florida. She completed a BA in Theatre and Art, and a BS in Design Technology from Bemidji State University. Additionally, she has obtained performance training at Dell'Arte International and the Brave New Institute (now known as the Brave New Workshop Student Union). Mueller is contracted with Oxford University Press to publish a foundational art textbook entitled "Elements and Principles of 4D Art and Design", due out February 2016.

Heather Warren-Crow (Texas Tech University)
Heather Warren-Crow, assistant professor of interdisciplinary arts and affiliated faculty in women's studies, is a scholar of media and performance as well as an artist. Her interdisciplinary scholarship centers on the aesthetics of subjectivity in the 19th-21st centuries. She has given sustained attention to the body in analog and digital animation, discourses of adolescence in fine art and popular media, the art of affective labor, and the agency of objects, images, and sounds. Dr. Warren-Crow's first book, Girlhood and the Plastic Image, was recently published by Dartmouth College Press. Dr. Warren-Crow's teaching interests span music, theatre, dance, film, and visual art. She has areas of expertise in intermedia (especially performance art, sound art, and screendance); puppetry, movement-based, and multimedia performance; theatrical design; video and internet art; photography theory; performance studies; cinema and media studies; girlhood studies; gender studies; and vocal aesthetics.

Jorge Rojas (Utah Museum of Fine Arts, Salt Lake City)
Born in Morelos, Mexico, Jorge Rojas is a multidisciplinary artist, curator, and art educator. He studied Art at the University of Utah and at Bellas Artes in San Miguel de Allende, Mexico. His work and curatorial projects have been exhibited across the US and internationally, including Museo del Barrio, Queens Museum of Art, White Box, and Grace Exhibition Space in New York; Museum of Latin American Art, The Mexican Museum, Los Angeles Contemporary Exhibitions, and MACLA in California; Project Row Houses and New World Museum in Houston; Diaspora Vibe Gallery in Miami; Utah Museum of Fine Arts and Utah Museum of Contemporary Art in Salt Lake City; Ex Convento del Carmen in Guadalajara; and FOFA Gallery in Montreal. He has received grants and fellowships from National Performance Network, Experimental Television Center, and Vermont Studio Center. He is the Founding Director of Low Lives, an international, multi-venue live streaming performance festival that was founded in 2009. Rojas is director of education and engagement at the UMFA in Salt Lake City, Utah.

Angela Washko (Carnegie Mellon University)
Angela Washko is an artist, writer and facilitator devoted to creating new forums for discussions of feminism in the spaces most hostile toward it. She is a Visiting Assistant Professor at Carnegie Mellon University. Since 2012, Washko has operated as The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft - an ongoing intervention on communal language formation inside the most popular massively multi-player online role playing game of all time. A recent recipient of The Frank-Ratchye Fund for Art at the Frontier Grant from the STUDIO for Creative Inquiry, a Franklin Furnace Performance Fund Grant, a Creative Time Report commission, a Rhizome Internet Art Microgrant, a Danish International Visiting Artist Grant and the Terminal Award, Washko’s practice has been highlighted in Art in America, Frieze Magazine, Time Magazine, The Guardian (UK), ArtForum, ARTnews, VICE, Hyperallergic, Rhizome, the New York Times, The Creator’s Project, Dazed and Confused Magazine, Digicult, ArtInfo, Bad At Sports and more. Her projects have been presented nationally and internationally at venues including Kiasma Museum of Contemporary Art (Helsinki, Finland), Los Angeles Museum of Contemporary Art, Moving Image Art Fair (London and NYC), the Rotterdam International Film Festival, Institute for Contemporary Art Boston and Bitforms Gallery in NYC. Washko’s work is featured in the recently published book “Mass Effect: Art and the Internet in the 21st Century” from The New Museum and MIT Press.

Call – Digital Muddy Expanded Media Festival 2016

A call for submissions: 2016 Digital Muddy Expanded Media Festival

Digital Muddy Expanded Media Festival is designed to be an online platform that promotes interaction and cultural discussion with a focus on the terms related to expanded cinema; social media, and net based contemporary art practice.

