Tag Archives: digital culture

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.

Report from Computer Art Congress 5


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


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.


Andres Burbano presenting on Konrad Zuse


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



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.

Terminal 1.0

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

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

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

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

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

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

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


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

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

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

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

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


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

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



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

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

By: Carrie Ida Edinger

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

A Normal Future – Interview with NORMALS

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

Call – Fullbright Scholars Program 2017-2018

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

Opportunities that may be of particular interest include:

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

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

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

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

Please contact Bill McShane at wmcshane@iie.org for additional information.

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

Call for 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!

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 – 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.


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


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.


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.


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

July 15, 2016: Notification of acceptance.

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


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).


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

“Digital Curation” – What’s in a Word (or Two)?

In early October, 2015, Phyllis Hecht and Joyce Ray, both faculty in Johns Hopkins University Museum Studies program, hosted a summit meeting in Washington DC on the topic of Digital Curation. I was lucky to be able to attend this 2-day meeting and, since this was not a public conference, I wanted to share some of the experience with a broader audience.

The goals of the meeting were to:

  1. Highlight innovative practices supported by digital curation in art museums and discuss the opportunities and challenges that these present;
  2. Identify the roles and responsibilities of digital curation interns, faculty supervisors, and host organizations/mentors; and,
  3. Publish a summary report on the value of digital curation in art museums, the role of art museums in educating a new generation of digital curators, and the potential role of digital curation internships and research in advancing the art museum mission.

Attendees included about 30 museum directors, curators, museum CIO’s and technology staff, vendors, consultants, and foundation leaders. The two days were formatted in sections; each kicked off by a presentation, followed by broad-ranging open discussion. Presentations were offered by individuals below (that give a sense of the group’s professional diversity):

  • Phyllis Hecht & Joyce Ray, Johns Hopkins University
  • Diane Zorich, Consultant
  • John Ryan, Local Projects
  • Douglas Hegley, Minneapolis Institute of Art
  • Ben Fino-Raden, MoMA
  • Anne Goodyear, Bowdoin College Museum of Art
  • George Coulbourne, Library of Congress
  • Eleanor Fink, American Art Collaborative
  • Monkia Hagedorn-Saupe, Institue fur Museumsforschung

Of particular interest to me was a topic that could have been some semantic navel-gazing - defining “Digital Curation” - but was, in fact, due to the discussants, a chance to frame curating itself anew. “Digital Curation” was being used in the room much like it is elsewhere, very broadly to mean any act of selection, organization, and management applied to digital content conducted by any person (but most likely a cultural heritage professional, be they curator or IT manager.) Museum professionals in the room brought up the fact that “curating” as a term has experienced some dilution of late. These days, boutique shop windows are “curated,” craft beers are presented by beer curators, and everyone with an Instagram account is an image curator. However, rather than be caught up in this false dilemma of professionalism v. populism, discussants took the conversation in a more constructive direction. Anne Goodyear and Rob Stein (Dallas Museum of Art) discussed how - to paraphrase - quantitative shifts in the mass availability of information may lead to qualitative shifts in thinking. At the end of the first morning, that lead me to tweet:

“A new human consciousness emerged this morning at #jhudigcur @JHMuseumStudies & kinda blew my tiny mind. Had to leave to rethink curating.”

The next morning, having had a night to stew on that, I tweeted my proposed definition of Digital Curation:

“Digital curation may or may not use digital objects & tools but is curating in relation to network consciousness.”

I’ll have to see if that holds up to scrutiny or to practice. In the meantime, the folks at JHU are planning to publish proceedings from this meeting that will include, hopefully, not only more detail than this snapshot post, but also an index of suggested sources on the topic of digital curation. As you might have guessed, you can also find the event in tweet-archive form under #jhudigcur.

Richard Rinehart, Director, Samek Art Museum, Bucknell University

IEEE VIS Art Exhibition VISAP’15

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

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


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

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

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

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

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




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

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

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

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

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

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

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

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

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

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

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

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

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

ArrayList discussion theme: New Media Foundations: Electronics

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

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

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

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

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

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

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

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

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

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


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

On Media Players and Dulltech

As artists that work with digital media, we must constantly navigate the space between hardware, software, and our concept or artistic intent. And as we make our work we must also develop strategies for how that work gets displayed in whatever venue we have available. For example, perhaps we make a video artwork. Immediate decisions for distribution and viewing of that work have to be made - do we upload and let people stream from vimeo or youtube? if we do that, do we let there be commercials or rental payment to generate revenue from views? If we keep the work offline, where do we show it and how? Film festivals and video screenings are popular, but then how do transfer or file and how much compression or how large of a file should we send? The questions start snowballing... and there aren't really any easy answers because it sometimes there are just too many variables.

