tag:blogger.com,1999:blog-80716810140489858272024-03-14T08:14:20.096+01:00MediaArtHistoriesMediaArtHistories a blog dedicated to discussing the study of Media Art Histories
contact us: mediaarthistories@googlegroups.comjoncateshttp://www.blogger.com/profile/10721378984857387989noreply@blogger.comBlogger380125tag:blogger.com,1999:blog-8071681014048985827.post-6951566263267871342014-01-14T22:38:00.000+01:002014-01-14T22:39:00.917+01:00"unpainted" - 1st german media art fairFrom January 17th to 20th, the first media art fair - "unpainted" - will take place in Munich. The event includes panels, exhibitions, workshops, concerts - and the fair itself.<br />
Panelists include curators Lindsay Howard, Ole Fach and Kim Asendorf. Chicks on Speed are going to perform on Friday and Rafaël Rozendaal will host a BYOB event. For the complete program see <a href="http://www.unpainted.net/en/the-fair/">http://www.unpainted.net/en/the-fair/</a><br />
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"This coming winter (Jan 17-20, 2014), UNPAINTED will become Munich’s first-ever fair for digital art and new media art. Background: Big data, cloud, network neutrality, Facebook and Twitter… these technologies have such a large impact on our society and the art production. <br />
Artworks made by using new technologies are no longer only on the margins. UNPAINTED is breaking new ground. More than 50 exhibitors will presents the digital age from an artistic perspective."<br />
<a href="http://www.unpainted.net/en/">http://www.unpainted.net/en/</a><br />
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<a href="http://www.unpainted.net/assets/image_Chevalier_1200x450px-1200x4501-1200x450.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://www.unpainted.net/assets/image_Chevalier_1200x450px-1200x4501-1200x450.jpg" width="640" /></a></div>
Nina Wenhart ...http://www.blogger.com/profile/04735466571581151618noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-27157536026825456142014-01-08T19:58:00.002+01:002014-01-08T19:58:25.730+01:00transmediale 2014 - afterglowIn a couple of weeks time, berlin media art festival and conference transmediale will start again. this year's topic "afterglow" will investigate the darker sides of post-digital culture, such as e-waste, dumps and mines as well as security issues.<br />
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The conference's three sections discuss digital materialities ("An afterglow of the mediatic"), strategic infrastructures ("Hashes to Ashes" and the body of the digital ("Will you be my TRASHURE?").<br />
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More to follow soon.<br />
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www.transmediale.de<br />
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<a href="http://www.transmediale.de/sites/default/themes/basic/images/concept/01-concept-afterglow-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.transmediale.de/sites/default/themes/basic/images/concept/01-concept-afterglow-1.jpg" height="220" width="640" /></a></div>
Nina Wenhart ...http://www.blogger.com/profile/04735466571581151618noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-47747364302897189262013-07-17T08:29:00.000+02:002013-07-17T08:29:24.645+02:00"collecting and presenting born-digital art" (conference documentation website)documentation of the 2012 baltan laboratories conference "collecting and presenting born-digital art" (Eindhoven, December 2012) and a growing resource about digital art curation & preservation issues, circulating around the event's five main topics of writing histories, aesthetics, exhibiting, collecting, and collaboration. contributors include (among many others) Christiane Paul, Edward Shanken, Annet Dekker, Sarah Cook and Ben Fino-Radin.<div>
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<a href="http://www.baltanlaboratories.org/borndigital/">http://www.baltanlaboratories.org/borndigital/</a><br /><div>