Digital Muddy’s selected works will represent a survey of various styles and practices that engage the expanding use of image and in specific screen based digital narrative. This year we will focus on net specific published works and browser based works that are defined in the categories of new media, net art, interactive, digital imaging, user generated imagery, participatory, experimental, social engagement, sound, 3d and digital animation.

Cultural producer, Michele Thursz, will jury Digital Muddy 2.0. The showcase will be featured online on Digital Muddy’s Festival site, 2016.

Submissions will be accepted online through FilmFreeway.com (https://filmfreeway.com/festival/DigitalMuddyExpandedMediaFestival) starting Monday January 04, 2016. Please read and follow the directions for submission. There is NO SUBMISSION FEE for students or SIU faculty. One submission per individual, artist, group will be allowed. This year we have introduced a nominal fee for public submissions to the Digital Muddy, this fee of $15.00 will partially support the Digital Muddy and coinciding programming. Digital Muddy reserves the right to further moderate such a discussion when it threatens to disrupt or silence the participation of voices within the community. Submission does not automatically indicate inclusion of work. Work is selected at the discretion of the curator and festival programmers.

Finalist should be notified mid February of their acceptance. Finalist will be featured at Digitalmuddy.com beginning in March, 2016.


 

Digital Muddy Expanded Media Festival is designed to be an online platform that promotes interaction and cultural discussion with a focus on the terms related to expanded cinema; social media, and net based contemporary art practice. The Digital Muddy Expanded Media Festival is a ongoing project from the Big Muddy Crew (formally known as Film Alternatives) with Support from SIU Department of Cinema and Photography, The College of Mass Communications and Media Arts and the Fine Arts Activity Fee.

Accepting Applications for the Intermedia MFA program at the University of Maine

The University of Maine is now accepting applications for UMaine system’s only program of it’s kind, the Intermedia MFA program. The IMFA is a unique MFA graduate program that seeks to provide students with advanced study and practice in interdisciplinary art. This program is distinctive in that is places an emphasizes on intensive creative development and innovative ability through diverse engagement with multiple research processes, critical thinking skills, and creative production tools and technologies.

The program invites students from all professional, creative and academic programs. Students have the opportunity to work with internationally accomplished faculty and actively engaged in a range of creative disciplines. Students also have access to the 15,000+ square foot facility providing comfortable, state-of-the art prototyping facilities, audio and video production spaces, a resource library, performance and installation spaces, classrooms and offices.

The IMRC is a hub for learning, creating and producing. It is the most recent of the portfolio of the University of Maine’s facilities that support innovation and economic development. The IMRC Center is supported by a range of expert instructors and a community of collaborators.

Although we often offer consider acceptance of application materials through June, January 15th is the deadline for priority consideration for financial aid(consideration for RA/TA Awards) with a final deadline of February 28th for all other Fall 2016 applications.

For more information visit our website: http://intermediamfa.org


 

The Masters of Fine Arts in Intermedia at the University of Maine provides substantial advanced study for individuals interested in interdisciplinary study in the arts. The program emphasizes intensive development of students’ creative and innovative abilities through a diverse engagement with multiple research processes, critical thinking skills and creative production tools and technologies.

 

Assistant Professor Interactive Media: UI/UX at Bradley University

The Department of Interactive Media in the Slane College of Communications and Fine Arts at Bradley University seeks applicants for a full-time, tenure-track faculty position in Interactive Media with skills in areas of User Experience Design and/or User Interface Development to join its creative and nationally ranked department beginning August 2016

Responsibilities include teaching undergraduate production and theory classes in interactive media with an emphasis on user interface and user experience design, beginning and advanced interaction design, and implementation for web and mobile platforms. Duties also include assisting in collaborative projects and student practicum courses, assisting in recruiting, mentoring, advising majors and minors, and advancing the department’s mission, goals, and activities. Salary is competitive and commensurate with experience and qualifications.