Installing video work in a gallery is another one of those challenges with a lot of variables. In some cases its a good idea to supply as much of your own equipment as you can. With each successive generation of video monitors and/or media players or devices there are additional limitations on what can be played back and how its controlled. But artists are good at finding workarounds, stretching a budget, and at figuring out how to make it work. Gallery directors and assistants on the other hand, might not find it all that easy to following our process or directions. It all starts to seem like an almost overwhelming cascade of potential problems.

Over the last several weeks (or months) I've been following an artist project that seeks to address some of these questions. DullTech™ is a campaign initiated by Dutch conceptual artist Constant Dullart. To me the project is fascinating - its part artwork, part startup, part prodcut, and part commentary on contemporary techno culture. If you have some time, you should check it out - but I'll paraphrase: its a media player that doesn't have any menus and can connect wirelessly and sync to other media players and loop whatever file is on your thumb drive. That's it. Nothing more, nothing less (unless I missed something). That's a breathe of fresh air if you ask me. An artist working on a solution for a problem we all encounter by making a product that is also a bit of an artwork itself. I asked Dullart a few questions and here's what he had to say!

RE: artist problems with video installations:

"Blood sweat and tears, days of rendering, getting special computers, and programming. It was mainly the stress and the time consumption that we did not understand, and thought was too complex. But we always got it done. These installs just needed to get more dull. So there would be more time making the content exciting! So we just designed a device without playlists, menu’s and difficult settings. One that would just play and sync video, and do that well. Just switch it on and you’re done. Weirdly enough it wasn’t that hard. Most machines just have too many options... "

RE: building tech products in China and becoming a 'startup'

"The atmosphere in Shenzhen was that western people randomly wanting to go to factories would take up time, or would be journalists writing about the conditions in the factories. The "Mr Daisey and the Apple factory” episode on This American Life, and the attention that got for example, even after the necessary retraction made it hard to “just be a visitor”. Learning how this business actually works from the inside was much more interesting. Like the artist Li Liao did when he worked in the Foxconn factory until he could afford the product he was working on. After 45 days he could afford the iPad mini. After meeting him we were inspired to play out our part in the neo colonial creative industry process."

RE: is it artwork, commercial product, critique?

"DullTech™ is a hardware startup and performative artwork concurrently. Created as a form of radical corporate publishing in an age of high efficiency capitalism, it creates technologically simplified or 'dull' products in order to distribute artworks in tribute to the late Ray Johnson. Initiated during a 2012 OCAT residency in Shenzhen China, with the company's motto 'neoliberal startup lulz', most products relate to production processes in the artist's studio. The company has exhibited in the Stedelijk Museum Bureau Amsterdam, HMKV Dortmund, Transmediale Berlin and the White Building in London."

RE: favorite file formats

"Of course we would pick the most dull one, that works the best, h264 in an mp4.Which coincidentally also works really well on our player, up to 60Mbps!"

You can check out DullTech™ on their kickstarter, there is still plenty of time to get in on the ground floor. There are a lot of artists projects out there in crowdfunding platforms but I can't help but share this one because its such a great fit with my experience as an artist. Good luck DullTech™ !

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.

Dispatch from Vancouver – ISEA2015 Part 1

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

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

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




#ISEA2015 and #MOCO'15

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

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

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

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

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

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

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

Brighton Digital Festival Opportunities: Arts Commissions for 2015

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

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

Arts & Technology Commissions

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

newforms Commissions

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

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

Call for Participation Istanbul New Media Arts Fest 2015

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

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

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

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

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

July 17, 2015 22:00

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

August 20, 2015
announcement of the programme



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

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

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

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

Festival Organization:
Merve Çaşkurlu, Ekmel Ertan, Fatih Aydoğdu

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

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

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

Fluxus Digital Collection Launches

We are pleased to announce the launch of The Fluxus Digital Collection. This online archive gathers an eclectic range of artworks by one of the most important movements of the twentieth century. Global in scope, Fluxus members moved between the USA, Europe, East Asia, and elsewhere. They worked across and between traditional media, opting for ephemeral materials, participatory approaches, and playful humor.

The collection includes digital tools that make interactive objects and text-based works available to viewers—many of which have not been read, seen, or heard outside of select archives. With technical tools that include 3-D modeling, digital scanning, photography, and film, the Fluxus Digital Collection gives worldwide access to scholars, teachers, students, and art-lovers.