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<a href="http://www.baltanlaboratories.org/borndigital/" style="-webkit-transition: color 0.3s linear; border: 0px; color: #5c6c77; font-family: 'Helvetica Neue', HelveticaNeue, Helvetica, Arial, 'Lucida Grande', sans-serif; font-size: 12px; line-height: 21.59375px; margin: 0px; padding: 0px; text-decoration: none; transition: color 0.3s linear;" title="Home page"><img alt="Logo" src="http://www.baltanlaboratories.org/borndigital/wp-content/uploads/2012/09/borndigital_logo_medium.png" style="border: 0px; font-family: inherit; font-size: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px;" /></a><span style="background-color: white; color: #555555; font-family: 'Helvetica Neue', HelveticaNeue, Helvetica, Arial, 'Lucida Grande', sans-serif; font-size: 12px; line-height: 21.59375px;"> </span><br /><br /></div>
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Nina Wenhart ...http://www.blogger.com/profile/04735466571581151618noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-13632746227236206142013-07-17T08:15:00.004+02:002013-07-17T08:15:53.360+02:00Alex May, "On the Preservation of Digital Art" (2012)"<span style="background-color: white; font-family: sans-serif; font-size: 16px; line-height: 24px;">you don't see ice-sculptors requiring buyers to have refrigerated galleries"</span><br />
<span style="background-color: white; font-family: sans-serif; font-size: 16px; line-height: 24px;"><br /></span>
<span style="background-color: white; font-family: sans-serif; font-size: 16px; line-height: 24px;">May writes about preservation issues of digital art from the perspective of an artist, providing examples of his own experience and of other artists such as Marina Abramovic, asking questions of materiality and code, the longevity of the art work itself and the preservation of the presentation context/experience.</span><br />
<span style="background-color: white; font-family: sans-serif; font-size: 16px; line-height: 24px;"><br /></span>
<span style="background-color: white; font-family: sans-serif; font-size: 16px; line-height: 24px;">(full article on </span><a href="http://www.imperica.com/viewpoint/on-the-preservation-of-digital-art">http://www.imperica.com/viewpoint/on-the-preservation-of-digital-art</a>, May 2012)Nina Wenhart ...http://www.blogger.com/profile/04735466571581151618noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-29816983680922830592012-10-11T16:37:00.001+02:002012-10-11T16:37:34.495+02:00 Automation, Cybernation and the Art of New Tendencies (1961-1973) <span class="person_name">Medosch, Armin</span>.
2012.
<em>Automation, Cybernation and the Art of New Tendencies (1961-1973) </em>.
Doctoral thesis, Goldsmiths, University of London.<br />
available <span id="goog_540315284"></span><a href="http://eprints.gold.ac.uk/6924/1/COMP_thesis_Armin_2012.pdf">here </a><br />
<a href="http://eprints.gold.ac.uk/6924/">more info </a>elenmichttp://www.blogger.com/profile/02338065286138492120noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-73330131813813142832012-10-07T17:21:00.002+02:002012-10-07T17:22:21.825+02:00We Are Legion - The Story of the Hacktivists (2012)<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/YcAh0pt_fu8" width="560"></iframe>Nina Wenhart ...http://www.blogger.com/profile/04735466571581151618noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-70468423177230221132012-10-06T16:53:00.002+02:002012-10-07T17:23:02.611+02:00SOFTWARE, Jack Burnham, 1970<a href="http://www.fondation-langlois.org/media/activites/eat/software.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.fondation-langlois.org/media/activites/eat/software.jpg" /></a>THE catalogue, for real :)<br />
monoskop has uploaded a pdf of Jack Burnham's seminall SOFTWARE exhibition at the Jewish Museum in New York in 1970.<br />
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the few copies that are circulating in vintage book stores cost around 1.500 dollars at the moment.<br />
<br />
thank you so much for digitizing and uploading, monoskop!!!<br />
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<a href="http://monoskop.org/images/3/31/Software_Information_Technology_Its_New_Meaning_for_Art_catalogue.pdf">http://monoskop.org/images/3/31/Software_Information_Technology_Its_New_Meaning_for_Art_catalogue.pdf</a><br />
<br />Nina Wenhart ...http://www.blogger.com/profile/04735466571581151618noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-29445882182754550072012-09-27T08:42:00.001+02:002012-10-07T17:23:26.800+02:00The History of the Scroll Barvia Jeremy Hight<br />
