Tag Archives: animation

The Cube Art Project Call for Artists

The Cube Art Project is an initiative of the city of Lincoln, Nebraska, the Lincoln Partners for Public Art Development, and ColorKey Media LLC. We are seeking video art, animations, motion graphics, video-mapping, and/or sound visualization projects for screening on our three dimensional monitor (the Cube) located in the Rail Yard on Canopy Street.

This is a curated competition of clips that are suitable for a public art audience. Wide latitude in genre and style are considered however priority is given to artworks that have a formal/ visual appeal.

Projects should use a single channel video file: (.mov) (h264 codec) (936px tall by 288 px wide) (compressed to 500 MB or less).

To see more specs go to: https://mburton4.wixsite.com/cube

In addition to the general call for video art,the jurors will select "special" projects that are interactive in some way. Artists submitting a "special" project are offered a small stipend not exceeding $1,600 to cover costs. Please include specifics on tech needs and a draft budget if your work falls into this category.

1st prize = $500, 2nd prize = $250, 3rd prize = $100.

Terminal 2.0

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

Terminal 1.0 Part One NMC Hub blog series

By: Carrie Ida Edinger

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

Kraus Distinguished Professorship at Carnegie Mellon University

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

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

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


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

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

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

Materials To Include:

• Letter of application with teaching philosophy

• Proposal for an introductory or advanced level class in animation

• Curriculum Vitae

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

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

Deadline: January 30, 2017

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

Application review will begin January 30, 2017

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

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

Tenure Track – Assistant Professor of Animation at Missouri State University

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

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

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

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

Instructor, Assistant, Associate Professor, Animation Design / Multimedia, College of Arts and Creative Enterprises, Zayed University ,Abu Dhabi Campus

The College of Arts and Creative Enterprises (CACE) at Zayed University

CACE offers students a Bachelor of Fine Arts Degree in in the following specializations: Animation, Graphic Design, Interior Design, and Visual Art. Additionally, we offer a minor in Curatorial Studies. CACE aims to prepare students to become creative leaders in the arts and related industries. Our mission is to provide student artists and designers with an opportunity to explore and develop their own creative ideas while contributing to national initiatives in the culture of the United Arab Emirates (UAE). The College works closely with faculty in other university disciplines such as the majors in Multi-Media Design, in Emirati Studies, and the MA in Museum Studies. We have received Substantial Equivalency recognition from the National Association of Schools of Art and Design (NASAD) for our academic programs. Candidates will have the opportunity to contribute to the growth and initiatives of the college that will advocate innovative practice and research.

The Opportunity

The CACE seeks a qualified candidate to fill a full-time, multi-year, faculty position in the area of Animation Design/Multimedia Design and to teach in the baccalaureate programs in Animation Design and Multimedia. The appointment begins in January 2016 on the Abu Dhabi campus.

The Requirements

Applicants must have earned a Master of Fine Arts degree (or equivalent), preferably in the field of Animation, Interactive Design, or Multimedia, and demonstrate a strong record of professional activity and accomplishments in the field.

The successful applicant should have a record of teaching and will be expected to teach both introductory and advanced level courses. Experience with graduate programs would be an asset. The successful candidate should demonstrate versatility, forward thinking, and advanced working knowledge of the leading technology software appropriate to Animation, Interactive Design, and/or Multimedia Design. The ability to teach the following courses on a basic as well as on an advanced level is expected: Animation with an emphasis on character animation, 3D modeling, web design, game design, and digital video. The candidates´ approach and experience in engaging students in animation and multimedia design tools and digital skills should be evident within their teaching portfolio (statement of teaching philosophy, syllabi, and samples of student 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, and an interest in collaboration.
  • 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 and the College.