“Video pioneer Nam June Paik organized the first art exhibition on the World Wide Web in 1994,” explains Fluxus artist and collection donor Ken Friedman. “Since then, Fluxus artists and composers have had a durable presence of event scores, images, documents, web sites, exhibitions, publications, and more. Some vanished when links broke and web sites disappeared. Others continue to overcome the limits of fragile artifacts that museums preserve by protecting them from people. The Fluxus Digital Collection brings works back to life, returning them to the world where they belong with a future as lively as the past.”

The University of Iowa Special Collections houses a trove of yet-to-be processed Fluxus art, writing, and correspondence. The Fluxus Digital Collection will continue to grow as we add new content.

Artists featured in the collection include: John Cage, Dick Higgins, George Brecht, Robert Watts, Ken Friedman, George Maciunas, Yoko Ono, Joseph Beuys, Milan Knížák, Ben Vautier, Nam June Paik, Frank Zappa, Robert Filliou, Mieko Shiomi, Shigeko Kubota, Ben Patterson, Dieter Roth, Eric Andersen, Takehisa Kosugi, Ay-O, and others.

Supporting Partners
The University of Iowa
Digital Studio for Public Arts & Humanities
UI Library Digital Research & Publishing
Special Collections

For more information, contact:
Dr. Stephen Voyce
Assistant Professor
Department of English
Digital Studio for the Public Humanities
University of Iowa
E: stephen-voyce@uiowa.edu
T: 1.319.333.1923


The Fluxus Digital Collection is made possible by three University of Iowa programs: the Public Humanities in a Digital World (PHDW) initiative, Special Collections, and the University Library's Digital Research and Publishing arm.

PHDW's focus is the impact of academic work on civic life and society, using the opportunities provided by digital technologies to amplify and distribute broadly what faculty do as teachers and scholars, collaborating with communities on projects that have social and artistic impact, and envisioning new ways of interacting with our many publics.

Special Collections contains over 200,000 rare books ranging in age from the 15th century to newly created artists' books; over 800 manuscript collections, medieval to modern; and 7,000 feet of records that document the University’s history. The Libraries' repository of primary source materials includes exceptional literary collections of writers from Walt Whitman to Iris Murdoch; historical collections document the French Revolution, Westward Expansion, the Civil War, Chautauqua and vaudeville performers, the culinary arts, political cartooning, screenwriting, and more. Our holdings also include tens of thousands of pamphlets, photographs, posters, sound recordings, and other formats.

Digital Research & Publishing explores ways that academic libraries can best leverage digital collections, resources, and expertise to support faculty and student scholars by: (1) Collaborating on interdisciplinary scholarship built upon digital collections; (2) Offering publishing services to support sustainable scholarly communication; (3) Engaging the community through participatory digital initiatives; (4) Promoting widespread use and reuse of locally built repositories and archives; (5) Advancing new technologies that support digital research and publishing.

Digital Culture Opportunities in Norway, Ireland and Austria through the Fulbright Scholar Program

The Fulbright U.S. Scholar Program is currently seeking applications for awards for teaching and research within the areas of digital humanities and digital culture for the 2016-2017 academic year. The Council for International Exchange of Scholars administers the Fulbright Scholar Program on behalf of the United States Department of State Bureau of Educational and Cultural Affairs. Applicants must be U.S. citizens and the current competition will close on August 3, 2015.

The Digital Culture award in Norway allows the selected candidate to take part in the teaching and research activities of the Digital Culture program and the Digital Culture and Electronic Literature research groups in the Department of Linguistic, Literary and Aesthetic Studies at the University of Bergen. The scholar will teach three courses in digital culture and digital media aesthetics and evaluate student work. The award is open to academics with previous teaching experience. All teaching will be in English and proficiency in another language is not required.

Ireland offers an award entitled Facilitating Writing and Creative Practice Outputs in the Arts, Humanities and Social Sciences. The selected scholar will work with students and faculty at the College of Arts, Celtic Studies and Social Sciences (CACSSS) at University College Cork. The scholar will engage in the development and delivery of workshops on the production of creative and written outputs in the form of traditional and digital media. The award is open to academics and appropriately qualified professionals. 

Finally, Austria offers the Fulbright-Karl Franzens University Graz Visiting Professor in Cultural Studies award. The Faculty of Humanities is particularly interested in scholars whose teaching and research interests are primarily associated with cultural studies, including digital humanities. The award is open to faculty of all academic ranks with appropriate teaching experience.

Should your interests lie elsewhere, we offer further opportunities in Communications around the world.

More information about the Fulbright Scholar Program, including complete Application Guidelines, can be found on our website, www.cies.org.