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<a href="http://3.bp.blogspot.com/-9Q_xhP9v104/UGP1O1kKENI/AAAAAAAABOA/4BOBYP5gn3Q/s1600/HistoryOfTheScrollBar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="331" src="http://3.bp.blogspot.com/-9Q_xhP9v104/UGP1O1kKENI/AAAAAAAABOA/4BOBYP5gn3Q/s640/HistoryOfTheScrollBar.jpg" width="640" /></a></div>
<br />Nina Wenhart ...http://www.blogger.com/profile/04735466571581151618noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-45476343308678968332012-09-22T18:08:00.002+02:002012-09-22T18:08:16.096+02:00Manfred Mohr, "cubic limit" (1973/74)Manfred Mohr's "cubic limit" from 1973/74<br />
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<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/j4M28FEJFF8" width="420"></iframe>Nina Wenhart ...http://www.blogger.com/profile/04735466571581151618noreply@blogger.com1tag:blogger.com,1999:blog-8071681014048985827.post-92055954760428610502012-09-20T09:40:00.003+02:002012-09-20T09:40:43.521+02:00Mainframe Experientalism<a href="http://www.ucpress.edu/book.php?isbn=9780520268388" target="_blank">http://www.ucpress.edu/book.php?isbn=9780520268388</a><br />
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<div class="titleinfo">
<h1>
Mainframe Experimentalism</h1>
<h2>
Early Computing and the Foundations of the Digital Arts</h2>
<h4>
Hannah B Higgins <span class="contribtype">(Editor)</span>, Douglas Kahn <span class="contribtype">(Editor)</span></h4>
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Available worldwide</div>
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</div>
<div class="specs">
<i>Mainframe Experimentalism</i> challenges the conventional wisdom that
the digital arts arose out of Silicon Valley’s technological
revolutions in the 1970s. In fact, in the 1960s, a diverse array of
artists, musicians, poets, writers, and filmmakers around the world were
engaging with mainframe and mini-computers to create innovative new
artworks that contradict the stereotypes of "computer art." Juxtaposing
the original works alongside scholarly contributions by well-established
and emerging scholars from several disciplines, <i>Mainframe Experimentalism</i>
demonstrates that the radical and experimental aesthetics and political
and cultural engagements of early digital art stand as precursors for
the mobility among technological platforms, artistic forms, and social
sites that has become commonplace today. </div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-75039460749100605182012-08-25T19:25:00.001+02:002012-08-25T19:25:18.146+02:00hackers - wizards of the electronic age (documentary)<div class="separator" style="clear: both; text-align: center;">
<object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://2.gvt0.com/vi/bl_1OybdteY/0.jpg"><param name="movie" value="http://www.youtube.com/v/bl_1OybdteY&fs=1&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="http://www.youtube.com/v/bl_1OybdteY&fs=1&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<br />Nina Wenhart ...http://www.blogger.com/profile/04735466571581151618noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-92167047203415760222012-07-17T16:17:00.002+02:002012-07-26T10:24:42.516+02:00Ghosts in the MachineCopying from e-flux..<a href="http://www.e-flux.com/announcements/ghosts-in-the-machine/">http://www.e-flux.com/announcements/ghosts-in-the-machine/</a><br />
interesting list of artists<a href="http://www.newmuseum.org/exhibitions/466"> http://www.newmuseum.org/exhibitions/466 </a><br />
installation shots <a href="http://www.nytimes.com/slideshow/2012/07/20/arts/design/20120720-GHOSTS.html%20">http://www.nytimes.com/slideshow/2012/07/20/arts/design/20120720-GHOSTS.html </a><br />
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<div class="MsoNormal">
<span class="yiv1156409890apple-style-span"><b><span lang="EN-US">New Museum to Open Major Survey
Exhibition </span></b></span><b><span lang="EN-US"><span class="yiv1156409890apple-style-span">Exploring the Relationship between
Art and Machines </span><span class="yiv1156409890apple-style-span">on July 18</span><br />
</span><i>Ghosts in the Machine</i><span class="yiv1156409890apple-style-span"> Will
Present</span> Fifty Years of Work by Artists, Writers, and other Visionaries Past and Present</b></div>
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<i><span lang="EN-US">Ghosts
in the Machine</span></i><span lang="EN-US">
surveys the constantly shifting relationship between humans, machines, and art.