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 and click on ‘Employment’ to be directed to the recruitment website. In addition to completing the online application form, please include the following:

  1. Cover letter,
  2. Current Curriculum Vitae
  3. Statement of undergraduate teaching philosophy
  4. Statement of scholarly and creative interests
  5. Sample syllabi
  6. The names and contact details of three professional references
  7. Portfolio (10-15 samples) of professional/research work and (10-15 samples) of student outcomes should be provided as a PDF file, or provide a dedicated and reliable website to view the work. Review of applications will begin immediately and continue until the position is 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 over 900 faculty and staff serving approximately 9,000 students across two main campuses, the University prepares graduates to become leaders in government, business, cultural organizations, civil society, and family life. The University expects its graduates to be fully bilingual in English and Arabic, proficient in the use of computing technology, and strong in quantitative and research skills. The primary language of instruction and administration is English. Zayed University is fully accredited in the U.A.E. as well as by the Middle States Commission on Higher Education in the U.S.A. The United Arab Emirates is a progressive country known for its high standard of living and its safe and family-friendly environment.


Full Time Faculty in Experimental Animation at CalArts

Position Category: Academic
Position Title: Full Time Faculty, Program in Experimental Animation
School/Department: Film/Video
Reports To: Dean of the School of Film/Video
Time: Full Time
Term of Employment:
Position Starts: 09/01/2016
Search Closes:

Information & Responsibilities

The Experimental Animation Program in the CalArts School of Film/Video is seeking a full-time animation artist/faculty member to start September 2016.

The Experimental Animation Program, offering both BFA and MFA degrees, was founded on and maintains a commitment to developing conceptually- based, interdisciplinary approaches to animation.

The preferred candidate must be a practicing artist and must have evidence of successful teaching and student mentorship. Since all full-time faculty in the Experimental Animation Program are expected to participate in planning the conceptual, curricular, and technical goals of the program, candidates for this position must demonstrate a willingness to be involved in program leadership. Candidates must be familiar with digital workflows and express an interest in emerging technologies.  As with all of our faculty, we expect candidates to demonstrate an active involvement in the art and/or film festival world―by a record of participating in festivals or gallery work, presenting at conferences, and advancing the field of animation through their practice. Successful candidates must embrace transdisciplinary approaches to animation broadly defined, in the use of visuals and sound, and must show an aptitude for mentoring students with far-ranging interests.


The program seeks candidates with a diverse range of experience. Possible specializations could include a combination of two or more of the following:

  • experimental approaches to CG animation (using software such as Maya, Cinema 4D, or Blender)
  • creative approaches to 2D digital animation (including the use of software such as Photoshop, After Effects, Flash, or TV Paint)
  • interactivity, game theory, and programming (for example, using Unity)
  • moving image installation
  • non-traditional techniques of drawing and painting in animation
  • multiplane animation
  • experimental approaches to animated movement
  • pre-visualization of moving image projects, including script writing and storyboarding in an experimental context
  • the history and theory of experimental animation and how
  • they relate to other art practices
  • innovative approaches to sound/image relationships

How to Apply

Review of applications begins November 6th and continues until position is filled

Please submit for initial consideration:

  • 1 to 2 page cover letter
  • curriculum vitae
  • 250-500 word statement of teaching philosophy
  • 250-500 word artist statement which includes projections about current or upcoming creative work
  • examples of artwork and/or publications
  • outline of administrative experience, if any
  • names and contact information for three references

Interested candidates should submit the above to the SlideRoom application at https://calartsfaculty.slideroom.com/#/permalink/program/28205

Equity & Diversity

CalArts is proud of its diverse student body and deeply committed to
supporting the cultural and artistic aspirations of all its students. A
commitment to increasing opportunities for low-income students and
currently disenfranchised groups is necessary, as is the desire to work
to support institutional goals of equity and diversity in an ongoing
way. CalArts is an Equal Opportunity Employer (EOE). In our efforts to reach a diverse application pool, please follow the link to fill out an optional survey: http://www.surveymonkey.com/s/Eq_Div

Further Information

CalArts has a multidisciplinary approach to its studies of the arts
through six schools: Art, Critical Studies, Dance, Film/Video, Music and
Theater. CalArts encourages students to explore and recognize the
complexity of the many aspects of the arts. It is supported by a
distinguished faculty of practicing artists and provides its Bachelor
and Master of Fine Arts students with the hands-on training and exposure
necessary for an artist's growth. CalArts was founded in 1961 and
opened in 1969 as the first institution of higher learning in the United
States specifically for students interested in the pursuit of degrees
in all areas of visual and performing arts.