The successful candidate will be experienced in applying methodologies of user experience design and research to website, mobile, and product development. This includes experience in creating user flow diagrams, paper prototypes, wireframes, mockups, etc. Candidates should be able to teach data-driven design techniques, information structures & design, and end-user functionality & research.

Further details can be found at http://www.bradley.edu/offices/business/humanresources/opportunities/faculty/position.dot?id=42eeb15b-25ab-46cd-9c0e-a7380855f292

Bradley University is a top-ranked, prestigious, private university in Peoria, Illinois, offering 5,400 undergraduate and graduate students the opportunities, choices and resources of a larger university and the personal attention and exceptional learning experience of a smaller university.

Barcelona 2016 Centre for Media and Celebrity Studies (CMCS)

The following keynote might be of strong interest to scholars and media professionals examining new media, Internet celebrities, and online personas in social networks. We encourage social media scholars to join the conversation.

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We are honoured to announce that the 2016 CMCS conference Bridging Gaps: What are the media, publicists, and celebrities selling? will feature keynote speech by Professor P. David Marshall. Details are given below.

Deadline for Abstract Submissions: December 31, 2015
URL: http://cmc-centre.com/conferences/barcelona/

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2016 CMCS Keynote Speaker Professor P David Marshall

“Commodifying the Celebrity-Self: The Peculiar Emergence, Formation and Value of “Industrial” Agency in the Contemporary Attention Economy” by P David Marshall http://cmc-centre.com/keynote/

Professor Marshall, a research professor and holding a personal chair in new media, communication and cultural studies at Deakin University, has published widely in two areas: the public personality/celebrity and new media culture. His books include Companion to Celebrity (December 2015), Celebrity and Power (1997; second edition, 2014), Fame Games (2000), Web Theory (2003), New Media Cultures (2004), and The Celebrity Culture Reader (2006). He has been a keynote speaker at many international conferences as well as interviewed for articles and many broadcast media programs from CNN, FoxNews, BBC, and the ABC/Radio National to the Sydney Morning Herald, New York Times and the Toronto Star. His previous academic positions have been at Northeastern University in Boston, the University of Queensland in Brisbane, and Carleton University in Ottawa along with visiting positions at New York University, York University and Karlstad University. He is also Visiting Distinguished Foreign Expert in the School of Journalism and Communication at Central China Normal University (CCNU) in Wuhan China.

His current writing and research has focused on some key areas in contemporary popular culture: he has been developing the idea of ‘persona studies’, where the presentation of the public self has expanded well beyond celebrity culture via particularly online forms: it now structures and patterns reputation and value across many professions and through many recreational and leisure pursuits. He has developed three related concepts to help explore this change in contemporary culture: presentational media, the intercommunication industry, and the personalization complex. Forthcoming books include: Promotional Vistas (Palgrave, 2016), Contemporary Publics (2016), and Persona Studies: Celebrity, Identity and the transformation of the public self (Palgrave), and Persona in formation (Minnesota, Forerunner Series, 2016). He is also the founder of the Persona Studies Journal and M/C.

His personal blog can be found at: www.pdavidmarshall.com

The Centre for Media and Celebrity Studies (CMCS) is an international organization and research network that helps coordinating academic research and media commentaries on celebrity culture. CMCS carries a pedagogical philosophy that inspires integration of research and media skills training in academic and public discourses of fame. The centre believes in intellectual, aesthetic, and ethical values of bridging gaps in higher education and media. With this view, CMCS helps coordinating research, publications, creative productions, and media commentaries to restore artistic and ethical acts for social change.

Science of the Unseen: Digital Art Perspectives – ACM SIGGRAPH Digital Art Community

 

What goes unseen, unfelt, or unheard? In this online exhibition, the artworks converge with scientific experiment, using digital tools to creatively reinterpret the imperceptible and science of the unseen.

Artworks in Science of the Unseen: Digital Art Perspectives think creatively about questions of scale and how unseen processes animate larger effects. By using digital tools and computational programs, we see with new eyes as we view visual material from the microscopic cell to the cosmic universe. Technology increasingly alters the senses and our experience of the biological, astrological, and geological landscape. From our new ways of seeing, questions emerge such as: how does nano-technology mirror and magnify the art of nature? How does visualizing insect burrows in trees allow us to interpret a larger ecosystem? Or we can ask what still remains unseen: how do organisms form new imperceptible habits in response to technology?