Occupying the Museum's three main galleries, the exhibition examines artists'
embrace of and fascination with technology, as well as their prescient
awareness of the ways in which technology can transform subjective experience.
International in scope, <i>Ghosts in the Machine</i> spans more than fifty
years and incorporates works by a range of historical figures and contemporary
artists from fifteen countries. Together, the works on view will trace the
complex journey from the mechanical to the optical to the virtual, looking at
the ways in which humans have projected anthropomorphic behaviors onto machines
and how those machines have become progressively more human. Eschewing a
traditional chronological approach, <i>Ghosts in the Machine</i> has been
conceived as an encyclopedic cabinet of wonders, bringing together an array of
artworks and non-art objects to create an unsystematic archive of man's attempt
to reconcile the organic and the mechanical.<br />
<br />
<i>Ghosts in the Machine</i> will be on view from July 18 to September 30,
2012. The exhibition is curated by Massimiliano Gioni, Associate Director and
Director of Exhibitions, and Gary Carrion-Murayari, Curator.<br />
<br />
The installation at the New Museum will include over seventy artists, writers,
and visionaries whose work has explored the fears and aspirations generated by
the technology of their time. From Jakob Mohr's influencing machines to Emery
Blagdon's healing constructions, <i>Ghosts in the Machine</i> brings together
improvised technologies charged with magical powers. Historical works by Hans
Haacke, Robert Breer, Otto Piene, and Gianni Colombo, among others, will be
displayed alongside reconstructions of lost works and realizations of dystopian
mechanical devices invented by figures like Franz Kafka and Raymond Roussel. <i>Ghosts
in the Machine</i> also takes its cue from a number of exhibitions designed by
artists that incorporated modern technology to reimagine the role of art in
contemporary societies, including Richard Hamilton's influential <i>Man,
Machine and Motion</i> (1955), which has never before been on view in New York.
Exploring the integration of art and science, <i>Ghosts in the Machine</i> also
tries to identify an art historical lineage of works preoccupied with the way
we imagine and experience the future, delineating an archeology of visionary
dreams that have never become a reality.<br />
<br />
Many of the artists in the show take a scientific approach to investigating the
realm of the invisible, dismantling the mechanics of vision in order to
conceive new possibilities for seeing. Central to the exhibition is a
re-examination of Op Art and perceptual abstraction, with a particular focus on
the work of painters Bridget Riley, Victor Vasarely, Richard Anuszkiewicz, and
Julian Stanczak, among others. Op Art was unique in the way it internalized
technology and captured both the ecstatic and threatening qualities it posed to
the human body. Furthermore, the exhibition will include a number of kinetic
and "programmed" artworks as well as expanded cinema pieces, which
amplify the radical effects of technology on vision. A section of the
exhibition will present a selection of experimental films and videos realized
with early computer technology. One highlight of the installation will be a
reconstruction of Stan VanDerBeek's <i>Movie-Drome</i> (1963–66), an immersive
cinematic environment where the viewer is bathed in a constant stream of moving
images, anticipating the fusion of information and the body, typical of the
digital era.<br />
<br />
The works in <i>Ghosts in the Machine</i> are assembled across a variety of
media to form a prehistory of the digital age. As technology has accelerated
and proliferated dramatically over the past twenty years, artists have
continued to monitor its impact. A number of contemporary artists, including
Mark Leckey, Henrik Olesen, Seth Price, and Christopher Williams, will be
represented in the exhibition. These recent works, while reflecting
technological changes, also display a fascination with earlier machines and the
types of knowledge and experiences that are lost as we move from one era to the
next, constantly dreaming up new futures that will never arrive.<br />
<br />
<br />
<b>Catalogue<br />
</b><i>Ghosts in the Machine</i> is accompanied by a fully illustrated
catalogue featuring essays by Massimiliano Gioni, Associate Director and
Director of Exhibitions, Gary Carrion-Murayari, Curator, and art historian