Call For Artwork – CURRENTS New Media Festival

CURRENTS’ curators look for the unique ways artists use technology as a tool for expression and communication, and ways that scientists, programmers and developers are integrating the arts and aesthetics into their explorations and projects.

The citywide Festival will be held in venues throughout Santa Fe: El Museo Cultural de Santa Fe, the Center for Contemporary Arts, the digital dome facility at the Institute for American Indian Arts, Santa Fe Art Institute, Peters Projects, Axle Contemporary, Warehouse 21 and the Santa Fe Railyard Plaza.

In addition to exhibitions CURRENTS 2016 offers panel discussions, workshops and multimedia performances. All exhibitions and most events are free to the public.

This Year’s Categories include:
New Media Installations, Outdoor New Media Installations and Architectural Mapping, Single Channel Video and Animation, Multimedia Performance, Fulldome, Experimental or Interactive Documentary, Web-Art/Art-Gaming/Mobile Device Apps, Oculus Rift, Robotics, 3D Printing and Interactive Installations for Children.

Two Special Categories:
*Axle Contemporary Mobile Gallery – see bottom of linked submission guidelines page for info
*New Media New Mexico 2016 – applications will open September 15 – see bottom of linked submission guidelines page for info

Submission Guidelines:

CURRENTS provides the community with opportunities to experience New Media Arts in traditional venues, public and outdoor spaces. 5000 visitors attended festival events in 2013. The Festival is enjoyed by a broad demographic – children spinning through the galleries reveling in interactive New Media – seniors contemplating image and meaning – working class families – and savvy collectors.

Call for Entries – 19th Japan Media Arts Festival

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

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


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

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

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

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

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

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

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

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

JMAF Official Website:

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

Call For Entries: 10th International Festival of Contemporary Animation & Media-Art LINOLEUM


The 10th International Festival of Contemporary Animation & Media-Art LINOLEUM. Fall 2015 Kiev/Ukraine


– encouraging and celebrating creativity among animators and media artists;

– popularization of contemporary animation and media art in Ukraine.


The Jury will select principal nominees during the Festival.

The winners will be awarded Grand-Prix, prizes and monetary prizes.

The Festival will be held with the support of «Michael Tsarev Art Projects» (Germany) and FILM.UA Group (Ukraine).

Total prize fund of the Festival is $5000.

Selection Process

The selection of works for the participation in the Fest will be carried out by the Organizing Committee and the Jury.

The names of the selected artists will be published on the official Linoleum webpage.

Conditions of Selection

The number of works presented by one participant is unlimited. The works are accepted without any strict thematic limitation, but under the common title “Cloud of Dust”.

Entry Requirements

Basic requirements of Organizing Committee to the competitive works are:

– must be completed in 2014-2015;

– no running time limitations;

– at least 30% animation;

– subtitled into English, Ukrainian or Russian (in case the submitted work is in a foreign language).

Your submitted work will not be returned to you or provided feedback on. The festival staff guarantees confidentiality of information and recognizes the authors’ intellectual property.

You can submit your work by July 31, 2015.

The committee will announce the names of the selected artists by August, 2014.

Technical Requirements

You can send a link to your project to linoleumfest2014@gmail.com.


1. a link to your work in a DVD format (VOB format or an archive containing a VIDEO_TS folder);

2. make sure you provide your work in the best video quality available (Full HD, HD), any format.

3. The link should contain the following information about your project. This information will be used in press-releases and catalogues:

– an application form (see the attachment);

– a short synopsis of your film (up to 500 symbols);

– a detailed synopsis of your work (optional);

– screenshots of your film (3 screenshots, 300 dpi resolution);

– photographs of the director and DoP (300 dpi resolution);

– contact information and a short bio of an artist or a studio CV;

– film transcripts (preferably).

We recommend that you use the following exchangers when you will send work through the Internet:



The possibility of acceptance of works on the film 16mm or 35mm is to be discussed with the Organizing Committee.


For any information about the competition and Fest please apply to the organizing committee of the Fest:

– e-mail: linoleumfest2014@gmail.com