See more at: http://www.siggraph.org/connect/digital-arts/call-submissions-science-unseen


 

Mission of the Digital Arts Community Committee: 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

OPEN: Assistant Prof of Media Arts at Pacific University

The Department of Media Arts at Pacific University invites applications for an assistant professor position beginning Fall 2016, able to teach both introductory and advanced level courses, and with advanced working knowledge of the relevant technology. Teaching load is (22 credits) and capstone project supervision.

Required: Master’s Degree or equivalent, preferably in the field of Media Arts, Interactive Design, or Multimedia/Web-related fields, and demonstrate a strong record of professional activity and experience in the field. A record of excellence at baccalaureate-level teaching, a substantial level of computer literacy (Mac and Windows), a good proficiency with the use of technology in education, and a U.S. work permit also required. Salary and benefits are competitive.

Final decisions will be made no later than May 2, 2016.
Application review begins February 1, 2016.

Submit letter of interest, CV, teaching philosophy, evidence of successful teaching including a syllabus from a digital-media related class, names and contact for three professional references, online portfolio of professional/creative work (7-10 samples) and of student outcomes (4-6 samples). Send application materials to the Media Arts Search Committee (humanities@pacificu.edu). We accept only electronic submissions, PDF preferred. For additional details see www.pacificu.edu/hr/employment/.


 

Pacific University is a small but diverse community, where students thrive in a personal academic environment. Tracing its roots back to 1849, when it began as a school for orphans of the Oregon Trail, Pacific has long been devoted to making a difference in people’s lives. Nestled in the valley at the base of the coastal range and Mount Hood, the university is only a half hour to the Portland metro center.

Today, students study in a unique combination of undergraduate, graduate and professional programs in the liberal arts and sciences, optometry, education, health professions and business. Pacific University has campuses in Forest Grove, Hillsboro, Eugene and Woodburn, Ore., as well as an office in Honolulu. In addition, a variety of Pacific University health and eye clinics throughout the Portland area serve patients and provide students with practical experience. At Pacific University, students and faculty engage in discovery through close, nurturing relationships that provide extraordinary learning experiences. International study, service learning, internships and co-curricular activities have been integral parts of the education of nearly 25,000 alumni worldwide who share in the Boxer spirit.

Assistant Professor, Media Arts & Game Development TWO POSITIONS at UW-Whitewater

The University of Wisconsin-Whitewater Department of Communication is now accepting applications for TWO tenure-track assistant professors in the Media Arts and Game Development (MAGD) program. The starting date for the position is August 19, 2016.

JOB DETAILS:
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.

QUALIFICATIONS:
Candidates for this position will have the academic preparation and/or demonstrable experience to teach undergraduate courses in the following areas: creative coding, game development, or other emergent/computational media 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, ABD also considered) 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.

RESPONSIBILITIES:
Excellence in teaching; commitment to a research or creative activities agenda relevant to work in the Media Arts and Game Development program; and a willingness to participate in academic advising and other university service are expected.  Normal teaching responsibility is four courses per semester.  The department embraces a diversity of research methodologies.

DEPARTMENT INFORMATION:
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 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.

CAMPUS INFORMATION:
Founded in 1868, the University of Wisconsin-Whitewater is a regional comprehensive university with an enrollment of more than 12,000 students. UW-Whitewater has reached record enrollment four of the last five years and offers 50 majors in four colleges. UW-Whitewater also offers 15 master's degree programs and recently added a Doctorate of Business Administration.

ORGANIZATION INFORMATION:
UW-Whitewater is part of the 26-campus University of Wisconsin System.  Located in a community of 14,622 residents near the scenic Kettle Moraine State Forest in southeastern Wisconsin, Whitewater is within convenient driving distance to the metropolitan areas of Milwaukee, Madison, and Chicago.