Megan Heuer. The publication also includes an anthology of historical sources
that have shaped the discourse around technology's impact on human perception
and creativity. These primary documents complement the works in the show by
situating them in relation to cultural phenomena like psychoanalysis,
cybernetics, and media theory. The book makes hard-to-find articles on kinetic
art and Op Art newly available, featuring texts by artists George Rickey,
Victor Vasarely, Bridget Riley, Otto Piene, and GRAV, as well as curators Peter
Selz, William Seitz, and Lawrence Alloway. Also included are a selection of
texts on expanded cinema from Gene Youngblood, Stan VanDerBeek, and Paul
Sharits, and an account of the art and technology movement by Calvin Tomkins.</span></div>
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</tbody></table>elenmichttp://www.blogger.com/profile/02338065286138492120noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-89788442238813790952012-05-30T21:20:00.004+02:002012-05-30T21:20:49.211+02:00Videofreex, save the tapes<a href="http://www.kickstarter.com/projects/1579219342/here-come-the-videofreex-save-the-tapes" target="_blank">http://www.kickstarter.com/projects/1579219342/here-come-the-videofreex-save-the-tapes</a><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-19898526803003371582012-05-09T10:50:00.000+02:002012-05-09T10:50:02.060+02:00<a href="http://jussiparikka.net/2012/05/08/what-is-media-archaeology-out-now/" target="_blank">http://jussiparikka.net/2012/05/08/what-is-media-archaeology-out-now/</a><br />
<br />
<h1>
Media Archaeology</h1>
<h2>
Approaches, Applications, and Implications</h2>
<h4>
Erkki Huhtamo <span class="contribtype">(Editor)</span>, Jussi Parikka </h4>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-79103713757474046272012-03-29T22:20:00.000+02:002012-03-29T22:20:41.529+02:00rot 19 - Georg Nees, Max Bense 1965<a href="http://2.bp.blogspot.com/-SNk8q-onHKw/T3TD48xH-bI/AAAAAAAABJU/R8M2CaAlxRY/s1600/Rot19_titelk.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-SNk8q-onHKw/T3TD48xH-bI/AAAAAAAABJU/R8M2CaAlxRY/s1600/Rot19_titelk.jpg" /></a>some wonderful person digitized and uploaded Max Bense and Georg Nees' seminal rot 19 publication from 1965 to <a href="http://dada.compart-bremen.de/node/5029#/media-tab">compart </a>big, big thank you!Nina Wenhart ...http://www.blogger.com/profile/04735466571581151618noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-57092134988775649792012-01-03T12:49:00.002+01:002012-01-03T12:55:08.974+01:00The Information Machine (1958)<p> Charles and Ray Eames' 10' short <a href="http://www.youtube.com/watch?feature=player_embedded&v=kQcgxqH7zuA#%21">“The Information Machine”</a> was commissioned by IBM to introduce the computer at the 1958 Brussels’ World’s Fair.</p><p>More at the <a href="http://www.architizer.com/en_us/blog/dyn/36736/the-eames-ibm-and-the-dawn-of-computing/">architizer blog</a><br /></p>elenmichttp://www.blogger.com/profile/02338065286138492120noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-2786984519959907512011-11-28T18:27:00.001+01:002011-11-28T18:27:18.499+01:00Historiographies of New Media: CFP<p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">Call for Papers (</span><span style="font-size: 11pt; font-family: Baskerville; ">Deadline November 28)</span><br /><span style="font-size: 11pt; font-family: Baskerville; ">Historiographies of New Media<br /></span><span style="font-size: 11pt; font-family: Baskerville; "> </span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">The Chicago Art Journal, the annual publication of the University of Chicago Department of Art History, is seeking submissions of original work by graduate students and faculty for its 2011-2012 edition. This year’s issue asks how new media have affected not only the production of art, but also the production of knowledge about art. What is at stake in approaching art history through the concept of new media?