SPECIAL NOTES:
The University of Wisconsin-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 backgrounds checks as a contingency to employment. A criminal background check will be conducted prior to an offer of employment.

For UW-W Campus safety information and crime statistics/annual Security Report, see http://www.uww.edu/annual-safety-reportor call the Dean of Students office at: 262-472-1533 for a paper copy.

TO ENSURE CONSIDERATION:

Applications must include:
-A letter of Application
-Copies of doctoral (if applicable), graduate, and undergraduate transcripts
-Curriculum Vitae
-Evidence of teaching ability (preferred)
-Three names of references
-Official transcripts will be required from individuals invited to interview

Review of applications will begin January 8, 2016 and will continue until the positions are filled.  Application materials will be evaluated and the most qualified applicants will be invited to participate in the next step of the selection process. Incomplete and/or late application materials will not receive consideration.

Salary commensurate with experience.

If you have questions regarding this recruitment, or if you are not able to complete the application online due to a disability or system problem, please contact Human Resources at 262-472-1072 or hrstudent@uww.edu.

For questions regarding the position please contact:

Julie Ridgeman
Communication Department, ADA
262/472-7154
ridgemaj@uww.edu.

TO  APPLY:
Only complete application packages will be considered. Unless confidentiality is requested in writing, lists of applicants must be released upon request. Finalists cannot be guaranteed confidentiality.

To Apply and submit these documents please follow the links below:

This Job ID is: 11048

Who are you?

A potential applicant who is NOT currently employed by the University of Wisconsin System, click here: UW-Whitewater External Applicants

A current employee of the University of Wisconsin System, click here: UW-Whitewater Internal Applicants

Tenure Track Positions in Emerging Media and Communication at UT Dallas

The School of Arts, Technology, and Emerging Communication at The University of Texas at Dallas seeks applications for appointment in Fall 2016 to multiple tenure-track positions in the Emerging Media and Communication (EMAC) Program. Candidates may be appointed at the Assistant, Associate, or Full rank dependent upon qualifications. Appointees will teach, conduct research, and/or develop creative projects with colleagues across the university.

EMAC fosters students' digital literacies by triangulating courses in critical, social scientific, and creative approaches. We welcome scholars, researchers, hybrid scholar/practitioners, and new media artists who strengthen our existing areas of expertise. Ideal candidates will teach at least one of the EMAC undergraduate and graduate core classes listed at www.utdallas.edu/emac/academics/. Candidates with specialties in new media and communication such as media, literary, or cultural studies; the legal, economic, or technical dimensions of new media and emerging communication; global media culture; and media, interactive, or time-based art are invited to apply.

Review of applications begins January 11, 2016, and will continue until the position is filled, with an August 1, 2016, start date. MFA or PhD should be in hand by start date. Indication of gender and ethnicity for affirmative action statistical purposes is requested as part of the application. School hiring officials will receive notification when application materials are posted and are available for review. Inquiries may be directed via email to emac@utdallas.edu.

To apply at the level of assistant professor, applicants should submit (a) a cover letter indicating area of research and, if applicable, creative interests, (b) a CV, (c) a writing sample and/or portfolio of work, (d) a sample syllabus, (e) three letters of recommendation, and (f) evidence of teaching excellence. To apply at the level of associate or full professor, please submit (a) and (b) plus (c) two recent writing samples and/or portfolio of work, (d) two sample syllabi, (e) a list of five recommenders, and (f) evidence of teaching excellence, via the ONLINE APPLICATION FORM below.


EMAC fosters students' digital literacies by triangulating courses in critical, social scientific, and creative approaches. We welcome scholars, researchers, hybrid scholar/practitioners, and new media artists who strengthen our existing areas of expertise. Ideal candidates will teach at least one of the EMAC undergraduate and graduate core classes listed at www.utdallas.edu/emac/academics/. Candidates with specialties in new media and communication such as media, literary, or cultural studies; the legal, economic, or technical dimensions of new media and emerging communication; global media culture; and media, interactive, or time-based art are invited to apply.