</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">The term ‘new media’ has been applied to a range of formats (from photography to video to the internet) that have revolutionized the modes of transmission and reproduction of ‘old’ media of art--particularly in the post WWII period. Although the concept of new media seems to promise a mass media address, artists have often emphasized the limits of circulation—for instance, in closed circuit television, or zines that made use of Xerox processes and yet were distributed to small networks through the mail. Such a dialectical relation escapes media theory’s emphasis on mass distribution, and points instead toward misalignments and points of friction between the imaginative and material aspects of new media. Furthermore, from the double slide lecture to the publication of photographs in books, and from the use of facsimiles in the classroom to broadcasts of ‘art on television,’ the formation and performance of the art historical discipline has itself been contingent upon pivotal introductions of reproductive media. In turning our attention to new media, we consider art history’s rhetorics of description and display.</span><span style="font-size: 11pt; font-family: Times; "> </span><span style="font-size: 11pt; font-family: Baskerville; ">What conditions of possibility are embedded (or not) in the positioning of art as new media? How might we emphasize the aesthetic and pedagogical aspects of new media over notions that emerged out of communications theory, such as interactivity? We are especially interested in papers that address new media art histories that diverge from the well-known chronologies of Euro-American technological developments.</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; "> </span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">Topics might include but are not limited to:</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-performance and circulation of art history through facsimiles, photographs,</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">slide projections, radio, and television</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-responses and counter-responses to new media technologies within art criticism, critical theory, and film theory</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-legacies of Friedrich Kittler and Miriam Hansen for theorizing new media</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-analog and digital in art and art history</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-historical modes of mechanical reproduction, imprinted coins, technologies of the book, seals, etc.</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-transfers and transformations among media, media as reference for other media</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">- in what way are new media performative and public?</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-materiality of new media, processes of materials</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-new media and abstraction</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-wider implications of artists’ practices in Xerox, zines, artists’ books, flip books, holograms, etc.</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-relationship between art transmitted through media and art as media</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-aesthetics of television</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-new media’s relevance for reframing art historical cycles and geographies of innovation</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-art and technology movements, including the role of dance and ‘new music’</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-computerized models of art, computational ways of thinking</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-collectivity and coalitions, notions of ‘social media’</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-photography as new media</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-historiographies of ‘video art,’ including the role of projection</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-queer aesthetics and new media</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">-painting after the advent of network theory</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Times; "> </span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; "> </span><span style="font-size: 11pt; font-family: Baskerville; ">Submissions:</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">* Full papers must follow The Chicago Manual of Style, and should not exceed 4000 words. Each submission should include an abstract of approximately</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">500 words. If you would like to submit an abstract without a full paper, please contact the editors in advance. Both Word documents and PDFs are welcome. </span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-size: 11pt; font-family: Baskerville; ">* All contributors should include their name, address, telephone number, and email address. Authors are responsible for securing image reproduction rights and any associated fees.</span><span style="font-size: 11pt; font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-family: Baskerville; "> </span><span style="font-family: Times; "></span></p><p style="color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; text-align: -webkit-auto; background-color: rgba(255, 255, 255, 0.917969); margin-bottom: 12pt; "><span style="font-family: Baskerville; ">Please send submissions to the graduate student editors Solveig Nelson and Stephanie Su at<a href="mailto:UChicagoArtJournal@gmail.com" target="_blank" style="color: rgb(17, 85, 204); "><span style="color: rgb(0, 0, 153); ">UChicagoArtJournal@gmail.com</span></a> by November 28, 2011.</span></p>joncateshttp://www.blogger.com/profile/10721378984857387989noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-69346716163501333212011-11-14T23:26:00.000+01:002011-11-14T23:26:17.736+01:00Zebrastraat : Call for Entries - New Technological Art Award Foundation Liedts-Meesen 2012<a href="http://feedproxy.google.com/~r/efluxshows/~3/dSu6H_Hz25k/10364">Zebrastraat : Call for Entries - New Technological Art Award Foundation Liedts-Meesen 2012</a>: <div style="float:left;margin:0 8px 10px 0;padding:0;width:320px;color:#666"><br /> <a href="http://www.e-flux.com/shows/view/10364"><img width="305" src="http://www.e-flux.com/show_images/1320959638image_web.jpg"></a><br></div><p>After update_1 in 2006, with as curator Jean-Marie Dallet, professor and researcher linked to ÉESI, responsible of the laboratory of the <i>école d'art Figures de l'interactivité</i>, Angoulême-Poitiers, France, followed by <i>update_2</i> in collaboration with the ZKM, <i>Zentrum für Kunst und Medientechnologie</i> in Karlsruhe and with as curator Peter Weibel, Director of the ZKM, and finally <i>update_3</i>, in collaboration with the <i>Centre Pompidou, Service Nouveaux Médias</i> and as curator Christine Van Assche, guardian of the <i>Centre Pompidou</i>, we are determined to continue this series with update_4, to be held from 15th September till 18th of November 2012.</p><p><a href="http://www.e-flux.com/shows/view/10364">Read Full Article</a></p> <img src="http://feeds.feedburner.com/~r/efluxshows/~4/dSu6H_Hz25k" height="1" width="1">GKhttp://www.blogger.com/profile/15890386002516117242noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-9715631531894804572011-11-14T16:41:00.000+01:002011-11-14T16:41:23.130+01:00review: »Klangmaschinen zwischen Experiment und Medientechnik«<a href="http://www.rkm-journal.de/archives/6819"></a><br />
<br />
<br />
Daniel Gethmann (Hrsg.): Klangmaschinen zwischen Experiment und Medientechnik. Bielefeld [Transcript Verlag] 2010<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-lsZDGyLRLjc/TsE2nY4F3oI/AAAAAAAAACQ/0B9HFiZgjmU/s1600/ts1419g-180x300.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="300" width="180" src="http://2.bp.blogspot.com/-lsZDGyLRLjc/TsE2nY4F3oI/AAAAAAAAACQ/0B9HFiZgjmU/s320/ts1419g-180x300.jpg" /></a></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-7253629844126904772011-11-09T15:52:00.001+01:002011-11-09T15:54:10.334+01:00Backward Glances: A Media and Historiography Conference<div style="font-size: 10px; font-family: Verdana, Arial, Helvetica, sans-serif; margin-top: 0px; margin-right: 1px; margin-bottom: 0px; margin-left: 1px; background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: rgb(255, 255, 255); "><h1 class="title" style="margin-bottom: 0.5em; "><a href="http://backwardglancesnu.blogspot.com/" _mce_href="http://backwardglancesnu.blogspot.com/">Backward Glances</a></h1><p style="margin-bottom: 0.5em; margin-top: 0px; margin-left: 0px; margin-right: 0px; "></p><div><br /></div><div>A Media and Historiography Conference<br />November 11 and 12, 2011<br />Northwestern University, Louis 119<br /></div><div><br /></div><div><br /></div><div>Given the current emphasis on “new” media in diverse disciplines and fields, can we conceive of doing history as a "backward" practice? The aim of this interdisciplinary conference is twofold. While we explore the attachments and investments that scholars continue to have in historical objects and historiographic projects, we also want to consider media historiography as a deviant act. What are the political possibilities of media historiography's curious and precarious status? Does this approach to the past afford us a politics divorced from logics of reproduction, futurity, and progress?<br /><br /><br />Presented by The Center for Screen Cultures, Department of Radio/Television/Film, and The Alice Kaplan Institute for the Humanities, Northwestern University, Evanston, IL.<br /><br /><br />Organizers: Leigh Goldstein, Meenasarani Linde Murugan, and Maureen Ryan.<br /><br /><br />Special thanks to Lynn Spigel, Nick Davis, Jacqueline Stewart, Mimi White, Jeff Sconce, Andy Owens, Kate Newbold, Kimberly Nguyen, Dave Sagehorn, Chris Russell, and Molly Schneider. </div><div><br /></div><p></p></div>joncateshttp://www.blogger.com/profile/10721378984857387989noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-5959288544348337482011-10-18T16:37:00.001+02:002011-10-18T16:39:02.795+02:00Friedrich Kittler (1943-2011)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/-SjaMSXVwljc/Tp2Pf2KrzmI/AAAAAAAAA4g/yTk0Fo6j9Iw/s1600/friedrich-kittler-2009.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://2.bp.blogspot.com/-SjaMSXVwljc/Tp2Pf2KrzmI/AAAAAAAAA4g/yTk0Fo6j9Iw/s400/friedrich-kittler-2009.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5664841683580997218" /></a><br /><br />Friedrich Kittler (1943-2011)<br /><br />Friedrich Kittler has just died today in Berlin. a post by Jussi Parikka, on his site Machinology, linked below reflects on this moment now in Media Art Histories:<br /><br />Friedrich Kittler (1943-2011) - Jussi Parikka (October 18, 2011)<br />http://jussiparikka.net/2011/10/18/friedrich-kittler-1943-2011/joncateshttp://www.blogger.com/profile/10721378984857387989noreply@blogger.com1tag:blogger.com,1999:blog-8071681014048985827.post-88093930197478658572011-10-06T13:29:00.000+02:002011-10-06T13:29:35.162+02:00Digital Art Works. The Challenges of ConservationOn October 28th, "Digital Art Works. The Challanges of Conservation" will start at ZKM. An exhibition of 10 case studies of conserving ZKM's collection and an accompanying series of symposia will address different approaches in archiving and preserving digital media art.<br />
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case studies:<br />
http://www.digitalartconservation.org/index.php/en/case-studies.html<br />
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symposia including Alain Depocas, Antoni Muntadas, Herbert Franke, Siegfried Zielinski et al<br />
http://www.digitalartconservation.org/index.php/en/symposium-i.htmlNina Wenhart ...http://www.blogger.com/profile/04735466571581151618noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-51809728791724745772011-10-06T11:09:00.007+02:002011-10-06T13:14:26.438+02:00stay hungry. stay foolish.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-ClX5A2rjSoE/To1zXHbI5XI/AAAAAAAAAHQ/_kAexMejOmA/s1600/Whole%2BEarth%2BCatalog%2BFall%2B1968%2B-%2BElectronic%2BEdition_1317892927676.png"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 144px; height: 167px;" src="http://4.bp.blogspot.com/-ClX5A2rjSoE/To1zXHbI5XI/AAAAAAAAAHQ/_kAexMejOmA/s200/Whole%2BEarth%2BCatalog%2BFall%2B1968%2B-%2BElectronic%2BEdition_1317892927676.png" alt="" id="BLOGGER_PHOTO_ID_5660307147641644402" border="0" /></a><br />Steve Jobs died yesterday, aged 56. Jobs often referred to a counter-culture publication of 1968, the <a href="http://www.wholeearth.com/issue-electronic-edition.php?iss=1010">"Whole Earth Catalogue"</a>, as a basic source of inspiration. its quite nice indeed.elenmichttp://www.blogger.com/profile/02338065286138492120noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-80335462245888437172011-10-04T17:21:00.004+02:002011-10-04T17:36:26.732+02:00cloud over liverpool<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dw7CfApzZdjpOLC3D7mfLBaTmxaTw7muogMr4Q_d-r1ldCOyPzosy0nXmfdSJ2XQRoBt77zk2LkcUsT0RxbJw' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /><br />it was great seeing you all! take careelenmichttp://www.blogger.com/profile/02338065286138492120noreply@blogger.com0tag:blogger.com,1999:blog-8071681014048985827.post-23436518662751122702011-10-01T17:21:00.000+02:002011-10-01T17:21:30.649+02:00Satellites use GPS system from above - 02 October 2001 - New Scientist<a href="http://www.newscientist.com/article/dn1365-satellites-use-gps-system-from-above.html">Satellites use GPS system from above - 02 October 2001 - New Scientist</a>laurahttp://www.blogger.com/profile/08594265064945836295noreply@blogger.com0